{"id":1690,"date":"2020-09-05T11:11:48","date_gmt":"2020-09-05T16:11:48","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1690"},"modified":"2021-06-24T17:03:20","modified_gmt":"2021-06-24T22:03:20","slug":"fischers-resilience","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/fischers-resilience\/","title":{"rendered":"Review: Jesse Fischer&#8217;s &#8216;Resilience&#8217;"},"content":{"rendered":"\n<p>As the world seems to descend into increasingly challenging times every day, society needs music more than ever to respond to the events that unfold. Across a broad spectrum from hip-hop to chamber, a series of new releases have provided significant moving, relevant, and pointed commentary. Another excellent new album in this lineage is <em>Resilience<\/em> (Soul Cycle Music, 2020) by Jesse Fischer. A Brooklyn-based keyboardist and producer, he confronts his audience with contemporary issues, producing a powerful, thought-provoking recording in the tradition of Max Roach\u2019s <em>We Insist! <\/em>(Candid, 1960). With collaborators including Christian Scott aTunde Adjuah, Mino Cin\u00e9lu, and Gregoire Maret, the release explores everything from Fischer\u2019s Jewish heritage and identity to the Black Lives Matter movement, all without compromising musical integrity or excitement.<\/p>\n\n\n\n<p>Fischer displays an Ellingtonian ability to conjure emotions, ideas, and impressions out of harmony, blending vocals, horns, and keyboards into an evocative portrait of the modern world. \u201cHealing,\u201d showcases this exceptionally with horns and synths building meditatively and crescendoing to a triumphant conclusion. Modulating through resounding major chords, the saxophone of Godwin Louis and trumpet of Billy Buss dart around lightly, improvising in a way that overtly acknowledges the influence of Alice Coltrane and Pharoah Sanders. Collective improvisation appears far too infrequently in contemporary jazz, and it\u2019s exciting to hear, especially in this context.&nbsp;<\/p>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=1291116839\/album=1105466706\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>The interaction between the musicians makes <em>Resilience <\/em>stand out. On \u201cMeditation on Peace,\u201d there\u2019s an equally robust interplay between soloists, closing the album with joy and a gospel flair. The vocal numbers also prove strong, particularly \u201cPush\/Pull,\u201d which lyrically sums up the work\u2019s themes and explores the continual \u201cendless tug of war\u201d of life. The song presents one of the concepts explored on the album: the problems we have are constant and repeating, \u201cback and forth\u201d, and we must empathize with other people to overcome them. With a heavy folk and indie influence, this track features Becca Stevens, one of today\u2019s best young vocalists. It doesn\u2019t disappoint, spotlighting simple arrangements and beautiful harmonies that effectively complement her voice.<\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_jGvatzFhi_U\"><div id=\"lyte_jGvatzFhi_U\" data-src=\"\/\/i.ytimg.com\/vi\/jGvatzFhi_U\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/jGvatzFhi_U\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/jGvatzFhi_U\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>Similarly, on \u201cSame Mistakes,\u201d featuring vocalist Sarah Elizabeth Charles, Fischer discusses social issues more than on any other track. Building to an intense conclusion, the lyrics of the song pair with \u201cPush\/Pull\u201d and discuss the repetition of problems in society, particularly those linked to empathy, and the fight against racism and xenophobia: \u201cwe keep singing on through the pain.\u201d Although they remain broad, the words are powerful, driving home <em>Resilience<\/em>&#8216;s conscious focus. Changing time signatures and gritty guitars support these themes, with some of the best rhythm section work on the album.<\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_36NP75-ygx0\"><div id=\"lyte_36NP75-ygx0\" data-src=\"\/\/i.ytimg.com\/vi\/36NP75-ygx0\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/36NP75-ygx0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/36NP75-ygx0\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>The standout piece, however, is the title track. With a lyrical solo from Christian Scott aTunde Adjuah, it builds through resounding melodies and interludes into a dramatic and emotional key change and conclusion. Musical lines blend in a whirlwind of texture. The bandleader\u2019s synth solo is also creative, complementing Scott well as the two musicians interact with each other, conversing musically as if speaking to each other. If any moment on this record is truly captivating, it is here. \u201cResilience\u201d exemplifies what makes the release shine: excellent soloists, fantastic production, and a powerful and emotional statement. These aspects appear throughout, resulting in one of the best jazz albums of the summer of 2020, a sophisticated, coherent work that speaks to meaningful topics.<\/p>\n\n\n\n<p><a href=\"https:\/\/jessefischer.bandcamp.com\/album\/resilience\"><strong><em>Jesse Fischer&#8217;s Resilience is now available on Soul Cycle Music. <\/em><\/strong><\/a><\/p>\n\n\n\n<p>Tracklist: 1. Resilience; 2. Healing; 3. Push\/Pull; 4. Reflection Point; 5. Chorale; 6. Play Date; 7. The Wanderer;  8. Same Mistakes; 9. Meditation on Peace.<\/p>\n\n\n\n<p>Personnel: Jesse Fischer (piano, Rhodes, Wurlitzer, Hammond B-3, Moog Little Phatty, Prophet Rev2, Juno 106, mandolin, voice, percussion), Billy Buss (trumpet), Godwin Louis (soprano &amp; alto sax), Morgan Guerin (tenor sax, EWI (4), drums (2, 7), Jordan Peters (guitar (1,3,4,6-9), David Cutler (bass (1-4,6-9), Obed Calvaire (drums (1, 3-6, 8, 9), Keita Ogawa (percussion (1, 3-6, 8, 9),  Mino Cin\u00e9lu (percussion ((2, 7)), Christian Scott aTunde Adjuah (trumpet (1)), Becca Stevens (vocals (3)), Gr\u00e9goire Maret (chromatic harmonica (7)), Sarah Elizabeth Charles (vocals (8)), Daniel Winshall (upright bass (5)), Michael Valeanu (guitar (6)).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As the world seems to descend into increasingly challenging times every day, society needs music more than ever to respond to the events that unfold. Across a broad spectrum from hip-hop to chamber, a series of new releases have provided significant moving, relevant, and pointed commentary. Another excellent new album in this lineage is Resilience [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":1692,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":11,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-1690","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/09\/f231e6a73953fa022cb89db763ef510502052682-e1599321343900.jpg?fit=750%2C501&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-rg","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11298,"url":"https:\/\/postgenre.org\/staging\/4567\/review-cinnamon-flower-rouse\/","url_meta":{"origin":1690,"position":0},"title":"Review: Charlie Rouse\u2019s \u2018Cinnamon Flower: The Expanded Edition\u2019","author":"Jim Hynes","date":"September 18, 2025","format":false,"excerpt":"This is the year that some of us learned that tenor saxophonist Charlie Rouse was a leader of other bands rather than simply a member of Thelonious Monk\u2019s quartet. Earlier this year, Strata-East reissued 1974\u2019s guitar-driven, funky Two Is One (Mack Avenue, 2025). Now comes Cinnamon Flower: The Expanded Edition\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":11142,"url":"https:\/\/postgenre.org\/staging\/4567\/review-josh-lawrence-still-we-dream\/","url_meta":{"origin":1690,"position":1},"title":"Review: Josh Lawrence\u2019s \u2018Still We Dream\u2019","author":"Jim Hynes","date":"August 13, 2025","format":false,"excerpt":"Still We Dream (Posi-Tone, 2025) is trumpeter and composer Josh Lawrence\u2019s seventh release for the label that prides itself on revealing the \u201cNew Frontier of Jazz.\u201d With it, the four-time Grammy nominee and regular member of Orrin Evans\u2019 Captain Black Big Band delivers a rather unusual album for a trumpeter.\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11151,"url":"https:\/\/postgenre.org\/staging\/4567\/review-colson-glow-trio-add-voice\/","url_meta":{"origin":1690,"position":2},"title":"Review: Adegoke Steve Colson and Iqua Colson\u2019s \u2018GLOW: Music for Trio \u2026. Add Voice\u2019","author":"Jim Hynes","date":"August 18, 2025","format":false,"excerpt":"It has been quite some time since we heard from second generation AACM members\u00a0 Adegoke \u201cAde\u201d Steve Colson and Iqua Colson, but GLOW: Music for Trio \u2026 Add Voice (Silver Sphinx, 2025) sums up their artistry well: protest pieces, spirituality, and pure jazz that is more accessible than you might\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":10704,"url":"https:\/\/postgenre.org\/staging\/4567\/words-fail-joshua-redman\/","url_meta":{"origin":1690,"position":3},"title":"Review: Joshua Redman\u2019s \u2018Words Fall Short\u2019","author":"Jim Hynes","date":"June 19, 2025","format":false,"excerpt":"Joshua Redman did not follow suit after his first vocal album, where are we (Blue Note, 2024).\u00a0 Sure, vocalist Gabrielle Cavassa appears on a track, but gone is the supergroup rhythm section of Aaron Parks, Joe Sanders, and Brian Blade, all of whom left to honor other commitments. Yet, Redman\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=813%2C542&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=813%2C542&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=813%2C542&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=813%2C542&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":10404,"url":"https:\/\/postgenre.org\/staging\/4567\/fear-resilience-reflection-adam-ofarrill\/","url_meta":{"origin":1690,"position":4},"title":"Fear, Resilience, and Reflection: A Conversation with Adam O\u2019Farrill on \u2018For These Streets\u2019","author":"Rob Shepherd","date":"April 24, 2025","format":false,"excerpt":"Mired by poverty and the global rise of fascism, the 1930s is far too often seen as a wholly bleak era stuck after the Roaring \u201820s and leading into a tumultuous global war. But, in reality, the era was also full of bright spots of optimism enveloped in a world\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/img_1841-1.jpg?fit=1000%2C666&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/img_1841-1.jpg?fit=1000%2C666&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/img_1841-1.jpg?fit=1000%2C666&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/img_1841-1.jpg?fit=1000%2C666&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7350,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2023\/","url_meta":{"origin":1690,"position":5},"title":"PostGenre&#8217;s Best of 2023","author":"PostGenre Writing Staff","date":"December 27, 2023","format":false,"excerpt":"Below are the albums we collectively felt were the best of 2023 (technically from Thanksgiving 2022 to Thanksgiving 2023). Ties are ordered alphabetically by the leader\u2019s last name. Following the list are honorable mentions; recordings multiple members of our small group thought worthy of merit but did not make the\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1690","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=1690"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1690\/revisions"}],"predecessor-version":[{"id":2854,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1690\/revisions\/2854"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/1692"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=1690"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=1690"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=1690"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}