+ yA UST SEPTEMBER 1992 eee aoMonday thru Friday an $00 pe — “4a NPR’s "Blues Stage" 8:00-10:00 pm "The Friday Edition of the Fish Fry" (R & B) 10:00 pm - 1:00 ‘SATURDAY ‘Just Jazz" with Ruth Rhoden & Ginney Coleman noon - "Saturday Afternoon Swing Club" 2 - 4pm “Saturday Night Fish Fry* (R & B) 8 pm - midnight SUNDAY NPR's "Marian McPartland Plano Jazz" 12:00 noon-1:00 pm "Hearts of Space" (Space & New Age) 6-7 am & 9-10 pm “Night Tides" (Progressive Jazz & New Age) 10-11 pm.AUGISEPT 1992 VOL. 7 NO. 4 JAM Magazine is published bi-monthy by the kansas City Jazz Ambassadors, anon-proft organization. All rights are reserved. Repro- duction of any materials is prohibited without ‘consent ofthe publsher. For advertising infor- mation, call (@16) 384-0759, Letters should be addressed to: KC arr Ambassadors, P.O. Box 36161, Kansas City, MO 64111-6181 or phone (816) 364-0759. All ace contibu- fions must be submitted no lator than tho tat ‘of each odd-number month EDITOR.IN-CHIEF Dean Hampton SENIOR EDITOR Marlyn Wimp CONTRIBUTING WRITERS Kall Feist, J.P. Makus, Chuck Hada, Dick Wright, Doug Alpert, Terty Malone, Karen Raleion, Sue Malo, Mary Elen Farnoy ADVERTISING Miko Rol PHOTO EDITOR Gary Becker PRODUCTION MGR. John Archer TYPESETTINGILAYOUT Matt Quinn PRINTING Dell Publishing COVER PHOTO Carlo Pascolini E Block Studio Barbara Barr Everete DeVan ‘Akos Altch DISTRIBUTION ‘Ambassa- is a non-profit cergenication dedicated to promoting jazz and veloping a jazz JAMBASSADORS _audionce. PRESIDENT VICE-PRESIDENT ‘SECRETARY TREASURER Mack Kuhn SOCIAL COMMITTEE Ray & Dos Anne EDUCATION COMMITTEE John Trozzolo MEMBERSHIP Anna Sajovk Dorothy Edwards Eddie Wiliams Il KANSAS CITY, The dors: Macy Ellen Facney Mike Rolf ay Rogan Abad PUBLICITY sonn Trezz0!0 Taney Thomas Das ‘Akers Aitch Vicki Roll Everette DeVan JP. Makus, VOLUNTEERS ‘SPECIAL PROJECTS: MERCHANDISING LAST TUES. NIGHT OUT HISTORIAN SPONSORS ‘S00 page 35 for a complet lis of all Jazz Ambateador Sponsors August/September1992 President’s Corner / Many Ellen Fanne Saluting a Kansas City Tradition fter the music is over at many Kansas City jazz clubs, go to Kansas City’s torical Mutual Musician’s Foundation at 1823 Highland in the 18th & Vine area. Ona Saturday night, after their gigs, many musicians jam here until the wee hours. Thisis where the Kansas City’s blues based, swinging jazzsound was born. Dizzy Gillespie and Charlie Parker played here together for the first timc. The Mutual Musician’s Foundation is known among jazz artists internationally and most famous jazz artists have performed here including, Lester Young, Mary Lou Williams, Count Basie, Benny Moten, Joe Turner. It ‘was chartered as the Negro Musicians Association in 1917 and purchased by Local 627 in 1930. Local 627 was established in 1904 and chartered as the black musicians union of the American Federation of Musicians in 1928. The building, became a Federal Historic Landmark in 1979. The jazz tradition goes on at the Foundation which now serves as a social and professional network base for local musicians. It is also the home of the Elder Statesmen of Jazz, Inc. and its membership list reads likea Who's Who of American Jazz Masters. Ihaveheard musicians from Lionel Hampton’s and Mercer Ellington’s bands participate in the jazz jams here. Movie stars Forrest Whittaker and Kiefer Sutherland came to listen when they were making the movie, Article 99. Several movies were filmed here including The Last of the Blue Devils. Yet, thisis one of Kansas City’s best kept secrets. For those who can’t stay out all night, the tradition jams an here with after-work jam sessions on Friday from4 to7 p.m. Ifyougothere, say “hello” to Lonnie Newton and ask him to play the white grand piano for you. Heplays from hissoul and you canalmost feel the vibes of the famous musicians who have jammed there in the past. Enjoy our festivals this summer, the Blues & Jazz Festival on July 25 and 26, the 18th é& Vine Festival on August 8 and 9, and the Spirit Festival on September 3-6. Don’t miss these special events: Kevin Mahogany’s Birthday Celebration “An Evening to Sing About” with guest vocalists at City Light Jazz Club on July30;The Expo’92Concertat theFolly Theater with the Joe Cartwright Trioand Richard Ross featuring Queen Bey on August3;and our third annual Jazz(Cruiseon the Missount River Queen featuring Tim Whitmer é& the KC Express with Sonny Kenner and Everette DeVan’s Quartet with Richard Ross on August 27. President's Corner. Guest Editorial.......... Blues & Jazz Festival News 'n Notes .. 18th & Vine Heritage Festival Jazz Portraits For the Record KC Jazz Commission News Storyville .. Club Scene... Jazz Artists On the AirGuest Editorial What is the International Jazz Hall of Fame? Eddie Baker, Executive Director of the Charlie Parker Memorial Foundation azz was hot and Kansas City burned with it. From the 1920s through the ’30s, the height of Kansas City’s jaz era, there were some 200 clubs between Broadway and Brooklyn featuring greats like Count Basie, Mary Lou Williams and Dizzy Gillespie. They created Kansas City jazz, with itssophisticated background riffs and wailing saxophones, which soon became known the world over. Then, in the 1940s, our own Charlie “Bird” Parker revolutionized the jazz, sound. But times change and those daysfaded. Theclubswentdark:most ofourbest musicians efttown. Visitors found Kansas City’s reputation for jazz aroutstripped thecity’sability to deliver. Until now, however, this unique American art form has not received the kind of recognition it deserved. While some organizations worked diligently to preserve our jazz her tage, these efforts have been frag- mented and insufficient. Until now, there has been no national home for historic jazz memorabilia and for ef- forts to promote and preserve jazz. But that will all change when the International Jazz Hall of Fame in Kansas City opens its doors. The Hall of Fame will preserve and perpetuate the sophisticated, multifaccted art form that is American Jaz through several programs. * The Hall of Fame itself will edu- cate the public about jazz. «The International Jazz Hall of Fame Museum will display memo- rabiliaofjazzgreatsand providean archives center for the historical study of jazz. “Today's prominent jazz artists will train the next generation through the Parker-Gillespie Insti- tute of the Jazz Masters, where ad- 2 vanced students can obtaina bach- clors degree in music education and performance. ‘* The Count Basie Academy of the Arts will provide instruction in music and all other disciplines of the performing arts and the Basie ‘Academy will behometothe Count Basie Orchestra. * The University of Gospel Music will be an accredited instructional program in gospel mnsic, the hasis for American jazz Kansas City has pledged its sup- portbehind theInternationalJazzHall of Fame with a $10.5 million commit- ment tobuild the world class campus complexby the fall of 1995. The Charlie Parker Memorial Foundation, a non- profit educational and cultural insti- tution, has worked for nearly 20 years tobring thisprojectto fruition. Among its allies is former Kansas City, Mo. mayor, Richard Berkley. ‘The Halll of Fame, far from being a tax burden ty Ue citizens of Kansas City, will actually strengthen the local ‘economy. The Jazz Hall of Fame will be self-supporting after the first year of operation. Its major components, which include a museum and memo- rabilia shop, are designed to generate Tevenue. The timing of the Hall of Fame in the 18th and Vine Historic District could not be better. With the expan- sion of Bartle Hall and the possibility ‘ofamajor new hotel downtown, Kan- sas City is poised to pullin the kind of national convention business ouly dreamed of before. And when people come to Kansas City, they want to hear Kansas City jazz. The Hall of Fame is sure to draw national and international attention due to the strong support of the enter- tainment community. World-famous performers suchasDave Brubeck Ella Fitzgerald Richard Pryor, Clark Terry, Max Roach, Clint Eastwood and Bill Cosby have worked for the Jazz Hall of Fame. The legendary William J “Count” Basiewasanactivesupporter until lis death in 1984, a collection of Basie memorabilia will be featured at the Jazz Hall of Fame. ‘The Hall of Fame will bestow the substantial, economic benefits to Greater Kansas City thatother halls of fame have produced for their regions. An economic analysis of the Rock and Roll Hall of Fame in Cleveland, Ohio, estimates that when it begins opera- tion in the early 1990s it will draw 600,000 to 700,000 visitors a year and pump at least $20 million in direct tourism dollarsinto thelocaleconomy. Other halls of famenumber visitors in the hundreds of thousands. Jazz enthusiasts realize that, in the words of a 1987 Congressional Reso- lution, jazz is “a rare and valuable national American treasure” that “has becomea trueinternational language.” Itisa language built upon Kansas City jazz. The International Jazz. Hall of Fame willassurethe world hears from KansasCity and Kansas City jazzonce again. ° ‘LESLIE E. BECKER, M.D., F.A.CS. (UROLOGY) Diseases of Urninary Tract, Kidney and Bladder eon SSE say sore, JAZZ GUITAR INSTRUCTION Improvieatlon, Music Theory, Ear Training, & Chord Melody Private Instruction Novice through Advanced College Credit: also avaliable THOMAS FENDER Home: 765-0640 Studio: 942-214 JAM Magazine29, 1992 °7:30 PM NS OF KANSAS CITY SOUTHWEST TRFWY. TaN em ele IST KEVIN MAHOGANY ROB RICHARDSON RICHARD ROSS backed by ssSLICK) KANSAS CITY aes $6 ar the door ¢$4 for Jazz Ambassadors 'AMBASSADORS For more information, call 478-83 /8.1992 KC BLUES & JAZZ FESTIVAL - JULY 27-26 ‘Kansas City's World Class Event’ It’s Something to Shout About by Shirley Mae Owens lues and Jazz is Kansas City’s heritage. For many, Blues and Jazz are considered singular musical forms but in KC where the Blues jumpand Jazzswings, they often mixand have been since the 30's. This Kansas City tradition continues at the biggest blues and jazz blowout, The Kansas City Blues and Jazz Fest, July 25 and 26, from noon til dusk at Penn’ Valley Park. Admission is free with two stages catering to blues and jazz lovers. The Blues stage, located north of Liberty Memorial, and the Jazz stage, south of the Memorial, willeach offer seven Kansas City bands and seven national headliners. Lastyear’s Bluesand Jazz Festdrew a record breaking crowd of over 110,000 people. There's no doubt that tt will happen again will entertainers likeJay McShann, Delbert McClinton, The Rippingtons, Buckwheat Zydeco, George Howard, Katie Webster, Cassandra Wilson, _ Charlie Musselwhite, Kenny Kirkland, Latimore, Cornell Dupree, The Holmes Brothers, Terence Blanchard, and more. Jay MeShann Kansas City’s own international celebrity, Jay McShann, will exclu- sively perform onbothstages. On Sat- Giving KC something to shout about! Jay McShann performing on both stages urday, the Jay McShann Quintet will jump on the Blues Stage and The Jay McShannBig Band willbeswingingat the Jazz Stage’s finale on Sunday. World renown as a jazz legend, Jay McShann’s piano style, singing, and songwriting was influenced by the Blues. McShann believes thatjazz was built off of the blues. His influences include Art Tatum, Earl “Fatha” Hines, Mary Lou Williams, Count Basie, Big, JoeTurner, WalterBrown,and Crown Prince Waterford. 1n 1936, Jay McShann stopped offin Kansas City on his way to Omaha and never left. Jay McShann quickly as- sembled his own band and by 1939he had 11 pieces that included legendary Charlie Parker, William Scott, Bob Mabane, Orville Minor, Gus Johnson, and GeneRamey.In’41, McShannmet singer Walter Brown and they co- wrote “Confessin’ the Blues” which sold over a half-million copies. Walter Brown left the band in 1945 and McShann replaced him with a new talent, Jimmy Witherspoon, In the60’s McShannstayed close tohome while his three daughters were grow- ing up. He first toured Europe in 1968 and since ’71, McShann has returned annually. Finally, Jay McShann re- gained America’sattentionagain with therelease of “Big Apple Bash” on the Atlantic label. This was the first re- cording that debuted his highly ac- claimed singing as well as his piano arrangements. Today, Jay McShann is recognized as a living legend. Although he has resided in Kansas City for over 55 years, he rarely performs here. This year Jay “Hootie” McShann comes home and that’s something to shout about! Diversity best describes the lineup on the Blues Stage. There’s the Texas influenced bluesof Delbert McClinton, the Chicago southside blues riffs of Charlie-Musselwhite, the Louisiana swamp, boogie, funk and Zydeco of KatieWebsterand BuckwheatZydeco, JAM Magazinetheoriginal eclectic New York Blues of the Holmes Brothers, and the smooth Delta soul man, Latimore. Delbert McClinton Delbert McClinton is still riding high from his recent Grammy Award with Bonnie Raitt for the Best Rock Vocal Duet, “Good Man, Good Woman” which appears on McClinton’s hot new Curb release called Never Been Rocked Enough. Be- sides singing, Delbert McClinton isan excellent songwriter, producer, and guitar and harp player. Delbert McClinton’s music can range from hard rocking blues to a slow ballad smothered with a whole lot of soul. See Delbert McClinton and band at the Blues stage finale on Sunday. Charlie Musselwhite A Blues harp master, Charlie Musselwhite, once known as “Mem- phis” Charlie because of his early roots playing the blues with the legendary Memphis Jug Band, takes the Blues StageonSunday. Musselwhitemoved to Chicago at age 18 and soon found the blues on the south and west side with the likes of Little Walter, Muddy Waters, Howlin’ Wolf, J.B. Hutto, Big Walter Horton, Big Joe Williams, and his life long friend, John Lee Hooker. Memphis and Chicago blues contin- ues to inspire Musselwhite’s music as heexpandshisrepertoirein rock, jazz, and funk. Check out Musselwhiteand watch a master at work. Katie Webster The two-fisted swamp boogie August/September1992 Queen is back. Katie Webster last ap- peared in Kansas City at the KC Blues & Heritage Fest at Benjamin Stables. She has been away for too long and like many blues and jazz performers, she spends her summers touring Eu- rope. Katie Webster's singing and boogie woogie piano playing was first discovered by thelegendary Jay Miller of Excello Records where she'made her first recordings with Slim Harpo, Lazy Lester, andlater on theGoldband records, she recorded with Lonnie Brooks aka Guitar Junior, and Clifton Chenier. OtisRedding discovered her and she opened his show for three yearsuntil hisuntimely death. Webster has been influenced by Fats Domino, Little Richard, and Jimmy Reed. Webster’smusicisamixtureofdown- home blues, swamp pop, R&B, soul, and gospel. She tells it like it is and if you want to hear all about it be at the Blues stage on Sunday at six. Buckwheat Zydeco ‘Stanley Dural (aka Buckwheat) was born in the Zydeco capitol, Lafayette, Louisiana on November 14,1947. Stanley was influenced by his father, who was an amateur musician, James Brown, Aretha Franklin, Fats Domino, and Little Richard. Buckwheat has takenZydecomusicaround the world, evolving the music into more nontraditional Zydeco because of his added funk and country. Although Buckwheat can play accordion, his work on the Hammond B-3 is phe- nomenal. Put on your Zydeco tennis shoes when Buckwheat closes the Blues stage on Saturday. Holmes Brothers The Holmes Brothers consists of Wendall Holmeson guitar, piano, and vocals, Sherman Holmes on bass, pi- ano, and vocals, Popsy Dixon on drums, percussion and vocals, and GibWhartonon pedal steel guitar and vocals. Their influences begin with Jimmy Reed, Sam Cooke, the Bo Diddley beat, and moving gospel spiri- tuals. You may be familiar with the songs they do but you've never really heard it until you hear The Holmes Brothers’ version. They make it their own. They will be making their Kan- sas City debut. Get hip with The Holmes Brothers on Saturday's Blues stage Latimore Latimore is known for his big soul hit “Let’s Straighten, It Out” and if anyone can, Latimore is the man that cando thejobon Sunday's Bluesstage at 4:30 p.m. Latimore often tours the “Chitlin” circuit and has performed oftenatKC’s Armory shows. Perform- ing professionally for over 30 years, Latimore’s voice is justas smooth and sexy as ever. “Slow Down” is Latimore’s latest Malaco release Latimore's blues may surprise you when youfind oneself getting into the groove The Jazz stage has a great lineup of talent from the ever popular magic of The McFadden Brothers to the Rippingtons. You will see variety and quality.Terence Blanchard Terence Blanchard, performing on the Jazz stage on Saturday, is a New Orleans native. He actually began on the piano before turning to the trum- pet. In 1982, he performed with Art Blakey and the Jazz Messengers’ Grammy Award winning album, New York Scene. Blanchard has had contin- ued success. He co-produced with Donald Harrison Nascene in ’86 and Crystal Stair in’87. plus Pearl Black in "88. Morerecently, Terence Blanchard has appeared on the soundtracks of “Jungle Fever,” “Mo’ Better Blues,” and “School Daze.” Cornell Dupree ‘Comell Dupree follows Blanchard on the Jazz stage. Dupree is a natural. Hehasnever takena guitarlessonand was first inspired by Johnny “Guitar” Watson. His father was the late great “Champion” Jack Dupree. He has played with many super stars like King Curtis, Aretha Franklin, Jimi | Cassandra Wilson. Hendrix, Barbara Streisand, and The Temptations. Dupree’s solo album, Coast to Coast, was nominated for a Grammy in 1988. Cornell Dupree's more recent solo work, Can't Get Through, was réleased in 1990. You will appreciate Dupree when you see him live on the Jazz Stage. Cassandra Wilson Cassandra Wilson began playing Kenny Kirklané piano at age six and guitar at age 11. She grew up in Jackson, Ms. listening, to her father’s jaz records and her mother’s Motown sounds. Cassandra has performed with Earl Turbinton, Ellis Marsalis, Woody Shaw, Henry Threadgill and Dave Holland. Wilson’slatest release, She Who Weeps is blues, jazz, and funk. You can wit- ness Cassandra Wilson’s unique style on Saturday following Dupree. The | Piano Bar & WO A downtown hotel a century ago, The Phoenix returns...as a Piano Bar & Grill ac Happy Hours5-9Mon Fii Featuring Tim Whitmer &KCExpress KCBottoms Band “Wednesday +9 pm-1 am TheScamps Saturday Matinee *4-8 pm WELCOMI TSE PTT TTT TE ThePhoenixopenfrom9 pmto 1 am...featuring Tim Whitmer & KCExpress *Tommy Ruskin Trio = »Karrin Allyson Joe Cartwright FrankSmith’ Callfor Schedule Kitchen Open from 11 am until Midnight 302 W. 8th Street "472-0001 » JAM MagazineKenny Kirkland Avirtuoso pianist, Kenny Kirkland, is only 34 years old and he can play classical, jazz, rock, fusion and R&B. He has performed with Wynton Marsalis and is now on the Tonight Show in Branford Marsalis’ Band Kirkland’s mentors include Herbie Hancock, Kenny Barron, and McCoy ‘Tyner. From 1985 until 1990, Kenny Kirkland was in Sting’s band. This of course was financially rewarding but artistically Kirkland finds fulfillment when he plays acoustic rather than electricpiano, suchas when he played with Wynton and his current gig. Kenny Kirkland’s performance will be Saturday's finale. The Rippingtons The Rippingtons, featuring Russ Freeman, will havea surprise in store for their hard and true fans. The Rippingtons, in addition to their well known jazz fusion, will be performing, acoustic jazz as was featured on their latest album, Curves Ahead. In fact, Russ Freeman who has been a virtual one-man band with his sound ma- tine, has come a long way sintce his debutalbum in 1985. Hehas dispensed with drum machines entirely and grouped with various, talented jazz men. Rippington fans, you won’twant to miss this new sound, performed in a way that only the Rippingtons can do. George Howard Saxophonist George Howard only began recording nine yearsago,buthe has a left an impressionable mark on the jazz community. Howard is one performer who combines Bach, Beatles, Chick Corea, and John Coltrane—all heavy influences in Howard'slife. Howard began touring in 1979 with Grover Washington, Jr.In 1985, he had his first commercial hit with Dancing in the Sun. Since then, his albums have hit the nation’s jazz charts. Howard enjoys being on tour with guitarist Derrick Scott, bassist RonnieGarrett and keyboardist Vance Taylor. Be sure to catch him on this tour as he makes big noise on the jazz stage. Opening for the national talent, the KC Blues & Jazz Fest will feature local talent such as guitar masters—Sonny Kenner, Bill Dye, Freddie Johnsonand John McNally, and KC Women of Jazz including Lisa Henry, Karrin Allyson, and Mary Moore. Plus The Bram Wijnands Trio with Richard Ross, The KCBlues Band, Full Blast, John Paul & the HelIhounds, Diana “Mama” Ray & the Rich Van Sant Band, Interstring and Mahogany willall be performing, Blues and Jazz: Festival essentials include sun block, a hat, cool clothes, a blanket, and plenty of water. Food and beverages will besold at the park. + a es ota yaa Caw now appearing in our 12th Street Bar AW lebeticC hmm deraremernAbenc tN 8:30 p.m. until 12:30 a.m. No Cover Charge LLIS + LAZA ALLIS PLAZA HOTEL ° 200 W. 12th Street » 421-6800 August /September1992nae Jazz at the Nelson-Atkins Museum Every Friday evening until the end of August, Jazzison the Rozelle Court Restaurant's menu from 6:15 - 8:15 pm, at the Nelson-Atkins Museum of Art, 4525 Oak St. The music schedule is: July 17, Rich Hill Trio; July 24, Interstring; July 31, Karrin Allyson; August 7, The Scamps; August 14, Stan Kessler and the Sons of Brazil; August21, Tim Whitmerand JimMair; and August 28, David Basse. Music in the Parks Series Blues, Jazz, Big Band, World Beat, and Country continue at Kansas City area parks. Bringa lawnchair and come ‘enjoy musicin theparksevery Sunday from 7-9pm. All shows are free. * July 19: Benton & Brush Creek Amphitheater is Great Ladies of Blues &eJazz featuring QueenBey 1da McBeth with special celebrity guest emcee, Danny Cox. + August 2: Benton & Brush Creek Amphitheater will be the Center for World Music featuring the New Village Drum é& Dance Ensemble & Manos Crribbean Ensemble with Mayor Emanuel Cleaver of Kansas City, Mo. as the the special guest emcee. + August 9: See the Boulevard Big Band at Sunnyside Park, 83rd & Summit. « August lé: Parade Park, Paseo & Truman Rd, see Little Hatch & the Houserockers with Chuck Haddix, host of KCUR, 89.3 FM, Friday & Saturday Night Fish Fry, as the celebrity emcee. + August 23: Lakewood Greenway (Penguin Park), I-35 to NE Vivion Rd, Parallel to N. Norton Ave. The Dixie Cadillacs will entertain with 61 Country DJ, John Wozniak. + August 30: The Concourse Benton, Blvd & St John Ave. The Tony Dipardo Orchestra will eae Kevin Mahogany celebrates 34th birthday. perform and Dick Wright of KU's Music Department and host of the “Jazz Scene” on KANU-FM. In a Jam at 34 with a Dozen Vocalists Kevin Mahogany’s 34th birthday, July 30, will be celebrated with “An Evening to Sing About’ at 7 pm. at City Light Jazz Club, 4749 Pennsylvania. About 12 vocalists will be performing including Mahogany, Karrin Allyson, Queen Bey. Greg Clark, Carol Comer, Angela Hagenbach, Kelly Hunt, Pam Miller, Orrestie Tucker. Proceeds will benefit the Jazz Ambassadors’ Emergency Fund for Older Musicians. Ticketsare $12 or $20 for two. Call Michelle, 523- 1443 for advance tickets. Jazz Ambassadors Sponsor the Joe Cartwright Trio & Richard Ross Joe Cartwright, Gerald Spaits, Tim Davis, and Richard Ross represented Kansas City at Expo ’92 in SevilleSpain. Becauseof their diligence to get there (giving up paid gigs, performing in Spain for free, and even borrowing money), the Jazz Ambassadors will sponsor the Joe Cartwright Trio and Richard Ross concertat the Folly Theater on August 3. Admission is $10 per person, $8 for Jazz Ambascadors. There willbeguest appearances by Queen Bey and other KC artists. Call 474-444 for tickets or stop by the Jazz Ambassadors booth at the Blues & Jaz Fest. Krakow Youth Jazz Ensemble Mutual Musicians Foundation, 1823 Highland and The Elder Statesmen of Kansas City Jazz, Inc. will host the filining of a video documentation to feature the Krakow Youth Jazz Ensemble who will be in Kansas City August 10-23 to start their USA tour. The Krakow Youth Jazz Ensemble is the only high school age group in Eastern Europe _ exclusively performing jazz. Since 1990, the Mieczslaw Karlowicz MusicSchool in. Krakow, Poland has taught over 250 Jazz students. The ensemble will perform in concert at the Granada Theater, 1015 Minnesota Ave. For more info, call 342-4233. Elder Statesmen & Jazz Heritage Awards ‘The 1992 JazzHeritage Awardsand Elder Statesmen of Kansas City Jazz Induction Ceremony will be held at 5 pm Friday, August 21, at Saks Fifth Avenue, 444 Nichols Road. It is free and open to the public. The inductees to the Elder Statesmen of Kansas City jazz for 1992 are: * Albert D. Bartee, Drums + James Brown, Trombone * Dr. William Clark, Minister of Kansas City Jazz Stan Elliott, Trombone Byron “Pete” Eye, Piano Skip Hawkins, Saxophone Terry Hughes, Drums Myles Pruett, Piano Richard Ross, Vocals and Drums Annetta “Cotton Candy” Washington, Vocals The induction ceremony for the JAM MagazineElder Statesmen will be held in conjunction with the Kansas City Jazz Heritage Award Ceremony sponsored by the Kansas City Jazz Commission. Sam Johnson, Jr. is President of the Elder Statesmen of Kansas City Jazz, Inc. Over 200 Elder Statesmen have been honered to date, many of whom graced the roster of the Mutual Musicians Foundation, knownaround the world as the home of Kansas City jazz. Many jazz musicians still meet, rehearse and jam until the wee hours ofthemorningat the Mutual Musicians Foundation, 1823 Highland. Jazz Cruise ‘The KansasCityJazz Ambassadors’ 3rd Annual Jazz Cruise willbe heldon the Missouri River Queen, 1 River City Drive, Kansas City, Ks. on Thursday, August 27. Tim Whitmer & the KC Express with Sonny Kenner and Everette DeVan Quartet with Richard Ross will play from 8- 10:30 p.m. The Missouri River Queen begins boarding at 7:00 pam. Tickets will be sold at the Jazz Ambassadors booth at the Blues & Jazz Fest or call Ticketmaster, 931- 3330. Also, Obsessionsand the Phoenix Bar &Grill will have Jazz Cruise tickets. Besure to get your tickets in advance, $16 for public and $14 for Jazz Ambassadors. The last two Jazz Cruisessold out. Formore details, call 942-3349. Spirit Festival Horace Washington, jazz coordinator, reports that the following. KC jazz artists are scheduled to perform at the Spirit Festival, September 3-6, at Liberty Memorial Park: September 3 00pm Ron Roberts 730pm Vince Bilardo & Friends September 4 600pm The Unbound pm Greg Mcise Quartet pm ssSlick September 5 130pm Anderson Project 330pm Sonny Kenner 530 pm _Interstring August /September1992 oe . Steve Miller KC Band with Rosetta Robinson (inset photo) to raise money for a trip 730 pm Rich Hill Trio 930 pm Horace Washington September 6 T2noon Scott Walker Quartet 130pm Queen Bey & Co. 3:80pm Eddie Baker's New Breed KC Jazz Orchestra Steve Miller KC Band with Vocalist Rosetta Robinson ‘Steve Miller’sK(C Band with vocalist Rosetta Robinson are raising funds to go to Seville, Spain in August. They are close to sending at least a quartet or quintet. If you can help, every contribution no matter how small is needed. Tax exempt status contributions should bemadepayable to Expo '92 Seville/Kansas City and noted for the Steve Miller KC Band, 9907 West70th Ter., Shawnee Mission, KS 66203. Call Steve Miller for more information at 722-0887. In Memoriam — Kansas City Legendary Jazz Trumpeter, Booker T. Washington Booker Washington died onJune9, 1992 at age 83. He played trumpet with ArtSmith’s Kansas City Jazz Band. into the 1980's, worked with pianist ‘Chauncey DownsRinky Tinksin 1928 and with Fred McGrew’s jazzers in 1929. Te was with Bennie Moten’s to Spain Kansas City orchestra, which included Count Basie, from 1929 to 1932 and later joined Thamon Hayes’ Kansas City Rockets. He was with saxophone player La Forest Dent from 1936 to 1944. He was a member of the Mutual Musician's Foundation, inducted into the Elder Statesmen of Kansas City jazz in 1983, and received the Jazz Heritage Award from the Kansas City Jazz Commission in 1988. Ray Charles Performs in Benefit Singer and musician, Ray Charles, ‘will entertain at the 40th Anniversary Gala of the Children’s Center for the Visually Impaired at the Hyatt Regency Crown CenterHotelon Labor Day, September 7. The black-tie optional dinner beginning at 6 p.m. will benefit the Children’s Center, a not-for-profitorganization, serving the very young blind and visually impaired children of Greater Kansas City. Ray Charles, who lost his sight at age7, will performattheGala with 17-piece orchestra and five back-up singers, the Racletts. Charles’ career, spanning fivedecades, hasinfluenced all types of music— rhythm & blues, jazz, rock & roll, and country & western. CCVI has been helping children 9Notes (commuxn) frombirth toseven yearsofageachieve their potential in the sighted world since 1952 Admission price for the 40th Anniversary dinner and concert are $150 per person. For more information about the Gala or CCVI’s program. please call the Center at 333-3166. Monty Alexander at JCCC Jazz pianist Monty Alexander will perform at Johnson County Community College, 12345 College Bivd,, Friday, July 31, at 8 pm. and Saturday, August 1, at 8 p.m. Alexander will perform his jazz artistry which isa combinationofstec! drums and chamber orchestra. This concert will also mark his world premier of a major new jazz compositionby Alexanderand Charles Floyd, musical director for Natalie Cole. Alexander will givea workshop on fonty Alexander. Formoreinformation, call 469-3846. Shriners’ Homeless Benefit Vocalist Nancy Wilson will be appearing in concert, at the Midland Theater on October2. Her performance will occur asaresultof the cooperative efforts of the Shriners, Homebound, Nancy Wilson. Inc., and KC Muzik Productions. Profits from theconcert will be used to provide shelter for some of KC’s homeless citizens. For more information, call 358-7476. Sax Man Tom Scott at GE Saxophonist Tom Scott will make ‘August 1 at 4 p.m. 1e HOT spot is Sth-& Central Jim Mair’s SU atau Hea ceo cunnabes * Always Quality Entertainment ¢ Professional Bands for All Occasion: * Style Ranging from Jazz to Rock ¢ ‘* Most Competitive Prices © ¢ Guitar Lessons Also Available ¢ “Think of Us As Music at Your Fingertips!!” WILLIE MATTHEWS (816) 358-2974 P.O. Box 4385. Kansas City, MO 641 eid Renee gece or TPhoepe (neh 10 JAM MagazineTorn Scott: an unusual appearance at the Grand Emporium, 3832MainSt,on Tuesday, August 11 for two shows. Scott willbe stepping out of his usual electtic sounds and performing acoustic, straight-ahead jazz. This will bea treat for all Scott fans and jazz fans. Scotthas performed withbig bands, LA Express with Joni Mitchell, Steely Dan, Paul McCartney, and others. His new release Born Again features his new acoustic sound. (all1531-7557 formoreinformation. Chiefs Kickoff 18th & Vine Fest ‘To kickoff the 18th & Vine Heritage Festival held in August, the Kansas City Cheifs football team will host a fundraiser for theeventat the Phoenix Bar & Grill, 8th and Central, on Wednesday, July 29, at7 p.m. Deron Cherry and other Chiefs players will represent the team when they tap to the beat of pianist Frank ‘Smith and friends. Asilent auction will also beheld at the Phoenix to benefit the festival Admission is $5. For more information, call 474-8463. Folly Announces 1992-93 Jazz Season The Folly Theater, 300 W. 12th St., hasannounced their 1992-93 12thStreet Jaz Series. It includes: October, Billy Taylorand Ramsey Lewis; November 7, The Frank Mogan Duo plus Alexander Zonjic & Friends; November 21, Supersax; December 5, Rob McConnell with KC Jazztet & UMKC Jazz Orchestra; February 6, “A Little Mo. Jazz I” with the McFadden Brothers; March 6, The Dorothy Donegan Trio; April 24, Marcus Roberts and Ellis Marsalis; May 22, Rebirth Brass Band and Beeausoleil. ‘Order season tickets from the Folly Box Office at 474-4444. Chicago Jazz Festival September 5-6, 1992. For more information, call (800) ITS-CHGO. WANTED! AD SALES ST, y FF 7 a = TH FS = = = ta ae “Run don’t walk to your nearest record store and add this one to your collection.” now available at - Classical Westport - 7th Heaven - Corky's festivals. 7225 Outlook Julie Turner’s “Save That Time” - Best of Kansas City (Brookside, Crown Center) - Pennylane and Streetside Records. + Music Exchange - Westport - Village Records & Tapes Also available at Jazz Ambassador booth at the or send $10.00 plus $2.95 (shipping/handling) to: Julie Turner - Save That Time Overland Park, KS 66204 To book the Julie Turner-Tommy Ruskin Group for Private Parties, Wedding Receptions, or any special occasion, call (913) 432-6885. ~ Dick Wright August/September1992 u1 & VINE HERITAGE FESTIVAL - AUGUST 8-9 Relive the Moment! ‘SEE PAGE 33 FOR A COMPLETE FESTIVAL SCHEDULE! by Kathy Feist hilepianist Jay McShann performson thebig stage at the Blues & Jazz. Festival, his daughter, Jayne McShann-Lewis, will be frantically putting together the final touches of the 18th and Vine Heritage Festival to be held August 8-9, noon to9 p.m., at the historic 18th & Vine district. True to form, the festival hasbeen specifically directed by Jayne McShann to emphasize the sounds associated with Kansas City jazz— that bluesy-jazz swing, still present in some of today’s music. Christopher Hollyday Following the steps of Kansas City's native son, Charlie Parket, young saxophonist Cluistopher Hollyday will light up_ thestagewithhisfastnoteson thesaxophone Hollyday wasborn in197)and raised inNorwood, Mass, thesonofasalesmanand avid bebop listener. Hollyday picked up his first saxophone at ‘age9 and by the timehe was 14, hehad not only learned mostof Charlie Parker ssolosby heart, butmadehisprofessionaldebut. ‘One year later, in 1985, he cuthis first album asa leader, Treaty, ‘on his own Jazzbeat label. Since then, he has recorded four additional albums, themost recent being The Natural Momenton RCA/Novus. Hollyday’smentorsincudeParker, John Coltrane, Sonny Rollins, and Jackie McLean. Along with his quartet, ‘Hollyday puts out an intense bebop sound. He usually blows: audiencesaway withhisquickfingering Jongbreathcontroland embouchure. Christopher Hollyday. Clarence “Gatemouth” Brown. Clarence “Gatemouth” Brown Guitarist “Gatemouth” Brown hasa knack forblending various American music forms — jazz, blues, bluegrass, country, swing, fink, and Zydeco. This talent has brought his music the Washington Post's praise “as rich and varied as the American music tradition itself.” Bom in 1924 in Vinton, La., and raised in Orange, Tx., Brown learned to play guitarand fiddle fromhis father. He ‘began playing professionally asa drummer at age 21. But his big break came in 1947, when Brown was in the audience listening to famed guitarist T-Bone Walker ata nightclub in Houston. Walker suddenly became sick and dropped his guitar onto the stage in the middle of a number. Brown leaped to the stage, picked up the guitar, and laid into one of his own tunes, “Gatemouth Boogie.” The crowd went wild, tossing $600 at Brown's feet in 15 minutes. From there, he teamed with a 23-piece orchestra and toured the South and Southwest. He first recorded in 1947. In the 60s, Brown moved to Nashville and began per- forming country music. After a brief hiatus in the 60s (when Brown becamea deputy sheriff), theguitarist toured Europe as part of a blues revival being experienced there. Hehas since becomea Montreaux jazz Festival fixtureand has received a Grammy nomination for his 1986 album Pressure Cooker. He has appropriately been named spokes- person for American music. Jeannie and Jimmy Cheatham Jay McShann highly recommended Jeannie and Jimmy Cheatham to his daughter for the 18th & Vine Festival. After listening to a few tapes, Jayne McShann knew this was a couple that was true to the 18th & Vine musie ‘The Bosman Twins. JAM MagazineTeurie una Jimmy Cheathuar. philosophy: Though pianistand vocalist Jeannie Cheatham. was born in Akron, Ohio, and husband and trombonist Jimmy is a Wisconsin native, their music is certainly a Kansas City sound. In fact, jazz critic Leonard Feather wrote, “Playing determined, rolling piano...Jeannie sang ’ Cherry Red’ and some of her home-brewed blues with a band [which] backed and filled and stomped and riffed, distillingenough dirty, greasy, nasty, funky blues to take us back to Kansas City with their speakeasy beat.” And the New York Times compared her piano playing style with that of Count Basie's. The couple tours festivals and wows audiences on cruises. Jeannie Cheathamhas toured with Big Mama Thornton, Cab Calloway, T-Bone Walker, Joe Williams, Dinah Wash- ington and more. Jimmy Cheatham has toured with Duke Ellington, Lionel Hampton, Thad Jones, and Ornette Coleman. The two taught at the University of Wisconsin before moving to San Diego. They have four recordings and several awards. The Bosman Twins ‘The Bosman Twins will ring their St. Louissound to the 18th & Vine Festival. Kansas City jazz fans will see a similarity between these brothers and Kansas City’s McFadden Brothers. Both put on outstanding and highly entertaining concerts. Born on July 29, 1952, inSt. Louis, at the age of 10, Dwight was playing clarinet, and Dwayne, flute. Inspired by their father, Lloyd Smith, formersideman with Count Basie and Duke Ellington and reedman with Earl “Fatha” Hines, The Bosman Twins began listening'to ‘great jazz at an early age. A nostalgia for a taste of their formative years in jazz is indicative of the Bosman’s musi- cal style. Their stage presence is reminiscent of early hoofers (tap dancers)and jazz artists from the’40sand’50s. Their performance has been graced with the presence of Branford Marsalis. The Bosmans are sure to entertain music fans of all sorts. ¢ August/September1992 ee ——————————— AUGUST “92 SCHEDULE Litle HatehsNoute Party © Every Gri. © 6 to 8 pm Gilbert's Blues Party * Esory Sat. * 4 to 7 pm § BAGHDAD JONES 1 AN EVENING WITH TOM SCOTT — JAZZ SAX GENIUS 01S & TH 13 KCBS JAM — MR. CARDY-S NIGHTLY PARTY| SEPT. 92 SCHEDULE 1§ ROOMFUL OF BLUES dOdd MAIN Gd1-1304 13COA Commy Ruskin and Julie Curner: A Marriage in Jazz BY TERRY MALONE azz lovers everywhere can thank Marilyn Maye for teaming Tommy Ruskin and Julie Turner. A young drummer, sitting in for the first time and an aspiring jazz singer were introduced atthe Colony Club. meeting. Tommy,aKansasCity native, started playing drums when he was 14. In these early years, it wasn’t pure jazz but ‘Tommy knew this was his ulti- mate direction. Then he got bumped off his stool...iterali Tommy auditioned for a local This chance encounter turned band and was beat out. That into a romantic marriage and Mle was all the inspiration he musical union that continues to grow needed to become one of the most and prosper! popular, highly sought after and re- Likefine wineand good jazzittook _spected drummers, not just in KCbut alittle time to get cooking but after 20._ nationally. plusyearsthey’rehittingthehighnotes __Julie brings a great jazz and ballad for themselves in the Kansas City jazz tradition with her to Kansas City. A scene. native of Summit, a New York metro Let's gobacka little, before thefirst area, she as fond memories of the 4 JAM Magazine‘greatjazz traditionin the Big Apple. A superb stylist with a voice to handle any tempoorstyle,she claimsinspira~ tion from a wide spectrum of singers..Sinatra, Tony Bennett, and ‘Carmen Macrae. Listen closely and you'll also hear shades of Sue Rainey and Ernestine Anderson! Itall came together in Iowa—four young Kansas City jazz players work- ing together for the first time at a summer resort—a quartet of Julie, ‘Tommy, pianist Russ Long and bass- ist Don Faraar. AClose Call This union began a musical tradi: tion that continues to grow bringing classic jazz with a new perspective to Kansas City. Julie's most recent re- cording has these wonderful players together again. Itis an especially poi- gnant effort since it could have been their last recording together. Health problems wereslowlysteal- ing Julie's stamina and energy. Julie's voice was never affected yet her abil- ity to breath was deteriorating and becoming more and more difficult. Fora singer with great energy and “a hard swinger” as Tommy puts it, the only solution was torisk an operation and hope and pray it would turn out for the best. Julie says, “ The decision was made to turn it over to God, Dr. Larry Hoover, family and friends.” = IT was “a 17-year old honkey playing with two really great, kind of legendary black mu- sicians.” — Tommy Ruskin ‘There werea few things toattend to beforehand. Knowing this could be the last recording together, they went to work and produced what might become Julie's signature recording. Save That Time isa blend of standards and new material, most notably Russ Long's title track “Save That Time.” ‘The classic jazz trio setting showcases Julie and she delivers. Add the won- derful touch of Russ Long, the subtle bass shadings of Bob Branstetter and ‘Tommy's classic drum work and you haveanabsolute winner. Plus, thereis icing on thecake—MikeNingand Bob Bowmansitinon twotracksrounding ‘out a wonderful sampling of Kansas City jazz! ‘The chemistry is so good it is natu- ral to wonder why Julie and Tommy don’t work together all the time. She says he spoils her. He says it’s fun to play with a vocalist that doesn’t make him blend into the woodwork. In the Beginning Julieand Tommy fondly remember starting their careers in the various clubs in and around the Kansas City area. Their rootsare true to the Kansas City jazz traditions. Julie vividly recalls the Horseshoe Lounge where she started with Long and Branstetter. The group had a unique jazz concept with piano and bass, and Julie handling the vocals with Long and Branstetter joining in for the group's trademark three-part harmony, Julie started her career-long affilia- tion with the Steve Miller Band. The Steve Miller Band has always enjoyed a strong society and private club fol- lowing, providing the kind of positive atmosphereayoung vocalistcanthrive on, Julie feels these opportunities helped her establish the loyal follow- ing she enjoys today. ‘Tommy was smiling as he recalled his first six-night-a-week club date. He laughs as he describes himself as “a 17-year old honkey playing with two really great, kind of legendary black musicians.” One was Roy John- son, a longtime member of the Lionel Hampton Band. Tommy describeshim is “an ethereal electric ‘bass player, one of thefirst, ifnotthefirst, pure jazz player to use the electric bass”. The other player was pianist Frank Miller, “ust excellent, kind of Ahmad Jamal Kansas City’s First Choice For Jazz Recording! OUR “DIGITAL DOMAIN”’. “10 HOUR: SONY 3324 World Class Digital Multi — DIGITAL 24 ee TRAC) “10 HOURS — ANALOG 24 TRAC! RO eee The Best Audio You've Ever Heard. T GOT BIGGER! (Ste Peo CHAPMAN RECORDING STUDIOS 16 [CIC eee br Pcie JAM Magazineor Red Garland in style”. This group opened the Castaways near 43rd & Main near the present day Levee. The Castaways quickly became a highprofileclub, thekind whereother musicians came to sit in, giving ‘Tommy the chance to play with most of the bigger names in Kansas City. Onenight, Marilyn Mayeandherhus- band Sammy Tucker dropped in and asTommy putsit “they seemed to like my playing.” Tommy wason his way. ‘Tommy played on a Marilyn Maye albumtitled Marilyn The Most withthe songs written by Carl Bolte and ar- ranged and produced by Maye and Tucker. A few years later Tommy joined Maye and Tucker on a perma- nent basis that lasted over five years, recording a second album on RCA Victor done liveat the Living Room in New York City. Julieis proud of her favorite drum- mer and persuaded Tommy torelatea bittersweet tale about Stan Getz. Julie goes back to 1978 when Stan Getz was ontourand looking fora drummer. A mutual friend recommended Tommy to the great sax player. Julie recalls that Getz was one Tommy's favorites and she urged him to go for it. There was a certain amount of hesitation because it was. a musicians’ dream—a permanent six-night-a-week booking. Julie urged him to pursue the op- ‘One day the phone rang. ed “Basically, [the Levee jam] started of F with nothing and Tommy lias builr ir up so that it has packed every Saturday.” Julie laughs as she recalls her intu- ition. Shejustknew the caller wasStan Getz. Getz invited Tommy to New York foranaudition. Atthe time, Getz was living in the old Gershwin Man- sion and the session was held in the living room. They hit it off immedi- ately and Tommy was offered the job. But, it was not to be. Tommy just couldn't drop everything and walk away from his commitments. In Tommy's case, lightning docs strike twice. Roland Hannah of the New YorkJazz Quartet came outwith George Marantz to hear Tommy play. Again, he was asked to drop every- thingand cometoNew York. Another hard choice for Kansas City’sbestkept secret. But, again the concern of a steady six-night-a-week booking con- flicting with his family’s interest dis- couraged him. Tommy reflects thathe feels fortunate just to have had these ‘opportunities and recognition. KC is OK Julieand Tommy agree thatKansas Cityisalrightby them. Julierecallsthe Saturday afternoon jamsessionsatthe Levee. “Basically it started off with nothing and Tommy has built it up so that it has just about packed every single Saturday,” she says. Tommy is gratified it has become so popular, “It is a nice format for people to come in and getachancetobeheard. Youhave all the top people in town plus people whodon’thave the chance tobe heard. Every now and then someone will wander in whom nobody has ever seen before—someone new—at least for the Levee, and knock everybody out. I enjoy it. It gives everyone a chance to perform. I'm always willing, to give people a chance,” he says. The jam has been so successful that Julie and Tommy have started an- other at Costello's on Wednesdays between 5 - 8 pm. Julie says it is working out great and fits into the growing Kansas City trend to offer jaz in the late afternoon and early evening, “People just aren’t going out as much, they don’t go out like they used to,” she says. This gives people thechancetostopand enjoy greatjazz and still get home early during the ‘week. Itisalso good for the musicians, the early starting time gives them the opportunity for more work or to get homeearlierand spend time with their Che picurean HOME OF THE JAZZ MATINEE 333-8383 yt aa) #1) featuring Horace ees & Friends 7502 Uroost Agenue e RC, MO August/September1992 7families. Julieand Tommy credita large part of the jazz resurgence in Kansas City tothe efforts oftheJazz Ambassadors, the Pub Craw the Folly Theater series and Friends of Jazz. Tommy feels the early efforts of The Friends of Jazz in conjunction with the Topeka Jazz Workshop were very important to his career, giving him numerous opportunities to work with many jazz heavy weights. In the late ‘70s these two groups sponsored numerous concerts by prominent jazz artists. It was a great arrangement. Two name artists would travel together and workin Topeka with Tommy and his rhythm section, perform an after- noon concert and then come into KC for an evening concert. The Topeka Workshop is still going strong and ‘Tommy looks forward to playing it every year. ‘Arecent boostto Julie's career came asa result of her longtime friendship with the great legendary jazz viol Claude “Fiddler” Williams. Williams and Jay MShann were headliningone of the Folly Series concerts and Wil- iams told Julie that he and McShann ‘would like her to open the show. This washigh praise from two internation- ally acclaimed jazz greats. Her perfor- This year’s Good-Time Rota ge ae Hear it and see it Tuesdays - Saturdays on the twelfth floor in The Bar. THE RITZ-CARLTON Kansas City 18 JAM Magazinemance was a show stopper and oc- curred just days before her operation. Jazz Outlook ‘One change they would like to see is thereturn ofjazzto the major hotels, particularly downtown and in the Crown Center area. If the hotels began to emphasize Kansas City jazz, they believe. other changes would occur.Onechange they both jokeabout would be thata drum- ‘mer could set-up once and not move the drums for months or even years. Longterm bookings were not unusual and Tommy recalls he used to leave his drums set-up for a replacement and go on vacation! He chuckles and says now that he’s a little older he ‘moves his equipment more than ever, “I'm just glad I'm not playing a Hammond B-3 and lugging it around like Everette DeVanor Rich VanZant!” One move neither would oppose would be the chance to tour for a period of time. With the new record- ing taking off and receiving local air time, now is an ideal time to sell it in the major markets. Julie would like to go back to her roots, get a few book- ingsinNew Yorkand play someofthe major jazz centers such as Chicago, New Orleans and San Francisco. Tommy issupportiveand believes the recording merits air time in major markets. With these past opportunities and continued success, Julie and Tommy feel they have been very fortunate in their careers. The chance for two art- istsin one family to have steady work israre. It is even rarer fortwo artists, husband and wife, toboth sustainand nurture each other in such a difficult business. It is a tribute to Julie and ‘Tommy and their total commitment to each others’ career. They both feel the personal and individual sacrifices were more than worth it. Kansas City jaz lovers agree. So does their son Brian Ruskin who is currently pursuing a career as musi- cian and composer. He certainly has two classic role models for guidance. Julieand Tommy called herrecord- ing a labor of love. You can believe it each and everytime you see them— they love what they do and give ital for their fans! 10 am - 1:00 pm- Just Listen. You'll See... Vintage Jazz with Michael Maber 9-10 am: Saturday The Jazz Scene with Dick Wright Saturday Jazz All Night 8 pm - 5 am~- Monday - Friday LISTENER SUPPORTED August /September1992 19Kansas City Jazz Portraits Let’s Go Dutch!! INTERVIEW BY KAREN RALSTON xactly one year ago, jazz fans in Kansas City were astounded by the new sound ofan exciting young pianist-Bram Wijnands (pronounced “Brahm WYnantz”) who had just arrived for the first time in the United States from his native Netherlands. After a one-week gig at the City Light Jazz. Club, the entire jazz community of Kansas’ City knew about this extraordinary new talentand theBram Wijnands trio. Fans — acquired instantaneously — attended every performance to hear the refreshing, sound of Bram’s piano and his swinging stride style, not to mention the sheer joy he emanates while playing. The attraction was mutual Bram returned alone the following December and again with his trio for several weeks in April, 1992, when they played at the Phoenix Piano Bar and Grill. Good news for us all. The Bram Wijnands trio (Bram, piano, Jiirgen Welge, drumsand Jos Machtel, bass) will return for the Kansas City Bluesand Jazz Festival on July 25 and stay on for a month-long gig again at the Phoeni ‘The following interview tuok place May 11,1992 the day before Bram left KC to go home to Holland. JAM: Who cuts your hair? Bram: A guy from Knockout, herein Kansas City. Ishould makeadeal with him, actually, JAM: What will you do with it when you go back home? Bram: It will be long again; there's no one as good over there! JAM: Where is home, Bram? Bram: Holland - Eindhoven. It’s very close to Belgium, and our part of the country was actually ruled by Brus- sels until 1839. JAM: How old are you? Bram: 26. [Bram, born Aberham Johannes Hienricus Wijnands on Octo- ber 19, 1965 in Eindhoven, Nether- lands] JAM: Tell us how you came from Eindhoven to K.C. Bram: Well, actually it’sbecausel went to the music conservatory six years ago. (Hilversum Conservatory] The school’s directors required the piano players to sitin with the vocal lessons ‘CONTINUED ON PAGE 22 JAM Magazine7 JAZZ AMBASSADORS SALUTE SAKS FIFTH AVENUE 444 NICHOLS ROAD For hosting the 1992 Jazz Heritage Piwards Ceremony You are cordially invited to attend the ceremony and a Wine and Cheese ‘Reception on friday, August 21, 1OQ2 from S to 7 pm Music is provided by the Krakow (Poland) Youth Jaxx Ensemble for more information, call 478-8378. August/September1992 21ConTiNuED Fron PAGE 20 to accompany the students because most of the voice teachers can’t play piano themselves. I was asked to ac- company Deborah Brown's lessons, and Idid that for four years. Deborah is from Kansas City, and several years ago, while here on a visit with her husband, Michael Hansen, shestarted 1 project to get Richard Ross and his trio over to Europe ona tour. Richard Ross, in 1990, then got to hear my trio in Holland, and wanted to help usget over to the States. Appearing regu- larly at City Light Jazz Club, Richard spoke about us upon his return to KC with George Shepherd, then manager atCity Light. SoGeorge, working with Michael Hansen, was responsible for getting the Bram Wijnands Trio to Kansas City. JAM: Had italwaysbeen in your plans to come to the US.? Bram; always wanted to come here because somehow Iknew there would ‘be more appreciation for mainstream jazz. I heard stories from other jazz musicians who had come to Chicago and New York and discovered that there’sabig jazzscenehere.Solstarted getting interested, and I see they're right at least in Kansas City, which is the only city I've played in! JAM:Let’srewind abit, Whatbrought you to the conservatory? When did you start playing the piano? Bram: | started playing when I was just 3 1/2. JAM: Did you come from a musical Bram jams on the piano at the River City Cafe with bassist Jos Machtel, drummer family? Bram: Well, in a way, but not profes- sionally. When my parents were first married, they of course had no furni ture and my father had to buy every- thing. He saw an ad for a desk for my mother, and when he went to pick it up, he was told that for 10 guilders more, hecouldalsogeta piano. Hedid acousticalresearchandalways wanted to give one of his children a musical education. (Iam the third of five chil- dren - all boys.) I had been intrigued by the piano when I saw one while slaying at my aunt's honse, and when my father bought ours, I began play- ing it constantly. I started lessons be- fore theageof five, before couldread! When Iwas eight, my fatherborrowed ‘an old blucs record, which had num- Jiirgen Welge, and vocalist David Basse. hers by “Champion” Jack Dupree, Meade Lux Lewis, Memphis Slim - and I was very intrigued and tried to imitatethe tunes heard on therecord. Thad no music theory lessons, but I tried to make the same sounds, and remembered which keys I pushed ... that’showIgotintojazz. Thenlstarted buying records. The first jazz record I ‘bought was the Glenn Miller Band, all original recordings. I started playing those tunes witha very primitivestride technique. After awhile, though, they stopped my piano lessons —they said my left hand was not developed ‘enough, too small, and put me on the cello. Now, when! think back, Ibelieveit was because my teacher was jealous. I have perfect pitch, and she didn’t!! JAM MagazineYoucan'ttell an 8 year old his handiis toosmall when hestill has ten years of growing to d ‘Anyway, I kept up my piano play- ing besides the cello lessons, because I just wanted to play so bad. I never ‘wanted toplay cello, butthe five years weren't for nothing because Ican still play the bass. I was really into this piano thing. I never finished high school because I didn’t care about it.I didn’t need it, it wasn’t necessary for me and it made no sense to have a degree. But I still entered the conser- vatory [atage20]and wasable topass the entrance exam. At the conserva- tory I played stride all the time. I was very much influenced by my record collection ~ Fats Waller, Art Tatum, Erroll Garner. The school started me on bebop and modern jazz, but I was alwaysin trouble because wasdoing my own thing, researching Erroll Gar- ner and playing stride piano. With a stride style, Lam able to use my two hands at the same time to do two different things. My left hand plays harmony, bass and rhythm, and my ight hand plays the melody. I try to separate my body in half to imagine one half is listening to the other. The only way todo thats to practice with only one hand. I spend hours practic- ing with only the left hand to get the rhythm steady, and then I can build with the right. JAM: So you were frustrated by the teaching at the conservatory? Brath: Yes, by the school policy, which ‘was to shun old, classic jazz because it’s in the past, and the money is in modern jazz. But that’s not true. All themodern jazz musicians in Holland are not doing as well as am. They're not getting jobs only a few bignames, those subsidized by the government, have work. I¥s such a small country and there are 12 jazz music schools in Holland. It's crazy! I also don’t care for modern jazz, in part because you only play over a small portion of the keyboard with your fingers. What a wasteof88 keys! WhenI play, runout of keys, the keyboard isn’tbig enough! When you listen to Gamer, you can hear that he wants to gobeyond the88 keys, too! So this school policy was very unrealistic for me. But fortu- nately, there were two people who stood behind me. The head of the jazz department and my piano teacher, who plays fabulous stride piano. He urged me to stay in school, he re- minded me that I needed the theory and background, but my grades, pos- sibly lower because of my different style, wouldn’t matter in front of an audience. JAM:So you finally got your degree? Bram: Yes, last year. JAM: Was it at Hilversum that you met the other members ot your trio, Jiirgen and Jos? Bram: Yes, I first had another bass player [Joris Teepe, was with Bramon The Full] Spectrum Monday thru Friday 5-9amé1-4 pm Saturday 9:00 am - 12:00 noon 1 a) of = oo — oa i. =< s< Pa CS 4 i) P= = ° [) August/September1992 23thetourinJuly, 1991, and playsbasson the trio’sfirstCD, Easy fo Love, recorded in Amsterdam January 15, 1990} But now Yve found Jos, whoismoreattuned tomy styleand theswing tradition. JAM: Your degree coincided with your trip here? Bram: ] got my degree in May, and got to Kansas City in July. JAM: And we all remember that first gig at City Light, when you set Kansas City on fire with your music. Bram: That's what they say. JAM: You've been back twice since, and plan to return soon, right? After all, you're going to need another haircut! Bram: I hope so. [see note] JAM: What about Jos and Jiirgen? Will they come back with you? Bram: Yes, they like it here a lvl, oo. JAM: At 26, you've got a very bright future. What are your plans? Bram: That's hard, because I have so many. First, I want to have a very old fashioned big band; a swing, big band “40s sound. And I want to have the same sounds of Coleman Hawkins, Art Tatum, Johnny Hodgesand the trumpets-“the old screamers.” Tightarrangements which! will write myself. I’m already researching that and getting it down on paper. I'm only 26, I have time enough to develop other things. Tknow that Ican‘t ignore the 6O years of piano history between Scott Joplin and Erroll Garner that have influenced me. It takes time and it takes a lot of practice and research to know what you can do and be pleased about yourself. I want to have a style as original as possible. JAM: Do you compose? Bram: I've finally started writing again. Right now, I'm performing other people's music, but I'll put my ‘own music in soon. JAM; Tell us your reaction to the reception by the Kansas City audiences. ‘Bram; My reaction is — I want to stay here! But that needs a little bit more organization to take care of, things. Maybe I'll offend local musicians by moving into their territory. JAM: There's always toom for good musicians; we're a very discerning audience, you know. Bram: That's another thing that I discovered about Kansas City. They know their history. They recognize numbers I play and various styles. They listen and appreciate the music; very different from Tolland. Her debut album is available at: Autographs’ Records & Tapes (Crown Center) 24 ‘When I get response like I do in Kansas City for my music, it pushes me harder and gives me a reason to work and keeps me alive. JAM: Well we're very grateful to Richard Ross and George Shepherd for bring you to Kansas City, and we're looking forward to hearing a lot more from the Bram Wijnands Trio. Thank you for your time. Bram: Thank you for listening, o + % NOTE: The Bram Wijnands Trio will appear at the Kansas City Blues and Jazz Festival on Saturday, July 25 and at the Phoenix Piano Bar and Grill, 8th and Central, from July 29 through the month of August. The trio also made a recording in May with David Basse, entitled Other Brothers. The CD and cassette will bereleased in Kansas City in August. In addition toan appreciative audience here, Bram has also found “the love of his life,” Sondra Dee Sneed, a Kansas City native. They plan to be married this winter. ‘The Best of Kansas City Jazz in JAM MagazineNIGHTCLUBS Blayney's 415 Westport Re. 2 $1.00 off cover charge. City Light Jazz Club 4749 Pennsylvania 2. $1.00 off cover charge. Grand Emporium 3832 Main Street 4 $2.00 off door charge for national jazz acts. The Point 917 W. 4ath St 4. $1.00 off cover charge. Eblon 1608 E. 18th St 3 Happy Hour all night on jazz nights (Fridays). Cajun Bistro 3421 Broadway - 561-8775 4 $1.00 off lunch or dinner entre Kelly's Lounge 8245 Wornall Road 2 50¢ off regular price of drinks on jazz nights and jam sessions Overland Park Marriott 10800 Metcalf, Overland Park, Ks. 2 $1.00 off Happy Hour butfet ART AND FRAMING. American Impressions Gallery 902 Westport Rd. 1} 20% discount on framing and purchases. ‘CLASSES: Penn Valley Community College 3201 Southwest Trafficway 4 $5.00 off cost of jazz history courses offered by Continuing Education VIDEOS Record Cabinet 5914-16 W. 59th Terr. |. Rent 2 videos for the price of one. PASSPORT i Present your membership card to the following businesses and receive: 0 KC JAZ RECORD STORES Dirt Cheap Westport & Main 2} 10% off all sales. Record Cabinet 5914-16 W. 58th Terr. 2+ 10% off regular price of purchases. PennyLane Records 4128 Broadway 220% off regular price 7th Heaven All locations 2 20% off regular price of LPs, cassettes & CDs.(Not valid during Christmas season.) Classical Westport 4130 Pennsylvania 2 10% off all in-stock recordings. EVENTS Folly Theater 300 W. 12th St. J" $2.00 aiscount on reserved seating for jazz concert series (subject to availabilty) STEREO AND SOUND SYSTEMS: Sound Enterprises 4600 Cherry 4 10% off all service work with special consideration for Jazz Ambassador members. MUSIC STORES Brady & Sons Music 947 Minnesota Ave. 24 10% off all sales. OTHERS Optical Innovations Manor Square - 4050 Pennsylvania 4 10% off complete pair of eyegiasses Y Monthly newsletter of Calendar of Events ¥ Monthly meetings with guest speakers Jazz jams/social functions Jazz Ambassador Magazine subscription with Patron membership : ¥ Voluitee: oppurtunilies for jaze events. Sponsor ($100) Patron Couple ($40) Patron ($30) Active Contributor ($20) Student ($15) For more information: Call (816) 478-8378 or write Jazz Ambassador, Box 36181, Kansas City, MO 64111 August/September1992 25Roma Honkers & Bar Walkers, maininc Two Honkers & Bar Walkers, Vol. 2 Delmark DD-452 Apolio series Featuring: King Curtis, Willis Jack- son, Charlie Ferguson, Bill Harvey, Panama Francis, Morris Lane, and Bobby Smith. ‘onkers & Bar Walkers, Volume Two, from Delmark, features saxophone greats, King Curtis, Willis Jackson, Charlie Ferguson, Bill Harvey, Panama Francis, Morris Lane, and Bobby Smith. These saxophone instrumentals from the '50s are from the Apollo Record vault. Delmark acquired the rights of these long out- of-print blues and jazz masters and this is Delmark’s second series of saxophone numbers that swing and jump the blues, early R&B. “Pee Wee (Call of the Gators)” by Willis Jackson, recorded on May 28, 1950, iseveryone’s favorite. Outof the 22cutsonthissmoothsaxophonecom- pilation, you will find several that will blow youaway.Some particularly sat- isfying numbers, Morris Lane & His Orchestra's “Blue Jeans,” Panama Francis’ “Benson Bounce” and “12:00 Jump,” Bill Harvey & His Orchestra’s “Wall Right In,” Charlie Ferguson &¢ His Orchestra’s “Bean Head, “Big G,” Julie Turner: Save That Time ‘Save That Time Julie Turner-Tommy Ruskin Prod. Cassette-36657 Recorded: February, 1991, at ‘Soundirck Studios, Kansas City, Mo. his is one of the most pleasant things I've been asked to do ... writeabout the cassette release by one of Kansas city’s finest artists, singer Julie Turner. I have the honor and privilege of being along time friend of Turner and her marvelous musician, husband, drummer Tommy Ruskin. T'veseen and heard Julie grow froma very good professional performer to, now, avery sincereand sensitive artist of the first rank. This release comes from a time when Turner due to a serious physical problem, wasnotsure hhowmuchlonger she would beable to sing. The tremendous depth and soul of her performances indicate justhow much singing meant (and still means) 26 toher. I'm very pleased to tell one and all that the problem has been taken care of and Turner is singing better than ever. For this release, Julie has brought together the finest musicians in Kan- sas City-Herhusband, Tommy Ruskin (oneof the finest musiciansinany part of the country) serves as both drum- mer and musical director; Russ Long isatthe piano (and singsoneduetwith Turner); and the bassist is Bob Branstetter. For two of the numbers, “ButBeautiful” and “Alone Together,” Long and Branstetter are replaced by two more outstanding Kansas City musicians, pianist Mike Ning (who also did the design and logo for the release) and bassist Bob Bowman. ‘Turner's program, featuring some of the finest American popular music ever written, includes: Rodgers and Hammerstein’s"People WillSay We're in Love” from “Oklahoma/” a seldom heard classic by Lil Armstrong and and “That'sIt,” and King Curtis’ “Dy- namiteat Midnight.” Bobby Smith re~ corded only one number on this new CD, “That's For Sure.” Like many older recordings, many oftheorchestramembersareunknown and leave you guessing. Nevertheless, all the musicians are talented and il- lustrate an era that isn’t exactly jazz, blues, or R&B, buta time whenartists ‘werejammingand experimenting with thythmand bebop. Whatisimportant isthat Apollo Theater introduced play- ers to the world from 1944 until 1962. Besides the above artists, Georgie ‘Auld, Arnett Cobb,ColemanHawkins, Mlinois Jacquet, Charlie Parker, Leo Parker, Wardell Gray, and Dexter Gordon all contributed to the Apollo sound. Listen to Honkers & Bar Walkers, Volume2,and feel how fresh themate- rial still seems today. — Shirley Owens DonRay, “Justfora Thrill” The Jimmy McHugh-Dorothy Fields standard, “Exactly Like You,” two wonderful Jimmy Van Heusen ballads, “I Could Have Told You” and “But Beautiful,” with lyrics by Carl Sigman for the first ‘oneand Johnny Burke for the second; two gems by Duke Ellington, “Just Squeeze Me” and “I Got It Bad” (for the latter, Turner gives it that same depth of feeling that Ivie Anderson did with Duke); “But Not for Me” by George and Ira Gershwin; “Alone Together” by another great writing team, Howard Dietz and Arthur Schwartz; Simons and Mark's “All of Moz" “Where or When” by Rodgers and Hart and, to end the program, a very fine composition by Russ Long (giving thecassetteits title) “SaveThat Time.” JulieTurnerisa truly fineartistand this cassette release has been a long timein coming. Believeme, ithasbeen well worth the wait! Run, don’t walk, to your nearest record store and add this one to your collection. — Dick Wright JAM Magazine| THE ANDERSON PROJECT | JAZZ - BLUES - CONTEMPORARY R & B Available for: - Concerts - - Club Dates - - Private Parties - - Accompaniments - - Recording - PERSONNEL: Rick Anderson (leader/bassist) Tom Richard (piano, vibes) Matt Kane (drums) Willie Matthews (guitar) Mark Strozier (sax/trumpet/flute) Fred Lightfoot (vocals, bass) (816) 763-6873 Be sure and get your advertisement in early for the upcoming issues of JAM magazine. AD COPY DEADLINE Oct. Mov. 1992 issue. Dec. 1992/Jan. 199: AD RATES Gal Mike Rotif (913-384-0759 evenings) or Dean Hampton (816 455 1628) to reserve ad space. August/September1992 ee A A : jaz it} ‘Showcase for the finest Kansas City and touring Jazz taleat. FESTIVAL WEEKEND Fri. July 24-Sat. July 25 Sunnyside recording atste THE FRED HERSCH TRIO 41SAT. sora QUEEN BEY The Cy Light To 2/SUN, IDAMCBETH and FRIENDS TUE. cat SHARON THOMPSON w/The City Light Tio ‘5 WED. cat SHARON THOMPSON wLT ROD FLEENAN gtr G-THUR, vai SHARON THOMPSON wOLT STAN KESSLER tmp TFRL weal ANGELA HAGENBACH wThe iy Light To SAT. CLAUDE "FIDDLER WILLIAMS w/the Gy Light Tio QSUN. IDA MCBETH and FRIENDS 11 TUE, vecast COLLEEN CASSIDY w/The City Light Tio 12 WED. vocaist SHARON THOMPSON w/GLT ROD FLEEMAN gatar 13 THUR vocaist SHARON THOMPSON wCLT STAN KESSLER tumpet 14 FRI. ocaist SHARON THOMPSON wThe Cty Light To 15SAL. vocalist SHARON THOMPSON wiThe City Light Trio 16 SUN. IDAMCBETH and FRIENDS 18TVE. scat KARRIN ALLYSON wThe Cty Light To 19 WED. vocalist O1ARON THOMPSON w/CLT ROD FLEEMAN gutar 20 THUR scat KEVIN MAHOGANY WLT STANKESSLER pet 21 FAL vrai ARRIN ALLYSON whe City Light Tro 22 SAT. scat SHARON THOMPSON w/e City Light To 286UN, IDAMCBETH and rricnos | 25 TUE. vce ANGELA HAGENBACH whe City Light To 26 WED. vss SHARON THOMPSON wOLT ROD FLEEMAN gtr 227 THUR vcs KEVIN MAWOGANY wT STAN KESSLER pat 28 FR, oct ARRIN ALLYSON whe City Light Trio 2 SAT. vocaist KARRIN ALLYSON w/The City Light Trio ‘30'SUN. IDA MCBETH and FRIENDS _ THE CITY LIGHT TRIO: oop Gawman, bos Todd Strat re arto, pane Ta, - Thar Pal: wanton OD o eect a eae ‘Open every Tue -Thor., Sa. Sun, 7p.m. Fri Sp.n. Care a ean ee et O 27Commission News / Doug Alpert Jazz Commission Alive and Very Well he summer of 1992 hasbeen the wildest of times for the Kansas City Jazz Commission; exciting, frustrating, turbulent and ultimately wonderful. With the most successful Pub Crawl ever under our belt this is the perfect time to take a deep breath and dispel therumorsabout the future of Kansas City’s Jazz Commission. On the morning of June 25, 1992, the Jazz Commission announced that itwould no longer operateasthecity’s Jazz Commission, but operate solely as a not-for-profit corporation. This change in structure was precipitated byalack of financial support from the city of Kansas City, Missouri, and the need for the Jazz Commission to take greateradministrativecontroloverits affairs. With that greater control we are able to better put into action our strategy for increased corporate fi- Sai Cae nancial support. With thisannouncementtherumor spread that this meant the end of the Jazz Commission and the end of the annual Jazz Lovers’ Pub Crawl, not true! With the extraordinary success of the 1992 Craw! and the outpouring of support for future Pub Crawls, itis clear that the Jazz Lovers’ Pub Crawl has become a Kansas City tradition. This is a tradition we will not abro- gate. Look for the 1993 Pub Crawl on June 24, 1992. Fromthe92 Pub Crawl, an increase in corporate support for future Pub Crawls and many other jazz projects will be seen. Jazz attracts participants fromall partsof thedemographicspec- trum-a act thatshould make those of us who present jazz. very proud. A quick note on Milton's. The Jazz (Commissionissorry to seeany jazz club elly Bowland Recalling the Bird Based on the book by Ross Russell, Bird Lives! The High Life and Hard Timesof Charlie Yardbird) Parker. New York: Charterhouse Books, 1973, harlie Parker was born Charles Parker, Jr. on August 29, 1920, in Kansas City, Kansas. His father, Charles Parker, Sr. was a Memphis, ‘Tennessee native whostayed inKansas City after ending a stint with a vaudeville tour. He met and married Addie Boyley, a local girl. Charles Sr. and Addie Parker had no children other than Parker. The Parker family moved to Kansas City, Missouri when Parker was 8 or 9 years old, where Uhey resided in the heart of the black ghetto, only walking distance from the area of 12th and Vine (a part of town heavily concentrated with jazz nightclubs). Parker spent the better part of his formative years in the 28 vicinity of 12thand Vine. Around 1931, when Parker was11 yearsold Charles Parker, Sr. left his family, never to return, Parker was then taised by his close, especially a club with the tradi- tion held by Milton's. However, it is absurd to believe that if Milton’s had ‘been operating successfully, their non- participationin the92PubCrawlwould nothave caused their demise. Thereare ‘many factors that go into the operation of a successful jazz club. The closing of one club (even Milton's) should never be interpreted as a symbol for the de- miso of jazz in Kansas City. The pres- cence of Kansas City's truly great local ‘musicians is sufficient testament to the viability of Kansas City jazz. Kansas City jazz, and the Kansas City Jazz Conunissionarealiveand well. Louk for us on Friday, August 21,1992, at Saks Fifth Avenue on the Plaza for our annual Kansas City Jazz. heritage Awards. We will be combining the award ceremony this year with the annual induction of Hast Statesmen of Kanoes Cy Jcz Fes tivities begin at 5 p.m... mother, who did domestic work to make ends meet. Parker's formal education was ob- tained through the Kansas City public school system at Crispus Attucks El- ementary School and Lincoln High School where his grades were aver- age. During high school, Parker expe- Tienced little success due to his attrac- tion to the night life/jazz world, and he spent most of his time on 12th and Vinerather than in school. After three attempts at the 9th grade, Parker quit school altogether and devoted him- self tolearning to play thesaxophone, an instrument he had developed an interest in after spending a brief pe- riod of time playing in theschool band. Parker began spending all of his timeat local speakeasies, studying the details of how the master saxophone players handled theirhorns. After ac- quiring what he felt to be sufficient knowledge of the instrument, Parker ‘CONTINUED ON PAGE 30 JAM MagazineKANSAS CITY : JAZZ...Become a Part of It Join the KC Jazz Ambassadors + Jaz Parties 4 Monthly Calendar of Events ‘4 Discounts in over 20 jazz-related businesses 4 Monthly newsletter - Whole Notes 3 KKFI-FM 90.1's “Jazz Ambassador Showcase” 4 Monthly meetings 4 JAM magazine 4 Volunteer opportunities A Participation in jazz events KANSAS CITY, For more information, call (816) 478-8378 or write to: KC Jazz Ambassadors Box 36181 PANIBASSADORS Kansas City, MO 64111. [ To become a Kansas City Jazz Ambassador, complete the application below and return itwith your tax | deductible contribution to: I 1 gyi Kc vazz AMBASSADOR I I Box 36181, Westport Annex Kansas City, MO 64111 Tame Address [ City/StateZip 1 Phone (home) (work) Q PATRON ($30) QPATRON COUPLE ($40) Q ACTIVE CONTRIBUTOR ($20) QO STUDENT ($15) 1 SPONSOR — $100 — Corporate or Individual (name published in every issue of JAM magazine) (Sponsor, Patron, Patron Couple, Active and Student all get JAM magazine and newsletter) (2 YEAR SUBSCRIPTION to JAM magazine only - $10 | would like to volunteer for the following committee(s): Q Membership Publication (JAM magazine) Social Committee Q Publicity C-Advertising I How did you hear about the Ambassadors? (e.g., radio, performance, friend, cto.) August/September1992 29“STORYVILLE” FROM PAGE 28 obtained hisunioncard(atage14)and began his career as a musician, play- ing the local club circuit for several years. At age 18, Parker set his sights on bigger and better things and left Kansas City for New York. A relative unknown in the “Big Apple”, Parker was forced to play ina number of fter-hour clubsinaneffort to establish himself. He quickly be- ‘came well known on the local club circuit, and eventually was offered bookings in the more established jazz. clubs of New York, as well as other clubs across the country. He was an innovative musician playing along- side such jazz legends as Dizzy Gillespie, Lester Young, Sarah Vaughan, Thelonius Monk, Miles Davis, and Billy Eckstine, all contrib- uting toanew jazzstylecalled “bebop.” ‘Though recognized as a brilliant musician, Parker became as well known for his heroin addiction. Parker's attraction to illicit drugs be- gan at age 15, when he first experi- mented with marijuana and cocaine. Parker elevated his drug usage to in- clude injecting heroin by the time he was20 years old and wasunable torid himself of this addiction until age 33, when it was said he only stopped for fear he was killing himself. A self-taught musician, Parker left many musicians in awe of his ability to improvise, never performing the same tune exactly as before, and amazingly mostoften under the influence of heroin and/or alcohol. But, while musicians came from near and far to get a glimpse Of the “Bird”, the critics, unable to ac- cept this new jaz style, were blasting the new “bopper”, calling his style “ll advised”, “inbad taste” and “thesortof stuff that has thrown innumerable im- pressionable young musicians out of stride, that has harmed many of them irreparably.” Inthe 1930's, during Parker’syouth, Kansas City was a prime wheat and cattle market. As recalled by Ross Russell in Bird Lives! Kansas City was “a wide open town that attracted big and little spenders of the Sonthwest 30 withitsalluring array of cabarets, gam- bling halls, bars, brothels, and restau- rants, all organized by a crime syndi- cate operating openly under the be- nign depotism of the Democratic po- litical boss, Tom Pendergast.” There were more jobs for musicians in Kan- sas City than any place else in the United States. Kansas City remaineda major hub for promising jazz musi- cians until Tom Pendergast was con- victed of tax fraud, and a new admin- istration closed all gambling halls, brothels, and gangsternm clubs, end- ing the Pendergast regime. ‘As jazz was becoming increasingly popular, the bands in which Parker played were booked into southern Gubs. Jim Crowisnt prevailed and musicians, no matter how prominent, ‘were not exempt from its cruel back- lash. These musicians had not yet at- tained the status that would have en- abled them to turn down these book- ings, and despite their disdain for per- forming theseengagements,thebands performed a number of tours in the deep south, solely ag.a means af eco nomic survival. As his popularity grew, Parker be- gan a stint of exclusive engagements in New York, performing on “The Sueel.” “The Sueet”, was acollection ofbrownstoneson Fifty Second Street, between Fifth and Sixth streets. A ‘number of jazz clubs were housed in these brownstones, a mecca for musi- cians and jazz patrons. Reminiscent of the Pendergast era in Kansas City during the 1930s, “The Street” was operated by the “Black Hand” (mafia). Here jazz musicians felt themselves fortunate, and in this tiny comer of New York City found themselves shielded from the real world, a world still dominated by racismand bigotry. Parker's brilliance was marred by the “occupational diseases” of drug addiction and alcoholism. Interes- ‘SUPPORT THE tingly, it is said that Parker's perfor- mances were flawless when he was high, and he was often unable to per- format all when sober. Although an icon in the jazz world, due to his addiction to drugs, Parker livedatransientlifestyle, often “crash- ing’ at friends’ homes, living in dirty, cheapmotel rooms, sleeping incabsor onstage when he had nowhereelse to lay his head, and conning friends out ofmoney to obtain his next fix. Parker was often ragged and dirty, some- times wearing the same clothes for several days. A bigamist, he had sev- eral wives. Parker spent several months in a mental institution, and attempted suicide at least once. Al- though he had established himself in thejazz worldand wasmaking “good” money, CharlieParker’sheroinaddic- tion reached such proportion that it literally consumed every cent he earned, and destroyed most of his significant relationships. Parker grew up in the midst of speakeasies and joints on 12th and Vinein KansasCity, Missouri. Helived an undisciplined life, growing up ina single parent household where his mother, who worked nights, was un- able to provide much structure or su- pervision. Music seemed to be the only thing in Charlie Parker's life that hecared about, and he gave full appli- cation tohis goal of becominga “star.” Life in the fast lane and limelight, where pressure is intense and compe- tition fierce, undoubtedly contributed to his descent into the world of drug addiction, alcoholism, and self-de- struction. While Charlie Parker's life was short, his contribution and im- pacton themusicworld lives onin the hearts and minds of musicians and jazz lovers today. Today,at the corner of 19th Streetand Vine in Kansas City, Missouri, sitsa sole nightdub, “Birdland.” Yes, Bird Lives! JAZZ AMBASSADOR MAGAZINE ADVERTISERS JAM Magazine~TWME oA he: jazz benefit performance in sister cities” The Joe Cartwright Trio featuring Gerald Spaits & Tim Davis and vocalist, Richard Ross will appear in concert at the Folly Theatre * Monday August 3rd * 8:00 p.m. Cost $10.00 per person i advance tickets available at Ticketmaster 931-3330 or the Folly Theatre box office S Sponsored by: KANSAS CITY EXP’92 ou PANBAS: RS. August/September1992 31Club SCENE A Guide 10 KC's Horresr Jazz rT ‘The Jazz Hotline provides a complete listing of live jazz in the Kansas City area. Call (816) 931-2888, CTRL Allis Plaza Hotel - D1 12th Street Bar neces een 421-6800 McFadden Brothers Wed-Sat, 8:20 p.m.—12:30 a.m. ‘Marilyn Marlin Piano, Mon-Fri, 4:30 - .m., also Sunday, 10 a.m, - 2 pam. for Sunday Brunch in lobby. Birdland - D2 19th& Vine 842-8463 Bivd. Cafe 708 Southwest Biv. 212-6004 The Sons of Brazil, Tuesdays, 8:00 - 12 mign. Eblon - D3 1601 East 18th... 221-6612 Hyatt Regency Hotel - D4 (2345 McGee 421-1234 Mary Ann's on Main - D5 725 Main _ATA-7025, Live Jazz & Blues every Wednesday, Friday and Saturday. Mutual Musician's Foundation - D7 1828 Highland... 421-9297 Nightmoves - D8 5110 Vivion a! .. 452-4393 The Phoenix Piano Bar & Grill- D9 ‘8th & Central . 472-0001 Pierre's Cajun Cafe 512 Delaware, 1. 283-3474 River City Cafe 1113 Walnut. 421-6433 The Tuba - DO 333 Southwest Bivd. 471-8510 Mon: Bow Bowman & Interstring Tue: Sons of Brazil Wed-Sat: KC Bottoms Band ‘Cajun Seafood Restaurant - M2 404 E. Stst St. . senneee TSB-FISH 32 Grand Emporium - M3 3832 Main. AUGUST 6 Baghdad Jones 8 KC Blues Society/ St. Louis Blues Society Blue Highway Series Jimmy Lee & the Joint Jumpers/Twilight Jump/Tom Hall 11 An Evening with Tom Scott - Jazz Sax Genius 12 Toots & the Maytals 48, KCBS Jam - Mr. Cardy's Nightly Party wi Linda Shell & Kelsey Hill 14 Lonnie Brooks 45 SDI 22 Sugar Blue 28 Dynatones 29. Big Band Smitty (Blues Stage" Recording) SEPTEMBER 15. Roomful of Blues Harlings Upstairs Bar and Grill - M4 3941-A Main += 531-0303 Obsessions - M6 ‘Southwest Tiiwy & Westport Ad, .. 931-1448 Tues. — Sat.: ssSlick Trio 5-9 p.m. The Point - M7 817 W. 4ath 531-9800 WET Harris House 444 Westport Road .. 756-1655 Hurricane’s - Wt A048 BroadWAY «nee 758-0884 Blayney's - W2 415 Westport Rd. 581-9747 G7 ‘The Bird's Nest - P1 Charlie Parker Memorial Foundation 14605 Paseo ‘The Bristol Bar - P2 4740 Jefferson... 756-0608 City Light Jazz Club - P3 4749 Pennsylvania ..... 444-0969 Harry Starker’s - Pa 200 Nichols Rd 753-3565 ‘The Levee - P5 16 W. 49rd 901-2021 Saturday —- Tommy Ruskin & Frionds jaz jam, 3-6 pm Niecie's Lounge & Grill 6201 Blue Parkway... 921-5990 Ritz-Carlton Hotel Lounge - P6 Worall & Ward Parkway ..... 756-1500 ST BB's Lawn Side Bar-B-Q- B1 1205 . 85th St. 822-7427 The Blue Note Cafe - B2 8617 W. 87th Street 642-8625 Costello's Greenhouse Restaurant 1414 W. 85th St. ........ 333-5470 EBT Restaurant 1-496 & State Line Rd. 942-8870 The Epicurean Restaurant & Lounge - B3 ‘7502 Troost............ 333-4541 Saturday & Sunday — Horace Washington & Friends, 5 ~ 9pm Martway Roadhouse Cate 6508 Martway, Mission, Ks. Riley's Bar — Overland Park Marriott - BE 136-4300 1.435 and Metcalf 451-8000 ‘Sunset Restaurant & Bar 12924 State Line ne 4BA2B4Jazz Ambassador Sponsors 18TH & VINE JAZZ HERITAGE SCHEDULE Mike & Vicki Rollf AUGUST 8-9, 1992 - NOON to 9 PM Dr. Les Becker Saturday Kansas City Jazz Commission — 48th I David & Doris Rubin : Mack Baath Construction x Original Legends of Jazz Count Basie Enterprises, Inc Mutual Musicians Foundation Quartet Pat Weishar Accent Advertising, Inc. Alaadeen & the Deans of Swing ‘Aaron Woodward Ill Joe Cartwright Creative Communications Network. (Ron Butler) Ida McBeth The Bosman Twins Clarence “Gatemouth” Brown Stage 2 - 18th & Vine 3 Ron May Is LOOKING FOR 20am) Maal ees WRITERS, :30 pm _Fierman & the Kings of Jazz 4:30 pm Horace Washington EDITORIAL STAFF, : and Mutual Musicians Foundation — 1823 Highlan 2:15pm Marcia Blan PHOTOGRAPHERS. 3:15pm Lugman Hanza Sunday Stage 1 ~ 18th & Woodland 2:45pm. Frank Smith & Claude “Fiddler’ Williams 3:45 pm Tim Whitmer & Jim Maier 5:00pm Eddie Baker's New Breed Orchestra 6:00pm Jeannie & Jimmy Cheatham 7:15pm Christopher Hollyday HEADQUARTERS 835 W. 39th Kansas City, Mo. 531-3635 Stage 2 — 18th & Vine 2:30 pm Gospel 3:30 pm Vince Bilardo & Queen Bey 4:30pm KC Jazz Quintet 5:30pm McFadden Brothers JOHNSON CO. 13505 W. 87th St. Lenexa, Ks. 888-0006 | Musicians Foundation - 1 Highlani 2:30pm KC Jazz Sextet 3:30 pm Lloyd Daniel w/ Daoud & Lonnie Newton BANNISTER AREA 4:30 pm Sandy Brown 9607 Elmwood Kansas City, Mo. 763-0070 NORTHLAND 7070 N. Oak Triwy. Gladstone, Mo. 436-0339 Check out the Children's Stage at 18th and Paseo! Arts and Crafts! Ethnic Foods! Local Acts Subject to Change. Call 474-8463 for more information. August /September1992BANDS/GROUPS Milt Abel Tio 9391212 ‘Aleadeen & the Deans of Swing. Biles 831-4396 ‘Alternity(tusion) Sat-t641 Vince Bilardo & Friends 491-3271 Blue Note Four 523-6537 281-8624 Sandy Brown Quartet... 523-7965 Joo Cartwright To... 756-2697 Cty Light Orchestra ....561-2480 Delightful De Bertee & the Jazz & Harmony Allstars... 931-2410 Everette DeVan & ssSlick. 1262-4784 722-5968 Duke Elephant Band. 1942-7536 421-0093 Lonnie Elliott To wom 262-6587 Flermon and the Kings of Jazz. 923-28 ‘The Bryan Hicks Group .961-3556 Intersting. (600) 841-8869, ee _ 34 sdezz Plus.. 921-5954 ‘Sam Johnson Company 342-4293 Ke Bottoms Band 471-6510 Kc Homs .. 384-4697 Kanses City Jazz Brokers Orchestra 924-4774 ‘stan Kessler's Sons of Brazil ‘531-6881 “931-1873 Mahogany 941-7836 Main St. Rhythm Devils .648-8606 Matinee Idols 531-2872 ‘The McFadden Brothers Band 212-627-7552 Grog Melse Trio 640-0725 MMF Big Band 421-9097 ‘The New KC Seven, 222-9086 756-0997 Mike Ning Tro 496-0918 -274:5778 Sound FANS C ene 452-2968 ‘Stove Miller Orchestra ..722-0887 Now Brood Orchestra...924-2200 Original Legends of Jazz w/Sammy Johnson Sr. and Jackie (Anderson. 621-2808 » 472-1869 John Paul & the Hollhounds 1331-4578, ‘Mama (Diane) Ray & The Rich \VanSant Band 836-3708 Pichi & the Riffs ...953-9821 422.6885 00.6808 Touch of C1888 nnnes 769-2841 Lot! Tucker & Shining Light rn TOS G640 ulle Turner Group 4326808 Unbound Gr0Up nn 287-8642 i it Aba... anat212 Ricky Anderson 7636873 Bob Blount... 7373738 Bob Bowman 252-9003 Tyrone Clare 5231335 ‘Andy Dewi. 877-3783 Lonnie Eliott 282-6587 IYER PL HICKS nn SOT-9858 Sam Jobn800 $F. 621-2096 Freddle Light00t vn 232-1739 Mark Montgomery 648-8605 Dwight Foster _ 221-6504 Tony LaPuma. 241-9628 Gerald Spaits 926-0462 (Fog Wa nn 25120 Coreg White. aaesior9 ——;; John Atmato 1459-0058 Delightful De Bartee.....631-2810 David Basso 1561-2489 Vince Bilardo aor-sert Tim Davis 1989-7304 Raymond DeMarehl «969-3892 James De Regne Dave Draxler 304-6125 Mike Harvey 471-8510 John Hobbs Torry Hughes . Dwight Jenkins eait416 eres aan ioe eects pt tine we ies ae ee coe es sips AE a Roy Thompson 333-4206 pie Beat a et Se te ea alan eat ese se re dey Dt eae Tom Demasters (942.7396 - 421-0088 Rod Fleeman exo-2161 Bryan Harmon Flek Handreka poo.at7a ‘Sonny Kenner 924-9007 ‘Tom Pender. 795-0640 Clive Renfroe 358.2205 Mark St Joba 2210178 Join PAUL Deu ne 84578 Mo Paul 4504029 Carolyn ABBOR nnn 94-4868 Ede Baker 24-2200 sendy Brown 529-7985 Joe Cartwright 750-2807 Chris Clarke 961-2078 Allen Cook 369.8053 DONGLE COX enn 70-2841 il Erey sn 861-7528 Ach Hl 369-2621 fuss Long 294-9891 reg Meise e4og7es JAM MagazineMarsha C. Bland Kent Means. James Popejoy Pat irotond, Grog Meise... Kenny Kiein VIBRAPHONE 923-1990 4727612 sn 956-7890 VIOLINISTS 207-042 931-2001 iTS Tea Ts Mike Ferguson ...... 764-2502 | Jeckle Anderson. 496-2442 | Greg clark. 291 1879 | auen coox Donald Cox Donnie Gaines Bryan R. Hicks FFredote Lignttoot Kevin Mahogany Aicherd Ros: fuss Simmons ulsson Taylor Wendell Walton. ORM S180 nn 422602 "Duck" Werner 472-1869 | 640-3198 541-1674 923-1390 759-1198 201-9110) 651-6810 274-0082 769-2841 92-3717 649-7450) 636-3706 209-8967 722-0887, 26-4504 75-0640) 492.6885 se1-2409 374-5823 55-8083 762-2861 ‘Todd Wilkinson Bervara Baker. usen Bey Morsha C. Bland coe Angola Use Henry... 727-2240 Sherry Jones 496-0918 Pat Lyons. Dwight Foster 21-6506 | ary MeMahon Steven Greene 221-7719 | Pam Miler Cornell Hardy - Diane (Mame) Ray Ronnie McFedden.....924-1143 | Rosemary Robinson Kim Park Rosetta Robinson Eddie Sounders Sharon Stine Kerry Srayer.. Loti Tucker. Horace Washington o.3585857 | Jule Tumer ‘Todd Wilkinson. Dovid Basso Sauna Clark 822-0003 931-9556 00-1738 91-7896 501-0015, 490-2068 SUPPORT YOUR LOCAL JAZZ MUSICIANS August/September1992 Brunch at The Allis Plaza is more than a tradition... it’s a pleasure! a Variety of Seven Onelettes to Onder, Exys Benedict, Army of Desserts. Brunch Comes vith Champagne. rdent Fresh Sal Served Sundays from 10-0) AM to2 PM cobby Atrium, LLIS <3 LAZA MOTEL The Best of Kansas City Jazz in @ A)Lu AIR KANU FM 91.5, National Public Radio University of Kans: ‘Monday-Friday: 8 p.m. -5 a.m. "Jazz All Night” Saturday: 9 -- 10 a.m. “The Vintage Jazz" Saturday: 10 a.m. ~-1 p. “The Jazz Scene,” Dk Wight Saturday. 12 midn. — 1 a.m. “Jaz trom Las Vegas" Saturday: 1 - 5 am, “Jazz Overnight” Sunday: 12 mid.-5 am, “Jazz Overnight” Sunday: 6 —7 p.m.,*Piano Jazz" KBEA-AM 1480 “Music of Your Life” "40s, '50s and Big Bands KJLA AM 1190 Sunday, 9 p.m. - 2 a.m. Big Bands, Vocalists & Combos KCFX-FM 101 Sunday, 8 p. “The Blues Show" with Lindsay Shannon CSCS TS eevee KCMW FM 90.9 National Public Radio Central Missouri State University Sunday: 10 p.m. midnight “Jazzline” ‘Monday: 11 p.m. -~ midnight "Confessin’ the Blues” ‘Monday-Friday: noon ~ 5 p.m. “The Only Real Jazz in Town" Wednesday: 11 p.m. -- midnight “Brazilian Hour” Thursday: 11 p.m. ~ midnight “Evolution of Jazz” Friday: 11 p.m. ~ midnight “Worldwide Jazz’ Friday: 11 p.m, ~~ midnight “Worldwide Jaz; Saturday:7 ~ 8 p.m. *Marian McPartland's Piano Jazz” “Bluestage" 8-9 p.m. “Jazzset" 9 - 10 p.m. KCUR FM 89.3 National Public Radio - UMKC ‘Monday-Thursday: 8:00 p.m. ~ 1 a.m. “The Jazz Place” il Friday: “Blues Stage," 8-10 p.m. “Friday Fish Fry,” 8 - 10 p.m Saturday: “Just Jazz,” noon —2 p.m. “Saturday Afternoon Swing Club,” 2 — 4 p.m, Saturday: 8 p.m. — Midnight “The Saturday Night Fish Fry" Sunday, 1-2pm: “Marian MoPartland” AREA KKFIFM 90.1 Monday — Friday, 5-9 a.m. and 1-4p.m. Saturday, 9 a.m. — 12 Noon KPRS FM 103.3 Sunday: 9 a.m. -- noon “The Sunday Morning Jazz Brunch” with Jeff Chamey ‘American Cablevision Channel 30 Wednesdays: 6 and 7 p.m. “Kansas City Jazz with Ruth Rhoden" Friday: 5 p.m. “Ruth's Music Corner” LISTENING TO JAZZ ON PYM aS RL eV ay) SINGING THE BLUES. {F cool jazz doesn’t sound so hot on your present sound system, you may want to visit Primus. §] We carry only the finest nomes in high fidelity like: Marantz, Definitive Technology and Audio Alchemy. So we con help you design the ultimate system starting ot round $1000. And if you bring us your fovorite jazz recordings, you con listen to them in one of our six audio PRIMUS| rooms. ‘| Of course, you may be surprised by what you hear. No smooth talk. No commission hungry soles AUDIO}! pitches. Just great jazz. §] Stop in and see us today. Primus Audio Pleasure, 1104 Baltimore, 816-421-3655. i 2 JAM. MagazineJa33 HOT 103 JAMZ! The Sunday Morning Jazz Brunch with Jeff Charney — 9 a.m.-12 noon + EXCITING FEATURES + INSPIRING INTERVIEWS 3 11131 Colorado Kansas City, MO 64137 576-7103MISSOURI RIVER QUEEN 1 RIVER CITY DRIVE ¢ KANSAS CITY River Boat Starts Boarding at 7 PM © Departs at 8 PM Returns at 10:30 PM TICKETS: $16 ($14 for Jazz Ambassador Members) For more Information, call: Missouri River Queen (281-5300) © TicketMaster (931-3330) KC Jazz Ambassadors (942-3349)