Customer Reviews

A Long Story

5 star:		(3)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

. . . but I finally did. This disc demands close listening. Its nuanced pleasures, from Fort's gently slurred piano notes and brilliant pedal deployment, to Ed Schuller's deep, woody bass played with precisely bent notes and sly overtones, to Paul Motian's magical, dancing cymbals and sprung time, reveal themselves only to those who pay attention. Casual listening makes it almost sound--heaven forbid--mundane.

Only after easing into its subtle sensibilities do the furtive melodies began to reveal their hidden beauty and rigor. And just when one gets used to the finely tuned piano-trio concept, enter Perry Robinson, who has a unique approach and beguiling tone on clarinet, to lift the session to new heights. What seemed an entirely lovely outing suddenly turns mysterious, and sometimes even scary, starting with the very Charlie Haden-ish "Lullaby," continuing with the spooky "Chapter Two," a Fort/Robinson duet, and resurfacing whenever Robinson joins the proceedings ("Not a Dream?" with its magical-realist soundscape, "As Two/Something 'Bout Camels," certainly the most ambitious number on the disc, drenched in longing until, about midway through, a huge angst surfaces with Robinson's skittish clarinet and Schuller's brave bass solo, soon resolving into a more familiar-yet-still-alien territory, Robinson playing obsessive ocarina over delicate piano chords, and, finally, "Just Now, Var. III," with such palpable Sehnsuct that the listener almost keels over from longing).

Two solo piano numbers underscore Fort's understated genius, "Just Now, Var. II," with its delicate wistfulness, and "Chapter One," a study in quiet virtuosity, full of spiky melodies and faux-Romantic yearnings, all dolled up in gloriously ruminative wrappings.

As I say, you might be fooled by the apparent ease of execution that permeates this remarkable disc. But take the time to listen closely, and I think you'll agree that only a musician of the highest accomplishment could conceive and imbue such seeming ordinary music with such magic.

Highest recommendation.

"A Long Story" marks the ECM debut of the Israeli-born New York-educated
pianist Anat Fort. And what a great debut it is. Although it is only April it seems destined to be one of the year's 10 best jazz albums.
Fort's compositions run the gamut from wistful to whimsical. She can be introspective and contemplative without becoming dreary or cumbersome. The cohesiveness of this project is further enhanced by the rhythm section that not only provides the essential foundation but also the framework for many of the compositions. But what else would you expect from living legend Paul Motian?
While this album was not recorded at the ECM studios, it nonetheless has that characteristic ECM sound. Open. Spacious. Subdued. The only question is why this took 3 years to be released since it was recorded in early 2003. But, in the end, who cares? A great album all the way around. One can only hope that Fort's future efforts will build upon this impressive beginning.

Anat Fort has it all, classical training, jazz imagination, compositional technique, and courageous artistry. Her music is at once lyrical and complex. "The Long Road" is a journey one needs to make several times so as to explore every nook and cranny along the road. Ms Fort may run way ahead of the other and newer travellers, but the clarity of her voice is never lost in this remarkable first offering. The group she put together, musicians of reknown, are flawless and speak not only of their own talent, but of the regard in which they must hold Anat Fort's musicianship. I am so happy to have made this discovery. I want more.
A. Mulligan
San Antonio, Texas

WOW!

I'm not a great ECM fan (basically, I prefer my jazz to be more rhythmically dynamic), but these sensitive and highly atmospheric explorations really excited me; there's a lot of fire under the surface serenity of Fort's composing and playing.

The entire band is great, but I must commend the added attraction of Perry Robinson's avant-guardish clarinet (and, I think, another horn I cannot recognise) on several numbers. He adds variety (something ECM albums sometimes lack) but also plays just beautifully on the magnificent instrument that is (in my humble opinion) somewhat underutilized in modern jazz.

If you like jazz piano, Bill Evans, Keith Jarrett, Lennie Tristano (or even Ahmad Jamal), you should check out this album.

Whiel having the typical ECM sound that can be slightly unnerving, even if I like it a lot, this is a very nnice CD with intimate piano pieces by Anat Fort.

It takes some time to absorb this piece of music and enjoy it but once you are in the music flows and it is quite a pleasurable journey. The first piece reminded me of some Israeli tune and so I read the introduction about Anat Fort, realizing that she is touching her Israeli roots. So, if you appreciate this ethnic touch to the New York jazz scene, here is an album for you, Mazal tov!

The main theme, which is on three tracks with variations, is very lovely. The other cuts are a mixed bag.