Continental Drift

Jazz fans are familiar with the concept of big band battles.  I’m intrigued by the unofficial jazz clash between Europe and North America.  Based on my listening habits in recent months, my money’s on Europe.

Three new releases by European pianists illustrative the point.  Each is more imaginative and engaging than the efforts of most of their American counterparts.  Tigran Hamasyan is one of the most exciting musicians of the moment.  The Armenian pianist’s 29-minute For Gyumri possesses improvisational daring, melodic charm and a vast sonic range.

The septuagenarian Swedish pianist Bobo Stenson demonstrates that it’s still possible to make the conventional jazz trio format seem fresh on Contra la Indecisión.   Elliot Galvin, an impudent British talent, conveys funny jazz jokes on the deeply amusing The Influencing Machine.  I’m eager for Americans to rise to the challenge.


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I write weekly concert previews for The Kansas City Star.

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I’ll feature David George on my weekly KCUR segment tomorrow.

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I reviewed Cyrille Aimée’s concert at the Folly Theater for Plastic Sax.

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The Kansas City rock musician Billy Johnson has died.

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I barely survived Mary Chapin Carpenter’s morose headlining set at the Kansas City Folk Festival.  To paraphrase the eminent philosopher Chief Keef, that’s that stuff I don’t like.  To be fair, following the jubilant set of Los Texmaniacs and Flaco Jiménez’s party music would have been a challenge for anyone.  Kalyn Fay, an Oklahoman Cherokee singer-songwriter, was my find of the day.

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An in-store performance by the soul revivalist and roots-rock newcomer Liz Brasher thrilled me last week.  Here’s “Cold Baby”.

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Sa-Roc’s self-empowerment anthem “Forever” is persuasive.  RIYL: Lizzo, appreciating “exactly who you are,” Brother Ali.

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I realize it makes me little different than an awful 13-year-old boy, but the novelty of countertenor vocalists still amuses me.  Even so, I’m awed by Franco Fagioli’s Handel Arias.

(Original image by There Stands the Glass.)

Ready Ornette

I’ve long been curious about the ludicrously cheap European reissues of classic American jazz material.  My recent purchase of Complete Albums Collection: 1958-1962 allowed me to examine the quality of the packaging and sound of one such release.  The four CD set consisting of Ornette Coleman’s first eight albums set me back $11.99.  I didn’t really need it- I already owned physical copies of several of the albums and each is available on streaming services- but the price proved irresistible.  The skimpy liner notes don’t supply song credits, but Coleman’s co-conspirators including Don Cherry and Charlie Haden come through loud and clear on the wholly acceptable sonics that are housed in a surprisingly sturdy jewel case.  As I rang in the new year with five hours of crucial skronk that was recorded before I was born, I was struck by the marginalization of Coleman’s innovations.  Aside from an occasional rendering of “Lonely Woman,” I almost never detect Coleman’s influence emanating from a bandstand in Kansas City.


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I write weekly music previews for The Kansas City Star.

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I named Edison Lights the KCUR Band of the Week.

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I reviewed Danny Embrey’s Dues Blues at Plastic Sax.

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Tim Finn quoted my 2016 review of a Bonnie Raitt concert in a story about her upcoming tour with James Taylor.

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Maurice Peress has died.  From his obituary in The New York Times: He led the Kansas City Philharmonic from 1974 to 1980, which proved to be an unhappy period. “The audience didn’t want to hear much new music,” he told The Christian Science Monitor in 1989. “I would introduce a new piece, and they would start booing and hissing.”

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Ironic listening is one of my pet peeves.  Even so, I can’t stop marveling at this hellish Brazilian knockoff of Herb Alpert & the Tijuana Brass.

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I had hoped that it would have cleared up by now, but I'm still infected by an unhealthy obsession with Tigran Hamasyan. The odd tone poem “Rays of Light” is from the prolific maverick’s next album.

(Original image by There Stands the Glass.)

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.)