Concert Review: The Andrew Ouellette Trio at Westport Coffee House

I've heard Andrew Ouellette perform straight-laced mainstream jazz and wild-eyed music with adventurous ensembles, but until Thursday I'd never attended one of his gigs as a leader. 

I was curious to see where the keyboardist would plant his musical flag as he collaborated with bassist Zach Beeson and drummer Brian Steever at the superb venue below the Westport Coffee House.

The selections performed during the first set are revealing.  In addition to at least one original composition, the trio played renditions of Harry Warren and Al Dubin's "September in the Rain," John Lewis' "Milestones," Brad Mehldau's "When It Rains," Milton Nascimento's "Cravo e Canela" and the unhappy ballad "Some Other Time."

The mix of standards, a show tune, a Brazilian number and a piece by a new jazz leader indicate that Ouellette embraces a wide range of styles. 

Steever, one of Kansas City's most excitable drummers, was as active as Ouellette was reserved.  Positioned between the very different men, Beeson ably connected their disparate styles for an audience of less than 10.

(Original image by Plastic Sax.)

Review: UMKC Conservatory Concert Jazz Band featuring Jack Walrath at White Recital Hall

The ongoing opportunity to hear Bobby Watson tear it up is one of the best things Kansas City has to offer. No matter the setting, the jazz giant's exuberance is infectious.

Watson led the UMKC Conservatory Concert Jazz Band Wednesday, April 6, in a performance at White Recital Hall. The concert featured two arrangements commissioned for the event and the compositions and trumpet work of featured guest artist Jack Walrath. About 100 people attended.

The concert began with the world premiere of Edward Simon's arrangement of Horace Silver's "Song For My Father." In spite of drummer Ryan Lee's bashing, it seemed a bit creaky. Even the colorful presence of Walrath couldn't keep a few of the subsequent pieces from sounding overly academic.

A handful of participants, including saxophonists Blake Deibel and Brett Jackson and excellent bassist Zach Beeson, stood out. And as many already know, drummer Brian Steever is perhaps the most visually entertaining musician on Kansas City's jazz scene. It was disappointing, however, that not every student in the 18-piece ensemble was allowed to solo.

The final two selections were easily the most memorable. Walrath's raucous "Sorry Display in a '65 Ford" was in the vein of the wild music made during the trumpeter's stint as a member of Charles Mingus' band. Watson picked up his alto saxophone during the world premiere of Tyler Gilmore's arrangement of "Deep Pockets," a composition from Watson's 2008 From the Heart album.

A joyful noise ensued.

(Original image by Plastic Sax.)

Against the Crosscurrent

Sam Wisman calls Crosscurrent a "nerdy little jazz band." I beg to differ.

I last raved about Crosscurrent in January. I suggested that they're "fiendishly good" and that they perform "music from a cocktail lounge that specializes in absinthe." And in his preface to a stunning photo essay of Crosscurrent, KCJazzLark called them "one of the best jazz groups in town." He's right.

I caught Crosscurrent last Wednesday at the Power & Light Grill. The establishment's enormous glass windows and concrete floor played cruel tricks on the band's sound. Their interpretation of Lennie Tristano material lost much of its nuance. The sound of saxophonist Matt Otto, one of Kansas City's most significant voices, almost resembled the processed style of David Sanborn. Weird.

Steve Lambert's reeds, T.J. Martley's keyboards, Zach Beeson's bass and Wisman's drums also echoed around the large room. There simply weren't enough bodies to absorb the sound. In the ninety minutes I spent at Power & Light Grill, the audience bottomed at 15 and peaked at 30.

Why were there so few people there? It was like a secret gig. Outside of Otto and Lambert's sites and the members' Facebook accounts, Crosscurrent is invisible on the internet. It's staggering that such brilliant musicians can't bring themselves to provide even a bare minimum of self-promotion. They're heard it from me before- I've addressed the matter privately and publicly with some of the guys. Their music- and Kansas City's jazz audience- deserves much better.

Crosscurrent plays Jardine's on September 24. You'll find the date listed on the Kansas City Jazz Calendar.

















(Original images of Crosscurrent at the Power & Light Grill by Plastic Sax.)