Song for Today - Matthew Fries

European jazz indies are valuable not only because of their willingness to document European artists who are being ignored by American labels - they also know how to find talented American improvisers. Although Song for Today is a Swiss release, Matthew Fries is very much an American. The acoustic pianist is also one of the many "Young Lions" who became active on the New York jazz scene in the 1990s-"Young Lions," as jazz critics call them, are Generation X musicians who have chosen straightahead bop and/or post-bop over fusion, pop-jazz or jazz-funk. "Young Lions" aren't trying to be innovative, and no one would use that word to describe Song for Today-a likable, if derivative, effort that was recorded in 1998 but often sounds like it could have been recorded in the 1960s. Fries' specialty is 1960s-minded post-bop, and his clean style of pianism owes a lot to Ahmad Jamal, Bill Evans and Herbie Hancock-not Hancock's fusion output of the 1970s, but the acoustic post-bop he provided for Blue Note in the 1960s. To his credit, Fries wrote about half of the tunes on Song for Today, and he also deserves credit for interpreting songs that haven't been done to death in the jazz world. Instead of subjecting us to yet another predictable version of "Our Love Is Here to Stay", Fries applies his interpretive skills to material that ranges from Leonard Bernstein's "Lucky to Be Me" to Thad Jones' "Trey of Hearts" to James Taylor's "Fire and Rain". That 1970s soft rock favorite might seem an unlikely choice for a straightahead jazz session, but Fries demonstrates that "Fire and Rain" can, in fact, be transformed into acoustic post-bop. Song for Today isn't mind-blowing, but it's a decent debut from a "Young Lion" who isn't without potential.
• Alex Henderson - All Music Guide - 3 stars

U.S. jazz performer who has to go to a European label to get recorded and heard, Fries is a young New York pianist who normally works in a trio setting but appreciated the chance to better present his own compositions in this quintet setting. Half of the ten tracks are his, and in the style of many jazz performers today he didn't limit himself to jazz standards on the others but drew from pop songs such as James Taylor's Fire and Rain - given a wonderfully lyrical and original treatment here. The added horns are heard on only four of the ten tracks. This guy is good.
• John Henry - Audiophile Audition (www.audaud.com)

The pace is fast, the tunes are nostalgic... and the mind is adventurous. Taught by Donald Brown (a former Jazz Messenger), Matthew Fires has the approach and attack of a young Herbie Hancock. While a fast 6/8 patters around him, "The Riddle" is spoken with grace, and a little tension. Pumping rhythm with his left hand, Fries flits upward, in a chase to the clouds - Vinson Valega answers with his cymbals, in a steady drizzle. Matthew loves echo, and his notes linger - this adds depth to Greg Ryan's bass solo. "Phineas" is miles away from Newborn: single notes call sadly, from the corner of a faraway bar. Ryan stretches his notes long, and the brushes are sweetly quiet É a feeling this lonely should stay that way.

Matt punches the chords on "Trey of Hearts", then coasts with a sleek, transparent solo. Ryan's walk is rubbery and strong; the fadeout is all Fries, with a taste of Phineas. "Arioso" is a wispy thing (Valega is sharp on the cymbals) and "Lucky to Be Me" is a portrait of peace, as Matthew plays alone. The notes are slow as the chords are warm - this man knows his strengths, and we are lucky to hear him.

For the remaining tracks, the trio is joined by two horns: Bill Mobley on trumpet, and the great Vincent Herring on alto. "The Black Cat" creeps on a glittering landscape: the horns bop strong as Matthew glows. Mobley takes deliberate steps, in a leisurely climb - Vincent is tougher, with angular phrases and an icy tone. "Cabbage Café" comes to a tense boil: Bill roars through and Herring follows on soprano. His tone is fierce and sour, more like a clarinet than a sax; Mobley's turn follows, soft and sweet. While Fries' turn is good, the horns make this tune special. And if it's "special" you want: after a cloudy intro, "prelude" unfolds with classical elegance. Mobley is smooth, with easily his best solo; the accompaniment rolls in like a friendly fog. Wherever you look, the strength of Matthew Fries is obvious. His style is rooted in history, and will be enjoyed both today and beyond.
• John Barrett - www.jazzUSA.com

Der junge Pianist Matthew Fries lebt und arbeitet in New York. Momentan tut er das im Trio, um sich die notwendige Routine und das ebenso notwendige Renommee zu erarbeiten. Daneben ist Fries dabei, sich einen Namen als Komponist zu machen, ein Talent, das auf seiner ersten CD deutlich zum Tragen kommt. Als Pianist beweist er grosse Sensibilität, ein Verständnis für gerade, einfache Aussagen und eine ausgeprägte Rhythmik. Seine Spielweise hat er sich durch das Studium seiner Idole Herbie Hancock, Ahmad Jamal oder Ray Bryant einerseits, dank direkter Instruktion seines Lehrers, dem hervorragenden Pianisten Donald Brown, andererseits angeeignet. So kam sein flüssiger, melodischer und instrumental einwandfreier Stil zustande. Seine ständigen Kollegen und Begleiter, Bassist Gregory Ryan und Drummer Vinson Valega, unterstützen nicht nur ihn, sondern zwei ausgesuchte Bläser, den Altsaxofonisten Vincent Herring, einer der auserwählten Leiter der Mingus Big Band sowie Trompeter Bill Mobley, auch er eine Neuentdeckung mit Stil und Power. Fries tat das richtige, indem er seine Kompositionen mit einigen selten gehörten Jazz Standards vermischt und ein Repertoire zustande bringt, welches nicht nur von großem Können, sondern ebenso von gutem Geschmack bestimmt ist. Neue Leute braucht der Jazz, Matthew Fries ist neu, unverbraucht und auf dem Weg nach oben.
• www.in-akustik.com