Monday, June 29, 2015

Synapse Swing


A coworker at a record store gave me a copy of Jack DeJohnette’s Zebra in 1989.  I mistakenly considered the electronica project featuring trumpeter Lester Bowie a forgettable oddity at the time.  Twenty-six years later, DeJohnette’s experimentation seems remarkably prescient. 

I revisited the recording after enjoying High Risk, Dave Douglas’ exciting new album, and Starfire, the latest release from Jaga Jazzist.

Don’t tell my readers over at Plastic Sax, but mainstream acoustic jazz isn’t really doing it for me these days.  I either need to hear at least a hint of skronk or some sonic tinkering to get excited about the form in 2015. This pair of new releases does the trick.

Jaga Jazzist has a rabid following among the cool kids, but Starfire strikes me as an homage to the interstellar grooves of the Pat Metheny Group, a comparison that would surely upset status-conscious vinyl collectors. 

Dave Douglas expands on DeJohnette’s innovations on the outstanding High Risk.  The project’s luminous trumpet work and intriguing electronica thrill me.


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I reviewed a concert by the Smashing Pumpkins.

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I reviewed a concert by the Old 97’s.

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I wrote a detailed review of Dominique Sanders’ A True Story Based On… for public radio station KCUR.

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Kansas City’s Jooby Truth created a video for ”Rap Money”.

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Teddy Dibble examines jazz in 1964.

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Mel Waiters has died.  I reviewed a concert featuring the soul-blues artist in 2008.

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Chris Squire of Yes has died.  Here are my notes on a 2013 concert at the Midland theater.

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Gunther Schuller has died.

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Jamison Ross’ debut album gives me whiplash.  It sounds as if it was compiled from several different sessions.  It includes Robert Randolph-style rock, Ramsey Lewis-ish soul-jazz and sophisticated balladry in the vein of John Legend.

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Thundercat’s Beyond/Where the Giants Roam is RIYL: Flying Lotus, relaxed jams, George Duke.

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Here’s an inspiring story about recent events at St. Louis’ Vintage Vinyl.

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Kathryn Joseph doesn't make the sort of music I ordinarily appreciate. She sings like Joanna Newsom, a cloying affectation that usually drives me up a wall. Yet I’m enchanted by the Scot’s debut album Bones You Have Thrown Me and Blood I’ve Spilled.

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My favorite selections on Ben Williams’ Coming of Age evoke Herbie Hancock’s Headhunters and prime Lonnie Liston Smith. 

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After all these years, the Jon Spencer Blues Explosion’s gimmick still work for me.  Freedom Tower: No Wave Dance Party 2015 is RIYL: 1965-era Rolling Stones, sleaze, Eric Burdon.

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”Zing! Went the Strings of My Heart”

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I don't have much to add to Tim Finn’s review of the Rollings Stones’ concert at Arrowhead Stadium.  I enjoyed Saturday’s outing even more than the Stones shows I saw in 1981.

(Original image by There Stands the Glass.)

Tuesday, June 23, 2015

Chee-Chee-Chee, Lay-Lay-Lay

A familiar refrain greeted me at a subway station on my first day in Chile two weeks ago.  Greg Kihn’s "The Breakup Song (They Don't Write 'Em)" blasted from the in-house sound system.

Por que?

I often felt as if I had returned to 1983 during my ten-day trip to Chile.  Here’s a representative sampling of English-language hits I heard in public places: Van Halen’s “Jump,” the Police’s “Message In a Bottle,” Kenny Loggins’ “Meet Me Half Way,” Blind Melon’s “No Rain” and the Eagles’ “Hotel California” (three times).

Por que?

I encountered street performer earning tips by recreating the repertoire of Stevie Ray Vaughan.

Por que?

Pitbull seems to be the most popular contemporary artist in Chile.  I also heard current pop hits by the likes of Daddy Yankee and Enrique Iglesias.  I heard salsa on a bus for a few glorious minutes.  I never encountered the music of famous Chilean folk artists like Inti-Illimani and Victor Jara.

Por que?

I knew that metal was big throughout Latin America.  Sure enough, I saw plenty of men wearing Pantera, Iron Maiden and Metallica t-shirts.  Even so, the first television commercial to air at the conclusion of an important soccer game promoted a concert by the British rock band Blur at a 15,000-seat arena.

Por que?

It’s obviously not my place to tell Chileans that they should be listening to Ana Tijoux or Violeta Parra.  Instead, I’ll merely regret missing a performance by Kumbia Queers.



(Original images by There Stands the Glass.)

Monday, June 08, 2015

Misusing Your Influence: Music Midway in 2015


I’m embarking on a blogging break.  I’ll return in two or three weeks. Here are listings of my favorite things from the first half of 2015.  See ya, suckers!

Favorite Songs of 2015 (So Far)
Call it the To Pimp a Butterfly stipulation- I elected not to duplicate any artists on my songs and albums lists.  (Spotify playlist)

1. Tyler, the Creator- “Smuckers”
2. Venom- “Long Haired Punks”
3. Madisen Ward and the Mama Bear- “Silent Movies”
4. Sleater-Kinney- “Bury Your Friends”
5. Kenny Lattimore- “Nothing Like You”

6. Butch Walker- “21+”
7. Future- “F*ck Up Some Commas”
8. Courtney Barnett- “Dead Fox”
9. John Moreland- “Cherokee”
10. Charlie Wilson- “Touched By an Angel”

11. Maroon 5- “Sugar”
12. Ryan Bingham- “Fear and Saturday Night”
13. Big Sean featuring Dr*ke and Kanye West- “Blessings”
14. Father John Misty- “The Ideal Husband”
15. Joywave- “Nice House”

16. Chedda Da Connect- “Flicka Da Wrist”
17. Chris Stapleton- “Whiskey and You”
18. Lila Downs- “Balas y Chocolate”
19. José James- “Lover Man”
20. Little Big Town- “Girl Crush”

21. Maysa- “Last Chance For Love”
22. Kanye West- “All Day”
23. Doomtree- “Cabin Killer”
24. Mat Shoare- “Murder”
25. Pops Staples- “Better Home”


Favorite Albums of 2015 (So Far)

Call it the To Pimp a Butterfly stipulation- I elected not to duplicate any artists on my songs and albums lists.(Spotify playlist)

1. Kendrick Lamar- To Pimp a Butterfly
2. Rudresh Mahanthappa- Bird Calls
3. Mark Ronson- Uptown Special
4. Ghostface Killah and Badbadnotgood- Sour Soul
5. Marc Cary- Rhodes Ahead, Vol. 2

6. Dominique Sanders- A True Story Based On…
7. Jodeci- The Past, The Present, The Future
8. Tech N9ne- Special Effects
9. Action Bronson- Mr. Wonderful
10. Alabama Shakes- Sound & Vision

11. Young Fathers- White Men Are Black Men Too
12. Jazmine Sullivan- Reality Show
13. J.D. McPherson- Let the Good Times Roll
14. Donnie Trumpet & the Social Experiment- Surf
15. Yelawolf- Love Story

16. Dead Sara- Pleasure to Meet You
17. Bob Dylan- Shadows In the Night
18. Colin Stetson and Sarah Neufeld- Never Were the Way She Was
19. Liturgy- The Ark Work
20. Valentina Lisitsa- Plays Philip Glass

21. Donny McCaslin- Fast Future
22. Viet Cong- Viet Cong
23. Terence Blanchard- Breathless
24. Matt Kane & the Kansas City Generations Sextet- Acknowledgement
25. Earl Sweatshirt- I Don’t Like Sh*t, I Don’t Go Outside


Favorite Reissues of 2015 (So Far)
1. The Supreme Jubilees- It’ll All Be Over
2. Next Stop Soweto: Zulu Rock, Afro-Disco and Mbaqanga 1975-1985
3. Thomas Mapfumo- Lion Songs: Essential Tracks in the Making of Zimbabwe
4. Led Zeppelin- Physical Graffiti
5. Michael Angelo- Michael Angelo


Favorite Performances of 2015 (So Far)
A brief romp in New York City made a big impression on me.  Aside from items 3, 6 and 24, all shows took place in the Kansas City area.

1. Mark Dresser, Myra Melford and Matt Wilson- Take Five Coffee + Bar
2. Charlie Wilson- Sprint Center
3. Lee Konitz with the Dave Douglas Quintet- Jazz Standard
4. Four Fists- Riot Room
5. Helmet- RecordBar

6. Joyce DiDonato with the Philadelphia Orchestra- Carnegie Hall
7. Sufjan Stevens- Midland theater
8. Lauren Krum with the Project H- Westport Coffee House
9. Merle Haggard- Uptown Theater
10. Avishai Cohen, Tal Mashiach and Nasheet Waits- Take Five Coffee + Bar

11. Sleater-Kinney- Uptown Theater
12. Max Raabe and Palast Orchester- Helzberg Hall
13. Crobots- Penn Valley Park
14. Luke Bell- Riot Room patio
15. Hellyeah- Midland theater

16. Bill Frisell- White Theatre
17. Peter Schlamb’s Electric Tinks- RecordBar
18. John Doe- Knuckleheads
19. Ebony Tusks- Riot Room patio
20. Chris Hazelton’s Boogaloo 7- Green Lady Lounge

21. Robert Randolph & the Family Band- Town Center Plaza
22. Duncan Burnett and the Ministry- Riot Room patio
23. Various Blonde- Pizza Bar
24. Noah Preminger Quartet- 55 Club
25. Eddie Moore and the Outer Circle- Take Five Coffee + Bar


Favorite Opening Acts of 2015 (So Far)
1. Doug E. Fresh- Municipal Auditorium, for Guy
2. Ben Miller Band- Uptown Theater, for Blackberry Smoke
3. Joe- Sprint Center, for Charlie Wilson
4. Apocalyptica- Midland theater, for Sixx:A.M.
5. Joywave- Midland theater, for Vance Joy

(Original image by There Stands the Glass.)

Monday, June 01, 2015

Rock Bottom


I heard a woman loudly complain that “these people are the dregs of society” at Rockfest on Saturday.  I stopped in my tracks as I waited for someone to deck her.  Had staying upright in the muck not been my top priority, I might have confronted her myself.

I’ve had it with incessant attacks on the annual music festival.  An alarming percentage of my acquaintances feel entirely comfortable mocking the music and patrons of Rockfest.

At best, their criticism is harmless bullying.  Most of the time, however, it’s unadulterated cultural elitism.

There’s a lot about Rockfest that I don’t like either.  It’s no secret that I loathe drug culture.  And I’m not amused by the festival’s unofficial mantra of “show me your titties." 

But I like hearing tens of thousands of proud people chant “USA” during the event’s displays of patriotism.  As for the music, I listen to several of the bands featured at this year’s festival for pleasure. 

Even though four people in the embedded photo are clearly displeased with me, I feel no less at home at Rockfest than at any other public gathering.

Here’s my Rockfest review.


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I consider the concept of jazz standards in an album review at Plastic Sax.

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Madisen Ward and the Mama Bear were featured in a Tiny Desk Concert.

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I’m embarrassed to admit that the visuals of a Kamasi Washington performance helped me finally appreciate The Epic.

(Original image by There Stands the Glass.)

Monday, May 25, 2015

Concert Review: Westport Roots Festival


An acquaintance was appalled to learn that I paid the $25 admission charge to Westport Roots Festival on Saturday.  I suppose I could have weaseled my way in, but that’s not my style. 

I feel like I got my money’s worth even though I was impressed by only two of the nine acts I heard during the four hours I spent at the one-day event. 

Luke Bell played in the rain on the patio of the Riot Room.  The young honkytonk traditionalist from Wyoming appears to be the genuine article.

Kansas City’s Rex Hobart and the Misery Boys performed on the same stage before the rain hit.  I hadn’t seen the country band in years.  I hope to catch the sturdy ensemble again in the next couple weeks.


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I reviewed a production of “Million Dollar Quartet.”

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I reviewed Big Sean’s concert at the Midland theater.

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I contributed a Local Listen segment about Cadillac Flambé to KCUR.

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Madisen Ward and the Mama Bear’s Skeleton Crew sounds like a 1965 album on Vanguard Records.  RIYL: Richard and Mimi Farina, the Greenwich Village folk scare, Ian & Sylvia.

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Bruce Lundvall has died.

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Marcus Belgrave has died.

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Bob Belden has died.

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Murs throws his backpack under the bus on Have a Nice Life.  The new approach doesn’t always work for me.  The pop-tinged ”No More Control” is one of the album’s best songs.

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Big Steve, one of There Stands the Glass’ most dedicated readers, asked for my opinion of Shamir’s Ratchet.  He came to the right guy.  I’m more excited about an upcoming show by The First Ladies of Disco than any other oldies concert this summer.  Rather than representing anything new, Ratchet is a loving tribute to the ‘80s sounds of Mantronix, the Weather Girls and Newcleus.  So Steve, you’ll appreciate Ratchet if you share the fetish for creaky electronic funk and campy disco that Shamir and I harbor.

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Graham Parker and the Rumour’s Mystery Glue isn’t all that great but at this late date I can’t resist its pub rock charms.

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The Robert Glasper Trio's cover of Jhene Aiko's "The Worst" (my #20 song of 2014) combines two of my favorite things.

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Los Cardencheros de Sapioriz is billed as “the last performing group of an a capella Mexican slave song tradition.”  A few modern flourishes at the end of the recording break the magical spell of the group’s Un Amor Pendiente.

(Original image of pedal steel guitarist Nate Hofer’s boots by There Stands the Glass.)

Monday, May 18, 2015

B.B. King, 1925-2015




The first B.B. King concert I attended altered the way I perceive culture and society.

My date and I were among the only white people in the balcony of the Uptown Theater in 1979 (people under the age of 18 weren’t allowed on the floor at the time). 

The demonstrative audience- they preferred co-headliner Bobby Bland to King- showed me how to become completely immersed in the music.  Nothing was the same for me after that night.

I noticed the changing complexion of King’s audience each time I saw him perform.  The transition seemed to have been fully realized at the final King show I attended.  The great man served as an opening act for Peter Frampton at a sad 2013 concert at the Muriel Kauffman Theatre.

The giant of American music died last week.


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I reviewed a concert by Samantha Fish and Katy Guillen and the Girls.

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I contributed a Local Listen segment about Behzod Abduraimov to KCUR.

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The Numero Group has issued a 1969 recording by the Kansas City band White Eyes. RIYL: Crosby Stills & Nash, psychedelics, Richie Furay.  Here’s an 81-second video promoting the find.

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Heidi Lynne Gluck’s The Only Girl in the Room is impressive.  RIYL: Jenny Lewis, winsomeness, M. Ward.

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Teddy Dibble shares a handful of avant-garde jazz albums from his collection.

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Bernard Sollman of ESP-Disk has died.

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I’m not ready to proclaim as Chris Stapleton as the best thing since Dolly Parton’s wig, but Traveller is pretty great.  RIYL: Waylon, the Sturgill Simpson of 2015, Willie.

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I’ve been born again.  The Supreme Jubilees’ recently reissued album “It’ll All Be Over” is that powerful.  Here’s the title track.

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A version of  ”True Trans Soul Rebel” featuring Laura Jane Grace and Miley Cyrus is kind of weak, but it makes me smile anyway.

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John Patitucci’s Brooklyn is surprisingly hip.  RIYL: Lionel Loueke, international cocktail jazz for 2015, Steve Cardenas.

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The world didn’t need Stone Sour’s Meanwhile In Burbank… but I’m glad the covers EP exists.  

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As far as I can tell, I’m the only person on the planet who’s heard Juneteenth, Stanley Cowell’s excellent new solo piano album.

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I listened to media sensation Joey Alexander’s debut album.  It’s fine.  The problem with the cycle of hype associated with jazz prodigies, of course, is that most are discarded when they hit their mid-twenties.  There’s no denying that the visual element is very compelling.

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Portions of Pops Staples’ posthumous Don’t Lose This are magnificent.

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I’d rather think about Zac Brown Band’s dabblings in EDM and heavy metal than listen to  Jeckyll + Hyde a second time.  ”Heavy Is the Head” is my favorite track.

(Original image by There Stands the Glass.)

Monday, May 11, 2015

I'm One


The PA system at the United Center in Chicago blared “Baba O’Riley” at a crucial juncture of the fourth quarter of the Bulls-Cavaliers game yesterday.

The moment was reason #3,129 I can no longer listen to the Who for pleasure.  That’s why I was relieved when The Who's appearance at the Sprint Center was canceled last week a day before the concert.

I knew I wouldn’t be working the show, but I felt obligated to show up and buy a ticket.  As a self-centered 17-year-old twit, I completed internalized Quadrophenia.

A lot’s happened since then.


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I reviewed Primus’ return to the Uptown Theater.

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I reviewed Mary Chapin Carpenter’s collaboration with the Kansas City Symphony.

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I contributed a Local Listen segment about Julian Vaughn to KCUR.

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Johnny Gimble has died.  I saw the fiddler accompany country stars a few times and I took in a few sets he led in Winfield, Kansas.

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Guy Carawan has died.

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Jerome Cooper, the drummer of the Revolutionary Ensemble, has died.

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Errol Brown of Hot Chocolate has died.

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Madisen Ward and the Mama Bear were featured on CBS Sunday Morning.

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Only when forced at proverbial gunpoint did I reluctantly listen to the Alabama Shakes’ Sound & Color.  Holy smokes!  RIYL: Some Girls, career artists, My Morning Jacket.  Here’s the title track

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Just because you can doesn’t mean you should.  Much of Kamasi Washington’s The Epic struck me as merely “good” during my first pass at the three-hour album.  From the choirs to the running time, it’s just too much.  RIYL: Pharoah Sanders, hype, Joshua Redman.

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Never Were the Way She Was is the first Colin Stetson album that completely resonates with me.  RIYL: chamber music, Hauschka, not a trace of jazz.

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Reason #3,130 I can’t listen to the Who for pleasure- Quadrophenia has become an actual opera.

(Original image by There Stands the Glass.)