Plastic Sax's Favorite Performances of 2022

“Summer’s heat- smell my feet!” Bill Summers exclaimed at Dunbar Park on Tuesday, June 21. The legendary percussionist and his new band Forward Back overcame stifling conditions in a free 65-minute set sponsored by Creative City KC in conjunction with Make Music Day.

Acknowledging the disappointing size of the audience of less than 100, Summers noted “it doesn’t matter how many people are here or not here- we’re going to throw the funk down.” The sextet did- kind of. In stark contrast to the jazz and African orientation of Summers’ concert last year in the same location, Saturday’s show was rooted in pop.

At its best, Forward Back resembles an exciting reboot of the Fugees. In lesser moments, Forward Back sounds like a sketchy Black Eyed Peas tribute band. A disappointing reliance on backing tracks belied the talent on stage. Drummer Jamal Batiste (yes, he’s Jon Batiste’s brother) was particularly constrained.

Forward Back doesn’t attempt to replicate Summers’ rarified artistic achievements with the Headhunters and Los Hombres Calientes. Yet the infectious exuberance of the group compensated for its stylistic limitations. Summers proclaimed “we are not musicians- we are physicians.” The sextet administered spiritual healing on Saturday.

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

June 27, 2021 William Brownlee

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.