F r e d   S i m o n b i o g r a p h y d i s c o g r a p h y a w a r d s / q u o t e s t o u r i n g p h o t o a r t i s t / r o s t e r

"Fred Simon is a committed composer who draws equally from jazz, the Beatles, and European impressionism for his inspiration...a strong pianist, with Keith Jarrett sitting on one shoulder and Joni Mitchell on the other..." Neil Tesser, Chicago Reader

		b i o g r a p h y

d i s c o g r a p h y
as  leader:

on samplers:

with the Simon & Bard Group:

with Paul McCandless

with Jerry Goodman:

with Ian Matthews:

with Dave Onderdonk:

with Fareed Hague:

with Michael Manring:

with Liz Cifani (harpist with the Lyric Opera of Chicago):

p h o t o D o w n l o a d p u b l i c i t y p h o t o s u i t a b l e f o r p r i n t . 3 0 0 d p i / J P E G 1 . 5/m e g a b y t e s s h i f t c l i c k h e r e
b i o g r a p h y | d i s c o g r a p h y | a w a r d s / q u o t e s t o u r i n g | p h o t o | a r t i s t / r o s t e r

t o u r i n g n o c u r r e n t i n f o r m a t i o n
b i o g r a p h y | d i s c o g r a p h y | a w a r d s / q u o t e s t o u r i n g | p h o t o | a r t i s t / r o s t e r

a w a r d s / q u o t e s [DREAMHOUSE] creates its own dream environment, this trio outing by pianist Simon boasts lovely, restfully unfolding melodies that draw liberally from folk and classical forms. Lloyd Sachs, Chicago Sun-Times 10 best of the year 2000: Chicago's Jazz Greats January 5, 2001 DREAMHOUSE - by far the best of the six discs under his own name ... For me, the success of his work depends entirely on his ability to gracefully understate its emotional content - something he does to a T on DREAMHOUSE. Neil Tesser, Chicago Reader Critic's Choice, October 6, 2000 A truly melodic musician with ambitious vision ... DREAMHOUSE showcases Simon's splendid ability as both a jazz composer and improviser ... With intimate performances on original compositions, Simon reminds us exactly how and why he has survived as a working musician in Chicago for nearly three decades. Mitch Myers, New City October 5, 2000 Fred Simon is one of Chicago's treasured pianists and a fine composer. He has an original, defined approach to the piano ... and a nice touch. His compositions seem to have something for everyone and although expressing a full range of emotion, they are uplifting to the spirit. Marshall Vente, Jazz Institute of Chicago November 2000. In striving for pure melodic beauty, you run the risk of sentimentality - or worse. But on [DREAMHOUSE], Chicago pianist Fred Simon bolsters his singing lines with reflective weight ... Spare and restful, never forcing its stylistic hand, the music takes its time to unfold while drawing you to it with its firm rhythmic pulse ... The sound is luminous, drawing out the inner shadows of Simon's originals. Lloyd Sachs, Chicago Sun-Times November 12, 2000 Jazz fusion is an orphan, scoffed at by purists of all persuasions. But when it's done as well as this record [OPEN BOOK] by Chicago composer-pianist Simon, you get the best of both worlds: the coy, pretty side of pop with the more sophisticated instrumentation and arrangements of jazz … For those who fondly recall the fusion frisson that was generated by such past albums as Pat Metheny's AMERICAN GARAGE, take note: There's a new musical physicist in town. David Hiltbrand, People August 26, 1991 Fred Simon - USUALLY/ALWAYS, one of the five best recordings of 1988. Michael Fagien, publisher, Jazziz December/January, 1989 [The] mix of his pop sensibilities with the complexities of jazz shines throughout Simon's originals on OPEN BOOK. Mark Ruffin, Downbeat April, 1991 [Fred Simon is] a gifted pianist with melodic sensibility, and an eclectic composer who can write in a wide variety of styles across multiple genres …with sudden, clever changes of density and mood. Dennis Polkow, Chicago Tribune October 1, 1992 Simon's lush blend of synthesis and acoustic sound staged within well-crafted song structures could even be called 'beyond new age' … The sheer beauty of [his] soundscapes with their wraparound atmospheric colors belies the harmonic sophistication that is at the core of much of his writing. Tim Hays, Jazziz June/July 1988 Chicago based composer/keyboardist Fred Simon demonstrates his superb compositional talent with a tightly constructed blend of jazz and new age elements. His overall sound and musical textures are similar to those of Pat Metheny, but with less improvisation and more thoroughly worked out structures … Although the playing is excellent, the primary feature of USUALLY/ALWAYS is Simon's exquisite compositions … Subtle yet complex rhythms keep the music alive and vibrant while it unfolds through a series of carefully constructed chord progressions. The incredible shifting harmonies seem to modulate to ever satisfying and unexpected new key areas. USUALLY/ALWAYS is one of those unusual and special recordings that grows on you more with every listening. Michael Harrison, Free Spirit 1988 Fred Simon is a committed composer who draws equally from jazz, the Beatles, and European impressionism for his inspiration; a strong pianist, with Keith Jarrett sitting on one shoulder and Joni Mitchell on the other; an improviser whose skills continue to sharpen with each new project. Neil Tesser, Chicago Reader Critic's Choice, July 1, 1988 Beautiful melodies, lush harmonies, and rich textures abound in Simon's compositions … a sweeping grandeur that is lovely and compelling. [USUALLY/ALWAYS] is an excellent album well worth investigating. Gordon Neal Herman, Victory Music Review October 1988 Like the essence of a short story, which is to convey a universality of life through a brief glimpse, a quick truth, Simon's compositions [on SHORT STORY] seem to speak beyond the finality of each note. R. Bruce Dold, Illinois Entertainer March 1985 One of the most satisfying musical offerings that I know of … [Simon's] compositions are finely crafted, thoughtful, and quietly compelling. The open, rolling inflections of the Midwest are in his effortless playing, underpinned by a firm resolve and impeccable taste. This is music that allows you to dream without putting you to sleep. Needless to say, SHORT STORY has a rare and admirable quality, one that makes the album worth making space for. Allan Brower, Cymbiosis, Vol. 1, #3 1985 Modern music's middle ground-between jazz and classical, improvisation and composition-serves as home for pianist Simon … his songs call out for the richly singing treatment he gives them. But, like Keith Jarrett (a strong influence), Simon unearths indelible phrases that shape his songs and arrangements. Neil Tesser, USA Today February 20, 1985 One of the hardest things to do these days is to make a solo piano album that's original and distinctive. … Fred Simon strides confidently into the task, winning his listener from the first notes. [SHORT STORY] is personal, highly refined music that occupies the popular area between jazz and classical, improvisation and composition. … he has crafted a fully mature solo album that flows beautifully. Stephen Hill, Hearts of Space 1985 [THE ENORMOUS RADIO] … epitomizes fusion in all forms, crossing stylistic barriers, experimenting with instrumentation, mixing power and beauty, progressiveness and simplicity. (Four and a half stars out of a possible five) Robert Henschen, Downbeat February 1985 [TEAR IT UP] … Sophisticated music played with feeling … All but one of the pieces here were written by Simon, who plays keyboards, and they're full of inventive themes, counter-themes, and abrupt tempo changes that make them as interesting to hear the twentieth time around as the first. Mark Peel, Stereo Review Best of the Month, July 1983 [TEAR IT UP] is quality jazz-rock with plenty of melodic hooks, but plenty of fascinating changes within each piece as well. (Four and a half stars out of a possible five) Robert Henschen, Downbeat June 1983

b i o g r a p h y | d i s c o g r a p h y | a w a r d s / q u o t e s t o u r i n g | p h o t o | a r t i s t / r o s t e r