Reception
Aside from the overwhelmingly positive response that greeted Fischer's debut, the most pervasive reaction was sheer surprise; indeed, Down Beat's 5-star review dubbed it "the biggest surprise of the year." [4] As jazz historian and critic Martin Williams observes, writing in The Saturday Review :
First Time Out is from a rather unexpected source: it is a recital by a piano trio, led by Clare Fischer, a man previously known for his arranging and composing. Fischer's piano is not 'interesting,' as an arranger's piano is apt to be. It is much more accomplished than that." [7]
While struggling to pinpoint Fischer's pianistic forebears, finding elements of both Bill Evans and Dodo Marmarosa, critic Leonard Feather echoes Williams' essential point, noting Fischer's "complete command of the keyboard; unlike Gil Evans, Tadd Dameron, and other arrangers who are secondarily pianists, he can be judged entirely by a pianistic yardstick." [10]
Gramophone's review praises "this superlative album," in part for preventing Fischer from "becoming one of the most neglected figures in jazz." [5] The Atlanta Daily World's Albert Anderson stops short of such hyperbole, but does acknowledge his own surprise:
I knew well before reviewing this record that Fischer was a composer of note. What I didn't know, though, was that he is such an outstanding pianist. However, after listening to these tracks (five of which are Fischer originals), I was tremendously impressed by his facility with a tune - He plays with mastery, melody and perhaps, too, with his audience in mind. The latter is suggested clearly in shifting moods and tempos; there is never a dull moment. [2]
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