OUT FRIDAY: Fred Hersch's "captivating" new solo CD "Open Book"
Master Jazz Pianist Fred Hersch Offers His Most Revealing, Intimate Solo Recording To Date With Open Book, out September 8, 2017 on CD and LP
The uniquely personal, reflective album is a companion piece to Hersch’s long-awaited memoir, Good Things Happen Slowly
Release also coincides with September 15 & 16 performances of Hersch’s Leaves of Grass at Jazz at Lincoln Center, celebrating the poetry of Walt Whitman with acclaimed vocalists Kurt Elling and Kate McGarry and an octet
Open Book is already earning wide critical acclaim.
★★★★★ “This is a recording that makes it seem as though Fred Hersch is the finest jazz pianist in the world. That’s an impossible assertion, of course. There are a dozen, maybe more pianists who have achieved this level of artistry. But for now, with ‘Open Book’, he can wear that title. – Dan McCleneghan, All About Jazz
“After Keith Jarrett, Fred Hersch is our leading exponent od solo jazz piano. The secret to Hersch’s work is that he does not fundamentally alter his engagement with the instrument. Understanding that the piano’s essence is to sing, he remains quintessentially, lyrically pianistic. Hersch’s touch with melody is extraordinary.” – Thomas Conrad, Stereophile
“Seemingly contrapuntal and contrary exchanges of left and right hand, tenderly emerging climaxes and the feeling that he is always whispering in your ear are a few of the major attractions of this captivating set…a pianist at the height of his powers.” – Selwyn Harris, Jazzwise (UK)
September 12: Crown Archetype releases Hersch's memoir Good Things Happen Slowly: A Life In and Out of Jazz
September 15 & 16: Jazz at Lincoln Center presents Hersch's Leaves of Grass with vocalists Kurt Elling and Kate McGarry and an octet in Hersch's widely heralded work celebrating the life and poetry of Walt Whitman.
“For the last two and a half decades I’ve been pretty open about who I am, what I like and what I’m dealing with at times,” Hersch says. “But I’ve always got to dig deeper, and I thought this might be a chance to make an album that’s a window into the kinds of things that I play at home or don’t play in public all that much.”
The album arrives during a momentous month for Hersch. On September 12, the esteemed publishers Crown Archetype (Penguin Random House) will release Good Things Happen Slowly, Hersch’s bravely confessional memoir. The book covers the pianist’s meteoric rise in jazz from his sideman days alongside masters like Art Farmer and Joe Henderson to his gradual recognition as one of the most individualistic and innovative artists of his generation, a ten-time Grammy Award nominee and winner of countless accolades including being named a 2016 Doris Duke Artist as well as the same year’s Jazz Journalists Association Pianist of the Year. But it also frankly reveals his story as the first openly gay, HIV-positive jazz musician, tracing his path through hedonistic post-Stonewall New York City to the dramatic two-month medically induced coma in 2008 from which he emerged to make some of the most stunning and captivating music of his career.
Vocalists Kurt Elling and Kate McGarry will reprise their roles from the original project, which sets the verse of American bard Walt Whitman. The legendary poet’s timeless ode to the miracle of nature and openhearted love of all beings seems especially vital in our present socio-political moment.
The centerpiece of Open Book, and the spark that ignited the album, is the nearly 20-minute improvisation “Through the Forest.” Unique in Hersch’s extensive discography, the stream-of-consciousness gem is a miniature masterpiece of narrative development, a compelling journey through an abstract, glimmering landscape, revealing that in his early 60s Hersch continues to take creative risks and daunting inventive leaps.
The creation of “Through the Forest” was as unplanned and spontaneous as the music itself. In Seoul for a pair of solo concerts during a break in a tour of Asia with his esteemed trio, Hersch overslept during an after-breakfast nap and rushed to take the stage at JCC Art Center Concert Hall for his afternoon performance. The titular forest is, in part, a jetlag and coffee-fueled dreamscape through which Hersch wanders, applying his vivid powers of observation to unusual terrain. “I was a little groggy, my defenses were down, and rather than fight it I just gave in to it,” Hersch recalls. “I’d never really done anything of that length in public where I had no agenda and was able to stay in that zone for such an extended period of time. I realized it was something special, something different that might be the core of an album.”
“Through the Forest” became the leaping-off point for an album intended to be singularly divulgent and reflective. A few months later, Hersch returned to the same hall and recorded the remainder of Open Book alone in the empty venue (with the exception of Benny Golson’s classic “Whisper Not,” taken from a concert during that return engagement).
The album opens with the stark musings of “The Orb,” taken from Hersch’s autobiographical music-theater piece My Coma Dreams. A love letter to Hersch’s longtime partner, AIDS activist Scott Morgan, “The Orb” is the final dream depicted in the show, and in this solo rendition becomes a nakedly heartfelt outpouring of raw but tender emotion. The mood then takes a turn for the playful and swinging on “Whisper Not,” a longtime staple of Hersch’s repertoire that here becomes a vibrant, virtuoso marathon of thematic exploration.
The piece also serves as an ideal mirror to the album’s other composition from the pen of a jazz icon, Thelonious Monk’s “Eronel.” Hersch has long been recognized as one of the premier interpreters of the Monk songbook, but despite including one of the iconic composer’s pieces in every one of his sets for most of his career, Hersch had never tackled this particular tune, co-written by pianist Sadik Hakim. Monk’s original stride-inflected lines come in for a dizzying array of variations in Hersch’s endlessly imaginative take.
Open Book ends on a meaningful ellipsis, Billy Joel’s moving “And So It Goes.” In title alone it’s an apt conclusion, suggesting an embrace of life as lived and hinting at its open-ended continuation. The full lyrics, which Hersch has performed in duo settings with singers including frequent collaborator Kate McGarry, remain unspoken here but obviously deeply felt in every note. “I connect with the sentiment of the words,” Hersch says, “and it felt like a good benediction to the whole album.”
