Jimmy LaFave, 1955-2017

When I began attending SXSW more than 25 years ago, the event was a business conference that doubled as a showcase for locally based musicians.  Performances by the hometown hero Jimmy LaFave were among the most anticipated components of those early years.  Even though his popularity failed to keep up with the staggering growth of SXSW, LaFave remained faithful to the rootsy sound that once made him the toast of the Texas town. Nora Guthrie’s introduction of LaFave at the Folk Alliance International conference on February 18 was was warm and effusive.  Even though I wasn’t aware that he’d been diagnosed with an incurable form of cancer, I was moved by an intimate performance that included one or two of his signature Bob Dylan covers.  LaFave died last week.


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I reviewed a concert by the Black Angels and A Place to Bury Strangers.

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I reviewed outings by Railroad Earth, the Yonder Mountain String Band, Fruition and the Shook Twins at the Bluegrass in the Bottoms festival.  I also wrote a preview of the two-day event.

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

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Julian Vaughn was the recipient of my most recent KCUR Band of the Week designation.

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I appraise Norman Brown’s new album Let It Go at Plastic Sax.

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Chris Cornell has died.  He looked and sounded great when I saw him with Soundgarden eight days ago.

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I cued up Diana Krall’s Turn Up the Quiet out of professional obligation.  Boy, was I surprised!  The hushed collection of standards is easily my favorite release by the Canadian.  RIYL: Julie London, makeout music, June Christy.  Here’s ”Moonglow”.

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I’m embarrassingly easy.  Add horns and a semblance of swing to almost anything and I’m in.  I adore the new sound Pokey LaFarge unveils on Manic Revelations.  Here’s ”Riot In the Streets”.

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Julian Lage, Brad Mehldau, Larry Grenadier and Eric Harland support saxophonist Dayna Stephens on the predictably wonderful Gratitude.

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I keep listening to Mary J. Blige’s Strength of a Woman in fruitless attempts to convince myself that it’s not a bitterly disappointing mess.  ”Love Yourself” typifies the miscalculations.

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Wavves continues to outshine its peers with the remarkable You’re Welcome.  RIYL: Green Day, crying on the beach, Brian Wilson.  Here’s ”Million Enemies”.

(Original image by There Stands the Glass.)

Album Review: Charlie Hunter- Let the Bells Ring On

The elusive audience for jazz is hiding in plain view in 2015.  Millions are appreciating Kendrick Lamar’s To Pimp a Butterfly.  Hundreds of thousands more are dancing at concerts by the likes of Umphrey’s McGee.  Charlie Hunter must wonder what he has to do to get a single percentage of those people to pay attention to his funky new album Let the Bells Ring On.  It’s a jam album for jazz fans and jazz album for jam band aficionados.  It’s also begging for a hip-hop remix.  The populist sound of guitarist Hunter, trombonist Curtis Fowlkes and drummer Bobby Previte on ”These People?” is indicative of the album’s generous vibe.


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I reviewed Dwight Yoakam’s concert in the Power & Light District.

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I reviewed Samantha Fish’s Wild Heart for KCUR.

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I contributed a Local Listen segment about the Philistines to KCUR.

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Buddy Emmons has died.

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Lynn Anderson has died.

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Vic Firth has died.

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Wayne Carson has died.

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I listened to the reissue of In Through the Out Door over the weekend.  I didn’t comprehend until now that the Led Zeppelin album is an extended goof on Elvis.

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I like the sound and feel of Ashes & Dust, Warren Haynes’ collaboration with Railroad Earth.  Too bad about the dodgy songs.

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I just discovered Mathias Eick.  Here’s a live performanc of ”Hem”.  RIYL: European jazz, ECM, fiddle plucking.

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Until I listened to the compilation Come and Get It: The Best of Apple Records a few days ago, I’d never heard Brute Force’s ”King of Fuh”.  I wish I’d known about the novelty song when I was young enough to appreciate it.

(Original image by There Stands the Glass.)