Album Review: Linda May Han Oh- Strange Heavens

Ambrose Akinmusire’s latest album is exasperating. The blend of jazz, chamber music and hip-hop should have made honey from a winter stone a leading contender for my album of the year. Yet the presence of Kokayi spoils the project. I dislike the rapper’s flow, voice and lyricism. Das Racist’s Kool A.D. elevated Akinmusire’s Origami Harvest, my #3 album of 2018, but Kokayi sinks honey from a winter stone.

Rapping doesn’t intrude on Strange Heavens, the new album by bassist and bandleader Linda May Han Oh, trumpeter Akinmusire and drummer Tyshawn Sorey. Yet the trio of three of the most vital living musicians defy expectations as they play in and out as well as above and beyond.

The perfect groove of “Noise Machinery” is a smash hit in my little Kansas compound. Linking the works of Georg Philipp Telemann and Steve Swallow, the spectacular “Folk Song” is the polar opposite of “Noise Machinery.” 

Thanks partly to Oh’s refutation of the notion that bass solos are invariably boring, other tracks like "The Sweetest Water" are almost as memorable. Unburdened by an inferior collaborator, Akinmusire soars. My disappointment with honey from a winter stone is diminished by the celestial Strange Heavens.

Album Review: Woody Guthrie- Woody at Home, Vol. 1 + 2

Torrential rain made my pilgrimage to Okemah, Oklahoma, perilous a few weeks ago. I had to keep my eyes fixed to narrow two-lane country roads rather than leisurely perusing limestone quarries and Native American reservations as I neared the hometown of Woody Guthrie.

The white-knuckle drive was rewarded at the Woody Guthrie Folk Festival. The kindness of folkies- both the featured musicians and the fans- and the gentle sincerity of welcoming townies were just as heartwarming as the Guthrie covers I heard during my Oklahoma outing.

The August 15 release of Woody Guthrie- Woody at Home, Vol. 1 + 2 enhances my appreciation of the trip. The “home recordings made by Guthrie between 1951 and 1952 at his apartment in Beach Haven, Brooklyn, as a way to introduce himself to his publisher” further verify his status as the conscience of America.

Songs about immigration, greed, thuggery, liberation theology and lost love make Woody at Home, Vol. 1 + 2 the right album at the right time. These unadorned lofi recordings are absolutely essential and all-too relevant more than 75 years since they were committed to tape.

What to Listen for in Music

Original image by There Stands the Glass.

I’m currently reading Aaron Copeland’s 1939 guide What to Listen for in Music. The admission is funny, I know. Haters are welcome to make lacerating jokes at my expense.

The composer’s reference to his "Piano Variations” compelled me to study the 1930 piece. Its revolutionary disjunctions shook me. If I hadn’t previously absorbed “Piano Variations,” what other fundamental milestones are unknown to me?

The penalties of being an autodidact are severe. I’m upset that “Piano Variations” has been concealed by the classical establishment, although I confess to not properly registering the piece on Daniil Trifinov’s 2024 interpretation.

Even worse, I’m now obligated to reassess my deeply felt opinions of the work of artists including Keith Jarrett, Thelonious Monk and Cecil Taylor. I guess I need to relearn what to listen for in music.

Concert Review: Horsegirl, Sweeping Promises and Godcaster at the Bottleneck

Original image by There Stands the Glass.

I dedicated Wednesday, August 6, to questioning my taste in music. Having struggled to formulate a conclusive opinion on Horsegirl’s latest album since offering an indecisive review of Phonetics On and On in February, I drove to Lawrence, Kansas, to hear the band at the Bottleneck.

The Dream Syndicate provided the soundtrack to my 40-mile drive toward the setting sun. I have an opportunity to attend a date by the reunited band during an upcoming trip to the West Coast. I liked the Dream Syndicate in the early ‘80s but I was surprised to find its psychedelic guitar rock now repulses me. I’ll pass on the upcoming tour.

Godcaster was on stage when I walked into the Bottleneck. (I paid $28 for a ticket in advance to be part of the audience of more than 200.) I initially thought the Brooklyn collective was the worst touring band I’d seen in years. Although an excess of musicians never stopped playing at crosspurposes, I eventually succumbed to Godcaster’s art-rock spell.

Unconvinced by Sweeping Promises’ recordings, I hadn’t previously bothered to catch the Lawrence based trio live. I get it now! Its two albums don’t come close to doing Sweeping Promises justice. The unapologetically geeky band’s riveting outing made me regret not attending Gang of Four’s show at Knuckleheads in May.

Horsegirl didn’t attempt to match the high voltage energy of Sweeping Promises. Nora Cheng and Penelope Lowenstein are such reticent frontpersons that the only sound during the breaks between several songs came from oblivious revelers at the venue’s exit.

Their aloofness may be warranted. Playing to an audience dominated by weird old men (ahem) who’d seen Horsegirl antecedent the Feelies perform at the same space in 1986 had to be disconcerting. My two takeaways: the trio’s songs were sadder than anticipated and its vocals were even more delectable than on record.

I listened to Richard Strauss’ "Simfonia Domestica" while driving home. Having recently read Barbara Tuchman’s essay about Strauss in The Proud Tower, I was eager to hear the composer’s poorly reviewed 1903 piece. For the first and only time on August 6, I agreed with the critical consensus.

Flaco Jiménez, 1939-2025

Original image by There Stands the Glass.

One of the most surreal nights of my life transpired in Ellis, Texas, in 1997. On hand with my boss, I was representing independent record labels including Arhoolie, Rounder and Smithsonian-Folkways at The National Polka Festival. I waded through inch-deep puddles of spilled beer while entertaining guests from music retailers and wholesalers.

The majority of the festival’s patrons after the sun went down were wild-eyed college kids intent on drinking, dancing and getting intimate with new acquaintances. The impetuous youth inspired debauchery among revelers of all ages. I detest nostalgia, but that innocent era now seems paradisiacal.

Although he didn’t care for me, Jimmy Sturr eagerly glad-handed my important customers. The polka star’s recent collaboration with Flaco Jiménez- it won a Grammy Award in 1998- was revived in exceedingly sloppy fashion. My boss and I agreed that Jiménez probably shouldn’t interact with our clients that evening.

The accordionist was beyond commerce anyway. He was among the defining American artists of the 20th century. His early recordings are gloriously life-affirming. His hard-earned crossover bids like the 1992 album Partners are thoroughly engaging.

Jiménez also meant a lot to me personally. He was among the musicians to serve as navigable bridges in my stormy relationship with my father. A Freddy Fender appearance we happened upon at a Texas car dealership in 1975 was the first concert I attended. Fifteen years later, we sang along to the Texas Tornados party anthem "(Hey Baby) Que Paso”.

My dad died soon after that. Jiménez died last week.

July 2025 Recap: A Monthly Exercise in Critical Transparency

Screenshot of the trailer for Glyndebourne’s production of Giuseppe Verdi’s Falstaff by There Stands the Glass.

The Top Ten Albums of July 2025
1. Clipse- Let God Sort Em Out
Culturally inappropriate.

2. Tyler, The Creator- Don’t Tap the Glass
Provocative.

3. Dom Salvador, Adrian Younge and Ali Shaheed Muhammad- JID024
Miraculous samba.

4. Charlie Hunter and Ella Feingold- Different Strokes for Different Folks
My kind of party.

5. Dino Saluzzi- El Viejo Caminante
Heartbreaking bandoneon.

6. Teddy Abrams- Preludes
A new form of pianism.

7. Myke Towers- Island Boyz
Endless summer.

8. Burna Boy- No Sign of Weakness
Muscular pop.

9. Theon Cross- Affirmations (Live at Blue Note New York)
Hilariously loud.

10. Freddie Gibbs and the Alchemist- Alfredo 2
Old school.

The Top Three Reissues and Reimaginings of July 2025
1. Nick Drake- The Making of Five Leaves Left
Deep in the weeds.

2. Cecil Taylor and Tony Oxley- Flashing Spirits
Live in 1988.

3. Paul Weller- Find El Dorado
Covers of premium obscurities.

The Top Ten Songs of July 2025
1. MC Yallah- “Tunyedde”
Straight outta Kampala.

2. John Glacier- “Fly With Me”
Moonshot.

3. Cécile McLorin Salvant- "Oh Snap"
Kitchen sink.

4. Syd- “Die for This”
Alive.

5. Olivia Dean- “Lady Lady”
Groovy groovy.

6. Jorja Smith- "With You"
Bliss.

7. Che- “Ba$$”
Molly anthem.

8. DJ Snake featuring J Balvin- “Noventa”
Siren song.

9. Pino Palladino and Blake Mills featuring Chris Dave- "Taka"
A-team.

10. Trio of Bloom- "Queen King"
Nels Cline, Craig Taborn and Marcus Gilmore.

The Top Ten Performances of July 2025
1. Woody Guthrie Folk Festival (Okemah)
My notes.

2. Steve Cardenas, Forest Stewart and Brian Steever at Westport Coffee House
My Instagram clip.

3. Elvis Costello & The Imposters at the Uptown Theater
My Instagram clip.

4. Crystal Gayle at Ameristar Casino
My review.

5. Nick Hmeljak, Henry Scamurra, Isaiah Petrie, Jordan Faught and Jaylen Ward at Westport Coffee House
My review.

6. Made in France at the Market at Meadowbrook
My Instagram snapshot.

7. Summerfest at St. Mary’s Episcopal Church
My notes.

8. Stan Kessler, Aaron Sizemore, Craig Akin and Taylor Babb at the Music House
My Instagram snapshot.

9. Michael August and Nell Levin at the Woody Guthrie Center (Tulsa)
Instagram snapshot.

10. Matt Hopper, Gerald Spaits and Todd Strait at Green Lady Lounge
My Instagram snapshot.

The previous monthly recap is here.

Get Me to the Church in Time

Original image by There Stands the Glass.

Never in my history of live music attendance had I bungled a date or venue. In fact, I’ve tended to show up early for each of the more than one hundred performances I’ve caught every year since 1995 (pandemic period excepted). That pristine record came to an end last weekend.

I was giddy upon learning of a local production of Richard Wagner’s “Die Walküre.” A full performance of a Wagner opera- even in a semi-staged version- hasn’t transpired in Kansas City in years. I packed a libretto from my library of opera literature and a cooler full of snacks and cold drinks. Including two intermissions, “Die Walküre” lasts six hours.

I knew something was wrong when the parking lot at St. Mary’s Episcopal Church was almost empty on Sunday, July 27. Musicians at the entrance told me I was 75 minutes early. I was further puzzled because the music being rehearsed clearly wasn’t the sturm und drang of Wagner. 

An event organizer explained that “Die Walküre” was performed at the church the previous day. He kindly invited me to stick around for Summerfest’s final recital of the season.

Works by Guillaume Connesson, Charles Koechlin, Elizabeth Brown and Bohuslav Martinů were rendered by prominent Kansas City classical musicians. Although I was rattled by my uncharacteristic cognitive slip, I was glad to be among an audience of more than 100 hear to the esoteric compositions.

Concert Review: Crystal Gayle at Ameristar Casino

Original image by There Stands the Glass.

My life partner was out of town when I attended a Crystal Gayle concert at Ameristar Casino in 2022. I pounced on a pair of front row seats upon spotting a deep discount on day-of-show tickets to the pop-country artist’s return to the same room on Saturday, July 19. I relished my date’s astonishment at Gayle’s Rapunzel-like hair and her gleeful laughter at Gayle’s endearing delivery of shopworn jokes. And like me, she still finds it hard to believe that Gayle is the younger sister of the late Loretta Lynn. Gayle’s song selection remains problematic. The audience of about 600 heard only a small fraction of Gayle’s hits. Her willingness to share the spotlight with the presumed bandleader is also unfortunate. Those choices may have played a role in the meager turnout. I suspect we may not witness Gayle deliver her songs with her uncommon guilelessness again. It’s a shame. The star’s songs have always been in the background of our "... Long and Lasting Love".

Take Me Back to Tulsa

Original image of Butch Hancock by There Stands the Glass.

My ramblin’ jones led me to Oklahoma last week. People who aren’t obsessive about music may find the concept of music tourism in a state sandwiched between Kansas and Texas laughable. Yet Oklahoma made a huge impact on American music in the 20th century. It’s still a hub for a distinctive, commercially viable sound.

Here’s a partial roll call of prominent Oklahomans: Garth Brooks, J.J. Cale, Charlie Christian, the Flaming Lips, the Gap Band, Woody Guthrie, Jay McShann, Jimmy Rushing, Leon Russell and Bob Wills. Today, hordes of homegrown red dirt country bands like Turnpike Troubadours play to big crowds across the country.

I wheeled my road trip around Butch Hancock’s 80th birthday celebration at Woody Fest in Okemah, Oklahoma. I hadn’t previously patronized the folk festival in Woody Guthrie’s hometown. Furthermore, I couldn’t recall attending a Hancock performance, although I surely did in the late ‘80s and/or early ‘90s.

If The Flatlanders were more a legend than a band, Hancock is more a rumor than a man. His music isn’t available on DSPs and he’s certainly not the social media type. Fortunately for me, plenty of Hancock’s music is available in the Museum of Dead People and Outmoded Formats located in my basement.

Even if I was disappointed that the songwriter remained seated as his colleagues performed their favorite Hancock compositions for most of the show, I was glad to have been present at the heartwarming event that concluded with Hancock’s reading of “If You Were a Bluebird.”

I was dismayed to discover the Guthrie homestead is a vacant lot while in Okemah. I also became a Bonnie Whitmore fan, finally “got” Aaron Lee Tasjan and was reduced to a puddle of tears upon hearing My Politic’s “Buzzards on a Powerline” for the first time. I’m still reeling.

Tulsa’s bustling earthiness reminds me of Austin, Texas, circa 1995. I became intimate with the streets in and around the pretty campus of the University of Tulsa and spent quality time at the verdant Gathering Place. The Bob Dylan Center and The Woody Guthrie Center are located on Reconciliation Way at the site of one of the United State’s most horrific atrocities.

The Dylan Center is filled with the sort of crucial relics that are curiously missing at the Guthrie Center. Yet the Okie’s museum is currently hosting the touring Hip-Hop America: The Mixtape Exhibit. It also featured a strident poetry reading and a separate performance of union songs associated with Joe Hill on the day of my visit. I miss the town already. Take me back to Tulsa.

Gig Review: Sam Lewis at Waldo Tap Room

Original image by There Stands the Glass.

One of the men responsible for the Waldo Folk initiative playfully chided me when I entered Waldo Tap Room on Wednesday, July 9. His enterprise has been presenting concerts for about a year, but the gig by Sam Lewis was the first of the events I’d attended.

I explained that his bookings simply haven’t been to my taste. Even so, my increasingly conspicuous abstention was getting in my craw. That’s why I paid $30 for a looky-loo at the showcase for the Nashville based Lewis.

My longtime friend cited a Chris Stapleton quip in which the country star insists Lewis is “a modern Townes Van Zandt” in his introduction to Lewis. The outlandishness of the assertion makes me wonder if it’s Van Zandt or Lewis that Stapleton had never heard.

Lewis’ music bears a much closer resemblance to that of the esteemed Southern singer-songwriter Jesse Winchester. Like Winchester, Lewis is a mellow Southern gentleman. Lewis’ placid songs about domestic concerns pleased the near-capacity audience of more than 50.

That audience- and the top-notch waitstaff and bartender- were silent throughout the first set. The only extraneous ambient sounds were the rattle of an ice machine and noise from diners next door. Such closemouthed consideration is a rarity in Kansas City.

The vibe was delectable, but Lewis’ homey music isn’t for me. The monthly listings at this site reflect my preference for a form of unsettling folk exemplified by Bonnie “Prince” Billy. So, Waldo Folk friend, you’d see a lot more of me if you began catering to my aberrant inclinations.