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.)

Now's the Time: Helen Gillet

Is the New Orleans based Helen Gillet a jazz musician, a classical artist, a French chanteuse or a pop-oriented singer-songwriter?  As she explains in the embedded video, Gillet is all of those things.  She performs Tuesday, August 15, at the 1900 Building.  She’ll appear at the Brick on Wednesday, August 16.

Album Review: Mike Dillon- Functioning Broke

Mike Dillon is associated with big beats and monstrous grooves.  The late singer-songwriter Elliott Smith is remembered in part for his heartbreaking lyrics.  That’s why Functioning Broke, Dillon’s instrumental album that includes arrangements of six Smith compositions, initially seems like an absurd proposition.

Yet the latest release by Dillon, a one-time member of Kansas City area ensembles including Malachy Papers, is a resounding success. Employing vibraphone, tubular bells and other empyreal instrumentation, Dillon evokes classical composer Steve Reich more than vibe pioneer Gary Burton on the meditative project.

Artists including Madeleine Peyroux have already demonstrated that Smith’s alcoholic lullaby “Between the Bars” translates well to jazz settings.  Dillon’s reading is haunting.  His interpretation of Smith’s “Independence Day” resembles the score of a Oscar-winning art film.

The sonic distortion that runs through Functioning Broke will understandably repel many listeners.  Whether by accident or design, the contorted sound adds an abrasive edge to even the most tranquil selections on the startling album.

Dillon performs at the Brick on Thursday, July 28.

(Original image by Plastic Sax.)

Now's the Time: Alaturka and Mike Dillon

Aside from their adventurous approaches to jazz, Alaturka and Malachy Papers wouldn’t seem to have much in common.  Alaturka favors a chamber music approach while Malachy Papers brings the noise.  Yet members of both Kansas City bands wound up sharing the stage of a midtown barroom during a 2011 double bill.  Alaturka performs Tuesday, Feb. 10, at the RecordBar.  The peripatetic percussionist Mike Dillon, a member of the dormant Malachy Papers collective, leads a band at the Brick on Sunday, Feb. 8.

Blue Yodel

I attended portions of two jam sessions last Monday.  The performances at the Blue Room and the Brick attracted approximately the same number of musicians and listeners.

The venues are one mile apart.  Many readers of Plastic Sax might suggest that the folk, country and bluegrass performed at the Brick every Monday is worlds removed from the jazz performed at the Blue Room.  Not only do I disagree with that assessment, I propose that musicians from the simultaneous jam sessions consider engaging in occasional interdenominational collaborations.

There are plenty of precedents.  Louis Armstrong and Lil Harden recorded "Blue Yodel No. 9" with Jimmie Rodgers in 1930.  Charlie Parker is reported to have enjoyed the country music of the day.  Béla Fleck is among today's musicians who ignore the boundaries between bluegrass and jazz.  The Kansas City jazz artist Matt Otto has spoken about the folk elements in his music.

Not only would hearing a banjo player wearing overalls sitting in with a jazz band at the Blue Room and listening to a jazz saxophonist playing with a bluegrass band at the Brick be interesting, such musical fraternization might generate new interest in both scenes.

(Original image by Plastic Sax.)

Now's the Time: The Mike Dillon Band

Content advisory: Mike Dillon's introduction to a "weird punk rock song" and a "punk rock hip hop" selection is laced with profanity.  Even after the music begins at 1:18, his lyrics contain off-color content.  Dillon's current quartet featuring trombonist Carly Meyers returns to the Brick on Friday, June 28.  The band may not swing, but I contend that these musicians demonstrate the inventive spirit, if not the fundamental framework, of jazz.

Now's the Time: Helen Gillet

Jazz.  Classical.  Pop.  Folk.  Chanson.  Helen Gillet does it all.  The regular visitor to Kansas City performs Friday, March 15, at the Brick.  The gig will feature "cello, loops, voice and the spontaneity of the unknown."