Fred Kaplan

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Fred Kaplan Posted: Apr 09, 2008 2 comments
About a month ago, I lamented that Sonny Rollins, the greatest living tenor saxophone player, had decided not to put out a CD of his Carnegie Hall concert of last year with Roy Haynes and Christian McBride. Rollins was dissatisfied with his playing and so he canceled his release-plans.
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Fred Kaplan Posted: Jun 13, 2014 5 comments
I guess I'm going to have to start listening to Stacey Kent. At her early set at Birdland in midtown Manhattan Wednesday night, I sat down a skeptic and came away charmed.
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Fred Kaplan Posted: Jun 10, 2010 0 comments
A trend of sorts has taken hold the past few years: albums (in most cases, multi-disc boxed sets) capturing not just the highlights of a jazz concert but the whole concert—or a whole week’s worth of concerts, the entire run of a gig at a nightclub—every note of it.
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Fred Kaplan Posted: Aug 24, 2013 1 comments
Alto saxophonist Steve Coleman's new CD, Functional Arrhythmias (Pi Recordings), is his best in many years.
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Fred Kaplan Posted: Nov 24, 2009 1 comments
Smalls is, well, a small jazz club in New York City’s West Village and, while far from the most comfortable establishment in town, it’s certainly among the most authentic and dedicated. The cover is cheap, the audience is youthful (two facts that are probably related), the musicians are usually the best up-and-coming players, and established masters sit in now and then too. (Last week, Albert “Tootie” Heath played drums with the Bad Plus pianist Ethan Iverson.)
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Fred Kaplan Posted: Jul 10, 2009 0 comments
Steve Kuhn’s new CD, Mostly Coltrane (on the ECM label), has no business working, but it does, for the most part really well.
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Fred Kaplan Posted: Feb 25, 2008 1 comments
Disaspora Suite is the 4th in a series of albums recorded by trumpeter-composer Steven Bernstein for John Zorn’s Tzadik label (the others were Diaspora Soul, Diaspora Blues, and Diaspora Hollywood). It’s also the most ambitious, far-flung, and satisfying. The band is a nonet that includes the versatile Nels Cline on electric guitar (strumming, plucking, and occasionally wailing), Peter Apfelbaum on saxes, and Ben Goldberg on clarinet. This is by no means simply “Jewish music.” The sounds and influences drift in from everywhere. The first track starts with an electric guitar riff and bongos back-up that’s straight out of Marvin Gaye. Horns enter, blowing slightly dissonant intervals. Two minutes in, the clarinet rolls in with those punchy klezmer chords, but it doesn’t overwhelm the other spices; they all mix and meld, play in and out and around one another. It’s dark, bluesy, danceable (in your head and on the floor). It careens off in unexpected directions, all of them worth following.
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Fred Kaplan Posted: Oct 25, 2007 0 comments
Audiophiles well know the glories of a 12-inch slab of 180-gram virgin vinyl cut for 45-rpm playback. Compared with a normal LP’s 33-1/3 revolutions per minute, the grooves on a 45 are stretched out over a wider space, allowing the stylus to track them more accurately and to give voice to the music’s minutest details. The non-‘philes among you may be shaking your heads (Oh, no, Is this guy a nutball?) but, believe me, it’s true. A few years back, Classic Records, Mike Hobson’s L.A.-based audiophile label, put out a series of limited-edition single-sided 45 rpm LPs, one album stretched out on four slabs of vinyl, each of which had grooves on one side but nothing, just plain black vinyl, on the other. The theory was that a perfectly flat bottom surface would couple more firmly to the turntable’s mat, eliminating the distortion of vinyl resonances. That may sound nuttier still, but, believe me, it’s true, too. (I’ve compared single-sided and double-sided 45 rpms of several albums that Hobson released in both formats—especially Sonny Rollins’ Our Man in Jazz and the Chicago Symphony’s performance of Prokofiev’s Lt. Kije, conducted by Fritz Reiner. The differences were not subtle. I value those albums as much as any in my collection, for musical and sonic reasons.)
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Fred Kaplan Posted: Feb 03, 2010 2 comments
Many composers, jazz and otherwise, have tried to write pieces inspired by famous artworks, but Ted Nash is one of the few who pulls it off.
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Fred Kaplan Posted: Nov 30, 2012 1 comments
Ted Nash and Frank Kimbrough—co-founders of the Jazz Composers Collective, which I recently wrote about in this space—have new albums, and they're both among the year's best.

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