Uriel Herman is a classically trained pianist and composer who operates on the seam between jazz and rock and his music is also influenced by classical music and Israeli sounds. Over the past tow years, Herman has wandered the world on a kind of journey of discovery with his Quartet: Avri Borochov (contrabass), Uriel Weinberger (wood wind) and Haim Peskoff (drums). Their newest album features arrangements of songs by Nirvana and Radiohead, poems set to new melodies, and original music that has won international praise.
The Uriel Herman Quartet was created follow the recording of Uriel’s first album “Awake”. Since then the quartet has been travelling around the world from Europe to Asia, preform on major festivals and venus such as Festival jazz sous les pommiers (Coutances, FR), Duc de Lombards (Paris, FR), Festival Nuits du Sud (Vence, FR), Rabobank Amersfoort Jazz Festival (Amersfoort, Netherlands), Taichung Jazz Festival, Taichung Opera House (Taichung, Taiwan), The Forbidden City Concert Hall (Beijing), The Chengdu Concert Hall (China), Folkove prazdniny Festival (Namest, CZ), Jazzinec Festival (Trutnov, CZ), Jazzmeile Thüringen Festival (Weimar, Germany) Red Sea Jazz Festival (Eilat), International showcase festival IL, Tel Aviv Jazz Festival (Israel) and more.
In mid-2015 the band recorded a live session in an old windmill in Jerusalem in front of a small audience of friends and family. “The Windmill Session” got the quartet its international recognition landing them the headline spot on one of Asia’s largest jazz festivals in Taichung playing an unforgettable show in front of 45,000 people.
“Classical music and classical playing are still very close to my heart, but what was missing was the freedom, the freedom to break free from the form…the freedom to improvise…to express…” During his visit to Costa Rica, Herman participated in a shaman ceremony that lasted all night long. It was in the wake of this experience that Uriel wrote “White night”, a kind of jazz rhapsody, a work based on classical form and elements, but with much room for freedom: “Those spaces that interest me on the stage are the musical domains where you have no idea what it will sound like. Music is the art of time…It takes place within time…It must change and be dynamic,” declares Herman.