The Surrounding Green album review @ All About Jazz

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data-original-title=”” title=””>Fred Hersch‘s The Surrounding Green , his third release for ECM Records, is a testament to the art of the piano trio, combining lyrical introspection with sophisticated interplay. Recorded in May 2024 at Lugano’s Auditorio Stelio Molo under Manfred Eicher’s meticulous production, the album features Hersch on piano,

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data-original-title=”” title=””>Drew Gress on double bass and

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data-original-title=”” title=””>Joey Baron on drums. Their decades-honed chemistry gives the album musical maturity, creating a sound that is both intimate and expansive.

The album’s seven tracks—three Hersch originals “Plainsong,” “The Surrounding Green,” “Anticipation”” and four reimagined 20th-century works :”Law Years” by

Ornette Coleman

saxophone, alto
1930 – 2015

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data-original-title=”” title=””>Ornette Coleman, “Palhaço” by

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data-original-title=”” title=””>Egberto Gismonti “Embraceable You” by

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data-original-title=”” title=””>George Gershwin, and “First Song” by Charlie Haden}}—illustrates the trio’s ability to balance restraint with expressiveness. Each piece feels carefully chosen, contributing to a cohesive narrative.

Hersch’s compositions are central to the album, marked by thoughtful elegance and emotional resonance. “Plainsong” opens with intricate harmonies and a melancholic melody, elevated by Gress’ resonant bass and Baron’s delicate cymbal work. Its counterpoint unfolds with quiet intensity, setting a contemplative tone. “The Surrounding Green,” the title track, is a standout, its melodic invention feeling both personal and universal. The trio manages its ebb and flow with effortless grace, creating a sense of shared discovery. “Anticipation” introduces a Latin-derived rhythm, showing Hersch’s skill for creating melodies that stay in the mind. “Law Years” transforms Coleman’s angular melody into a rhythmically swinging affair, driven by Baron’s dynamic drumming and Hersch’s playful piano lines. “Palhaço” unfolds with subtle interplay highlighting the trio’s communication. “Embraceable You” is rendered with free-ranging, subtle swing, its relaxed yet precise approach breathing new life into the Gershwin standard. “First Song” dedicated to Haden (a former collaborator of Hersch and Baron), is an exploration of the melody, deepened by the trio’s shared history.

A defining feature of the album is Hersch’s use of space and silence . He understands that what is left unplayed can be as powerful as the notes themselves, allowing phrases to breathe and harmonies to resonate. This deliberate pacing creates a thoughtful quality, drawing listeners into an active, immersive experience. The clear sound engineering captures every nuance of Hersch’s touch, the rich tones of the piano, and the trio’s interplay in the acoustics of Lugano’s auditorium. Rooted deeply in jazz tradition, Hersch pushes its boundaries with elements of classical impressionism and contemporary improvisation. Yet his music remains remarkably accessible, its beauty speaking to a wide audience. The album’s brevity is consonant with Hersch’s goal of creating a “concentrated” record, where every note feels essential. Eicher’s production enhances this clarity.

The Surrounding Green