Fred Kaplan

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Fred Kaplan Posted: Mar 16, 2010 14 comments
In the we-all-make-mistakes department:
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Fred Kaplan Posted: Jan 30, 2008 0 comments
What’s the point of having a blog if you can’t be self-indulgent now and then? So allow me to plug my new book, Daydream Believers: How a Few Grand Ideas Wrecked American Power (Wiley & Sons). As the subtitle may suggest, it is not a biography of the Monkees but rather a journalistic dissection of why the United States’ global adventures and image have gone to hell in recent years. Some of you may know that I write a twice-weekly column in Slate about such matters. My book is not a compilation of my columns; it’s all new stuff. The official pub date is February 4, but it’s already in stock in many bookstores and on amazon.
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Fred Kaplan Posted: Jun 22, 2009 14 comments
What’s the point of having a blog if I can’t occasionally indulge in self-promotion? So if you’ll forgive my blatancy for a moment, today marks the official pub date of my new book, 1959: The Year Everything Changed. Unlike my last book, which was entirely about foreign policy, this one actually might be of some interest to the readers of this space, because it covers not just politics but also culture, society, science, sex—as the title suggests, everything. More to the point, there are three chapters (out of 25) that deal explicitly with jazz. (Key jazz albums of 1959 included Miles Davis’ Kind of Blue, Ornette Coleman’s The Shape of Jazz to Come, and Dave Brubeck’s Time Out.) There’s also a chapter about the creation of Motown (another 1959 phenomenon), and a jazz-blues vibe infuses the whole book.
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Fred Kaplan Posted: Jun 08, 2010 4 comments
As I’ve mused before (though only twice), what’s the point of having a blog if you can’t indulge in a little self-promotion?
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Fred Kaplan Posted: Feb 29, 2012 1 comments
Ahmad Jamal’s new CD, Blue Moon (on Harmonia Mundi’s new Jazz Village label), is a wonder. Jamal is 82. He still possesses that spacious lightness of touch that knocked out Miles Davis over a half-century ago. But Jamal has since added to this elegance a syncopated boisterousness, a keenness for dynamics, and an adventurous way with mixing and merging styles.

Listen to what he does with the title tune, loping on not only a slow-simmer Latin rhythm but also a bass line (which occasionally gets passed to the piano, then the drums) from the refrain of Coltrane’s “A Love Supreme.” Or the album’s first track, an original called “Autumn Rain,” where Jamal coaxes clusters of chords, then a sprightly melody, over drummer Herlin Riley’s raucous backbeat.

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Fred Kaplan Posted: Apr 11, 2011 4 comments
Every few years, a young jazz musician comes along and sets off some buzz. Usually, the excitement soon cools—the kid can’t sustain the initial stir, he turns out to have more technique than depth—but now and then, it turns out there’s something really going on. In the past decade, Jason Moran has been the most prominent of these upstarts who’s the real thing. The latest, I’m pretty sure, is a trumpeter, just shy of 29 years old, named Ambrose Akinmusire.
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Fred Kaplan Posted: Apr 04, 2014 4 comments
Three years ago, Ambrose Akinmusire, 28, burst upon the scene as the most promising young jazz trumpeter since Dave Douglas. His debut album, When the Heart Emerges Glistening (on the Blue Note label), was hailed (and not just by me) as one of the best of 2011. His new CD, The Imagined Savior Is Far Easier to Paint (also out on Blue Note), is better.
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Fred Kaplan Posted: Apr 24, 2011 4 comments
After seeing Ambrose Akinmusire’s quintet at the Jazz Standard in New York City last Sunday night, I realize that, if anything, my recent blog posting sold him short—or fell short, anyway, in describing what makes him so remarkable.

Unlike many of the best young lions of recent years, Akinmusire is not aiming to expand the realm of jazz to include hip-hop, classical, Latin, or whatever. He is steeped in “the jazz tradition” and aims to deepen his stance within it—but his approach doesn’t seem the slightest bit retro. His trumpet tone, as noted earlier, has traces of Clifford Brown and Booker Little; but how he shapes that sound—as a player, a composer-arranger, and an ensemble-leader—is thoroughly distinctive. . .

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Fred Kaplan Posted: Jul 05, 2007 1 comments
I don’t want to write too much about any one musician, but I just got back from seeing clarinetist Anat Cohen’s quartet at the Village Vanguard, and I can’t resist. Her CD, Poetica, is one of the year’s fresh surprises—breezy, heady, and warm (see my blog of June 17)—but it’s a mere shadow of what she does live. She plays with a perfect clean tone and an insouciant virtuosity combined with a hip-swaying, eyes-rolling, wide-smiling swing—or with a breath-stopping melancholy, depending on the song.
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Fred Kaplan Posted: Jun 17, 2007 0 comments
Anat Cohen’s Poetica, on her own Anzic Records label, is a fresh breeze of an album, and I mean that in a good way. Still in her 20s, Cohen plays clarinet with a polished edge and verve second only to Don Byron’s. Born in Tel Aviv, schooled at Berklee, honed in New York clubs, playing not just modern jazz but Brazilian Choro and Dixieland, she lets all her influences show but none of them dominate. Her tone bears something of klezmer’s lilt but none of its schmaltz. Her arrangements have the joyful-melancholic sway of Israeli or Latin folk music but none of its sentimentality. On the album, she also plays two knottily catchy original tunes, a Jacques Brel song, and a tinglingly lovely cover of Coltrane’s “Lonnie’s Lament,” the last backed by a string quartet. The sound, mixed by Joe Ferla and mastered by Sony’s Mark Wilder, is excellent.

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