Plastic Sax's Top Albums and Concerts of 2012

Attentive jazz aficionados in Kansas City had the luxury of sifting through an outpouring of quality and quantity in 2012.  So many exceptional recordings were released by locally-based artists that I'm obliged to offer two lists of albums this year.  These rankings, of course, are merely a reflection my personal taste.

Performances
1. Vijay Iyer Trio- Folly Theater
2. People's Liberation Big Band- RecordBar
3. Pat Metheny's Unity Band- Folly Theater
4. Matt Otto Quartet- Westport Coffeehouse
5. Vanguard Jazz Orchestra- Folly Theater
6. Parallax- Take Five Coffee
7. Bobby Watson with the Kansas City Jazz Orchestra- Unity on the Plaza
8. Delfeayo Marsalis- Blue Room
9. McFadden Brothers- Gem Theater
10. Shades of Jade- The Brick

Kansas City Albums
1. Pat Metheny- Unity Band
2. Project H- Become Light
3. Deborah Brown- All Too Soon
4. T.J. Martley- Meditations
5. Matt Otto- Broken Waltz
6. Killer Strayhorn- One Begins to Wonder
7. Various- Music for Owen/Cox Dance Group, Vol. 1
8. Michael Pagán- Keyboard Christmas
9. Hearts of Darkness- Shelf Life
10. Chris Hazelton- Peregrination

Jazz Albums From Elsewhere
1. Christian Scott- Christian aTunde Adjuah
2. Lionel Loueke- Heritage
3. Esbjörn Svensson Trio- 301
4. Neneh Cherry & the Thing- The Cherry Thing
5. Robert Glasper- Black Radio
6. Vijay Iyer Trio- Accelerando
7. Charles Gayle Trio- Streets
8. Branford Marsalis Quartet- Four MFs Playin' Tunes
9. Tord Gustavsen Quartet- The Well
10. Floratone- Floratone II

Previous annual listings were published here and here.

(The photo of a dumbfounded doofus watching Ryan Lee perform with Parallax at Take Five Coffee + Bar was submitted by Stan Kessler.)

Review: Jazz in the Weeds

Jazz in the Weeds was cool.  Literally.  The temperature at the "pop-up" festival was at least ten degrees less than it was in Kansas City's central districts on Saturday.

The event was staged in the back of large lot behind a storage shed/barn near a lovely house.  The shaded grounds included free-range poultry and a goat pen.  Delightful!  A ten dollar donation came with tokens for a complimentary water and hotdog.  About sixty people enjoyed the excellent sound and relaxed ambience. 

I took in two performances in the ninety minutes I spent at the nifty event.  The Moon City Big Band is a fine kicks ensemble. One member graduated from high school two months ago while another is pushing 70.  Killer Strayhorn's winning set reminded me that the band is probably the closest thing Kansas City has to an act that embraces the sensibility of the ECM label.  (Plastic Sax's reviews of all three Killer Strayhorn albums are here).

I hope that the organizers of Jazz in the Weeds are willing to give it another go.  Kansas City desperately needs additional forums for jazz.  Besides, I'm eager to return to the spot that's seemingly exempt from this summer's heat wave.

(Original image of the Moon City Big Band and my tiny butterfly/moth friend by Plastic Sax.)

Now's the Time: Jazz in the Weeds

I laughed out loud the first time I read the name of the Jazz in the Weeds festival.  Event organizers are presumably spoofing the nearly jazz-free but incredibly popular Jazz in the Woods festival.  The prospect of paying ten dollars to sit in a field while sweating like the owner of a Kansas City jazz club, however, isn't nearly as amusing.  Even so, I'm tempted by the lineup on Saturday, July 28.  It includes Killer Strayhorn (who provide the music for the embedded noirish video), the Michael Pagán Quartet, the Moon City Big Band and OJT.    

Edit: A musician performing Saturday at Jazz in the Weeds objected to the tone and content of this preview. He urged me to post a brief clip of the James Ward Band's set at last weekend's event. He also suggests that "(b)y 530 pm everyone is in the shade."

Review: Killer Strayhorn- One Begins to Wonder

 

As recently as the '80s, jazz was still a viable form of popular music.  Acts like Spyro Gyra, David Sanborn and Grover Washington, Jr. sold albums to people who also enjoyed the music of Anita Baker, Lionel Richie and Journey.  The best-selling jazz of the era was designed to please casual listeners with sturdy melodies, accessible textures and an overall pleasant sensibility. 

The members of Killer Strayhorn realize that there's still a lot of rewarding music left to be mined in that neglected vein.  The Kansas City band's new album One Begins to Wonder combines straight-ahead jazz with the pop sensibility of a crossover jazz act.  The five men in Killer Strayhorn make the savvy concept pay off.

The album's most telling track may be "Ridin' 'longside Bruce," a jaunty nod to Bruce Hornsby.  One can easily imagine the song's delectable groove thrilling thousands of Bela Fleck, Steely Dan or Phish fans at a summer festival.  Driven by Chris Lewis' piano, the title track possesses the gentle lilt of a Joe Sample project.  The band acknowledges its debt to Pat Metheny on a rendition of the guitarist's "As I Am."

Lest these comparisons give readers the wrong impression, One Begins to Wonder contains plenty of conventional jazz chops.  Billy Strayhorn's "U.M.M.G.", for instance, is given an appropriately melancholy treatment.  "Mellowdrama," a Heath Brothers jam from 1978, sounds like the best thing Bobby Watson never recorded.  Saxophonist James Isaac shines throughout.  Kansas City is knee-deep in woefully under-appreciated saxophonists.  Tracks like "Two by Two" make a case for Isaac being the candidate most worthy of wider recognition. 

My only complaint is that at almost eighty minutes, One Begins to Wonder lacks focus.  While charming, guitar-oriented tracks like "Escuridao" and "The Next Step For Mallory" sound like they belong on a separate album. 

Killer Strayhorn's first and second albums were also reviewed at Plastic Sax.  Long Story Short was good.  80/20 Blue was even better.  With One Begins to Wonder, Killer Strayhorn flirts with greatness.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*A.G. Sulzberger of The New York Times chats with Rod Fleeman, Dave Stephens and Gerald Spaits about the indignities associated with performing Christmas music.

*KCJazzLark praises Alaturka. His photos, as usual, are outstanding.

*CBS aired a feature on the recently unearthed Savory collection. (Tip via KCJazzLark.)

*According to a source in this article, Clint Eastwood considered shooting Bird on location in Kansas City.

*Here's a review of Killer Strayhorn's latest album.

*Tweet o' the week: SwingSalsaTango: Tonight! Salsa is at the Grand Emporium on Main downtown KCMO. Its the Salsa Family Reunion everyone will be there!

*The Kansas City Jazz Calendar has been updated to include December's gigs. (Please let me know if your dates aren't listed.)

*From the American Jazz Museum: Acclaimed jazz pianist Joey Calderazzo will conduct a master class followed by a session entitled Jazz and the Modern Music Industry. Panelists will include Mr. Calderazzo, Bobby Watson, Director of Jazz Studies, UMKC & Gerald Dunn, Manager & Entertainment Director, the Blue Room. 11:00 a.m.-2:00 p.m. in the Blue Room. Session will be moderated by AJM Director of Education Dennis Winslett.

(Original image by Plastic Sax.)

Review: Killer Strayhorn- 80/20 Blue

Butterflies no bigger than dimes fluttered in my face as I lay in the grass when the Prairie Village Jazz Festival commenced on September 11. Warm sunshine and a cool breeze gave the perfect day a southern California feel. Similarly, the poised performance by Killer Strayhorn was more akin to the west coast jazz associated with Chet Baker and Gerry Mulligan than the bluesy fire of Kansas City jazz.

80/20 Blue, the Kansas City-area ensemble's second album, mirrors that tried and true approach. A head is followed by a round of solos on most of the twelve tracks. Familiar but impeccable, the album is a sophisticated blowing session. The contributions of Bob Harvey (trumpet and flugelhorn) and James Isaac (saxophone and flute) are particularly noteworthy. Only "Damage Control" and "A Mile In Yo' Shoes pts. I-IV," tracks with arrangements that deviate from the standard pattern, stand out.

Then again, perhaps context is everything. 80/20 Blue may not rank among my favorite albums of 2010, but Chris Lewis' piano solo on Pat Metheny's "Timeline" goes down perfectly while sipping coffee on a Sunday morning. The insistent groove of"Whits-Up?" works well while tossing meat on a grill. And when tiny butterflies are around? Forget about it!

(Original image by Plastic Sax.)

Notes on the Prairie Village Jazz Festival

Saturday's Prairie Village Jazz Festival was a spectacular success.

About 1,000 people were already on hand when Killer Strayhorn, the festival's first act, concluded its fine set at 3:50 p.m. The audience had ballooned to at least 5,000 by the time Karrin Allyson joined the Kansas City Jazz Orchestra near the end of the free event.

She sang four songs in her thirty-minute appearance- "Hello, Young Lovers," "Jordu," "This Happy Madness" and "Humdrum Blues." She singled out her guitarist and Kansas City Jazz Orchestra member Rod Fleeman for extra praise.

"You're like the Kansas City God," Allyson exclaimed. "You ought to be recognized for it."

Eldar's festival-friendly set was also excellent. The sound system couldn't handle the low rumble of Armando Gola's electric bass, but that was one of the festival's few flaws. I also could have done without the absurdly unsupervised tots adorable children who chatted so loudly at the lip of the stage that they could be heard through the monitors. And the lines to purchase food and beverage tickets were sometimes painfully long.

Otherwise, the event was close to perfect. It's a huge win for Kansas City's jazz scene.

















(Original images of Eldar's trio and the audience by Plastic Sax.)

Daniel Andersen: The Plastic Sax Interview with the Director of The Prairie Village Jazz Festival

The Prairie Village Jazz Festival is just as promising as it is unlikely. Curious about how the ambitious September 11 event came about, I conducted the following email interview with festival director Daniel Andersen.

Plastic Sax: As a jazz enthusiast and jazz blogger, I'm thrilled by the Prairie Village Jazz Festival. The lineup is amazing. But I have to ask- why Prairie Village? And why jazz rather than bluegrass, blues or classical music?

Daniel Anderson: As a member of the Prairie Village Arts Council it was a natural fit to bring live performance to Prairie Village. Jazz seemed to be a natural fit given the area's history of this uniquely American art form.

PS: Eldar aside, are you aware of any special connections between Prairie Village and the jazz idiom?

DA: Prairie Village itself other than Eldar doesn't have a strict jazz connection, but as part of the KC area, we have selected artists with special ties to this region.

PS: How Is the festival being financed?

DA: The festival is presented by The Prairie Village Arts Council, The City of Prairie Village and the Prairie Village Municipal Foundation. Financing comes from our generous sponsors, grants and event partnerships.

PS: Do you have any experience in organizing festivals?

DA: This is my first full festival, but have planned many large events.

PS: The lineup is absolutely stellar. Were Karrin Allyson, The Kansas City Jazz Orchestra, Eldar, David Basse, Sons of Brasil and Killer Strayhorn your first picks? Who else was on your list? What went into the selection process?

A: The selection process was a group effort with numerous other acts considered. The choices were made easier when we decided to concentrate on artists with a tie to this area. We look forward to next year and the opportunity to bring more great jazz performers to the festival.

PS: What's the goal of the festival? Is there anything you hope to accomplish in addition to presenting great music?

DA: The goal is to celebrate and promote jazz music with the residents of Prairie Village and surrounding areas. In the future we hope to raise enough money with the festival to develop an amphitheater in Harmon Park that showcases year round performance events.

PS: How many people do you expect to attract?

DA: We are being optimistic that this free event will attract 5,000 - 10,000 people.

PS: Why did you decide to make it a free event?

DA: As a free event we feel that we can stimulate a greater awareness and promote the appreciation of jazz to a broader audience.

PS: Do you hope to make it an annual event?

DA: Yes, we have already started planning next year's festival.

PS: What will the stage setup be like? Will the audience be looking down toward the Prairie Village Pool or up toward the pavilion at the west side of the park?

DA: The stage will be set up on top of the skate park facing uphill towards the pavilion at the west side of the park. We feel this arrangement creates a natural amphitheater.


(Original image by Plastic Sax.)

Killer Strayhorn Goes To Luckenbach Texas

Killer Strayhorn has discovered my weak spot. I'm a lifelong fan of the late Waylon Jennings. The Kansas City jazz act's interpretation of "Luckenbach, Texas (Back to the Basics of Love)" is clever, but it can't compare to the master's version. Killer Strayhorn's debut album was reviewed at Plastic Sax last year. Here's hoping they record "Bob Wills Is Still the King" for their next project.

Killer Strayhorn- Long Story Short

If the staff of Plastic Sax didn't know better, we'd assume that the unusual moniker and almost complete lack of web presence were clues that Killer Strayhorn was actually the pseudonymous product of a mysterious jazz supergroup.

Although the performance captured on Long Story Short is on par with jazz's elite, the reality isn't quite so exciting. Killer Strayhorn is a new group consisting of Kansas City jazz journeymen.

"Black Narcissus" and "Stolen Moments," the disc's first two songs, demonstrate that Killer Strayhorn is remarkably adept at interpreting jazz standards. The tone and execution are similar to the classic Blue Note sound. Even if Long Story Short fails to make anyone forget about Speak No Evil and Maiden Voyage, its evocation of a lesser Art Blakey and the Jazz Messengers album sill represents a notable accomplishment.

The quintet of Bob Harvey, James Isaac, Chris Lewis, Dave Luvin and Todd Crookston host a CD release party Wednesday, May 7, at Jardine's.

(Note to musicians, labels and publicists: Plastic Sax reviews all Kansas City-related jazz discs it receives.)