Album Review: Vince Staples- Big Fish Theory

Several obsessive listening sessions with the difficult Big Fish Theory compels me to paraphrase a familiar saying: it’s not the Vince Staples album I want, but it may be the Vince Staples album I need.  Electronica-based production choices presented the initial hurdle.  Where the melange of jazz, funk and R&B employed by Kendrick Lamar- Staples’ most worthy hyper-ambitious California art-rap peer- immediately resonates with me, Big Fish Theory draws on sonics that are outside my wheelhouse.  As for Staples’ lyrical concerns, well, they’re not a lot of fun.  Lamar provides resolution for his apprehensions.  Staples is more ambiguous.  The contrast make Lamar’s entrance on “Yeah Right” the most electrifying moment on an album of challenging music for unsettled times.


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Bone Thugs-n-Harmony’s concert at Crossroads KC was wack.  Here’s my review.

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I named Making Movies KCUR’s Band of the Week.

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In a dazzling display of poor judgement, I put off listening to Hudson, the new collaboration between John Scofield, John Medeski, Larry Grenadier and Jack DeJohnette.  The prospect of hearing them cover the likes of “Woodstock” didn’t appeal to me.  I shouldn’t have doubted the brilliant men.  The excellent album isn’t the least bit portentous.  Here’s the title track.

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Tigran Hamasyan’s An Ancient Observer is an enchanting piano-based album.  Here’s "Markos and Markos".  RIYL: Brad Mehldau, Armenia, Ethan Iverson.

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Sometimes I dodn’t know if I should envy the cool kids or laugh at them.

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Outside the Echo Chamber, an astounding collaboration between Coldcut and On-U Sound, overflows with ideas.  RIYL: No Doubt, dub, Lee Perry.

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Even though I think it’s a pointless exercise, I’d be lying if I claimed not to derive great pleasure from Ala.Ni’s You & I.  RIYL: Madeleine Peyroux, fine wine, Blossom Dearie.  Here’s ”Cherry Blossom”.

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Pop Makossa- The Invasive Dance Beat of Cameroon 1976​-​1984 sounds like an exuberant remix of Nile Rodgers’ discography.  In other words, it’s an instant party.  (Tip via Big Steve.)

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A viable new contender for the title of the worst song of all time features one of the best artists of the moment.

(Original image by There Stands the Glass.)

Concert Review: Simone Porter at the Folly Theater

Almost every one of the dozens of children and teenagers who made up about half of the audience in the back of the balcony of the Folly Theater on Sunday afternoon were riveted by the performance of Simone Porter.  The young violinist’s ability to transfix kids impressed me almost as much as her sterling readings of works by Mozart, Janáček, Pärt and Brahms during the free concert in the venerable Harriman-Jewell Series.  Even the boys who played video games at intermission were silent as Porter and pianist Armen Guzelimian played the challenging selections.  I won’t pretend to understand how the star-making machinery works in the classical realm, but the poise and artistry Porter displayed on Sunday made her a commendable celebrity in the eyes and ears of hundreds of young devotees in Kansas City.


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I reviewed Stik Figa’s Central Standard album for KCUR.

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I write weekly concert previews for The Kansas City Star and Ink magazine.

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I wrote an extended concert preview about Lee Fields for The Kansas City Star and Ink magazine.

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My review of Alaturka’s concert at Polsky Theatre is posted at Plastic Sax.

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I discussed Poor Bishop Hooper on KCUR this week.

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Horace Parlan has died.

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”Freedom Cobra” is the rawk song I’ve long wanted from the Kansas City band Bummer.

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David Longstreth of Dirty Projectors is the Donald Fagen of indie-rock.  That makes Dirty Projectors’ new self-titled album the equivalent of Aja.

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Much like Dirty Projectors, Thundercat’s Drunk is the eccentric brainchild of a California man who’s often too smart for his own good. Drunk is much better on paper than in practice.  RIYL: Frank Zappa, concept albums, Van Dyke Parks.  ”Walk On By” is the best track.

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And much like Drunk, Karriem Riggins’ Headnod Suite indulges the occasionally whimsical impulses of a master musician.  RIYL: Clyde Stubblefield, drumming lessons, Garageband.

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The sense of fun that’s often absent in jazz abounds on the hilarious Loafer’s Hollow, the latest effort from Mostly Other People Do the Killing.  RIYL: Louis Armstrong, audacity, Henry Threadgill.

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The spacey R&B on Kingdom’s Tears in the Club is RIYL Jhene Aiko, spacing out, SZA.  Here’s ”Nothin’”.

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Although Stormzy overshares on the schizophrenic Gang Signs & Prayer, the angry tracks are genuine bangers.  Here’s ”Big For Your Boots”.

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A few of my pals will lose their minds over Brokeback’s instrumental guitar album Illinois River Valley Blues.  RIYL: Link Wray, imaginary movies, the Coctails.

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Until I ingested Man Vs. Sofa last week, I hadn’t listened to a new Adrian Sherwood album in years.  He’s still great.  RIYL: bass, Lee “Scratch” Perry, dub.

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Víkingur Ólafsson’s Philip Glass: Piano Works is stunning.

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Pissed Jeans’ relentless Why Love Now is RIYL testosterone, F8cked Up, angry white men.  Here’s ”The Bar Is Low”.

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I wondered how Future expected to fill arenas on his forthcoming tour after issuing an inaccessible self-titled album two weeks ago.  The immediate follow-up Hndrxx solves the problem by serving as the vehicle for several likely hits.

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I wanted to love Los Campensinos!’s Sick Scene, but it’s about four notches too subdued for me.  Here’s ”The Fall of Home”.

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I can almost imagine an alternate universe in which Son Volt is my favorite band.  Notes of Blue is RIYL consistency, Furry Lewis, the Midwest.

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Even though I won’t spend much time listening to Little Big Town’s The Breaker for pleasure, I’m awed by its seamless merger of pop, country and classic rock.  Here’s ”Better Man”.

(Original image by There Stands the Glass.)