I realize that “the best” is always a subjective thing, but the fact is that I return to Fred Hersch’s music more often than any other trio around. This team of Hersch with John Hebert/b and Eric McPherson/dr have been around for quite awhile, and you can tell by the way they anticipate each other’s moves like the 70s Dodger infield of Lopes, Garvey, Cey and Russell.
It is assumed that the album’s title is a reference to the iconic Bill Evans recordings in the same venue a generation ago. There are some similarities, as “Serpentine” has some bass work by Herbert that stretches out in a similar fashion to La Faro’s work on “Gloria’s Steps.” The team shows it’s bop chops on the clever “ The Optimum Thing” that ends at the finish line lock in step, to everyone’s surprise, while Hersh’s lyricism on “A Cockeyed Optimist” is a melodic gem.
Quite clever is the idea and delivery of a take on The Beatles’ “For No One” that floats like a mountain mist, while Jimmy Rowles’ “The Peacocks” allows Hebert and McPherson to apply some textured wallpaper. Few contemporary artists are able to capture the Monk mood as well as Hersch, and “We See” is wonderfully prismatic in its vibe, while the solo encore shows Hersh’s patient use of space like Renoit with a brush. Every stroke counts here.
Palmetto Records