Original image by There Stands the Glass.
The value of gateway artists is underappreciated. If it took Vanilla Ice for listeners to get to A Tribe Called Quest, so be it. A lot of St. Paul & the Broken Bones fans surely make their way to Otis Redding. That’s fantastic. In my case, the Clash introduced me to Augustus Pablo. I discovered Bob Wills via Merle Haggard. I found Willie Dixon via the Doors.
I’m not annoyed that Nubya Garcia’s debut album Source is being hailed as the 2020 equivalent of John Coltrane’s A Love Supreme. Jazz needs stylish young artists to give the popular press and jazz neophytes something to rally behind. Besides, Source is pretty good.
After enjoying Garcia’s fashionable dispatch from London, I hope a few adventurous listeners turn to the like-minded new release by Idris Ackamoor & The Pyramids. Inspired by his mentor Cecil Taylor, Ackamoor founded the Afrocentric spiritual jazz collective almost 50 years ago. Now 69, Ackamoor and his longtime collaborators retain their vitality on Shaman!. The joyous grooves and inclusive sensibility are the best kind of communal folk music.
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I decry the blatant abandonment of social distancing on Kansas City’s jazz scene at Plastic Sax.
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Opera update: I’m currently 80 minutes into my 153rd opera in the past 153 days. A French staging of Benjamin Britten’s “A Midsummer Night’s Dream,” #151 in my streak, receives my unqualified endorsement. The creepy bits are skin-crawling and the comedic scenes are outrageous.