When a friend recently informed me that the Topeka based Youngblood Supercult had been added to the lineup of Psycho Las Vegas, a festival headlined by the Brian Jonestown Massacre, King Diamond and Mastodon, he and I marveled at the stoner-rock band's low profile in its home market. The lo-fi sludge of 151-proof songs like “Wormwood” on the new album The Great American Death Rattle effectively recycle the best bits of early Soundgarden, Fu Manchu and Clutch. Even though the quartet has yet to make much of an impression in Kansas City, Youngblood Supercult is one of the mightiest bands in the Midwest.
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I reviewed a concert by Marco Antonio Solis and Jesse & Joy.
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I featured jazz bassist Micah Herman on my weekly KCUR segment.
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I write weekly concert previews for The Kansas City Star.
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I trespassed on a rarifed jazz salon last week.
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Sonny Burgess has died.
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I claimed Sargasso Sea, my introduction to the music of John Abercrombie, from a discount bin at Classical Westport in the late ‘70s. I haven’t been the same since. Abercrombie died on Tuesday.
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I’m embarrassed for almost everyone associated with the utterly dismal Rich the Factor Presents KC’s the Town Compilation.
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I like A$AP Ferg’s crossover hits more than his club bangers. Although it sounds like a million bucks, Still Striving is a street album. Here’s ”East Coast Remix”.
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Acoustic Classics II, a new set of re-recordings, is an ideal introduction to the cult of Richard Thompson.
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Three or four songs on Not Dark Yet, a collaboration between sisters Allison Moorer and Shelby Lynne, please me.
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Even though Yelena Eckemoff is accompanied by jazz luminaries including Chris Potter on In the Shadow of a Cloud, the album is less satisfying than Blooming Tall Phlox, the astounding January release she recorded with relatively obscure Finnish musicians.
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Eddie Palmieri’s music has infused me with joy for decades. Sabiduria is no different. RIYL: Willie Bobo, life, Tito Puente.
(Original image by There Stands the Glass.)
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