There Stands the Glass

The Top Ten Albums of March 2026
1. Irreversible Entanglements- Future Present Past
Stellar vibrations.

2. Ye- Bully
All is not forgiven, but Bully is undeniably excellent.

3. Alex Isley- When the City Sleeps
Diamond life.

4. Adam O’Farrill- ELEPHANT
Big ears.

5. Sylvie Courvoisier- Éclats: Live in Europe
With Drew Gress and Kenny Wollesen.

6. Mike Will Made-It- R3SET
A cavalcade of stars.

7. Immanuel Wilkins Quartet- Live at the Village Vanguard, Vol. 1
Ascension.

8. Dave Adewumi- The Flame Beneath the Silence
With Joel Ross, Linda May Oh Han and Marcus Gilmore.

9. Jorge Drexler- Taracá
MPB via Uruguay.

10. Lise Davidsen- Live at the Met
A reprehensible recording of a ripping recital.

The Top Three Reissues and Reimaginings of March 2026
1. Alice Sara Ott- Jóhann Jóhannsson: Piano Works
Solo piano renderings.

2. Aerosmith- Aerosmith: Legendary Expanded Edition
The lines on his face have never been clearer.

3. Jazz at Lincoln Center Orchestra- Let Freedom Swing
History geeks and freedom fighters only.

The Top Ten Songs of March 2026
1. aja monet featuring Meshell Ndegeocello and Georgia Anne Muldrow- “elsewhere”
Heavenly.

2. Gabrielle Cavassa- “Angelo”
Swoonworthy.

3. Leikeli47- "Bad Guy"
Beez in the trap.

4. Jessie Ware- “Automatic”
Instinctive.

5. CA7RIEL & Paco Amoroso- “Ha Ha”
Hee haw.

6. Vince Gill- "Lonely's What I Do"
He’s gonna fill their shoes.

7. Jim Lauderdale- “We Don’t See You Anymore”
Long gone.

8. Luke Combs- “Alcohol of Fame”
There stands the glass.

9. Elucid featuring Shabaka- "Equiano"
“The Interesting Narrative of…”

10. Dry Socket- “The Chop”
Portland hardcore.

The Top Ten Performances of March 2026
Due to a transformative life event, I attended only six performances in March.

The previous monthly recap is here.

Original image by There Stands the Glass.

Everything you might care to know about my current state of mind is encapsulated by my steadfast commitment to attending Thomas Rosenkranz’s recital at White Recital Hall on Friday, October 20. (The recital streams here.)

The rare opportunity to hear a complete performance of Olivier Messiaen’s Vingt Regards sur l’Enfant-Jésus appealed to me more than attending concurrent concerts by Travis Scott or the Jazz at Lincoln Center Orchestra.

Friends and loved ones declined to join me when upon learning they were being asked to endure two hours of challenging solo piano at the free concert presented by the UMKC Conservatory. The translated title of Messiaen’s work- Twenty Contemplations of the Infant Jésus- was a nonstarter for at least one person.

The piece is best experienced alone anyway. Upon selecting a seat allowing me to watch Rosenkranz’s frenetic fingering, I placed my phone on the floor and didn’t once turn around to check on the responses of the approximately 100 people in the auditorium.

Transfixed, my mind only wandered to consider how curious the composition must have seemed to listeners at its premiere in 1945. It still sounds otherworldly. Allusions range from Wolfgang Amadeus Mozart to George Gershwin. Messiaen also seems to have anticipated the innovations of Philip Glass and Cecil Taylor.

Yet musicological musings are a secondary consideration. During one segment I sensed the incomprehensible magnificence of God from a proximate vantage point I hadn’t previously experienced. Three days later, I’m still trembling.

March 2026 Recap: A Monthly Exercise in Critical Transparency

Concert Review: Thomas Rosenkranz at White Recital Hall