Concert Review: Lawrence Brownlee and Eric Owens at the Folly Theater

Lawrence Brownlee’s powerful singing and enthralling emoting impressed me as I sat in the rear balcony of Carnegie Hall two years ago.  When I discovered that I could secure front row seats for my cousin’s April 6 show at the Folly Theater at an 80% discount, I jumped at the deal offered by the Harriman-Jewell series.  I was rewarded for my nominal investment with my favorite show of 2017 to date.  Yet it was Brownlee’s fellow opera star Eric Owens who I most appreciated during the program of arias, Great American Songbook tunes and gospel selections.  Less flashy but more stirring than Brownlee, Owens reduced me to tears as he delivered “Give Me Jesus.”  Jovial duets on uptempo selections like the ridiculous “Dolores” caused my face to ache from smiling so strenuously.  Libby Hanssen reviewed the concert for The Kansas City Star.


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I reviewed Kris Kristofferson’s return to the Uptown Theater for The Kansas City Star.

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I reviewed Judah & the Lion’s concert at the Uptown Theater for The Kansas City Star.

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I wrote extended concert previews about Radiohead and Chris Brown for The Kansas City Star and Ink magazine.

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My latest rounds of weekly music previews for The Kansas City Star and Ink magazine are here and here.

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I recently designated Second Hand King and Katy Guillen & the Girls KCUR’s Band of the Week.

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Donny McCaslin floored me at the Folly Theater on Friday.  My notes are at Plastic Sax.

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I did some work with Lonnie Brooks in the 1990s.  The Chicago blues artist was a warm, generous man.  Brooks died last week.

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Until I read his obituaries, I didn’t know that Arthur Blythe was married to the one-time Kansas City based vocalist and actress Queen Bey.

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“I took my roof off at the red light!”  I’m not too proud to admit that I can’t get enough of Rick Ross’ noxious Rather You Than Me.  Here’s ”Trap Trap Trap”.

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I ordinarily don’t have much patience for newly recorded mainstream jazz albums.  Heads of State’s All in One is an exception.  The septuagenarian saxophonist Gary Bartz is in top form.

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Raekwon’s The Wild may be the strongest album by a Wu-Tang Clan member other than Ghostface of the last five years.  Here’s ”This Is What It Comes To”.

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F*cked Up’s “Year of the Snake” has restored my faith in 23-minute songs.  RIYL: MC5, kicking out the jams, Dwarves.

(Original image by There Stands the Glass.)

Una Copita de Ron

I’m beginning to suspect that I’m on the wrong continent.  The joy I felt on a recent trip to Chile and at a concert by a cumbia band on Friday has me rethinking my place on the planet.

My Spanish may be atrocious, but most everything else feels right about a potential move to the south. 

I didn’t understand what a member of the dynamic show band Tropicalísimo Apache said when he pointed me out during Friday’s free concert at Barney Allis Plaza.  If he was encouraging a brave woman to dance with me, his request went unheeded.

No matter.  I was so enthralled with the expertise with which the Mexican band played the music of Columbia that I’m ”Una Copita de Ron” away from buying a one-way ticket to Bogotá or Santiago. 


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Here are my most recent weekly music picks for The Kansas City Star and Ink.

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I previewed the Crossroads Music Fest for Ink and contributed to a review of the event for The Kansas City Star.

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An item about Second Hand King is among my recent contributions to KCUR.

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I caught a portion of the Prairie Village Jazz Festival at Plastic Sax.  Here are my notes.

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A vibrant mix of Afrobeat, soukous, rock and electronica, Mbongwana Star’s From Kinshasa is stunning.  Here’s ”Malukayi” (Tip via Big Steve.)

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I’m unable to resist the Go! Team’s charms.  Listening to The Scene Between gives me the same feeling I had when I was seven years old and watching a new episode of my favorite Saturday morning cartoon.  RIYL: the Magnetic Fields, Sid and Marty Krofft, the Crystals.  Here’s the title track.

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I didn’t catch last year’s Chick Corea/Bela Fleck tour.  The concert document Two indicates that you had to be there.

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Live in Cuba, the Jazz at Lincoln Center Orchestra’s new 137-minute album, alternately thrilled and bored me.  RIYL: certain Grammy winners, Wynton, big bands.

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Anne-Sophie Mutter gets it.  The Club Album is everything it’s meant to be.  RIYL: populism (of a sort), Vivaldi, marketing genius.

(Original image by There Stands the Glass.)