Bill Dobbins on Clare Fischer

“The harmonic style of Clare Fischer is more chromatic than that of Bill Evans. Like Ellington, he uses several independent lines to develop a rich harmonic texture. His arrangements during the 1950s for the vocal group, the Hi-Lo's, were an important harmonic influence on Herbie Hancock. An essential aspect of his style is that the harmony is rarely resolved completely. There's often new or lingering dissonance, even at the end of a phrase, which gives the music a constant feeling of forward motion. Clare combines elements from Ellington, Konitz, Alban Berg, and Shostakovich to develop a fresh and personal style.”

“If I had to make a list of the ten most important solo jazz piano recordings of all time, this recording would definitely be on the list.”

“"Quiet Dawn" is somewhat reminiscent of certain aspects of the work of Alban Berg, especially the stacking of either augmented or diminished chords in a manner which stretches tonality to it limits, while always retaining at least a hint of tonal gravity. In measures 10, 12, 13 and 14 Clare uses an interesting combination of conventional 4-3 suspension resolutions combined with tritone relationships in the bass. Measure 10, for example, combines the 4-3 suspension resolution of a Bb seventh chord with an E natural in the bass. The 4-3 suspension voice is also colored here with parallel major second intervals (Db-Eb to C-D natural). Clare has many varieties of this suspension variation in his vocabulary, and he traces them to such diverse sources as bebop chord substitutions and slow movements from Shostakovich symphonies.”