Fred Hersch’s concert at the Montreal Jazz Festival, fittingly held in the intimate Gesù venue, was a tour de force in solo piano performance, and by the end, one felt they had witnessed a master at work.
Hersch’s playing was characterised by extraordinary precision of articulation. Each note was delivered with clarity and determination, yet his touch remained delicate and nuanced. This precision allowed him to navigate complex passages with ease, ensuring that even in moments of dense harmonic clusters and dissonant voicings, the underlying melodies remained clear. Perhaps one of the most remarkable aspects of Hersch’s performance was his masterful use of silence and space. He allowed the music to breathe, creating moments of profound stillness that heightened the emotional impact of his playing.
The repertoire was a journey through a diverse musical landscape, featuring works from jazz legends like Benny Golson and Thelonious Monk, as well as compositions by Antonio Carlos Jobim and Canadians Joni Mitchell and Kenny Wheeler. Hersch’s ability to seamlessly traverse these different genres and styles was a testament to his versatility and deep musical understanding. Each piece was treated with the utmost respect and care, yet infused with Hersch’s distinctive improvisational flair, whether it was one of his own compositions or a reimagined standard. Hersch’s interpretations were deeply personal, reflecting his unique musical voice and his deep connection to the pieces he chose to perform. The encore, Billy Joel’s “And So It Goes,” was a perfectly tender ending to the night, condensing the evening’s themes of introspection and emotional resonance. It’s easy to see why he is one of the most beloved jazz pianists of our time.
