How I detested A Seat at the Table! I didn’t hear what others claimed to like about Solange’s 2016 breakout album. While I’ve admired Solange for more than a decade, I’m hardly a Stan of Beyoncé’s sister. That’s why I’m enormously pleased to report that Solange has realized her potential with When I Get Home. The new album equals or betters efforts by like-minded neo-soul and progressive jazz artists including the Internet, Flying Lotus, Robert Glasper and SZA. While it doesn’t contain any so-called “bops” (ugh), When I Get Home represents everything I love about the current musical moment even as it recalls the seminal work of Stevie Wonder and Erykah Badu. And no, I haven’t watched the accompanying album-length video.
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I reviewed the first of Eric Church’s two concerts at the Sprint Center for The Kansas City Star.
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I reviewed Norman Brown’s The Highest Act of Love at Plastic Sax.
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I write weekly concert previews for The Kansas City Star.
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Bluegrass giant Mac Wiseman has died.
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Jazz guitarist Ed Bickert has died.
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Mark Hollis of Talk Talk has died.
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Drummer Andy Anderson has died.
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André Previn has died. What a life! I’ve long employed his solo piano improvisations as sublime background music.
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The jazz critic and producer Ira Gitler has died.
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Zara McFarlane’s four interpretations of Augustus Pablo’s “East of the River Nile” are positioned at the precise center of my musical wheelhouse.
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Offset’s Father of 4 is so weak that I’m embarrassed for the rapper and for myself for intently listening to all 58 minutes of it. Here’s “Quarter Milli”.
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Guitarist Julian Lage, bassist Jorge Roeder and drummer Dave King are in thrall of Ornette Coleman on the thorny Love Hurts. I love it, of course. Here’s “Tomorrow Is the Question”.
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While attending the rock festival isn’t at the top of my bucket list, I’m consistently impressed by the scale of Rocklahoma.
(Original image by There Stands the Glass.)
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