Good Timing

Rolex watches don’t tempt me.  I’ve never even touched one of the expensive status symbols.  And while I haven’t been inside one of the luxury cars, I’m sure top-of-the-line Mercedes sedans merit their price tags.  I have the same sort of conflicted feelings about RoundAgain, the new album by the reunited quartet of saxophonist Joshua Redman, pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade.  I was initially floored by the shimmering summit of four of the world’s best musicians.  Yet I grew increasingly irritated by the quartet’s relentless perfection with each subsequent listen.  Is there such a thing as being too good?  Happening: Live at the Village Vanguard, the second most notable acoustic jazz album released July 10, is far from flawless.  The sound is surprisingly sketchy for a Blue Note Records release, and the quintet of pianist and bandleader Gerald Clayton, saxophonists Logan Richardson and Walter Smith III, bassist Joe Sanders and drummer Marcus Gilmore occasionally flirts with chaos.  While it’s clearly inferior, I find the slightly derelict Happening: Live at the Village Vanguard more interesting than the crystalline RoundAgain.  Then again, I wear a $50 watch and prefer Fords to Ferraris.


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The latest diary entry essay at Plastic Sax addresses the reevaluation of my priorities during the pandemic.

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Opera update: I eagerly devoured all four hours of last night’s free stream of Richard Wagner’s “Tristan und Isolde.”  The tally currently stands at 113 operas in 113 days.

(Original image of the primary clock at Grand Central Station by There Stands the Glass.)

Album Review: Carlos Vives- Vives

The early darkness imposed by last week’s time change and the predominantly gloomy weather in Kansas City have threatened to turn me blue.  Yet I don’t need a mood therapy light when I have Vives.  The sunny music on Carlos Vives’ tenth studio album plays like a greatest hits collection.  Each of its perfectly constructed 18 tracks is irresistible.  It’s no accident that the colorful video for “La Bicicleta”, the Columbian’s lustrous Latin pop duet with Shakira, has been viewed more than a billion times.  The corny video for “Al Filo de Tu Amor”, one of my favorite tracks, has a measly 41 million views.  The therapeutic sonic sunshine of Vives has rescued me.


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I write weekly music previews for The Kansas City Star.

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I featured Stevie Stone on my weekly KCUR segment.

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I bought a $35 ticket to sit in the upper balcony of Muriel Kauffman Theatre to see the Lyric Opera’s production of Joby Talbot's “Everest” last night.  The vertical stage set was reminiscent of the innovative production for Kanye West’s Yeezus tour.  And “Everest” sounded more like “Tommy” than “Turandot.”  So why was I one of the youngest people in the half-full room?

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My review of the Victor Wooten Trio’s appearance at the Madrid Theatre is at Plastic Sax.

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Lil Peep has died.

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Guitarist Dan Devine, a new addition to the Brian Blade & the Fellowship Band, completely changes the dynamic of  the ensemble on the slightly disappointing Body and Shadow.  RIYL: early Pat Metheny, placidity, Ralph Towner.

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Syleena Johnson, the daughter of Syl Johnson, spelled “rehash” wrong in the title of her unnecessary Rebirth of Soul album.  RIYL: Ruth Brown, the good ol’ days, Solomon Burke.  Here’s “Make Me Yours”.

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Yaeji’s self-titled EP is worlds of fun. RIYL: chillout rooms, The XX, alcohol.  Here’s ”Guap”.

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God bless Protomartyr.  I love the vibe of Relatives in Descent even though the songwriting is suspect.  RIYL: the Fall, inebriation, the Hold Steady.  “Don’t Go To Anacita” is the best song.

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ECM Records’ new pact with streaming services makes me feel as if I received an unexpected check in the mail.

(Original image by There Stands the Glass.)

Album Review: Skating Polly- Fuzz Steilacoom

Unlike many of my colleagues, I did nothing to observe the twentieth anniversary of the death of Kurt Cobain last month.  I'd rather focus on what's happening now than ruminate on the past.  Besides, Cobain lives in the music of Skating Polly.  The stepsisters from Oklahoma pay tribute to Cobain in the best way possible- by rocking in the unkept tradition of the icon.  It's no accident that the new album Fuzz Steilacoom sounds like a classic recording from the vaults of K Records.  The project was overseen by the label's Calvin Johnson.  The lead track "Alabama Movies" contains a few of the album's many undiluted moments of greatness.


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I reviewed Fitz and the Tantrums's concert on Saturday.

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Ensemble Ibérica, Beau Blesoe's new performance group, has announced its 2014 season.

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Cowboy Indian Bear made a video for "Ruffian".

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I have real problems with Tech N9ne's "Over It".  Strangeulation was released today.

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Don't believe the hype. Ratking makes hip-hop for people who like the idea of the music more than actually listening to it.  So It Goes probably sounds great in 30-second preview clips, but it's a rough slog when consumed in its entirety.  RIYL: the worst Terror Squad album, hype, the worst Wu-Tang Clan album.

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I'm amused to see that Macroscope, the new release by the Nels Cline Singers, is being embraced by people who would never consider listening to a John Scofield, Pat Metheny, Arto Lindsay or Marc Ribot album.  The entertaining recording combines elements of all four guitarists.  What's next- a Barney Kessel revival among Wilco fans?

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Coltsblood's Into The Unfathomable Abyss sounds as if it was made by the stoner kids next door.  And the amateurish quality is precisely why I love it the new album by the British sludge metal band.  

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What if Pat Metheny kept making the same music he made in 1978?  Mark Egan, the bassist on those early Pat Metheny Group albums, recreates that sound on his new album About Now.

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Given the participants' track records, Brian Blade & the Fellowship Band's Landmark merits repeated listening, but I'll admit to being totally underwhelmed.

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Iggy Azalea's The New Classic isn't.  Gwen Stefani, photogenic people, Nikki Minaj.

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Add me to the long list of metal fans who are losing their minds over Lord Mantis' Death Mask.  RIYL: new depths of heaviness, Wormrot, doomsday.

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Of the artists performing at this month's Soundset festival that I haven't seen in the past 12 months, Nas and EarlWolf are the biggest attractions.

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Stanton Moore's Conversations is a straight-ahead jazz trio album.  RIYL: Ellis Marsalis, versatility, Karriem Riggins.  (Tip via J.F.)

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Whoop whoop!  Murs has gone full… well, you know.

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Harvey Mason, the drummer of Headhunters and Fourplay, revisits '70s instrumental funk on Chameleon.

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Anyone familiar with the work of jazz/jam guitarist Charlie Hunter won't be surprised that he and Scott Amendola recorded an EP of five covers of songs by The Cars.

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"They Come In Gold" is a track from the forthcoming album by Shabazz Palaces.  I don't think the duo played the song at the Middle of Map fest in April.

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Here's an analysis of the music produced by L. Ron Hubbard.  (Via J.F.)

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I had high hopes for Dust Moth's Dragon Mouth. It sounds great but the songwriting is lacking.  RIYL: Deftones, the intersection of metal and shoe gaze, My Bloody Valentine.

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It's great to see that Bun B has it together in his interview with Nardwuar.

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Here's the trailer for the documentary: B.B. King: The Life of Riley.

(Original image by There Stands the Glass.)