Dolphin Dance

As more than 500,000 hip-hop fans watched Snoop Dogg perform “Doggy Dogg World” in a rap battle with DMX on Instagram on Wednesday, July 22, a dozen viewers enjoyed OJT’s rendition of “Take the Three” on a Facebook stream from the Kansas City jazz venue Black Dolphin.  The staggeringly divergent numbers don’t tell the whole story.  The simultaneous free live broadcasts offered wildly different experiences not limited to the immense chasm separating confrontational popular music and comforting old-school organ jazz.

As with all Verzuz broadcasts, the static shot of the rappers was plastered with advertisements and scrolling comments from celebrity wellwishers like Keyshia Cole, J Balvin and Method Man.  The comparatively clean Black Dolphin streams feature multiple camera angles managed by a producer attuned to the band’s grooves.  The club’s signature mood lighting enhances the music.

Snoop and DMX rapped over pre-recorded backing tracks.  Fans of the genre are accustomed to tinny sound fields.   The majority of quarantine-era free livestreams of jazz performances also sound terrible.  While I regularly tune in to catch big names like Cyrus Chestnut and Nicholas Payton, I’m rarely impressed by the technical components of the offerings.   The production values of Black Dolphin’s efforts are superior.  The crisp fidelity is matched by excellent visuals.  Don’t just take my word for it.  See and hear for yourself.  While I choose not to live that lifestyle, Black Dolphin welcomes patrons at its live presentations.  Feel free to give me a wave.

(Screenshot of Black Dolphin livestream by Plastic Sax.)

Album Review: Jackie Myers- Clementine

I was surprised to encounter several jazz musicians at the Sprint Center as I reviewed a James Taylor concert for The Kansas City Star in 2018.  Few of the soft rock icon’s folk-based hits possess even a smidgeon of swing.  Then again, Pat Metheny is an avowed Taylor fan.

Probably only a small fraction of the 12,000 people at Taylor’s concert were jazz enthusiasts, but I’m confident almost every one of them would enjoy Jackie Myers’ new album Clementine.  The latest release by the Kansas City keyboardist, vocalist and songwriter channels Taylor’s longtime collaborator Carole King on the project recorded at Black Dolphin.  Clementine often resembles Tapestry with the addition of a horn section.

Myers is accompanied by trumpeter Trent Austin, saxophonist Brad Gregory, guitarist Rod Fleeman, bassist Ben Tervort and drummer Todd Strait on the genial 36-minute set.  Each member of the backing band acquits himself well, but Fleeman stands out.  Although he’s not a deliberately flashy sideman, Fleeman is a longtime scene-stealer.

Myers’ sturdy songcraft on eight original compositions provides Fleeman and the other soloists with abundant inspiration.  The genial melodies and relatable lyrics of songs including “The Worst Part” wouldn’t be out of place on Tapestry.  The intersection of the singer-songwriter style and Kansas City jazz may be unconventional, but Myers’ eclecticism makes Clementine her most convincing and outright enjoyable album.

(Original image by Plastic Sax.)

Now's the Time: Soul Message Band

Deep Blue Organ Trio achieved a modicum of acclaim before disbanding.  The old-school organist Chris Foreman and the accomplished drummer Greg Rockingham now perform in Soul Message Band.  With guitarist Lee Rothenberg replacing Deep Blue Organ Trio’s Bobby Broom on guitar, the Chicago based Soul Message Band is building a new legacy.  The trio will perform songs from its 2019 album Soulful Days at Black Dolphin on Sunday, March 15.  The cover charge is $15.

Confirmation: Weekly News & Notes

*Rashida Phillips of the American Jazz Museum chatted with Mike Shanin on KCPT’s Ruckus.

*Five musicians representing the Kansas City Jazz Orchestra performed in an episode of Star Sessions.

*“Light/Dark”, a selection from a forthcoming album by Kansas City Area Youth Jazz, is available for purchase.

*The Chicago organ trio the Soul Message Band will perform at Black Dolphin on March 15.

*Giovanni Russonello reviewed Karrin Allyson’s Shoulder to Shoulder album for Downbeat.

*Mary Lou Williams is remembered by a radio station in Seattle.

*From a press release: The Smithsonian’s National Museum of American History will accept a donation of four iconic artifacts related to the life and legacy of jazz legend Lester Willis Young (Aug. 27, 1909–March 15, 1959) during a concert by the museum’s big band orchestra-in-residence, the Smithsonian Jazz Masterworks Orchestra on Feb. 22. Lester Young Jr. will present the museum with his father’s three surviving instruments: a Conn-manufactured saxophone, a tenor saxophone made by Dolnet and a clarinet by H. Bettoney, as well as a signature porkpie hat that defined Young’s style and swagger.

(Original image by Plastic Sax.)

Now's the Time: Lonnie McFadden

Lonnie McFadden indulges his Vegas-style inclinations in the embedded video.  The multi-faceted showman dubbed Mr. Kansas City performs at Chaz on Thursday, July 25, at the Phoenix on Friday, July 26, at Black Dolphin on Saturday, July 27, and at Johnnie’s Jazz Bar on Sunday, July 28.

Concert Review: Ryan Keberle & Catharsis at the National World War I Museum and Memorial

At the conclusion of the free concert by Ryan Keberle & Catharsis at the J.C. Nichols Auditorium at the National World War I Museum and Memorial on Monday, July 8, an exasperated man seated near me griped that the performance was “out there.”  I beg to differ. 

Perhaps recognizing that a significant portion of the audience of about 100 were museum loyalists rather than jazz fans, the critically acclaimed touring musicians- positive notices by Will Layman and Giovanni Russonello were published in the days following Monday’s concert- played far more conservatively that at their recent appearances at Mod Gallery (Plastic Sax review) and Black Dolphin (Plastic Sax review).

The concert was billed as a tribute to James Reese Europe.  Yet the five musicians played only one selection associated with the lamentably unheralded bandleader.  Trombonist and electronics manipulator Keberle, saxophonist and trumpeter (and recent addition to the band) Scott Robinson, guitarist and vocalist Camila Meza, bassist Matt Clohesy and drummer Eric Doob offered a straightforward interpretation of W.C. Handy’s “Memphis Blues.”

A reading of Duke Ellington’s “I Like the Sunrise” featuring a gorgeous vocal turn from Meza was similarly conventional.  The final half of the show was devoted to a Langston Hughes-inspired suite from Catharsis’ new album The Hope I Hold.  Hughes’ poetry sometimes made for cumbersome lyrics, but the instrumental segments featuring astounding statements from Robinson and Meza thrilled jazz hounds even as they baffled some of the history buffs in the audience.

(Original image by Plastic Sax.)

Concert Review: Havilah Bruders and Paul Shinn at Black Dolphin

Even though I’d heard Havilah Bruders perform several times with the roots-rock band Cadillac Flambé and I’d listened to her 2017 jazz album Come Rain or Shine, I didn’t grasp the depth of her talent until I heard her sing at a Sunday morning service at my church two months ago.  The Kansas City vocalist’s interpretation of “Love Rescue Me”- a song co-written by U2 and Bob Dylan that had previously failed to resonate with me- delivered a genuinely religious experience.

Bruders’ duet with pianist Paul Shinn in a Friday matinee performance at Black Dolphin on May 10 validated my newfound enthusiasm.  The husky growl, thunderous voice and outsize personality of Bruders remind me of the country star Wynonna Judd.  (Just in case you’re wondering, that’s a compliment.)  I’m extremely skeptical of the clichéd rock-singer-shifts-to-jazz transformation, but Bruders makes the grade.

Shinn recently returned to Kansas City following a stint in New York City.  (His first, second and third albums were reviewed at Plastic Sax.)  Playing as well as ever, Shinn adapted his approach for each selection, seamlessly deviating between barrelhouse piano, cocktail lounge tinkling and elegant swing.  He played the role of Ralph Sharon to Bruders’ Tony Bennett and the Tedd Firth to her Marilyn Maye in the winning cabaret-style outing that merited more than an audience of ten. 

A stale repertoire is the duo’s sole flaw.  I’ll need fewer warhorses like “It Don’t Mean a Thing (If It Ain’t Got That Swing)” and more left-field selections like “Love Rescue Me” if there's to be any chance of experiencing another spiritual epiphany the next time I catch the tandem.

Partial first set setlist (I missed the initial selections): Corcovada (Quiet Nights of Quiet Stars); Why Don’t You Do Right?; Crazy; Route 66; Dream a Little Dream of Me; Georgia on My Mind; It Don’t Mean a Thing (If It Ain’t Got That Swing); The Very Thought of You

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Ernest Melton is featured in a brief video profile created by Google.

*Joe Dimino captured footage of Johnson County Community College Night at Black Dolphin.

*Sue Vicory recently uploaded her hour-long documentary Kansas City Jazz & Blues; Past, Present & Future to YouTube.

*The Kansas City Star includes an upcoming performance by the Joshua Redman Quartet among its weekly concert previews.

*Moon Hooch will perform at the Encore Room on July 10.

*Tweet o’ the Week: Uptown Arts Bar- Tonight and every Thursday 7pm-1am All That Jazz Karaoke at @UptownArtsBar

(Original image by Plastic Sax.)

Matt Otto, Danny Embrey, Sam Copeland and Brian Steever at Black Dolphin

The ticket I buy at the box office of the Folly Theater on Thursday for a concert by the Joshua Redman Quartet will almost surely be money well spent.  The saxophonist deserves his status as one of the biggest stars in mainstream jazz.

I wasn’t required to open my wallet to catch a similarly refined quartet on Wednesday.  Performances at Black Dolphin are always free.  Saxophonist Matt Otto,  guitarist Danny Embrey, bassist Sam Copeland and drummer Brian Steever were staggeringly good. 

Otto immediately became one of Kansas City’s finest musicians upon moving to the area in 2009.  Embrey has a chameleon-like tendency to play at the level of his collaborators, a trait that resulted in a magnificent effort on Wednesday. 

A $40 seat in the center of the second row is currently available for Redman’s concert.  I hope to snag it Thursday.  While I know that Redman’s showmanship will be enormously entertaining, I’m less confident that the star will equal the musical standard set by Otto last week.

Otto’s quartet returns to on Black Dolphin on Wednesday, April 10, Wednesday, April 17, and Wednesday, April 24.  I shared a portion of an Otto solo at Instagram.

(Original image by Plastic Sax.)

Now's the Time: The Jim Lower Big Band

The weekly Jim Lower Big Band session recently migrated from Parker & Vine to Black Dolphin.  The ensemble performs at the latter club on Tuesdays.  Every area gig is listed on The Kansas City Jazz Calendar.

Confirmation: Weekly News & Notes

*The story behind a 1953 photograph of Charlie Parker, Thelonious Monk, Charles Mingus and Roy Haynes is told by Peter Facini of The New York Times.

*Joe Dimino documented a performance by Kerry Politzer at Black Dolphin.

*Tweet o’ the Week: Ben Putano- I'm not hating… but I think if someone came to KC for a Jazz-related vacation they'd leave disappointed. And that's a shame.

(Original image by Plastic Sax.)

Now's the Time: Kerry Politzer

Kerry Politzer, an exemplary representative of Portland’s thriving jazz scene, will perform at Black Dolphin at Wednesday, March 6, and Thursday, March 7.  She’ll be joined by saxophonist David Valdez, bassist Jeff Harshbarger and drummer Anthony Pinciotti.  All of March’s gigs are posted at The Kansas City Jazz Calendar.

Now's the Time: Camila Meza

The extraordinary contributions of Camila Meza played a large role in making a show by Ryan Keberle & Catharsis at Black Dolphin my third favorite jazz performance of 2018.  The multi-talented Chilean possesses innate star power.  She’ll further her rewarding collaboration with Keberle at Mod Gallery on Sunday, March 3.  The group also headlines the KU School of Music’s 42nd Jazz Festival on Friday, March 1, and Saturday, March 2.  Hundreds of additional gigs are listed on The Kansas City Jazz Calendar.

Confirmation: Weekly News & Notes

*Zach Albetta interviewed Sam Wisman for his Working Drummer podcast.

*Bobby McFerrin and Pablo Ziegler and among the bookings in the 2018-19 season of Carlsen Center Presents at Johnson County Community College.

*The owner of a new jazz club in Omaha suggests that “(from) Kansas City all the way down to Tulsa, there's a Midwest run right now.”

*A few days after being lauded at Plastic Sax, Drew Williams’ Wing Walker Orchestra received an enthusiastic notice in The New York Times.

*The KU Jazz Festival is slated for Friday, March 1, and Saturday, March 2.

*Tweet o’ the Week: Liam Hogan- woke up this morning & checked all the texts i sent out last night, realized i mixed up the name of green lady & black dolphin, & had been telling friends to meet me at “the black ladies lounge” all night

(Original image of a page from a Kansas City-themed puzzle book published in 2002 by Plastic Sax.)

Concert Review: Steve Cardenas at Black Dolphin

The band dropped out as Matt Otto took a solo on a bracing version of Ornette Coleman’s “Congeniality” at Black Dolphin on Thursday.  The saxophonist’s statement was so enthralling that even an offensively inattentive person at the bar fell silent.  Otto’s incandescent statement was the standout moment of the 80-minute opening set of an ensemble led by the New York based guitarist Steve Cardenas.  He was accompanied by Otto, trumpeter Dave Scott, bassist Ben Leifer and drummer Marty Morrison.  A full house of about 100 attended the free show.  Otto’s solo was the most blatantly adventurous outburst of the set, but Cardenas’ thoughtful solos intimated similarly knotty concepts. Video snippets of the show were captured by Joe Dimino and Plastic Sax.

Setlist: Spring (Matt Otto), Congeniality (Ornette Coleman), Song For Janie (Dave Scott, title uncertain), Subconscious-Lee (Lee Konitz), New Moon (Steve Cardenas), Rhythm-a-Ning (Thelonious Monk).

(Original image by Plastic Sax.)

Now's the Time: Steve Cardenas

Steve Cardenas usually returns to his old stomping grounds in Kansas City during the holiday season.  The New York based guitarist will perform at Black Dolphin on Thursday, Dec. 27.  The selection featured in the embedded video is from Cardenas’ vinyl-only 2018 release Charlie & Paul.  The Kansas City Jazz Calendar compiles all of the area’s listings.

Now's the Time: Adam Larson

The New York based saxophonist Adam Larson will perform at Green Lady Lounge on Sunday, December 2, and at Black Dolphin on Monday, December 3.  Larson’s fourth album Second City was released by Greg Osby’s Inner Circle Music label last year.  All of December’s bookings are compiled at The Kansas City Jazz Calendar.

Confirmation: Weekly News & Notes

*The most recent round of ugly legal woes hobbling the Mutual Musicians Foundation are detailed by Mark Davis for The Kansas City Star.

*Laura Ziegler of UMKC reports on the installation of a new board of directors at the embattled American Jazz Museum.

*The inaugural edition of the Listening Room Recording Series is slated for 7 p.m. Sunday, November 25, at Black Dolphin.  A performance by Brian Baggett’s Dojo will be recorded for playback on Green Lady Radio (and possibly a release on vinyl).  The three-hour session that’s designed to capture a “live concert feel” is free and open to the public.

*Ernest Melton is featured by the Johnson County Library.

*The Joe Locke Trio featuring Pat Bianchi and Marvin “Smitty” Smith will perform at the Blue Room on Saturday, December 8.

*Tweet o’ the Week: Josh Hurst- I'm a late arriver to this one, but Logan Richardson's Blues People is one of the wildest, woolliest, and gnarliest jazz records of the year-- powerful in how it hauls well-trod conventions into the present day.

(Original image by Plastic Sax.)

Now's the Time: trioKAIT

Kait Dunton, a Los Angeles based pianist and former member of Snarky Puppy, will perform with trioKAIT at Black Dolphin on Thursday, November 15.  The Kansas City Jazz Calendar lists all of the area’s jazz performances.

Now's the Time: John Petrucelli

John Petrucelli likens his sound to current jazz heavyweights like Donny McCaslin.  The lofty comparison isn’t unwarranted.  Petrucelli, the Director of Jazz at Northeastern State University in Oklahoma, demonstrates his brawny sound and big imagination on his new album Presence.  He’ll lead a band in the Orion Room at the Green Lady Lounge on Monday, October 8, and next door at Black Dolphin on Tuesday, October 9.  The saxophonist’s gigs are among the listings at The Kansas City Jazz Calendar