Fred Hersch's Breath by Breath out Jan. 7, 2022 via Palmetto

Pianist/Composer Fred Hersch reemerges from pandemic isolation with an ambitious new album pairing jazz piano trio with string quartet

 

Breath By Breath, due out January 7, 2022 via Palmetto Records, features a stunning new suite inspired by Hersch’s meditation practice performed by Hersch with Drew Gress, Jochen Rueckert, Rogerio Boccato, and the Crosby Street String Quartet

"[Fred Hersch is] a pianist, composer and conceptualist of rare imaginative power.” 

– Nate Chinen, The New York Times

“Hersch’s work has developed an intensity of intelligence and emotional directness unparalleled among his peers.”

– Steve Futterman, The New Yorker 

Album release concert January 9 at Village Vanguard, NYC 

Pianist Igor Levit premieres new Hersch work January 13 at Carnegie Hall 

Iconic pianist/composer Fred Hersch was an early adopter of new technologies and new ways forward when the pandemic hit in early 2020. But he’s also been among the most eager to return to live performance and collaboration now that life has begun to resume some semblance of normality. In August he returned to the studio to record one of his most ambitious projects to date: Breath By Breath, his first album ever pairing jazz rhythm section with string quartet.

 

“I’ve put all my streaming gear away,” declares Hersch, whose lockdown months started off with daily performances on Facebook and culminated in last year’s solo release Live From Home. “It was great while that was what it was, and now I'm in this place where it's live or nothing.”

 

Due out January 7, 2022 via Palmetto Records, Breath By Breath draws inspiration from the pianist’s longtime practice of mindfulness meditation, centered on the new eight-movement “Sati Suite.” But while the album is certainly contemplative and lustrous, it’s far from being merely an ambient backdrop for blissful relaxation – the music on Breath By Breath is as fully engaged and emotionally rich as any that Hersch has made over the course of his remarkable career.

In part that’s due to the musicians Hersch has enlisted for the album. Bassist Drew Gress was a member of the pianist’s first trio and has been an inspiring bandstand partner for more than three decades. Jochen Rueckert is one of the most in-demand drummers on the modern scene, having played with such greats as Kurt Rosenwinkel, Mark Turner, Melissa Aldana and Pat Metheny. The Crosby Street String Quartet, named for the NYC address where they first rehearsed with Hersch, combines four of the city’s busiest freelance string players: violinists Joyce Hammann and Laura Seaton, violist Lois Martin, and cellist Jody Redhage Ferber. 

“String quartets have been some of my favorite music to listen to my whole life,” Hersch explains. As he writes in the album’s liner notes, “I grew up listening to string quartets as a very young musician in Cincinnati. My piano teacher was the wife of the cellist in the famous LaSalle Quartet. I used to lie on the rug in their living room as an elementary school student while they rehearsed, quietly following along, hearing how the viola part meshed with the first violin, or the second violin and the cello. And ever since I started studying composition at age eight, almost all of my music has always focused on four melodic parts - so string quartets are a natural musical configuration for me.” 

The string writing on Breath By Breath spotlights the broad scope of Hersch’s compositional imagination. With each piece the quartet seems to take on a new role in relation to the piano trio: a lush background on one tune, an equal partner in dialogue on the next, an abstract instigator on yet another. “It was important to me that we record live with the strings so I could interact with what they were playing,” Hersch says. “I didn't want to lay down the music and then have them come in later and overdub. I felt like the fun of the project was to do it live.”

“Sati” is a Pali word meaning “mindfulness” or “awareness,” an idea that is central to Hersch’s meditation practice – which itself took on an even more profound importance during the pandemic. “It basically saved me,” he says with no hint of exaggeration. “Meditation is not about not emptying your mind; it's about observation. The phrase I like to use is, ‘relax, allow and observe.’ When I meditate it’s about recognizing sensations or thoughts as they come in and out, observing them and realizing that they're just phenomena. The brain thinks, and there's nothing wrong with that.”

The first movement, “Begin Again” references the cycle of renewal that begins fresh with each moment. Other pieces touch on different aspects of the process. “Know That You Are,” the composition that initiated the suite, refers to the foundational instruction, “When you sit, know that you are sitting and when you breath, know that you are breathing.” The often frantic activity of a mind struggling to be at rest is the subject of “Monkey Mind,” while “Mara,” which features a guest appearance by percussionist Rogerio Boccato, is the name of the god who tempted Buddha with wine, women and wealth.

Bringing meditation to the forefront of his music brings Hersch full circle in a sense, as he recognized when he began the practice decades ago. “When I started, I realized that in a way I've been meditating my whole life – but on a piano bench. I close my eyes when I play and I go into in that world. Occasionally I get distracted, but I don't get wrapped up in it. Instead of my breath being an anchor, the anchor is the sound that I get, the tactile feeling of my fingers on the keys, hearing the space around the music, and leaving that space for other musicians to contribute.”

Breath By Breath, then, is a recognition that meditation has been a way for Hersch to align his daily existence with the enlightened state he reaches while playing the piano. With the release of this captivating new recording, the rest of us are fortunate enough to glimpse that place and to feel its life-affirming impact on our own hearts and souls.

Fred Hersch

A select member of jazz’s piano pantheon, Fred Hersch is an influential creative force who has shaped the music’s course over more than three decades. A fifteen-time Grammy nominee, Hersch has long set the standard for expressive interpretation and inventive creativity. A revered improviser, composer, educator, bandleader, collaborator and recording artist, Hersch has been proclaimed “the most arrestingly innovative pianist in jazz over the last decade” by Vanity Fair, “an elegant force of musical invention” by The L.A. Times, and “a living legend” by The New Yorker. For decades Hersch has been firmly entrenched as one of the most acclaimed and captivating pianists in modern jazz, whether through his exquisite solo performances, as the leader of one of jazz’s era-defining trios, or in eloquent dialogue with his deeply attuned duo partners. His brilliant 2017 memoir, Good Things Happen Slowly, was named one of 2017’s Five Best Memoirs by the Washington Post and The New York Times.

The Sati Suite

1. Begin Again 6:52

2. Awakened Heart 4:13

3. Breath by Breath 6:22

4. Monkey Mind 4:01

5. Rising, Falling 5:03

6. Mara* 4:38

7. Know That You Are 3:41

8. Worldly Winds 5:26

Fred Hersch, piano

Crosby Street String Quartet

Joyce Hammann & Laura Seaton, violins

Lois Martin, viola

Jody Redhage Ferber, ‘cello

Drew Gress, bass

Jochen Rueckert, drums

*Rogerio Boccato, percussion

Fred Hersch – Breath By Breath

Palmetto Records – PM2198 – Recorded Aug. 24-25, 2021

Release date January 7, 2022

fredhersch.com    Palmetto Records

Fred Hersch to release major new album Jan. 7, 2022

Pianist/Composer Fred Hersch reemerges from pandemic isolation with an ambitious new album pairing jazz piano trio with string quartet

 

Breath By Breath, due out January 7, 2022 via Palmetto Records, features a stunning new suite inspired by Hersch’s meditation practice performed by Hersch with Drew Gress, Jochen Rueckert, Rogerio Boccato, and the Crosby Street String Quartet

"[Fred Hersch is] a pianist, composer and conceptualist of rare imaginative power.” 

– Nate Chinen, The New York Times

“Hersch’s work has developed an intensity of intelligence and emotional directness unparalleled among his peers.”

– Steve Futterman, The New Yorker 

Album release concerts January 4 – 9 at Village Vanguard, NYC 

Pianist Igor Levit premieres new Hersch work January 13 at Carnegie Hall

Iconic pianist/composer Fred Hersch was an early adopter of new technologies and new ways forward when the pandemic hit in early 2020. But he’s also been among the most eager to return to live performance and collaboration now that life has begun to resume some semblance of normality. In August he returned to the studio to record one of his most ambitious projects to date: Breath By Breath, his first album ever pairing jazz rhythm section with string quartet.

 

“I’ve put all my streaming gear away,” declares Hersch, whose lockdown months started off with daily performances on Facebook and culminated in last year’s solo release Live From Home. “It was great while that was what it was, and now I'm in this place where it's live or nothing.”

 

Due out January 7, 2022 via Palmetto Records, Breath By Breath draws inspiration from the pianist’s longtime practice of mindfulness meditation, centered on the new eight-movement “Sati Suite.” But while the album is certainly contemplative and lustrous, it’s far from being merely an ambient backdrop for blissful relaxation – the music on Breath By Breath is as fully engaged and emotionally rich as any that Hersch has made over the course of his remarkable career.

In part that’s due to the musicians Hersch has enlisted for the album. Bassist Drew Gress was a member of the pianist’s first trio and has been an inspiring bandstand partner for more than three decades. Jochen Rueckert is one of the most in-demand drummers on the modern scene, having played with such greats as Kurt Rosenwinkel, Mark Turner, Melissa Aldana and Pat Metheny. The Crosby Street String Quartet, named for the NYC address where they first rehearsed with Hersch, combines four of the city’s busiest freelance string players: violinists Joyce Hammann and Laura Seaton, violist Lois Martin, and cellist Jody Redhage Ferber. 

“String quartets have been some of my favorite music to listen to my whole life,” Hersch explains. As he writes in the album’s liner notes, “I grew up listening to string quartets as a very young musician in Cincinnati. My piano teacher was the wife of the cellist in the famous LaSalle Quartet. I used to lie on the rug in their living room as an elementary school student while they rehearsed, quietly following along, hearing how the viola part meshed with the first violin, or the second violin and the cello. And ever since I started studying composition at age eight, almost all of my music has always focused on four melodic parts - so string quartets are a natural musical configuration for me.” 

The string writing on Breath By Breath spotlights the broad scope of Hersch’s compositional imagination. With each piece the quartet seems to take on a new role in relation to the piano trio: a lush background on one tune, an equal partner in dialogue on the next, an abstract instigator on yet another. “It was important to me that we record live with the strings so I could interact with what they were playing,” Hersch says. “I didn't want to lay down the music and then have them come in later and overdub. I felt like the fun of the project was to do it live.”

“Sati” is a Pali word meaning “mindfulness” or “awareness,” an idea that is central to Hersch’s meditation practice – which itself took on an even more profound importance during the pandemic. “It basically saved me,” he says with no hint of exaggeration. “Meditation is not about not emptying your mind; it's about observation. The phrase I like to use is, ‘relax, allow and observe.’ When I meditate it’s about recognizing sensations or thoughts as they come in and out, observing them and realizing that they're just phenomena. The brain thinks, and there's nothing wrong with that.”

The first movement, “Begin Again” references the cycle of renewal that begins fresh with each moment. Other pieces touch on different aspects of the process. “Know That You Are,” the composition that initiated the suite, refers to the foundational instruction, “When you sit, know that you are sitting and when you breath, know that you are breathing.” The often frantic activity of a mind struggling to be at rest is the subject of “Monkey Mind,” while “Mara,” which features a guest appearance by percussionist Rogerio Boccato, is the name of the god who tempted Buddha with wine, women and wealth.

Bringing meditation to the forefront of his music brings Hersch full circle in a sense, as he recognized when he began the practice decades ago. “When I started, I realized that in a way I've been meditating my whole life – but on a piano bench. I close my eyes when I play and I go into in that world. Occasionally I get distracted, but I don't get wrapped up in it. Instead of my breath being an anchor, the anchor is the sound that I get, the tactile feeling of my fingers on the keys, hearing the space around the music, and leaving that space for other musicians to contribute.”

Breath By Breath, then, is a recognition that meditation has been a way for Hersch to align his daily existence with the enlightened state he reaches while playing the piano. With the release of this captivating new recording, the rest of us are fortunate enough to glimpse that place and to feel its life-affirming impact on our own hearts and souls.

fredhersch.com

The Claudia Quintet with special guest: Eileen Myles - Evidence​-​Based (September 3, 2021)

“But if thought corrupts language, language can also corrupt thought.”

― George Orwell, 1984

The story of the album starts in 2017, when the Centers for Disease Control (CDC) outraged many by apparently banning seven words from use in their official documents: "evidence-based," "transgender," "entitlement," "fetus," "diversity," "science-based," and "vulnerable." It subsequently turned out the words were discouraged rather than banned, but by then the onslaught of the news cycle had already pushed the story out of public awareness. Hollenbeck paid attention.

"The CDC has become very important," Hollenbeck said, "and we've seen the repercussions of politicizing the CDC during the pandemic. At some point I realized this story that everyone forgot about is relevant to what we're all dealing with right now."

Hollenbeck started out by using six of the seven words as the titles of new pieces. His musical transliterations of the terms range from punning ("Evidence-Based" contains rhythmic elements from Thelonious Monk's "Evidence") to direct ("Fetus" has a soundscape that sounds womb-like) to aspirational ("Transgender" takes a very loaded word and places it in a gentle, beautiful setting).

Hollenbeck met poet Eileen Myles several years ago when both were in residence at the MacDowell Colony artists retreat. He contacted Myles and asked them to collaborate. Myles described the process:

"The first thing I received was the vocabulary list," Myles said, "which ended up being the titles of each of the things I wrote. Some time after that John gave me rough cuts of the tracks. I liked the music a lot, so that was great news. I do a lot of things at once all the time, and so sometimes the way to focus is to get the hell out of town. So I went up to Provincetown [MA] for the weekend and listened to the music a lot and took a lot of notes and tried to create a reality in which these pieces had some meaning."

Myles's poems (or "talks" as they call them, to pair them with the music created by the band) are, for the most part, not direct statements about either the CDC story or even the usual meaning of the words themselves. Instead they offer yet another lens on language and its use, one that compliments Hollenbeck's music.

"A piece of music always has a vibe and a pace and a context and a momentum," said Myles. "So I wanted to imagine occupying that in a different way. Sometimes John would indicate 'from this moment in the cut to this moment is where i imagine you,' so that contributed to the size or the amount of language I was going to construct. Because the words refer to a kind of government, I felt like I had to be inventing a government in which these texts would occur."

The current membership of the Claudia Quintet is Hollenbeck on drums, tenor saxophonist Chris Speed, bassist Drew Gress, Matt Moran on vibraphone and Red Wierenga on accordion and piano. Gress and Wierenga also added an electronic score for "Fetus." The band has been together for a long time, though Hollenbeck notes that as they age and get married and have kids, the challenges mount for the ensemble. Despite those difficulties, or maybe because of them, the band sounds committed and cohesive and exciting on Evidence-Based.

John Hollenbeck

The new album is being released on Flexatonic Records, the label attached to Hollenbeck's nonprofit Flexatonic Arts. It's part of a plan to bring all of Hollenbeck's albums under one label.

"I've been gathering up all of my releases from various labels," Hollenbeck said. "Some of the labels didn't exist anymore anyway. We'll be releasing all these records on Bandcamp, the preferred platform for musicians at the moment. Our first release was Songs You Like A Lot. Evidence-Based is the second release overall and the first by the Claudia Quintet. We're going to simultaneously re-release two of our older records, Super Petite and our other poetry record, What Is The Beautiful."

Besides being a direct comment on a particular news story, Evidence-Based also tackles, by its existence, the idea of how the arts and politics interact.

Said Myles: "I betray my politics all the time in my work. There's no way to keep the conditions of our moment out of the work. It's impossible. It's like using specific details of people's names and locations. You can choose to be abstract and not drop points on the map but why? Everybody knows you're on the map. It doesn't matter if I know the name of the tree but the name of the street might be nice. I think the specificity of politics is exciting and edgy to include. I don't have to but I can't help it. "

Hollenbeck is on the same page: "I think you can't avoid it and shouldn't avoid it. I don't want to come down on people but I find you can provide some information or a different way to look at the same thing. The music is aspirational. I'm not in a vacuum. I'm hearing all the news everyone else is hearing. Then I go into the practice room or the composing room and it's not like that stuff goes away."

In many ways, our current social, technological and political conditions have already left Orwell's 1984 far behind. As we grapple with this new world, we need artists to help us find our center, to assist us in navigating the minefield. With Evidence-Based, Hollenbeck offers us a compass and a map. We all end up feeling a little less lost.

Jason Crane

1. Evidence-based

2. Son of...

3. Transgender

4. Entitlement

5. Fetus

6. Diversity

7. Nice Tune

8. What is the name of this piece?

EVIDENCE-BASED THE CLAUDIA QUINTET

Special guest: Eileen Myles: “talk”

The Claudia Quintet is:

Chris Speed: clarinet/tenor sax

recorded in North Atwater Village, Los Angeles California.

Red Wierenga: accordions, electronics (on fetus)

Accordion recorded at his mother-in-law's basement in Toms River, New Jersey; piano recorded at his apartment in Fort Greene, Brooklyn, New York

Matt Moran: vibraphone

recorded in the music room on Van Buren St, Brooklyn when no one else was home

Drew Gress: acoustic bass, electronics (on fetus)

recorded at Merriewold Lake Studios, South Blooming Grove, NY

John Hollenbeck: drums, percussion, electronics (on fetus), composition

Recorded in E-323 (Schulich School of Music) Montréal, Canada

Produced by John Hollenbeck

Mixing Engineer: Andy Taub, Brooklyn Recording

Mastering: Brent Lambert, Kitchen Mastering

Design: karlssonwilker

Compositions by John Hollenbeck - Grand Blvd Music ASCAP/GEMA

“Talk” by Eileen Myles (unpublished)

All rights of the manufacturer and of the owner of the recorded work reserved. Unauthorized copying, public performance, broadcasting and file sharing of this recording prohibited

© 2021 John Hollenbeck Flexatonic Records

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Pianist/Composer Fred Hersch earns multiple DownBeat Critics Poll accolades, tours Europe, and announces new album

Fred Hersch: Refuge, due out January 7, 2022 via Palmetto Records, features Hersch with Drew Gress, Jochen Rueckert & The Hudson String Quartet

 

“Fred Hersch belongs to the jazz piano aristocracy, that small elite called to leave a lasting mark.”

– Louis-Julien Nicolaou, Télérama, June 2021

 

“Fred Hersch is always on target. Right in the heart. By playing ‘Songs from Home.’ Fred Hersch makes Bal Blomet his home. The audience's silence is worthy of that of the forest that surrounds the house where this album was recorded…. Fred Hersch makes the piano sing…. The public does not want to leave. Fred Hersch either.”

– Guillaume Lagrée, Le jars jase jazz, June 2021

Iconic pianist/composer Fred Hersch – one of the first to find a new way forward in the pandemic both through his Facebook Tune of the Day performances and via his reflective solo album Songs from Home – heads to the studio in August to record Fred Hersch: Refuge, his first-ever album with rhythm section and string quartet.  It will be released January 7, 2022 via Palmetto Records.

 

Featuring Hersch with Drew Gress, Jochen Rueckert and the all-female NYC-based Hudson String Quartet: Joyce Hammann and Laura Seaton-Finn, violins; Lois Martin, viola; and Jody Redhage Ferber, cello, the album was inspired by Hersch’s Buddhism and his 20-year insight mindfulness meditation practice. The bulk of the album is an eight-movement suite that reflects on different aspects of that practice

 

“In Buddhism, there are the three refuges: refuge in the Buddha, refuge in the sangha (community of practitioners) and refuge in the dhamma (the teachings),” says Hersch. “At this time of global impermanence, I have found some degree of comfort in these refuges – places that I can turn to and feel somewhat less affected by it all of the suffering and toxicity around me. And these refuges also give me some strength to stay in the present and know that there are many things that are out of my control – but I can call upon my practice to be with my experiences instead of reacting to them.”

Hersch recently earned accolades in DownBeat Magazine’s 2021 Critics Poll as #2 Jazz Artist, #3 Pianist, and #4 Jazz Album of the Year for Songs From Home. Hersch also earned a spot as one of the best pianists of 2020 in the JazzTimes Readers Poll.  He is currently on tour in Europe where he’s earning wide critical acclaim for his over a dozen shows – his first concerts before an audience in 14 months. Reviewing his concert in Paris, Guillaume Lagrée wrote “Fred Hersch is always on target… The public does not want to leave. Fred Hersch either.” Hersch also performed in Recklinghausen, Rome, Carpi, Vicenza, Pescara, Bari, Perugia, Umbria, Montreux, and Brescia – as a solo pianist, with trio and duo in a new partnership with Italian jazz legend trumpeter Enrico Rava. 

 

Hersch will continuing touring both the U.S. and Europe throughout the fall. His dates include a week at the Village Vanguard in a duo with Julian Lage October 19-25, and a series of duo shows in Europe with Enrico Rava in October and November. Click HERE for upcoming tour dates.

fredhersch.com      facebook

Tom Rainey Obbligato with Ingrid Laubrock, Ralph Alessi, Jacob Sacks and Drew Gress - Untucked in Hannover (April 16, 2021 Intakt Records)

With Untucked in Hannover, Tom Rainey's top-notch quintet Obbligato presents a third album of a collection of jazz standards – with Jacob Sacks on piano replacing regular pianist Kris Davis for this live recording. Wonderful jazz tunes like Stella by Starlight or I Fall in Love Too Easily are interpreted in an open dialogue with stunning joy of playing and improvisation. And though standards are the modus operandi of Obbligato, their approach is intended to be less conventional, less reverential and certainly less solo-centric than many other bands that tackles with Standards. Obbligato sometimes plays with the essences of famous jazz standards in an implied way, sometimes in a teasing and mysterious way, but always in a tantalizing way.

"Close your eyes, imagine sitting in the front row of your favorite jazz club, sit back and enjoy Obbligato playing pieces from the Great American Songbook in a way you've never heard them before: and by one of the most inventive and inspiring live bands of the last decade," writes Laurence Donohue-Greene in the liner notes.

1. If I should Lose You

2. Stella by Starlight

3. What's New – There is No Greater Love

4. I Fall in Love to Easily

5. Just in Time – In Your Own Sweet Way

6. Long Ago and Far Away

Ralph Alessi: Trumpet

Ingrid Laubrock: Saxophones

Jacob Sacks: Piano

Drew Gress: Bass

Tom Rainey: drums

Recorded October 15th, 2018 by NDR, Jens Kunze, at Jazz Club Hannover. Live sound engineer, Raphael Becker-Foss. Recording producer NDR, Felix Behrendt. Recording executive producers NDR, Axel Dürr, Stefan Gerdes. Mastered October 2020 by Michael Brändli, Hardstudios, Winterthur. Cover art: Christine Reifenberger, Graphic design: Jonas Schoder. Liner notes: Laurence donohue-Greene, Photo: Jan-Gerrit Schäfer, Jazzclub Hannover. Produced by Tom Rainey, NDR and Intakt Records.

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Out Dec. 7 – Fred Hersch Trio '97 @ The Village Vanguard

Acclaimed Pianist/Composer Fred Hersch Revisits his First Stint as a Bandleader at New York’s Most Iconic Nightclub on

Fred Hersch Trio ’97 @ The Village Vanguard

Never-before-released recordings from 1997 showcase Hersch and the much-loved 1990s incarnation of his trio, with bassist Drew Gress and drummer Tom Rainey, on their only live album  

“[A] pianist, composer and conceptualist of rare imaginative power…”

–Nate Chinen, New York Times

"A living legend.

– Jonathan Blitzer, The New Yorker

For jazz fans in 2018, it might be difficult to imagine a time when pianist/composer Fred Hersch was not intimately associated with the Village Vanguard. For more than two decades the iconic New York City nightclub has been a home base for Hersch, who performs there for packed houses three times a year and has recorded some of his most acclaimed albums on its historic stage.

But there is, of course, a first time for everything – and for Fred Hersch that first time was in July 1997. Not his first time playing at the Vanguard, which he’d done regularly since 1979 with a host of legendary bandleaders including Joe Henderson, Art Farmer, Lee Konitz, Ron Carter, Al Foster and others. That mid-summer week in 1997 was his first of many stints at the venue as a bandleader in his own right, placing him in the hallowed company of such icons as John Coltrane, Sonny Rollins, Miles Davis, Thelonious Monk, and Charles Mingus.

Fortunately, Hersch and his trio’s three Friday night sets were captured for posterity and now, after 21 years, the pianist has hand-picked his favorite moments on Fred Hersch Trio ’97 @ The Village Vanguard, due for release on December 7, 2018 via Palmetto Records. The album’s eight tunes – a mix of Songbook standards, classic jazz compositions and original pieces – captures the Fred Hersch Trio of that time at the height of their estimable powers. Bassist Drew Gress and drummer Tom Rainey had been working with Hersch for five years at the point that they took the Vanguard stage, and those years shine through in the band’s vigorous swing, highly charged interplay, and sheer joy in discovery that they find in one another’s playing.

“It meant everything,” Hersch says of his first week at the Vanguard. “For me, it’s equivalent to the first time a classical musician plays at Carnegie Hall. It’s the greatest jazz club in the world.”

Beyond its historical significance in Hersch’s career, this new collection is also a welcome addition to his discography in that it’s the only live recording of this much-loved trio. For those who weren’t fortunate enough to catch them live, Hersch’s work with Gress and Rainey could only be heard in its purest form on a pair of studio albums released by the Chesky label: 1993’s Dancing in the Dark and 1994’s Plays. (On Point in Time (1995) they were supplemented by trumpeter Dave Douglas and saxophonist Rich Perry, while they were joined by a full string orchestra on 1996’s Passion Flower: Fred Hersch Plays Billy Strayhorn. This release also marks the earliest available live recording by Hersch aside from his solo concert Live at Maybeck from 1993.

It had taken Hersch 18 years to graduate from sideman to leader at the Vanguard simply because he insisted on waiting until he could be joined by his own trio rather than an all-star band assembled for the occasion. “I was very stubborn about wanting to do it on my own terms with my own band,” Hersch recalls. “That’s why it took so long. I didn't want to just go in there once and then not come back. That does happen. I insisted on throwing it down the way I wanted to.”

The wisdom of that decision is amply evident in the profound chemistry shared by the trio throughout Fred Hersch Trio ’97 @ The Village Vanguard. The album opens with a robust romp through “Easy To Love” that showcases the trio’s muscular but elastic way with rhythm. The sensitivity of Gress’ playing comes to the fore on “My Funny Valentine,” while Rainey’s sharp-honed propulsion drives “Three Little Words” and prompts Hersch to take sharp curves at breakneck pace in his solo. The first of two Hersch originals, “Evanessence” pays homage to one of the pianist’s most respected predecessors on the Vanguard bench, Bill Evans. “Swamp Thang,” meanwhile, digs deep into the murky groove suggested by the title.

Gress contributes “Andrew John,” introduced by a compelling solo rumination by Hersch before the trio contributes some of its most sparse and tender accents. With a contained intensity, “I Wish I Knew” exercises the bandmates’ gifts for subtle dynamic shifts, and “You Don’t Know What Love Is” ends the album at a blistering pace, at once staggeringly virtuosic and gleefully thrilling.

Listening back to the recordings all these years later, Hersch hears a band playing with remarkable confidence and abandon given the HIV-positive pianist’s personal health concerns at the time. Just over a decade later he would be placed in a medically-induced coma after a bad case of pneumonia; another ten years have passed since, affording the pianist an insightful perspective. “I was pleasantly surprised at how much authority and attention to detail everyone was playing with,” he says. “Maybe if I would have listened to it a week after the concerts I would have heard the flaws, but with this much distance I think it stacks up with any of my better trio albums.”

The album is certainly a worthy addition to Hersch’s catalogue, even at a time when his current trio (with John Hébert and Eric McPherson) is scaling unprecedented heights, as it did on this year’s highly-acclaimed Live in Europe. But just as importantly, Fred Hersch Trio ’97 @ The Village Vanguard adds another chapter to the rich history shared by a revered artist and a legendary venue.

“Having my photo on the wall of the Village Vanguard means more to me than a Grammy Award,” Hersch reflects. “That’s one of the accomplishments that I’m proudest of, and it signifies my long and deep relationship with the club. There is magic there.”

A select member of jazz’s piano pantheon, Fred Hersch is a pervasively influential creative force who has shaped the music’s course over more than three decades as an improviser, composer, educator, bandleader, collaborator and recording artist. He has been proclaimed “the most arrestingly innovative pianist in jazz over the last decade” by Vanity Fair, “an elegant force of musical invention” by The L.A. Times, and “a living legend” by The New Yorker. A twelve-time Grammy nominee, Hersch has regularly garnered jazz’s most prestigious awards, including recent distinctions as a 2016 Doris Duke Artist, 2016 and 2018 Jazz Pianist of the Year from the Jazz Journalists Association, and the 2017 Prix Honorem de Jazz from L’Acádemie Charles Cros for the totality of his career. With more than three dozen albums to his credit as a leader or co-leader, Hersch consistently receives lavish critical praise and numerous international awards for each highly anticipated new release. In 2017, he released his acclaimed memoir, Good Things Happen Slowly (Crown Archetype Books/Random House), which compellingly reveals the story of his life in music along with a frank recounting of his struggles and triumphs as the first openly gay, HIV-positive jazz musician. The book was named one of 2017’s Five Best Memoirs by the Washington Post and The New York Times. As a composer, Hersch has earned distinction with such visionary pieces as 2003’s Leaves of Grass, a large-scale setting of Walt Whitman's poetry, and the 2010 multimedia project My Coma Dreams.

fredhersch.com

Quartette Oblique - Quartette Oblique (SUNNYSIDE RECORDS October 12, 2018)

A true gauge of a musician’s ability is in how he or she interprets a piece of a genre’s canon. In the jazz world, there are decades’ worth of standards and classic repertoire that are ripe for adaptation. But the ability to excite and challenge listeners comes not only from technical prowess and musical recall, but from the specific approach to reinterpretation, which favors those who prefer a more adventurous approach.

Four such forward thinking musicians came together to create Quartette Oblique, an ensemble which, as their name suggests, approaches the music from a skewed but engaging angle. Brought together by drummer Michael Stephans, the group features saxophone great Dave Liebman, pianist extraordinaire Marc Copland and the stalwart Drew Gress on bass. Their new eponymously titled recording finds them at their most freewheeling in a live performance at the Deer Head Inn in Delaware Water Gap, Pennsylvania.

Stephans is a college professor, holding a Ph.D. and two Master’s degrees, and a writer of poetry and books on jazz. As an open-minded, progressive drummer, he has long been involved in the creative music scene, performing alongside such greats as Bob Brookmeyer, Joe Lovano, Bennie Maupin, Pharoah Sanders and Bob Dorough.

For Quartette Oblique, Stephans reached out to three brilliant, improvising musicians who he knew would trust their instincts and play collective music in an open and exploratory way. Copland is a pianist who Stephans appreciated for decades and who made perfect sense for the ensemble. Having been a longtime fan of woodwind master Dave Liebman, Stephans first worked with Liebman in 2004 and their relationship has truly blossomed. Gress was a perfect pick on bass, as his personal touch and beautiful sound have buoyed Stephans’s drums in a number of rhythm sections in the recent past.

The goal of the ensemble was to generate performances that represented the sum of the musicians’ highly disciplined and creative musical parts. Their collective knowledge and experience would provide a depth of feeling to their takes on classic jazz repertoire. The off-kilter manner in which they approach these pieces makes for some truly brilliant arrangements, most done without prior planning, on the spur of the moment. Fortunately for the jazz world, these pieces were recorded at the Quartette’s appearance at the Deer Head Inn on June 3, 2017.

The program begins with a haunting version of Miles Davis’s “Nardis,” featuring a searching tenor sax and churning rhythm section led by Stephans’s drum work. The late John Abercrombie’s “Vertigo” begins as an introspective piano feature, which concludes with a spry soprano solo from Liebman. A deconstructed version of Schwartz and Dietz’s “You and the Night and the Music” follows with some remarkable group interplay. Ellington’s “In a Sentimental Mood” receives an elegantly spare treatment that retains the essence of the composer’s gentle message.

Miles Davis’s “All Blues” sounds like an incredible reshuffling of the original with Liebman’s soprano leading to an almost surrealistic reimagining of the tune. Gress’s evocative “Vesper” is a lovely ballad and features the bassist on a distinctive solo flight. The program concludes with Davis’s classic “So What,” a tour de force in group interplay and improvisation with amazing contributions from all.

There is nothing straight-forward in the music of Michael Stephans’ s Quartette Oblique. With trailblazing musicians coming from different backgrounds and musical practices, the Quartette comes together in the spirit of improvisational communication, moving obliquely across dynamic musical landscapes to create a refreshingly unique set of performances that illuminate what jazz writer Whitney Balliett called “The Sound of Surprise.”

Minji Kim, Drew Gress & Jongkuk Kim - Every Moment (2018)

Minji is a pianist, composer, and an instructor who was born in South Korea. She pursued bachelor’s degree at Berklee College of Music with a Jazz Performance Award, Berklee Achievement Scholarship, and Berklee International Grant. She studied with many brilliant professors including Joanne Brackeen, Alain Mallet, and Ed Tomassi. Minji is currently pursuing her Master’s degree in Jazz Performance at New York University while working as an adjunct instructor at NYU. She has recorded/performed with many recognizable musicians including Drew Gress, Alan Ferber, Alex Sipiagin, David Pietro (will perform with Lenny Pickett  on April 27th and Brad Shepik in July). She has released her first debut album, “Every Moment”, on February 2018 under her own recording label with Drew Gress on bass and Jongkuk Kim on drums (featured by Alex Sipiagin on trumpet, Dave Pietro on alto sax, and Alan Ferber on trombone). Minji currently is performing at various places and building her musical experiences with many musicians, such as Blue Note, Club Bonafide, ShapeShifter Lab,Tomi Jazz, Loewe Theatre, and James Dolan Studio. She will have her first abroad tour in Costa Rica (“Costa Rica Tour & Clinic) in July 2018 with NYU Group (featured by Brad Shepik).

1. A Big Tree (feat. Alan Ferber) Minji Kim, Drew Gress & Jongkuk Kim 6:04

2. Light River (feat. Alex Sipiagin & Dave Pietro) Minji Kim, Drew Gress & Jongkuk Kim 7:09

3. Db Minji Kim, Drew Gress & Jongkuk Kim 4:53

4. April 29th (feat. Alex Sipiagin, Dave Pietro, Alan Ferber & Songyi Jeon) Minji Kim, Drew Gress & Jongkuk Kim 6:25

5. Na-Bi Minji Kim & Jongkuk Kim 5:18

6. The Moment (feat. Alex Sipiagin) Minji Kim, Drew Gress & Jongkuk Kim 5:24

7. Yearning Minji Kim & Drew Gress 5:18

Minji Kim on piano

Drew Gress on bass

Jongkuk Kim on drums

Alex Sipiagin on Trumpet (Track 2, 4, 6)

Dave Pietro on Alto Saxophone (Track 2, 4)

Alan Ferber on Trombone (Track 1, 4)

Songyi Jeon on Vocal (Track 4)

Alfonso Adan - New Morning (2018)

Alfonso Adan is a jazz guitarist, composer and music professor based in New York City. He graduated in Classical Guitar Performance from the Conservatory of Classical Music in Spain (2002), Jazz Performance at Berklee College of Music in Boston (2008), and has a Master Degree in Jazz Studies from New York University in New York (2017).

1 R96 3:18

2 One 8:16

3 Kind of Mystery - Parts I + II 11:18

4 Over the Silence 8:36

5 New Morning 8:24

6 Colors 5:06

7 Step Down - Part I 9:38

8 Step Down - Part II 5:59

9 Tuesday 4:47

10 Sunset 2:45

Sam Revaz: Piano

Drew Gress: Double Bass

Paul Shaw: Drums

Alfonso Adan: Guitars, music compositions and production

Two New Recordings by drummer Phil Haynes with Dave Liebman, Drew Gress, Hank Roberts and Jim Yanda

Two New Recordings by drummer Phil Haynes with Dave Liebman, Drew Gress, Hank Roberts and Jim Yanda

My Favorite Things (1960-1969) takes on The Beatles, Hendrix, Coltrane, James Brown and more with “jazz-grass” string band Free Country with Hank Roberts, Jim Yanda, Drew Gress

No Fast Food’s Settings For Three sparks inspired improvisation 

from bassist Drew Gress and NEA Jazz Master David Liebman

“[No Fast Food is] ridiculously good — One of the two best trios since the legendary Elvin Jones.”  

– CriticalJazz.com

“Just like Jack DeJohnette or Bob Moses, [Haynes] is broadening the beat by means of a significantly melodic component. You don’t have to be a prophet to foresee a great future.”

– Heinrich Oehmsen, Szene

It’s not that he has anything against whiskers on kittens, mind you, but these are a few of drummer Phil Haynes’ favorite things: creating in the moment with old friends, who just happen to be some of the most inventive improvisers on the scene; digging deep into the rich musical legacy of the 1960s; navigating original compositions that offer tricky surprises and wide open spaces, just perfect for inspired spontaneity. With a wide-ranging pair of new releases featuring his bands Free Country and No Fast Food, Haynes gets to indulge all of those faves alongside an amazing crew sure to make you forget any dog bites or bee stings. Both are due for release on June 1, 2018 through Corner Store Jazz.

My Favorite Things (1960-1969) concludes a trilogy by Haynes’ free-wheeling “jazz-grass” string band Free Country, where he’s joined by longtime collaborators Hank Roberts (cello and vocals), Jim Yanda (guitar) and Drew Gress (bass). Released over nearly two decades, the band’s three albums encompass nearly the entire history of American popular music in their own irreverent, stripped-down fashion: their 1999 debut focused on pre-1900 tunes from the Revolutionary War to Stephen Foster; The Way the West Was Won took on the first half of the 20th century, with cowboy songs and Hollywood movie soundtracks.

The concluding chapter narrows the focus to a single decade, but what a decade: over the course of two discs, the quartet takes on everything from John Coltrane, The Beatles and Jimi Hendrix to Burt Bacharach and the theme from Star Trek – as Haynes himself puts it, “you’ve got everything from schmaltz to the highest art.”

Beyond the fact that the ‘60s were the formative years for the band’s members, the decade is so ripe for extensive reinvention because, Haynes explains, “It was our last cultural revolution. This is the last decade that everybody agrees on, so this is a look at that psychedelic, diverse musical landscape. We face many of the same questions now that we faced then, and it will be interesting to see if there’s another social revolution.”

If there is, Free Country is here to provide the soundtrack. With Roberts’ wry baritone, the knotty interaction of the strings, Haynes’ loose-limbed, evocative percussion, and a profound conversational spark forged over decades of collaboration and the magical live sound born of recording in the round, the band captures the spirit of the 1960s with the urgency of now. “The ‘60s had this great American outpouring of creativity,” Haynes says. “There was music that everybody shared: Santana and The Beatles knew about A Love Supreme, from Hendrix to what Bernstein did on Broadway, everything was changing. This band focuses all those things into one sound.”

On the opposite end of the creative spectrum, No Fast Food, with Gress and NEA Jazz Master David Liebman, was formed as an outlet for Haynes’ compositions. The trio’s third album, Settings For Three, is their first not recorded in concert but carries the electricity of their live performances into the studio. As the straightforward title implies, the intent was simply to provide fodder for the three musicians’ estimable improvisational gifts, or as Haynes puts it, “I wanted to give the guys some new settings to play in and also familiar territory to romp in.”

The opening track, “El Smoke,” takes its name and inspiration from a different group – Haynes’ collective quartet Joint Venture, where he and Gress are joined by saxophonist Ellery Eskelin and trumpeter Paul Smoker. Of course, No Fast Food make it utterly their own, ranging from the atmospheric to the rhapsodic over the track’s ten minutes. Haynes has written lyrics for the second tune, “Joy,” though they’re not sung on the recording. No matter, as Lieb and Gress seem to have absorbed the composer’s poetic meaning, which looks at the many different sides of joy, from the outwardly ecstatic to the more profound and complicated. 

“There’s joy as we know it,” Haynes says, “but then there are all these other shadow aspects of joy. I really appreciated how the guys played on it because they reveal those different depths: not just that first expression but then all the ripples that happen beyond that.”

Speaking of multi-faceted, the blues offers an endless supply of variations and possibilities, and that’s certainly the case with the wide-open “Blue Dop.” High-spirited and grooving in this rendition, it’s a piece that suggests myriad approaches and changes each time the trio launches into it. The onomatopoeic “Whack Whap” shows off the mirth and humor that the three can share, a wild avalanche of sounds and sonic surprises.

“Longer Shorter” pays homage to Wayne Shorter, taking the legendary saxophonist’s composition “Pinocchio” as a starting point. The hard-driving, sharp-angled tune nods toward Liebman’s history with Miles Davis and Elvin Jones while spotlighting his singular approach to the soprano. The ballad “String Theory,” which kicks off with Liebman conjuring fluttering bird calls on flute, is a vehicle for Gress’ poignant arco emoting. To close the album, “Shramba” takes a different twist on the samba, progressing through all twelve keys over Haynes’ rollicking rhythmic bed.

Through the simultaneous release of these two thrilling albums, Haynes provides a study of two facets of his expansive musical personality. Both are wildly inventive and thrive on the personal interactions of the musicians involved, but where My Favorite Things is subversively accessible, Settings For Three is an enticing challenge. “You’ve got one group where the universe is the option,” Haynes says, “and another group where the microcosm is the universe. They’re very different kinds of playing yet you look for freedom in both.”

Phil Haynes

A veteran artist based in New York for 25 years, drummer/composer Phil Haynes is featured on more than 70 releases from numerous American and European record labels.  His collaborations include many of the seminal musicians of this generation: saxophonists Anthony Braxton, Ellery Eskelin, and David Liebman; trumpeters Dave Douglas, Herb Robertson, and Paul Smoker; bassists Mark Dresser, Ken Filiano, and Drew Gress; keyboard artists David Kikoski, Denman Maroney, and Michelle Rosewoman; vocalists Theo Bleckman, Nicholas Horner, and Hank Roberts; violinist Mark Feldman, and the composers collective Joint Venture. His current projects include the romantic “jazz-grass” string band, Free Country; the saxophone trio No Fast Food; bluesy power organ unit The Hammond Brothers, featuring young B-3 master Paul Bratcher; and the classic piano trio Day Dream, a cooperative with Yamaha artist Steve Rudolph.

www.philhaynes.com

David Ake - Humanities (POSI-TONE RECORDS 2018)

Pianist, composer, and educator David Ake is a native of New Haven, CT, but spent his formative years in Chicago. He did his  undergraduate at the University of Miami before heading to the West Coast to do post-grad work at the California Institute of the Arts and UCLA.

Ake’s fifth album on Posi-Tone is titled “Humanities” and features the powerful musical voices of his fellow CalArts colleague Ralph Alessi (trumpet), Ben Monder (guitars), Drew Gress (bass), and Mark Ferber (drums).  If you have heard any of Ake’s earlier group albums, you’ll know he’s a powerful and thoughtful pianist while his music often has a powerful forward motion.

There are moments on the new album where the music leans towards Americana, not surprisingly on the quintet’s reading of The Grateful Dead’s “Ripple” (the only “cover” tune on the CD) – they don’t mess with the gentle bluesy quality of Jerry Garcia’s sweet melody. Alessi’s muted trumpet brings the sound of Ron Miles to mind and the piece would not be out of place on a Bill Frisell album (but note the alternate chords at various times throughout the piece). The piano introduction to “Drinking Song” has the feel of a Randy Newman ballad but there is a spare quality to the melody. The trumpet and guitar play the melody and counterpoint while the rhythm section tosses and turns beneath them, not disrupting the flow as much as creating dynamic differences.

What stands out throughout the program is how distinctive all five voices are.  On songs such as “The North“, one can hear the power of the guitar, the rich melodic sense of the trumpet, the “heavy” chords from  the piano, the counterpoint and melodies from the bass, and the driving force of the drums. Ferber is truly in the driver’s seat; listen to his strength on “Rabble Rouser“, how Gress helps him push the music forward, and then how the soloists are inspired by the rhythm section.  And, they can swing! “Hoofer” starts out with the drummer’s brush work creating his own sweet soft-shoe.  Ake picks up on that and dances right through his sly Monk-like solo.  The bassist leads the group through the beginning of “Stream” – much of the fun of the piece is how the dynamics change on the fly.  After the opening, the band moves into a harder-edged melody but drops back for the piano solo.  Ake build the tension as the trumpet and guitar play a unison counterpoint to his solo. A similar interaction takes place beneath Alessi’s solo, this time the pianist and guitarist playing chordal patterns as Ferber builds the tension with a fiery drum spotlight.

The program closes with “Walter Cronkite“: that’s the newsman’s voice you hear near the beginning saying “...it’s the ultimate question that being a democracy we the people are responsible for the actions of our leaders“.  Alessi’s keening, questioning, trumpet moves atop the rumbling piano, droning bass, quiet guitar fill, and active drums, giving the rubato piece the feel of an elegy, at times, a prayer.  There is a short section where the trumpet and piano sounds like a telegraph signaling an urgent question across the great divide before the music fades.

To do justice to the music on “Humanities” is truly to tell you to listen and listen deeply. David Ake composes music that asks questions, that plumbs the depth of the human spirit, and looks for the soul within the songs. And the musicians know how to transmit those questions and searches to an eager audience.  Give some time to this music; it will make you think and, perhaps, even move you to action in these often tense times.

Robin Verheyen - When the Birds Leave (UNIVERSAL RECORDS 2018)

My new record When The Birds Leave will be released on Jan 26 on Universal Records. The album features the great rhythm section of Marc Copland, Drew Gress and Billy Hart.

Rest Mode

Jabali's Way

When The Birds Leave

Melody For Paul #1

Operator

Stykkisholmur

Traveling Dreams

Vesper

Robin Verheyen: saxophone

Marc Copland: piano

Drew Gress: Bass

Billy Hart: Drums