Album Review: John Scofield- Combo 66

John Scofield is so unassumingly exceptional that it’s only natural to take the guitarist and his rapidly expanding catalog for granted.  He tours relentlessly while issuing a steady stream of recordings.  Combo 66, the latest album in his vast discography, is (ho hum) excellent.  Joined by keyboardist Gerald Clayton, bassist Vicente Archer and drummer Bill Stewart, Scofield grooves like a Wurlitzer jukebox stocked with Grant Green and Jimi Hendrix singles.  In addition to acting as a party-starter, Scofield plays with breathtaking grace on lovely melodies including  “I’m Sleeping In.”  Yet it’s Clayton’s singular work on organ and piano that will compel me to return to Combo 66 years from now.


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I write weekly concert previews for The Kansas City Star.

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I reviewed a performance by Ryan Lee’s Mezzo String for Plastic Sax.

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The material Otis Rush recorded for the Cobra label in the 1950s epitomizes what I want from the blues (and most other forms of music, really.)  Raw songs like “Groaning the Blues” and “Double Trouble” have terrified, thrilled and inspired me for decades.  Rush died last week.

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Charles Aznavour has died.

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Latin jazz legendJerry González has died.

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Studio wizard Geoff Emerick has died.  (Tip via BGO.)

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The most interesting aspect of Giorgio Moroder’s appearance at the Truman last week was the way in which individual members the audience of about 600 responded to each selection.  I was there primarily for the Donna Summer hits, but most people only became fully energized when the influential producer’s contributions to movie soundtracks like “Top Gun,” “Flashdance” and “The Neverending Story” filled the room with processed cheese.

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Chic’s It’s About Time doesn’t damage Niles Rodgers’ legacy.  RIYL: “Good Times,” dance floors, “I Want Your Love.”

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The lithe production of No Name’s Room 25 won’t bump in anyone’s whip.  Even so, it’s an entirely winning hip-hop album.  RIYL: Dessa, taking a break from Cardi and Nicki, Chance the Rapper.

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I remember when Lil Wayne was the best rapper alive.  While it’s not a disaster, Tha Carter V saddens me.

(Original image of John Scofield and Bill Stewart at the Kansas City Jazz & Heritage Festival in 2017 by There Stands the Glass.)

Concert Review: Adia Victoria at the Riot Room

I attended Adia Victoria’s show at the Riot Room last Monday on a hunch.  While I was underwhelmed by the recordings of the Nashville based artist as I researched a preview I wrote for her Kansas City debut, I suspected that I was missing something. 

My hunch paid off. 

I was one of about three dozen people in attendance for what’s certain to be one my favorite performances of 2016.  Backed by an impressive band of Nashville cats, Victoria prowled the stage like the feral grandchild of Howlin’ Wolf and Dolly Parton. 

Victoria repeatedly suggested that she was playing the blues.  Accordingly, a noisy cover of Robert Johnson’s “Me and the Devil Blues” was my favorite selection.  She was entirely credible as she insisted that she was going to “beat my man until I’m satisfied.”

I was so gobsmacked that I failed to take a decent picture.  Fortunately, Todd Zimmer documented the show with a remarkable set of photos.


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I reviewed of a new collection of 58 previously unissued Charlie Parker tracks for KCUR.

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I reviewed Brian Wilson’s concert at Muriel Kauffman Theatre.

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I reviewed a concert by Duran Duran, Chic and Tokimonsta.

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I previewed Drake’s return to Kansas City for The Kansas City Star and Ink magazine.

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I reviewed a concert by Shinedown, Halestorm and Black Stone Cherry.

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I talked up Rooftop Vigilantes on KCUR last week.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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The last 132 Hastings stores have been shuttered.  I spent a significant portion of my life in Amarillo soliciting the buyers of the once-powerful chain.  By and large, my contacts at the Hastings headquarters were good folks.

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I’m all about Revocation’s Great Is Our Sin.  RIYL: Exmortus, metallic hooks, Lamb of God.

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The unfortunately named Dinosaur exemplifies the look and sound of modern jazz.  (For the record, I dig the London ensemble.)

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Many readers of There Stands the Glass are vocal advocates of Goat.  Requiem, the band’s new album, will be released in October.

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Grady Champion’s preposterously old-school ”Move Something” just might be my favorite song of 2016.  (Not kidding.)  RIYL: Marvin Sease, dance songs, Mel Waiters.

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The things I liked about Z-Ro’s purple-drenched Houston rap are largely absent on Drankin’ & Drivin’.  Z-Ro knows it.  He raps “if you don’t like my new sh*t you can go back to my old sh*t… gotta get this money, man.”  RIYL: 2Pac, the slickness, UGK.  Here's "My Money".

(Original image by There Stands the Glass.)