Concert Review: Marilyn Maye at the Folly Theater

Frank Sinatra. Lena Horne. Tony Bennett. Mel Tormé. Bobby Short. Of the prominent twentieth century vocalists in the saloon singer and torch song traditions, Marilyn Maye is the last legend standing. The ninety-seven-year-old’s homecoming concert at the Folly Theater on Sunday, December 21, provided a life-affirming experience for an audience of about 750. (I paid $39 for a balcony seat.)

Accompanied by pianist Tedd Firth, guitarist Rod Fleeman, bassist Gerald Spaits and drummer Ray DeMarchi, Maye focused on material she performed during her 76 appearances on the late-night television program The Tonight Show.

A screen above the stage during portions of the two-set show displayed video and photographic excerpts featuring Maye, Steve Allen, Jack Paar and Johnny Carson. Yet the wildly charismatic star didn’t rely on visual aids. Maye’s jokes remain funny and her voice is still strong.

Renditions of vintage material including “Cabaret,” “The Way We Were” and “Hello Dolly” were culled from Maye’s commercial peak fifty years ago. Yet Maye is anything but a has-been. Having outlived her peers and most of her core audience, Maye is an exemplar of artistic excellence and a heroic role model.

The Top Jazz Performances of 2025

The Top Performances of 2025 by Kansas City Musicians
1. Nick Hmeljak, Henry Scamurra, Isaiah Petrie, Jordan Faught and Jaylen Ward at Westport Coffee House
Plastic Sax review.

2. Drew Williams, Ben Tervort and Brian Steever at the Stray Cat Film Center
Instagram clip.

3. Bram and Lucy Wijnands with the Kansas City Jazz Orchestra at the Folly Theater
Plastic Sax review.

4. Vanessa Thomas, Kara Smith, Michael Pagán and Steve Rigazzi at the Blue Room
Instagram clip.

5. Henry Scamurra, Isaiah Petrie, Spencer Reeve and Jade Harvey at the Prairie Village Jazz Festival
Instagram clip.

6. The Extemporaneous Music and Arts Society’s “3 Expressions of Light and Sound” at Charlotte Street Foundation
Instagram clip.

7. Matt Villinger, Peter Schlamb, Sebastian Arias and Matt Robertson at the Blue Room
Instagram clip.

8. Steve Cardenas, Forest Stewart and Brian Steever at Westport Coffee House
Plastic Sax review.

9. Deborah Brown and George Colligan at Upcycle Piano Craft
Instagram clip.

10. David Chael, Danny Embrey, Gerald Spaits and Brian Steever at Green Lady Lounge
My Instagram clip.

The Top Performances of 2025 by Touring Musicians
1. Christian McBride and Brad Mehldau at Muriel Kauffman Theatre
Plastic Sax review.

2. Terence Blanchard at Muriel Kauffman Theatre
There Stands the Glass review.

3. Branford Marsalis Quartet at the Folly Theater
Plastic Sax review.

4. Samara Joy at the Folly Theater
There Stands the Glass review.

5. Devin Gray at the Ship
There Stands the Glass review.

6. Alexander Adams, Jeff Goulet (and Seth Davis) with Kristen Kopper and Shanté Clair at Grand Avenue Temple
Instagram clip.

7. Cory Weeds (with Chris Hazelton) at Westport Coffee House
Plastic Sax review.

8. Béla Fleck, Edmar Castañeda and Antonio Sánchez at Helzberg Hall
Plastic Sax review.

9. Helen Sung (with Bach Aria Soloists) at the Folly Theater
Plastic Sax review.

10. Pete Escovedo at the Folly Theater
Plastic Sax review.

Last year’s survey is here.

Album Review: The Tim Whitmer Goodtime Quartet featuring Rod Fleeman- Happy Holidays

The same qualities that occasionally threaten to make the music of Tim Whitmer offputting- relentless cheerfulness and giddy sentimentality- have produced an instant seasonal classic. Happy Holidays is imbued with the benevolent spirit associated with Christmas.

Whitmer, a Kansas City institution, is joined by guitarist Rod Fleeman, saxophonist Mike Herrera, bassist Chase McRoy and drummer Ray DeMarchi on original compositions and holiday standards. Whitmer’s trademark glee is ideally suited to the material.

The band plays in the genial bluesy Kansas City tradition throughout the live session. Sustaining his remarkable career renaissance, Whitmer sounds better than ever as he exhibits his stride piano mastery. Even so, Fleeman steals the show.

The guitarist’s delightful original composition “It’s Christmas Time Again (At Last)” is followed by his transcendent solo reading of “The Christmas Song.” A wonderful gift for Kansas City jazz enthusiasts, Happy Holidays is a swinging bundle of yuletide joy.

(The album release show for Happy Holidays is 6:30 p.m. - 9:30 p.m. Wednesday, December 17, at Black Dolphin.)

Album Review: Tim Whitmer Good Time Quartet- Double Live at Black Dolphin

Tim Whitmer has specialized in giving jazz fans in Kansas City exactly what they’ve wanted for more than forty years. The veteran’s joy-infused, smile-inducing and foot-stomping music delivers the goods for listeners preferring old-fashioned fun to high-brow innovation.

The cheerful sensibility of the pianist and bandleader isn't static. The new album Double Live at Black Dolphin shows how his celebratory sound continues to evolve. Saxophonist Michael Herrera II, bassist Chase McRoy and drummer Ray DeMarchi match Whitmer’s exuberance while avoiding excessive sentimentality.

“Back Alley Bluz” epitomizes the approach. Herrera’s slow, stirring solo and Whitmer’s evocation of Jay McShann on the original composition are conclusively Kansas City. “Brookside Boogie” and “Basie’s Back in Town” are similarly buoyant. Yet the album isn’t a nonstop party. A refreshed reading of “Dancing with Theresa” is among the solo piano statements adding depth to the nearly two-hour recording. 

Whitmer frequently quotes the phrase “these are the good old days” in his social media posts. In this instance, the axiom is spot-on. City Light Orchestra’s classic 1984 album Raised Spirits excepted, Double Live at Black Dolphin is the definitive Whitmer album.

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The album release party for Double Live at Black Dolphin will take place at Black Dolphin from 6:30 p.m. to 9:30 p.m on Saturday, November 2.

Album Review: Michael Pagán- Paganova

“Deep in My Soul”, the second track on Michael Pagán’s latest album Paganova, is magnificent. The melody written by the Kansas City pianist, composer and bandleader is worthy of Bill Evans. The compelling playing of Pagán’s bandmates does the sublime composition justice.

Saxophonists David Chael and Michael Herrera, bassist Louie Pagán and drummer Ray DeMarchi enrich five original Pagán pieces and arrangements of works by Clare Fisher, Steve Swallow and Kenny Wheeler.

The dual saxophones of Chael and Herrera are reminiscent of classic dates of Al Cohn and Zoot Sims. Yet partly because five of the eight tracks feature an electric bass, Paganova contains more surprises than most mainstream jazz sessions.

Fisher’s “Gaviota” is a funky romp. “Guess Whose Blues” evokes the eccentricities of Charles Mingus. The old-world zest of “Napoli” closes the album. Yet the most valuable aspect of Paganova may be allowing the rest of the world to Chael and Herrera. The saxophonists are precisely the type of unheralded players who make Kansas City’s jazz scene vibrant.

Album Review: Rod Fleeman- Saturday Afternoon Live at Green Lady Lounge, Volume 3

There are two types of people in the Kansas City area: those who recognize Green Lady Lounge as a civic treasure and those who have yet to enjoy one of the region’s most indelible experiences. Rod Fleeman’s longstanding Saturday afternoon residency is the most sublime of the weekly showcases at the popular jazz club.

The guitarist is joined by bassist Gerald Spaits and drummer Ray DeMarchi on Saturday Afternoon Live at Green Lady Lounge, Volume 3. Memorable compositions, exquisite group interplay and astonishing sonic clarity make Volume 3 the best release yet in the series.

Fleeman became an extraordinarily accomplished jazz classicist after forgoing a career in jazz fusion. His thorough mastery of jazz guitar from Django Reinhardt through Wes Montgomery is evident throughout Volume 3.

Spaits is given plenty of room to showcase his prodigious talent. The tactful DeMarchi never overwhelms his bandmates. The relaxed ambiance of Saturday afternoons at Green Lady Lounge also contributes to the recording’s worth. Yet the album isn’t merely a local souvenir. The music on Volume 3 would impress audiences in mainstream jazz venues from New York City to Tokyo.

Saturday Afternoon Live at Green Lady Lounge, Volume 3 is available at streaming services and at digital retailers. The official CD release event takes place at Green Lady Lounge from 2:30 p.m. to 5:30 p.m. Saturday, July 27.

Album Review: Rod Fleeman- Saturday Afternoon at Green Lady Lounge, Volume 2

Many people would agree with the proposition that the most delightful hours of the week transpire on Saturday afternoon.  Looking back on Friday night’s fun while anticipating the impending evening’s revelry often results in several carefree hours.  

An astute group of discerning jazz fans in Kansas City savor Saturday afternoons for an additional reason.  Rod Fleeman, the elite Kansas City guitarist named Plastic Sax’s 2021 Person of the Year, leads a trio every Saturday afternoon at Green Lady Lounge.

Partly because Ray DeMarchi replaces drummer Todd Strait, the new Saturday Afternoon at Green Lady Lounge, Volume 2 has a slightly jauntier feel than the first volume.  The impeccable bassist Gerald Spaits appears on both sets.

Although all 13 selections are original compositions, much of the fun consists in hearing Fleeman weave in, out and around famous riffs, licks and melodies.  His quotes range from Duke Ellington to The Beatles.  Yet Fleeman isn’t a mere punster.

While playful, the references are just one element in the pretense-free, good-time music that just incidentally happens to be magnificent art.  The effervescent Saturday Afternoon at Green Lady Lounge series makes that undiluted joy accessible anytime and anywhere.