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Kansas City's Online Journal of the Performing Arts

You walk into a booze joint in search of certain spirits - but many who showed up for Barclay Martin Ensemble at Firefly Lounge left with their souls afire. 

The second stop on my musical doubleheader billed itself as a modern day speakeasy.  It felt the part.  Out front, there was a blink-and-you'll-miss-it sign that blended into the building.    You made your way down a long, narrow hallway feeling like you'd stumbled into one of those secret hipster clubs in Swingers until you arrived at a surprisingly pleasant, warmly-lit room. 

A sinuous, slated-wood partition served as a stylish feature of the décor but it cut the room in half and impeded upon sightlines.  Nevertheless, the audience never seemed too grumpy about it, willing to sacrifice a traditional concert-viewing experience for the swank ambience. 

The atmosphere was relaxed, classy but not stuffy or elitist.  Music here has ranged from the eclectic DJ Miles Bonny to Mark Lowrey with Drums.  96.5 The Buzz even hosted a "Kegs and Eggs" here with an acoustic set from Franz Ferdinand while they were in town. 

On this night, Barclay Martin Ensemble joined those ranks.  Opening with "Suddenly," they took Martin's trademark midtempo folk and wrapped it up in some funk.  Having just left the Alacartoona show, I was curious about one thing: seeing that Erin McGrane was still fronting her own band at Jardine's, I anticipated missing the lush three-part harmonies that she made possible for B.M.E. 

Not to worry.  In her absence, bassist Rick Willoughby tastefully blended the best bits of both his and her harmony lines.  He particularly shined on "Breathe," a sophisticated, Latin-influenced ballad, propelling the song forward with his upright bass while his vocal duet with Martin was tasty and tuneful.  It was followed by the edgy and dramatic "Ordinary Design."  From its slightly dissonant calliope of a chorus to Mark Lowrey's eerie toy piano outro, all the bits and pieces were utterly compelling.  "Sleep, " an old favorite of mine, received a country shuffle treatment. 

Other highlights included "The Alchemist" and a fiery cover of Buena Vista Social Club's "Chan Chan."  The former was written as part of a three-song suite for CRES Multifaith Resources-yet another example of B.M.E.'s far-reaching, earnest efforts to encourage dialogue between people of all walks of life. 

It's this spiritualism that draws the inevitable joke about Martin being a cross between James Taylor and Jesus.  It doesn't help that Martin is once again sporting a full beard and has let his sandy brown hair grow down to his shoulders.  He's incredibly gracious and good-natured about the teasing but while others might respond irritably or glibly or nonchalantly, it's evident that Martin doesn't take such grand comparisons lightly.  "That's a tall order to live up to, " he deadpans. 

It's one of the reasons why Martin-and his songs-are so likable.  His demeanor is marked by a disarming humility.  His worldly work possesses all the arc and ambition of an artist such as Sting but with none of the hubris.  It's soaked in a pilgrim's curiosity but thankfully absent of the self-serious pseudo-wisdoms that litter the work of so many would-be vagabond-sages. 

Critics of B.M.E. might argue that the band's pleasantness is actually a liability, that despite the band's obvious chops, it all goes down too smoothly.  But there are nights to take shots of Crown until you're bleary-eyed and there are nights to slow down and sip some scotch.  For latter, B.M.E. is fine accompaniment. 

Tonight, I surveyed the room and saw people who were very content to be where they were.  The energy of the room fed the band who returned it in like kind.  Giuliano Mingucci took a slow-building "Are You Listening?" and whipped it into a frenzy during a killer bridge.  A fancy, deft jazz piano improv by Mark Lowrey morphed into fan-favorite, "The River," the sort of calling-all-souls baptismal anthem that defines B.M.E.'s wide appeal. 

The converts in the crowd began to feel the spirit during the show's final act.  They were rapt during the still, small moments of "The Devil's in the Details" and fervent during its whirlwind finish.  By the time "All the Same" and the barnstorming "Brother's Keeper" rolled around, they were dancing and hollerin' like it was a big tent revival. 

That's the way it usually goes at the beginning of zealotry, of fandom, of love.  The infatuation stage of romance, both musically and personally, is marked by sparks and mystery and the thrill of discovering each other for the very first time. 

You drink in every fantastic detail about the object of your affection, savoring all the good bits and ignoring the minor faults and flaws.  But familiarity can breed something worse than contempt, at least where music and lovers are concerned.  It can lead to boredom. 

But routine can be a strange, beautiful thing.  There's a calm maturity in unwavering devotion, even in the midst of restlessness.  Songs such as Barclay Martin's "Sleep" straddle this delicate line.  "Her fingertips are silent, and her lips, they don't hardly move / The day is done, but there's just one more thing that she has left to do / So close your darling eyes / I'll see you in the morning light / Hold the hand of the son of night / Sleep." 

It's a pretty folk pop gem that opens Martin's debut album, Promise on a String.  I enlisted it for the closing track of a mix that I gave as gift nearly six months into that budding romance I spoke of earlier.  Alacartoona's "Every Saint Needs a Sinner" represented a quirky and passionate spark that began our relationship.  Barclay Martin's "Sleep" was reflective of a calmer, contented love. 

I've found it fascinating to watch these two bands' careers run parallel to each other and to my own love life the last few years.  It made me smile when I saw they'd both be playing on the same night, a rush of nostalgia bubbling up about forgotten mix CDs and how unabashedly sentimental and enthusiastic we can be at the beginning of things. 

The dilemma of being a steady-gigging musician can be tracked by pulling out those old, sentimental mix tapes.  Over time, you may still love the songs, you may still feel some trace of emotional resonance but you know every line by heart and can predict every nuance.  What keeps you coming back? 

Both Alacartoona and Barclay Martin Ensemble demonstrate some simple answers.  Great artists, like true loves, avoid the pitfalls of staleness and predictability by evolving and growing.  They make strong new choices while remaining true to what you fell in love with in the first place.  They build upon old strengths and learn from fresh mistakes.  And they continually work towards creating something new, something that's worthy of inclusion on that next great mix--the one that'll really make that special someone fall in love with you all over again. 

Review:  
Barclay Martin Ensemble
Thursday, June 11 at 7:00 p.m.
Firefly Lounge
4118 Pennsylvania
www.barclaymartin.com 

*** 

Chase the Bass: Five Quick Licks with Rick Willoughby 

On his various projects, bands and life as a freelancer:

Barclay Martin Ensemble is definitely the group I perform with the most.  Quixotic.  Bixby Lane.  I play a lot of one-offs, like with the McFadden Brothers.  Sometimes I just get called to play.  Sometimes I take it, sometimes I turn it down.  It really just depends.  I teach lessons at home and with the K.C. School of Music.  You take a look at the month and you fill in some of the holes in your calendar.  It really is just kind of pieced-together. 

On his three favorite venues to play in K.C.:

Spencer Theatre, number one.  It's a top-notch facility.  Barclay Martin Ensemble played there, I played in the orchestra for Winesburg, Ohio and now Quixotic.  I freakin' love the Midland.  It's unmatched as far as caliber of theatre.  It's a bit older but still remains state of the art.  I mean, look at Spencer, it's like thirty years old too but look what we're able to do in it right now.  Jardine's is the best-sounding club in town.  There's something about that room.  Sometimes the crowds get really quiet and attentive.  It's just so nice. 

Barclay Martin.  Too good to be true?

(wry chuckle) No, he's not.  He's absolutely amazing, one in a million.  But everybody has their moments. 

On his most transcendental onstage moment:

I high-fived Missy Koonce during a B.M.E. show.  I don't think she wasn't expecting it, I think it kind of freaked her out. 

On Quixotic Fusion:

It's very challenging.  Truly amazing.  I know there's been a lot of hype but it really is the kind of show people have never seen before. What they're doing is unreal. 

*** 

GIGGIN' ON THE STEADY

Alacartoona 
Wednesday, June 24 at 7:30 p.m. 
Californo's 
4124 Pennsylvania, Kansas City, MO 
For tickets call 816-531-1097 or online at www.californos.com. 
www.alacartoona.com 

Rick Willoughy of Barclay Martin Ensemble 
Composer, Musician in 
Quixotic: Lux Esalare 
Thursday, June 25 through Saturday, June 27 at 8 p.m. 
Spencer Theatre 
UMKC Performing Arts Center 
4949 Cherry, Kansas City MO 
For tickets call 816-235-6222 or online at www.quixoticfusion.com 

Mark Lowrey & Shay Estes
Saturday, June 27 at 10:30 p.m.
Jardine’s Restaurant and Jazz Club
4536 Main St., Kansas City, MO
For tickets call 816-561-6480 or online at www.jardines4jazz.com

Barclay Martin Ensemble
Tuesday, July 21 at 7:00 p.m.
Jardine's Restaurant and Jazz Club
4536 Main St., Kansas City, MO
For tickets call 816-561-6480 or online at www.jardines4jazz.com
www.barclaymartin.com

By Vi Tran

theSTEADY and Jazz Contributor (Past writer)

Comments(1):

1. Nice...

   I feel like I know so much more about these bands. Knowing more about these folks through their performance life is truly interesting and inspiring. Thanks, Vi

   Thursday, June 25, 2009 N