Fred Kaplan

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Fred Kaplan Posted: Jan 10, 2008 Published: Jan 11, 2008 2 comments
I don’t know what Paul Motian’s doing, I don’t understand how he’s doing it, all I know is that it’s wonderful. I’ve just returned from seeing the Motian 3 at the Village Vanguard, a high-powered trio that consists of Motian, Jason Moran, and Chris Potter (and no bassist to hold the anchor). Moran, just shy of 33, is, as I’ve written many times, the most extraordinary jazz pianist around. Potter, 37, as I’ve noted a couple times, is a tenor saxophonist with a galvanic tone and fleet agility. But Motian, at 76 (older than both of his trio mates combined, playing topnotch jazz since his days with the Bill Evans trio a half-century ago, and more combustive now than ever), is the heart-racer.
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Fred Kaplan Posted: Sep 02, 2009 4 comments
The trio of Paul Motian, Joe Lovano and Bill Frisell finishes a two-week gig at the Village Vanguard this Sunday, and if you’re in the New York area, you should drop in (though call ahead for tickets, as nearly every set, including the one I saw last night, has been packed). Here are three of the most creative jazz musicians around, each playing at the top of his game, a combination that doesn’t always make for the most coherent combos (think of the many “all-star bands” of yore that amounted to little more than blowing contests), but this trio is that rare thing, a truly equilateral triangle: no player consistently dominate, all parts are equal.
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Michael Fremer Fred Kaplan Posted: Sep 24, 2009 Published: Jun 24, 2009 0 comments
This tiny, lightweight, battery-powered jewel is loosely based on Nagra's VPS phono stage that I reviewed in October 2008 but uses bipolar transistors instead of tubes. The bottom of the company's familiar brushed-aluminum case has a grippy rubber material die-cut to spell Nagra. It's intended to keep the preamp from sliding, but stiff cables will have the BPS hanging in the air if you're not careful. The BPS costs $2399.
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Fred Kaplan Posted: Nov 19, 2009 2 comments
Nellie McKay’s Normal As Blueberry Pie: A Tribute to Doris Day (Verve, CD and LP) is the unlikeliest delight of the year. Who’d have thought that the snarkmistress of Get Away from Me (her 2004 debut double-album, with its “Explicit Lyrics” label, downtown cool, and sharp-wit irony, to say nothing of the title’s savage slash at the then-raging darling, Norah Jones) could produce such gentle covers of hits once sung by the queen of wholesomeness?
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Fred Kaplan Posted: Jul 22, 2010 1 comments
Maria Schneider’s Jazz Orchestra plays at Birdland in midtown Manhattan this week, an unusual season and setting (usually they play at the Jazz Standard around Thanksgiving). The occasion is the premiere of a new, commissioned composition, and at Wednesday’s early set, it sounded as lovely as anything she’s written: joyful, melancholic, adventurous, pensive, with a samba swing.
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Fred Kaplan Posted: Jul 23, 2013 0 comments
ArtistShare, the musicians' self-owned label, has two live albums just out by the guitarist Jim Hall—a 3-disc set of trio sessions from 1975, revealing Hall at his peak as a leader, and a quartet date from 2010, showing him still in fine form at age 80.
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Fred Kaplan Posted: Jul 27, 2007 2 comments
My first entry in this blog, six weeks ago to the day, was a news flash that Sonny Rollins, the greatest living improviser in jazz, will play at Carnegie Hall on Sept. 18 in a trio with the monumental drummer Roy Haynes and the agile bassist Christian McBride—a one-night stand that no jazz fan could stand missing.
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Fred Kaplan Posted: Jan 24, 2011 4 comments
The tenor saxophonist Noah Preminger is just 24, but already he has a distinctive sound: a confident, husky tone, combined with fleet, sometimes fragmentary phrasings: something like Sonny Rollins channeling Leo Konitz.

It's an unlikely mix of homages, but with an equally surefooted and agile band, it works. And on Preminger's latest album, Before the Rain (on the Palmetto label), his band—pianist Frank Kimbrough, bassist John Herbst, and drummer Matt Wilson—is all that.

The disc consists mainly of slow ballads, some originals, some standards, simmered in polyrhythms, cool in demeanor but ripe with emotion. There are also some jagged upbeat tunes, where all the players—and this is more a true quartet than a leader-with-three-backups—step out with a controlled abandon.

The sound quality is good, though I wish the drums were a little less compressed.

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Fred Kaplan Posted: Dec 22, 2007 14 comments
It occurs to me that, in my list-o-mania feature, I forgot one that I’d promised—Best Living Jazz Musician of Various Categories. So here they are: the best and the runner-up. These picks will no doubt raise hackles, catcalls, and fisticuffs. So raise them! Send in your choices!
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Fred Kaplan Posted: Sep 27, 2009 7 comments
Ornette Coleman shuffled onto the stage of Jazz At Lincoln Center’s Rose Theater Saturday night, and that was remarkable enough. JALC, Wynton Marsalis’ house of jazz, is typed as a conservative institution—to some, the antithesis of the music’s inherently progressive nature—yet here was the quintessential avant-gardist, making his debut appearance in the lavish concert hall on the opening night of its 2009-10 season.

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