Long and Short of It

Fred Hess | Format: Audio CD

Product Details

• Audio CD (February 24, 2004)
• Original Release Date: 2004
• Number of Discs: 1
• Label: Tapestry Records
• ASIN: B0001CCYF6
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #677,122 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Talent deserving wider recognition indeed!, May 19, 2004

By 

Troy Collins (Lancaster, PA United States) - See all my reviews
(REAL NAME)   

This review is from: Long and Short of It (Audio CD)

Tenor saxophonist Fred Hess, although a major player in the mid-western jazz scene, is all but unknown on the coasts. This is a shame. There is a dearth of truly interesting players in the contemporary traditional acoustic jazz scene (outside of the major urban centers), and Hess is one of those deserving wider recognition. Cutting a clean path through the vagaries of post-bop and free-jazz, Hess and his quartet make a strong case for the creative possibilities of modern acoustic jazz.

In an age where Blue Note signs more singer/songwriters than instrumental artists and other major labels feel the need to highlight more accessible crossover jazz artists, it's left to the indies to give us the "real deal." While this is nothing new, it does pose problems for fans without the spare time to search out those artists that are a step above the rest. For those looking for such an artist, one would be hard pressed to find a better representative than Fred Hess.

Bridging the tenuous gap between post-bop and free-jazz, Hess and his quartet revel in the possibilities of improvisational freedom that is firmly hemmed in by structure. Hess's tunes are written mostly in a catchy free-bop vein, with head melodies and call and response sections leading to wigged out solos and surprising tangents. Boppish swing, slow burn shuffles, ballads, dirges and even a modified blues all find their way into this mix. But these structures are merely launching pads for the ensembles' excursions, and what an ensemble they are.

Fred himself has often been credited with sounding like a mainstream version of Anthony Braxton, albeit on tenor. While it is a plausible comparison, if only for the speed at which he can execute linear runs, he is a more delicate and melodic player, and not one to dip into multiphonic screeching for minutes on end. Hess sounds influenced more by the more cerebral tenors of the past, like Wayne Shorter, Warne Marsh and even Joe Henderson. Stylistically situated between contemporaries Ellery Eskelin and Joe Lovano, Hess's playing is surprising in it's textural subtlety and melodic inventiveness.

Trumpeter Ron Miles, known for both a burgeoning solo career and his sideman duties with Bill Frisell and Ginger Baker shines on this album. His playing is as beautiful on the ballads as it is challenging and unpredictable on the more "out" tunes. Ken Filiano, well known as Vinny Golia's main bass player, uses his immensely thick bass lines drive this ensemble to heights unimaginable with another bassist. But the surprise attraction has to be Matt Wilson's astounding drumming. Switching effortlessly from delicate swing to propulsive rock with out missing a beat, he reminds one of a young Joey Baron. His fills and creative interpolations are absolutely joyous in their originality.

Considering the talent assembled here, this is no mere head-solo-head recording session. These players are well beyond that and have gone into the studio to record an album full of the sort of empathetic interplay and musical dialog that exemplifies the finest jazz sessions. Not content to merely play time behind a soloist, the rhythm section both supports and challenges these players. There is as much listening to be found here as playing. And THAT is somewhat of a rarity in these days of pick-up bands and all-star sessions.

For those interested in hearing some current jazz infused with a sense of tradition, albeit one that didn't stop in 1965 (are you listening Ken?), you need look no further.