Album Review: Hot Club KC- Dream Dancing

Seemingly generated by artificial intelligence, the album art for Dream Dancing, Hot Club KC’s debut album, is buoyant. Yet the attractive image is a misleading representation of the Kansas City band’s variation on gypsy jazz. Asking a bot to generate a confluence of mellow late-’60s psychedelia and a pretty Parisian boulevard may have produced a more appropriate visual match for the music. 

Hot Club KC is as indebted to the Grateful Dawg stylings of David Grisman and Jerry Garcia as it is to the gypsy jazz progenitors Stéphane Grappelli and Django Reinhardt. Slightly wavy interpretations of familiar melodies such as “Gee Baby Ain’t I Good to You,” “With a Little Help From My Friends” and “Lil Darlin’” swirl around bandleader Adam Galblum’s endearingly frail voice.

Everyone who has been charmed by a Hot Club KC performance already knows they’ll want to spend time with Dream Dancing. And outsiders attuned to gypsy jazz need to hear the original song “Renji.” The album opener is an ingratiating companion to the 1937 classic “Minor Swing.” Grappelli and Reinhardt-inspired bands around the world won’t need artificial intelligence to recognize that “Renji” would be an excellent addition to their repertoires.

Album Review: Arnold Young and the Roughtet- Young Spirit

The brazen title of the 1959 album The Shape of Jazz to Come seems idealistic today. Few of Ornette Coleman’s innovations have been adopted by mainstream jazz musicians. The harmolodics devised by Coleman thrive only in the fringes of improvised music.

Arnold Young has personified outsider jazz in Kansas City for more than 50 years. The drummer’s 2024 album Young Spirit often seems like an homage to Coleman’s initial conceptions. Young also looks beyond early Coleman on the 69-minute recording. The funky “Monkey Motor Company” is reminiscent of Coleman efforts like the 1982 album Of Human Feelings. 

Adam Galblum evokes the free jazz fiddler Leroy Jenkins on “The Stone the Builder Refused.” Song titles alluding to additional iconoclasts such as Nduduzo Makhathini, Roscoe Mitchell and Charlie Parker suggest additional variations.  While Young is always front and center, the powerful presence of bassist Gerald Spaits is no less essential. Their sturdy foundation allows several young Kansas City horn players to shine. 

The revolution incited by Coleman and his cohorts converted surprisingly few followers, but Young remains a true believer. A young spirit who refuses to lose his edge, Young continues to spread Coleman’s audacious directive in a dauntless mission to change the shape of jazz in Kansas City.

On the Market

I’ve spent several carefree Friday afternoons at The Market at Meadowbrook this year. The cafe attached to The Inn at Meadowbrook in Prairie Village features live music from 4 p.m. to 6:30 p.m. every Friday. Most of the entertainers in the family-friendly setting perform jazz. Outings by small groups led by Adam Galblum and Jackie Myers have been particularly rewarding. Alas, not every booking is commendable. The efficient staff and excellent food offer consolation when the music is inferior. On those occasions, watching affluent travelers check into the tony hotel is sufficiently entertaining. Although I don’t benefit from the high-dollar transactions, the ingrained sound of a ringing cash register is music to my ears.