Songs Without Words
by Ken Dryden
Fred Hersch's sixth release for Nonesuch is a three-CD set, with separate volumes focusing on original works, classic jazz, and, finally, songs by Cole Porter. His suite of six "Songs Without Words" can't help but highlight his background in classical music, but his lyrical pieces still have the "sound of surprise" that differentiates jazz from all other forms of music. Percussionist Jamey Haddad joins the pianist for a remake of "Child's Song," the most free form performance on the first disc. "Up in the Air," a duet with flügelhornist Ralph Alessi, is a hypnotic waltz that proves to be immediately captivating. Hersch revisits two of his early compositions, and "Heartsong," a happy piece that bursts with energy and remains one of his most enduring works; there's also a new version of his moody ballad "Sarabande." Disc two has some interesting twists. Thelonious Monk's "Work" isn't all that well-known, and the pianist responds to its quirky theme with an imaginative improvisation. Russ Freeman's "The Wind" receives an initially melodic treatment then detours into a free form setting that remains accessible. Kenny Wheeler's "Winter Sweet" is very familiar ground for Hersch, who has performed it often with its composer. Also present are equally creative interpretations of music by Duke Ellington, Benny Golson, Wayne Shorter, Charles Mingus, and Dizzy Gillespie. Hersch's greatest challenge may have been the often-recorded Cole Porter's music. Yet he doesn't hesitate to find a new path through "Get out of Town," giving it a darker texture. The wave-like bassline added to "From This Moment On" gives it a new flavor, while his caressing of "I Concentrate on You" adds to the beauty of this already memorable ballad. Bob Blumenthal's enlightening liner notes add to the value of this highly recommended set.
By svf
The latest release from pianist Fred Hersch is a sprawling boxed set of 3 CDs loosely united by the concept of "songs without words". While this might be perceived as overly bold, excessive, or self-indulgent, instead Hersch's ambitious project is a shining artistic success and one of the finest jazz releases of the year to date.
The first disc, "Songs Without Words," consists entirely of Hersch's original compositions, the second, "Jazz Tunes," is a collection of songs by Monk, Mingus, Shorter, Ellington and others, and the third CD, "Music of Cole Porter," is, well, a selection of Cole Porter songs. While most performances are solo piano, Fred is joined by other players (including Ralph Alessi on trumpet and flugelhorn and Rich Perry on tenor sax) for some duet, trio, and quintet arrangements.
I was fortunate enough to see a live solo performance by Mr. Hersch just a few days ago where he played some selections from this release before an amazingly small audience of 50 or so people. (Being at Shank Hall in Milwaukee, he commented what an honor it was to share the stage with the famed Stonehenge model from "Spinal Tap.") Needless to say, these CDs capture the wonderful essence of this concert and more. This is the kind of set you really treasure, knowing it will provide endless hours of listening and discovery. Those who enjoyed his "Live at Jordan Hall" release will surely love this collection which has a similar relaxed and intimate recital-like atmosphere. The disc of originals is probably the most interesting and unexpected treat here... "Songs without Words" is a 6-part suite of pieces combining abstraction and lyricism in various short character forms. "Child's Song" is a particularly evocative extended duet with Jamey Haddad on percussion.
The predominant mood over all three discs is reflective, introspective, and a bit cerebral, but interspersed are a fair share of whimsical and rollicking pieces, such as "Caravan" and "Let's Do It". Yet my personal favorites are the lovely ballads, both the originals and the interpretations, which may bring to mind the pianism of Keith Jarrett and Brad Mehldau. Particularly stunning is the lightness of touch and richness in tone and voicings that Hersch displays here. Performances of "The Wind," "Mood Indigo," and "So In Love" will leave you breathless.
At the concert I attended, Fred revealed that this was originally conceived as a 4-disc release: the fourth CD would have been all songs by Antonio Carlos Jobim... imagine that!
The Fred Hersch Trio
Plays
by Brian Bartolini
On this highly recommended set, Fred Hersch plays his favorite compositions from ten of the greatest composers in the history of recorded jazz -- Monk, Miles, Ellington, and Strayhorn included. All of the important and complimentary adjectives customarily used in relation to Hersch's work can also be used to describe this effort, most notably lyricism, warmth, and taste. Hersch and his bandmates -- Drew Gress (bass) and Tom Rainey (drums) -- form a trio in the best sense of the word. The band listens to and respects one another, providing appropriate space for each to explore, while always functioning as a complete and thoughtful whole. They never overplay; they are consistently interesting; they choose only the best music to play. If Hersch's distinctive style can be compared to other artists, the list would certainly include Bill Evans, in terms of lyricism and touch, and Thelonious Monk, for his employment of unique rhythmic and harmonic patterns. Each of the tracks on this album is worthwhile, yet two stand out above the rest: Monk's "Played Twice" and "Think of One." Hersch has always been a supreme interpreter of Monk's compositions, and again he does not disappoint. "Played Twice" is stripped down to its essential, stark beauty, while "Think of One" is played with a slightly heavier touch and offers the quirky rhythms, variable tempos, and subtle humor that are indispensable to Monk. If you are a fan of jazz piano trio, do not miss this opportunity to enjoy one of the best.
Fred Hersch
Let Yourself Go - Live At Jordan Hall
by Rick Anderson
Fred Hersch is a well-respected session pianist and bandleader who has taught at the New School and is currently on the faculty of the New England Conservatory in Boston. This disc documents a faculty recital he played in October of 1998, a concert that was never intended to be released commercially. But Hersch, who hadn't played a full concert in public for over six months before his recital at Jordan Hall, was so pleased with this performance that he agreed to allow Nonesuch to issue it on CD. He was right. The program opens with a gently stunning rendition of the folk song "Black Is the Color of My True Love's Hair," which then segues into the love theme from Spartacus, a tune generally associated with the late Bill Evans, and one which Hersch plays with an impressionistic delicacy that harks back explicitly to Evans. There are other standards, including the Gershwin classic "I Loves You Porgy" and Hoagy Carmichael's "The Nearness of You," as well as a rather meditative rendition of Thelonious Monk's "Blue Monk," on which Hersch uses open chords in manner that evokes the Balkan modalisms of Bartok. One of the more touching performances here is his piano arrangement of the Joni Mitchell song "My Old Man." Everything is played with virtuosic flair, but Hersch never shows off his technique or lapses into noodling self-indulgence. The result is a solo album of rare insight and musicality. Highly recommended.
Fred Hersch Trio
+ 2
by Ken Dryden
After primarily concentrating on solo and trio recordings for an extended time, pianist Fred Hersch opted to expand his group to a quintet for this outstanding session. With Nasheet Waits on drums and longtime bassist Drew Gress, Hersch's choice of trumpeter and flügelhornist Ralph Alessi and tenor saxophonist Tony Malaby proves to be an inspired one. Other than a gorgeous interpretation of the Beatles' timeless ballad "And I Love Her," whose arrangement has the flavor of an impressionist like Satie, the songs are all originals by the leader. Hersch's "A Riddle Song," which is made up of intervals of perfect fifths, is an infectious post-bop vehicle created to feature the phenomenal Waits, though the pianist has his say with some wailing choruses of his own. "Miss B" is a funky off-kilter tune with a call-and-response between Alessi and Malaby. "Black Dog Pays a Visit" (whose title was inspired by Winston Churchill's term for depression) is a complex moody work that packs an emotional punch. The intricate "Marshall's Plan" hints at the influence of Bill Evans. "Lee's Dream," which honors Lee Konitz and owes its creation to the chord changes of "You Stepped Out of a Dream," is a fascinating duet by Hersch and Malaby. This is yet another highly recommended addition to Fred Hersch's vast discography as a leader.
Fred Hersch Trio
Whirl
By Dan Bilawsky
Many of the greatest jazz musicians have refused to let physical setbacks derail their artistic journey. When Les Paul discovered his broken arm would be permanently set in one position, he made sure it was at a proper angle for guitar playing. Guitarist Pat Martino suffered a brain aneurysm and had to relearn to play the guitar—and rediscover his very being. Pianist Fred Hersch can now be added to this list.
In late 2008, Hersch fell into a coma that lasted two months, could not swallow—or eat or drink—for eight months and suffered a variety of other AIDS-related ailments (i.e. renal failure) as his body was, essentially, shutting down. Medical care, sheer determination and the miraculous spirit of the human body eventually helped Hersch battle back but, as David Hadju noted in an article for the New York Times Magazine, "he lost nearly all motor function in his hands and could not hold a pencil, let alone play the piano." While it would be easy for many people, given the same circumstances, to give up, Fred Hersch is not most people. One of the most artistically driven forces in jazz and one of the most influential pianists of his generation, Hersch buckled down, focused intensely on rehabilitation and brought himself back into the fold.
Whirl is the first recording Hersch has made after his recovery and, while still retaining the key components of his sound and style, a looser and more organic feel seems to surround some of this music. The effortless, relaxed swing of "You're My Everything" begins the album. Drummer Eric McPherson's light touch and constant movement help to gently move this piece along while bassist John Hebert's playing is highly complementary to Hersch's ideas. McPherson is the rare musician who often paints non-stop ideas, yet manages to blend into the bigger picture and add all the right touches. Hersch's "Snow Is Falling..." is a wonderful example of his Midas touch on the piano. Few whose fingers grace the 88s can even come close to getting the sound that Hersch charms out of a piano. The airy ambience endemic to Paul Motian's work is apparent in Hersch's moody and intriguing take on the drummer's "Blue Midnight." Hebert and McPherson help a great deal in painting this beautifully hazy picture.
"Skipping" is one of the hippest pieces on this album and the title—perhaps referencing the mixed meters or simply the act of skipping—perfectly reflects the fun and jaunty feel. "Mandevilla," self described by Hersch as a habanera that's "named after a Brazilian jasmine vine," gives Hebert a chance to step out front for a bit and the bassist perfectly supports Hersch during his brilliant and enthusiastic soloing. McPherson moves to brushes for the trio's musings on "When Your Lover Has Gone," an evocative display of sensitivity mixed with creativity. While Hersch has never had, and is unlikely to develop, a heavy handed approach to playing, his sound is definitely bolder and more agressive as his trio swirls and storms through the musical whirlwinds of "Whirl." The calm after the storm arrives with "Sad Poet," a Hersch original dedicated to Antonio Carlos Jobim. While McPherson solos over the vamp at the end of the song, the better part of the piece swims through calm waters and—while avoiding any direct reference to Jobim's canon—serves as a fine tribute to this musical pioneer.
Pianist Jaki Byard was one of Hersch's teachers and he pays tribute to this underappreciated educator, composer and performer by interpreting Byard's Thelonious Monk-ish tribute to saxophonist Charlie Parker's mother, "Mrs. Parker of K.C." Hersch's takes on this type of tune are always a study in contrasts, with his clean and precise touch seemingly at odds with the earthy vibe of the music; but these opposing ideals are part of what makes this performance—and many like it—so compelling. The album ends with "Still Here," a reflective musical jewel that pays tribute to saxophonist Wayne Shorter and his continuing ability to create and inspire. In closing the album with such a title, Hersch might have been subconsciously referencing his own brush with death. Thankfully, he too is still here to continue to create and inspire.
Tracks:
You're My Everything; Snow Is Falling...;Blue Midnight; Skipping; Mandevilla; When Your Lover Has Gone; Whirl; Sad Poet; Mrs. Parker Of K.C.; Still Here.
Personnel:
Fred Hersch: piano; John Hebert: bass; Eric McPherson: drums.
The first disc, "Songs Without Words," consists entirely of Hersch's original compositions, the second, "Jazz Tunes," is a collection of songs by Monk, Mingus, Shorter, Ellington and others, and the third CD, "Music of Cole Porter," is, well, a selection of Cole Porter songs. While most performances are solo piano, Fred is joined by other players (including Ralph Alessi on trumpet and flugelhorn and Rich Perry on tenor sax) for some duet, trio, and quintet arrangements.
I was fortunate enough to see a live solo performance by Mr. Hersch just a few days ago where he played some selections from this release before an amazingly small audience of 50 or so people. (Being at Shank Hall in Milwaukee, he commented what an honor it was to share the stage with the famed Stonehenge model from "Spinal Tap.") Needless to say, these CDs capture the wonderful essence of this concert and more. This is the kind of set you really treasure, knowing it will provide endless hours of listening and discovery. Those who enjoyed his "Live at Jordan Hall" release will surely love this collection which has a similar relaxed and intimate recital-like atmosphere. The disc of originals is probably the most interesting and unexpected treat here... "Songs without Words" is a 6-part suite of pieces combining abstraction and lyricism in various short character forms. "Child's Song" is a particularly evocative extended duet with Jamey Haddad on percussion.
The predominant mood over all three discs is reflective, introspective, and a bit cerebral, but interspersed are a fair share of whimsical and rollicking pieces, such as "Caravan" and "Let's Do It". Yet my personal favorites are the lovely ballads, both the originals and the interpretations, which may bring to mind the pianism of Keith Jarrett and Brad Mehldau. Particularly stunning is the lightness of touch and richness in tone and voicings that Hersch displays here. Performances of "The Wind," "Mood Indigo," and "So In Love" will leave you breathless.
At the concert I attended, Fred revealed that this was originally conceived as a 4-disc release: the fourth CD would have been all songs by Antonio Carlos Jobim... imagine that!
The Fred Hersch Trio
Plays
by Brian Bartolini
On this highly recommended set, Fred Hersch plays his favorite compositions from ten of the greatest composers in the history of recorded jazz -- Monk, Miles, Ellington, and Strayhorn included. All of the important and complimentary adjectives customarily used in relation to Hersch's work can also be used to describe this effort, most notably lyricism, warmth, and taste. Hersch and his bandmates -- Drew Gress (bass) and Tom Rainey (drums) -- form a trio in the best sense of the word. The band listens to and respects one another, providing appropriate space for each to explore, while always functioning as a complete and thoughtful whole. They never overplay; they are consistently interesting; they choose only the best music to play. If Hersch's distinctive style can be compared to other artists, the list would certainly include Bill Evans, in terms of lyricism and touch, and Thelonious Monk, for his employment of unique rhythmic and harmonic patterns. Each of the tracks on this album is worthwhile, yet two stand out above the rest: Monk's "Played Twice" and "Think of One." Hersch has always been a supreme interpreter of Monk's compositions, and again he does not disappoint. "Played Twice" is stripped down to its essential, stark beauty, while "Think of One" is played with a slightly heavier touch and offers the quirky rhythms, variable tempos, and subtle humor that are indispensable to Monk. If you are a fan of jazz piano trio, do not miss this opportunity to enjoy one of the best.
Fred Hersch
Let Yourself Go - Live At Jordan Hall
by Rick Anderson
Fred Hersch is a well-respected session pianist and bandleader who has taught at the New School and is currently on the faculty of the New England Conservatory in Boston. This disc documents a faculty recital he played in October of 1998, a concert that was never intended to be released commercially. But Hersch, who hadn't played a full concert in public for over six months before his recital at Jordan Hall, was so pleased with this performance that he agreed to allow Nonesuch to issue it on CD. He was right. The program opens with a gently stunning rendition of the folk song "Black Is the Color of My True Love's Hair," which then segues into the love theme from Spartacus, a tune generally associated with the late Bill Evans, and one which Hersch plays with an impressionistic delicacy that harks back explicitly to Evans. There are other standards, including the Gershwin classic "I Loves You Porgy" and Hoagy Carmichael's "The Nearness of You," as well as a rather meditative rendition of Thelonious Monk's "Blue Monk," on which Hersch uses open chords in manner that evokes the Balkan modalisms of Bartok. One of the more touching performances here is his piano arrangement of the Joni Mitchell song "My Old Man." Everything is played with virtuosic flair, but Hersch never shows off his technique or lapses into noodling self-indulgence. The result is a solo album of rare insight and musicality. Highly recommended.
Fred Hersch Trio
+ 2
by Ken Dryden
After primarily concentrating on solo and trio recordings for an extended time, pianist Fred Hersch opted to expand his group to a quintet for this outstanding session. With Nasheet Waits on drums and longtime bassist Drew Gress, Hersch's choice of trumpeter and flügelhornist Ralph Alessi and tenor saxophonist Tony Malaby proves to be an inspired one. Other than a gorgeous interpretation of the Beatles' timeless ballad "And I Love Her," whose arrangement has the flavor of an impressionist like Satie, the songs are all originals by the leader. Hersch's "A Riddle Song," which is made up of intervals of perfect fifths, is an infectious post-bop vehicle created to feature the phenomenal Waits, though the pianist has his say with some wailing choruses of his own. "Miss B" is a funky off-kilter tune with a call-and-response between Alessi and Malaby. "Black Dog Pays a Visit" (whose title was inspired by Winston Churchill's term for depression) is a complex moody work that packs an emotional punch. The intricate "Marshall's Plan" hints at the influence of Bill Evans. "Lee's Dream," which honors Lee Konitz and owes its creation to the chord changes of "You Stepped Out of a Dream," is a fascinating duet by Hersch and Malaby. This is yet another highly recommended addition to Fred Hersch's vast discography as a leader.
Fred Hersch Trio
Whirl
By Dan Bilawsky
Many of the greatest jazz musicians have refused to let physical setbacks derail their artistic journey. When Les Paul discovered his broken arm would be permanently set in one position, he made sure it was at a proper angle for guitar playing. Guitarist Pat Martino suffered a brain aneurysm and had to relearn to play the guitar—and rediscover his very being. Pianist Fred Hersch can now be added to this list.
In late 2008, Hersch fell into a coma that lasted two months, could not swallow—or eat or drink—for eight months and suffered a variety of other AIDS-related ailments (i.e. renal failure) as his body was, essentially, shutting down. Medical care, sheer determination and the miraculous spirit of the human body eventually helped Hersch battle back but, as David Hadju noted in an article for the New York Times Magazine, "he lost nearly all motor function in his hands and could not hold a pencil, let alone play the piano." While it would be easy for many people, given the same circumstances, to give up, Fred Hersch is not most people. One of the most artistically driven forces in jazz and one of the most influential pianists of his generation, Hersch buckled down, focused intensely on rehabilitation and brought himself back into the fold.
Whirl is the first recording Hersch has made after his recovery and, while still retaining the key components of his sound and style, a looser and more organic feel seems to surround some of this music. The effortless, relaxed swing of "You're My Everything" begins the album. Drummer Eric McPherson's light touch and constant movement help to gently move this piece along while bassist John Hebert's playing is highly complementary to Hersch's ideas. McPherson is the rare musician who often paints non-stop ideas, yet manages to blend into the bigger picture and add all the right touches. Hersch's "Snow Is Falling..." is a wonderful example of his Midas touch on the piano. Few whose fingers grace the 88s can even come close to getting the sound that Hersch charms out of a piano. The airy ambience endemic to Paul Motian's work is apparent in Hersch's moody and intriguing take on the drummer's "Blue Midnight." Hebert and McPherson help a great deal in painting this beautifully hazy picture.
"Skipping" is one of the hippest pieces on this album and the title—perhaps referencing the mixed meters or simply the act of skipping—perfectly reflects the fun and jaunty feel. "Mandevilla," self described by Hersch as a habanera that's "named after a Brazilian jasmine vine," gives Hebert a chance to step out front for a bit and the bassist perfectly supports Hersch during his brilliant and enthusiastic soloing. McPherson moves to brushes for the trio's musings on "When Your Lover Has Gone," an evocative display of sensitivity mixed with creativity. While Hersch has never had, and is unlikely to develop, a heavy handed approach to playing, his sound is definitely bolder and more agressive as his trio swirls and storms through the musical whirlwinds of "Whirl." The calm after the storm arrives with "Sad Poet," a Hersch original dedicated to Antonio Carlos Jobim. While McPherson solos over the vamp at the end of the song, the better part of the piece swims through calm waters and—while avoiding any direct reference to Jobim's canon—serves as a fine tribute to this musical pioneer.
Pianist Jaki Byard was one of Hersch's teachers and he pays tribute to this underappreciated educator, composer and performer by interpreting Byard's Thelonious Monk-ish tribute to saxophonist Charlie Parker's mother, "Mrs. Parker of K.C." Hersch's takes on this type of tune are always a study in contrasts, with his clean and precise touch seemingly at odds with the earthy vibe of the music; but these opposing ideals are part of what makes this performance—and many like it—so compelling. The album ends with "Still Here," a reflective musical jewel that pays tribute to saxophonist Wayne Shorter and his continuing ability to create and inspire. In closing the album with such a title, Hersch might have been subconsciously referencing his own brush with death. Thankfully, he too is still here to continue to create and inspire.
Tracks:
You're My Everything; Snow Is Falling...;Blue Midnight; Skipping; Mandevilla; When Your Lover Has Gone; Whirl; Sad Poet; Mrs. Parker Of K.C.; Still Here.
Personnel:
Fred Hersch: piano; John Hebert: bass; Eric McPherson: drums.
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