Concert Review: Trinity Jazz Ensemble at Rolling Hills Presbyterian Church

An unassuming pianist roared with startling ferocity at Rolling Hills Presbyterian Church on Thursday, July 1.  The Kansas City mainstay Michael Pagán lit up a recital of sacred-themed jazz.  An iteration of the longstanding Trinity Jazz Ensemble- vocalist (Brother) John Anderson, trumpeter Mike Parkinson, saxophonist Doug Talley, pianist Pagán, bassist Tim Brewer and drummer Sam Platt- performed an inspired array of original material and classic compositions.

Pagán disrupted the otherwise pleasingly polite concert with a memorable outburst.  For three consecutive selections in the middle of the performance, Pagán played like one of the world’s most celebrated pianists. Free of ostentation, the informal showcase began with “Deep In My Soul.”  Pagán’s original is one of the strongest compositions to emerge from Kansas City in recent years.  Parkinson exclaimed “that’s deep!” at the conclusion of the song.

A fiery incarnation of Wynton Kelly seemed to overtake Pagán during a reading of Hank Mobley’s “A Baptist Beat.”  It was followed by Pagán’s solo rendition of Keith Jarrett’s “Silence.” He matched the meditative brilliance of the composer.   While his contributions continued to impress, Pagán assumed a less conspicuous role for the remainder of the concert.  Yet his unexpected salvo served as a valuable reminder that splashy superheroes lurk inside many of the Clark Kents in Kansas City’s jazz community.

Concert Review: Bird Fleming and Bill Summers’ “Voyage of the Drum” at Dunbar Park

At the conclusion of a freewheeling concert at Dunbar Park on Monday, June 21, percussionist, bandleader and emcee Bird Fleming told the audience that “you will never listen to music the same way again.”  The free performance almost substantiated Fleming’s audacious assertion.  The unlikely blend of percussion demonstrations, swing-based jazz and star power in the form of Bill Summers made for a glorious afternoon on Make Music Day.

In addition to earnest attempts to explain what he called the “Africa to jazz tradition,” Fleming repeatedly ushered various configurations of musicians on and off the portable stage.  The percussion ensemble Soundz of Africa, saxophonist Doug Talley, keyboardist Charles Williams, bassist James Ward, percussionist Pat Conway and Summers made frequent use of the stairs on either side of the stage.

Summers was the primary attraction for many attendees.  He amplified Flemings’ educational emphasis by offering insights into the tradition of pouring one out as an homage to ancestors, the commendable culture of the Forest People of Central Africa and the European origin of the ritual of applause.  He also participated in a percussion workout and recreated his hook from Herbie Hancock’s 1973 hit version of “Watermelon Man.”

Talley, Williams and Ward responded intuitively to Summers’ cues while enlivening standards including “Caravan,” “Afro Blue” and the inescapable “Kansas City.”  After one of Fleming’s attempts to engage listeners received a tepid response, he asked the approximately 100 people on hand to “just humor me.”  Fleming deserved far more than polite encouragement.  He and everyone involved in the singular UNESCO Cities of Music event merited a standing ovation.