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Christian McBride, renowned jazz bassist, and his band Inside Straight concluded this season's Folly Jazz Series with a rousing concert this past Saturday night. Doug Tatum, executive director of the Folly Theatre, gave a lengthy introduction for the group, but for good reason. This was his last season as director, and he made the most of his last time on the Folly stage. His speech was touching and humorous, and he received a well-deserved standing ovation for his dedication to the Folly.

McBride's original tune Brother Mister began with a hot, up-tempo bass lick which appropriately kicked off the show and set the pace for the rest of the evening.  Most of the tunes were Christian McBride originals, with covers of Freddie Hubbard and Duke Ellington tunes. McBride also included a fun rendition of the theme from 1980's TV show Alice.

McBride was all smiles the entire night, with a warm, inviting energy and engaging personality on stage. He told the audience about his Kansas City roots, having played with native sons Bobby Watson and Pat Metheny, and a humorous story about playing our Rhythm & Ribs festival one year. His playing was highly advanced yet seemed effortless. In his lively and involved solos, McBride showed his expert command of the instrument, his fingers nimbly flying across the bass's whole range while maintaining a superior clarity of tone and tight rhythmic integrity. His solos on every song were astounding, but those on Rainbow Wheel, Starbeam, and Ellington's Sophisticated Lady were especially notable, the latter being bowed. This may be the finest bowed jazz bass solo I have ever heard, with perfect intonation and a confident, rich tone. It is clear McBride has mastered classical technique as well.

The members of Inside Straight are all talented in their own right, and they all presented solos that were well developed and enjoyable. Saxophonist Steve Wilson's concentrated tone and technique resulted in some very impressive solos throughout, especially on Used 'ta Could and Rainbow Wheel. Pianist Peter Martin was sensitive and inventive in his solos and accompaniment, comprised of complex harmonies and expressive melodies. Vibraphonist Warren Wolf may have been the youngest in the group, but his lyrical style displayed a maturity and control on par with his band mates.

Carl Allen's drumming was laid-back but not uncomplicated; he and McBride make an outstanding rhythmic team. The highlight of the concert was undoubtedly during the traded solo section of Stick & Move when Allen and McBride playfully sparred back and forth, capturing the boxing theme of this song superbly. The exchange flaunted their musical relationship and expertise, mimicking each other's phrases well, showing off techniques, and switching up rhythms while never losing the energy or groove.

If I have to express any complaints, I would say the piano was occasionally too soft in the overall balance and some of the lighting was slightly strange. But these are so miniscule in comparison to the fine performance by Christian McBride and Inside Straight. I will definitely be picking up his new CD Kind of Brown and strongly recommend checking out this group. The Folly Jazz Series has consistently brought in high-caliber performers and I look forward to next year!

REVIEW:
Folly Jazz Series
Christian McBride & Inside Straight
Saturday, April 24, 2010
Folly Theatre
12^th and Central Streets, Downtown, Kansas City, MO
www.follytheatre.org

By Kristin Shafel

Editorial Assignments Executive Editor; Traditional and New Classical Contributor
Kristin Shafel, a native of Madison, WI, moved to Kansas City in 2001 to attend the UMKC Conservatory of Music and Dance, where she earned both her M.M. and B.M. in composition, with additional focus in double bass performance and arts administration. During her time at UMKC, Kristin was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long and Chen Yi, and her bass instructor was Sue Stubbs.

Kristin's compositions have been performed at national and regional new music festivals and conferences in Missouri, Wisconsin, Texas, Oklahoma, New York, Iowa, Indiana, Kansas, and Oregon. She is a member of ASCAP, SCI, NACUSA, IAWM, and Vox Novus. In 2009 Kristin received a 1-year internship with the Chamber Music Society of Kansas City and started regularly volunteering for Charlotte Street Foundation.

Kristin has been a bassist in the Kansas City Civic Orchestra since 2007 (for which she also serves as Bass Section Principal and Concert Annotator) and recently joined the Northland Symphony Orchestra and Heritage Philharmonic. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison. At UMKC, Kristin studied jazz voice and theory with Hal Melia and classical guitar with Douglas Niedt.

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