Confirmation: Weekly News & Notes

*The Purna Loka Ensemble is the subject of Libby Hanssen’s audio feature for KCUR.

*Roger Wilder, Andrew Ouellette, Max Levy, Paul Roberts, Sean Murdy and Matt Villinger are the winners of the American Jazz Museum’s Charlie Parker Song Contest.  Corresponding videos stream at the Facebook account of The Blue Room.

*The Kansas City jazz advocate Yoko Takemura notes Hermon Mehari’s participation in a Parisian fashion show in Jazz Tokyo.

*Logan Richardson contributes to Modes of Communication: Letters from the Underworlds, the Blue Note Records debut of the South African pianist Nduduzo Makhathini.

*Tweet o’ the Week: Green Lady Lounge- Steve Lambert - Naima Rose (Composer: Steve Lambert) #Jazz #NowPlaying #KansasCityJazz Green Lady Radio

(Original image 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.)

Album Review: Jeff Shirley- Point of the Story

Point of the Story, the new album by Jeff Shirley, is impeccably tasteful.  It’s a shock, consequently, when a bit of grit is introduced on the eleventh track.  “Gerkin’s Sister Temple” adds six-minutes of left-of-center edginess to a 75-minute document that otherwise glides right down the center of jazz’s mainstream lane.

Shirley is a young Kansas City guitarist in the tradition of past masters like Joe Pass and Kenny Burrell.  He’s joined by the correspondingly elegant band of pianist Roger Wilder, bassist Bob Bowman and drummer Matt Leifer.  Ryan Thielman contributes flugelhorn flourishes to three tracks.

Conservative but never cautious, Shirley plays with a graceful confidence that makes Point of the Story a straight-ahead jazz fan’s delight.  The sole frustrating aspect of the project is that a couple tracks fade out just as they’re heating up, a dilemma that will likely be rectified during the release party for the album at Black Dolphin on Saturday, April 14.

(Original image by Plastic Sax.)

Now's the Time: Angela Hagenbach

Angela Hagenbach will perform at Village Presbyterian Church at 7 p.m. on Friday, October 6. Admission is free. The strength of the vocalist’s appearance at the Kansas City Jazz & Heritage Festival and in the embedded video reveal that Hagenbach sounds better than ever in 2017.

Confirmation: Weekly News & Notes

*KCPT produced a seven-minute segment about Eddie Moore.

*Tweet o’ the Week: ARC Music- ALERT: Dino Massa Kansas City Quintet's "Echoes of Europe" All About Jazz review is publishing on Jan 26.

*Comment o’ the Week: Anonymous- Say what??? Checking the calendar, I see that the Roger Wilder quartet was at the Blue Room last Thursday. I've never been less that thoroughly impressed with any group that Roger is leading. He's so hip, it ought to be against the law! Your dismissive review of his quartet's performance makes me question whether I want to continue reading this blog.

*From a press release: The Birth of the Cool was released in mid-February 1957 as a compilation LP by Capitol Records. the selections come from recordings made by Miles Davis, Max Roach, Gerry Mulligan, Lee Konitz and others in 1949-50. While these tracks had been previously issued as 78 rpm singles, the LP release gave a name to a movement of young musicians who were playing this new "cool" style of bebop… The band for this presentation at the American Jazz Museum includes:Hermon Mehari - trumpet, Marcus Lewis - trombone, Forest Stewart - horn, Bill McKemy - tuba, Dan Thomas - alto sax, Todd Wilkinson - bari sax, Phil Dunlap - piano, Jeff Harshbarger - bass, Todd Strait - drums. Pianist Phil Dunlap will give a short talk on the history of Birth of the Cool during the program. Feb. 16, Gem Theater. Tickets $5 student/$10 general admission. Reception at 6:00 p.m., performance at 6:30.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Steve Vockrodt wrote a thorough analysis of the latest funding initiative for the Jazz District for The Pitch.  A television report about the development suggests that "the historic Jazz District is in disrepair.” 

*Prohibition Hall, a new venue at 11th & McGhee, has jazz musicians booked on Wednesdays and Latin jazz and salsa bands booked on Thursdays through February.

*Mike Warren reviewed Mike Metheny’s Twelve For the Road album for KCUR.

*Jessie Riggins reviewed a Roger Wilder performance.

*Joe Klopus examines the week's jazz calendar in his latest column.

*KC Jazz Lark celebrates the 100th anniversary of Jay McShann’s birth.

*Paul Shinn has released the new album Into That Good Night.

*Vince Giordano and Molly Hammer are among Joe Dimino’s most recent interview subjects.

*Pat Metheny wrote a remembrance of his former collaborator David Bowie.

*Dogs, an album featuring Mike Dillon, Brian Haas, James Singleton and Johnny Vidacovich, will be released on Feb. 26.  Here’s ”Bongo Joe”.

*Tweet o’ the Week: Mark Peavy- @LynnHorsley “Cleaver testified…18th and Vine is the 3rd most recognized street in the U.S.” That’s ridiculous. Maybe 12th & Vine(& KC Wine)

*From a press release: The spring 2016 season of the JCCC Jazz Series will kick off Tuesday, March 1, with the Ben Leifer Quartet. The series, which showcases the talents of local jazz musicians, is free and open to the public. Performances will take place at noon on Tuesdays for seven consecutive weeks. They will be held in the Polsky Theatre of the Carlsen Center unless otherwise noted. March 1: Ben Leifer Quartet, Polsky Theatre; March 8: Megan Birdsall Quartet, Polsky Theatre; March 15: Kansas City Jazz Collective, Polsky Theatre; March 22: Bram Wijnands Trio, Polsky Theatre; March 29: Doug Talley, tenor saxophone and Rod Fleeman, guitar, Recital Hall; April 5: Charles Williams Trio, Recital Hall; April 12: Max Groove Trio, Polsky Theatre.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Joe Klopus notes that there are "fewer places and opportunities to hear" jazz in Kansas City following a “few steps backwards” in 2015.

*KC Jazz Lark reviewed the Kansas City Jazz Orchestra’s Rhapsody.

*The Pitch recommends Roger Wilder’s appearance at a jazz vespers concert.

*The editorial board of The Kansas City Star questions the $7 million funding request from various institutions in the Jazz District.

*Tweet o’ the Week: Benny Green- Benny will take part in the centennial celebration of Jay McShann on Saturday January 16th at 7 pm at The Gem

(Original image by Plastic Sax.)

Now's the Time: Karla Harris

Drummer Todd Strait has put together a project that pays tribute to the 1961 album Nancy Wilson & Cannonball Adderly.  The group includes the Atlanta based vocalist Karla Harris, saxophonist Jim Mair, pianist Roger Wilder and bassist Bob Bowman.  The embedded video contains footage from a 2008 gig in Portland that features Strait and Harris.  The tribute shows take on place Friday, July 24, at Take Five Coffee + Bar and at the Green Lady Lounge on Saturday, July 25.

Confirmation: Weekly News & Notes

*Marilyn Maye promoted her concert at the Gem Theater on a morning television program.

*KC Jazz Lark ponders the contribution of a forgotten hero of Kansas City jazz.

*The Pitch recommends a brunch featuring the music of Roger Wilder.

*The Jazz Ambassadors are holding a "retirement party and mixer" for Roger Atkinson, the longtime editor of the organization's magazine, at BB's Lawnside BBQ from 1 p.m. to 4:30 p.m on June 14.  Millie Edwards will be among the performers.  The suggested donation/cover charge is $5.

*Randy Brecker is among Joe Dimino’s recent interview subjects.

*Tweet o’ the Week: Rolling Stones- RT @SeamusMcRock Charlie, which Stones song would you like to have heard Charlie Parker or Duke Ellington cover? (Charlie Watts’ video response)

(Original image by Plastic Sax.)

Concert Review: Bob Bowman at the Orion Room

The first set of Bob Bowman's album release party at the Orion Room in the basement of the Green Lady Lounge attracted a capacity audience on Thursday, November 20.  Dozens of longtime fans of the bassist and many of his fellow musicians filled the handsome room with a convivial atmosphere.

Bowman was supported by guitarist Danny Embrey, pianist Roger Wilder and drummer Todd Strait.  Vocalist Megan Birdsall joined the quartet for one selection.

Bowman's artistic and physical rejuvenation is one of the happiest recent developments on Kansas City's jazz scene.  The official function for the release of the album Songs for Sandra, consequently, doubled as a celebration of Bowman's vitality.

(Original image by Plastic Sax.)

Take Two of Take Five

An inconspicuous sign in an inviting cranny of the new location of Take Five Coffee + Bar provides welcome news for Kansas City's jazz scene.  The government-mandated plaque reads "maximum occupancy 189."

About 50 people heard pianist Roger Wilder, bassist Bob Bowman and drummer Brian Steever support New York-based saxophonists Roger Rosenberg and Rob Scheps during the first set of the official opening night of Take Five's spacious new location on Friday, October 24.  That number would have filled the previous locale.

"It feels like the old place gave birth to triplets," Scheps joked.

There's lots to love about the revamped Take Five.  The sound on Friday- especially the depth and richness of Bowman's bass- was superb.  The relaxed atmosphere of the old venue also survived the move. 

By doubling down on their daring investment in the area's jazz scene, proprietors Doug and Lori Chandler, Plastic Sax's People of the Year in 2012, continue to improve the quality of life of the area's jazz aficionados. 

(Original image by Plastic Sax.)

Introducing Akshay Dinakar

Akshay Dinakar is a Johnson County-based high school student.  Last week the young violinist sat in with Roger Wilder's band at Broadway Jazz Club.  Dinakar's astonishing playing compels me to think of him as Claude "Fiddler" Williams 2.0. 

Now's the Time: Roger Wilder and Bob Bowman

Pianist Roger Wilder and bassist Bob Bowman will perform every Monday in January at the Green Lady Lounge. The embedded video documents the duo's rendition of "Softly As In a Morning Sunrise" at the venue earlier this week.

Review: Jerry Dodgion at Take Five Coffee + Bar

A quintet fronted by saxophonists Jerry Dodgion and Rob Scheps thrilled me on Thursday, April 11, at Take Five Coffee + Bar.  Here are ten takeaways from Thursday's show.

• Dodgion, 80, can do a deeper knee squat than I.
• Dodgion is still in possession of his cool West Coast chops.
• When feminists decry "the cult of masculinity so prevalent in jazz" , they undoubtedly have guys like Scheps in mind. 
• Bassist Bob Bowman has been no better than great the past several times I've heard him.  He was exceptional Thursday.
• Scheps noted that Bowman and Dodgion last shared a bandstand 37 years ago as members of the Thad Jones/Mel Lewis Orchestra.
• A copy of Roger Wilder's news CD at my table (it wasn't mine) drew excited attention from every jazz fan who spotted it. 
• I've said it before and I'll say it again- Brian Steever is among the most visually entertaining drummers in jazz.
• It doesn't make any sense, but the acoustics at Take Five Coffee + Bar are the best of any jazz venue in the Kansas City area.
• The core audience of about two dozen jazz fans didn't make a peep.  Even the non-jazz customers who popped in and out of the coffee shop were respectful of the performance.
• Dodgion's statement on "It Was a Very Good Year" was one of the best things I've heard in 2013.

(Original image by Plastic Sax.  From left to right: Roger Wilder, Jerry Dodgion, Brian Steever.)

Confirmation: Weekly News & Notes

*The "civil and gentle" Green Lady Lounge is featured in a 90-second promotional video.

*The Kansas City Jazz Orchestra and Bobby Watson's 18th & Vine Big Band are praised by KCJazzLark.

*Roger Wilder reports that his new album will be available later this week.  (Tip via Rick Hellman.)

*A 2012 conversation between Michael Shults and Sam Wisman is streaming in perpetuity.

*Tony Botello casts a cynical eye at development in the Jazz District.

*Here's another edition of 12th Street Jump's "Blues In the News".

*Tweet o' the Week: Brian Scarborough- Next month I will be recording a quintet album of new original music w/ Matt Otto, Danny Embrey, Jeff Harshbarger, & Brandon Draper #kcjazz

*Comment o' the Week: Anonymous- I'm afraid you'll have to define offering "something to the discourse." I'm pretty sure I was pointing out that the previous post was just an irrelevant digression into someone's boring political views. I attack someone personally because this is the internet and that's what it's for. I bet you secretly like Jazz in the Woods. I bet you like to sit outside in the park and listen to music. I bet you don't care that it sucks because it's easy to ignore and you can distract yourself with the nice scenery, delicious snacks, and pleasant people. I bet you're like that. And it makes me sick.

*From Ryan Heinlein: Some of Kansas City's finest musicians will tackle the newest offering from recording artist, Beck. In lieu of an album, CD or digital download, Beck has released twenty new songs strictly in sheet music format. It is up to the performer to read, learn and interpret the music. Beck will not be recording or releasing these songs…  The following musicians will be performing "Song Reader." Mark Lowrey, Shay Estes, Jeff Harshbarger, Matt Leifer, Jeff Stocks, Dominique Sanders, Ryan Heinlein, Clint Ashlock, Brett Jackson and Bill McKemy.  Mark Lowrey & The Project H Present: Song Reader, 20 New Songs by Beck with special guests Shay Estes and Jeff Harshbarger.  Friday, May 3rd.  Record Bar. $10 cover, ages 18+.  The Project H 10:30pm.  Song Reader 11:30pm.

*From the Kansas City Public Library: Beginning with their regular gig in the Plantation Grill at Kansas City’s Muehlebach Hotel, the Coon-Sanders Nighthawk Orchestra in the 1920s took the Midwest, and then the entire nation, by storm. UMKC jazz expert Chuck Haddix follows the rise and fall of the band that had hit recordings like “Yes Sir, That’s My Baby,” “When You’re Smiling,” “The Flippity Flop,” “Kansas City Kitty,” “I Ain’t Got Nobody,” “Harlem Madness,” and “What A Girl! What A Night!”  Sunday, April 21, 2013.  2:00pm @ Central Library.  RSVP now!

*From the American Jazz Museum: The American Jazz Museum is pleased to announce the debut performance of internationally renowned jazz great, Bobby Watson’s new “I Have A Dream Band” project in residence at the Blue Room on the corner of historic 18th & Vine in Downtown Kansas City.  Watson’s new band will be performing both, Friday, May 17th and Saturday, May 18th in the Blue Room. Admission is $20 ($15 Students/Seniors) with an 8:30 pm show time each evening. Bobby Watson’s “I Have A Dream Band” features the artistry of Glenn North (spoken word); Hermon Mehari (trumpet/flugel horn); Curtis Lundy (bass); Richard Johnson (piano); Eric Kennedy (drums); and, alto saxophonist, Watson.

*From the American Jazz Museum #2: The American Jazz Museum and MCC Penn Valley are pleased to announce the 2013 18th & Vine/MCC Penn Valley Jazz Festival will be held April 18, 19 and 20 at the historic Gem Theater.  The 2013 festival features performances by middle school, high school and college jazz ensembles ranging from combo groups to large big bands.

(Original image by Plastic Sax.)

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.)

Confirmation: Weekly News & Notes

*Jenee Osterheldt reports that Myra Taylor is in poor health.

*Angela Hagenbach is interviewed by the Leavenworth Times in advance of her concert Saturday at the Hollywood Theater.

*"While Memphis bemoans the Folk Alliance International's announced move to Kansas City, St. Louis appears to be gaining ground on another music-related front: creating a blues museum to celebrate the Delta-born art form and pull in visitors," suggests the author of a story about St. Louis' National Blues Museum.

*Intentions, the restaurant and nightclub in Overland Park that sporadically served as a venue for live jazz, has been shuttered.

*KCJazzLark elaborates on a previous post concerning the proper location for jazz festivals in the Kansas City area.

*Roger Wilder now has a proper web presence.

*The American Jazz Museum is involved in a Kickstarter campaign for a documentary about Cecil Taylor.

*Chuck Berg applauds a Topeka Jazz Workshop concert featuring Ken Peplowski and John Fedchock.

*A Hutchinson, Kansas, newspaper previews a Marilyn Maye concert.

*Pat Metheny has a Vimeo channel.

*Lucas Homer provides notes on the next couple weeks in live jazz.

*Tweet o' the Week: CRJazzCritic: Heard Gary Foster last night as featured alto soloist on John Williams Gershwin Suite. Died and went to heaven. #jazz #garyfoster #gershwin

*From Peter Lawless: The Ad Hoc Music Series Presents: Game Night (Sunday, Nov. 27 at 8 p.m.) This special event will feature series curator Peter Lawless and his closest musical friends performing a number of original “game pieces.” These playful pieces combine performance art, spoken word and musical improvisation; promising fun, excitement and uncertainty as each note is determined by the roll of the dice and the luck of the draw. Among the games to be played are the meditative Curling, an exciting Board Game for Improvisors, and the return of the infamous PBR Performance Art Olympics.

*From Kemet D. Coleman: I work for MAC Property Management. We are having a Jazz Night in the lobby of our Clyde Manor building (350 East Armour Blvd.) next Tuesday, November 22nd from 7-9PM. The band will be lead by Hermon Mehari and we will be giving away a free Kindle Fire! Chances of winning are pretty high. Free food and booze will be available.

(Original image by Plastic Sax.)

Review: The Westport Art Ensemble at the Westport Coffeehouse

The Art Ensemble of Chicago were one of the gateway acts that allowed me to fully embrace jazz. I didn't feel as if I was sacrificing any of the entertaining elements of popular music when I listened to the loopy, noisy and fun band. The similarly named Westport Art Ensemble, while progressive by Kansas City's standards, was far less outrageous than its brethren from the Windy City.

As Joe Klopus explained in a preview of the event, four of the original five members of the band reunited for a performance Saturday at the Westport Coffeehouse. (Guitarist Jake Blanton is off doing the rock star thing)

I smiled when WAE opened its set with atmospheric AEC-style clattering. In spite of the noisy introduction, WAE sometimes seemed like a mainstream jazz act. Each of its members is respected by swing-obsessed jazz fans. Upon closer inspection, however, WEA frequently features subversive elements that are anathema to traditionalists.

Drummer Todd Strait, a big favorite among swing fans, didn't hesitate to pound aggressively. Bassist Gerald Spaits, a near-legendary mainstay of the Kansas City scene, displayed remarkably imaginative melodic concepts and a startlingly innovative technique. The Rhodes piano work of Roger Wilder evoked '70s-era Chick Corea and Herbie Hancock. Josh Sclar played the role of a straight man in the tradition of hard-charging saxophonists like Eddie "Lockjaw" Davis.

Seeing the guys together again was a treat. I hated to break away from the audience of about 100 after only 45 minutes, but I had to prepare to enter the jungle.

(Original image by Plastic Sax.)

The Sons of Brasil: An Appreciation

The skies were cloudy and the breeze was chilly as the Sons of Brasil performed Sunday at the Plaza Art Fair. Even so, I managed to acquire a sunburn as I enjoyed the band's ninety-minute set. Such is the power of suggestion. The ensemble momentarily convinced me that I had been transported to a resort in Rio.

I don't know nearly enough about commercial Brazilian jazz to compare the quality of the Sons of Brasil's music to the works of better-known acts like Azymuth. I can state with absolute certainty, however, that there was no other Kansas City-based band I would rather have heard yesterday morning.

The Sons of Brasil can be as pleasant as the breeziest smooth jazz act. But they're not lightweights. The band's members include several of Kansas City's most respected jazz musicians. It's not necessary to appreciate the band, but careful listening is rewarded. Theirs is music that works at every level.

I don't care if it's an indoor gig- the next time I catch the band I'm bringing suntan lotion.

(Original image of the Sons of Brasil by Plastic Sax.)

Review: Mike Metheny's 60.1

I may never forgive Mike Metheny for making my life a living hell.

The opening track of 60.1, his new album, may be the most infuriating earworm I've ever encountered. It's as if the tormented ghost of Raymond Scott had assumed control of the USC Marching Trojans.

The deliberately annoying march has taken up unwelcome residency in my cranium for the past two weeks. Metheny named the piece "Dubious Melody," but "Crime Against Humanity" would be be a more appropriate title.

It takes enormous talent to be so maliciously awful. At this late date, jazz fans could be forgiven for failing to remember that Metheny was once a major label recording artist and had served as a faculty member at Boston's Berklee College of Music. While Metheny has returned to Missouri and jazz's fortunes have waned, Metheny's prodigious musical gifts have not diminished.

The evil "Dubious Melody" aside, Metheny uses his genius for good on 60.1.

Propelled by drummer Brandon Draper, the title track is absolutely savage. It demonstrates that Metheny is still capable of making a righteous racket that can challenge the testosterone levels of even the most manly fans of Medeski Martin & Wood and The Bad Plus.

"60.1" and a couple additional noisy numbers make the album's relatively conventional mainstream tracks seem tame. It would be a shame, however, to overlook Metheny's gorgeous playing on the Bill Evans ballad "Laurie" and the fine Bob Bowman solo on "C.C. & Water." Other Kansas City-based artists on the album include pianists Paul Smith and Roger Wilder and guitarist Danny Embrey.

Metheny demurred when I asked for permission to post a track. All ten selections are different, he suggested, and hearing only one piece would be inherently misleading. There's some truth to that. Even so, the entirety of 60.1 s characterized by Metheny's artistic restlessness, adventurous spirit and stupendous musicality.

Just don't listen to that first track.