Classical Influence on the Musical Story of Fred HerschHis First Solo Concert in Korea

by Yujin Lim

Review of Fred Hersch at Mapo Art Center, Seoul, South Korea April 21, 2013Published in the May 2013 issue of The Move

Solo performances can be uncomfortable for jazz pianists who play most frequently with the support of a rhythm section in trio or quartet settings. Solo ballad playing may present an even greater challenge. However no difficulties or limitations were apparent in the solo performances of Fred Hersch during his April 21 concert in Seoul.

Hersch approached this performance like a master story teller who keeps his audience fully engaged every moment. The solo setting is perhaps the best vehicle for revealing the experience and background of the performer. Although I am familiar with Herschʼs biography and discography through published interviews and articles, today I was deeply touched in a personal way by his performance.

Hersch began the concert with the Dizzy Gillespie classic “Con Alma” and “Monkʼs Dream” by Thelonious Monk. Both received beautifully delicate readings by Hersch.  Throughout the performance he demonstrated his expertise through various rhythmic devices and imaginative arrangements. I was moved by his sincere desire to communicate with the Korean audience through his music.

The New York Times has referred to Fred Hersch as a lesser-known 21st Century jazz innovator. I first encountered him in his role as a jazz educator in New York. He recently spoke about his teaching philosophy in an American magazine article. Regarding the role of lessons in his own development he said “I never took a jazz piano lesson, what I play is mine.” However, he did acknowledge that he practiced from both the Omni Book (Charlie Parker transcriptions) and Bachʼs 371 Chorales.

When I studied jazz in America, there was not a boundary between jazz and classical music. That was very impressive to me. There may be different points of view about the relationship between jazz and classical music but itʼs undeniable that the harmonic basis of jazz is rooted in the European classical tradition. For example, many jazz musicians like Miles Davis or Bill Evans were educated in classical music and they studied it carefully and continuously. Twelve Tone Tune by Bill Evans is an excellent example of classical influence.

In the past Fred Hersch has recorded albums that were focused on classical music. At the Seoul concert he played an original piece deeply influenced by Schumann, clearing demonstrating his integration of both idioms. His classical background was also evident

in his approach to the instrument which included brilliant left hand technique, inner-voice motion, and Bach-like counterpoint.

Sometimes musicians can play like caged birds. The study of jazz includes an emphasis on harmony, rhythm, scales, and other theoretical concepts. Theoretical analysis can permeate the listening or playing experience. We have to be careful not to miss the real music! I learned many things from Fred Herschʼs touching performance. I sincerely admire him and his music.

Yujin Lim (jazz pianist)

English translation by Eun Jung ParkEnglish version edited by Don Glanden