Customer Reviews

Songs We Know

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

 

 

Fred Hersch reflects the quieter side of the Bill Evans approach to jazz piano, i.e.: classical refinement that doesn't attempt to cut through the chatter and clatter of the cocktail jazz milieu. Granted this subtlety and Hersch's avoidance of hard, obvious swinging, he's been building a unique voice of his own through a revealing series of precisely-themed CDs on Nonesuch. This CD, featuring Hersch in duos with post-modern guitarist Bill Frissel on a series of standards, stands as a culmination of sorts in which Hersch recasts the utterly familiar (example: "I Got Rhythm")in an utterly new light. The results are exquisite, a rare boon for connoisseurs of improvisation. Frissel, who, against all odds, has made his droning, post-Nashville style of playing widely applicable, adds his own element of revelation by playing much of the CD acoustically. The result is a clarification of his harmonic thinking that elides perfectly with Hersch's delicate, yet somehow lush voicings. If you love following songs like "My One And Only Love" or "All The Things You Are" through etude-like transformations, this CD will charm you. My favorite is Hersch-Frisell's reading of "It Might As Well Be Spring." Played completely-- and only--through once, it could be the greatest non-vocal jazz take ever of this song, highlighting an ambiguous, unsentimental depth-of-yearning rarely, if ever, captured again by Richard Rogers in his immensely popular partnership with Oscar Hammerstein. Indeed, if you know the lyrics to this song, as well as the superb interpretation given to them 15 or so years ago by Mel Torme in a duo with George Schearing, you'll surely enjoy the way Hirsch and Frissel evoke that same atmosphere of rueful, timeless yearning which lies at the heart of this ostensibly seasonal ballad. Consistent with Hersch's role as an educator at the New England Conservatory of Music, this is a CD of huge intelligence and erudition. Also consistent with Hersch's immense growth in stature as a jazz artist, it burns with the jazz passion for reconceptualizing the familiar in a manner which beguiles while it illuminates.

If you are after 'groundbreaking' or 'revolutionary' or 'innovative' or 'new' you won't find it here-at least not in the sense one is used to hearing these overworked, misapplied adjectives. No, this cd runs more toward subtle, discrete and elegant. By their nature duo recordings tend to be conversational in nature, two performers engaged in give and take. 'Songs We Know' emphasizes this quality of sharing and finding common ground. Both musicians have distinctive individual sounds and a great part of the beauty of this recording is the spontaneous way in which their voices merge and join together-two voices of one mind seemingly. Introspective, thoughtful, yet extremely generous music making. Highly recommended.

I was worried when I found out that Bill was recording with a pianist. In many jazz recordings featuring piano, they are recorded too loud and the guitar gets buried among the keys. I was quite relieved when I popped in the disc and heard Hersch and Frisell meld so beautifully. At some points, you can't tell where the guitar begins and the piano stops. Frisell's playing is a little reserved, but it's vintage Bill. A must have.

This is one of those CDs that if you are familiar with the players, you almost have to buy out of sheer curiosity, even if the piano/guitar format is not very appealing. In my case, I am a big fan of Frisell, but have always been disappointed by Hersch's various recordings. So the very fact that Frisell would agree to record with Hersch got my curiosity up (we tend to assume that our heroes share our tastes, don't we?)--how could this possibly be a good thing? A few moments into the first cut, "It Might as Well Be Spring," and I am won over. (Why should I be surprised that my hero has great taste, after all?)

As the recording unfolds, Hersch and Frisell work their way through 11 standards, weaving quite a magical musical spell along the way. Neither plays many fat chords--the overall feeling is one of caprice and delight in picking through melodies rather than dwelling on harmonies. As an old Monk fan, I was truly delighted at the fun they had with "Blue Monk." Quirky, playful, colorful--glorious Thelonious! As an old Jobim fan, how tickled I was to hear that they had included the title cut from one of my favorite recordings from the `60s, "Wave." Magic! If you have not yet heard this CD, I hope that I have aroused your curiosity. As a final incentive, I should mention that the sound quality is first-class, clear and pristine and well balanced between the two instruments.

i was very impressed with the way this album was done each piece standards done with piano by fred bill naturally on guitar done fabulously not a musician myself would like to consider myself one but im not avid listener anyhow the patience selflessness and creativity that each tune exudes is unique blue monk was off the charts to put it simply they got together covered some already covered stuff and seemed to have a blast doing it adding their own styles which brings new character to the songs which never hurts its just the reason why standards or old tunes never die they just keep getting stronger and more evolved dont be hesitant with this one i was briefly glad it was short lived another successful recording available as download on flash or on cloud which is just as guaranteed....