Fred Kaplan
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Fred Kaplan
Fred Kaplan Dec 01, 2010 4 comments
Music Matters Jazz—the L.A.-based audiophile label that reissues classic Blue Note titles, each on twin slabs of thick, quiet vinyl, mastered at 45 rpm and eased into gorgeous gatefold packages—keeps churning them out.

One of their latest, and greatest, is Andrew Hill’s Point of Departure, a jaw-dropper from 1964 that sounds as fresh as tomorrow.

Hill, 33 at the time (he died in 2007, active till the end), was a precisely adventurous pianist and one of the most inventive composers of that transition era, pushing metric rhythms and chord-based harmonies right up to the edge dividing structure from freedom (he received informal lessons from Hindemith in his youth). Every player in his band—Eric Dolphy on reeds, Joe Henderson on tenor sax, Kenny Dorham on trumpet, Richard Davis on bass, Tony Williams on drums—was top-notch and hitting their peaks.

Fred Kaplan
Fred Kaplan Nov 18, 2010 4 comments
Those who follow this space know of my enthusiasm for the music of trumpeter Dave Douglas: his plangent tone, his spine-tingling way with minor-chord intervals, his knack for evoking joy, melancholy, romance, and a host of other emotions—sometimes all at once—without dipping so much as a toe into sentimentalism.
Fred Kaplan
Fred Kaplan Nov 15, 2010 4 comments
Henry Threadgill should be better known than he is. A topnotch musician on alto sax and flute, one of the more innovative composers in jazz, a veteran of the Chicago avant-garde and a revivalist of ragtime improvisational styles (the two are not so contradictory, as he was the first to demonstrate), Threadgill started out on small labels, briefly landed contracts at RCA Novus and Columbia during their brief flirtations with experimentalists (in the late ‘80s and mid ‘90s, respectively), then went back to the indies—all the while retaining, even advancing, his spirit of adventure and his restless but disciplined innovation.
Fred Kaplan
Fred Kaplan Oct 31, 2010 7 comments
Never Stop (on the E1 label) is the album from The Bad Plus that many of us have been waiting for—the first of their albums to consist entirely of original material.
Fred Kaplan
Fred Kaplan Oct 28, 2010 0 comments
I’ve never been crazy about Ahmad Jamal. His piano style has struck me as patio-cocktails jazz—nice harmonies and rhythm, but soft-spoken, too precious, de-sensualized.
Fred Kaplan
Fred Kaplan Oct 22, 2010 2 comments
The Israeli pianist Anat Fort’s second CD, And If (on the ECM label), is an album that I like a lot, though it’s hard to explain why or even to describe. Her music is rhapsodic but spare, tender but propulsive, flush with melodic hooks that loop in sinuous, unpredictable shapes.
Fred Kaplan
Fred Kaplan Oct 14, 2010 7 comments
For some time now, I’ve been urging (begging) the audiophile vinyl-reissue houses to focus on Duke Ellington’s great 1950s albums on the Columbia label, and finally Pure Pleasure Records has done it.
Fred Kaplan
Fred Kaplan Oct 01, 2010 4 comments
The latest 3-CD box in Mosaic Records’ Select series, John Carter & Bobby Bradford, is something of a revelation. I’ve heard several albums over the years by the two musicians separately, but never their collaborations of 1969 (as the New Art Jazz Ensemble) and ’71 (as John Carter & Bobby Bradford, though playing with much the same quartet), both recorded on the obscure Revelation label. Now here they are, reissued with unreleased takes and a whole unissued (unknown) duet session that was laid down in ’79.
Fred Kaplan
Fred Kaplan Sep 26, 2010 10 comments
Sony/Legacy’s 40th anniversary, deluxe reissue of Bitches Brew, Miles Davis’ landmark fusion double-album, is everything that the company’s 50th anniversary reissue of Kind of Blue tried to be but wasn’t: a fitting commemoration, handsomely packaged, with liner notes by a scribe (Greg Tate) who fully grasps the music and its cultural significance, and—a remarkable achievement—a boxed set that warrants tossing the original out.
Fred Kaplan
Fred Kaplan Sep 11, 2010 6 comments
A few thousand jazz fans are feeling lightheaded this morning. They saw Sonny Rollins’ 80th-birthday concert at the Beacon Theater in New York City last night, and they’re still marveling (especially those too young to have witnessed giants walking the earth in great number) that, finally, they’ve seen a concert that made them tremble and that people will be talking about years from now.
Fred Kaplan
Fred Kaplan Sep 06, 2010 0 comments
John Zorn’s rep as the angry bad boy of the downtown avant-garde has always been a bit of a caricature. His music has long stressed wit and beauty as much as squeals and hollers. But in the last few years, he’s tapped into a buoyant, almost gentle lyricism while still sounding distinctively Zorn.
Fred Kaplan
Fred Kaplan Aug 31, 2010 1 comments
Soon after raving over Fred Hersch’s new piano-trio album, Whirl, I learned that it was also available on 180-gram vinyl. I’ve since obtained a pressing and can report that, good as the CD sounded, the LP sounds considerably better.
Fred Kaplan
Fred Kaplan Aug 20, 2010 5 comments
Fred Hersch, one of the top handful of jazz pianists on the scene, spent several months in a coma last year, owing to complications from HIV, with which he’s been living for well over a decade. When he emerged, he had to teach himself how to play piano all over again—not the technique, but the reflexes, the timing, the coordination—but you wouldn’t know it from Whirl (on the Palmetto label), his first album since the return.
Fred Kaplan
Fred Kaplan Aug 10, 2010 9 comments
I have an article in the Arts & Leisure section of this past Sunday’s New York Times about vinyl reissues of Blue Note jazz albums mastered at 45 rpm.
Fred Kaplan
Fred Kaplan Jul 31, 2010 1 comments
Charlie Haden has been playing this week at Birdland in New York with his group Quartet West or, as he calls this incarnation, “Quartet West Goes East,” with Ravi Coltrane filling in for Ernie Watts on tenor sax and Rodney Green taking Larance Marable’s chair on drums.
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