I have no patience for the several important new albums that were released on Friday. My obsession with “Slide” is in the way. The collaboration between Calvin Harris, Migos and Frank Ocean is pure pop bliss. “Slide” may be the best step dance song since R. Kelly’s joyous 2003 jam “Step in the Name of Love”.
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I discussed Momma’s Boy on KCUR.
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I write weekly concert previews for The Kansas City Star and Ink magazine.
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I address the Janelle Monáe-related snafu that’s distressed much of Kansas City’s music and political communities at Plastic Sax. I desperately hope that the following artists are the primary targets of the people in charge of the booking the American Jazz Museum’s new $50-per-day festival: A Tribe Called Quest, Erykah Badu, D’Angelo, Childish Gambino, Al Green, Lauryn Hill, Norah Jones, Kendrick Lamar, Diana Ross, Solange and Stevie Wonder.
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I wrote an extended concert preview about Valerie June for The Kansas City Star and Ink magazine.
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Larry Coryell has died.
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Leon Ware has died.
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Barbara Carroll has died.
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Blacswet, a self-titled EP featuring Spoek Mathambo, sounds like the soundtrack to George Clinton’s most lucid dream. RIYL: “Atomic Dog,” European discotheques, Clipping. (Tip via Big Steve.)
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Charlie Wilson has supplied an inordinately large portion of the soundtrack of my life. Alas, In It To Win It is disappointing. Only two or three songs are exceptional. Here’s ”I’m Blessed”.
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The sparseness of La Diversité fooled me at first. The open spaces cleverly obscure the depth of the latest effort by the Belgian saxophonist Nicolas Kummert and Lionel Loueke. RIYL: Chris Potter, eurojazz, Pat Metheny.
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It’s not them; it’s me. Windy City and Highway Queen, the new albums by Alison Krauss and Nikki Lane, don’t move me.
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Adam Schneit reached out to me about securing coverage of his 2016 album Light Shines In. I’m pleased to report that it’s superlative progressive jazz in the vein of Bill Frisell and Steve Lacy.
(Original image by There Stands the Glass.)
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