Fred Kaplan

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Fred Kaplan Posted: Apr 30, 2008 6 comments
Has John Zorn gone mellow? His two new CDs, The Dreamers and Lucifer (both on his self-owned label, Tzadik), are swaying, swinging, crazy with catchy hooks, occasionally downright mellifluous. I don’t mean to overstate the contrast with the preceding Zorn oeuvre (which entails over a hundred albums, at least a thousand compositions). The time has long passed when Zorn—whose name is, almost novelistically, German for “anger”—gained notoriety for squealing on the alto sax like a banshee and cutting up compositions into surreal collage. The stereotype was never right: from the start of his career, in the mid-‘70s, he could play be-bop, Hammond-based soul, and Morricone movie-themes at a high level. But in the ‘80s, he delved more avidly into ear-ripping shards-of-sound (with fitting titles like Torture Garden and Grind Crusher). When he turned to exploring chords and melodies in the ‘90s, he didn’t abandon “noise” entirely; several of his great Masada albums alternate between blues or ballads and rippers. Not that there’s anything wrong with that. Up to a point, I liked that stuff, too. But these two new CDs have almost none of it. They’re jammed with buoyant, playful, joyous music—and I mean that in a good way.
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Fred Kaplan Posted: Oct 23, 2013 3 comments
It ranks among the most astounding turnarounds in American music. John Zorn—erstwhile bad-boy impresario of the downtown New York jazz scene—spent last month touted as a modern master, and Manhattan's pride, by the city's most venerable institutions of high culture: the Metropolitan Museum, the Guggenheim, Lincoln Center, Columbia University, and NYU.
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Fred Kaplan Posted: Oct 15, 2007 1 comments
I’ve listened to Herbie Hancock’s new CD, River: The Joni Letters (on Verve), three times now, and it gets better with each spin. This is a Joni Mitchell tribute album, with Hancock on acoustic piano heading a straight-ahead jazz quintet (including Wayne Shorter on soprano sax and Dave Holland on bass), fronted on six of the 10 tracks by various singers.
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Fred Kaplan Posted: May 06, 2009 2 comments
There’s been much hand-wringing among the aficionadi over reports that George Wein may call off his JVC Jazz Festival this year, leaving New York City bereft of such an event for the first time in decades. I’m not so bothered.
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Fred Kaplan Posted: May 31, 2010 1 comments
Let’s put the main point up front. The new duet album by Keith Jarrett and Charlie Haden, Jasmine (on ECM), is a gorgeous piece of work: all standards, mainly ballads, nothing fancy (not overtly anyway), but such poignance and quiet passion; it’s a glimpse into the intimacy of the act of making art.
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Fred Kaplan Posted: Jun 19, 2014 8 comments
Almost exactly four years ago, I posted a Blog that began like this: "Let's put the main point up front. The new duet album by Keith Jarrett and Charlie Haden, Jasmine (on ECM), is a gorgeous piece of work: all standards, mainly ballads, nothing fancy (not overtly anyway), but such poignancy and quiet passion; it's a glimpse into the intimacy of the act of making art." A follow-up CD is out now, Last Dance...
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Fred Kaplan Posted: Jun 19, 2010 5 comments
Keith Jarrett’s “Standards Trio” played Carnegie Hall Thursday night, to predictable glories.
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Fred Kaplan Posted: Jun 21, 2007 Published: Jun 22, 2007 2 comments
If Keith Jarrett weren’t such a magnificent pianist, it would be intolerable to watch him in concert. His screechy humming and moaning, his lizard leering and preening—in three decades of seeing him play, I’ve never managed, despite some effort, to find the charm in his theatrics. And yet, he usually has me from his first chord—so warm, rich, and intriguingly edgy—especially the past few years, as he’s tightened his rhapsodic tendencies while enriching his lyrical core.
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Fred Kaplan Posted: Jan 30, 2009 13 comments
I went to see Keith Jarrett play solo at Carnegie Hall last night. This may puzzle careful readers of this blog, who no doubt recall my boycott of Jarrett in August 2007 after his disgraceful behavior at the Umbria Jazz Festival, on top of a career of disgraceful behavior. Well, I decided to call an end my own pique. First, I’m told that Jarrett apologized to the people of Umbria. Second, now that Barack Obama is president, the tantrums of a piano player are more likely to be seen as a mere random annoyance than “yet another example” of American brutishness. Finally, I figured, it’s a new era, I’ll give the guy another chance. He’s too good an artist—too great, really—to ignore just because he’s a jerk. (Jackson Pollock was much more unpleasant, yet that doesn’t stop me from gazing at Number One (1950) every time I visit the Museum of Modern Art.)
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Fred Kaplan Posted: Oct 14, 2009 5 comments
Keith Jarrett’s Paris/London: Testament (on the ECM label), a three-CD set consisting of two live solo concerts, is a stunning album, a career peak.

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