"Is it a fucking Tuesday night in St. Louis?!" howled Saint Motel point man A/J Jackson before the band busted into "Daydream/Wetdream/Nightdream." A proper answer was weeded out with a quick glance towards the nearest iPhone. Jackson needed no response, but the question was fair.
Waylon Albright "Shooter" Jennings, rolled into St. Louis on Saturday night, bringing with him a history of country music bigger than his own stature. Doors opened at 7 p.m. with opening acts setting the stage for Jennings' later performance.
If the 1807 premiere of Beethoven's "Mass in C major" at the court of Prince Nikolaus Esterházy had been as good as the performance we got from David Robertson and the St. Louis Symphony Orchestra and Chorus Friday night, the prince might have been less of a jerk with the composer afterwards.
Jazz is considered to be a true American art form, but when mixed with Afro-Cuban influences and Latin heritage, it has grown into a melange of worldly music shared across borders, continents and cultures.
We may never know who first applied the nickname "Jupiter" to Mozart's last symphony—American musicologist Daniel Heartz posits that it was impresario Johann Peter Salomon—but it's not hard to see why the name stuck.
"I can't believe three years ago I was dancing on stage with this guy at the Gramophone," spouts a cohort between gasps of belief. "And now I'm watching him sell out the Pageant."
Pink Floyd Tribute El Monstero kicked off its annual, six-show holiday run at the Pageant on Friday night to a sold-out crowd. Adding large, outdoor shows during the summer doesn't seem to have affected winter attendance for one of St. Louis' favorite tribute band. And what a band it is -- made up of some of the areas finest and most beloved musicians.
In the spirit of jazz, Wednesday night at the Ferring Jazz Bistro proved to be a night of adaptation and perseverance.