Although based in the lineage of a modern jazz saxophone quartet, Tetraptych brings a breathing conversant quality to its music, where interaction rather than role-playing joins the fire. You can actually hear the musicians listening.
In 2015, shortly after their second engagement, these four musicians formed a band and established a monthly residency concept that includes two recurring gigs. For the past 20 months, they have been getting together for a few intensive consecutive days of music making, rehearsal, discussion, neighborhood walks, the gigs, and meals. Nurturing both their friendships and a musical vision that has been transformative. They perform monthly at The Lilypad which has been an essential venue for the creative music scene in Boston, and at Spice in Ipswich on a bi-weekly jazz series that Bert started six years ago....
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Although based in the lineage of a modern jazz saxophone quartet, Tetraptych brings a breathing conversant quality to its music, where interaction rather than role-playing joins the fire. You can actually hear the musicians listening.
In 2015, shortly after their second engagement, these four musicians formed a band and established a monthly residency concept that includes two recurring gigs. For the past 20 months, they have been getting together for a few intensive consecutive days of music making, rehearsal, discussion, neighborhood walks, the gigs, and meals. Nurturing both their friendships and a musical vision that has been transformative. They perform monthly at The Lilypad which has been an essential venue for the creative music scene in Boston, and at Spice in Ipswich on a bi-weekly jazz series that Bert started six years ago.
The name of the band is Tetraptych. “Tet-trup-tick.” The word refers to a four paneled painting where each panel can stand on its own. Seen together, the panorama of panels gives greater meaning to the interaction of the parts. The music is democratic. Ones attention moves from instrument to instrument, panel to panel, as the collective improvisation unfolds.
The band prominently features New York City based Hery Paz on tenor saxophone. Each one of his solos is imbued with a depth of purpose, a sense of patience and a willingness to go into uncharted territory. This commitment reflects the essential inner resources that were required of him during his family’s harrowing emigration from Cuba and struggle here in the United States.
Bert writes, “The evolution of this music, our sound, and approach to the repertoire is nurtured by our collaboration. We deconstruct our tunes in our rehearsals, paring down the elements, inventing new structures, making new combinations, leaving some parts aside to work more deeply with others. The resulting music has a feeling and movement that goes far beyond the musical scores that I bring to our rehearsals. Our performances reflect an even greater willingness to open – and even surrender – to the higher intentions of our musical purpose, often leaving the planning behind.”
Pianist and composer Bert Seager has been a leading player on the jazz scene in Boston since 1981. His sixteen compact discs as a leader have won him unanimous critical acclaim from the New York Times, Keyboard Magazine, The Boston Globe, and many other publications.  He has performed and recorded with Joe Lovano, Tim Hagans, George Garzone, Bob Moses, Joe Hunt, Jorge Roeder, and Richie Barshay.
Drummer Dor Herskovits was born and raised in Israel. Since his arrival to the US in 2010 he has established himself as a sought-after performer, both as a sideman and leader. Dor has performed with George Garzone, Dave Liebman, Daniel Rotem and Jason Palmer. In 2016 several of his own compositions were featured on the CD “Earprint,” named for the modern jazz collective of which he is a founding member.
Bassist Max Ridley is a Boston-based musician, composer and performer. He studied at Berklee College of Music and plays bass with many local groups.Â
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