By Jeff Wilson
Enquirer contributor

If you wanted to test the theory that jazz and classical music share common ground, the University of Cincinnati College-Conservatory of Music would be a good place to start, with departments in both genres.

What would happen if these seemingly distinct musical styles combined forces?

That possibility was explored during the fifth annual Philharmonic Jazz concert at Corbett Auditorium Saturday which featured jazz pianist and Cincinnati native Fred Hersch playing on all but two selections and arranging the second half of the show.

The Jazz Ensemble's opening number, a modernized "Sing Sang Sung," included hard-driving solos by soprano saxophonist Austin Vickrey, tenor saxophonist Janelle Reichman and trumpeter Brian Newman.

The next two pieces combined the Philharmonia Orchestra with the Jazz Ensemble. On "Endless Stars," they were joined by Hersch. Closing the set was the world premiere of "Chiraoscuro" by CCM alumnus Michael Patterson.

After intermission Hersch led the Philharmonia Orchestra through five arrangements based on classical compositions, a song from West Side Story ("Somewhere"), two originals and two other jazz compositions.

Judging from the range of styles played, it is tempting to conclude that jazz has an easier time incorporating elements of classical music than the other way around, as the strongest performances came from the jazz tradition.

On Passion Flower, Hersch devoted an entire album to the compositions of Billy Strayhorn, who penned several classics for the Duke Ellington Orchestra as well as many lesser-known gems like "Lament for an Orchid."

Hypnotic and colorful, with an Oriental undercurrent, "Lament" is one of the hippest examples of exotica ever created, and Hersch's impressionistic arrangement and spirited piano playing captured every nuance of it.

Thelonious Monk eventually scored "I Mean You" for a big band, but not a chamber orchestra. When arranged by Hersch, Monk's song was embellished with some surprises, including folksy, hoedown riffs courtesy of the string section and witty asides from the bassoon. During an unaccompanied solo in midsong, Hersch, playing with space in true Monk fashion, pried the melody apart and glued it back together.

Afterward, much of the 500-plus crowd squeezed into the reception area to talk with Hersch, who greeted everyone graciously.