Review: Esbjorn Svensson Trio- 301

I freely admit that I occasionally participate in the "whither jazz" discussions that careen around the internet like shots fired in an empty bank vault. The "absurd lack of an audience" is a frequently-employed tag at my jazz blog Plastic Sax. Instead of weighing in at this heated thread at NPR's A Blog Supreme, I'll use this album review as a meditation on jazz's declining popularity.

I reviewed a concert headlined by the Dirty Dozen Brass Band last week. While poorly attended by the venue's standards, it was still thrilling to witness over 200 people dancing to a raucous jazz act. I fully endorse the #BAM model displayed by acts including the Dirty Dozen, Nicholas Payton, Esperanza "The Future" Spalding, A Tribe Called Quest and Robert Glasper. The other end of the progressive jazz spectrum is no less viable. Witnessing concerts by Enrico Rava and Tord Gustovsen in recent months has only deepened by enthusiasm for the potential of refined European jazz.

The Esbjorn Svensson Trio was perhaps the most popular act of its type to emerge in the past decade. It was poised to single-handedly popularize jazz among a new generation of listeners when tragedy struck.

It's impossible for me to listen to 301 without asking "what if?". What if Svensson hadn't died in 2008? Would E.S.T.'s career momentum have continued? Could E.S.T. have been the act to successfully connect to the indie rock set in America? I think so. The 301 recordings are from a 2007 session reportedly planned for release prior to Svensson's death. Pamela Espeland of Bebopified puts it well: "301" is not a collection of scraps or outtakes. This is the e.s.t. we know and love, the trio that makes us think and feel, groove and raise our fists in the air."

Each of the seven tracks on 301 is excellent. The brilliant "Inner City, City Lights" is a post-Keith Jarrett, post-Pat Metheny mood piece. Is it "jazz"? Who cares? "The Left Lane" is a 13-minute jam that actually goes places. "Houston, The 5th" is an experiment in feedback. "Three Falling Free, Part I" includes a drum feature for Magnus Öström. The raw "Three Falling Free, Part II" is more Mars Volta than Bill Evans. "The Childhood Dream," the soulful blues that closes 301, belies the commonly held assertion that European jazz is bloodless.

Then again, I could be delirious. As of this writing, 301- easily one of the most exciting and artistically important albums regardless of genre to be released in 2012- is ranked as the #20,869 best-selling music title at Amazon. "What if?,"  indeed.


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The members of Saint Etienne apparently uncovered the teenage diary of one of my former girlfriends. I'm smitten by "Over the Border.

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Stik Figa continues to rep Top City. (Via Tony's Kansas City.)

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Is Ozarks' "Pyramids of Love" genius or idiocy? (I can't tell.)

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A new documentary about Cheli Wright looks promising.

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I refuse to upgrade my Sugar collection.

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Kansas City Click: You'll find me at the Celebration at the Station on Sunday.

The Louis Neal Big Band returns to the Blue Room on Monday.

Class Actress is at the Riot Room on Tuesday.

Elizabeth Cook plays Knuckleheads on Wednesday.

(Original image by There Stands the Glass.)

Review: Psychfest

I went to a psychedelic music festival and a punk rock show broke out.  Carnal Torpor, a band with which I had no familiarity, blew my mind in a most unpsychedelic fashion. 

A bunch of shirtless guys, the band made a sonic racket that fell somewhere in the small space in which Minor Threat, Dan Deacon and Tool overlap.  A dude resembling Dave Navarro hammered away at several instruments including one that looked like jerry-rigged loom.

The singer reeked to high heaven, a fact not lost on anyone in the basement of the FOKL Center.  A riveting presence, he shrieked in frustration, slathered himself in a dark, glue-like substance, decorated himself with foil, flayed at (and usually missed) a cymbal, banged on the rafters and slam danced and fought with a couple of confederates.

I don't know if Carnal Torpor is capable of transferring the same chaotic energy to a setting more conventional than a basement in Kansas City, Kansas, but the fifty people who witnessed its 30-minute set know that the theatrical performance was extraordinary.

Nothing else I heard was nearly as memorable, though I was impressed by DJ Memo, a man who clearly understands that the Geto Boys and Duke Ellington are part of the same continuum.  I also liked the set by one-man-band CS Luxem.  It was enhanced by projected footage of an American Royal Parade from the '90s.  The backdrop for the upstairs stage was similarly effective.  A collection of boxes had been painted white.  A light show specifically constructed for the structure was very impressive.

About 125 people- over half of whom were participating musicians and their friends- were present during the two hours I spent at Psychfest.  The laughably pretentious attitudes and inane amateurism displayed by a couple dozen nitwits were offset by the graciousness of a handful of genuinely groovy, far-out people.


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Me too! I'm also excited about Killer Mike's new album.

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The Liquor Buddies is Steve Wilson's new band.

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Kansas City Click: The KC Sound Collective appears at the RecordBar on Sunday.

Creed plays the Midland on Monday and Tuesday.

Tracii Guns appears at Aftershock on Wednesday.

The Dirty Dozen Brass Band top Thursday's bill at Crossroads KC.

(Original image of CS Luxem by There Stands the Glass.)

Bustin' Loose: Donna, Doug and Chuck

The inevitable but dreadful news of the passings of notable musicians is relentless.  Here are brief notes on three recent losses.

• I've long sensed that the blueprints for the future are right in front of all of us.  Yet aside from the countless people who have applied the gifts of the dual geniuses of James Brown and George Clinton to the creation and ongoing evolution of hip hop, very few have advanced the sound of funk and R&B in recent decades.  Chuck Brown was an exception.  He constructed a brand new bag.  
• I realize that much of the world received regular exposure to the Dillards on television, but I've always considered the Dillards to be a regional phenomenon.  Missouri native Doug Dillard meant a lot to people in this region.  And this region meant a lot to him- here's "Kansas City Southern", from a collaboration with Gene Clark, another local boy.
• Donna Summer's "Love to Love You Baby" was released when I was an impressionable kid.  Nothing more needs to be said about that.

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I reviewed an appearance by Taj Mahal and Anders Osborne.

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I was asked to pull a recent There Stands the Glass post.  I complied.

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Mac Lethal crafted another meme.

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Jazz blog Outside-Inside-Out hipped me to Edmar Castaneda's Double Portion.  I can't decide if I love it or hate it.  Here's the EPK for the album.

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Sam Billen's Kickstarter campaign is one of the best-conceived I've encountered.

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Kansas City Click: My official picks are published here.

(Original image by There Stands the Glass.)

Donald "Duck" Dunn, 1941-2012

Most readers of There Stands the Glass pick up on the fact that I often go on musical binges that last between two days and two weeks.  It's not uncommon for me to become fully immersed in a specific artist or style.  I can lose myself in old Dave Holland albums, the Skip James catalog, American Beauty, seminal thrash or Erik Satie.  I love these things so intensely that I inevitably burn myself out on each temporary obsession.  One of the few things I'll never tire of is the music made in Memphis from 1954-74.  Duck Dunn, of course, played a pivotal role in the creation of the timeless sound. (Get a load of this.)  Dunn died two days ago.


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Here's my review of Rockfest.  My favorite of the fifteen performances? That's easy- Trivium.

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Here's another song from the new Neil Young and Crazy Horse project.  I love it.

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This is my introduction to Nathan Salsburg.

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I like the homemade vibe of the Floozies' new video.

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Krizz Kaliko's "Spaz" goes to "the next level."

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The Clocks have reunited!

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A Kickstarter campaign campaign for Renaissance was successful.

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Oh no!  This spells another lost weekend for me.  It's safe to say that Pulp won't make my list.

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Kansas City Click: Rocky Votolato is at the RecordBar on Tuesday.  I've admired his "hit" since its release.

Oriole Post plays at Kauffman Stadium before Wednesday's Royals game.

Chris Hazelton performs at the Blue Room on Thursday.

(Original image by There Stands the Glass.)

Review: Chicago Underground Duo- Age of Energy

A five-track Rorschach test, Age of Energy, the astounding  new album by the Chicago Underground Duo, elicits visions.

1. "Winds Sweeping Pines"- Ignore the selection's title.  I see a riot by discontented assembly line workers at a Chinese industrial plant.  This is everything I'd hoped for but didn't get from internet sensation BadBadNotGood.

2. "It's Alright"-  Once again, the title is grossly misleading.  It's most definitely not alright.  This is the sound of Miles Davis attempting to claw his way out of his grave.

3. "Castle In Your Heart"- The label amusingly refers to the track as a single.  (It's available as a free download here.)  Like a Gauguin painting of Polynesia come to life, the song's fleetingly sensual quality is akin to a moment of oblivious tranquility hours before a tsunami strikes.

4. "Age of Energy"- The drumming on the title track resembles the dull thump of wet Nikes tumbling in a distressed dryer.  The astringent screech of the trumpet might have been achieved through enhanced interrogation. 

5. "Moon Debris"-  The lost Kraftwerk jazz album from 1973. I've got yer jazz robots right here.

Fans of Tortoise, Matthew Shipp and Stereolab are encouraged to seek their own visions with Age of Energy.

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I reviewed a wild concert headlined by Mushroomhead.

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Farewell, Adam Yauch.

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Michael Burks has died.

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The new John Peel site is a thing of wonder.  I recommend watching the feature on Mike Absalom. 

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Have you seen and heard Neil Young and Crazy Horse's Oh Susannah"?  It's insane.  (And that's just the way I like it.)

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Dennis Brown interprets Jimmy Webb.  I love this world.

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Here's Doomtree at NPR.

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Subscribing to archival music channels sometimes leads to tantalizing surprises.  Yowza!

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Kansas City Click: Aretha Franklin graces Helzberg Hall on Tuesday.

Kittie top Wednesday's bill at the Beaumont.

I get to see Bad Company play a corporate event on Thursday.  I hope to meet Mick Ralphs.

(Original image by There Stands the Glass.)

The 100 Best Singles of the 1980s

I wish I'd never bothered to look at NME's recently published list of "The 100 Best Songs of the 1980s."  Since I innocently jumped down that vexing rabbit hole earlier this week, I've spent about eight hours creating the following list.  I was initially impressed by NME's effort, mostly because it reminded me of songs like "Buffalo Stance" that I hadn't thought of in years.  Stereogum provides a user-friendly version of NME's list.  Even so, I quickly realized that it only partially represented the music that consumed me during the decade.  Consequently, less than two dozen of NME's choices survived my cut.  Lest my list be dominated by M.J. and Prince, I decided to include only one song per artist.  I also required that each selection was officially released as a single.  And in order to actually complete this silly exercise, I didn't consider international acts like Fela and Juan Luis Guerra. In spite of its preposterous title, my list doesn't represent the "best" singles of the era.  Instead, it compiles the songs I loved most.

Here's the corresponding Spotify playlist.  (Only a few of my selections aren't available at the streaming service.)

1. Bob Marley- "Redemption Song"
2. Public Enemy- "Bring the Noise"
3. Michael Jackson- "Wanna Be Startin' Somethin'"
4. George Clinton- "Atomic Dog"
5. Talking Heads- "This Must Be the Place (Naive Melody)"
6. Prince- "1999"
7. Lakeside- "Fantastic Voyage"
8. Tracy Chapman- "Fast Car"
9. Joy Division – “Love Will Tear Us Apart”
10. George Jones- "He Stopped Loving Her Today"
11. Teddy Pendergrass- "Love T.K.O."
12. Grandmaster Flash and the Furious Five- "The Message"
13. R.E.M.- "Radio Free Europe"
14. Z.Z. Hill- "Cheatin' In the Next Room"
15. Slayer-"Raining Blood"
16. X- "The Once Over Twice"
17. Def Leppard- "Photograph"
18. Maze- "Back In Stride"
19. AC/DC – “Back In Black”
20. LL Cool J- "Going Back To Cali"
21. Motorhead- "Ace of Spades"
22. NWA – “Straight Outta Compton”
23. John Mellencamp- "Check It Out"
24. Marvin Gaye- "Sexual Healing"
25. Newcleus- "Jam On It"
26. Cyndi Lauper – “Time After Time”
27. Faith No More – “We Care A Lot”
28. The Pogues- "A Pair of Brown Eyes"
29. Rick James- "Give It To Me Baby"
30. Madonna – “Like A Prayer”
31. Vern Gosdin- "Set 'em Joe"
32. Billy Bragg- "Greetings to the New Brunette"
33. The Smiths – “How Soon Is Now”
34. Sonic Youth – “Teen Age Riot”
35. Pete Townshend- "Rough Boys"
36. Rob Base and DJ EZ Rock- "It Takes Two"
37. The Specials – “Ghost Town”
38. Bruce Springsteen- "One Step Up"
39. Black Uhuru- "Sponji Reggae"
40. Dinosaur Jr – “Freak Scene”
41. Womack & Womack – “Teardrops”
42. The Embarrassment- "Sex Drive"
43. Merle Haggard- "Misery and Gin"
44. Run–D.M.C.- "King of Rock"
45. Guns 'N Roses- "Paradise City"
46. Boogie Down Productions- "My Philosophy"
47. Zapp- "More Bounce To the Ounce"
48. Van Halen- "Panama"
49. The Judds- "Why Not Me"
50. English Beat- "Save It For Later"
51. De La Soul- "Me, Myself & I"
52. Matthew Sweet- "Girlfriend"
53. EPMD- "You Gots To Chill"
54. Willie Nelson- "Last Thing I Needed First Thing This Morning"
55. Kool & the Gang- "Get Down On It"
56. John Hiatt- "Have a Little Faith In Me"
57. New Order – “Bizarre Love Triangle”
58. Tony! Toni! Tone!- "Little Walter"
59. The Replacements- "Alex Chilton"
60. Iron Maiden – “Run To The Hills”
61. Kurtis Blow- "The Breaks"
62. Sugarcubes – “Birthday”
63. The Beastie Boys- "Shadrach"
64. Dire Straits- "Romeo and Juliet"
65. Sade- "The Sweetest Taboo"
66. Randy Travis- "Diggin' Up Bones"
67. Psychedelic Furs- "The Ghost In You"
68. The Ramones- "Psycho Therapy"
69. Soul II Soul – “Back To Life”
70. Roxy Music- "More Than This"
71. The Pretenders- "Don't Get Me Wrong"
72. Smokey Robinson- "Being With You"
73. Ultramagnetic MC's- "Give the Drummer Some"
74. Metallica – “Master Of Puppets”
75. Salt N’ Pepa – “Push It”
76. The Pixies- "Here Comes Your Man"
77. Tears For Fears- "Woman In Chains"
78. Cameo- "She's Strange"
79. Los Lobos- "Will the Wolf Survive"
80. Roxanne Shante and Biz Markie- "The Def Fresh Crew"
81. Ozzy Osbourne- "Crazy Train"
82. Stevie Wonder- "Master Blaster"
83. The Undertones- "It's Going to Happen!"
84. The Cure – “Just Like Heaven”
85. Con Funk Shun- "Love's Train"
86. Gregory Isaacs- "Night Nurse"
87. Tom Petty and the Heartbreakers- "Change of Heart"
88. Eddie Grant- "Electric Avenue"
89. Eric B. & Rakim – “Paid In Full”
90. Soundgarden- "Loud Love"
91. Motley Crue- "Shout At the Devil"
92. Joan Armatrading- "Drop the Pilot"
93. The Gap Band- "You Dropped a Bomb on Me"
94. Rolling Stones- "Waiting on a Friend"
95. The Rainmakers- "Downstream"
96. Devo- "Whip It"
97. J. Blackfoot- "Taxi"
98. Elvis Costello- "High Fidelity"
99. Herbie Hancock- "Rockit"
100. The Clash- "Bankrobber"

(Original image by There Stands the Glass.)

Review: Gipsy Kings at the Midland

Ushers at the Midland Theater had the worst jobs in Kansas City on Sunday.  They'd apparently been instructed to quell dancing at the evening's Gipsy Kings concert.  The absurd demand was tantamount to telling Royals' fans at a Sunday afternoon game in July that sweating is forbidden.  Movement isn't optional at the joyous, life-affirming performances of the Gipsy Kings.  And because under 500 people attended Sunday's otherwise magnificent and sonically pristine show, there was plenty of room to dance.  No matter.  Music lovers were forced to contain themselves.  At least women were invited to the stage to dance during "Bamboleo."  It looked a lot like this.


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I reviewed Saturday's concert by Cody Canada, Shooter Jennings and Uncle Lucius.

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Jennings featured a Gary Stewart song in his pre-set mix.  It was the first time I'd heard Stewart in a couple years.  I'm not living right.

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Alas, I can't listen to Gary Stewart because "Funky Drummer" is on repeat.  It's going to take a lifetime to absorb thos brilliance.

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I intend to keep posting Krystle Warren clips until the rest of the world shares my enthusiasm for the woman's music.

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The music video for Krizz Kaliko's "Stay Alive" is grim.

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I've never attended Soundset. 

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I've been enjoying the transmissions of a terrestrial radio station that mixes current pop hits with old favorites by Britney, Madonna and Prince.

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Ledisi praises Robert Glasper.

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Kansas City Click: Portugal.The.Man play the Beaumont on Monday.

Green River Ordinance is at the Riot Room on Tuesday.

The Wombats appear at the Beaumont on Wednesday.

(Original distant image of the Gipsy Kings by There Stands the Glass.)

Review: Satchmo at the National Press Club

The First Amendment Lounge at the National Press Club was the jazz capitol of the universe earlier today. Scholars were scheduled to discuss Louis Armstrong's 1971 visit to the institution. A recording of the event was issued this week by Smithsonian Folkways.

Even though only five of the release's eleven tracks feature Armstrong and the album's sound quality is sketchy, the rediscovered recording is an important document. I'm certainly better for having heard it. Armstrong sounds vital just five months before his death. In addition to performing fine versions of material including "Mack the Knife" and "Hello Dolly," Armstrong tells an amusing joke about erectile disfunction. And as Wynton Marsalis notes in his video commentary on Satchmo at the National Press Club, it's fascinating to hear how revered Armstrong was among members of the audience.

Oddly, my favorite track on the album is Tyree Glenn's charming impression of Armstrong on "A Kiss To Build a Dream On." As Glenn exclaims, "He was the greatest- beautiful!"

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I wish I could buy Murray Gershenz's record collection.

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The implications of François Hollande's supposedly official campaign spot make my head spin.

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New to me: the pairing of Chet Baker and Caterina Valente. (Via Marc Myers.)

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While I have no intention of attending, the Wakarusa stage schedule is enticing.

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An examination of the set times of the Sweetlife Festival raises a perplexing question- how can Fun fun. headline a festival in Kansas City but serve as the lowest-billed main stage act at a festival in D.C.?

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 "Hustle bones comin' out my mouth!" (From my #4 album of 2012.)

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Kansas City Click: My officials picks are published here.

(Original image by There Stands the Glass.)

Nerds!

I'm a nerd who doesn't like nerd-rock.

What's nerd-rock?  I define it as brainy, self-conscious music made by nerds for their fellow nerds.  (Third-generation ska acts like Reel Big Fish, emo-rap acts like MC Chris and pop-punk acts like Bowling For Soup are disqualified from consideration because they try too hard.  Real nerds don't have a choice.)  

Cake meets my definition.  I'm envious of the dorky fun had by 2,000 Cake devotees at the Uptown Theater last Friday.  (Here's my review.)   I don't dislike Cake, but the band's music just doesn't connect with me.  I'm similarly indifferent to nerd-rock acts like Ben Folds, They Might Be Giants, OK Go and Barenaked Ladies.

I fell hard for Camper Van Beethoven when I saw the band in the basement of a college dorm, but my infatuation was short-lived.  Weezer comes a bit closer to the mark. So, is there any nerd-rock I do embrace?  Yes indeed- Elvis Costello, De La Soul and the Descendents.

"I'm Not a Loser!"


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I reviewed an odd outing by Suzanne Vega and Duncan Sheik.

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I'm quoted in Tim Finn's study of aging musicians.

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Bostyx! (Via Rock Town Hall.)

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"Guitar tutor" Bert Weedon has died.  (Tip via B.G.O.)

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Bassist Chris Ethridge has died.

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I can't remember why I failed to go to the "I'm So Glad" gospel concert at my church a couple months ago.  (Tip via Tony's Kansas City.)

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ECM created an  audio teaser for the new album by John Abercrombie and Joe Lovano.

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Here's a nice video survey of last month's Middle of the Map festival.

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Beau Bledsoe improves the quality of (my) life in Kansas City.

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"Come On"!  I spend a lot of time thinking about Chuck Berry.

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Kansas City Click: I wrote about revisiting The Majestic at Plastic Sax.  Here's the venue's calendar.

(Original image by There Stands the Glass.)

Levon Helm, 1940-2012

I'm not going to wax rhapsodic about the passing of Levon Helm. Poetic words about the man are easily found elsewhere. I'm just so glad I saw him one last time a couple years ago. Here are my notes on that concert. (Don't miss the link to the video a fan shot in Kansas City that night.) Lest we forget- "Life Is a Carnival".

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Teddy Charles has died. Watch him in full crank mode. Charles has a right to be bitter. The early-'50s album New Directions is exceedingly hip. And the concepts laid out on his 1956 Tentet album sound as if they could have been written last year. In truth, one of the reasons I neglected to write more about Helm is that I can't stop listening to Charles' music. It provides one revelation after another.

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Dick Clark has died. Tim Finn gets it right in his overview of Clark's career.

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Larry Kirwin of Black 47 pays tribute to Kansas City in an interesting essay.

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Lee Fields sings his heart out for NPR.

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Kansas City Click: My official picks are published here.

(Original image by There Stands the Glass.)

Review: Hahn + Hauschka Silfra

Silfra, the enticing collaboration between Hilary Hahn + Hauschka, won't be released until May 22, but I just can't contain my enthusiasm for the project any longer. It's beautiful, mysterious and innovative.

The recording by the young American violinist and the German "master of prepared piano" uncannily echoes my internal soundtrack. Silfra tracks the deep grooves already formed by my tormented thoughts. I've been plagued by personal problems during the first third of 2012. My existential brooding and occasional happy respites are ideally articulated by Hahn and Hauschka.

As the sonic representation of my state of mind, Silfra is slightly abrasive, disorienting and yes, a bit pretentious. I'd be lying if I suggested that hearing lilting sambas, Ellingtonian suites, Bach concertos or J Dilla beats in my head wouldn't be preferable. Silfra is slightly creepy, much like the score of an arty European horror film. Unfortunately, I'm in the midst of a crisis in which Karl Stockhausen and Nino Rota serve as crucial reference points.

Hahn and Hauschka acknowledge beauty, but even Silfra's most sublime moments hint at a deeper despair. My problems may dissipate in the coming months. Even if things get better, however, my profound appreciation for Silfra will remain.


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Please don't worry about me- "I'm still hanging on."

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I reviewed John Pizzarelli's concert Saturday at the Folly Theater.

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Kauffman Stadium and the park at 75th & Holmes are the settings for Tragedy's "Best Thing Moving" video. (Tip via Tony's Kansas City.)

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Andrew Love of the Memphis Horns has died.

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Rodgers Grant of "Yeh Yeh" fame has died.

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Would someone please explain Wishbone Ash? Is it a boogie band that went prog? Or is it the other way around? I listened to Argus for the first time the other night, and well… I just don't get it.

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Chad Kassem of Acoustic Sounds is my hero. The raconteur starts talking at 1:20.

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Lolz! Thundercat's "Walkin'" video amuses me.

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Kansas City Click: Harling's hosts New Jazz Order every Tuesday.

Johnny Winter plays Knuckleheads on Wednesday.

Sabaton visits the Beaumont on Thursday.

(Original image by There Stands the Glass.)

Review: Steddy P.- Better Make Room

Steddy P. wears a t-shirt that implores "Always Support Locals" in the embedded video for "Local Heroes." I don't subscribe to that philosophy.

Advocating an artist just because he or she shares the same area code is patronizing and delusional. I didn't place Steddy P.'s Style Like Mind on my top ten album list in 2009 because it was a local product. It truly resonated with me more than internationally acclaimed releases like Kid Cudi's Man On the Moon.

Most worthwhile music bloggers are eager to examine the sounds that originate in their own backyards. I regularly write about locally-based music at There Stands the Glass and Plastic Sax, but as many artists have learned the hard way, I don't play the role of an undiscerning cheerleader.

Steddy P. has never needed to worry about getting bashed by me. He's good. Scheduled for release next week, his Better Make Room is another impressive addition to his discography. Steddy P.'s smart raps and welcome guest spots from Ces Cru's Ubiquitous and Godemis are typically excellent, but it's the sample-free production that sets the release apart. A rapper who has demonstrated that performing with a live band is infinitely preferable to using canned accompaniment, Steddy P. is a genuine music obsessive, a trait that's shockingly uncommon in the hip hop community.

The only aspects of Better Make Room that don't appeal to me are Steddy P.'s juvenile references to marijuana and a few too many self-referential boasts about his Indyground crew. Steddy P. hopes to build an empire along the lines of Doomtree. Better Make Room doesn't quite reach the artistic heights of the best of the Twin Cities-based collective, but it's very good.


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I reviewed Bassnectar's concert Thursday at the Midland Theatre.

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I caught Leon Russell's return to Knuckleheads last night. Here's my review.

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Here's a nice documentary about one aspect of Lawrence's hip hop scene. (Tip via oh! mr..)

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Kudos to Sporting KC for posting a video titled "Who has the Best/Worst Taste in Music?".

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Here's an EPK for Kenny Garrett's new album.

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Fun setting KC on fire at Middle of the Map. (Not my thing, but much respect…)

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Kansas City Click: My official picks are published here.

Review: Maria and Tatiana Ioudenitch at the Carlsen Center

After spending thirteen glorious but draining hours at the Sprint Center and the Middle of the Map festival during the weekend, I knew I needed to get back on the horse immediately. A recital by Maria and Tatiana Ioudenitch at Johnson County Community College on Monday represented more than a mere sonic palette cleanser. The pair are members of Kansas City's most elite musical family.

Pianist Tatiana and violinist Maria are the wife and daughter of Stanislav Ioudenitch. Neither addressed the audience of about 75 during their 45-minute recital and I'm not about to skulk around on the internet trying to ascertain Maria's age. She's probably about 17.

Aside from a few minor slips, Maria's recital was extremely impressive. Her astonishing agility shone on pieces by Bach, Brahms and Gluck, but it was her energetic commitment to Sarasate's "Zigeunerweisen" that made me think that she might be in this for the long run.

I have no idea what it takes to become the next Hilary Hahn. Furthermore, I have no idea if Maria harbors such ambitions. Should it come to that, however, this post will serve as my "I saw her when" boast.


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I was nonplussed when I first saw Lady Antebellum in 2010. Yet the trio was undeniably excellent Friday at Sprint Center. Here's my review.

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My notes on day three of the Middle of the Map festival focus on the bands featured at the RecordBar.

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Mission of Burma's set was the most exciting thing I heard all weekend. Here's footage.

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Barney McKenna, the self-described "flounder" of the Dubliners, has died. I saw him with the band last month at Royal Albert Hall.

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If I could listen to the music of only one artist for the rest of my life, I might select Caetano Veloso.

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Here's Miles Bonny's new project.

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The Kansas City Symphony's video about the Joyce DiDonato master class I attended a couple weeks ago at Helzberg Hall is charming. (Via KC Stage blog.)

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The Creep, Ted Nash's new album, is highly recommended to fans of Ornette Coleman, David Murray and Henry Threadgill.

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Kansas City Click: The Westport Art Ensemble return to the Westport Coffee House on Tuesday.

Trouser Mouse hosts Chris Duarte on Wednesday.

Mountain Sprout perform Thursday at the Riot Room.

(Original image by There Stands the Glass.)

Review: Philip Glass and Tim Fain at Helzberg Hall

Libby Hanssen and Nathan Clay Barbarick wrote proper reviews of Philip Glass' concert Tuesday at Helzberg Hall. Here are a few observations from my vantage point in the front row (only $30!):

*The great composer isn't exactly the world's most precise pianist. I found his warts-and-all playing endearing.

*Glass begins playing the instant he seats himself at the piano bench.

*The thirty-two minute solo violin piece performed by Tim Fain was a bit much. I get it- Glass' signature style remains even when he intentionally evokes Bach. And yeah, it sounds really cool on violin. Even so, fifteen minutes of that exercise would have been plenty.

*Glass is surprisingly chatty.

*Set to Alan Ginsberg's disembodied voice, "Wichita Vortex Sutra" was the clear highlight of the concert.

*I assume Glass' use of amplification was an aesthetic decision. As the other critics implied, hearing Fain's breathing through his mic'ed violin was awkward for everyone, especially for Fain.

*I attend a lot of live music events, including plenty of classical concerts. Yet I'd never laid eyes on almost half of Tuesday's audience of about 1,000. I wondered if the entire staff and student body of a small Midwestern art school had been bused in for the concert.

*By the way, what's with the empty seats, friends? It's Philip F*cking Glass!


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Bill Callahan's version of Mickey Newbury's "Heaven Help the Child" is righteous.

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Speaking of covers, an aspiring jazz chanteuse should use a savvy version of "The Ghost In You" to launch her career. Underneath the dated production is an amazingly solid song.

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I had high hopes for the new release by BadBadNotGood. The idea of trash-talking jazz kids with a thing for hip hop is enormously appealing. Unfortunately, the band is merely adequate. In its best moments, BBNG sounds like a decent The Bad Plus cover band. At its worst, BBNG2 could be mistaken for a shreds parody. I don't know if it's a good or bad thing that BBNG's latest video has over 60,000 views in 48 hours.

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The Ultimate David Lee Roth Karate Kick Compilation. (Via Terry Taylor.)

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Kansas City Click: I can't pretend that there aren't a lot of bands at the Middle of the Map festival that don't appeal to me. (My notes on ten acts are published here.) Still, I'm tremendously excited about the opportunity to catch a couple dozen of the featured musicians.

(Original image by There Stands the Glass.)

Review: The Village Chamber Choir at Village Presbyterian Church

I was almost turned away from the Village Chamber Choir's performance of Johannes Brahms' A German Requiem at Village Presbyterian Church last Sunday. I couldn't locate an open seat and the volunteer ushers were more concerned with protecting their spots than insisting that patrons make room for others. A kind group of senior citizens finally made space for me in the back row of the church's balcony.

The powerful performance was deserving of a full house, but I suspect that both the venue's generous use of air conditioning on the unseasonably hot day and the obligatory attendance of friends and family of the seventy-person choir contributed to attracting many in the audience of over 1,000.

Dappled afternoon sunlight provided a cheerful light show while the choir and excellent guest vocalists Gwen Coleman Detwiler and Christopher Reames sang of grief. The otherwise lovely distraction prevented me from becoming fully invested in the emotionally turbulent work.

I focused instead on the celestial bounce offered by my distant vantage point. And while I was initially disappointed that two pianos rather than an orchestra accompanied the choir, I came to admire the stark elegance of the lean version of Brahm's piece. I never felt moved to mourn. Instead, the performance provided me with a satisfying Lenten celebration.


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James Christos appears in the trailer for Corporate FM.

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Obligatory sports reference.

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Kansas City Click: I'm opting for Philip Glass and TIm Fain at Helzberg Hall over Childish Gambino and Danny Brown at the Beaumont on Tuesday.

The New Vintage Big Band plays a monthly gig at BB's Lawnside BBQ on Wednesday.

The Middle of the Map festival kicks into high gear on Thursday.

(Original image by There Stands the Glass.)

Greenwich Mean Time

The youth hostile hostel where I rested in London earlier this month abutted the offices of BBC 1Xtra. I wistfully considered roads not taken as I longingly watched couriers and employees bustle in and out of the Marylebone office. As the accompanying photo indicates, I compulsively creeped on the station's staff. Because internet access is shockingly shoddy in London, I wasn't able to properly listen to 1Xtra's broadcast until I returned to Kansas. It's delightful to discover that acts like Estelle and Tinchy Stryder are proper stars in G.B.


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I haven't had time to process the passing of Earl Scruggs.

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Jerry "Boogie" McCain has died. (Tip via BGO.)

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Synesthesia, the new release by thePhantom*, contains a nice mix of the styles of Tech N9ne and Fat Tone.

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Possible headline of the year: Jerry Lee Lewis marries cousin's ex-wife.

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Macy Gray's new covers album is a lot of fun. Here's "Maps".

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Marc Myers' interview with John Scofield is loaded with mind-blowing revelations.

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I'm eager to spend quality time at Cultural Equity, but the Lomax archive is aggravatingly buggy.

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I'm not in love with the new album by THEESatisfaction, but I expect that the neo-soul/hip hop project could grow on me.

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By midnight I'll have taken in 57 individual live performances in the past three months. It would seem that my streak of catching over 365 gigs a year will end in 2012.

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Kansas City Click: My official picks are published here.

(Original image by There Stands the Glass.)

Trial at Trafalgar

I'm a fussy meticulous concertgoer. I plan ahead and leave little to chance. That's why I almost lost my mind under the watchful eye of Admiral Nelson in Trafalgar Square earlier this month. A handful of decent acts were scheduled to play at a massive Saint Patrick's Day celebration. Imagine my chagrin when I arrived at the landmark only to discover a dreadful Swiss chanteuse performing to a lethargic audience of a few hundred people. Something called Francais l'Adore was transpiring on the Irish holiday. I love my French-speaking friends, but man, this event was a logistical and musical disaster. It turns out that the proper Irish event is held the day after St. Patrick's Day. (Of course it is!) I diligently showed up the next day to catch part of a bland set by the lovely Gemma Hayes. The crowd was so big (and drunk) that I fled after thirty minutes.

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I reviewed the first show of Tech N9ne's Hostile Takeover tour.

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Tech N9ne and DJ Sku are interviewed by Shorty And The Boyz for something called Breal.tv.

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The Free Music Archive tipped me off to Lacrimosa, a new release by Plaistow on European free jazz netlabel Insubordinations. Recommended to fans of Terry Riley.

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Kansas City jazz musician Bill Caldwell has died.

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I've never been ashamed of my deep affection for the music of Lionel Richie, but his new set of tepid Nashville remakes is testing my patience.

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The zeitgeist.

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Kansas City Click: The Underscore Orkestra perform Tuesday at the Beaumont Club.

Paul Thorn will probably play my theme song Wednesday at Knuckleheads.

Milagres return to the Riot Room on Thursday.

(Original image by There Stands the Glass.)

Review: Nico Muhly and Owen Pallett at Barbican Hall

An odd event at the Barbican Centre last week seemed to point to the future of the classical music concert-going experience. Over 1,500 youthful hipsters attended the innovative double feature. The Britten Sinfonia orchestra performed world premieres of compositions by Nico Muhly and Owen Pallett in the first half of the concert.

The piece by Pallett- a violinist and arranger with credits on recordings by R.E.M., The National and Arcade Fire- was dreadfully scratchy and painfully dry. Muhly's effort was much more enjoyable. He's perhaps best known for his work with Bjork, Grizzly Bear and Antony and the Johnsons. A lush work by Missy Mazzoli rounded out the classical portion of the show.

Muhly led an arty set of chamber folk after intermission. A surprising meditation on Neil Young's "Only Love Can Break Your Heart" and a creepy rendition of "The Twa Sisters" floored me. I was less impressed by several self-conscious displays of Muhly's technical prowess.

Even so, I loved the cross-genre concept. I can't pretend to know if British kids receive much exposure to symphonic productions, but a similar audience in the United States would include many people who'd never previously experienced the unique power of three dozen classically-trained musicians playing as one. I suspect that many will be inclined to return to the home of the London Symphony Orchestra.


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I purchased nine hours of Johann Sebastian Bach recordings for 99 cents at Amazon. The old recordings were made "before a tendency to reduce the size of choruses and orchestras and play with a sharp eye toward period practice had set in, and they may sound dated to some ears," according to a story by Daniel J. Wakin in The New York Times. That's a fair analysis, but I dig the overblown old-school approach. The deal ends Friday, March 23.

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"All the people that you can't recall…" It's probably been five years since I last listened to Little Feat. That's too long.

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I'd trade the entire Sharon Jones catalog for Lee Fields' new album on Truth & Soul. It's that good.

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Luther Dickinson on 78? How cool is that!

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Joyce DiDonato's master class at Helzberg Hall on Wednesday was delightful.

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Kansas City Click: My official picks are published here.

(Original image of the Barbican lobby by There Stands the Glass.)

Review: The Dubliners at Royal Albert Hall

I fulfilled a lifelong dream last week by squeezing into a nearly sold-out concert at Royal Albert Hall. The grand old room is a real beauty.

A deliriously celebratory performance by The Dubliners made the fulfillment of my ambition especially sweet. The band is celebrating its fiftieth anniversary. While the current cast is a group of frail survivors, the legendary act managed to enhance its legacy at the familiar venue by playing masterfully for well over two hours. The band dealt with the sad absence of its most revered members by occasionally strumming along to video footage of their old friends. Seeing the late Luke Kelly belting out "Monto" moved me to tears even though I may have been the only person among the 5,000 souls on hand without a drop of Irish blood.

Everyone else, however, was in their element. I'm reluctant to reinforce stereotypes, but the audience went berserk during renditions of alcohol-themed classics like "Seven Drunken Nights" and "Whiskey In the Jar". How the Guinness flowed!

"And it's no, nae, never!"

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Alex Smith's KCUR feature on Brody Buster references my glowing review of the former blues man's striking new album.

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Kansas City Click: We Were Promised Jetpacks perform at the Riot Room on Tuesday.

Dan Baird plays Knuckleheads on Wednesday.

New Jazz Order and the Boulevard Big Band compete in a battle of the big bands Thursday at Californo's.

(Original image of Royal Freaking Albert Hall by There Stands the Glass.)

Just a Closer Walk With Thee

Bragging about a Pandora station is akin to blabbing about a basketball tournament bracket or a fantasy football team. I realize it's tedious, yet I just can't help it. Since Lent began February 22, the Pandora station that corresponds to this blog has kept me company on sixteen solitary walks. (I think you need a Pandora account to listen.) One rainy night it played consecutive deep tracks by Bert Jansch, Robbie Basho, My Morning Jacket, Simon & Garfunkel and Ralph Stanley. Just a closer walk with thee, indeed.

My only beef, in fact, is that the playlist tends to get stuck in a single genre. The other day I spent 45 minutes listening to nothing but vintage reggae acts like Culture, Jackie Mittoo and U-Roy. The station also goes on extended Brazillan, Tejano, blues, bluegrass and funk jags. (The station's advertisements, incidentally, are in Spanish.)

I'm tempted to add more variety but I'm afraid I'd have to resume culling out stuff I don't like. Adding Nina Simone, for instance, might cause Diane Schuur to pop up. Suggesting I want to hear more Raphael Saadiq might lead to unwanted tracks by John Legend. I currently only need to "thumbs-down" stray underground hip hop tracks that glorify marijuana. I'll be taking a blogging break, so feel free to enjoy my station in my absence. Please let me know if you hear anything that's less than sublime.


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Sketchy vocals aside, this new track from New Riddim is solid.

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The schedule for the Middle of the Map festival has been published.

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I'm elated that Mayhem added a KC date. Slipknot, Motorhead, Slayer and Anthrax? Oh man.

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I enjoyed reading the backstory of the final years of the fanzine-turned-magazine Jetlag.

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Why I'm ambivalent about attending hip hop shows: reason #73.

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Rudresh Mahanthappa appeared in a Tiny Desk Concert.

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Texas guitarist Bugs Henderson has died. (Tip via BGO.)

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Kansas City Click: My official picks are published here.

(Original image by There Stands the Glass.)