Feebles, Fables, and Ferns

Any new guitar/piano record faces quite a high bar. "Undercurrent." "Intermodulation." "Together Again!!!" These records feel almost impossible to follow. Not to mention that we listeners immediately think of them whenever a new one comes along.

This record faces an even higher one, since it's an archival recording from 1988, and has nearly 40 years of subsequent records to be measured against.

But I'm happy to say that Feebles, Fables, and Ferns (well, leaving its some less successful free-form attempts aside) delivers.

However, let's get this straight: Feebles, Fables, and Ferns is not a breathtaking album. It doesn't break any new ground. It tries to venture out a little at times, but to me, with little success.
However, it does contain some really enjoyable playing. There was only one track I seriously couldn't wait to finish on the first listen, and I've been skipping it since (more on that later.)

But other than that, it is a good record.

WHAT I KNOW ABOUT THIS RECORD

Feebles, Fables, and Ferns captures both artists in a quite private setting. Recorded in Fred Hersch's private studio in August 1988, it could easily be considered a document of a spontaneous musical meeting rather than a session intended for release.

(Naturally, I only conclude that based on the fact that these tapes have been sitting in the archives for all this time. Having said that, the album does sound very much like an informal date, with all the drawbacks that come with that, too.)

ECM describes this recording as a "rare one-time coming together" of the two, with no other documented duo recordings between them.

ABOUT THIS MUSIC

First things first, Feebles, Fables, and Ferns is not an easy listen. But that probably comes with the territory. There are only two instruments. Both can play harmony and rhythm. In gifted hands, they can become dominating voices. Couple them together, and you can end up with quite a busy record.

And that happens here, on occasion. Hersch and Goodrick play over one another, sometimes leaving little space for the other player. Such an approach can work in moderation. But if overdone, it can also sound like trying to listen to two people talking at the same time.

Luckily, most of the album contains mid-to-slow-tempo compositions. Nobody's rushing anywhere, and both musicians tend to develop their ideas rather than racing through them in search of the next one. That helps offload the busyness of two simultaneous voices.

And there is some nice playing here. "Away 10/Amazing" is a lovely ballad when the duo actually stops shouting over one another. "Out of Nowhere", as the title suggests, comes from silence, with no apparent melody to lead the way, and develops into a beautiful, percussive piece. "Heartsong" opens with a lush melody both players develop and flow their parts from. (Interestingly, Hersch recorded it with his trio a year later, it's included on their album Heartsongs (on Sunnyside)). It's really beautiful playing.

"Five Excursions", the longest piece on the record, is a big miss for me. It sounds very much like a collection of short improvised miniatures or variations (five excursions?) And it feels more like playing for playing's sake. Halfway through this track I couldn't wait for it to be over. And I've been skipping it ever since.

HOW DOES IT SOUND

Important - Feebles, Fables, and Ferns is a headphone record.

The first time I listened to it, I put it on my main system, and couldn't connect with this music at all.

Sonically, it actually sounds really good. But you need to be able to get into the music to fully appreciate it. And the noises of everyday life around you just don't always make it possible.
But once I put it on headphones, the music invited me in.

Feebles, Fables, and Ferns has a quite natural, if slightly muted, sound in the highs.

Soundstage is small, but that is perfect for a duo recording. And I appreciate that the mix just doesn't push each player to their own channel. Guitar sits firmly on the right, but the piano extends from the left toward the center, which very much matches the physical space both instruments occupy.

Transients are fast enough, but they don't tip the sound into clinical, overly detailed territory. And I don't hear any artifacts from the players - no breaths, no body movement, nothing.
Sonically, thumbs up from me. 

FINAL NOTES

Feebles, Fables, and Ferns is not going to become my showcase guitar/piano record, but I suppose it was never meant to be. It's a document of two musicians getting together to jam, and as such, it delivers. The music is not easy, but enjoyable. Just remember to skip track 4. That free-form meandering will not add anything worthwhile to your listening life.