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Its kind of interesting how some great jazz musicians get slated for immortality and some do not. Clare Fischer was a top notch modern big band arranger, if he is not in the same class as Gil Evans, Don Ellis or Quincy Jones, he is very close, yet you don’t hear about him near as much as the others. Part of Clare’s problem is that he was putting out big band, Latin and post bop albums during an era when record companies were banking all their money on fusion acts with rock star vibes. Yes, Clare looks pretty conservative on the cover of “Thesaurus”, but the music contained herein is just as dynamic and creative as anyone else during this era. Fischer is also an accomplished writer as well as arranger, with four songs on “Thesaurus” written by himself, as well as two by his brother, trumpeter Stewart Fischer.
Side one opens up with “The Duke”, with Clare making it clear that the Duke is one of his favorite arrangers and the tune does carry some Ellington influence, but with a larger brass section than the Duke usually had. The Latin flavored “Miles Behind” does not seem to channel Miles Davis much, with trumpeter Conte Candoli turning in a bright solo that is almost the opposite of Miles. The top track of side one though is Lennie Tristan’s “Lennie’s Pennies”, a brilliant tune that takes bebop to a new modernist level. This is also Fischer’s best arrangement with Gary Foster and Warne Marsh presenting very different takes on this song’s interpretation.
Top tracks on side two include “Bitter Leaf”, a moody tone poem that features Clare’s impressionistic electric piano blending with the tone colors of his band in a style almost more French impressionism than jazz. Also noteworthy is his arrangement of Billy Strayhorn’s complex, yet swinging, “Upper Manhattan Medical Group”. The album closes with a brief but moving ballad dedicated to the then recently assassinated Kennedy brothers. Fans of big band arranging from the 60s to today should take note, Clare Fischer’s “Thesaurus” rates up there with the best of them.