Click here to see complete reviews of to date of Jerusalem Trilogy

For reviews of my CDs, please go to the Discography page and click on the album cover of your choice.

The Globe and Mail, Toronto (review of my composition Undertow, a new piano concerto loosely based on a Bach Invention), from a performance with Absolute Ensemble at the Royal Conservatory, Koerner Hall in Toronto)

"Pianist Matt Herskowitz's Undertow took the F-minor Sinfonia, the spookiest of all the Inventions, and rode its sliding bass line through a secret-agent opening, a section of rugged math-rock that had me thinking of King Crimson, and a grand passacaglia that drew out the tragic implications of Bach's original. It ended on the brink of a high tutti cadence, and I would have been happy to hear the whole 20-minute piece repeated right away."

Le Devoir, Montreal (review of solo Gershwin performance at Palais Montcalm, Québec City)
"Dans la petite salle pouvant accueillir une centaine de personnes (pratiquement remplie à pleine capacité), l'énergie communicative d'Herskowitz a opéré. Après la mise en bouche chaude et épicée du Cuban Overture (pièce moins connue des spectateurs présents), les premières notes de la Rhapsody ont fini de conquérir le public. Mais ce n'était rien comparativement aux modulations à la fois graves et enflammées de la pièce de résistance, ce fameux Concerto in F qu'Herskowitz a décrit -- et on comprend pourquoi -- comme étant son morceau favori de Gershwin."

"Côté interprétation, Herskowitz s'est révélé être un pianiste extrêmement généreux, qui négocie à merveille les courbures, les variations de rythme, les zones d'ombre et de lumière parsemant les oeuvres. Son style percussif, musclé -- voire viril --, sied en effet parfaitement à Gershwin."

In English:
"In the small hall able to accomodate just over 100 people (practically overflowing), the communicative energy of Herskowitz took form. After a taste of the hot and spicy Cuban Overture (the work least known to the audience), the first notes of the Rhapsody succeeded in completely conquering the hall. But that was nothing compared with the both serious and fire-breathing performance of the pièce de résistence, the famous Concerto in F, which Herskowitz describes - and one can understand why - as his 'all-time favorite Gershwin piece.'

As an interpreter, Herskowitz revealed himself to be an extremely generous pianist, marvelously negotiating the curves, rhythmic variations and zones of shadow and light scattered throughout all the works. His percussive, muscular style - even virile - was perfectly suited to Gershwin."

La Presse, Montreal (critique de Matt Herskowitz Plays Gershwin)
"Faut-il encore rappeler la maîtrise de ce pianiste de jazz qu'il faut d'abord considérer comme un artiste d'exception? L'interprétation de Rhapsody in Blue, grand classique de George Gerswhin... sied fort bien au style de Matt Herskowitz, dont l'attaque virile et spectaculaire, la vélocité, les jeux d'intensité et la précision du doigté servent parfaitement cette oeuvre magistrale. L'impression d'improvisation demeure dans cette oeuvre.... Cette impression demeure entière pour les trois mouvements du Concerto en Fa... et L'Ouverture cubaine... dont Herskowitz a brillamment inaginé les arrangements pour piano seul. Le pianiste montréalais peut en être fier."

In English:
"Must we recall the mastery of this jazz pianist, who must first be considered an exceptional artist? Rhapsody in Blue, George Gershwin's great classic, is superbly suited to the style of Matt Herskowitz, whose spectacularly virile attack, speed, intensity and precision of fingering perfectly serve this magestic work. The impression of improvisation remains in this piece - as it does for the three movements of the Concerto in F, as well as the Cuban Overture, which Herskowitz brilliantly arranged for solo piano. The Montreal pianist can be proud."

L'Express, Toronto (critique de Matt Herskowitz Plays Gershwin)
"Herskowitz réalise ici un exploit de débrouillardise, au point de nous faire - presque - oublier l'absence des 50 autres musiciens."

"...le riche matériau thématique, pétri de contrepoint et de polyrythmie, a permis Herskowitz de mettre en valeur sa double formation de concertiste et de jazzman. Le fait même que cet album puisse être classé aussi bien rayon jazz qu'au rayon classique témoigne de sa réussite - qui est aussi, a fortiriori, celle de Gershwin"

In English:
"Herskowitz acheives here a triumph of resourcefullness, to the point where we - almost - forget the absence of the other 50 musicians

...the rich thematic material, full of counterpoint and polyrhythms, permits Herskowitz to highlight his double-abilities as concert pianist and jazzman. The very fact that this album can be classified as both  jazz and classical is a testament to its success - which is also, of course, Gershwin's."

Sortiejazznights.com (critique de Matt Herskowitz Plays Gershwin)
"Voilà un album que l’on pourrait retrouver à la fois dans la section classique et jazz d’un disquaire. Pianiste complet à la technique irréprochable, Matt Herskowitz nous offre une relecture du répertoire de Gershwin étonnante au point qu’on oublie qu’il joue seul, sans orchestre. L’inévitable Rhapsody in Blue ouvre certes le bal avec brio, mais c’est sur Cuban Overture que le pianiste retient notre attention. Virtuose et fin arrangeur, Matt Herskowitz ne prétend pas se frotter à Erroll Garner, cependant il relève un défi qui force le respect que l’on doit à ce pianiste américain ayant élu domicile à Montréal."

In English:
"Here's an album that can be found in both the classical and jazz sections of the store. A complete pianist with irreprochable technique, Matt Herskowitz offers such an astonishing reading of this Gershwin repertoire that one forgets that he's playing alone, without orchestra. The inevitable Rhapsody in Blue certainly kicks off the ball with verve, but it's the Cuban Overture that really keeps our attention. Virtuoso and consumate arranger, Matt Herskowitz doesn't pretend to rub shoulders with Errol Garner, however he delivers a feat here which commands the respect that is owed this American pianist, who has chosen to make Montreal his home."

The Gazette, Montreal (review of Matt Herskowitz Plays Gershwin)
"When George Gershwin's Concerto in F was premiered in 1925, opinion was divided. Was it a classical or jazz work? That ambivalence plays right into the hands of classically trained pianist Matt Herskowitz, who arranged the work for solo piano - the centrepiece of this dramatic recording... the listener can only admire his ardour and technical prowess."

Le Devoir, Montreal
"...un immense pianiste."

Ottawa Citizen (review of Mad Gershwin show)
"This was post-Miles Davis, post-Bill Evans, post-just-about-everyone stuff. Gershwin's tunes were at the core of the music, even if you had to listen pretty hard at times, but the style was contemporary. Terrific fun." (from review of all-Gershwin concert)

Le Progrès, Lyon
"...ce poète du clavier... met son clavier au service de toutes les musiques, pourvu qu'elles partagent son amour de l'aventure. Animé d'un feu intérieur inextinguible, Matt Herskowitz bouscule les conventions et propose un jazz d'une inventivité enthousiasmante."

In English:
"... (he is) a poet at the keyboard, putting his talents to the service of any form of music that shares his passion for exploration. A smoldering inner fire impels Matt Herskowitz to flout musical convention, creating a jazz that's as enthusiastic as it is inventive."

Montreal Gazette
"Pianist Matt Herskowitz made like Keith Emerson with a Chopin-meets-Little Richard solo piano jaunt". (from review of Les Triplettes de Belleville show at the 2004 Montreal Jazz Festival)

New York Times
"Besides playing the inventive, thorny solo in 'Purple Haze', Matt Herskowitz, the group's pianist, offered a stunningly beautiful solo in the Mingus classic 'Goodbye Pork Pie Hat,' and an energetic piece of his own, 'Serial Blues,' in which a remarkably fluid jazz piano line squared off against ensemble contributions couched alternately in classic blues harmonies and a contrapuntal 12-tone setting."

La Presse, Montreal
"...l'Américain Matthew Herskowitz a convaincu la salle entière de son talent exceptionnel comme pianiste et musicien." 

In English:
"...the American Matthew Herskowitz convinced the entire hall of his exceptional talent as a pianist and musician."

The Post-Star, Glens Falls, NY
“In Chopin's "Berceuse" and Ravel's "Gaspard de la Nuit," the fluidity of his scale work was effortless and light and sounded like streams of tinkling bells. His touch was as gentle as a feather. His expert pedaling allowed for technical clarity and his rhythm was precise."

St.Chamond, France
"Menant un étrange ballet avec son piano, touches frappées ou caressées, mains synchrones puis soudain prises d'une furieuse autonomie, fluide, tellement fluide que la rupture finit par s'imposer."

In English:
"Locked in a strange embrace with his piano, tender and aggressive at once, hands first in perfect synchrony, then suddenly abandoning one another into furious autonomy, (his playing) was fluid to the point of bursting."

Cosmik Debris
"He delivers hard-driving progressive bop, yet excels at soft and sensitive works... improvised lines breathe like brushstrokes on canvas, each note carefully selected and presented."

The Strad
"The release is completed by an exquisite account of the Glazunov Second Piano Concerto by the young American Matthew Herskowitz, by far the best performance on CD."

Keyboard Classics
"In this particular hall, pianist Matthew Herskowitz stood out as someone to watch and listen for as he stands at the threshold of a promising career."

New York Concert Review
"His pianism is formidably accomplished, with bristling clarity of articulation, a clipped rhythmic energy, commendable architecture and extreme musical directness and intelligence."

La Presse, Montreal
"..M. Herskowitz se montra à la fois excellent pianiste et agissante accompagnateur..."

In English:
"...Mr. Herskowitz showed himself to be both an excellent pianist and able accompanist..." (review of concert with violinist Alexandre Da Costa)

Montreal Gazette
"Higher praise was owing Matthew Herskowitz for his noble, finely burnished interpretation of Beethoven's Second Concerto... everything in this performance suggested that the Second is more than the 18th - century entertainment it is sometimes presumed to be."

The Guardian, Glasgow
"Matthew Herskowitz, in Ravel's Ondine, produced opaque sounds evocative of the now seldom-heard Erard pianos, thrilling in its quiet intensity."

The Schenectady Gazette
"Herskowitz has the speed, power and sensitivity of a major artist, and his playing was always solid, balanced and controlled."

The West Australian
..."extraordinary high-octane keyboard virtuosity"

Classical Net
"...his is a much more energetic, driven, and probing style than that of most jazz pianists. In sum, he is a cultivated talent with an undeniably bright future in both musical worlds.