Live in
Europe (May 11, 2018, Palmetto Records) crowns what was a momentous year for
pianist Fred Hersch. Capturing his trio - with longtime associates, bassist
John Hébert and drummer Eric McPherson - in peak form, the new album signals a
high level mark for an ensemble that has been garnering critical and popular
praise for nearly a decade. Consisting of six Hersch originals and two
significant compositions apiece from Thelonious Monk ("We See,"
"Blue Monk") and Wayne Shorter ("Miyako," "Black
Nile"), Live in Europe demonstrates how a working trio breathes as one.
"The
trio has a shared language; by now we each contribute an equal part in what
goes on musically during a performance," Hersch says. He has made a dozen
trio albums over the last 30 years, and he states that "This is the best
trio recording we've yet made, and pretty much as well as I can play in terms
of energy and technical command."
Serendipity
played its role in the birth of the album. The penultimate engagement of the
band's three-week European tour in November of 2017 was held at Flagey Studio
4, in Brussels' former National Institute for Radio Broadcasting. "After
the show, I realized that this was one of the two or three best performances we
had given. The band was in terrific playing form, the acoustics were perfect
and the piano was outstanding," Hersch recalls. "On returning to New
York, I thought about the show and was then pleasantly surprised to find out
that it had indeed been recorded. On hearing it, I was again struck by the
level of creativity, content and energy."
Live in
Europe finds the trio in near telepathic communion. While each band member is a
virtuoso player, individual bravura is always subordinate to group interplay.
Lyricism, open-eared interaction and a respect for the power of space are all
invaluable components of the trio's identity. In such performances as the
frisky "Skipping," the affecting ballad, "Bristol Fog"
(dedicated to the late British pianist John Taylor), the joyous "Newklypso
(dedicated to Hersch's hero Sonny Rollins) and the bluesy tribute to New
Orleans "The Big Easy," Hersch, Hébert and McPherson give a master
class in ensemble communication, uniting as one yet allowing each other to
freely react with spontaneous invention. A masterful solo encore of "Blue
Monk" spotlights the depth of Hersch's undiminished improvisational skills
and expressive powers.
2017 was as
a particularly bountiful period for the always-productive Hersch. Highlights
included the publication of Hersch's acclaimed autobiography Good Things Happen
Slowly: A Life In and Out of Jazz (named one of the Five Best Memoirs of 2017
by both The Washington Post and The New York Times) and two Grammy Award
nominations for his revealing solo album Open Book on Palmetto Records: Best
Jazz Instrumental Album and Best Improvised Jazz Solo (Benny Golson's
"Whisper Not"). In addition, Hersch was awarded the 2017 Prix in
Honorem Jazz for the entirety of his career from l'Académie Charles Cros in
France. Hersch also opened the Jazz At Lincoln Center 2017 Season with his
"Leaves of Grass," a full-evening setting of Walt Whitman's words for
vocalists Kurt Elling, Kate McGarry and an instrumental octet.
Add to that
such recent accolades as the 2016 Doris Duke Artist award and the 2016 Jazz
Pianist of the Year award from the Jazz Journalists Association-not to mention
the release of the feature documentary The Ballad of Fred Hersch, premiered at
the prestigious Full Frame Film Festival in March 2016 to rave reviews and now
streaming on Vimeo-and you have that most auspicious of times when an artist is
being rightfully acknowledged for attaining new pinnacles of ability and
inventiveness.
That Hersch
is reaching such artistic heights after his well-publicized battle with HIV and
a subsequent 2-month coma in 2008 is extraordinary. "The release of this album is also a
personal triumph in that it once again reminds me of how lucky I've been,"
Hersch states. "It's been nearly ten years since my coma and to find that
I can play with the focus and energy that I have now is remarkable to me."
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. Hersch has earned a total of twelve Grammy nominations since 1993 in
the categories of Best Jazz Instrumental Performance, Best Instrumental
Composition and Best Improvised Jazz Solo. Nine of his nominations have come
since his recovery from a coma in 2008.
Hersch has
long defined jazz's creative edge in a wide variety of settings, from his
breathtaking solo recitals and exploratory duos to his extraordinary trios and
innovative chamber settings. With some three dozen albums to his credit as a
leader or co-leader, he consistently wins an international array of awards and
lavish critical praise for his albums. Hersch has earned similar distinction
with his writing, garnering a 2003 Guggenheim Fellowship in Composition. He's
collaborated with an astonishing range of artists throughout the worlds of jazz
(Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, Bill Frisell); classical
(Renée Fleming, Dawn Upshaw, Christopher O'Riley); and Broadway (Audra
McDonald). Long admired for his sympathetic work with singers, Hersch has
joined with such notable jazz vocalists as Nancy King, Janis Siegel, Cecile
McLorin Salvant, Norma Winstone and Kurt Elling.
For two
decades Hersch has been a passionate spokesman and fund-raiser for AIDS
services and education agencies. He has produced and performed on four benefit
recordings and in numerous concerts for charities including Classical Action:
Performing Arts Against AIDS and Broadway Cares/Equity Fights AIDS. To date,
his efforts have raised more than $300,000. He has also been a keynote speaker
and performer at international medical conferences in the U.S. and Europe.
A committed
educator, Hersch has taught at New England Conservatory, The Juilliard School,
The New School and The Manhattan School of Music. He is currently a Visiting
Artist at Rutgers University. He holds honorary doctorate degrees from Grinnell
College and Northern Kentucky University. Hersch's influence has been widely
felt on a new generation of jazz pianists, from former students Brad Mehldau
and Ethan Iverson to his colleague Jason Moran, who has said, "Fred at the
piano is like LeBron James on the basketball court. He's perfection."