"Grammar is a piano I play by ear. All I know about grammar is its power."
(Joan Didion, journalist and novelist, b. 1934).

A reversal of this quote is truly appropriate for the track ‘Empty Well’, by David Alstead, from his “Piano for Both Ears” album.

All of the subtlety of a flowing language that is rich in syntax and style, and that tickles as well as soothes the ears when the grammar is applied to it just so, is just what David does using the magic number of 100 (88 keys , 10 fingers, 1 brain, and 1 heart). This is indicative of the advantage that an artist who has learned to play by ear and then later takes the time to study technique, has over their strictly classically trained counterparts. With the ear is their guide they are not afraid to explore new directions of sound and structure on the instrument, and, in the process actually help to define new techniques.

Those of us often exposed to Romantic and Impressionistic piano music will see this track as a familiar traveled road, but with some new twists and diversions along the way. David has a playful way of weaving elements of Jazz, Pop, and New Age into the mix, even in a decidedly moody piece such as this. His subtle touch at the keyboard is to be envied by many attempting to release the power and expressiveness of the instrument. The shifts between major and minor chord structures tug at your very core. David even manages to accomplish some transitions that I do not believe that I have ever heard before.

The recording quality is excellent, and the listening experience through headphones is amazing, even as an MP3 file. The only thing that I find wanting in this track is its length. At just 2 minutes and 18 seconds, you are left with the feeling of saying ‘No, that can’t be all!’ Of course, through David’s choice in naming this track, this is probably the effect he was going for.

Please do give a listen to this track and to excerpts that David has posted on his site. I plan posting an in-depth article on David’s album on this site soon.

Bill Wright