A remarkable instance of solo piano blues performed in the past by Mike Westbrook can be found on Starcross Bridge (hatOLOGY, 2018). Specifically, his rendition of "Blues For Terenzi", a piece from years prior dedicated to the late Italian trombonist Danilo Terenzi, who had been a teammate in several projects by the English composer. Those acquainted with this track will find a lot to relish in The Piano In The Room And The Blues, recorded in 2006 but released in March of this year to mark Westbrook's 90th birthday. It is a poignant sign that such a celebratory album nearly coincided with the final exit of this great musician, which occurred just a few weeks later. In that regard, the record could easily be renamed Blues For Westbrook.

When it comes to music of this caliber, we should not mourn the artist who is no longer with us, but rather rejoice that we were fortunate enough to hear him perform during our lifetime. And if this performance took place — as in this case — in a setting where the pulse of life is constantly detectable and complements the instrumental action, so much the better for the listener. Westbrook was, in fact, captured on tape while playing a Steinway inside the Falmouth Arts Centre in Cornwall, in a space with considerable natural reverberation that echoed not only the protagonist’s improvisations but also the external sounds of a couple of summer days. Seagulls, distant bells. Various human activities, some louder, some quieter. Passing vehicles. The incredible thing is that none of this is in the least bit distracting, blending beautifully into the pianist’s explorations.

These studies extend beyond the blues, which clearly plays a crucial part in the growth of the man who has provided us with landmarks like London Bridge Is Broken Down, On Duke’s Birthday, Pierides, Metropolis, The Cortege. Paying careful attention to Westbrook's interaction with the keyboard in these splendid moments of solitude, suggestions of Thelonious Monk and Erik Satie arise, coupled with a full consciousness of how the tempo of a composition continues seamlessly, even in complete silence from the instrument. Within those profound echoes, one can sense Westbrook’s internal rhythm as he gauges, in his mind, the implicit pulsation that generates every form of music — and ultimately, all existence. Intertwining elements of lyricism with skillfully placed clusters, the maestro emphasizes the necessity of upholding, at all times and in every situation, a comprehensive understanding of the organic unity of a resonant entirety.

In other words, rationality and poetry can harmoniously exist: The Piano In The Room And The Blues offers a tangible illustration of this belief.