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Fred Kaplan Posted: May 07, 2009 0 comments
It’s been several years since I saw Branford Marsalis play live, but if tonight’s late set at the Jazz Standard is anything to go by, let’s just say that his last few albums don’t begin to capture the peaks he’s scaling. He started the set with a slow pure-tone simmer of “Violets for Your Furs,” switched to a raucous original, and, at one point, lit into long, zigzag takes on Monk’s “Rhythm-a-ning,” treating it alternately as a funk fizz, a samba, a syncopated frenzy, and a straightforward Monk tune, each switch ripe with wit, adventure, and wry references reminiscent of Dexter Gordon’s (the deftest were two lines from “Jitterbug Waltz”). He blows hot and cool, intense and insouciant. At 48, the onetime wunderkind (and Wynton bro’) has grown fully into his promise and beyond. Another star of the evening was his drummer, an 18-year-old high-school senior from Philadelphia named Justin Faulkner, who’s replaced the longtime Jeff “Tain” Watts. Faulkner is incredible, klook-a-mopping the trapset with ferocious energy and gigantic ears, picking up on every twist from pianist Joey Calderazzo, expanding the spaces left open, then filling them with endless variations. He has a tendency to play louder as the music grows more intense, but hey, he’s 18. There’s a hint of a budding Elvin Jones here. Go watch and listen. The quartet plays through Sunday. The house was jam-packed.
Fred Kaplan Posted: Mar 18, 2007 Published: Mar 19, 2007 0 comments
When I unpacked the Rogue Audio Atlas, I didn't know how much it cost. After examining its chassis of high-grade steel, its silver-anodized aluminum faceplate, its sleek and slightly rounded edges, and, above all, its two chunk-o'brick transformers—for such a little thing (a foot-and-a-half square by half-a-foot high), it's heavy—I guessed around five grand. Then I called Rogue Audio and learned that it retails for $1395.
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Fred Kaplan Posted: Oct 12, 2012 1 comments
One drawback of the New York-centric jazz world (and I say this as a New Yorker) is that musicians who live elsewhere too often go ignored. Oral histories are full of tales about some tenor saxophonist in Mississippi, or a guitarist in Nevada, who influenced someone who influenced everyone else. And so you should definitely check out the Denver trumpeter Ron Miles’ riveting new CD, Quiver (on the Enja label).
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Fred Kaplan Posted: Oct 21, 2007 5 comments
The first thing that strikes you about A Life in Time: The Roy Haynes Story—a 3-CD (plus a bonus DVD) box-set that spans the career of drummer Roy Haynes—is just how wide and varied a span it is. It opens in 1949, with Haynes as a sideman to Lester Young, proceeds to sessions with Charlie Parker, Miles Davis, Sonny Rollins, Sarah Vaughan, and Nat Adderley; moves into ‘60s avant-modernism with John Coltrane, Eric Dolphy, Jackie McLean, Andrew Hill, and Chick Corea; and cruises into the ‘70s and beyond (he is still very active at age 82) with bands under his own leadership.
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Fred Kaplan Posted: Aug 26, 2016 4 comments
Rudy Van Gelder, pioneer recording engineer, creator of "the Blue Note sound" (and the many sounds that imitated it through the years), died at the age of 91 this week. Every true jazz fan and true audiophile has grown to venerate Van Gelder—at least the work he did in the 1950s and '60s for the innovative labels of the day: not just Blue Note but also Prestige, Impulse!, Riverside, New Jazz, and scattered others.
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Fred Kaplan Posted: Mar 27, 2015 0 comments
A few years ago, Ryan Truesdell, a jazz composer and arranger, gained access to a treasure trove of Gil Evans' handwritten scores from the 1940s to '80s—some of them recorded, many not—and set out to form a big band to play them. Lines of Color (Blue Note/Artists Share) is the second album to come out of what he calls the Gil Evans Project (the first, Centennial, was released in 2012), and it's something to savor.
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Fred Kaplan Posted: May 29, 2011 5 comments
One of the things I admire most about the folks at Music Matters Jazz—the audiophile house that reissues classic Blue Note albums at 45rpm, the tracks spreads out on two slabs of 180gm virgin vinyl, tucked inside handsome gatefold covers—is that they focus on the label's later avant-garde titles as well as on its earlier hard-bop chestnuts. Highlights in that realm to date: Eric Dolphy's Out to Lunch, Andrew Hill's Point of Departure, and Jackie McLean's Destination Out.

Now add to this list of treasures Sam Rivers' Fuchsia Swing Song. All four of those albums were . . .

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Fred Kaplan Posted: May 23, 2016 5 comments
On the heels of its revelatory release of long-lost sessions by Larry Young in Paris during the mid-1960s, Resonance Records pulls another treasure from the archives—Sarah Vaughan's appearance at Rosy's, a now-defunct New Orleans jazz club, in May 1978.
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Fred Kaplan Posted: Sep 22, 2016 3 comments
Resonance Records has put out some of the most vital, previously unreleased (in some cases, unknown) historical jazz sessions in recent years, and the latest is one of the sweetest: Shirley Horn, Live at the 4 Queens, recorded at a now-defunct Las Vegas hotel-casino of that name in 1988. It's Horn's best live album, and one of her top few albums, period—which says a lot.
Fred Kaplan Posted: Mar 11, 2011 0 comments
In my review of Krell's FBI integrated amplifier in the July 2007 issue, I noted that $16,500 (it now costs $18,000) seemed an astonishing chunk of change to spend on a product category generally associated with "budget" gear. Now, the 2011 edition of the Stereophile Buyer's Guide lists no fewer than 19 companies selling integrated amps for five figures—one goes for $100,000!—which perhaps suggests that economic slumps prod even the well-heeled to alter their habits. There are, after all, advantages to cramming a preamplifier and a power amplifier into a single box: you need one less pair of interconnects, one less power socket, one less cabinet shelf. And if the integrated contains state-of-the-art parts, elegant circuitry, and a hefty power supply, what's the problem?

And so we have Simaudio Ltd., the veteran Canadian high-end electronics firm, leaping into this realm after 30 years of business with the Moon 700i, priced at $12,000—only two-thirds the price of the Krell, but aimed at the same downsizing but still toney demographic.

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