Album Review: Juice Wrld- Legends Never Die

My spouse promptly turned the substantial contents of a medicine cabinet over to authorities after the funeral of a parent last year.  I pouted for a couple days.  I haven’t consumed a single pain-numbing pill stronger than an aspirin since undergoing knee surgery more than a decade ago.  I felt a profound sense of despair when I was unable to renew my opioid prescription.  Juice Wrld’s new posthumous album makes me thankful for the integrity of the orthopedic surgeon and my life partner.  Legends Never Die is a cautionary tale about the dangers of the intoxicants.  Hearing the troubled kid born Jarad Anthony Higgins repeatedly address the physical and psychological consequences of his pill dependence is unnerving.  He died a week after his 21st birthday in 2019.  Juice’s polished sing-song raps make Post Malone sound like Mozart but the musical simplicity of songs like “Can’t Die” resonate with Juice's peers.  Legends Never Die currently tops Billboard’s album chart.


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Opera update: After being compelled to cleanse my eyes and ears with Anna Netrebko’s portrayal of Juliet in Gounod’s “Roméo et Juliette” immediately after enduring a recent work with the cringey tone of a ‘70s after-school TV special yesterday, I’ve taken in 123 operas in the last 122 days. Opera Philadelphia’s production of Lembit Beecher’s “Sky on Swings” is a recent highlight.

(Original image by There Stands the Glass.)

It Ain’t Over 'til the (Talented) Lady (Stops) Sing(ing)

Even after finally managing to cross attending a performance at the Metropolitan Opera House at Lincoln Center off my bucket list in January of 2019, I never could bring myself to pony up $25 to watch recorded versions of the institution’s new opera productions at a nearby movie theater.  Not only are the tickets expensive, I’m constitutionally incapable of sitting still as images flicker across a screen.

I finally know what I’ve been missing.  The Metropolitan Opera offers a different free video stream of its cinematic productions every 24 hours during the ongoing lockdown.  (Donations are requested.)  Indulging in the benevolent gesture changed the tone of my quarantine. 

I could only afford a ticket in the nethermost tier of the Metropolitan Opera House to take in the double bill of “Iolanta” and “Bluebeard’s Castle” in New York City last year.  The filmed versions place the viewer in the front row and behind the scenes during set changes and between each act.  I was especially grateful for the clear vantage points that allowed me to admire Anna Netrebko in her starring role as Norina in a 2010 production of “Don Pasquale” on Saturday.

Now that I’ve learned how to insulate my laptop in ice packs to prevent overheating during the lengthy, data-heavy performances, I know I’ll be able to watch all of “Boris Godunov” tonight, and more importantly, Netrebko’s 2019 star turn in “Adriana Lecouvreur” on Saturday.


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It’s not all opera and ambient noise in my retreat.  I list my ten favorite jazz albums of 2020 (so far) at Plastic Sax.

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Apropos of nothing, here’s a reminder of Brad Mehldau’s brilliance.

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Nostalgic fans of gentle folk-rock of 1970s artists like Christine McVie, Joni Mitchell and Nick Drake will be beside themselves when they catch up with Laura Marling’s exceedingly lovely Song For Our Daughter. 

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Dream team!  Kevin Parker and Mike Skinner combine forces on “Call My Phone Thinking I’m Doing Nothing Better”.

(Original image of Anna Netrebko on my television by There Stands the Glass.)

Concert Review: Charles Gatschet and Matt Hopper at the Dubliner

I'm fairly certain that I was the only person among the handful of listeners at the Dubliner on Sunday evening that wasn't somehow affiliated with the weekly Here's to the Roots showcase.  It's a shame.  The performance by Kansas City guitarists Charles Gatschet and Matt Hopper was exquisite.  Squarely in the duet tradition of Herb Ellis/Joe Pass and Bucky Pizzarelli/Ed Laub, the pair traded leads on standards and compositions by the likes of Duke Ellington and Thelonious Monk.  Following an awkward interview with the tasteful guitarists, Havilah Bruders added impressive vocals to beautiful renditions of "Come Rain or Come Shine" and "Georgia."


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I reviewed the Kansas City Symphony and Yefim Bronfman on Friday.

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I contributed a Local Listen segment about Vinson Cole to KCUR's Up to Date.

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I admired Eddie Moore and the Outer Circle's appearance at Take Five Coffee + Bar on Saturday.

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Andraé Crouch has died.

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Elena Obraztsova has died.

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Anthony Saunders sings on "Dreaming", a track from Dominique Sanders' forthcoming album.

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I had to lie down for a bit after watching Henry Threadgill, Roscoe Mitchell, Muhal Richard Abrams, Larry Gray and Jack DeJohnette discuss their forthcoming ECM album.

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Kassé Mady Diabaté's Kiriké is wonderful.  RIYL: Toumani Diabaté, life, Habib Koité.

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"Recognition", a track from THEESatisfaction's forthcoming album, is RIYL: Dirty Projectors, funkateers, Shabazz Palaces.

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Daniel Herskedal's Slow Eastbound Train seems promising.

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A new release featuring Anna Netrebko served as my introduction to Tchaikovsky's "Iolanta."  I'm in love.

(Original image by There Stands the Glass.)