Fred Kaplan

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Fred Kaplan Posted: 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.
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Fred Kaplan Posted: Jul 10, 2014 1 comments
Fred Hersch's Floating (on the Palmetto label) is his strongest album in a decade (you'd have to go back to his 2006 solo disc, In Amsterdam: Live at the Bimhuis, to match the energy) and maybe his strongest trio album ever.
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Fred Kaplan Posted: Jan 14, 2010 2 comments
Pianist Fred Hersch plays at the Village Vanguard this week, joined by bassist Drew Gress and drummer Paul Motian. I was at last night’s early set, and it was one of the most bracing I’ve seen in a long while.
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Fred Kaplan Posted: Dec 09, 2011 0 comments
I veer away from ruminating on war and peace in my Slate column today, to run down my list of Best 10 Jazz Albums for 2011. My piece over there includes hyperlinks to 30-second sound clips (the maximum that copyright law allows), but here's the list (the more devoted of you readers will notice that I've written in this space about all of them over the past year).
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Fred Kaplan Posted: Jul 28, 2009 6 comments
George Russell died today, at the age of 86, after a long bout with Alzheimer’s, and if you’ve never heard of him, all the deeper pity.
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Fred Kaplan Posted: Jun 03, 2010 6 comments
Geri Allen’s new album, Flying Toward the Sound (Motema Music), is a stunner. She calls it “a solo piano excursion inspired by Cecil Taylor, McCoy Tyner and Herbie Hancock.” In jazz pianists’ lingo, this is like Babe Ruth pointing to a spot in right-center field. And she slugs the ball out of the park.
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Fred Kaplan Posted: Jun 26, 2009 1 comments
Acoustic Sounds, Chad Kassem’s Oz of analog wonders, has expanded its line of 45rpm jazz reissues to the Impulse! catalogue. Like the Blue Notes, which Kassem and Mike Hobson’s Classic Records have already covered (at 45, 33-1/3, 180g, 200g, black vinyl, clear vinyl, just about any format you might imagine), the great Impulse! albums were engineered by Rudy Van Gelder and featured the masters of their day—Coltrane, Mingus, Rollins, and, one of the most innovative big-band arrangers in modern jazz, Gil Evans.
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Fred Kaplan Posted: Aug 04, 2007 3 comments
I’ve been cramming to make a deadline all week, much of it spent out of town reporting, but here’s a quick preview of bloggings to come:
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Fred Kaplan Posted: May 17, 2010 6 comments
The pianist Hank Jones died on Sunday at age 91, ending one of the great jazz dynasties (his brothers were the drummer Elvin and the trumpeter-composer Thad) and taking out one more survivor of the generation that founded post-war jazz.
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Fred Kaplan Posted: Aug 17, 2009 10 comments
On August 17, 1959—50 years ago exactly—Columbia Records released Miles Davis’ Kind of Blue, which became not only the best-selling jazz album of all time but also one of the best jazz albums, period, the spearhead of the “modal” revolution.
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Fred Kaplan Posted: Oct 03, 2009 1 comments
Just back from seeing the Bobby Bradford Quintet, featuring David Murray, one highlight among many of the Dave Douglas-curated New Trumpet Music Festival at the Jazz Standard in New York City. One of the most invigorating sets of jazz I've seen in a long time, the sort of exuberant, "free" but highly disciplined music that the city heard plenty of in the 1980s through mid-'90s but rarely anymore. More about that later. Meanwhile, the quintet expands to an octet tomorrow (Sunday, Oct 4). I can't make it, but if you can, get tickets now!
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Fred Kaplan Posted: 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.
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Fred Kaplan Posted: Dec 24, 2010 2 comments
Attention, last-minute Christmas shoppers: No gift could be more welcome to a jazz lover than a copy of Herman Leonard’s last book of photographs, titled, simply, Jazz (Bloomsbury, 320pp., $40 retail).

Leonard was the consummate jazz photographer, a true artist as well as a chronicler, whose black-and-white pictures—most of them taken between the late 1940s and the early ’60s (though with a remarkable reprise in the late ’80s and ’90s)—captured, even visually defined, the passion of the music, the intimacy between the musicians and the moment, the spirit of the times.

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Fred Kaplan Posted: Sep 08, 2007 1 comments
A quick, final word on Fred Hersch’s week of piano duets at the Jazz Standard. His early set last night with Jason Moran was one of the most enthralling concerts I’ve seen in a long time. At its peak moments (and there were several of them), the two settled into such a head-spinning groove, they sounded like one pianist playing magically with four hands. Moran, as I’ve noted in an earlier entry, may be the jazz pianist of our times, the supreme post-modernist who appropriates everything around him—musical traditions from Schumann and Jelly Roll Morton to Afrika Bambaata and Jaki Byard, as well as random sounds from movies, streets, and Chinese stock-market reports. Hersch matched his intervals, leap for leap. It’s been well over a decade since Hersch could be tagged a merely “lyrical” pianist in, say, the vein of Bill Evans, but even so, it was a jolt to see him tackle a frantic tune like Mingus’ “Jump Monk” (a natural Moran pick) with such finely disciplined abandon. It was an equal delight to watch Moran delve into the rhythmic crevices of an old-hat standard like “If I Had You” with such swaying jigsaw strokes.
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Fred Kaplan Posted: Jun 30, 2010 29 comments
A week ago, I went to see Chris Potter lead a top-notch quintet at the Jazz Standard. It was a great set. Potter’s big tenor-sax sound keeps getting more swinging, more virtuosic, yet at the same time tonally subtler. Joining him were Steve Nelson on vibes, Paul Motian on drums, Craig Taborn on piano, and Scott Colley on bass. Potter was smiling a lot during their solos, as if he couldn’t quite believe that he’d assembled such a crew.

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