Spending $10,000 for a machine that spins CDs and SACDs may seem extravagant in an age when the latter format is pretty much dried up and the former seems headed there. But hold onthere are reasons for the Krell Evolution 505's five-figure price, and a payoff, too.
There's something a bit oddball about the notion of a $16,500 integrated amplifier—until you stop to consider that the market is fairly drenched with preamps and power amps that, together, cost that much and more. And putting both pre- and power amp in a single chassis cuts down on storage (one less shelf), accessories (one less pair of cable), and electrical outlets (one socket freed up).
The Kronos Quartet has won this year's Avery Fisher Prize for chamber music, and the significance is stunning. With one fell (though belated) swoop, the boundaries of the conventional canon are broadened, if not obliterated. The Fisher Prize, set up in 1975 and awarded every three years since, is a conservative enterprise. Somewhat like the American Academy in the field of literature, it was designed to enshrine those who have ascended to the peaks through the established, long-trod paths. Past winners have included . . .
I saw Maria Schneider’s Jazz Orchestra at the Jazz Standard last night, for at least the 12th time in as many years, and they—both she and the band—get more and more dazzling with each visit. As I noted a couple months back, with the release of her latest CD, Sky Blue (available only from ArtistShare.com or MariaSchneider.com), Schneider’s compositions have grown both denser and airier—rich harmonies stacked on brisk, flowing melodies, swaying to rhythms at once buoyant, complex, and danceable. Her ballads are sweet and lovely without oozing into sentimentality. Her upbeat numbers are snappy without drifting into banality. In recent years, she’s been exploring Latin rhythms and styles—in Saturday night’s early set, she played compositions inspired by Brazil, Spain, and Peru, and it seemed absolutely authentic. Her band—17 members, many of whom have played with her for over 15 years—is drum-tight, and, perhaps because of this, the soloists soar more lyrically to more adventurous heights.
Maria Schneider’s early set last night at the Jazz Standard—part of her 17-piece Jazz Orchestra’s traditional Thanksgiving-week run—reaffirmed and advanced her position as the preeminent big-band composer of our era.
Readers of this space know of my near-boundless admiration for Maria Schneider, the most accomplished and imaginative big-band composer of our time and high up in the pantheon for all time. Her swaying lyricism, muscular rhythms, and kaleidoscopic harmonic voicingsaccented with both a Latin tinge and an airiness as spacious as her native Minnesotarival and, in some ways, exceed the heights of erstwhile mentors, Bob Brookmeyer and Gil Evans.
Now, with Winter Morning Walks, Schneider leaps to still loftier terrain, fusing her jazz sensibility with classical idioms, while staying true to both. . .
Sky Blue, Maria Schneider’s sixth album in 13 years, is at once her most ambitious and most fulfilled, a sweeping, gorgeous work about memory, dreams, love, life, death, the joys of birding…but I’m getting ahead of myself.
Martial Solal starts a week of solo piano at the Village Vanguard tonight, and that’s a double eye-opener. It’s only the second time in its 72-year history that the club has featured a pianist playing solo. (The first, Fred Hersch, was in 2006.) More striking, it marks just the third time since 1963 that Martial Solal has played in New York City under any circumstances. The last time was four years ago at the Iridium, with his trio and saxophonist Lee Konitz, and it was a marvel, the fleetest and most lyrical I’d seen Konitz play in years. The time before that, just with his trio, was at the Vanguard—but the shows were in mid-September 2001, a couple weeks after the attacks of 9/11; few ventured into lower Manhattan for anything, much less to see an obscure French jazz pianist. Luckily, the sessions were recorded; Blue Note put out a CD of highlights called NY-1; finally, we could all hear the music behind the legend.
Martial Solal’s early set at the Village Vanguard tonight was as exuberant as expected. The ghost of Tatum was riding high, as the French pianist, celebrating his 80th birthday with only his third appearance in New York City in the past 44 years, mad-dashed through a dozen or so standards—including “Caravan,” “I Can’t Get Started,” “My Heart Belongs to Daddy,” even “Body & Soul”—in ways that no one has ever heard them, carving up the scores like a Cubist (more Braque than Picasso, with shards of Duchamp tossed in for wit), stretching and squeezing bars, yet somehow sustaining the tempo and the melody with tenuous but seamless aplomb. His music might be a mere virtuosic lark, were it not for his harmonies—brooding, bristling, caramel-rich chords, clusters of them, alternately embellishing, paring down, or playing against the conventional changes.
I first heard Mary Halvorson about four years ago, when she played with Jason Moran and Ron Miles at the Jazz Standard in New York City. I didn’t fully understand what she was doing (I still don’t), but she seemed to be painting some new colors in jazz, or at least in jazz guitarthe ice-crystal intonation, the off-kilter harmonies, the quasi-chords that seemed to dart nowhere till the neon lit up the path in the night.