Fred Kaplan

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Fred Kaplan Posted: Nov 26, 2009 1 comments
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.
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Fred Kaplan Posted: May 31, 2013 3 comments
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 voicings—accented with both a Latin tinge and an airiness as spacious as her native Minnesota—rival 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. . .

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Fred Kaplan Posted: Aug 21, 2007 1 comments
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.
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Fred Kaplan Posted: Oct 09, 2007 0 comments
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.
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Fred Kaplan Posted: Oct 11, 2007 1 comments
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.
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Fred Kaplan Posted: Jan 22, 2014 6 comments
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 guitar—the 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.
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Fred Kaplan Posted: Jan 31, 2014 0 comments
Drummer-composer Matt Wilson's new album, Gathering Call (on the Palmetto label), is a lot of fun, as several reviews have noted, but don't hold that against him. This is, as the late Lester Bowie called one of his own later albums, "serious fun."
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Fred Kaplan Posted: May 04, 2008 1 comments
Maude Maggart finishes out a six-week stay at the Algonquin Hotel’s Oak Room near Times Square this Saturday. She’s an appealing throwback, including in her repertoire; her best album, I think, is a collection of old Irving Berlin tunes. Her voice is sultry yet sweet, laced with vibrato, pure in tone, mischievous in intonation. Her current show, called “Speaking of Dreams,” which I saw last night, is ripe with naturally passionate slow ballads. Her few shifts uptempo (Sondheim’s “On the Steps of the Castle” and a Jobim tune with acid-trip Marshall Barer lyrics called “Lost in Wonderland”) made me wish she’d do more, but I’m not complaining. Her swoon through “Isn’t It Romantic” was bewitching. Even the show’s one cabaret clich—a medley of “Somewhere Over the Rainbow,” “Look to the Rainbow,” and “The Rainbow Connection”—came off as anything but; it was even stirring. Ms. Maggart looks five or so years younger than her 32 years, and she’s been singing in public for more than half of them. Cabaret clubs are not usually my scene, but I’ll go see her again happily.
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Fred Kaplan Posted: Aug 22, 2007 0 comments
I have a Slate column today, an appreciation of Max Roach, who died last week at age 83. (Sometimes my editors let me break away from war and peace, though I have one of those columns today, too.) The headline writer has me calling Roach the “greatest drummer” in jazz. I think Billy Higgins was probably better, but I didn’t make a fuss. In any case, all great jazz drummers who came up after the mid-1940s, Higgins included, leaned or built on Max Roach’s innovations. Listen to the sound-clips that I link to in the column, and be sure to watch the YouTube clip toward the end. If you didn’t know before, you’ll see and hear what we’re all now missing.
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Fred Kaplan Posted: May 15, 2009 2 comments
It’s one of those lineups that almost promises too much: McCoy Tyner, the pianist from Coltrane’s “classic” early-‘60s quartet, leading his own quartet with Ravi Coltrane, John’s son, sitting in on tenor sax. And yet, at tonight’s first set, they pulled it off, which is to say, they seemed natural, the music was simply very good--better than that--and not some cockeyed freak show like, say, Paul McCartney teaming up with Sean Lennon. The band was playing in Jazz at Lincoln Center’s Allen Room—a wonder of concert-hall architecture, at once spacious and intimate, with a grand view overlooking Central Park—and Tyner, now 70 and recently ailing, was in ultra-fine form. He banged out the set’s first notes, and there they were—those clanging block chords, forceful, percussive, the sustain-pedal meshing their overtones into a shimmering sonic bouquet. It sent shivers. Then entered Coltrane the younger, now 43 (he wasn’t quite two when John died of liver complications at the age of 40), sounding increasingly like his father—that plangent tone, the sinuous, fluent lines of sixteenth-notes, broken up by abrupt hesitations and jagged rhythms—but not as insistent, adopting more the tone of a balladeer. (Check out his new album, Blending Times, on Savoy Jazz, for a tasty sampling of what might be called intense lyricism.) Midway through the set, he and Tyner took a big risk—it literally took my breath—when they dashed into “Moment’s Notice,” John Coltrane’s uptempo anthem from his 1957 LP Blue Train, but Ravi navigated the brisk rapids with aplomb. (It may have helped that Tyner never played that song with Coltrane pere—the album was recorded a few years before he joined the group—so they were both, in a sense, interlopers. If they’d started wailing the first movement of A Love Supreme, well, that might have been too eerie.)

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