There is a famous story about Rick Wakeman going into the studio to record ‘White Rock’ and realised he had forgotten to compose one piece of music so asked for the film to be played so he could get into the mood and improvised “After the Ball”. No-one realised he had written it on the spot, and when the engineer asked him to play it again, he refused saying he could never recapture that moment, not that he had written it totally on the fly and would not have been able to repeat it.
Why do I tell that story here? Well, Ton Scherpenzeel (Kayak, Camel) has just released an album of solo (mostly) improvised piano pieces which are an absolute delight from beginning to end. Four of these are less than four minutes in length, one of those less than two, but the opener and title cut more than makes up for it at nearly 37. Here we have a master musician putting himself in the zone and playing whatever comes to mind with just some reverb for company. The only word which really does this justice is “beautiful” as Ton takes us on a rippling journey (I am reminded of a babbling brook for some reason) which not only must be played on headphones, but when the listener truly has the time and space to immerse themselves in the experience.
My mother was an accompanist, and my father met her when he joined the male voice choir she used to work with (it is not lost on me that if it were not for music, I would not exist), so we had a piano in the house when I grew up. Like many from that era I took lessons until I was 15 and there was always piano music in the house, either myself or my mother practicing, or playing some of the many piano record she had (Joseph Cooper was a particular favourite). Consequently, a solo piano is something I have always felt an affinity towards, and Ton is a master of the instrument but only provides deep complexity when the time is right, instead concentrating on melody and being in the moment which makes this very special indeed.
I have been fortunate enough to have heard other solo albums from Ton in recent years, and like many progheads love Kayak, but there is something about this which is truly outstanding. It is not the note density as this is never about speed, but rather the care which has been taken by someone who was obviously in the moment. It would not surprise me at all if Ton had his eyes closed while playing and was totally lost in what was taking place under his fingers, with no conscious thought of where to go next. The result is a truly remarkable album which almost brings me tears, totally lost in the moment, and coming back to reality is a hard thing indeed. Breathtaking in its simplicity and beauty.
