Album Review: The Project H- Everyday, Forever

Everyday, Forever, the fourth album by The Project H, comes with strings attached.  The signature components of the Kansas City instrumental band’s sound- bold horns, sturdy melodies and unwavering grooves- are supplemented by a string quartet on half of the album’s ten tracks.

The strings add subtle shadings to “Black Swan,” provide a rhapsodic introduction to “The Company You Keep” and help make “Ripple Effect” one of the most animated tracks in the Project H’s catalog.

Jazz enthusiasts will be thrilled by Everyday Forever’s soaring solos.  A few highlights: bandleader and trombonist Ryan Heinlein’s engaging statement on “Black Swan,” saxophonist Brett Jackson’s aggressive attack on “Don’t Call It That,” vibraphonist Peter Schlamb’s fiery guest appearance on “Planet Smasher” and bassist Andrew Stinson’s thorough domination of “Table Scraps.”

Yet the Project H’s emblematic good-time vibes are the most appealing aspect of Everyday, Forever.  Accessible but smart, the ensemble remains an elite party band for bacchanalian revelers as well as for members of Kansas City’s intellectual elite.

The Project H’s second and third albums were reviewed at Plastic Sax in 2012 and 2014.  Everyday, Forever will be released on March 23.  The band will celebrate the project at the Westport Coffee House on Wednesday, April 4.  A trio led by Mark Lettieri of Snarky Puppy will also perform.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*The Kansas City Star and The Pitch previewed the Prairie Village Jazz Festival. 

*Logan Richardson’s new album Shift will be released in Japan in October.

*KSHB posted a trailer for its “Kansas City & All That Jazz” documentary.

*Andrew Stinson selected ten desert island discs.

*Demencha reviewed Shades of Jade’s single “That One.”

*Downbeat reviewed Karrin Allyson’s new album.

*Joe Dimino’s most recent interviews include a chat with Alyssa Murray.

*The Detroit News and The Detroit Free Press lauded Pat Metheny’s headlining appearance at the Detroit Jazz Festival.

*Phil Woods bemoaned a lack of interest in his version of the “Charlie Parker With Strings” sessions in advance of his final live performance.

*A four-minute video features Joe Lovano, Rudresh Mahanthappa, Myra Melford and Esperanza Spalding performing at New York’s Charlie Parker Jazz Festival.

*Tweet o’ the Week: Valorie J Wells- @HistoricKC Miss Anita Dixon you did a great job on All That Jazz show. Thank you for keeping the Torch for KC Jazz

(Original image by Plastic Sax.)

Concert Review: The Chris Burnett/Dino Massa Group at Take Five Coffee + Bar

Few things on Kansas City’s jazz scene make me happier than seeing Doug and Lori Chandler break out extra chairs to accommodate unexpectedly large audiences at Take Five Coffee + Bar.

A quintet led by Chris Burnett in his first appearance at the venue's new Leawood location drew several dozen listeners to an hour-long first set on Saturday.

Partly because he’s responsible for a relentless onslaught of social media postings, it’s easy to forget that Burnett is a fine saxophonist.  His band consisted of pianist Dino Massa, guitarist Charles Gatschet, bassist Andrew Stinson and drummer Matt Leifer.

Burnett explained that he and Massa met in Italy more than twenty years ago.  Massa played with the elegant precision associated with the Kansas City pianist Joe Cartwright.

The ensemble opened with a faithful rendition of Herbie Hancock’s “Dolphin Dance,” a selection that set the tone for a tasteful set that included several original compositions by Burnett and Massa.

(Original image by Plastic Sax.)

Concert Review: The James Isaac Quintet at Take Five Coffee + Bar

I visited an arty cafe in Copenhagen on Friday.  Or maybe it was a refined jazz club in London.  It seems almost inconceivable that the adventurous sounds I heard were performed at a shopping center in Leawood, Kansas. 

The first set of the debut performance of the James Isaac Quintet bridged the divide between the sounds heard in European concert halls and at the Village Vanguard.  A receptive audience of about three dozen attended the recital at Take Five Coffee + Bar.

They heard cerebral interpretations of two Wayne Shorter compositions, a nod to Miles Davis, a U2 cover and a reading of a piece by the French composer Gabriel Fauré. 

Saxophonist and clarinetist James Isaac was joined by vocalist Courtney Williams, pianist Brad Cox,  bassist Andrew Stinson and drummer Sam Wisman. 

Cox rarely performs as an accompanist in jazz-oriented settings.  His demure solos evoked the work of André Previn.  Williams often sang in the wordless style employed by the likes of Gretchen Parlato.  Isaac explained that the Fauré selection was among the pieces that reflected "the blending of jazz and classical we're trying to accomplish here." 

Mission accomplished.

(Original image by Plastic Sax.)

Now's the Time: The Black House Quartet

A recently completed opera project offered further evidence that the Black House Collective is one of Kansas City's most multifarious ensembles.  Four musicians affiliated with the collective- saxophonist Hunter Long, guitarist Jeff Stocks, bassist Andrew Stinson and drummer Matt Leifer- will return to their foundation in forward-thinking jazz on Saturday, May 25, at Take Five Coffee + Bar.

The People's Liberation Big Band of Greater Kansas City: An Appreciation

Impressed by one of the monthly appearances of the People's Liberation Big Band of Greater Kansas City at the RecordBar, a prominent musician recently posted a screed at Facebook.  He suggested that he would no longer tolerate any barroom discussions about Kansas City's best bands that didn't automatically place PLBB in the top slot.  Very few locally-based acts working in any genre, he noted, begin to approach the adventurousness, playfulness and musicianship exhibited by PLBB. 

I concur.  While I'm smitten by a broad array of Kansas City musicians- including the raucous rap of Tech N9ne, the unforgiving thrash of Hammerlord and the exquisite work of Bach Aria Soloists- PLBB's experimental yet accessible sensibility makes it unique. 

The first set at last night's show was no different.  With notables like James Isaac, Matt Otto, Mike Stover and Rich Wheeler in the band, it's a forgone conclusion that the music is going to be imbued with zestful creativity.  Even the subs impressed yesterday.  Andrew Stinson filled in admirably for bassist Jeff Harshbarger while keyboardist Roger Wilder joined the band for the second set in place of the out-of-town bandleader Brad Cox.  Young trombonist Brian Scarborough turned in a fine solo.  In addition to selections by John Zorn and Charles Mingus, the band played memorable original material by Peter Lawless, Otto, Hunter Long, Brad Cox, Patrick Alonzo Conway. 

So how is it that the musicians on the stage outnumbered the members of audience as the first song was played?  The audience swelled to about fifty an hour after the band began, but the lack of support accorded to Kansas City's best act is tragic.  I refuse to accept that the assertion that PLBB's repertoire is too challenging.  The music may be difficult, but it's also really fun.  And the venue certainly isn't the problem.  The RecordBar has good food, friendly service and reasonably-priced drinks.

I realize I'm preaching to the choir here at Plastic Sax, but I implore music lovers of all stripes to do themselves a favor by spending $5 to see PLBB at the RecordBar at 8 p.m. on July 1.

(Original unrelated image by Plastic Sax.)