This post is by Scott
Recorded on May 05, 1982
Dan Morganstern authored the liner notes to Kansas City Breaks, and he wastes no time in referring to the album a "landmark." And I don't think it's an example of liner note boosterism—because I completely agree with him.
What's strange is that no one seems to talk about the album as an important milestone in Lewis' discography. I picked up the LP for a couple dollars a few years ago. After just one listen, I knew that I'd stumbled on something special. It was shocking. I kept asking myself, "Why isn't this album regarded as a masterpiece?"
I think it's a masterpiece because everything works spectacularly well: the band, the compositions, the arrangements, the solos. And the music swings so hard!
From this listener's perspective, Kansas City Breaks is among a handful of the finest albums that John Lewis ever made—including his work with the MJQ. It's that good.
More by John Lewis
Aside from Kansas City Breaks, my favorite solo John Lewis album from the 1980s is Midnight in Paris (EmArcy/Nippon Phonogram, 1989). It features another superb band with guitarist Christian Escoudé, bassists Pierre Michelot or Michel Gaudry, drummer Daniel Humair, and (on three of the album's seven cuts) Lewis' son Sasha on alto saxophone.
Jazz critics and listeners form opinions about the proper settings for particular artists. For John Lewis, that means the MJQ and similar chamber jazz groups. We don't always know what to do with deviations from expectations like the violinist and guitarist on Kansas City Breaks. Based on Scott's review, I picked up a cheap vinyl copy of Kansas City Breaks and am better for it. This is a great album.
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