The French Collection
by Ken Dryden
French Impressionists in a jazz setting. Generally playing each piece as it was initially conceived, Fred Hersch builds upon the structure of each of the 11 timeless melodies, producing a number of stimulating improvisations. Joined by a rhythm section consisting of bassist Steve LaSpina, and drummer Joey Baron, (with Jeff Hirschfield taking his place on the final selection), Hersch adds a special guest on seven tracks. James Newton's haunting flute is the focal point of Debussy's Prelude from Suite Bergamasque, while Kevin Eubanks' acoustic guitar shares the spotlight with the leader in Ravel's 1st Movement (Modere) from Sonatine. Harmonica great Toots Thielemans is dazzling in the waltz-time treatment of Sonatine by Fauré. Hersch beat Gary Burton and Makoto Ozone to the punch by a dozen years with his virtuoso trio adaptation of Ravel's "Prelude from Le Tombeau de Couperin." Clarinetist Eddie Daniels is a bit too close to the mic during Fauré's Apres un Reve; his gasps for air between passages are distracting, though his performance is flawless. This recommended CD is an excellent tool to get fans of one genre of music exposed to the other, though it may be tough to acquire, since it is no longer in print.
Fred Hersch
ETC
by Ken Dryden
This trio session is a bit unusual for Fred Hersch because it doesn't feature any of his own works, but his inspired choice of music and interesting arrangements make this trio session one worth acquiring. Joined by bassist Steve La Spina and drummer Jeff Hirschfield, he explores such classic jazz compositions as Wayne Shorter's "Black Nile," which is played with fire, the uptempo Sam Jones blues "Unit Seven," and Miles Davis' "All Blues," which is given a swirling piano introduction in a brisk arrangement. Hersch also caresses Cole Porter's masterful ballad "Ev'ry Time We Say Goodbye."
Fred Hersch Trio
Heartsongs
by Ken Dryden
Before Fred Hersch's star rose during the 1990s, resulting in several Grammy nominations, he was quietly establishing himself as one of the most lyrical up-and-coming pianists, as he demonstrates on these 1989 studio sessions. Accompanied by bassist Michael Formanek and drummer Jeff Hirschfield, he surprises the listener right away with a fresh approach to the oft-heard standard "The Man I Love," gliding over Hirschfield's adept brushwork and Formanek's soft, spacious bassline. Wayne Shorter's "Infant Eyes" also benefits from Hersch's minimalist approach, shimmering in an arrangement in which the leader and the bassist alternate solos. But Hersch best demonstrates his considerable gifts as a composer. "Heartsong" is a captivating work that he has sometimes played in a solo setting, though this trio version proves to be explosive. "Evanessence" is a gorgeous tribute to the late Bill Evans, with a superb solo by Formanek reminiscent of Scott LaFaro's fleet performances with Evans. Although Fred Hersch has made released many memorable CDs since this Sunnyside release, this fine effort is also well worth investigating.
Fred Hersch
Sarabande
by Scott Yanow
Teamed up in a trio with bassist Charlie Haden and drummer Joey Baron, pianist Fred Hersch is heard on this date exploring the modern mainstream of jazz. His thoughtful and exploratory solos on such numbers as Ornette Coleman's "Enfant," Jimmy Rowles' "The Peacocks," "What Is This Thing Called Love," "Blue In Green" and three of his own originals (including the title cut) are full of subtle and generally swinging surprises. This CD is a fine example of Fred Hersch's playing.
Fred Hersch
ETC plus One
by Ken Dryden
The second CD by the post-bop trio ETC (bassist Steve La Spina, pianist Fred Hersch, and drummer Jeff Hirschfield) adds tenor saxophonist Jerry Bergonzi. Bergonzi, an always dependable player and imaginative writer, contributed three of the nine originals heard on the date, including two takes of the furious roller coaster-like "Splurge," the loping "Hank," and the driving "Conclusive Evidence." Hersch's understated tribute to pianist Bill Evans, "Evanessence" (previously recorded as the title track to an earlier CD for Jazz City), is a prominent feature for La Spina's strong chops; his rapid fire "Phantom of the Bopera" and lyrical ballad "Days Gone By" also serve to inspire the group. La Spina also wrote three numbers: the easygoing bossa nova "Once More," the mournful ballad "Without You," as well as the intense samba-flavored "April Nights." The lack of liner notes explaining the history of the group (this was their final collaboration) is disappointing, but that is the only reservation about this very enjoyable release.
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