Unfinished Portrait: Tyler Leswing’s Complete Debut

Quarantine definitely has people with time on their hands. I have had a chance to not only catch up on some great albums I have been recommended, but also some of this year’s new releases. Normally I would likely come late to the listening party. If you are a pianist, or someone who enjoys piano instrumentals, Tyler Leswing’s debut album, Unfinished Portrait, is a recent release with a homemade feel, something you could really reset your Nintendo Wii to, as I did.

The opening track is beautiful and winding, and ends in an unexpected way that is subversive yet soothing, if a little dragged out.

As I booted up the system, I hit play on my phone and slipped in the disk for Super Mario Galaxy 2 (2010). “Creation” lent itself to my play, fueling my nostalgia for this childhood romp while simultaneously providing the feeling of being a character in a romantic comedy during the montage of struggle.

“Hidalgo’s Journey” not only switches up the pace, but adds a hint of Spanish flare that distinguishes it from the rest of the record. I put down my controller. My attention was demanded. As a first release and as a collection of piano instrumentals, I was not expecting any diversity. The next track, “Chinatown Blues” took things a step further from the meandering and reflective opening. 

At a time when “hominess” is very much appreciated, Leswing’s music gives off that energy, whether intended or not. Released in mid-March, surely Leswing could not have predicted the weight now conveyed by the second half. The titles alone, such as “Waltz For A New Age” and “Emerging” now seem to reinforce an instrumental prophecy for the post-virus world. “Unfinished Portrait” carries its weight as the album’s namesake, with a beautiful flow that implies the confusion and pain of a job left unfinished without feeling incomplete itself. 

As a composer, Leswing’s restraint is admirable. As anyone familiar with arranging and writing music has discovered, it is challenging to create economical music. Often I have heard young musicians and friends come up with arrangements that are bustling and full of sounds but fail to get a point across or be memorable, or even enjoyable. Mr. Leswing’s music is graceful, the pianist’s wrists in full control without sounding forced. As they should be.

Article by Stanley Quiros