Review: The Project H- Become Light

"Saturday's Back," the fourth track on Become Light, the terrific new release by trombonist Ryan Heinlein's The Project H, is the sort of joyous groove-oriented song that once led off classic jazz albums by the likes of Horace Silver and Herbie Hancock.

There's a good reason the album opens with the unaccompanied drumming of Matt Leifer on "The Revisionist" instead. He's the band's most valuable player. Without his fresh approach, the album's clever charts and terrific solos might have fallen flat. Every time the recording begins to veer in an excessively academic direction, an innovative rhythmic concept from Leifer and bassist Dominique Sanders negates the infiltration of unwanted fustiness. "Murphy's Law," for instance, might have become a typical hard bop blowing tune were it not for the engaging textures laid down by the rhythm section.

Become Light, consequently, is the most accessible album by Kansas City-based jazz musicians since the release of Diverse's debut in 2009. (Here's The Project H's EPK.)

Just because Become Light is entertaining doesn't mean it's not loaded with impressive chops. Clint Ashlock's passionate trumpet solos are in the fiery tradition of Arturo Sandoval. Keyboardist Andrew Oullette's elegant intro to "Become Light" evokes Chick Corea's "Spain." Surprising arrangements, including a chart that allows the horns to circle back to one another on "Water Torture," display the sophistication associated with acclaimed jazz masters like David Binney. The reggae flavor of "The Vibe Out" isn't going to scare Antibalis, but it's extremely encouraging to hear young Kansas City-based jazz musicians experimenting with new styles.

Heinlein composed all of Become Light's selections. The Project H is clearly his band. Yet The Project H can also be viewed as an indirect result of Bobby Watson's outstanding jazz program at UMKC. I believe that every member of The Project H- Ashlock, Heinlein, saxophonist Brett Jackson, Leifer, Oullette and Sanders- is either a current or former Watson student or has professional ties to one or more of Watson's concerns.

Become Light serves as further evidence that Kansas City's jazz scene is experiencing a post-Watson Watson-fueled renaissance.

(Original image by Plastic Sax.)

Now's the Time: Stefon Harris & Blackout

I'm pleased that Black Radio, Robert Glasper's vital new fusion of jazz, funk and hip hop, is garnering positive attention. I'm less certain that it's any more innovative than Urbanus, the 2009 album by Stefon Harris & Blackout. Harris may lack Glasper's marketing savvy, but anyone who's caught one of his frequent performances in Kansas City knows that he's an exceptional artist. Harris returns to the Gem Theater on Friday.

Confirmation: Weekly News & Notes

*Plastic Sax is gently chided by KCJazzLark as he deplores the absence of a major jazz festival in Kansas City.

*Kristin Shafel reviewed a concert by Bobby Watson and the Kansas City Jazz Orchestra.

*Michael Shults took 3rd place in the 2012 NASA Jazz Artist Competition.

*Clips from the American Jazz Museum’s John H. Baker Archives Jazz Film Collection are featured in the AMC Theatres Kansas City FilmFest.

*David Basse is among a handful of jazz-based acts scheduled to perform at Salina's Smoky Hill River Festival in June.

*Tweet o' the Week: Todd R. Wilkinson- Playing at Take Five Coffee Bar tonight from7-9PM. Won't you come down and save the lonely ten-piece jazz band? :(

*Comment o' the Week: Bob McWilliams- …the contrast between the very buttoned-down Basile and the over the top energy and emotion from Scheps was rather stark…

*From Michael Pagan: Kansas City Youth Jazz organizers have set their annual Masters of jazz fundraiser for 6:30 PM on Sunday, April 22nd 2012 at the Madrid Theater... The event will include dinner and music provided by the Abel Ramirez big band and KCYJ groups for listening and dancing. Tickets cost $75 per person. A Patrons’ Party/reception will take place at 6:00 PM for donations of $150 or more. Dance/cash bar only tickets will be available for $20.

(Original image of Frank Basile and Rob Scheps at Take Five Coffee + Bar by Plastic Sax.)

Review: The Chris Hazelton Trio at JCCC

Many of the most meaningful moments of my jazz initiation occurred while I sipped illicit cocktails at Milton's on Main Street when I was an insubordinate teen. The jazz club's bartender introduced me to the music of Shirley Scott, Big John Patton and Jimmy McGriff by means of a turntable that was prominently positioned alongside the bottles behind the bar.

The experience provided me with invaluable context. The jazz organ is meant to be heard in dark, smoky rooms filled with booze-addled revelers.

I found myself in a setting completely antithetical to Milton's during lunch hour last Tuesday. Under harsh lighting that illuminated neatly arranged rows of chairs, I was one of about 100 people who heard Chris Hazelton's band revive the classic organ trio sound at the Carlsen Center Recital Hall at Johnson County Community College.

Hazelton, guitarist Danny Embrey and drummer Kevin Frazee were on fire. Concentrating on material from the very fine new album Peregrination, the trio burned through an hour of greasy, sin-soaked organ jazz. Hazelton's impeccable work on his Hammond B-3 was thick and fearsome. Frazee played with an innate funkiness. Embrey's presence on the gig and on Peregrination, however, make the project truly memorable. He's a phenomenal musician.

Had it transpired in a late night dive, the performance would almost certainly have been one of my favorite gigs of 2012. Even in the unlikely setting, it was one of the most rewarding lunch hours I've enjoyed in ages.

(Original image by Plastic Sax.)

Now's the Time: The Rob Scheps/Frank Basile Quintet

I'm not ashamed to admit that Rob Scheps intimidates me. In addition to his imposing physical presence, Scheps brings a Bobby Knight-style intensity to the bandstand. He can be a scary dude. Scheps is also one of the greatest mainstream saxophonists I've encountered. He duets with Oregon bassist Glen Moore in the embedded clip. As Joe Klopus notes in his weekly column, Scheps and baritone saxophonist Frank Basile are touring with Kansas City-based musicians Roger Wilder, Bob Bowman and Brian Steever. The quintet perform Thursday, April 5, at Take Five Coffee + Bar and Saturday, April 7, at the Blue Room.

Confirmation: Weekly News & Notes

*Tim Finn checks in with BCR on the band's 30th anniversary.

*KCJazzLark laments the premature death of Bill Caldwell and the absence of Jardine's in a typically excellent post.

*The Wichita Eagle notes the passing of Bill Caldwell.

*Bobby Watson, Book of Gaia and the David Basse Orchestra are scheduled to perform at the Meet Me at the Bridge Street Festival at 48th & Troost on May 5.

*The 2nd Annual KCKCC Jazz Summit at Kansas City Kansas Community College will conclude with a concert by Lisa Henry and an all-star band.

*A new Ella Fitzgerald-themed exhibit at the American Jazz Museum is noted by The Star.

*The People's Liberation Big Band's score for Battleship Potemkin will be performed on May 1 at the Plaza branch of the Kansas City Library.

*A critic declares that Chris Hazelton's new album is the greatest thing since sliced bread. (Link removed at request of critic.)

*KJHK's audio archives include a few jazz sessions. (Tip via Lucas Homer.)

*Kansas City native Halbert White has died. The noted economist performed with Eddie Baker's New Breed Orchestra in the '60s.

*Black House Improvisors' Collective is hosting a "sound painting" workshop.

*A publication in Iowa notes the current Midwestern barnstorming tour of the Rob Scheps/Frank Basile Quintet.

*Doug Ramsey reports on plans for a memorial service for Bob Brookmeyer.

*A few jazz-related acts are participating in KKFI's band auction.

*Hey, Ted Nash! What's the big idea of naming your new record label Plastic Sax?

*Tweet o' the Week: Alaadeenswife- Thank you Bobby Watson for honoring Alaadeen last night at the Spring Concert of your Concert Jazz Band - University of Missouri-KC

*Comment o' the Week: Anonymous- we all know what happens when you assume things dont we?

*Don't forget about the Kansas City Jazz Calendar.

(Original image by Plastic Sax.)

A Hole in the Middle of the Map

At 2 a.m. on Easter I'll be in a basement in Westport listening to the jarring attack of Acid Mothers Temple. The experimental Japanese band will be the last of over 75 acts scheduled to perform at this week's Middle of the Map festival.

The inspired rock and electronic-oriented three-day event is the brainchild of a handful of passionate, hard-working music lovers. Although only one of the bands performing at the eight participating venues has enjoyed an actual hit, the second edition of the festival is almost assured of being a commercial success. Sponsors include a brewery, a professional sports franchise, a car dealer, a law firm and several distilleries. The institutional support is a reflection of the organizational prowess of the festival's planners.

What if the entirety of Kansas City's jazz community worked together to create a similar event? My experience at the Portland Jazz Festival in February showed me what's possible in a metropolis that's just 10% larger than Kansas City. I caught a sold-out performance by Enrico Rava and well-attended sets by a couple regional acts. Spread out over nine days, the event also included appearances by the duo of Branford Marsalis and Joey Calderazzo, Bill Frisell, Charles McPherson, Charlie Hunter, Dee Dee Bridgewater, Roy Haynes, the Jazz Passengers, Vijay Iyer's Tirtha, Ben Williams and dozens of Portland-based musicians.

By incorporating everything that's already happening on the Kansas City jazz scene over a two-week span, a new festival would complement rather than undercut existing programming. The Prairie Village Jazz Festival, Jazz In the Woods, Rhythm & Ribs and Jazz Winterlude are terrific events that receive my enthusiastic support. The new concept would be an all-encompassing city-wide jazz festival that could take place at Johnson County Community College, Kansas City Kansas Community College, UMKC, the Folly Theater and Helzberg Hall. Established jazz venues would also be a crucial part of the mix.

In addition to Kansas City-based talent, performers might include the likes of Brian Blade, David Sanchez, Medeski Martin & Wood, Kurt Rosenwinkel, Kenny Garrett, Joshua Redman, Rudresh Mahanthappa, the Soul Rebels, the Jacob Fred Jazz Odyssey, Cuong Vu, Flying Lotus and Matana Roberts. Kansas City's event could be timed to pull in artists performing at the annual Chicago Jazz Festival.

Ambitious? Sure. But with Kansas City's jazz scene undergoing an artistic renaissance, the time is right to think big. And Kansas City boasts several established institutions that should be able to provide logistical support. In addition to Bobby Watson's jazz program at UMKC, fine collegiate programs are thriving at JCCC, KU, KCKCC, Ottawa and UCM. Prominent area institutions include the American Jazz Museum, KC Youth Jazz, the Mutual Musicians Foundation, the Jazz Ambassadors, the Kansas City Jazz Orchestra, the Folly's jazz series and the Artists Recording Collective. Perhaps most importantly, many locally-based musicians might be compelled to call in favors. Heck, there are even a couple jazz bloggers who might be eager to get their hands even dirtier.

All of these organizations and musicians are already doing great things. If they pooled their resources for an annual event, everyone would win. I'm assuming, of course, that the dysfunctional and ruthlessly territorial reputation of a few of these entities is unmerited. Furthermore, I'm operating under the assumption that there are at least 2,500 people in the Kansas City area willing to purchase tickets to hear serious music performed by the world's most important jazz-based artists.

If you share my enthusiasm for returning Kansas City to the center of the jazz universe for a couple weeks every year, let's talk it over on Sunday morning. You can find me here. A note to smart alecks- I realize that I riffed on a similar proposal eleven months ago. And no- this post is not an April Fools' Day gag.

(Original image by Plastic Sax.)