Album Review: Andrew Cyrille, Kit Downes and Bill Frisell- Breaking the Shell

The church services I regularly attend conclude with informal five-minute pipe organ recitals. I relish the post-worship sounds as less music-conscious congregants head for the exits. When they’re feeling inspired, the organists occasionally push the limits of their instruments.

Kit Downes takes the pipe organ at St. Luke in the Fields’ to even further extremes on Breaking the Shell. Much of the 2022 recording sounds as if the ghost of Johanne Sebastian Bach is informed by the most forward-thinking jazz and classical music of the new millennium.

Guitarist Bill Frisell and drummer Andrew Cyrille respond to Downes’ unconventional organ tones with their usual finesse. An album trailer provides valuable insights. The sole downside of Breaking the Shell is the realization that the post-service organ recitals I relish will now be slightly less enthralling.

April 2024 Recap: A Monthly Exercise in Critical Transparency

Screenshot of the trailer for Garsington Opera’s production of Richard Strauss’ “Ariadne auf Naxos” by There Stands the Glass.

The Top Ten Albums of April

1. Oren Ambarchi- Ghosted II
Scary good.

2. Fred Hersch- Silent, Listening
The pianist’s best.

3. أحمد (Ahmed)- Wood Blues
Ahmed Abdul-Malik lives.

4. Bill Frisell- Orchestras
What a time to be alive!

5. Parsnip- Behold
Hocus pocus.

6. Meshell Ndegeocello- Red Hot & Ra: The Magic City
A one-way trip to Saturn.

7. José James- ​​1978
My bespoke catnip.

8. Kilian Herold- Serenade: Works for Clarinet and Strings by Krenek, Gál and Penderecki
In which I discovered Ernst Krenek.

9. Nia Archives- Silence Is Loud
The groovy poets’ department.

10. Skilla Baby- The Coldest
Detroit vs. everybody.

The Top Ten Songs of April

1. Fat White Family- “Visions of Pain”
“Águas De Março” fermented.

2. Arooj Aftab- "Raat Ki Rani"
Smooth operator.

3. Shabaka- "As the Planets and the Stars Collapse"
Astral projecting.

4. Staples Jr. Singers- “Lost In a World of Sin”
On bended knee.

5. Kamasi Washington featuring George Clinton and D Smoke- "Get Lit"
Hit it and quit it.

6. Mabel- "Vitamins"
Restorative.

7. Eliza Rose- "Lovesome"
Dream house.

8. Anitta- "Lose Ya Breath"
Steam bath.

9. Chino Pacas- “Tunechi”
Tha block is hot.

10. St. Vincent- “Big Time Nothing”
The best track on a disappointing album.

The Top Ten Performances of April

1. Véronique Gens and Susan Manoff at Wigmore Hall (London)
My Instagram snapshot.

2. Mozart’s “Missa Solemnis”, Peter Schipka, Choralschola der Wiener Hofburgkapelle, Wiener Sängerknaben and Wiener Staatsoper, at Wiener Hofmusikkapelle (Vienna)
My Instagram clip.

3. Georges Bizet’s “Carmen” at Wiener Staatsoper (Vienna)
My Instagram snapshot.

4. Joe Lovano, Marilyn Crispell and Carmen Castaldi at Wigmore Hall (London)
My review.

5. Franz Schubert’s Messe in C-Dur, Markus Landerer, conductor, at Stephansdom (Vienna)
My Instagram snapshot.

6. Mike, 454, Niontay and El Cousteau at recordBar
My Instagram clip.

7. Rodgers and Hammerstein’s “The Sound of Music” at Volksoper (Vienna)
My Instagram snapshot.

8. Steve Hackett’s “Genesis Revisited” at the Uptown Theater
My Instagram clip.

9. Eddie Moore, Ben Tervort and Jalen Ward at Yardley Hall
My Instagram snapshot.

10. Marvin Gruenbaum, John Blegen, Kent Brauninger and Nils Aardahl at the Market at Meadowbrook
My Instagram clip.

The previous monthly recap is here.

Album Review: Ambrose Akinmusire- Owl Song

Nonesuch Records didn’t do Ambrose Akinmusire any favors by releasing Owl Song on December 15. I didn’t hear the trumpeter’s collaboration with guitarist Bill Frisell and drummer Herlin Riley until last week. Serene but never insipid, Owl Song is the finest form of chamber jazz. Akinmusire’s exquisite Beauty Is Enough is #43 on my Top Albums of 2023 list. Given time to fully absorb the recording, Owl Song would likely have placed between #5 and #15 in my rankings.

The Top Fifty Performances of 2023

Original image of Yujia Shen at the Diastole Scholars Center by There Stands the Glass.

The accompanying image of Yujia Shen at Diastole Scholars’ Center encapsulates my year. Classical violin (and piano) provided default ambience throughout 2023. By arriving early and through financial outlays, I claimed spots up front at dozens of concerts. The books in the room are also meaningful. My evenings were devoted to reading when I wasn’t attending performances.

1. Hilary Hahn at the Folly Theater
My review.

2. The Smile and Robert Stillman at the Midland Theatre
My review.

3. Kassa Overall and Omari Jazz at Mississippi Studios (Portland)
My Instagram clip.

4. Samara Joy at the Folly Theater
My review.

5. The Metropolitan Opera’s Tannhäuser at Lincoln Center (New York City)
My review.

6. András Schiff at Helzberg Hall
My review.

7. Mike Dillon and Brian Haas at the Brick
My review.

8. Yujia Shen at Diastole Scholars’ Center
My review.

9. Jake Blount at the Folk Alliance International Conference
My review.

10. RP Boo, DJ Alphabeta and Whorxata at the Encore Room
My review.

11. Pretty Yende at the Folly Theater
My review.

12. Adam Larson, Matt Clohesy and Jimmy Macbride at Westport Coffee House
My Instagram clip.

13. Tim Bernardes at Mississippi Studios (Portland)
My review.

14. UMKC Opera’s Proving Up at Spencer Theatre
My review.

15. Bill Frisell, Greg Tardy, Gerald Clayton and Johnathan Blake at the 1900 Building
My review.

16. Boston Camerata’s Dido & Aeneas at Community Christian Church
My Instagram photo.

17. Hermon Mehari Quartet at the Folly Theater
My review.

18. Off!, Upchuck and Weaponize Chomsky at the recordBar
My Instagram clip.

19. Thomas Rosenkranz at White Recital Hall
My review.

20. Juan Diego Flórez at the Folly Theater
My review.

21. Devin Gray, Maria Elena Silva and the Extemporaneous Music and Arts Society at Firehouse Gallery 
My review.

22. DJ Lucas, Papo2oo4 and Subjxct 5, Lil Heavn, Paris Williams and N1n4 Freakqncy at Farewell
My review.

23. Thee Sinseers, the Altons and Alanna Royale at Lemonade Park
My review.

24. Willi Carlisle and Betse & Clarke at Knuckleheads
My Instagram snapshot.

25. CRAG Quartet, Joshua Gerowitz and the Extemporaneous Music and Arts Society at the Bunker
My review.

26. Artemis at the Gem Theater
My review.

27. Queens of the Stone Age, Viagra Boys and Jehnny Beth at Starlight Theatre
My review.

28. Rafael Lozano-Hemmer’s Listening Forest at Crystal Bridges (Bentonville)
My Instagram clip.

29. Miguel Zenón Quartet at the Folly Theater
My review.

30. Bob Weir at Louisville Palace (Louisville)
My review.

31. Bonnie “Prince” Billy and Michael Hurley at the Aladdin Theater (Portland)
My review.

32. Christian McBride, Benny Green and Gregory Hutchinson at the Village Vanguard (New York City)
My review.

33. Rod Fleeman Trio at Green Lady Lounge
My Instagram clip.

34. Nickel Creek and Gaby Moreno at Muriel Kauffman Theatre
My review.

35. Alien Nosejob, Citric Dummies and CKrit at Howdy
My review.

36. Danielle Nicole and Katy Guillen and the Drive at the Uptown Theater
My Instagram snapshot.

37. Pat Metheny’s SideEye at Muriel Kauffman Theatre
My review.

38. Janet Jackson and Ludacris at the T-Mobile Center
My Instagram snapshot.

39. Big Freedia at Boulevardia
My Instagram clip.

40. Jean-Yves Thibaudet at the Folly Theater
My Instagram snapshot.

41. Parker Quartet at Polsky Theatre
My review.

42. Eugene Friesen and Henrique Eisenmann at the 1900 Building
My review.

43. Chalis O’Neal at the Blue Room
My Instagram clip.

44. Booker T. Jones at the Folly Theater
My Instagram clip.

45. Rob Magill and Marshall Trammell, the Extemporaneous Music and Arts Society and Alber at Farewell
My review.

46. The Salvation Choir at Theis Park
My Instagram clip.

47. Hot Chip and Cadence Weapon at Wonder Ballroom (Portland)
My Instagram clip.

48. Randy Porter, Tom Wakeling and Todd Strait at the 1905 (Portland)
My review.

49. John Mellencamp at the Midland Theatre
My Instagram clip.

50 Kentucky Opera’s Cinderella at W.L. Lyons Brown Theatre (Louisville)
My Instagram snapshot.

There Stands the Glass’ top albums and songs of 2023 are listed here.

Last year’s concert rankings are here.

March 2023 Recap: A Monthly Exercise in Critical Transparency

Screenshot of the trailer for Deutsche Oper Berlin’s production of Richard Strauss’ Arabella by There Stands the Glass.

Top Ten Albums of March

1. JPEGMAFIA and Danny Brown- Scaring the Hoes

Noise devolution.

2. Morgan Wallen- One Thing at a Time

My review.

3. Cécile McLorin Salvant- Mélusine

Peculiar chansons.

4. Eddie Chacon- Sundown

Quiet storm.

5. London Brew- London Brew

Restorative.

6. Slowthai- Ugly

Life is hard.

7. Willie Nelson- I Don’t Know a Thing About Love: The Songs of Harlan Howard

Nor do I.

8. Laura Schuler Quartet- Sueños Paralelos

My review.

9. MSPAINT- Post-American

Punk progression.

10. Wadada Leo Smith- Fire Illuminations

Conflagration.

Top Ten Songs of March

1. Shay Lia- "Takutá'"

Hopscotch.

2. RP Boo- "B.O.T.O."

Fancy footwork.

3. Baaba Maal- "Freak Out"

Chic.

4. Kassa Overall featuring Nick Hakim and Theo Croker- "Make My Way Back Home"

Prodigal.

5. Meshell Ndegeocello- "Virgo"

Back to the stars.

6. Moor Mother- "We Got the Jazz"

From strength to strength.

7. Las Marias- "Ismael"

Spring has sprung.

8. EST Gee- “Pray You Die in Surgery”

Cursed.

9. Sleaford Mods featuring Perry Farrell- "So Trendy"

Shouty.

10. Atmosphere- "Bigger Picture"

The relentless march of time.

Top Ten Concerts of March

1. Ghais Guevara, Tricky Youth, Student 1, Midwestern, Tabby, Defo, Laaee Uzumak and Young Mvchetes at Farewell and Howdy

My review.

2. Boston Camerata’s “Dido & Aeneas” at Community Christian Church

My Instagram photo.

3. Bill Frisell at 1900 Building

My impressions.

4. Artemis at the Gem Theater

My review.

5. Austin Plaine, Katie Toupin and the Pinkerton Raid at the Monarch (Louisville)

My Instagram clip.

6. CRAG Quartet, Joshua Gerowitz with Vinny Golia and the Extemporaneous Music and Arts Society of Kansas City at the Bunker Center for the Arts

My review.

7. Cynthia van Roden at the Market at Meadowbrook

My Instagram photo.

8. Te Deum’s “Solemn Vespers” at St. Mary’s Episcopal Church

My Instagram photo.

9. Electronic Music Midwest Festival at Kansas City Kansas Community College (concerts one, five and eight)

My review.

10. Kristina Gaddy, Nadia Ramlagan and Blakeley Burger at Carmichael’s Bookstore (Louisville)

My Instagram clip.

The previous monthly survey is here.

Book Review: Bill Frisell, Beautiful Dreamer: The Guitarist Who Changed the Sound of American Music, by Philip Watson

Original image by There Stands the Glass

Pitchfork’s list of The 150 Best Albums of the 1990s inspired outraged tirades last month.  Recently reading Philip Watson’s new book Bill Frisell, Beautiful Dreamer: The Guitarist Who Changed the Sound of American Music reminded me that by including guest appearances and collaborations, an enthusiast could compile a solid “The 50 Best Bill Frisell Albums of the 1990s” list.

The music of the staggeringly prolific Frisell became a staple of my rotation during that decade.  The guitarist who is a genre unto himself hasn’t slowed much in the intervening years.  I continue to listen to a lot of Frisell, and I’m fortunate to have attended many of his performances.  Having devoured Beautiful Dreamer, I’ll continue overdosing on Frisell for the foreseeable future.

The primary value of Beautiful Dreamer for this reader is its detailed accounting of works that had escaped my memory.  Even though I own physical copies of the ensemble’s albums including I Have the Room Above Her, I’d forgotten about Frisell’s trio with Paul Motion and Joe Lovano.  Furthermore, I hadn’t known that John Zorn played a significant role in Frisell’s evolution.

Watson wrote Beautiful Dreamer with the participation of Frisell.  He’s susceptible to accusations of being a fawning flatterer, but Watson is not wrong in his assertion that Frisell is the modern-day equivalent of titanic figures of American music like Duke Ellington, Jimi Hendrix and Thelonious Monk.

I’ve never been particularly interested in the private lives of artists.  I’m not disappointed, consequently, that Watson treads lightly on the subject of Frisell’s spectrum-ish disposition.  Besides, the portion of the biography’s 548 pages dedicated to listening sessions with admirers ranging from Mary Halvorson to Justin Vernon are more insightful than theoretical armchair psychology.

Even after reading Beautiful Dreamer, I’m not mad at Pitchfork for overlooking Frisell. I like the publication’s rankings although my list would include only a couple dozen of the same titles. I’d begin by sifting through Frisell’s discography were I to take on the task today. Thanks partly to Watson’s invaluable biography, the list-making would be delectably difficult.

Doomsday Jazz: The End Times Improvisations of Oren Ambarchi and Ches Smith

The majority of Earth-bound humans would opt for one of two obvious courses of action should they be given sufficient warning the end is nigh.  Some might choose bacchanalian indulgence and lawless decadence.  Ches Smith has them covered.

Interpret It Well, the unsettling new album by the innovative percussionist, conveys the sense of nausea induced by existential excess.  Three distinguished accomplices- violist Mat Maneri, guitarist Bill Frisell and pianist Craig Taborn- enable Smith’s queasy course.

Even idealistic listeners are likely to associate Ghosted with abhorrently riveting experiences such as driving past a ghastly car accident or spending Saturday night in the waiting room of an overtaxed emergency room.

Preparing for destruction will inspire others to summon a higher power.  The inventive guitarist Oren Ambarchi’s hypnotic new album with bassist Johan Berthling and percussionist Andreas Werliin might serve as a nonsectarian hymn.  

The successful melding of Malian folk music, the Islamic adhan, Indian classical music and Terry Riley-style minimalism suggests that Ghosted is the ultimate rarity: a good “world music” album.  In truth, the trio creates interstellar jazz.

Two extraordinary music videos interpret the differing apocalyptic perspectives.  Ambarchi’s "II" consists of everyday scenes of nature.  "Protect Your Home", a short film depicting literal doomsday scenarios, is set to the title track of Interpret It Well.

August 2020 Recap: A Monthly Exercise in Critical Transparency

Screenshot of Garsington Opera’s production of David Sawer’s “The Skating Rink”- #156 in my daily opera marathon- by There Stands the Glass.

Top Five Albums

1. Bill Frisell- Valentine

My review.

2. The Stooges- Live at Goose Lake: August 8, 1970

My review.

3. Ellen Fullman and Theresa Wong- Harbors

Dark drones.

4. Idris Ackamoor & The Pyramids- Shaman!

My review.

5. Brian Scarborough- Sunflower

My review.

Top Five Songs

1. Caroline Shaw and David Lang- "When I Am Alone"

My review.

2. Drake featuring Lil Durk- "Laugh Now, Cry Later"

Baby.

3. Cardi B and Megan Thee Stallion- "WAP"

Game-changer.

4. Gayngs- "Appeayl 2 U"

It’s got that whip appeal.

5. Miley Cyrus- "Midnight Sky"

Radiant.

Top Five Livestreams

1. Robert Wilson performs John Cage’s “Lecture on Nothing”- National Sawdust

2. Bang on a Can Marathon- Jeremy Denk, Wu Man, Oliver Lake, etc.

3. Dayna Stephens, Omer Avital and Anthony Pinciotti- Smalls

4. Washed Out- waterside in Georgia

5. Dee Alexander and John McLean- at home in Chicago

I conducted the same exercise in July, June, May, April, March, February and January.

Million Dollar Bash

Original image by There Stands the Glass.

I’ve reluctantly recommitted to the onerous task of organizing The Museum of Dead People and Obsolete Technology, the cluttered realm also known as my unfinished basement.  Consolidating old ticket stubs into a single box is one of the more enjoyable components of my job as chief curator.  As I sifted through thousands of bits of paper, it occurred to me that I’ve spent more money on Bob Dylan than any other musician.  Between concert tickets, physical recordings and books, I’ve almost certainly laid out more than a grand on the man.

Blood on the Tracks is one of several Dylan albums I’ve owned on cassette, vinyl and compact disc.  The relentless flood of must-have sets of rarities and live recordings plays a further role in emptying my wallet, as does mandatory attendance at area appearances of Dylan’s enigmatic Never Ending Tour.  I’ve even dragged my full brood to a couple shows.  And while I own six or seven Dylan-related books, I’m relieved I’ve never been tempted to buy a t-shirt.

Dylan isn’t my only substantial investment.  Here are nine additional artists who’ve separated me from inordinate amounts of money: 

• Mary J. Blige- Old-school R&B concert tickets are crazy expensive.

• Bill Frisell- I accumulate dozens of Frisell albums the way other people collect baseball cards.

• Thelonious Monk- I bought a Monk album at cost every Friday for nine months when I worked in a music distribution warehouse.

• Charlie Parker- So many books!  So many bootlegs!

• Prince- He was omnipresent in the pre-streaming era.

• Bruce Springsteen- Dylan redux.

• George Strait- All hail King George.

• Tech N9ne- I’ve seen more performances by the Kansas City rapper than all but a few dozen Technicians.

• Bobby Watson- Two or three $20 door charges every year for more than 25 years add up.

Album Review: Bill Frisell- Valentine

Original image by There Stands the Glass.

I’ve said it a thousand times: jazz isn’t merely something that happened long ago.  Just as giants like Django Reinhardt, John Coltrane and Cecil Taylor transfigured past decades, equally brilliant improvisors continue to push the music forward.  Bill Frisell is one such modern master.  The guitarist’s new album Valentine- his 42nd album as a leader by my count- is yet another stunning triumph.  Abetted by bassist Thomas Morgan and drummer Rudy Royston, Frisell continues to find fresh and engaging ways to expand his unique conception.  The incorporation of the pop and folk sounds of the early 1960s with the innovations of guitarists ranging from Wes Montgomery to Jimi Hendrix doesn’t seem particularly promising, but Frisell has successfully mined the genre-fluid terrain for decades.  My immediate affinity for Valentine is partly due to catching Frisell perform most of the selections live in the past 24 months, but I can’t imagine anyone not admiring of his gorgeous interpretations of the familiar melodies “What the World Needs Now is Love,” “Wagon Wheels” and "We Shall Overcome".

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I kvetch about politicians’ gaffes at Plastic Sax.

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Robert Wilson’s version of John Cage’s “Lecture on Nothing” at National Sawdust’s virtual festival last week was my first encounter with the absurdist treatise.  I was particularly amused by the unexpected references to Kansas.  The state is “like nothing on earth!”

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I read Keri Hulme’s The Bone People several months ago.  Inspired by the novel’s frequent references to recordings by Julian Bream, I began exploring to the guitarist's vast catalog in earnest.  I quickly fell under his spell.  Bream died last week.

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I took in 22 performances of the August 16 edition of the Bang on a Can Marathon.  My five favorite sets: Sarah Cahill (performing Annea Lockwood); Kaki King (original compositions); Rebekah Heller (performing Marcos Balter); Craig Taborn (original improvisation); Oliver Lake (original compositions).

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Opera update: The BBC’s version of “Porgy and Bess” was the 145th dose of my daily injection of opera.  I’ll share two takes.  I realize mine isn’t among the most important voices in the ongoing debate about “Porgy and Bess,” but I’m now able to authoritatively attest that the principle characters are as fully realized as any figures in opera.  They’re more respectfully rendered than the individuals portrayed in similarly agrarian Italian operas like “L’Elisir d’Amore,” “Ruggero Leoncavallo” and “Cavalleria Rusticana.”  Secondly, “Bess, You Is My Woman Now” is the equal of any Puccini aria.