Jazz fans who'd love or not love this music might tag it avant-garde,
but it's as steeped in tradition as any Wynton Marsalis record.
It's just that these players have a different, and broader
conception of what tradition is. If such musicians are still
working through ideas brought to jazz 30 or 40 years ago,
by now they really know how to use them. that's why this band
works: everyone has learned the language, and speaks it fluently.
Whitehed, NPR, Fresh Air
unexpected and out-of-the-blue-gem.
This is what we jazz fans live for.
McClenaghan, All About Jazz
Joe Lovano, Colorado-based tenor saxophonist Fred Hess's versatility
is impressive and his slippery avant-garde learnings
lead to many different looks, but none of them are too referential
to other players, past or present.
New Music Report
knows how to compose and tell original tales, and listening
to "Extended Family" is a stimulating experience.
Saunders, The Denver Post
release is another exciting offering of forward thinking
post-Bop fron Hess and the quartet.
Collins, Cadence Magazine
the musicians celebrate the 1960s-era free-form playing
that spilled forth in the wake of Ornette Coleman and others
who boldly broke molds from the '50s onward. Unobtrusively
produced, the set captures their interplay with the warmth
of a studio and the visceral edge of a live performance.
Hess is one of the finest tenor saxophone performers in jazz.
Prosser, The Jazz Loft
saxophonist Fred Hess is that rarity -
a fully crystallised composer and improvisor who has appeared
seemingly from nowhere.
Shoemaker, The Wire
earthy yet nuanced tenor saxophone conversations with
trumpeter Paul Smoker are as enjoyable as newly discovered
Raymond Carver short stories and contain similar hidden edges.