I deliberately avoided appearances by Bill Frisell at the Big Ears Festival in Knoxville last month. I reasoned that I should focus on showcases by artists I’d never seen. Even though I’ve heard the guitarist perform seven or eight times, I’m beginning to wonder if my reasoning was faulty. Epistrophy, a set of astounding duets between Frisell and bassist Thomas Morgan recorded at the Village Vanguard, is yet another addition to the already staggering mountain of evidence that Frisell may be the most brilliant musician of our time.
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I reviewed Chris Tomlin’s concert at the Sprint Center for The Kansas City Star.
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I reviewed the Joshua Redman Quartet’s concert at the Folly Theater for Plastic Sax.
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I write weekly concert previews for The Kansas City Star.
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Angry Ethiopian jazz? Sign me up. Black Flower’s Future Flora is RIYL Hailu Mergia, trippy jams, Sons of Kemet.
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Lizzo tries way too hard on Cuz I Love You. The anonymous production on her ostensible breakout album makes her alacrity even less appealing. At least I’ll always be able to say “I saw her when.”.
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The Budos Band pummels a single good idea into the ground on V. RIYL: Link Wray, repetition, the Ventures. Here’s “Ghost Talk”.
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Relentless Doppelganger, a live stream of malevolent bots creating entirely credible death metal, is as impressive as it is terrifying.
(Original image of Bill Frisell, Thomas Morgan and Rudy Royston by There Stands the Glass.)
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