Concert Review: Kelly Hall-Tompkins at the Folly Theater

Original image by There Stands the Glass.

“Fiddler on the Roof” is my favorite musical. “Do You Love Me?” is my favorite “Fiddler on the Roof” song. The winsome ballad was performed in the style of French jazz violinist Stéphane Grappelli at the Folly Theater on Friday, November 10. The rendering rewarded my decision to dedicate the evening to Kelly Hall-Tompkins’ free recital presented by the Harriman-Jewell Series. The violinist known for her role as the titular instrumentalist in the most recent Broadway revival of “Fiddler on the Roof” was accompanied by an accordionist, guitarist and bassist. All but three or four selections were instrumental arrangements of selections from the musical. An audience of approximately 500 took in charming  interpretations of the familiar melodies.

Sally, Take My Hand: A Lapsed Fan Revisits Who’s Next

Describing his teenage infatuation with the literary giant in Vanity of Deluoz, Jack Kerouac wrote “only adolescents appreciate Thomas Wolfe… because he’s the kind of writer you can just about only read once, and deeply and slowly, discovering, and having discovered, move away”

I’ve felt much the same way about the Who for the past forty years. As a teen, Who’s Next, Quadrophenia and Meaty Beaty Big and Bouncy acted as primary sources of inspiration and solace. I’ve had no use for those albums as an adult.

Who’s Next / Life Hous Super Deluxe Edition, a new ten-hour reissue of the 1971 touchstone, compelled me to revisit my youth. Aside from the comical outlier “My Wife”, I can only appreciate the songs from a distance. Sadly, the hours of additional material are only of marginal interest to me. I can’t go home again.

October 2023 Recap: A Monthly Exercise in Critical Transparency

Screenshot of the trailer for Garsington Opera’s production of Gioachino Rossini’s Il barbiere di Siviglia by There Stands the Glass.

Top Ten Albums of October

1. Bad Bunny- Nadie Sabe Lo Que Va a Pasar Mañana

Carpe diem.

2. Sylvie Courvoisier- Chimaera

Spectral.

3. Gucci Mane- Breath of Fresh Air

Rap redemption.

4. John Scofield- Uncle John’s Band

How does the song go?

5. Fuerza Regida- Pa las Baby’s y Belikeada

Party central.

6. Andris Nelsons and the Boston Symphony Orchestra- 

Shostakovich: Symphonies Nos. 2, 3, 12 & 13

The ponderous soul of Russia.

7. Ava Mendoza- Echolocation

My review.

8. Allison Miller- Rivers in Our Veins

Freewheeling jazz.

9. Nathan Davis- Neutral Buoyant

Psaltery.

10. Daniel Villarreal- Lados B

Raw grooves with Jeff Parker and Anna Butterss.

Top Ten Songs of October

1. Kali Uchis- "Te Mata"

Wayback machine #1.

2. Esperanza Spalding- "Não Ao Marco Temporal"

Wayback machine #2.

3. Holly Macve and Lana Del Rey- “Suburban House”

Cul-de-sac.

4. The Streets- “Gonna Hurt When This Is Over”

Such sublime sadness.

5. Danny Brown- "Tantor"

Chaos agent.

6. Ken Carson- "Jennifer's Body"

Tomorrow’s sounds today.

7. Tainy with J Balvin, Young Miko and Jowell & Randy- "Colmillo"

Everything at once.

8. Yebba- "Waterfall (I Adore You)"

Chasing.

9. Flatland Cavalry- "Spinnin'"

Heartsick honky tonk.

10. Drake- “IDGAF”

An extended ECM Records sample!

Top Ten Performances of October

1. Hilary Hahn at the Folly Theater

My review.

2. Thomas Rosenkranz at White Recital Hall

My review.

3. Samara Joy at the Folly Theater

My review.

4. Brent Cobb and Meg McRee and Knuckleheads

My review.

5. Alien Nosejob, Citric Dummies and CKrit at Howdy

My review.

6. Chamber Music Masterclass with Michael Stern at Helzberg Hall

My Instagram photo.

7. Stan Kessler, Brant Jester, Bob Bowman and Zach Morrow at the Blue Room

My Instagram clip.

8. Vintage Crop, Jackoffs and Konrad Hell and the Highwaters at Farewell

My review.

9. Carl Butler, Dennis LaFoon and Terry Hancock- Gospel Lounge at the Gospel Lounge

My Instagram clip.

10. Musica Sacra- Arrupe Hall at Rockhurst

My Instagram photo.

The previous monthly survey is here.

Guess Who I Saw Today

Original image by There Stands the Glass.

As I feared, Samara Joy performed “Guess Who I Saw Today” at the Folly Theater two weeks ago. Yet by turning the threadbare standard inside out, the celebrated star won me over. I was pleased to have put my money where my mouth is. One or two of my November concert recommendations for KCUR should likewise provide satisfactory returns on my out-of-pocket investments.

Book Review: Time’s Echo: The Second World War, The Holocaust, and the Music of Remembrance, by Jeremy Eichler

Original image by There Stands the Glass.

My race against the clock becomes more urgent with each passing day. I’m committed to becoming as fully aware and completely realized as possible before I die.

Most of my free time is devoted to reading and deep listening. Jeremy Eichler’s new study Time’s Echo: The Second World War, The Holocaust, and the Music of Remembrance allowed me to indulge in both pursuits.

A combination of history and musicology, Eichler’s work focuses on four classical compositions inspired by the Shoah in the years before, during and after World War II.

Get this: I hadn’t previously heard any of them. Richard Strauss’ Metamorphosen, Arnold Schoenberg’s A Survivor or from Warsaw, Benjamin Britten’s War Requiem and Dmitri Shostakovich’s  Symphony No 13 (Babi Yar) came as shocking revelations.

I share Eichler’s conviction that music can act as a form of time travel as well as a metaphysical means to commune with the past. Having eagerly absorbed Time’s Echo, I’m able to use the portal with enhanced sophistication.

Concert Review: Thomas Rosenkranz at White Recital Hall

Original image by There Stands the Glass.

Everything you might care to know about my current state of mind is encapsulated by my steadfast commitment to attending Thomas Rosenkranz’s recital at White Recital Hall on Friday, October 20. (The recital streams here.)

The rare opportunity to hear a complete performance of Olivier Messiaen’s Vingt Regards sur l’Enfant-Jésus appealed to me more than attending concurrent concerts by Travis Scott or the Jazz at Lincoln Center Orchestra.

Friends and loved ones declined to join me when upon learning they were being asked to endure two hours of challenging solo piano at the free concert presented by the UMKC Conservatory. The translated title of Messiaen’s work- Twenty Contemplations of the Infant Jésus- was a nonstarter for at least one person.

The piece is best experienced alone anyway. Upon selecting a seat allowing me to watch Rosenkranz’s frenetic fingering, I placed my phone on the floor and didn’t once turn around to check on the responses of the approximately 100 people in the auditorium.

Transfixed, my mind only wandered to consider how curious the composition must have seemed to listeners at its premiere in 1945. It still sounds otherworldly. Allusions range from Wolfgang Amadeus Mozart to George Gershwin. Messiaen also seems to have anticipated the innovations of Philip Glass and Cecil Taylor.

Yet musicological musings are a secondary consideration. During one segment I sensed the incomprehensible magnificence of God from a proximate vantage point I hadn’t previously experienced. Three days later, I’m still trembling.

Concert Review: Brent Cobb at Knuckleheads

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The clothes worn by Brent Cobb, a long-haired country boy from Georgia, at Knuckleheads on Wednesday, October 18, included cowboy boots and an Otis Redding t-shirt. The music he performed with a four-piece backing band was a correspondingly diffuse blend of Southern rock, outlaw country and swampy soul.

Cobb opened the show with folk-tinged songs he jokingly called “hippie sh*t” like the wry “Keep ‘Em on They Toes” before digging into vital variations on the iconic sound of Lynyrd Skynyrd.

Three sets of imbeciles within a ten foot radius of my front-and-center position amid the audience of approximately 500 rowdy fans who paid $25 for entry (I was comped) marred the otherwise stellar experience. 

Their infuriating shrieks are audible on my Instagram clip of the raucous “Devil Ain’t Done”, my favorite track on Cobb’s latest album Southern Star. While the incessant yapping throughout the extremely loud concert was a physically impressive feat, it was a bad look for the “Bar, Guitar and Honky Tonk Crowd”.

Album Review: Ava Mendoza- Echolocation

Conventional wisdom would have people believe that jazz and punk are diametrically opposed forms of music. The transgressive spirit of the two forms are actually the same. As a teenager swept up in the initial punk revolution, Television’s Marquee Moon and Miles Davis’ Dark Magus seemed like two sides of the same coin when the albums were released in 1977. Both recordings sound like precursors to Echolocation, the new album by guitarist Ava Mendoza, saxophonist James Brandon Lewis, bassist Devin Hoff and drummer Ches Smith. The quartet fuses raw metallic power with free improvisation on the crunchy Echolocation.

Concert Review: Hilary Hahn at the Folly Theater

Original image by There Stands the Glass.

Hilary Hahn’s solo recital at the Folly Theater on Friday, October 13, administered spiritual balm in a fraught moment. The violinist offered 90 minutes of ethereal restoration for members of the near-capacity audience of about 950 rattled by current events. The room’s excellent acoustics allowed Hahn’s elevated reading of four timeless works by Johann Sebastian Bach to sanctify the back row seat I purchased for $20. The event was less a concert than a consecrated prayer.

Album Review: Kevin Cheli and Seth Andrew Davis- Pinball

Pinball is an apropos title for the new recording by St. Louis percussionist Kevin Cheli and the Kansas City guitarist Seth Andrew Davis. The three improvised tracks are flush with ricochets, tilts and caroms. Even so, the abrasive give-and-take might as easily been named Curb Stomp, Avalanche or Glitch. Only the most inured listeners will appreciate the album. Yet dedicated aficionados of mayhem will recognize the constant churn of Pinball as a monumental achievement.

(Need of more noise? Davis and his collaborators in the Extemporaneous Music and Arts Society are regularly featured at the Kansas City jazz blog Plastic Sax.)