Feb 3, 2026 12:10 AM
In Memoriam: Ken Peplowski, 1959–2026
Ken Peplowski, a clarinetist and tenor saxophonist who straddled the worlds of traditional and modern jazz, died Feb. 2…
Bob Dylan’s 2015 album Shadows In The Night (Columbia) contains songs that were previously recorded by Frank Sinatra.
(Photo: )As a young man, Bob Dylan started composing idiosyncratic material because he couldn’t find traditional folk songs that conveyed what he wanted to express. Now, as an old man, he has turned to the Great American Songbook to communicate his feelings, interpreting tunes such as “Autumn Leaves,” “Where Are You?” and Irving Berlin’s masterpiece “What’ll I Do.” One might associate such compositions with a certain degree of theatricality—as opposed to the ostensibly autobiographical, “authentic” songcraft that rockers claim as currency.
Rather than hide behind layers of sonic trickery, Dylan, 73, leaves himself exposed on Shadows In The Night. When a singer sails into senior citizen status, it’s common for a producer to augment his fading instrument with the bulwark of lush orchestration, backing vocalists or sprightly duet partners. Dylan eschews all that. Teamed with his road band, he recorded relatively spare versions of 10 songs—all of which had been previously cut by Frank Sinatra—and then produced the album himself (under the pseudonym Jack Frost).
Whereas Sinatra majestically belted out the prayer “Stay With Me” bolstered by soaring strings, Dylan pairs his gritty vocals with Tony Garnier’s poignant arco work and Donny Herron’s masterfully hypnotic pedal steel guitar.
No one’s ever going to confuse Dylan with Pavarotti, but he’s in fine voice here—at least compared to the growling, guttural delivery on his 2012 album Tempest. The frayed quality of his vocals reinforces the vulnerability and loneliness that his despairing narrators experience.
On “Why Try To Change Me Now,” Herron crafts a dreamy, drifting melodic line as Dylan convincingly portrays a bewildered, weary character who knows that he’ll always be out of step with society’s conventions. Bravo.
(Note: To read a story about recording engineer Al Schmitt—who worked on Shadows In The Night—and his role as a mentor at the 2016 Grammy Camp Jazz Session, click here.)
—Bobby Reed
Peplowski first came to prominence in legacy swing bands, including the final iteration of the Benny Goodman Orchestra, before beginning a solo career in the late 1980s.
Feb 3, 2026 12:10 AM
Ken Peplowski, a clarinetist and tenor saxophonist who straddled the worlds of traditional and modern jazz, died Feb. 2…
Hammond came to the blues through the folk boom of the late 1950s and early 1960s, which he experienced firsthand in New York’s Greenwich Village.
Mar 2, 2026 9:58 PM
John P. Hammond (aka John Hammond Jr.), a blues guitarist and singer who was one of the first white American…
Richie Beirach was particularly renowned for his approach to chromatic harmony, which he used to improvise reharmonizations of originals and standards.
Jan 27, 2026 11:19 AM
Richie Beirach, a pianist and composer who channeled a knowledge of modern classical music into his jazz practice,…
“I play what I want and what I like,” said Andrew Cyrille. “I use my knowledge artistically and professionally.”
Feb 3, 2026 12:15 AM
Midway through August, a few days after concluding a week at the Village Vanguard with the quartet that Andrew Cyrille…
Marsalis will, if he chooses to use it, have a strong voice in perpetuating his vision through a role in choosing his successors.
Feb 3, 2026 12:09 AM
For the better part of a year, rumors have been swirling that Wynton Marsalis was going to step down as artistic and…
