Reach up to the CD shelf and pull a handful of Fred Hersch
CDS down. You'll find that the pianist has a good thing going with the Village Vanguard. Alive At The Vanguard
(Palmetto Records, 2012) a stellar two CD set, and terrific solo set, Alone At the Vanguard
(Palmetto Records, 2011), are Hersch's most recent recordings from the legendary venue; and now he and his trio offer up Sunday Night At the Vanguard
Hersch says this is his best trio album. Almost every artist says that about their latestthat this one's the best. But he might be right. The vote here would have gone to a studio recording, Whirl
(Palmetto Records, 2010), a marvelous in-the-zone effort with this same trioJohn Hebert
on bass, Eric McPherson
playing drumsuntil Sunday Night At The Vanguard
The trio opens with Richard Rodgers' "A Cockeyed Optimist," which is not exactly a familiar tune, in spite of its authorship. But as an opener it works to perfection, with a silvery, raindrop intro that finds a quirky groove that paints an upbeat atmosphere, with a bright melody that sounds like a second cousin to "It Might As Well Be Spring."
"Serpentine," a Hersch original, is a wandering slither of a tune, unpredictable and spooky, lovely in its fluid, abstract way; "The Optimum Thing" sparkles; and "Blackwing Palomino," maybe the only jazz tune ever written for a pencil, has the feel of a new jazz standard.
Hersch's output has been consistently excellent, but sometimesas on this special Sunday Nightthe stars align. The trio, from the opening notes of "The Cockeyed Optimist," is locked into and to a telepathic interplay zoneplayful and eloquent, elegant and assured.
The Lennon and McCartney gem, "For No One," has the forlorn desperation of the song's lyrical content. The Beatles' versiona masterpiece in its own rightdidn't take things to this dark of a place. Kenny Wheeler
's "Everybody's Song But My Own" rolls in a restless, jittery mode. "The Peacocks," from the pen of Jimmy Rowles, is pensive, lonely. Hersch explores an almost unmatchable majesty of the tune, with a bit of dissonance, before he jumps into Thelonious Monk
, with "We See," an irrepressible jewel, followedas an encore to the showthe Fred Hersch-penned "Valentine," one of the more inward tunes in Hersch's songbook, counterpointing a mostly gregarious, effervescent set by one of the jazz world's top piano trios at the top of their game.