Concert Review: Logan Richardson’s Blues People at Capsule

“Charlie Parker was trap.”  The declaration was among the provocative statements made by Logan Richardson during a bracing performance at Capsule on Thanksgiving.  An audience of about 60 at the free show heard Richardson, vibraphonist Peter Schlamb, bassist Dominique Sanders and drummer Ryan J. Lee honor the most important musician from Kansas City by advancing Parker’s innovations.  Defiant, confrontational and extremely loud, the plugged-in quartet ingeniously transferred Bird’s vision to a futuristic- and yes, trap-informed- setting.

(Original image by Plastic Sax.)

Let Your Backbone Slip

A mild commotion broke out at Capsule on Thursday, July 25, when a phone started playing music during a performance by a trio led by Peter Schlamb.  The panic during the 15 seconds it took a woman to silence her device resembled a tense scene from a horror film in which bloodthirsty monsters are attracted to noise.

The ostensible goal of the monthly Spine Showcase recitals is to provide a forum for forward-thinking jazz artists to perform for attentive audiences.  The brief interruption caused by the noisy phone allowed the 50 other people in the room to silently castigate the embarrassed offender.  The excellent performance by Schlamb (keyboards and vibraphone), DeAndre Manning (electric bass) and Ryan J. Lee (drums) helped judgy patrons quickly forget about the disruption.  The free beer and the absence of a cover charge also helped to allay any grievances.

Following a break featuring complimentary cake, Lee led a group featuring Andrew McGhie (saxophone), Andrew Ouellette (keyboards) and DeAndre Manning (electric bass).  The quartet evoked the most compelling fusion groups of the late 1970s.  Even though Lee’s emphatic drumming recoiled off the concrete floor like dangerous shrapnel, the sound field for both sets was remarkably clear.

Spine’s proposition is less translucent.  The initiative, intent and effort of the primary organizer are undeniably commendable, but I’m less convinced about the master plan.  I’m not among the 59 people who donated $4,655 to Spine’s successful Kickstarter campaign.  The organization’s assertion that it’s “showcasing local musicians playing the original material they don't get to perform anywhere else” seems disingenuous.

A free-jazz freakout at the Brick and a jubilant brass band excursion at the Ship transpired on the same night as the concert by Schlamb and Lee.  I’m fairly certain the featured musicians weren’t given any directives at either venerable nightclub.  The people who operate Kansas City’s music venues might rightfully insist that competing directly against a non-profit project that offers free beer and free admission is decidedly unhelpful.

Spine’s most valuable mandate is the creation of another proper listening room.  Boorish gabbing during musical performances of any stripe is my biggest pet peeve.  The grievance is particularly painful during acoustic jazz performances.  I’m grateful for any opportunity to hear innovative musicians work in respectful environments.  That’s why I’ve been a regular at the improvised music showcases hosted by Westport Coffee House, RecordBar and the 1900 Building for years.  Talking is strongly discouraged during the frequent jazz performances at the establishments.

I also expect to pay a cover charge and buy my own drinks.  I voluntarily dropped a few bills in the bucket on Thursday.  I’d like to see Spine make the transition into a self-sustaining entity for which substantial ticket and drink sales cover all expenses.  A robust jazz scene should be rooted in organic audience development rather than in sympathetic handouts.

(Original image of Peter Schlamb, DeAndre Manning and Ryan J. Lee by Plastic Sax.)

Concert Review: Mezzo String at Polsky Theatre

Ryan Lee conducted a disheartening exercise at Mezzo String’s free noontime concert at Polsky Theatre on Tuesday, September 25.  Only a few hands went up when the bandleader asked which members of the audience of almost 100 were younger than 30.  A few more responded when asked if they were younger than 40.  About a dozen additional people acknowledged that they were in their forties.  Even though it’s held on the campus of Johnson County Community College, the Jazz Series attracts retirees rather than students.

And truth be told, Mezzo String’s highly refined chamber jazz is more likely to appeal to people with naturally gray hair than to students who opt to dye their hair purple.  Lee, one of Kansas City’s most dynamic drummers, seamlessly meshes jazz musicians and a string quartet in Mezzo String.  While he and his bandmates are young, their cultivated sound never threatened to unsettle even the most conservative old-timers in the audience.  Every one of the old folks was probably already familiar with the melodies on interpretations of “Lush Life” and “My One and Only Love.”  A reading of the former standard served as a vehicle for trumpeter Nate Nall, while the later selection was played by the ensemble’s string quartet and bassist Ben Leifer.

The tone of two or three original compositions matched the genteel sensibility.  Lee insisted that the three soloists “go wild” on an interpretation of Joe Locke’s “Her Sanctuary.”  The mandate pushed the straight-laced pianist Roger Wilder out of his comfort zone to excellent effect and allowed Nall and violinist Coleen Dieker to do what comes naturally to them.  Lee noted that he’d heard and participated in “a lot of great concerts” at Polsky Theatre.  He can add last week’s distinguished show to that list.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Luqman Hamza has died.  He was 86.  The pianist and vocalist was the subject of Plastic Sax posts in 2007 and 2013.

*Logan Richardson leads a band that includes his fellow Kansas City musicians Ryan Lee, DeAndre Manning and Justus West in a Tiny Desk Concert for NPR.

*Laura Spencer reports on the latest developments regarding the uncertain future of the American Jazz Museum for KCUR.  The editorial board of The Kansas City Star asserts that “yanking all support for the jazz museum immediately would be counterproductive.”

*Joe Dimino’s Neon Jazz show has moved from KCXL to KOJH.

*Tweet o’ the Week: Bill McKemy- One of KC’s master musicians has left us. Thanks for the music Luqman Hamza (link)

*From a press release: On May 11, 2010, The People’s Liberation Big Band of Greater Kansas City will perform the ensemble's original score to Sergei Eisenstein’s classic 1925 silent film “The Battleship Potemkin.”  Along with a complete screening of "Battleship Potemkin," the People's Liberation Big Band will also accompany two short films as a prelude to the performance... The People’s Liberation Big Band’s score contains a combination of  newly composed material, free improvisation, and arrangements of Shostakovich melodies and traditional Russian songs… The performance will take place at the Musical Theater Heritage at Crown Center (2450 Grand Blvd, Suite 301, Kansas City, MO 64108) at 8:00 p.m.  Ticket price is $20.

(Original image by Plastic Sax.)

Album Review: Logan Richardson- Blues People

Logan Richardson seems to be spoiling for a fight on his confrontational new album Blues People.  Listeners are forced to choose a side.  While I don’t embrace every element of the divisive project, I’ve had the saxophonist’s back for years.

I pegged Richardson for renown when he began dazzling me with his unconventional vision on Kansas City stages about ten years ago.  He fulfilled much of that promise on the 2016 album Shift.  The critically heralded Blue Note Records title placed him with an all-star band consisting of guitarist Pat Metheny, keyboardist Jason Moran, bassist Harish Raghavan and drummer Nasheet Waits.

Blues People will be released by the scrappy indie label Ropeadope on April 13.  Richardson literally doubles down on electric guitar on the album.  Kansas City’s Justus West and the Ukrainian guitarist Igor Osypov supplant Metheny on the instrument.  Along with bassist DeAndre Manning and drummer Ryan Lee, fixtures on the Kansas City scene, the men evoke rock-oriented artists like Jimi Hendrix, James “Blood” Ulmer and Living Colour on abrasive tracks including “Underground,” “Rebels Rise” and “With You.”

Screaming electric guitars are just one of many sounds on the eclectic 66-minute statement.  “80s Kid” is true to its title.  An electrifying Reagan-era throwback, the song could have been used as dramatic entrance music at Prince concerts.  “Country Boy” is a Moby-esque country blues remix.  The muscular “Change” would fit comfortably on a playlist between tracks by Kendrick Lamar and Twenty One Pilots.

The brash “Anthem (To Human Justice),” the album’s pivotal track, suggests that Richardson merits a seat at the same table as contemporary hitmakers.  The track revolves around Richardson’s pleading saxophone, the unifying element that bonds the disparate sounds of Blues People.  Many will ask, “that’s all well and good, but is it jazz?”  Audacious improvisation that synthesizes a vast swathe of American music, Blues People is precisely what culturally relevant  jazz should sound like in 2018.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*The 2017-18 season of the Folly Jazz Series has been announced.  The lineup: Lee Ritenour (October 28), Spanish Harlem Orchestra (December 9), Marcus Roberts Trio (January 19), Cyrille Aimee (February 17), Hot Sardines (March 9) and SFJazz Collective (April 27).

*The Green Lady Lounge will host an album release show for Steve Lambert’s new album Seven Stories on Sunday, June 25.  The saxophonist’s recording features contributions from vibraphonist Peter Schlamb, pianist Andrew Ouellette, bassists Ben Leifer and Dominique Sanders and drummer Brad Williams.

*The Passion of Charlie Parker, a concept album featuring contributions from the likes of Gregory Porter, Donny McCaslin and Kurt Elling, will be released on June 16.

*Jazz in the Woods is highlighted by Joe Klopus in a roundup of the week’s jazz calendar.

*KCUR aired a story about a jazz-themed art collection on display at the Garrison School Cultural Center in Liberty.

*Tweet o’ the Week: Sammy- would like for a kind gentleman to take me to the green lady lounge

*Comment o’ the Week: Michael- I always love it when you write about the music vs. the size of the audience :) I share your sentiments about Hermon and Peter, and have to add that Ryan Lee is absolutely smashing on this record!

(Original image by Plastic Sax.)

Album Review: Hermon Mehari- Bleu

What’s the definitive sound of Kansas City in 2017?  Obvious candidates include the chiming of streetcars, Tech N9ne’s speed-raps, Bobby Watson’s soulful saxophone solos and the ecstatic roar of 17,000 people cheering for Garth Brooks at the Sprint Center.  The artistically fruitful collaboration between Hermon Mehari and Peter Schlamb is the sound that best exemplifies the town to me.

The trumpeter- the most prominent young jazz musician Kansas City has produced this millennium aside from the saxophonist Logan Richardson- and the vibraphonist Schlamb have been refining their distinctive approach for several years.  The strongest tracks on Mehari’s debut solo album Bleu are extensions of the sound documented on Schlamb’s stunning 2014 album Tinks.

“Tatras,” “Moment’s Notice” and “We Love” encapsulate the vital artistry of the adventurous duo.  The selections’ scattering rhythms and meticulously distorted sounds capture the sense of youthful exuberance that makes their performances highlights of the Kansas City jazz calendar.

Elsewhere, Mehari evokes the tender side of Freddie Hubbard on “Sunset Park” and “I’ve Grown Accustomed to Her Face.”  The au courant “Awakening,” a Mehari composition that showcases Richardson, pianist Aaron Parks, bassist Rick Rosato and drummer Ryan Lee, possesses the immediate presence of a Jon Brion production. The band demonstrates its affinity for mainstream jazz on “Our Journey Revisited.”  “Cold” is a neo-soul jam.  While impressive, Bleu’s variety works better as a head-turning resume then as a cohesive artistic statement.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*KCUR reviewed Echoes of Europe, the new album by the Dino Massa Kansas City Quintet.

*Ramsey Lewis' concert at the Gem Theater was reviewed by The Kansas City Star.

*Lisa Henry and Ryan Lee discussed the impact of the church on their music with Tim Finn of The Kansas City Star.

*The festival formerly known as Jazz in the Woods is returning to a smooth jazz format in 2017.  Organizers recently made an initial lineup announcement.

*Brian Ellison interviewed Ramsey Lewis for KCUR.

*Jessie Riggins examined the spring jazz calendar.

*Tweet o’ the Week: Moi- Last night I waited on Marilyn Maye and she ordered an apple martini with Citron and called me Honey all night

*From a press release: On Saturday, January 21, 2017, the David Basse-Joe Cartwright Septet, which includes musicians from the UMKC Jazz Studies Program, will present Step-Buddy-Be-Bop at 8:00 p.m. at the MTH Theater…  Originally from St. Louis, Bernard “Step Buddy” Anderson was a colorful jazz figure who helped to change the course of jazz. A multi-instrumentalist, Buddy introduced trumpeter Dizzy Gillespie to Charlie Parker… We celebrate the Kansas City jazz tradition with the music of the David Basse-Joe Cartwright Septet, and the photography and memorabilia of Bernard “Step Buddy” Anderson… Reserved ticket seats are $20.

(Original image by Plastic Sax.)

Now's the Time: Tony Tixier

Pianist Tony Tixier returns to the Blue Room on Friday, November 4.  He’ll be joined by his touring band of bassist Karl McComas-Reichl and drummer Tommy Crane.  The embedded profile should delight Francophiles (and features a cameo by Ryan Lee).

Now’s the Time: Ryan Lee’s Mezzo String

Drummer Ryan Lee and bassist Gerald Spaits have launched separate Kansas City based ensembles that combine string sections with traditional jazz instrumentation.  Lee’s group performs at the Brookside Jazz Festival on Saturday, October 15. 

Confirmation: Weekly News & Notes

*A broadcast-quality ten-minute video documents Mike “The Horn Doctor” Corrigan adding flashy design elements to Delfeayo Marsalis’ trombone.

*Joe Klopus perused the week’s jazz calendar for The Kansas City Star.

*The Brookside Jazz Festival will be held at ChristCommunity on Saturday, October 15th, from 5 p.m to 8:30pm.  Four sets of artists- Ryan Lee's Mezzo Strings (5 p.m.), Lisa Henry (6 p.m.), the Jazz Disciples (7 p.m.) and John Brewer's new New Orleans-style brass band the Common Good Brass Band (8 p.m. and between sets)- will perform at the free event.

*Eddie Moore and the Outer Circle’s album release show was previewed on KCUR last week.

*Jeff Harshbarger’s Alternative Jazz Series will resume at the new location of RecordBar with Eddie Moore and the Outer Circle on Sunday, Oct. 16.

*Krin Gabbard will discuss his book Better Git It in Your Soul: An Interpretive Biography of Charles Mingus at the American Jazz Museum on Thursday, Oct. 6.

*The online auction/estate sale of a local jazz collector contains many items of interest to Plastic Sax readers.

*Tweet o’ the Week: Eldar- I wrote a piece in October 2016 issue of @DownBeatMag (the woodshed section). The article covers some song tutorials as well as exercises. (image)

*Comment o’ the Week: John Scott- I sincerely and unreservedly apologize for my comments in the recent article about Kansas City music. I regret making the comments that have led to insult, hurt feelings and division especially between musicians. May you be artistically fulfilled, gainfully employed and have the opportunity for your art to be heard in your careers as musicians. Thank you all for the opportunities I've had to hear your work and again I regret and apologize for my comments.  Thank you, John Scott

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Joe Klopus revealed the lineups of the 2016-17 seasons of the Folly Theater’s jazz series and the Kansas City Jazz Orchestra.

*Zack Albetta interviewed Ryan Lee for the Working Drummer podcast.  Lee is also featured in a 18-minute promotional video for a new album by the 15-year-old pianist A Bu.

*The Kansas City Star reports that The American, an upscale restaurant that regularly hires jazz musicians, will close at the end of the year.

*The Pitch recommends Bobby Watson’s return to the Blue Room.

*Hermon Mehari uploaded a video of an unaccompanied version of “Ask Me Now” to YouTube last month.

*David Martin considers the stakes in advance of this week’s vote on $27 million in additional funding for the Jazz District.

*Tweet o’ the Week: Eddie Moore- Happy 4th of July, my people still dont have independence but lets blow shit up in hopes for a change. Fireworks i mean.....

*From Chris Burnett: Today is my last official day working at the American Jazz Museum in Kansas City. I started working there as the Marketing Communications Manager in 2011 after a phone call from Greg Carroll, the previous CEO… I am going to take some time to reorient my focus in the arts.

*The Kansas City Jazz Calendar has been updated for July.

(Original image by Plastic Sax.)

Album Review: Paul Shinn Trio- Into That Good Night

The Paul Shinn Trio is the most thoroughly documented ensemble associated with Kansas City’s jazz scene.  Into That Good Night  is the group’s third studio album in less than three years.  The trio of pianist Paul Shinn, bassist Dominique Sanders and drummer Ryan Lee is entirely worthy of the distinction.

The mainstream jazz created by the three young men has evolved from exceptional precociousness to borderline greatness.  Exposed to Into That Good Night in a blindfold test, most listeners would guess that the trio has a cumulative age of more than 150 rather than less than 90.

An emphasis on melody- a quality often dismissed by youthful jazz musicians- distinguishes the project from the relentless deluge of piano trio albums.  Shinn’s solo reading of Robert Schumann’s “Träumerei” sets the tone.  The trio reclaims the quaint Victor Schertzinger and Johnny Mercer standard “Not Mine.”  The dignified “Too Late” is a contrafact of Charlie Parker’s “Confirmation.”  Shinn originals including the title selection echo the George Gershwin songbook. 

A couple tracks offer a break from the elegant swing selections.  Percussionist Patrick Alonzo Conway adds Latin textures to the lively “Re-Beginning.”  The brief “Until It’s Right” contains diverting sound manipulations. 

Shinn is a polished pianist and the tandem of Sanders and Lee strikes the proper balance between exciting aggressiveness and tasteful reserve.  A fourth album by the trio in the coming months would be entirely welcome.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Almost every aspect of a new video created by Ryan Lee is extraordinary.

*Albums by the ensembles led by Paul Shinn and Steve Lambert are reviewed by KC Jazz Lark.

*Mark Lowrey discussed his contribution to Tech N9ne’s forthcoming album with Tim Finn.

*The Kansas City Star reviewed Bill Frisell’s appearance at White Theatre.  Steve Kraske recently interviewed Frisell.

*KCUR aired a segment about Millie Edwards.

*The Pitch recommends an appearance by Stephanie Moore at the Broadway Jazz Club.

*A report on KCUR explores the 18th Street corridor.

*Joe Dimino’s recent Neon Jazz interview subjects include Oliver Lake and David Amram.

*Tweet o’ the Week: Deborah Love- Diva orchestra at the Blue Room in KC on 18th and Vine. All women.(photo)

*From Take Five Coffee: Friday, March 13, 8pm: Adam Schlozman Trio- Adam Schlozman is a guitarist on a mission. Come see him lead his own trio with bassist Joel Stratton and drummer Matt Leifer. $5 cover.  Saturday, March 14, 8pm: Shay Estes & Friends- With her trademark style – a little bit whimsical, a little bit wild… $5 cover.  Sunday, March 15, 10am - 2pm: Sunday Jazz Brunch: Gerald Spaits with Mark Lowrey- Bassist Gerald Spaits hosts our jazz brunch Month of Sundays in March… This… No cover.

(Original image by Plastic Sax.)

Album Review: Dominique Sanders- A True Story Based On...

A True Story Based On…, the bold, imaginative and vital new album by Dominique Sanders, opens with a skit that features an eclectic array of music including a few seconds of ”Invincible”, a song by the locally based pop-punk band the Beautiful Bodies.

Similarly astounding surprises are sprinkled throughout the 75-minute project.

While he may be best known for playing bass in Kansas City jazz clubs, Sanders includes elements of electronic music, funk, hip-hop, soul and rock on A True Story Based On….

Jazz fans needn’t feel left out.  Trumpeter Hermon Mehari, saxophonist Steve Lambert, pianist Andrew Ouellette and drummer Ryan Lee join Sanders on "Visible Galaxies."  The selection eventually transforms into a progressive fusion assault that climaxes with Danny Embrey’s metallic guitar solo.

"Inner Dimensions" boasts stellar contributions from saxophonist Andy McGhie and pianist Harold O'Neal.

Suggesting that the album is a who’s-who of young players on Kansas City’s jazz scene would be an exaggeration, but Matt Hopper, Mark Lowrey, Ernest Melton and Josh Williams are among the additional heavy hitters credited in the liner notes.

The R&B and funk tracks may be even more impressive than the jazz-oriented selections.  The sultry "Dreamin'" features smooth vocals by Anthony Saunders.    Reggie B raps and sings on the funky "Someone Else."  The wavy neo-soul of Awakening is a feature for Miles Bonny.

While the album would be improved by a twenty-minute trim, a bit of extravagance is to be expected from dynamic young musicians.  A True Story Based On… contains an excess of enthusiasm.

Many people objected when Flying Lotus' You're Dead was named the top album of 2014 at Plastic Sax.  Those same jazz purists won't be much happier when they find the similarly adventurous A True Story Based On… near the top of Plastic Sax's year-end album list in 2015.

(Original image by Plastic Sax.)

Album Review: The Paul Shinn Trio- Easy Now

A musician and I recently compared notes on the success of the Green Lady Lounge, the venue on Grand Boulevard operated by John Scott.  The musician suggested that Scott had  “cracked the code” for attracting people to a Kansas City jazz club.  

The elegant decor, murky lighting, upscale service and the absence of a cover charge make the Green Lady Lounge a favorite haunt of fashionable millennials.  

The three 20-something members of the Paul Shinn Trio- pianist Shinn, bassist Dominique Sanders and drummer Ryan Lee- are part of that coveted demographic.  

Easy Now, the trio’s superb second album, was recorded at the Green Lady Lounge on August 11, 2014.  

Shinn credits pianist Benny Green for “inspiration” in the liner notes.  While tracks like “Handful of Keys” reflect the swinging sensibility of the mainstream jazz stalwart, much of the album more closely resembles the progressive work of the Brad Mehldau Trio.

The recording’s best moments occur when the band locks into a soulful groove.  A transfixing ten-minute rendition of “Ton of Simple,” for instance, merits its length.  

The delicate “A Desolate Cath” could be effectively employed as the theme song for a romantic Hollywood blockbuster.  The title track possesses a similarly strong compositional flair.

The album release show for Easy Now was at the Orion Room of the Green Lady Lounge on Sunday, January 11.  The audience was attentive and the atmosphere was sublime. Needless to say, the music was excellent.

(Original image by Plastic Sax.)

Concert Review: The Matt Otto Quintet at the Westport Coffee House

After watching the first several selections of the NBA draft on Thursday, I turned off ESPN and headed to the Westport Coffee House. 

A band led by saxophonist and composer Matt Otto featured saxophonist Michael Shults, keyboardist T.J. Martley, bassist Ben Leifer and drummer Ryan Lee in the venue's weekly Jazz Underground series.

As the quintet performed exquisitely crafted and immaculately rendered jazz for an audience of about 20, it struck me that each man would rank highly on a hypothetical draft board of Kansas City jazz musicians.

Like Chris Bosh, Otto is a multifaceted talent.  Shults is a creative playmaker akin to Steve Nash.  The cerebral Martley is the Shane Battier of the local jazz scene.  Leifer and Lee are tremendous individual talents, but much like Marcus and Markieff Morris, they're most valuable as members of the same team.

I apologize to all five deserving lottery picks and to all 15 Plastic Sax readers for my blundering analogies.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Steve Kraske featured Hermon Mehari of Diverse on KCUR's Up To Date.  Natalie Gallagher of The Pitch interviewed Mehari and Ryan Lee.

*The Pitch highlights an upcoming Molly Hammer performance.

*Joe Dimino of Neon Jazz interviewed E.E. Pointer of the River Cow Orchestra.

*Here's a new episode of 12th Street Jump's "Blues In the News."

*Tweet o' the Week: Tom Snow- Voyage with Bobby Watson #kcjazz (photo)

*Comment o' the Week: Anonymous- Well, that whole thing where the blog comments got lost in an unchecked mailbox for several months was nice while it lasted…

*From a press release: On Friday May 16th from 9pm-1am, renowned Jazz saxophonist and founder of popular soul band Jack Mack and the Heart Attack, Bill Bergman will be playing a show at the Broadway Jazz Club to commemorate his 50th anniversary of playing in Kansas City.  Bergman will be accompanied by hometown friends from Kansas City Latin jazz band Sons of Brasil in order to create a unique fusion of contemporary LA jazz and Kansas City grooves…

(Original image of Eddie Moore and Adam Schlozman at the Green Lady Lounge by Plastic Sax.)

Album Review: Diverse- Our Journey

The release of Diverse's debut album in 2009 marked the start of the latest artistic renaissance of Kansas City's jazz scene.  The self-titled project served notice that Bobby Watson's jazz program at the University of Missouri-Kansas City was bearing fruit. 

It's taken five years for Diverse to issue the follow-up album Our Journey. A lot has transpired in the interim.  Originally a quintet, the core trio of trumpeter Hermon Mehari, bassist Ben Leifer and drummer Ryan Lee recently made Parisian pianist Tony Tixier an official member of the band.

Diverse has become well known in the region for its lively tributes to Michael Jackson and live recreations of albums by the likes of A Tribe Called Quest.  Jazz fans have witnessed a concurrent refinement of Diverse's jazz chops.

Given the breathless praise that's been heaped on Diverse (the author of this site not excepted), people might assume that Diverse is breaking new musical ground.  It's not.  Diverse's sound is rooted in the style of mid-1960s Miles Davis albums like E.S.P. and Nefertiti.  Recorded in Paris in 2012, Our Journey is a subtle, elegant and predominantly conservative statement.

Mehari employs the sort of wounded, highly emotive tone associated with Davis.  Guest saxophonist Logan Richardson plays the role of Wayne Shorter.  The Kansas City native's presence on the album is the primary reason jazz fans around the world are likely to take notice of Our Journey.  A member of NEXT Collective, Richardson is an established player.  Tixier makes for a solid Herbie Hancock.

Yet it's the rhythm section of Lee and Leifer that shines brightest on Our Journey.  The years they've spent working together result in many of the album's best moments.  Leifer's elastic bass and the bounce of Lee's drumming makes the Lionel Loueke-esque "Motherland" one of the standout selections.  The quiet power of the tandem on the more conventional title track is astounding. 

The melodic funk of "Full Circle" is immediately engaging.  Even so, "Full Circle"'s slick production and electronic elements belong on another album.  Its inclusion is Our Journey's only overt flaw.

One of my greatest fears as an intense observer of Kansas City's jazz scene is the prospect of Diverse relocating to Paris.  Yet thanks in large part to the path restored by Diverse, Kansas City once again looks like an attractive base for a new wave of young jazz musicians.

---
The CD release party for Our Journey takes place at the Blue Room on Friday, May 9.  Diverse will also perform at the Hollywood Theater in Leavenworth on Saturday, May 10.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Joe Klopus crafted an invaluable summary of Nathan Davis' career.  The native of Kansas City, Kansas, performs at the Gem Theater on Saturday.

*A celebration of the life of Dionne Jeroue was documented by KCJazzLark.

*Bobby Watson discusses Horizon with a Pennsylvania-based journalist.  The publication gave the band's concert a rave review.

*Black House shares a blooper reel.

*The Pitch advises readers of the Sons' of Brasil's regular gigs at Broadway Jazz Club.

*The Jazz Journalists Association named Jon Poses of Columbia, Missouri, a "jazz hero".

*Tweet o' the Week: Brian Baggett- I like metronomes. Good times!

*From a press release: Kansas City based group Diverse is preparing to release their second album in early May. “Our Journey” is a project of all original jazz music that was recorded in Paris, France, and features the core members Hermon Mehari on trumpet, Ryan Lee on drums, and Ben Leifer on the bass. Parisian pianist Tony Tixier augments the ensemble throughout and special guest alto saxophonist Logan Richardson plays on a few numbers. Diverse will celebrate the release of this album at the Blue Room in Kansas City on May 9th… It will feature the core members and pianist Tony Tixier who will be flown in from Paris. Start time is 8:30 PM with a $10 admission.

*I've been surprised and delighted to receive a few complaints regarding my failure to update the Kansas City Jazz Calendar.  I apologize.  I hope to fulfill my obligations soon.

(Original image by Plastic Sax.)