(Jazz, Post-Bop, Piano, Modern Jazz) Fred Hersch - Alone at the Vanguard {Palmetto PM 2147} - 2011, FLAC (image+.cue), lossless
Издатель (лейбл):
Треклист:
Fred Hersch / Alone at the Vanguard
Жанр: Jazz, Post-Bop, Piano, Modern Jazz
Год издания: 2011
Издатель (лейбл): Transdreamer LTD / Palmetto Jazz
Номер по каталогу: PM 2147
Аудиокодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 01:11:20
Источник (релизер): Собственный рип с оригинального фирменного диска (Darkman)
Наличие сканов в содержимом раздачи: да
Треклист:
1. In the Wee Small Hours of the Morning 7:25
2. Down Home (Dedicated to Bill Frisell) 7:35
3. Echoes 8:27
4. Lee's Dream (Dedicated to Lee Konitz) 7:06
5. Pastorale (Dedicated to Robert Schumann) 7:05
6. Doce de Coco 8:09
7. Memories of You 8:39
8. Work 8:47
9. Encore: Doxy 8:04
Recorded Nov. 30 & Dec. 5, 2010 at the Village Vanguard in New York.
Personnel:
Fred Hersch - piano
Жанр: Jazz, Post-Bop, Piano, Modern Jazz
Год издания: 2011
Издатель (лейбл): Transdreamer LTD / Palmetto Jazz
Номер по каталогу: PM 2147
Аудиокодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 01:11:20
Источник (релизер): Собственный рип с оригинального фирменного диска (Darkman)
Наличие сканов в содержимом раздачи: да
Треклист:
1. In the Wee Small Hours of the Morning 7:25
2. Down Home (Dedicated to Bill Frisell) 7:35
3. Echoes 8:27
4. Lee's Dream (Dedicated to Lee Konitz) 7:06
5. Pastorale (Dedicated to Robert Schumann) 7:05
6. Doce de Coco 8:09
7. Memories of You 8:39
8. Work 8:47
9. Encore: Doxy 8:04
Recorded Nov. 30 & Dec. 5, 2010 at the Village Vanguard in New York.
Personnel:
Fred Hersch - piano
Лог создания рипа
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 26. August 2011, 1:34
Fred Hersch / Alone at the Vanguard
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Read mode : Secure
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Read offset correction : 102
Overread into Lead-In and Lead-Out : No
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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
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Selected bitrate : 320 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V %s
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 7:25.37 | 0 | 33411
2 | 7:25.37 | 7:34.73 | 33412 | 67534
3 | 15:00.35 | 8:27.00 | 67535 | 105559
4 | 23:27.35 | 7:06.52 | 105560 | 137561
5 | 30:34.12 | 7:05.65 | 137562 | 169501
6 | 37:40.02 | 8:09.18 | 169502 | 206194
7 | 45:49.20 | 8:39.07 | 206195 | 245126
8 | 54:28.27 | 8:47.13 | 245127 | 284664
9 | 63:15.40 | 8:04.32 | 284665 | 320996
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AccurateRip summary
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Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
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Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 2011
REM DISCID 7D10B709
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Fred Hersch"
TITLE "Alone at the Vanguard"
FILE "Fred Hersch - Alone at the Vanguard.flac" WAVE
TRACK 01 AUDIO
TITLE "In the Wee Small Hours of the Morning"
PERFORMER "Fred Hersch"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Down Home"
PERFORMER "Fred Hersch"
INDEX 01 07:25:37
TRACK 03 AUDIO
TITLE "Echoes"
PERFORMER "Fred Hersch"
INDEX 01 15:00:35
TRACK 04 AUDIO
TITLE "Lee's Dream"
PERFORMER "Fred Hersch"
INDEX 01 23:27:35
TRACK 05 AUDIO
TITLE "Pastorale"
PERFORMER "Fred Hersch"
INDEX 01 30:34:12
TRACK 06 AUDIO
TITLE "Doce de Coco"
PERFORMER "Fred Hersch"
INDEX 01 37:40:02
TRACK 07 AUDIO
TITLE "Memories of You"
PERFORMER "Fred Hersch"
INDEX 01 45:49:20
TRACK 08 AUDIO
TITLE "Work"
PERFORMER "Fred Hersch"
INDEX 01 54:28:27
TRACK 09 AUDIO
TITLE "Encore: Doxy"
PERFORMER "Fred Hersch"
INDEX 01 63:15:40
All About Jazz
Fred Hersch: Alone At The Vanguard (2011)
By DAN BILAWSKY, Published: February 26, 2011
Creating an album title—Alone At The Vanguard—that reads as a double entendre and an oxymoron—whether intentional or not—is a great achievement, but not nearly as impressive as the music that pianist Fred Hersch presents on this live recording. While the Vanguard in the title is a direct reference to the hallowed basement club in New York City where this album was recorded, Hersch truly holds a rarefied position in the vanguard of the jazz pianist ranks. While he has been known to stroll along a broad array of aural avenues, comfortably moving from musical meditations on the work of Walt Whitman to piano trio explorations to unique encounters with far-reaching artists like Bill Frisell and Renee Fleming, his solo piano work might be his greatest strength.
The people at Palmetto had the foresight to record every set during Hersch's week-long run at the end of 2010, but rather than cherry pick a number or two from each set—à la Stan Getz's People Time (Polygram, 1992)—they present a start-to-finish set. While a future Complete Fred Hersch At The Village Vanguard might be a nice thought, it's only wishful thinking for now, and this recording is more than sufficient to satiate the appetite of his fans until that day arrives.
Included within the program are a pair of paeans—"Lee's Dream (Dedicated To Lee Konitz)" and "Down Home (Dedicated To Bill Frisell), which appeared on Fred Hersch Trio + 2 (Palmetto, 2004); classics from jazz giants (Sonny Rollins ("Doxy") and Thelonious Monk ("Work"); and a bit of Brazilian magic in the form of Bandolim's "Doco de Coco"; but a Frank Sinatra standard beats all in terms of emotional impact. Hersch opens the set with a take on "In The Wee Small Hours Of The Morning" that conveys a complete and appropriate sense of isolation and bruised masculinity, while also providing hopeful signs for a better tomorrow.
After such an affecting opener, Hersch could really do no wrong, but he doesn't take his performance lightly: instead, he displays musical haughtiness and cheer when saluting Frisell; delights in creating fine narrative arc; toys with a more tempered attack on his nod to Konitz; provides a pearly touch in the upper reaches of the piano; and brings greater dignity and development to the work of Monk than 99.9 percent of the people that peddle his wares.
While Hersch's slowly roaming dissection of "Doxy" ends the program on an understated note, an artist of his caliber doesn't need fireworks to impress at the end of a night. The evolution of his every idea can freeze a smile on the face of his audience, command attention, and leave a room rapt with appreciation and admiration. Alone At The Vanguard is the proof.
----
Fred Hersch: Alone at the Vanguard (2011)
By RAUL D'GAMA ROSE, Published: May 13, 2011
The beauty of subtle emotion and the glacial calm of Fred Hersch's pianism are so arresting and so captivating that it virtually stops the breath. His mastery of the instrument, coupled with a deep and soulful connection with the joy of music gives Hersch the unique power to both entertain as well as heal the mind with utmost spirituality. This is so rare a phenomenon among musicians that only a handful of them in recent times—perhaps John Coltrane and Bobby McFerrin—may have succeeded in connecting the dots between body and soul. The spiritualism of his playing apart, Hersch has flawless technique and expresses himself with nuanced brilliance, unfurling strings of phrases and musical sentences like bejeweled artifacts that come alive at his fingertips, seductively swirling around the room.
Alone at the Vanguard is a stunning album that unravels from one gem of a song to another. It confirms the belief that Hersch is uniquely qualified to play solo. Like Thelonious Monk, Bill Evans, Keith Jarrett, Don Pullen, Jaki Byard, Cecil Taylor and a handful of other pianists, Hersch holds sway from the get go—in this case, from the time his fingers elicit playful responses during the first bars of "In the Wee Small Hours of the Morning." Hersch plays to no pattern. His mind is a hotbed of ideas and they flow like mountainous streams, gathering in force and muscularity as they tumble down the terrain of the song. After stating the terms of the melody in his own voice, Hersch is off on an adventurous gambol along the inner, secret garden of the song. He is apt to discover a topography of new and rapturous beauty. His masterful dedication to Lee Konitz, "Lee's Dream," unfolds like an ocean of imaginary beings that interact to sing a song of exceeding beauty. His version of Robert Schumann's "Pastorale" is a veritable journey of discovery—both about its composer and his inspiration—complete with awe-inspiring dramatic twists and turns.
Hersch has a fine sense of his place in the history of his art as well. Not only does he appear to owe a debt to late Romantics, such as Schumann, but he also finds himself following the great tradition of bebop including Thelonious Monk and late boppers such as Sonny Rollins. This is not only evident from his choice of repertoire for the date, but his examining of the deep-set rhythms as well as the emotions of that music. The pianist's "Echoes" swings and swaggers with the polyrhythms that characterized this creation of the high art of the Afro-American pantheon presided over by someone like Monk. Thus, Hersch is able to produce this solo work of remarkable beauty and relevance.
By DAN BILAWSKY, Published: February 26, 2011
Creating an album title—Alone At The Vanguard—that reads as a double entendre and an oxymoron—whether intentional or not—is a great achievement, but not nearly as impressive as the music that pianist Fred Hersch presents on this live recording. While the Vanguard in the title is a direct reference to the hallowed basement club in New York City where this album was recorded, Hersch truly holds a rarefied position in the vanguard of the jazz pianist ranks. While he has been known to stroll along a broad array of aural avenues, comfortably moving from musical meditations on the work of Walt Whitman to piano trio explorations to unique encounters with far-reaching artists like Bill Frisell and Renee Fleming, his solo piano work might be his greatest strength.
The people at Palmetto had the foresight to record every set during Hersch's week-long run at the end of 2010, but rather than cherry pick a number or two from each set—à la Stan Getz's People Time (Polygram, 1992)—they present a start-to-finish set. While a future Complete Fred Hersch At The Village Vanguard might be a nice thought, it's only wishful thinking for now, and this recording is more than sufficient to satiate the appetite of his fans until that day arrives.
Included within the program are a pair of paeans—"Lee's Dream (Dedicated To Lee Konitz)" and "Down Home (Dedicated To Bill Frisell), which appeared on Fred Hersch Trio + 2 (Palmetto, 2004); classics from jazz giants (Sonny Rollins ("Doxy") and Thelonious Monk ("Work"); and a bit of Brazilian magic in the form of Bandolim's "Doco de Coco"; but a Frank Sinatra standard beats all in terms of emotional impact. Hersch opens the set with a take on "In The Wee Small Hours Of The Morning" that conveys a complete and appropriate sense of isolation and bruised masculinity, while also providing hopeful signs for a better tomorrow.
After such an affecting opener, Hersch could really do no wrong, but he doesn't take his performance lightly: instead, he displays musical haughtiness and cheer when saluting Frisell; delights in creating fine narrative arc; toys with a more tempered attack on his nod to Konitz; provides a pearly touch in the upper reaches of the piano; and brings greater dignity and development to the work of Monk than 99.9 percent of the people that peddle his wares.
While Hersch's slowly roaming dissection of "Doxy" ends the program on an understated note, an artist of his caliber doesn't need fireworks to impress at the end of a night. The evolution of his every idea can freeze a smile on the face of his audience, command attention, and leave a room rapt with appreciation and admiration. Alone At The Vanguard is the proof.
----
Fred Hersch: Alone at the Vanguard (2011)
By RAUL D'GAMA ROSE, Published: May 13, 2011
The beauty of subtle emotion and the glacial calm of Fred Hersch's pianism are so arresting and so captivating that it virtually stops the breath. His mastery of the instrument, coupled with a deep and soulful connection with the joy of music gives Hersch the unique power to both entertain as well as heal the mind with utmost spirituality. This is so rare a phenomenon among musicians that only a handful of them in recent times—perhaps John Coltrane and Bobby McFerrin—may have succeeded in connecting the dots between body and soul. The spiritualism of his playing apart, Hersch has flawless technique and expresses himself with nuanced brilliance, unfurling strings of phrases and musical sentences like bejeweled artifacts that come alive at his fingertips, seductively swirling around the room.
Alone at the Vanguard is a stunning album that unravels from one gem of a song to another. It confirms the belief that Hersch is uniquely qualified to play solo. Like Thelonious Monk, Bill Evans, Keith Jarrett, Don Pullen, Jaki Byard, Cecil Taylor and a handful of other pianists, Hersch holds sway from the get go—in this case, from the time his fingers elicit playful responses during the first bars of "In the Wee Small Hours of the Morning." Hersch plays to no pattern. His mind is a hotbed of ideas and they flow like mountainous streams, gathering in force and muscularity as they tumble down the terrain of the song. After stating the terms of the melody in his own voice, Hersch is off on an adventurous gambol along the inner, secret garden of the song. He is apt to discover a topography of new and rapturous beauty. His masterful dedication to Lee Konitz, "Lee's Dream," unfolds like an ocean of imaginary beings that interact to sing a song of exceeding beauty. His version of Robert Schumann's "Pastorale" is a veritable journey of discovery—both about its composer and his inspiration—complete with awe-inspiring dramatic twists and turns.
Hersch has a fine sense of his place in the history of his art as well. Not only does he appear to owe a debt to late Romantics, such as Schumann, but he also finds himself following the great tradition of bebop including Thelonious Monk and late boppers such as Sonny Rollins. This is not only evident from his choice of repertoire for the date, but his examining of the deep-set rhythms as well as the emotions of that music. The pianist's "Echoes" swings and swaggers with the polyrhythms that characterized this creation of the high art of the Afro-American pantheon presided over by someone like Monk. Thus, Hersch is able to produce this solo work of remarkable beauty and relevance.
Palmetto
ALBUM INFO:
NOMINATED FOR TWO GRAMMYS The Village Vanguard has been open since 1935 and up until a few years ago they had never invited a pianist to perform solo at the club. Fred Hersch holds the unique distinction of being the first pianist in the long history of the Vanguard to do just that....twice - so far. Alone at the Vanguard documents Mr. Hersch's second solo piano engagement (Nov 30 & Dec 5, 2010) at the renowned club. All 6 nights and 12 sets were recorded and there was much to choose from, but in the end it was the last set of the last night that Fred chose to go with. Some say that since Fred recovered from his much-documented coma, his playing is deeper and more emotional. Although all of the sets had great performances, this last set from the last night is a true testament to his mastery.
http://www.palmetto-records.com/album.php?album=172
NOMINATED FOR TWO GRAMMYS The Village Vanguard has been open since 1935 and up until a few years ago they had never invited a pianist to perform solo at the club. Fred Hersch holds the unique distinction of being the first pianist in the long history of the Vanguard to do just that....twice - so far. Alone at the Vanguard documents Mr. Hersch's second solo piano engagement (Nov 30 & Dec 5, 2010) at the renowned club. All 6 nights and 12 sets were recorded and there was much to choose from, but in the end it was the last set of the last night that Fred chose to go with. Some say that since Fred recovered from his much-documented coma, his playing is deeper and more emotional. Although all of the sets had great performances, this last set from the last night is a true testament to his mastery.
http://www.palmetto-records.com/album.php?album=172
Amazon
Editorial Reviews:
Review:
Mr. Hersch has developed a solo concept second to none in jazz. --Ben Ratliff, New York Times
...a modern master. --Ted Pankin, DownBeat
Product Description:
Fred Hersch holds the unique distinction of being the first pianist to be asked to play solo at the renowned Village Vanguard in New York City. This recording documents his second and most recent week of performances at the club, November 30 through December 5, 2010. Some say after Fred recovered from his coma, his playing is deeper and more emotional. This album is a testament to that fact.
Hersch is widely considered a genius on the piano. He moved to New York from Cincinnati in the 1970s, earning his credibility as a piano prodigy at Bradley's. His list of credits as a band leader, co-leader, sideman and soloist are astounding. He has worked extensively with jazz masters Stan Getz, Joe Henderson, and Jane Ira Bloom, Art Farmer, Toots Thielemans, Gary Burton, Bill Frisell, Sam Jones and Charlie Haden and has appeared on over 100 recordings. He is also a three-time GRAMMY© nominee.
Customer Reviews:
4.0 out of 5 stars - solo piano album shines - October 15, 2011
By: Paul Allaer TOP 100 REVIEWERVINE™ VOICE
Fred Hersch is best known for his combo-jazz output in the Fred Hersch Trio, and has released over 30 albums since the mid-80s, and counting. Now comes this live recording.
"Alone At the Vanguard" (9 tracks; 71 min.) is a solo piano release, recorded on the last night of a week of performances at the Village Vanguard in New York. As Hersch comments in the liner notes: "We recorded all six nights, twelve sets in all. But I have ultimately decided to release, in its entirety, the final set of the last night of th week. The week had gotten stronger and better and I was 'in the zone'. So rather than assemble a 'best of' from all the other sets, you are holding just one set that I feel pretty great about", Pretty great? Outstanding is more like it! Starting with a delightful standard "In the Wee Small Hours of the Morning", Hersch is in top form on the Steinway piano. The setlist brings a mix of covers and originals, and the blend just spuberbly. Check out the Hersch-penned "Down Home" and "Echoes", and then compare to the Thelonius Monk cover "Work". Just wow.
In all, this is an outstanding live recording. No, this isn't for anyone in a hurry. Now that Fall is upon us, and Winter around the corner, this is the perfect record to play with the open fire and a good book to read.
----
4.0 out of 5 stars - A soft touch and meditative timing on favorites and ballads - November 14, 2011
By: HappyJA
When it comes to classic jazz ballads, it's hard for me to get away from the breathy beauty of Dexter Gordon on saxophone or Billy Holiday's soul searching renditions. That is something of what you will find in Fred Hersch's piano playing -- much of the beauty I hear in his playing comes from his amazing touch and sublime timing. I love solo piano and rank this album up there with some of my favorites -- Bill Evans' "Alone Again", Randy Weston's "Marrakesh", Gonzalo Rubalcaba's "Solo" -- I cannot get through a long plane flight without at least one full play through this album to lull me into a comfortable daze.
----
5.0 out of 5 stars - Jazz at its most poetic and exquisite - December 8, 2012
By: Guy S. Wiggins
I saw the Fred Hersch trio at the Vanguard and he was one of the best, most emotionally powerful and subtle players I had ever seen. Then a friend of mine gave me this album. All I can say is wow. He is a profoundly talented player but in a very deep, quiet and intensely emotional way - in the manner of Bill Evans but his voice is totally unique. Because of his style, this would definitely work as background music for a dinner party, but it really needs to be listened to closely and on a good stereo to appreciate the artistry. And if you ever get the chance, try and see him live and enjoy the intimate experience of sharing this exquisite beauty with others.
----
All Other Customer Reviews @ Amazon: http://www.amazon.com/Alone-at-Vanguard-Fred-Hersch/product-reviews/B004GIVKW4
Review:
Mr. Hersch has developed a solo concept second to none in jazz. --Ben Ratliff, New York Times
...a modern master. --Ted Pankin, DownBeat
Product Description:
Fred Hersch holds the unique distinction of being the first pianist to be asked to play solo at the renowned Village Vanguard in New York City. This recording documents his second and most recent week of performances at the club, November 30 through December 5, 2010. Some say after Fred recovered from his coma, his playing is deeper and more emotional. This album is a testament to that fact.
Hersch is widely considered a genius on the piano. He moved to New York from Cincinnati in the 1970s, earning his credibility as a piano prodigy at Bradley's. His list of credits as a band leader, co-leader, sideman and soloist are astounding. He has worked extensively with jazz masters Stan Getz, Joe Henderson, and Jane Ira Bloom, Art Farmer, Toots Thielemans, Gary Burton, Bill Frisell, Sam Jones and Charlie Haden and has appeared on over 100 recordings. He is also a three-time GRAMMY© nominee.
Customer Reviews:
4.0 out of 5 stars - solo piano album shines - October 15, 2011
By: Paul Allaer TOP 100 REVIEWERVINE™ VOICE
Fred Hersch is best known for his combo-jazz output in the Fred Hersch Trio, and has released over 30 albums since the mid-80s, and counting. Now comes this live recording.
"Alone At the Vanguard" (9 tracks; 71 min.) is a solo piano release, recorded on the last night of a week of performances at the Village Vanguard in New York. As Hersch comments in the liner notes: "We recorded all six nights, twelve sets in all. But I have ultimately decided to release, in its entirety, the final set of the last night of th week. The week had gotten stronger and better and I was 'in the zone'. So rather than assemble a 'best of' from all the other sets, you are holding just one set that I feel pretty great about", Pretty great? Outstanding is more like it! Starting with a delightful standard "In the Wee Small Hours of the Morning", Hersch is in top form on the Steinway piano. The setlist brings a mix of covers and originals, and the blend just spuberbly. Check out the Hersch-penned "Down Home" and "Echoes", and then compare to the Thelonius Monk cover "Work". Just wow.
In all, this is an outstanding live recording. No, this isn't for anyone in a hurry. Now that Fall is upon us, and Winter around the corner, this is the perfect record to play with the open fire and a good book to read.
----
4.0 out of 5 stars - A soft touch and meditative timing on favorites and ballads - November 14, 2011
By: HappyJA
When it comes to classic jazz ballads, it's hard for me to get away from the breathy beauty of Dexter Gordon on saxophone or Billy Holiday's soul searching renditions. That is something of what you will find in Fred Hersch's piano playing -- much of the beauty I hear in his playing comes from his amazing touch and sublime timing. I love solo piano and rank this album up there with some of my favorites -- Bill Evans' "Alone Again", Randy Weston's "Marrakesh", Gonzalo Rubalcaba's "Solo" -- I cannot get through a long plane flight without at least one full play through this album to lull me into a comfortable daze.
----
5.0 out of 5 stars - Jazz at its most poetic and exquisite - December 8, 2012
By: Guy S. Wiggins
I saw the Fred Hersch trio at the Vanguard and he was one of the best, most emotionally powerful and subtle players I had ever seen. Then a friend of mine gave me this album. All I can say is wow. He is a profoundly talented player but in a very deep, quiet and intensely emotional way - in the manner of Bill Evans but his voice is totally unique. Because of his style, this would definitely work as background music for a dinner party, but it really needs to be listened to closely and on a good stereo to appreciate the artistry. And if you ever get the chance, try and see him live and enjoy the intimate experience of sharing this exquisite beauty with others.
----
All Other Customer Reviews @ Amazon: http://www.amazon.com/Alone-at-Vanguard-Fred-Hersch/product-reviews/B004GIVKW4
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