The Ship

Wednesday with Viet, Stanley and Devin

Original image of Devin Gray by There Stands the Glass.

By the end of the month I’ll have gone to 17 performances at 13 venues spread across 14 days in September. My total ticket outlay is more than $150, not including tips for musicians at jazz gigs. Gasoline and beverages up the ante further.

A time will come when I no longer go out. My priorities may shift or I might lose my hearing, health or savings. Until then, I remain an (old) man about town. This diary entry is intended to provide solace when I become financially or physically infirm. Reading this entry will console my future shut-in self.

I whined about the lineup of a highly-publicized festival with a pal earlier in the week. Once I gave myself permission to forgo attendance at the event, I became open to a multitude of alternatives. I elected to devise a miniature Kansas City festival of my own making on Wednesday.

John McEuen, the venerable leading light of the original Nitty Gritty Dirt Band, was at Knuckleheads. The fabled rockers the Brian Jonestown Massacre were at recordBar. And my friend Aaron’s new band Unity Ticket was making its debut at a house concert.

I didn’t choose any of those shows. I’m currently obsessed with Prism Quartet’s new release El Eco de Un Tambor. I opted to open my evening with its outing at Helzberg Hall with the UMKC Conservatory Wind Symphony. The in-person opening remarks from the celebrity composer Viet Cuong were an unexpected bonus that came with my $15 ticket.

I headed to Black Dolphin following the one-hour and 45-minute concert to check out Stanley Sheldon’s Rhythm Republic. A scene that includes noodle dancers and avid devotees has already developed around the new Latin jazz band led by the man who played bass on Frampton Comes Alive. The $5 cover felt like a bargain.

My trek to the Ship to catch Devin Gray included passage through toxic smoke from a hobo-instigated fire. The peripatetic drummer’s 2023 appearance in Kansas City was my  21st favorite performance that year. Enraptured by his vigorous solo set at the free show, I handed Gray a twenty dollar bill before going home entirely sated.

Concert Review: Mike Baggetta and Peter DiStefano at the Ship

Original image by There Stands the Glass.

Gearheads will want a report on the rigs used by the renowned outsider musician Mike Baggetta and the seasoned indie-rock guitarist Peter DiStefano at the Ship on Thursday, August 8. They won't get that information from me.

I paid $10 at the door hoping that the duo’s “improvised Punk Jazz music for 2 electric guitars” would succeed. No matter the setups employed by musicians, quixotic stabs at the illusory sound usually fail.

The most successful segments of the duo’s hour-long set for 15 people resembled swinging versions of the noise-rock associated with Glenn Branca. A few exquisite moments brought guitarist Marc Ribot to mind. Two or three conventional rock songs performed by Baggetta and DiStefano including the 1993 hit “Pets” by the latter’s band Porno for Pyros didn’t do much for me.

Mike Stover opened the show with 45 minutes of avant-garde pedal steel guitar exploration. I could barely hear him over the din made by the Ship’s regular patrons. Something tells me they weren’t discussing distortion pedals.

Kansas City's Ten Best Music Venues

Original image by There Stands the Glass.

Uninformed trash talk in the comment section of a radio station’s social media post about a local music venue irritated me last week.  While I’m not free of bias, my longtime patronage of performances ranging from rap to opera makes me uniquely qualified to assess Kansas City’s live music landscape.  Additional commendable spaces would obviously be included on an expanded list.  The primary genres associated with each establishment are in parentheses.

1. Knuckleheads

Improbably transforming from a motorcycle repair shop into a sprawling music complex with four stages, Knuckleheads is the authentic roadhouse the House of Blues franchise pretends to be.  (Blues, country, oldies.)

2. Green Lady Lounge

Kansas City’s most popular presenter of jazz features more than 70 hours of live music every week.  The adjacent Black Dolphin and Orion Room supplement the primary stage.  (Jazz.)

3. The Ship

The bohemian West Bottom establishment renowned for good vibes just added a larger stage to an upscale annex.  (Soul, country, jazz.)

4. Starlight Theatre

Kansas City doesn’t possess the natural splendor of cities like Denver and San Francisco, but the expansive al fresco amphitheater in Swope Park is very pretty.  (Musicals and popular touring acts.)

5. recordBar

Every big city has a go-to rock club.  An excellent sound system and loyal staff help make the downtown venue Kansas City’s top intimate room for touring bands and local rock-and-rollers.  (Rock, hip-hop, pop.)

6. The Folly Theater

The absence of a Kansas City landmark on this list isn’t an oversight.  Cowtown’s arts scene has its own version of the fable about the unclothed emperor.  The Folly Theater has substantially better acoustics than the two halls of the more prestigious performing arts center.  (Classical, jazz, oldies.)

7. Westport Coffee House

The theater below the coffee shop is Kansas City’s finest listening room.  There’s no need to go hungry or thirsty as music is played.  Burgers and drinks are available in the adjacent tavern.  (Jazz, poetry comedy.)

8. The Blue Room

On its best nights, the venue operated by the American Jazz Museum offers the sounds and ambience that travelers from Europe and Asia hope to experience while visiting Kansas City.  (Jazz, soul, blues.)

9. BB's Lawnside Blues & BBQ

The authentic Kansas City- not the splashy metropolis depicted by tourism bureaus- is exemplified by the earthy roadhouse serving up savory barbecue and beer-soaked blues.  (Blues.)

10. The Black Box

The flexible indoor/outdoor space in the West Bottoms is a relative newcomer to Kansas City’s live music scene.  (Rock, hip-hop, jazz.)