Sacred Garden, the latest essential statement from the Kansas City saxophonist Logan Richardson and Blues People, opens with a clip of a Charlie Parker interview. The deafening arena rock anthem “Twenty Twenty Four” immediately follows. Richardson and his colleagues sound prepared to accompany a current pop trailblazer like Travis Scott, SZA or The Weeknd. The message seems clear: the truest way to uphold Parker’s spirit in 2024 is to work at the vanguard of contemporary music. Sacred Garden is decidedly up to date. “Back to the Point” blends a sticky funk groove with shards of heavy metal. Richardson refines his signature sound on tracks including “Moonlight,” “The Fallen” and “The Walls Speak.” In the interview, Parker said “most likely in another twenty-five, or maybe fifty years some youngster will come along and take the style and really do something with it.” Richardson clearly isn’t afraid of inviting bold comparisons. His audacity is justified on Sacred Garden.
Confirmation: Weekly News and Notes
*Logan Richardson’s Holy Water, the Count Basie Orchestra’s Swings the Blues and Matt Otto’s Umbra are among Chris Burnett’s favorite albums of 2023.
Now’s the Time: Logan Richardson
Logan Richardson, arguably Kansas City’s most intriguing musician, returns to the Blue Room on Saturday, December 30. The embedded video is a visual interpretation of a track from his 2023 album Holy Water.
Confirmation: Weekly News and Notes
*Logan Richardson accompanies Aja Monet in her Tiny Desk Concert appearance.
*Joe Dimino interviewed Scott Emmerman.
*Gabe Rosenberg recommends Green Lady Lounge to Taylor Swift.
Now’s the Time: Marquis Hill
The American Jazz Museum is observing the 103rd anniversary of the birth of Charlie Parker with a free concert featuring the Chicago trumpeter Marquis Hill and the Kansas City saxophonist Logan Richardson on Saturday, August 26. The R&B artist Dwele headlines the event. Details are here.
Confirmation: Weekly News and Notes
*Logan Richardson chatted with Steve Kraske on KCUR’s Up To Date program.
*An award-winning high school band from Washington that fared well at the Kansas City Jazz Summit is the subject of a news feature.
*Tweet of the Week: Lina- Sistrunk’s phone was the only one amongst us that could get a halfway decent selfie in the dark that is the Green Lady Lounge. (photo)
Album Review: Logan Richardson- Holy Water
Logan Richardson is the most significant musician to emerge from the Kansas City area in the past 25 years. As with most brilliant artists, the saxophonist isn’t afraid to take risks.
The partially unconsecrated Holy Water is a flawed gamble. The fundamental fault of Richardson’s new album isn’t the swampy sound or the liberal incorporation of R&B and rock.
In fact, those qualities are among the most compelling elements of Holy Water. Dishearteningly, the recording fails to capture the vitality of Richardson’s recent live performances.
While not without considerable merit, Holy Water is a recapitulation of concepts Richardson has previously expressed. Even so, it’s more than likely Richardson’s next artistic breakthrough is just around the corner.
Now’s the Time: Logan Richardson
Prior to a four-night stand at The Blue Note in New York City later this month, Logan Richardson is booked for a three-night run at The Ship in Kansas City on Wednesday, February 1, Thursday, February 2, and Friday, February 3. The saxophonist’s show at The Ship in 2022 was Plastic Sax’s Favorite Performance of 2022. The embedded video is a portion of Steve Paul’s documentation of the February 1 set.
Plastic Sax's Favorite Performances of 2022
Top Performances by Kansas City Artists
1. Logan Richardson + Blues People at the Ship
2. Adam Larson, Clark Sommers and Dana Hall at Westport Coffee House
3. Black Crack Revue at Westport Coffee House
4. Steve Cardenas, Forest Stewart and Brian Steever at recordBar
5. Arnold Young and the RoughTet at the Ship
6. Bob Bowman and Peter Schlamb at Second Presbyterian Church
7. Evan Verplough and Ben Baker at World Culture KC
8. Rod Fleeman at Green Lady Lounge
9. Alter Destiny at Charlotte Street Foundation
10. Drew Williams, Ben Tervort and Brian Steever at Westport Coffee House
Top Performances by Artists from Elsewhere
1. Nduduzo Makhathini at the Blue Room
2. Ohma at the Midland theater
3. Livia Nestrovski and Henrique Eisenmann at the 1900 Building
4. High Pulp at recordBar
5. Phillip Greenlief at Bushranger Records
6. Terence Blanchard at Atkins Auditorium
7. Keefe Jackson, Jakob Heinemann and Adam Shead at Black Dolphin
8. Esthesis Quartet at the Blue Room
9. Kind Folk at the Black Box
10. Bill Summers and Forward Back at Dunbar Park
Confirmation: Weekly News and Notes
*Giovanni Russonello of The New York Times suggests that one of Logan Richardson and Blues People’s sets at the Village Vanguard in May was “the sparsest show I had been to the Vanguard in years in terms of attendance and it was the best show that I had been to at the Vanguard in years” in an episode of Popcast.
*Steve Kraske chatted with the McFadden Brothers and Candace Evans on KCUR’s Up To Date.
*Joe Dimino documented a street party fueled by the Back Alley Brass Band.
*Anteloper’s July 9 concert in Columbia is previewed by Aarik Danielson for The Columbia Daily Tribune.
*Tweet of the Week: Next On TCM- PETE KELLY'S BLUES (1955) Jack Webb, Janet Leigh, Edmond O'Brien. Dir: Jack Webb 12:00 PM ET The jazz band's leader gets mixed up with a gangster in '20s Kansas City. 1h 35m | Crime | TV-PG
Pitch Imperfect
The introduction of The Pitch’s new music issue suggests “the entirety of KC’s music scene is jazz-incarnate.” Yet not one of the more than two dozen acts featured in the publication’s overview performs improvised music. The staff of The Pitch is free to apply its editorial discretion as it sees fit. Yet the snub is consistent with the systematic disregard of jazz in Kansas City. Neglecting the robust contributions of current innovators such as Seth Davis, Kelley Gant, Adam Larson, Eddie Moore, Logan Richardson, Peter Schlamb and Evan Verplough is the latest example of the ongoing erasure of jazz by the city’s conventional powerbrokers.
Concert Review: Nduduzo Makhathini at the Blue Room
Gerald Dunn of the American Jazz Museum told an audience of about 50 at the Blue Room on Friday, June 3, that the first set of Nduduzo Makhathini’s two-night residency at the Blue Room would be briefly delayed because Lonnie Plaxico’s bass “exploded.” The South African pianist, Kansas City saxophonist Logan Richardson and Cuban drummer Francisco Mela ultimately opted to begin without the storied bassist.
The mishap was quickly transformed into an advantage. In one of many astounding moments, Makathini placed his hands on his knees and swayed back and forth as Mela’s explosive drumming propelled Richardson’s ascending solo into the stratosphere. Explaining his intent a few minutes later, Makhathini said he’s committed to “pushing toward the unknown” with a sound that “escapes the realm of definitions.”
His 11 albums as a leader can be characterized as spiritual jazz. Makathini insisted his music also reflects South Africa’s “dysfunctionality and displacement” and “violent historical past.” With the aid of a replenished Plaxico in the second half of the 65-minute set, the quartet forged spiritually transcendent and intellectually illuminating art of the highest order.
Concert Review: Logan Richardson + Blues People at the Ship
A perceptible anomaly prior to the homecoming concert of Logan Richardson + Blues People at the Ship on Thursday, May 19, indicated the evening would be memorable. The five musicians swaggered with confidence while socializing in a recently opened annex of the venue at which more than 100 revelers paid a $10 cover charge. Gloating is uncommon among Kansas City jazz musicians.
The men backed up their bold dispositions with a correspondingly towering 80-minute performance. Unapologetically loud and abrasive, the quintet exhibited a remarkable rapport strengthened during a tour that included a five-night stand at New York City’s jazz shrine the Village Vanguard. The potency of the outing was hardly a surprise.
Richardson, Plastic Sax’s 2019 Person of the Year, and vibraphonist/keyboardist Peter Schlamb, Plastic Sax’s 2018 Person of the Year, are arguably Kansas City’s most exciting musicians. They brought out the best in each other. The metal-edged guitarist Igor Osypov, the inventive bassist Dominique Sanders and the thrilling young drummer Nazir Ebo are also standout musicians.
The voice Richardson expresses through his saxophone attack, distinctive compositions and decisive bandleading skill has never been more eloquent. In a heartfelt soliloquy, he name-checked Kansas City jazz forebears including Ahmad Alaadeen, Jay McShann, Eddie Saunders and Claude Williams. Richardson’s bold innovations and rightful self-assurance honor their legacies.
Now's the Time: Logan Richardson
Four days after completing a five-day run on the hallowed stage of The Village Vanguard, Logan Richardson + Blues People play a homecoming concert at The Ship on Thursday, May 19. The band consists of saxophonist Richardson, guitarist Igor Osypov, vibraphonist Peter Schlamb, bassist Dominique Sanders and drummer Ryan J. Lee.
Now’s the Time: Logan Richardson
Logan Richardson returns to the Blue Room on Saturday, February 26. Steve Paul documented the Kansas City saxophonist’s appearance with an all-star band at the venue four months ago in the embedded video.
Confirmation: Weekly News and Notes
*Steve Paul shared footage of Logan Richardson’s recent all-star concert at the Blue Room.
*Clarence Smith received the Distinguished Alumni Award from Central Methodist University.
*KCUR’s Luke Martin reported on Darryl Chamberlain’s A-Flat Youth Orchestra initiative.
*Tweet of the Week: American Jazz Museum- After more than a year and a half, the Blue Room jazz club officially brought back its Monday Night Jam Sessions tonight, and it feels so good! Check out other jams & performances coming soon: (link)
Now's the Time: Robert Hurst
The storied bassist Robert Hurst is part of an all-star band appearing at the Blue Room on Saturday, October 30. The Kansas City native Logan Richardson leads the auspicious date. The saxophonist will also be joined by saxophonist Mark Turner and drummer Damion Reid. Hurst performs with violinist Regina Carter in the embedded video. Tickets to Saturday’s show are available here.
Confirmation: Weekly News and Notes
*Karrin Allyson chats with Steve Kraske on KCUR.
*Pat Metheny discusses the process of choosing new collaborators.
*Tweet of the Week: All Music TV- Wednesday night come see this book by Amiri Baraka brought to life when Logan Richardson Presents Blues People, inspired by this seminal book from author Amiri Baraka @mr_musichead Just Jazz Live Concert Series. Ticket link in bio!!!! Kansas City stand up!!! #justjazztv
Confirmation: Weekly News & Notes
*Live music resumes at the Blue Room this week.
*Jazzwise magazine offers a profile of Logan Richardson.
*Robert Castillo is among the artists featured in an arts overview published by KCUR.
*A fundraising campaign for a new Kansas City based big band with Rob Scheps as musical director is accepting donations.
*Nate Nall chatted with Joe Dimino.
*The Kansas City Star assesses the push for gun control in the Jazz District.
*Tweet of the Week: St. Louis Public Radio- Ferguson native and renowned jazz trumpeter @keyonharrold shares why jazz purists need to open their eyes to other music genres. (link)
*From a press release: The Kansas City Jazz Orchestra is thrilled to announce the debut of its new, second ensemble, Riff Generation, in the 21/22 season. The ensemble, distinct from the organization's long-established 18-piece big band, now entering its 19th season, will perform a multi-concert series beginning in the first half of 2022.
Confirmation: Weekly News and Notes
*A television news broadcast reports that streets in the Jazz District will be blocked on weekends this summer.
*Downbeat published a review of Tony Tixier’s I Am Human. The French pianist’s album features duets with Ben Leifer, Hermon Mehari and Logan Richardson.
*Tweet of the Week: Dr. K Goldschmitt- Something I think about every time I teach History of Jazz is Altman’s Kansas City. He got a group of ridiculously talented musicians in the mid-1990s to meticulously re-enact a style from 60 years prior. Can you imagine this happening in any other genre?