Concert Review: Jah Wobble’s Invaders of the Heart at Mississippi Studios

Original image by There Stands the Glass.

My friend R. acquired a copy Public Image Ltd.’s Metal Box in 1979. Inspecting the unique packaging while listening to the correspondingly strange music it housed in the basement of R.’s home was an otherworldly experience. Forty-five years later, I was transported by live renderings of Metal Box songs by Jah Wobble’s Invaders of the Heart at Mississippi Studios on Friday, July 19. The interpretations of once-unintelligible songs like "Poptones" on the Metal Box: Rebuilt in Dub Tour were perfect distillations of my coinciding passions for punk, jazz and reggae. Either Wobble’s extensive career helped shape my taste or he and I simply share similar inclinations.

Concert Review: Chamber Music Northwest’s “Incandescence: Blazing Works by Joan Tower, Bartók & the ‘Kreutzer’” at Lincoln Performance Hall

Original image of Joan Tower, Soovin Kim and Sandbox Percussion by There Stands the Glass.

I worked up a lather in a hurried thirty-minute walk to Lincoln Performance Hall in ninety-degree heat on Sunday, July 14. Not having time to rinse myself off in a bathroom, I left a trail of perspiration as I made my way to my $30 seat at the back of the venue on the campus of Portland State University.

Given the fiery theme of the concert presented in Chamber Music Northwest’s 2024 Summer Festival series, my prodigious sweating was apropos. Performances of three works were accurately billed as blazing.

Joan Tower introduced the world premiere of her “Sing or Dance” with a few humble words. Much of the challenging piece rendered by violinist Soovin Kim and Sandbox Percussion resembled free improvisation. I liked it, but many in the audience of approximately 400 squirmed.

The duo of Kim and his wife, pianist Gloria Chien, dueted on the program’s two additional pieces, Béla Bartók’s “Violin Sonata No. 2” and Ludwig van Beethoven’s “Kreutzer” sonata. Kim Chien- the festival’s artistic directors- tore through the famously difficult pieces. Kim’s astounding feat of endurance kept me sweating in sympathetic allegiance.

Album Review: Zach Bryan- The Great American Bar Scene

The uninhibited behavior of a superfan captivated me at a Flatland Cavalry concert last month. Having previously worked out elaborate routines to the band’s repertoire, he acted out the lyrics to songs including "Sleeping Alone" with hand and body motions.

Like that earnest Flatland Cavalry fan, Zach Bryan has no use for irony. The star is as painfully sincere and unabashedly corny as he’s always been on the new album The Great American Bar Scene. Apparently, I’ve changed.

I’ve previously been disinterested in Bryan’s straightforward heartland rock. Yet The Great America Bar Scene’s recasting of Bruce Springsteen’s Nebraska and John Mellencamp’s The Lonesome Jubilee won me over. Now please excuse me while I work on my routine for "American Nights". I pity everyone seated near me at Bryan’s two concerts at my local arena next month.

Album Review: Charles Gayle, William Parker and Milford Graves- WEBO

One Hand Clapping, a set of 1974 live recordings by Paul McCartney and Wings, charmed me upon its release last month. Having adored Wings’ Band on the Run as a child in 1973, I figured One Hand Clapping would be my favorite archival recording of the year. Then I heard WEBO. Recorded at the New York City venue Webo in 1991, the 121-minute document documents the third performance by saxophonist Charles Gayle, bassist William Parker and drummer Milford Graves. The incendiary free jazz might have inflicted irrevocable psychological damage on me in 1973. The direction of my life almost certainly would have been altered had I been in attendance at Webo in 1991. In 2024, I’m all in.

June 2024 Recap: A Monthly Exercise in Critical Transparency

Screenshot of the trailer for Opéra national de Paris’ production of Gaspare Spontini’s La Vestale by There Stands the Glass.

The Top Ten Albums of June
1. Bilal- Live at Glasshaus
With Common, Robert Glasper, Burniss Travis and Questlove.

2. Linda Thompson- Proxy Music
There Stands the Glass review.

3. Nduduzo Makhathini- uNomkhubulwane
South African spiritual jazz.

4. Kaitlin Butts- Roadrunner!
Oklahoma!

5. Marsha Ambrosius- Casablanco
A chaotic pileup of jazz, hip-hop and R&B.

6. William Parker- Heart Trio
With Cooper-Moore and Hamid Drake.

7. Tarbaby- You Think This America
Orrin Evans, Eric Revis and Nasheet Waits.

8. Rod Fleeman- Live at Green Lady Lounge, Volume 3
Plastic Sax review.

9. Charli XCX- Brat: and it’s the same but there’s three more songs so it’s not
Impudent pop.

10. Peso Pluma- Éxodo
Extravagant excess.

The Top Ten Songs of June
1. Staples Jr. Singers- "I've Got a Feeling"
A good old feeling.

2. Menahan Street Band- "Tropical Man (TV Mix)"
My song of the summer.

3. Spice- "2085 Tea"
“Look back pon tings.”

4. Heems featuring Vijay Iyer and Sid Vashi- "Manto"
Partition blues.

5. Kaytranda featuring Channel Tres- "Drip Sweat"
Steam bath.

6. Nikka Costa- “Dance ‘N Forget”
She would die 4 U.

7. Leigh-Anne- "Nature"
U.K. pop reggae.

8. Val Fleury- "Technically"
Facts.

9. 42 Dugg featuring Sexyy Red- "N.P.O."
Ha ha!

10. Silverada- "Doing It Right"
She’s actin’ single, he’s drinkin’ doubles.

The Top Ten Performances of June
1. Makaya McCraven at Liberty Hall
Plastic Sax review.

2. Nick Shoulders at Third Place Lounge
There Stands the Glass review.

3. Flatland Cavalry at Grinders KC
Instagram clip.

4. Adam Larson at the Blue Room
Plastic Sax review.

5. Lionel Richie and Earth, Wind & Fire at the T-Mobile Center
There Stands the Glass review.

6. Yo-Yo Ma at Parade Park
Instagram clip..

7. Deanna Ray Eberhart at Ward Parkway Presbyterian Church
Instagram clip.

8. Galaxxu and the Extemporaneous Music and Arts Society at Charlotte Street Foundation
Instagram clip.

9. Rod Fleeman at Green Lady Lounge
Instagram clip.

10. Yo-Yo Ma, Joel Thompson and Ralph Yarl at Helzberg Hall
Instagram snapshot.

The previous monthly recap is here.

Album Review: Linda Thompson- Proxy Music

On May 31, 1982, forty-five days after the release of their landmark album Shoot Out the Lights, Richard and Linda Thompson performed with their band at Parody Hall in Kansas City. A young numskull, I was incapable of fully grasping the emotional dynamic on display. The couple’s marriage didn’t survive the year. I’ve subsequently admired the individual output of both artists. Until now, however, I’ve never been infatuated with a recording by Linda Thompson. The unusual backstory of the wondrous Proxy Music necessitates a stylistic range accentuating Thompson’s skill as a songwriter. The eleven songs are funny, heart-wrenching and illuminating.  "Those Damn Roches", the self-referential closing selection, further reveals the wry sense of humor exhibited on the all-time-great album cover.

Album Review: David Crowell- Point/Cloud

Guitars are bygone relics with no place at the cutting edge of 21st century music. The specious theory draws me like a moth to a flame. It serves me right, consequently, that the sounds of guitars constitute a big chunk of the music I’ve most loved during the past six months.

The jazz guitarists Steve Cardenas and Rod Fleeman released two of my favorite albums by Kansas City artists this year. Performances by regional post-jazz guitarists Shante Clair, Seth Davis and David Lord delighted me in recent months.

I’m still surprised by my decision to catch Genesis guitarist Steve Hackett’s impressive concert in April. And two nights ago I was awed by the skronky shredding of a young guitarist with the Chicago trio Galaxxu at Charlotte Street Foundation.

As rendered by guitarists Daniel Lippel and Mak Grgic, the title suite and “Pacific Coast Highway” on Point/Cloud, the latest album by the New York composer David Crowell, contain elements of each of the styles employed by the musicians mentioned above. 

Crowell’s use of jazz intonations, intimations of prog-rock and abrasive repetition verify the pertinence of guitars in 2024. Even so, the guitar-free tracks featuring Sandbox Percussion and Iva Casian-Lakos are even more interesting. On second thought, maybe guitars are, in fact, of no account.

The Top Kansas City Albums and EPs of 2024 (so far)

The Top Twenty Kansas City Albums of 2024 (so far)

1. Willi Carlisle- Critterland
Feral folk.

2. Betty Bryant- Lotta Livin'
Plastic Sax review.

3. Behzod Abduraimov- Shadows of My Ancestors
Prokofiev, Ravel and Saidaminova.

4. Charles McPherson- Reverence
Plastic Sax review.

5. Waxahatchee- Tigers Blood
KC.

6. Ben Allison, Steve Cardenas and Ted Nash- Tell the Birds I Said Hello: The Music of Herbie Nichols
Plastic Sax review.

7. Logan Richardson- Sacred Garden
Plastic Sax review.

8. Danielle Nicole- The Love You Bleed
KCUR's audio feature.

9. Karrin Allyson- A Kiss for Brazil
Plastic Sax review.

10. The Kansas City Symphony- Brahms: Reimagined Orchestrations
Virgil Thomson’s arrangements.

11. WireTown- Kansas City
Plastic Sax review.

12. Scott Dean Taylor and Seth Andrew Davis- Infidels
Plastic Sax review.

13. Jennifer Knapp- Kansas 25
Reworking of 1998 milestone.

14. Alber- Lento
Electro-jazz.

15. The Hearers- elevators come undone
Grandaddy-esque.

16. Brian Scarborough- We Need the Wind
Plastic Sax review.

17. Jeff Shirley- Contigo
Plastic Sax review.

18. Michael Davidson and Ellen Sommer- Skybreak
Trombone and piano.

19. Christopher Burnett- Originals
Plastic Sax review.

20. Doubledrag- Alone With Everyone
Shoegaze.

The Top Ten Kansas City EPs of 2024 (so far)

1. Midwestern- Reflections
There Stands the Glass review.

2. Burning Bush Demo 2024
Exodus.

3. Drew Williams- Wobble
Plastic Sax review.

4. Rich the Factor- Souped Up Sofa
KC’s the town.

5. Eddie Moore- Aperture: Solo Piano Works
Plastic Sax review.

6. Nate Hofer- Decommissioned
Ambient steel guitar.

7. Rich the Factor- Souped Up Sofa 2
Midwest tygoon.

7. Little Miss Dynamite- Grow Up
Firecracker folk.

9. Scott Hrabko & The Rabbits- Other Cats, Other Bags: Vol. 2
Louche troubadour.

10. The Fun Guy- From the Attic to the Underground 
Garage rock.

Album Review: Tyshawn Sorey and Adam Rudolph- Archaisms II

I first encountered Ennio Morricone’s “Algeri: 1 Novembre 1954” on John Zorn’s 1986 tribute album The Big Gundown. The terrifyingly insistent theme has haunted me ever since. 

As part of my self-directed study in the history of the Arab diaspora, I recently watched the excruciatingly intense 1966 Italian film The Battle of Algiers. I leapt from a couch upon discovering Morricone’s doom-laden composition in its original context. 

The tone of Morricone’s agitated score echoes in Archaisms II. Recorded live at Roulette last year, the album captures a quintet led by Adam Rudolph and Tyshawn Sorey in pursuance of an elevated consciousness that seems aligned with violent uprisings.

Concert Review: Lionel Richie and Earth, Wind & Fire at the T-Mobile Center

Original image of Lionel Richie by There Stands the Glass.

Cheesier than Wisconsin and cornier than Iowa, the music of the Alabama native Lionel Richie can be cringey. During the opening notes of several musty hits during his headlining performance at the T-Mobile Center on Thursday, June 7, the thought “oh yeah, I remember this one” was immediately followed by the realization “oh no, I never liked it.”

Even so, a quarter of the songs made my heart flutter. How I love “Brick House”, “Still” and even the tacky pop of “Say You, Say Me”! I may have been more tolerant of the remainder of Richie’s set had it preceded Earth, Wind & Fire’s audacious outing.

I purchased $25 all-in upper level tickets during Live Nation’s concert week promotion specifically to hear the current version of Earth, Wind & Fire perform timeless hits including “Shining Star”, “Reasons” and “That’s the Way of the World”. Most of the approximately 15,000 people on hand would concur with my assessment: Earth, Wind & Fire owned the evening.