Quotes about Fischer: Karst de Jong and Thomas Noll (joint)
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Revision as of 03:23, 10 July 2015
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== Quotes about Fischer ==
== Quotes about Fischer ==
<small>Alphabetical, by author/speaker.</small>
<small>Alphabetical, by author/speaker.</small>
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* If I had to make a list of the ten most important solo jazz piano recordings of all time, [[w:Alone Together (Clare Fischer album)|this recording]] would definitely be on the list.
* If I had to make a list of the ten most important solo jazz piano recordings of all time, [[w:Alone Together (Clare Fischer album)|this recording]] would definitely be on the list.
** '''[[w:Bill Dobbins|Bill Dobbins]]''' in [https://books.google.com/books?id=tycEAAAAMBAJ&pg=PA134 "Advance Music: New Music from Europe's Finest Jazz Publisher,"] ''[[w:JazzTimes|JazzTimes]]'' (May 1968)
** '''[[w:Bill Dobbins|Bill Dobbins]]''' in [https://books.google.com/books?id=tycEAAAAMBAJ&pg=PA134 "Advance Music: New Music from Europe's Finest Jazz Publisher,"] ''[[w:JazzTimes|JazzTimes]]'' (May 1968)
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* [I]t was many years later that I met Clare—maybe 15 or 20 years ago, in the A&M Studios in Los Angeles. I wasn’t working with him, I just found out he was in the building and I jumped up: “Clare Fischer?! Aw, man, I gotta tell him what he’s done for me!” And when I met him, he had no idea that I even knew him, much less that he was a big influence on me. I explained the whole thing to him and it tripped him out, because he told me I influenced him! It was really pretty cool. We just bonded right away; I could feel it, and I knew that he could feel it, too. There weren’t that many more encounters, but when I got to meet Clare and talk to him just those few more times it was always special. I wouldn’t be me if it wasn’t for Clare Fischer.
* [I]t was many years later that I met Clare—maybe 15 or 20 years ago, in the A&M Studios in Los Angeles. I wasn’t working with him, I just found out he was in the building and I jumped up: “Clare Fischer?! Aw, man, I gotta tell him what he’s done for me!” And when I met him, he had no idea that I even knew him, much less that he was a big influence on me. I explained the whole thing to him and it tripped him out, because he told me I influenced him! It was really pretty cool. We just bonded right away; I could feel it, and I knew that he could feel it, too. There weren’t that many more encounters, but when I got to meet Clare and talk to him just those few more times it was always special. I wouldn’t be me if it wasn’t for Clare Fischer.
** '''Herbie Hancock''' in "Herbie Hancock Remembers Clare Fischer"
** '''Herbie Hancock''' in "Herbie Hancock Remembers Clare Fischer"
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* An interesting modulating example is the jazz piece ''Excerpt from Canonic Passacaglia'' by Clare Fischer (issued on ''Alone Together'' in 1997). The chord progression, the bass line, and also melodic details are reminiscent of [[w:Benny Golson|Benny Golson]]'s ''[[w:Whisper Not|Whisper Not]]'' (1956). Clare Fischer turns this model into a continuously modulating pattern ''d'': i – ♯vi / ''a'': ''ii – V – i'' which traverses the entire circle of fifths. The five bass tones ''D – C – B – A'' combine the descending line ''C – C – B – A'' with the zig-zag ''D – B – E – A'' in the m3/P5 lattice. The title ''Passacaglia'' is most likely a reference to the descending fourth-line (such as ''D – C – B – A''). The deviation from the more typical descend (''D – C – B''♭ – ''A'') with ''B''♭ instead of ''B'' is in solidarity with the constitution of the fundamental bass pattern with ''B'' being a minor third below ''D''. Despite the obvious similarities with ''Whisper Not'', the ''Canonic Passacaglia'' by Clare Fischer (see [https://books.google.com/books?id=P1YOBwAAQBAJ&pg=PA113 Fig. 15]) does not show the same kind of hierarchical organization. It is a chain of modulating 2nd modes through all twelve tonal centers, each of which provides a clear tonal anchor.
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** '''Karst de Jong''' ¹ and '''Thomas Noll''' ² in [https://books.google.com/books?id=P1YOBwAAQBAJ&pg=PA98 "Fundamental Passacaglia: Harmonic Function and the Modes of the Musical Tetractys"], from ''Mathematics and Computation in Music: Third International Conference'' (2011) edited by Carlos Agon, Emmanuel Arniot, Moreno Andreatta, Gerard Assayag, Jean Bresson and John Madrau<br><center>¹ <small>Royal Conservatoire Den Haag, [[w:Escola Superior de Musica de Catalunya|Escola Superior de Música de Catalunya, Barcelona]]</small><br>² <small>Escola Superior de Música de Catalunya, Barcelona</small></center>
* Verve released an album by Dizzy Gillespie titled ''[[w: A Portrait of Duke Ellington (Dizzy Gillespie album)|A Portrait of Duke Ellington]]''. The orchestral writing was nothing less than brilliant, but, alas, the album gave no arranger's credit. The writing sounded like Ellington and yet not like Ellington; like Gil Evans , yet not like Gil Evans. It was in fact apparent that the arranger had studied everything and everyone and then developed his own highly personal approach to writing. Unable to reach Dizzy by phone, I set out to find out who had done this remarkable writing. It turned out to be the young man about whom Dizzy was so wildly enthusiastic, and this time I did not forget the name: Clare Fischer. Clare was at that time chiefly known as the pianist for the Hi-Lo's, the superb vocal group out of which the even more brilliant [[w:Singers Unlimited|Singers Unlimited]] group developed. The Gillespie-Ellington album provided convincing evidence that he had one of the most original and advanced compositional minds in jazz.
* Verve released an album by Dizzy Gillespie titled ''[[w: A Portrait of Duke Ellington (Dizzy Gillespie album)|A Portrait of Duke Ellington]]''. The orchestral writing was nothing less than brilliant, but, alas, the album gave no arranger's credit. The writing sounded like Ellington and yet not like Ellington; like Gil Evans , yet not like Gil Evans. It was in fact apparent that the arranger had studied everything and everyone and then developed his own highly personal approach to writing. Unable to reach Dizzy by phone, I set out to find out who had done this remarkable writing. It turned out to be the young man about whom Dizzy was so wildly enthusiastic, and this time I did not forget the name: Clare Fischer. Clare was at that time chiefly known as the pianist for the Hi-Lo's, the superb vocal group out of which the even more brilliant [[w:Singers Unlimited|Singers Unlimited]] group developed. The Gillespie-Ellington album provided convincing evidence that he had one of the most original and advanced compositional minds in jazz.