APPLAUSE JAZZ

“It certainly is quite a monumental undertaking to reproduce these performances of Oscar… both to capture the technical wizardry and artistic sensitivity of Oscar’s playing and to also render well the significantly worked out arrangements by the trio, and Moyer and his trio do both impressively.”

“… the transcription of Bill Evans’ 1961 Village Vanguard version of “My Foolish Heart” illustrates the chops and artistry… Moyer proves a careful study of piano styles. His play on Evans has the same light, ethereal touch of the originator, like ‘a wisp of mist.’”

“I was amazed by my initial visceral reaction to George and Ira Gershwin’s ‘But Not For Me.’ This was more than just a transcription and re-interpretation of an influential jazz classic, this was an uncannily accurate transcription of time and history, personal and musical. … Rogers and Hammerstein’s ‘The Surrey With the Fringe on Top’ made my knees weak … by the time Karl Suessdorf /John Blackburn’s ‘Moonlight in Vermont’ crested, I needed something to hold on to.”

“Frederick Moyer excels at mimicking Jamal’s smile-inducing syncopated rhythms and orchestral flourishes as well as, say, Jarrett’s explorative approach at interpreting standards.”

“Moyer’s light and clean sound is perfectly suited for the Oscar Peterson’s breezy swing on the clever and tricky “Something’s Coming” and the shifting rhythms of “Bossa Beguine.” Evans’ “My Foolish Heart” has a Debussyish spaciousness, and Hancock’s “First Trip” has an airy joy to it. It’s fascinating to figure out how much of the actual sound belongs to the present performer, and how much is from the person of tribute. Quite unique in concept, with a bravo performance.”

“When Summer Comes is indeed a fine portrait of an inspired, involved pianist with a magnificent emotional feel for the jazz topic. A melodic purist, Moyer covers workhorses such as Errol Garner’s “Misty,” a double serving of Peterson’s “When Summer Comes,” and Evans’s “Very Early” without fawning to either the artists or the weight of the selections … a Grand Canyon panorama of beautiful touch, expression, and rhythmic nuance. Well-known melodies take on mildly different, intriguing colorings where nothing is square-edged, forced or faked. Dynamically, is a gem.”

“The highlight of this record is the beautiful sound Moyer lures from the piano. He achieves clarity and brilliance in each note … Whether jazz aficionado or novice, the listener can appreciate Moyer’s accessible renditions of tunes combined with the sheer beauty and tranquil mood he creates.”

“Often when a pianist releases an album of standards we think that it’s going to be just another box of stale biscuits all over again! Mr. Moyer made sure that that would not be the case … There is one original here called simply “Gospel.” I hope that Frederick writes more songs like this in the future, because this one is really catchy and well constructed. There is a lot of restrained passion pouring out of this particular original song … an honest effort by an artist with great ardor and true regard for our standards… and for his craft.”