Concert Review: Joe Lovano, Marilyn Crispell and Carmen Castaldi at Wigmore Hall

Original image by There Stands the Glass.

I’ve addressed numerous items on my proverbial bucket list during a whirlwind visit to London. Yesterday, I sat in the top front seat of a red double-decker bus after taking in my first Premier League match. Attending a concert at the world’s premier venue for chamber music meant even more to me. Given my predilections, it’s apropos that I heard a jazz trio on my first visit to Wigmore Hall.

I relish the three albums the grouping of saxophonist Joe Lovano, pianist Marilyn Crispell and drummer Carmen Castaldi recorded for ECM Records. Hearing them in perfect clarity amid an audience of about 500 was dreamy. Suffering from jet lag, displeased with Lovano’s sartorial choices and unwilling to continually crane my neck to watch Crispell’s fingering from my $50 seat in the center of the room, I occasionally closed my eyes.

With torrents of improvised sound akin to spray from a fire hose, the musicians’ lack of inhibition often overwhelmed me. Once or twice, I was reluctant to open my eyes for fear I had somehow slipped out of my chair and had passed out on the floor of Wigmore Hall. Three days later, I’m still reeling.

Album Review: funk.BR- São Paulo

I consume music as if it were chewing gum. After squeezing the flavor out of a song or album, I dispose of it. Music becomes a permanent part of my being once ingested. There’s little need to return to it. That’s why I’m always on the prowl for fresh sounds. I’d rather hear something for the first time than return to something I know backwards and forwards. The new compilation funk.BR- São Paulo hit me like an industrial-sized bag of bubblegum. Having heard nothing of the malevolent subgenre that combines Brazilian rhythms with crunk, nu metal and hyperpop, I’m gobsmacked. It will take weeks to digest these innovative flavors.

Concert Review: Steve Hackett at the Uptown Theater

Original image by There Stands the Glass.

The overblown music performed at the Uptown Theater on Wednesday, April 3, was filled with showboating instrumentalists and songs with laughably absurd lyrics. Like most of the audience of more than 1,000, I loved it.

I purchased Genesis’ 1972 album Foxtrot at Metro North Shopping Mall as a cutout in 1974. It’s been my favorite prog-rock album ever since. Of course, I haven’t spent much time with it since the Ramones spoiled my taste for grandiose art-rock in 1976.

Still, I happily laid down $25 plus $14 in fees to hear Genesis guitarist Steve Hackett and five able musicians play a note-perfect rendition of Foxtrot in pleasingly high fidelity on the “Genesis Revisited: Foxtrot at 50 & Hackett Highlights” tour.

Experiencing the concert as a beautiful requiem for the two or three years I unironically embraced prog-rock as a child served as a soothing therapy session. As “Time Table” has it, it was “a time of valor and legends born.”

I'll Remember April

Screenshot of KCUR feature by There Stands the Glass.

Just three of the 17 performances I enjoyed in March were among my concert recommendations for KCUR last month. I just couldn’t bring myself to spend more than $150 for concerts by Bad Bunny and Drake. Yet I’ve invested that much for an impossibly refined event in another continent in three weeks. That’s why I’ll be in attendance at just a few of my April concert recommendations.

March 2024 Recap: A Monthly Exercise in Critical Transparency

Original image of Kevin Miller and Lawrence Brownlee by There Stands the Glass.

The Top Ten Albums of March

1. Jlin- Akoma
Fancy footwork.

2. Tierra Whack- World Wide Whack
(Frank) Oceans of fun.

3. Véronique Gens- Paysage
French soiree.

3. Moor Mother- The Great Bailout
Overdue.

5. Norah Jones- Visions
A beautiful mirage.

6. Amirtha Kidambi- New Monuments
Prog-jazz.

7. Ethnic Heritage Ensemble- Open Me, A Higher Consciousness of Sound and Spirit
Astral planes.

8. Charles Lloyd- The Sky Will Still Be There Tomorrow
With Jason Moran, Larry Grenadier and Brian Blade.

9. Future and Metro Boomin- We Don’t Trust You
En garde!

10. That Mexican OT- Texas Technician
My review.

The Top Ten Songs of March

1. Bill MacKay- “Glow Drift”
Unhalfbricking.

2. Adrienne Lenker- “Free Treasure”
Gifts abound.

3. Charlie Parr- "Pale Fire"
Luminous.

4. Waxahatchee- “Burns Out at Midnight”
Return of the grievous angel.

5. DannyLux- "Maldito Alcohol"
Cautionary tale.

6. Mike featuring Earl Sweatshirt and Tony Shhnow- "On God"
Dead friends.

7. Anysia Kim featuring Mike- “In Doubt?”
Uncertain.

8. Matt Champion featuring Dora Jar- "Steel"
Boy band breakout.

9. Chief Keef and Mike Will Made-It featuring 2 Chainz- "Pull Up Ghost Clan"
Chiraq.

10. Lekin- “714”
Both sides now.

The Top Ten Performances of March

1. Lawrence Brownlee at the Lied Center
My review.

2. David Lord at Farewell
My review.

3. Ema Nikolovska at the Folly Theater
My review.

4. The Lyric Opera of Kansas City’s “Roméo et Juliette” at Muriel Kauffman Theatre
My review.

5. Sleater-Kinney at the Truman
My Instagram clip.

6. The Kansas City Symphony’s Matthias Pintscher Conducts Symphony Dances: ‘West Side Story’ and Rachmaninoff with Philippe Quint at Helzberg Hall
My review.

7. Danielle Nicole, Brandon Miller and Go-Go Ray at Records with Merritt
My Instagram snapshot.

8. Seth A Davis, Kwan Leung Ling, Aaron Osborne and Evan Verploegh at 7th Heaven
My Instagram clip.

9. Bryan Hicks, Rod Fleeman and Rich Hill at the Market at Meadowbrook
My Instagram snapshot.

10. Nya at the Blue Room
My Instagram snapshot.

The previous monthly recap is here.

Concert Review: Matthias Pintscher Conducts Symphonic Dances: West Side Story and Rachmaninoff at Helzberg Hall

Original image by There Stands the Glass.

I joined more than 1,000 concert-goers at the last of three de facto coronation ceremonies at Helzberg Hall on Sunday, March 24. Matthias Pintscher, the incoming Music Director of The Kansas City Symphony, appears to be a talented, benevolent and humble potentate.

Prior to the performance, the audience was told that Pintscher was mourning the death of his mentor Peter Eötvös. The distressing news raised the stakes for a vibrant reading of Leonard Bernstein’s Symphonic Dances from ‘West Side Story’.

Composer Errollyn Wallen was in the house for the world premiere of her Violin Concerto. I couldn’t discern the hushed passages played by guest artist Philippe Quint from my seat in the rafters.

Charles Ives’ loopy “Three Places in New England” was my favorite piece. I sense the subversive programing is an indication of Pintscher’s plans for the Symphony. Aside from the prominence of a saxophone, Sergei Rachmaninoff’s “Symphonic Dances” didn’t do much for me.

All tickets were $37 for the concerts billed as “Matthias Pintscher Conducts Symphonic Dances: West Side Story and Rachmaninoff”. Having gladly made the investment, I’m eager to evaluate the responses to Pintscher’s oversight of the Symphony at three European concerts in August. Here’s to fresh starts and new beginnings.

Recital Review: Lawrence Brownlee at the Lied Center

Original image of Kevin Miller and Lawrence Brownlee by There Stands the Glass.

One of the most rewarding things about residing in the Kansas City area is also one of the most discouraging elements about life in the center of the country. Disinterest in what’s dismissed by others as highbrow art allows a lowbrow hick like me incredible access to topflight performances of classical music.

I bought two front-row center tickets to Lawrence Brownlee’s appearance at the Lied Center on Tuesday, March 19, for $21 apiece on Cyber Monday last November. Brownlee has been my favorite operatic tenor since he and Eric Owens stunned me at the Folly Theater in 2019.

The 2,000-seat venue was at about ten percent capacity for the star who regularly appears on the world’s most prestigious stages. Brownlee and pianist Kevin Miller didn’t disappoint. 

The recital featuring familiar Italian arias, art songs by Austrian composer Joseph Marx and contemporary works from Brownlee’s Grammy-nominated 2023 album Rising couldn’t have been more rewarding. Kudos to presenters who continue to program decidedly unpopular music in the hinterlands.

Much as some professional sports franchises opt for a “best player available” philosophy when drafting talent, I’ll keep allotting my resources to the best deals available regardless of style. Regrettably, I’m priced out of next week’s Bad Bunny concert.

Opera Review: Lyric Opera of Kansas City’s Roméo et Juliette at Muriel Kauffman Theatre

Original image by There Stands the Glass.

The last vestiges of skepticism left my mind during the fourth act of Charles Gounod’s “Roméo et Juliette” on Sunday, March 17. Only then was I willing to acknowledge that I was taking in a very good production. 

Even from my $39 seat in the back row of Muriel Kauffman Theatre I was moved by the chemistry between Ben Bliss and Andriana Chuchman. Most of the voices successfully traversed the vast space between the stage and my remote location. 

Compelling visuals were complemented by conspicuous direction that allowed me to track the action without opera glasses. And The Kansas City Symphony sounded more than serviceable.

I’ve misspent my time and money on a few disappointing nights with Lyric Opera of Kansas City. It may not have been particularly fashionable or fresh, but the production of “Roméo et Juliette” was grand opera done right.

Album Review: That Mexican OT- Texas Technician

The lineups assembled by the Tacos & Tequila festival franchise make me giddy. Fat Joe! Twista! Chingy! Mike Jones! David Banner! The music those guys made in their primes was once very important to me. That Mexican OT refreshes the hip-hop of that era with his distinctive voice and superlative flow. Even though the shock of the new has already faded and the recording is far from perfect, the rapper’s latest album Texas Technician is a blast. As he says on "02.02.99", he “can’t be nobody other.”

Concert Review: Ema Nikolovska at the Folly Theater

Sharing the gloriously odd feature embedded above is the best way to illustrate why I’m smitten with Ema Nikolovska. I was swooning by the conclusion of the operatic vocalist’s United States recital debut at the Folly Theater on Wednesday, March 6.

The voice of the Berlin resident and native Macedonian is good, but good voices are a dime a dozen. Nikolovska is special because she’s a goofball. Her quirky sense of humor and bold creativity are distinctive qualities in the po-faced realm of classical music.

Her delivery of typical repertoire- art songs by Franz Schubert and a set of Claude Debussy compositions she characterized as “a lot of ennui”- was faultless. Yet the unconventional elements of the program were best.

A reading of Margaret Bonds’ “Songs of the Seasons” was exceptionally romantic. The sympathetic playing of pianist Howard Watkins enhanced each endearing moment.

Even better, Nikolovska’s take on Nicolas Slonimsky’s “Five Advertising Songs” almost had the audience of about 300 rolling in the aisles. (Here’s the original "Children Cry".) Paying the Harriman-Jewell Series $20 for the recital was a deal, even if it wasn’t half as freaky as the video.