It’s discouraging to see one of the greatest figures in American music reduced to a punchline. The Willie-and-weed narrative was played out 20 years ago but I still encounter many more Willie-related marijuana jokes than serious discussions of his music.
The ongoing artistic vitality of Nelson, 82, is one of the most remarkable achievements in popular music. While his performances are ramshackle affairs, several of his recent albums are exceptional.
The gentle swing and the unabashed sentimentality of the new Summertime: Willie Nelson Sings Gershwin brings tears to my eyes. My emotional reaction is partly based in nostalgia.
My old man bought every Nelson album in the 1970s. Willie's greatness was about the only thing he and I agreed upon. The 1978 album Stardust introduced me to standards like “September Song” and “Someone to Watch Over Me.” Summertime may be even better.
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I reviewed Logan Richardson’s magnificent new album Shift for KCUR.
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I reviewed Lee Fields’ impressive concert at the Granada.
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I previewed Kacey Musgraves’ concert for The Kansas City Star and Ink magazine.
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I write weekly music previews for The Kansas City Star and Ink magazine.
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I’m the gray blip that moves from the left to the right side of the stage at the 4:49 mark of the transfixing time lapse video of the Be/Non album release show at the Scottish Rite Temple.
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Some of the tracks on Kendrick Lamar’s new collection of outtakes and demos are merely footnotes to Good Kid M.A.A.D. City and To Pimp a Butterfly. Other selections- particularly the jazz and funk selections- are stunning.
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Aki Rissanen’s Amorandom is an up-to-date acoustic piano trio album. RIYL: Esbjörn Svensson, Finland, Brad Mehldau.
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Birds of Chicago’s Real Midnight is RIYL: Sonia Dada, nouveau hippies, Poi Dog Pondering.
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Esperanza Spalding’s wretched new album is a half-baked tribute to the collaborations between Joni Mitchell and Jaco Pastorius.
(Original image of a stagehand vacuuming the set of a Vance Joy concert by There Stands the Glass.)
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