This past weekend I finally did something I've been hoping to do for about four years: I met
latin jazz composer Clare Fischer, who wrote Morning, among other famous tunes.
I recorded an a capella version of Morning on my debut CD, Jazzmérica. Ever since then I've been on Mr. Fischer's mailing list and hearing about various gigs with his big band and vocal groups.
The shows at the gorgeous Los Angeles listening room,
The Jazz Bakery, were directed by Mr. Fischer's son Brent. I had a chance to chat with Clare Fischer before the show -- in multiple languages, no less! He has just turned 80, and is still a witty fellow, prone to calling out comments from the audience during the show.
The first set began with Lenny's Pennies, followed by what Brent Fischer called "the sixth incarnation of this tune." It was none other than Morning. So many textures were in play as saxes switched to flutes playing the melody line, and multiple upward modulations through the B section helped the tune really build. Then flute and clarinet came back quietly, followed by muted trumpets. I sat there, enraptured by the dynamic and blend exhibited by this big band. I couldn't believe how perfectly the sound carried -- my only complaint in that respect was that I couldn't hear the vibes well when Brent played them on various tunes, usually doubling a horn line.
Next came Cal's On, a tribute to Cal Tjader. "This was a melody that existed on paper for years," said Brent, and he begged his father to flesh it out. Finally, as a teenager he scribbled a large note across the top of the sheet that said "Just write the chords down!"
Written in the 1980s, The Quiet Side had been "attempted by many bands, but only really played by this one," said Brent. A slow wash of unaccompanied low horns begins to accelerate as Brent conducts in the drummer, and a later samba feel is irresistibly bubbly.
Introducing the next two pieces, arrangements by Brent Fischer of two movements of Pictures at an Exhibition (Promenade and The Old Castle), he explained that these had been written five years ago as his father struggled with serious diabetes problems.
These lovely arrangements were followed by a wonderful moment as the senior Fischer came on stage to play piano on his Brazilian tune Pensativa (recorded as solo piano on the album Just Me). The band sat in silence as Brent played electric bass, joining the drummer and former Hi-Lo singer Don Shelton on clarinet. Clare Fischer's touch and expressive harmonic range had lost no magic, and he played with great ease.
Jumping Jacks, from the 1970s (quite evident in its style), came with a fun diversion: Contrabass saxophone. This unique instrument is apparently only one of about eight that were ever made. Rob Verdi is the owner of this behemoth, along with many other unusual saxophones, and he mentioned after the concert that
he has a show called "Saxophobia" that features most of the instruments, as well as a CD by the same name. On a later tune, he whipped out the slide saxophone, which sounds a bit silly as you might expect, and got some laughs from the audience.
Step Up is another tune by Brent for 32-piece big band, but scrunched down effectively for the band at the Bakery.
Man Is No Damn Good was written by Clare Fischer in the 1970s after he became disgusted with commercial work. It starts with a bell patch on synth and bowed bass. Lullabye and Goodnight plays at one point against weird harmonies. It would be nice to give that tune a second listen, as it seemed ambitious but I'm not sure how emotionally effective it was.
A danzon came next, "similar to a cha cha," according to Brent, though it didn't sound very danzon-ish to me. This was called Fantasia Cubana.
"Every band needs a good tune in five," joked Brent as he introduced The Greek, which was an absolute toe-tapper with some similarity in feel to the Mission:Impossible theme. "Wouldn't this have been a great theme song for Kojak?" he said.
The concert continued with The Duke, a tribute to Ellington; Clare Fischer's arrangement of Mood Indigo, in which Clare played alto sax on the intro; and finally Stoltz, commissioned for another band "but they couldn't hang with it," Brent laughed.
I left in awe of the musical ability and history on that stage. "The number of chords played per gig is inversely proportional to the size of the audience," Fischer joked. "We all have to play pop to support the jazz habit." While that fact's undoubtedly true, there was no denying the worth of this big band.
Further, listening to it was like watching all the myriad sound effects of a studio recording being produced in real time: Echoing motifs, panning from left to right, dynamics and compression, special sound effects produced by vibes, bass and contrabass sax, bass clarinet, muted trumpets, brushes on drums, bowed bass, synthesizer... I found myself wondering if my ears really have gotten better or if it was the incredible gift of this father-son arranging team to so fully exercise all the sounds and tempo/groove/harmonic/thematic tricks at their disposal in a big band.
I left with two CDs, but I wish I could have bought them all! I am loving the vocal arrangements on Free Fall (1986) and Rockin' in Rhythm (1997). I just wish I'd gotten a big band date.
This show made it clear: Live music -- especially by the Clare Fischer Big Band -- is amazing to watch and hear. There is no substitute. Definitely catch any and all concerts by the Fischers!
Clare Fischer Big Band
personnel:
Alex Budman, sax, clarinet, flute
Don Shelton, sax, clarinet, flute
Glenn Morrissette,
tenor saxGene Cipriano, tenor sax
Jay Mason, sax
Bob Carr, bass sax,
contrabass clarinetCharlie Davis, trumpet
Larry McGuire, trumpet
Knox Summerour, trumpet
Ron Stout, trumpet
Steve Huffsteter, trumpet
Les Benedict, trombone
Charlie Morillas, trombone
Jacques Voyement, trombone
Morris Repass, trombone
Alan Steinberger, piano
Zach Matthews,
acoustic bassKendall Kay, drumset
Rob Verdi, contrabass sax, slide sax
Brent Fischer, conductor, vibes, electric bass
Clare Fischer, composer, piano, alto sax
