9:00 PM - Kansas City Jazz Ambassadors

Clarence Smith 

Directs Kansas City Youth Jazz 

“Jazz Summit” Series Begins 

KESSLER, VINE, FOLLY, REVIEWS AND MORE 

DECEMBER 2011 JANUARY 2012

Tooting Our Horn 

Jazzin’ Up the Town! 

Take a “PRIVATE JAZZ CRAWL” 

or “AN EVENING OF JAZZ” 

customized just for you! 

Celebrate Birthdays, Anniversaries, Reunions, Corporate 

Meetings and “more” with KC Jazz Ambassadors’ 

“ORIGINAL” crawls, or an evening of jazz. 

TOUR INCLUDES: 

• Coach transportation 

• Live jazz in historic 

settings 

• Informative, fun 

hosts with 

a stash of 

stories to tell! 

• Tantalizing, 

renowned 

KC BBQ 

Starting @ $65 per person for groups of 30 or more. 

FOR MORE INFORMATION: 

Call (913) 402-8151 or (913) 967-6767 

Email: privatejazzcrawls@kcjazzambassadors.com 

Profits used for Jazz education at the K-8 elementary, high 

school, and college levels, KC Young Audiences Inc., The 

Leon Brady Youth Band, The Jazz Ambassador Heritage 

Scholarship at UMKC Conservatory, plus aid the 

Musicians Emergency Assistance Fund. 

www.kcjazzambassadors.com 

Magazine Advertising 

“Everybody I know reads it ...” - Karrin Allyson, Recording Artist 

• Estimated readership exceeds 40,000 diverse 

individuals and arts patrons with broad interests 

- JAM readers support their advertisers! 

• Added exposure to our online readers at no extra charge. 

• Advertisers’ events listed on our online calendar. 

• We’re not just preaching to the choir - 10,000 copies 

are distributed to more than 170 retail locations, 

70 restaurants and clubs, 30 hotels, high schools, 

colleges, libraries, museums, visitor centers, casinos 

and other tourist attractions - not to mention flying 

like hotcakes at our world-class jazz venues! 

• JAM advertisers and musicians with Web sites 

have enjoyed measureable merchandise sales 

- JAM is mailed throughout the U.S. and internationally 

to jazz enthusiasts, publications, colleges and subscribers. 

• Only the large commercial publications are equal 

- JAM is the ONLY real glossy jazz magazine 

published by a nonprofit jazz organization. 

“JAM has been a great vehicle for publicity and advertising 

for the Folly Theater... absolutely in touch with what’s 

going on ...” - Doug Tatum, Folly Executive Director 

RESERVATIONS ACCEPTED! 

• Closing date for the February/March 2012 issue 

is January 19, 2012. 

• Contact Ad Manager Connie “Crash” Humiston: 

advertising@kcjazzambassadors.com or (816) 591-3378 

“JAM is a registered trademark of the KC Jazz Ambassadors, Inc.”

December 2011 + January 2012 | Volume 25, No. 6 

©2011, Kansas City Jazz Ambassadors, Inc. 

JAM is published bi-monthly by the Kansas City Jazz Ambassadors, a non-profit 501(c) 

(3) organization dedicated to the development and promotion of Kansas City jazz. 

All rights are reserved. Reproduction of any material is prohibited without consent of 

the publisher. 

To contact the KC Jazz Ambassadors, call (913) 967-6767. 

For advertising information, call (816) 591-3378 or email advertising@ 

kcjazzambassadors.com. Letters should be addressed to: JAM, P.O. Box 36181, 

Kansas City, MO 64171-6181. To contact the editor: Email jameditor@kcjazzambassadors.com 

“JAM” and “Jazz Lover’s Pub Crawl” are Registered Trademarks of The 

Kansas City Jazz Ambassadors, Inc. JAM/Jazz Ambassador Magazine (Online) 

ISSN: 1533-0745 

E D I T O R 

Carolyn Glenn Brewer 

Chris Burnett 

Carol Comer 

Greg Carroll 

Cambria De Lee 

Dawayne Gilley 

Roger Atkinson 

P R O O F R E A D E R S 

Dee Cerningeiss 

C O N T R I B U T I N G W R I T E R S 

Wayne Goins 

Bryan Hicks 

Connie Humiston 

Steve Irwin 

Stanton Kessler 

Charlton Price 

A D V E R T I S I N G 

Kevin Rabas 

Michael Ragan 

Roger Wilder 

Sharon Valleau 

Connie ‘Crash’ Humiston 816-591-3378 

T Y P O G R A P H Y & G R A P H I C D E S I G N 

Rodric McBride, Midwest Rock Lobster 

Cambria DeLee 

C O V E R L A Y O U T & D E S I G N 

Keith Kavanaugh, BauWau Design 

C O V E R P H O T O G R A P H Y 

Clarence Smith by Emily Atkinson 

P R I N T I N G 

Dimension Graphics 

D I S T R I B U T I O N ( P R I N T ) 

K.C. Jazz Ambassadors 

D I S T R I B U T I O N ( E L E C T R O N I C ) 

www.kcjazzambassadors.com 

I N T E R N E T W E B M A S T E R 

www.Wild-WestWebs.com 

2 0 1 1 B O A R D O F D I R E C T O R S 

E x E C U T I V E C O M M I T T E E 

PRESIDENT Steve Hargrave 

PAST-PRESIDENT Candy Tretter 

SECRETARY Casey Ventrillo 

TREASURER Penny Oathout 

D I R E C T O R S 

DIRECTOR, PRIVATE PUB CRAWLS Sharon Rabius 

DIRECTORS AT LARGE 

Virgil Julian | Bev Mann | Bill Paprota 

Jim Ramel | Gina Silk | Ben Silk 

The Board of Directors gratefully thanks Darrell Hoffman 

and Jayne Rudish for their untiring contributions to the KCJA. 

COnTEnTS 

Editor's Corner . . . . . . . . . . .4 

News & Notes . . . . . . . . . . . .5 

Folly Jazz News . . . . . . . . . .8 

Off the Vine . . . . . . . . . . .11 

For the Record . . . . . . . . . .13 

Storyville . . . . . . . . . . . . . .22 

Club Scene . . . . . . . . . . . .24 

Alternate Take . . . . . . . . . .26 

On the Air . . . . . . . . . . . .27 

JOIN TODAY! 

KCJA Membership 

Application . . . . . . . . . . . .16 

DECEMBER 2011 + JANUARY 2012 JAM 3

EDITOR’S CORnER 

4 

Friends, Part I 

Many in the Kansas City area know Charlton Price, 

a long-time friend of Kansas City jazz and a frequent JAM 

contributor. Charlton moved to Seattle a few years ago, 

and the Atkinson’s and many others miss seeing him. 

Charlton came to town in October, where he was able 

to catch the Sons of Brasil at Jardine’s and Bowdog with 

Bob Bowman and 1911 Main, and we were able to spend 

a wonderful evening at his favorite KC restaurant, Jasper’s, 

where he is truly treated like royalty. We both left for 

New York after this, where heard our favorite band, the 

Vanguard Jazz Orchestra, on their regular Monday gig 

(I guess you can call their fifth decade of Monday nights 

“regular”). Charlton is planning a return trip to KC when 

the VJO plays at the Folly. 

Friends, Part II 

The other former KC resident who made a recent 

visit was Dean Weiss, former owner of the Piano Room in 

roger atkinson 

JAM DECEMBER 2011 + JANUARY 2012 

Waldo. I met Dean there when I stopped in to hear Luqman 

Hamza one night, in preparation for a JAM feature 

article. I started to hang around the Piano Room to hear 

Luqman and the other musicians that Dean brought in, 

like Kathleen Holeman and Russ Long, and then started 

to go just to hang with Dean. On his latest visit, singer/ 

pianist Danny Beal (who also had a long stint at the 

Piano Room, and can currently be heard mixing some 

Gershwin and Waller with Billy Joel and others at the 

Phoenix happy hour set every Monday through Thursday) 

and Steve Irwin spent an evening with Dean and I at the 

Piano Room. 

25 Years of JAM 

This issue concludes the 25th year of JAM, which 

on the surface is a remarkable feat, but when you gather 

a group of folks who are as dedicated as the contributors 

over the years, it becomes less surprising. We thank the 

continued on page 25

Brubeck Brothers and 

Poncho Sanchez appearing 

at Jazz Winterlude 

Jazz Winterlude returns to Johnson County Community 

College on January 20-22. This year’s schedule: 

Friday 

8:00 a.m.-5:00 p.m. School Band Clinics and 

Classes 

6:00 p.m.-7:00 p.m. Bill Crain Quartet 

7:15 p.m.-8:15 p.m. Crosscurrent 

8:30 p.m.-9:30 p.m. Brubeck Brothers Quartet 

Saturday 

12:30 p.m.-1:30 p.m. Jazz Disciples 

1:45 p.m.-2:45 p.m. Brandon Draper Group 

3:00 p.m.-4:00 p.m. Lynn Zimmer and the Jazz 

Band 

4:15 p.m.-5:15 p.m. Matt Otto Quintet 

5:30 p.m.-6:30 p.m. Will Matthews Quartet 

6:45 p.m.-7:45 p.m. Kansas City Bass Quartet 

8:00 p.m.-10:00 p.m. Poncho Sanchez (optional 

Performing Arts Series event) 

Sunday Brunch 

11:00 a.m.-1:00 p.m. Dan DeLuca Trio (Regnier 

Center Cube, 2nd Floor) 

Tickets are $20 on Friday and $25 Saturday, with 

a $30 two-day pass available; this does not include the 

Poncho Sanchez concert. A $5 student pass for Friday 

and Saturday is also available. The Sunday brunch is 

$25. They can be purchased at www.jccc.edu/music/ 

jazz-winterlude. Or, tickets can be purchased by calling 

913-469-4445 (ask for special prices for the Sanchez 

concert). For more information on this annual jazz festival, 

contact Ron Stinson at 913-469-3275 or Doreen 

Maronde at 913-339-6698. 

Jardine’s News 

Jardine’s now has music seven nights a week, and is 

open from 6:00 p.m. until 3:00 a.m., including a Reverse 

Happy Hour starting at 11:00 p.m. with no cover. They 

have some great shows this holiday season, including 

Barclay Martin Ensemble, Bram Wijnands, the Kerry 

Strayer Big Band, Millie Edwards and Lori Tucker, Shay 

Estes, Megan Birdsall, and others. The full calendar is 

at www.jardines4jazz.com, and reservations can be made 

at 816-562-6480. Oh, there is also a secret post-holiday 

nEWS+nOTES 

give-away, Thanksgiving through December 30, that you 

might want to ask about. 

We Always Swing 

The folks at the We Always Swing series in Columbia 

are currently offering a six ticket special. The deal has a 

$30 savings for the concerts, which includes two tickets 

to Chucho Valdes and the Afro-Cuban Messengers at the 

Missouri Theatre Center for the Arts on February 12, plus 

four tickets for any combination of shows in the series, 

including the Matt Wilson’s Arts and Crafts on March 

18 at Murray’s. You can get the details at their Web site, 

www.wealwaysswing.org. 

Owen-Cox Dance Group 

Presents The Nutcracker 

and the Mouse King 

Almost everyone is familiar with the traditional version 

of the holiday story The Nutcracker. Far fewer are 

PHOTO BY CHARLES STONEWALL 

aware of the original and notably darker inspiration for 

this beloved ballet--E.T.A Hoffman’s 1816 story “The 

Nutcracker and the Mouse King.” Owen/Cox Dance 

Group will present their highly unique, contemporary 

jazz adaptation of The Nutcracker and the Mouse King, 

at the H&R Block City Stage Theater on December 9, 

10, 11, and 16, 17, 18. 

Owen/Cox Dance Group’s version of The Nutcracker 

and the Mouse King was choreographed by Jennifer 

Owen, in collaboration with The People’s Liberation Big 

Band of Greater Kansas City and experimental artists 

Mark Southerland, Peggy Noland, and Peregrine Honig. 

Sixteen musicians of The People’s Liberation Big Band of 


6 

news+notes continued from page 5 

Greater Kansas City, led by Brad Cox, will perform both 

original music and radical rearrangements of Tchaikovsky 

melodies. Notable jazz musicians performing include 

Roger Wilder, Stan Kessler, Rich Wheeler, and Jeff 

Harshbarger. 

Performance times are 8:00 p.m. December 9, 10, 

16, and 17, and 2:00 p.m. December 11 and 18. Tickets 

cost $20, $15 for students, seniors and groups, and $10 for 

children 12 and under. Tickets are available at the Union 

Station box office (30 Pershing Rd., KCMO 64108), or 

online at www.owencoxdance.org. 

Kansas City Jazz Orchestra 

Christmas Concert 

The Kansas City Jazz Orchestra will be presenting Christmas 

with Kevin Mahogany on Friday, December 9, at 8:00 

p.m. at Unity at the Plaza. Tickets are from $25 to $40, 

and are available from www.kcjazzorchestra.org or from 

the Central Ticket Office, 816-235-6222. 

Topeka Jazz Workshop Hosting 

Interstring (and much more) 

The next two concerts at the Topeka Jazz Workshop 

are Josh Nelson and Sara Gazarek on December 4 and 

Interstring on January 15. The concerts are from 3:00 

to 5:00 p.m. at the Downtown Ramada Hotel and Convention 

Center, 420 SE 6th Street in Topeka. Note that 

the concerts are by full-season subscription only. The 

remaining concerts include Dick Oatts and Kenny Barron. 

Contact Marcene Grimes at mgrimes14@cox.net or 

785-379-5169, or check out the TJW Web site, www. 

topekajazz.com. 

Turtle Island Quartet to 

Perform Holiday Concert 

Holiday music from around the world will be presented 

by the Turtle Island Quartet at A Solstice Celebra- 


tion: Festival of Lights, on December 3 at 8:00 p.m.in the 

Polsky Theatre at Johnson County Community College. 

They will be joined on four songs by the Kansas Citybased 

Te Deum choral ensemble. Tickets are $35 and 

can be purchased at www.vendini.com or at the box office 

at 913-469-4445. 

Concerts at UMKC Conservatory 

The Jazz Bands Combined Concert, with bands led by 

Bobby Watson and Dan Thomas, will be held December 

5 at White Recital Hall at UMKC. Tickets are available at 

www.conservatory.umkc.edu, or by calling 816-235-6222. 

And keep in mind that the UMKC Jazz Festival will be 

held in February, and we’ll have details next issue. 

A Special New Year’s 

at the Gaslight 

Jazz trombonist, Bob Havens, will be featured with 

Lynn Zimmer and the Jazz Band for a spectacular New 

Year’s Eve celebration at the Gaslight Grill. Perhaps best 

known for his long popularity performing at Jazz festivals 

throughout the nation, Havens is also remembered for 

his solo jazz performances (often with Pete Fountain) on 

the Lawrence Welk TV show He also did stints with 

the bands of Ralph Flanagan, Al Hirt, and Bob Crosby, 

among others, in addition to leading his own band. 

Others playing with Bob clarinetist Lynn Zimmer will 

be Tommy Ruskin (drums), Paul Smith (piano), and 

Mel Drybread (bass). For information and reservations 

(needed for New Year’s Eve) call Gaslight Grill at 913- 

897-3540. 

SFJAZZ Collective at Lied Center 

Another good looking holiday gift would be tickets to 

the SFJAZZ Collective concert on March 14 at the Lied 

Center at the University of Kansas in Lawrence. They’ll 

be playing the music of Stevie Wonder. Contact www. 

lied.ku.edu or call 785-864-2787 for more information. 

You might even want to get some tickets for yourself. 

Big Band Tribute in Olathe 

A Tribute to the Big Band is a trip back to a WWII 

U.S.O. show! A full band takes the stage to play your 

favorite tunes from the 30s and 40s, along with your 

most loved holiday melodies. A Tribute to the Big Band 

stars Leah Berry, Jon Daugharthy, and Julie Shaw, and 

is directed by Brad Zimmerman. The big band is led by 

Harold Steinhardt. The show runs through December.

11 at the Chestnut Fine Arts Center located at 234 North 

Chestnut in Olathe. Performances are Thursday through 

Saturday evenings at 8:00 p.m. and Sunday matinees at 

2:00 p.m., with additional Saturday matinees at 3 p.m. 

on December 3 and 10. Tickets are $23.00; discounts 

available for seniors, students and groups. For more information 

or to purchase tickets, call 913-764-2121 or 

visit www.chestnutfinearts.com. Seating is limited, so 

reservations are recommended. 

Lois Hansen Metheny, 1927-2011 

Lois Metheny, mother of Pat and Mike Metheny, 

passed away on October 11. Mrs. Metheny was born in 

Manitowoc, Wisconsin and attended Park College, where 

she met her husband Dave. A long-time resident of Lee’s 

Summit, she was a great supporter of jazz in Kansas City, 

a sponsor of the Kansas City Jazz Ambassadors, and the 

number one fan of her sons. JAM expresses its deepest 

sympathy to the Metheny family. Donations in honor of 

Lois Metheny can be made to the Metheny Music Foundation, 

PO Box 7004, Lee’s Summit, MO 64064. 


FOLLy JAzz nEWS 

8 

The Folly Jazz Series wishes you a joyous holiday season 

and a happy New Year by presenting two very special concerts 

guaranteed to lift the spirits! First up… 

Mark O’Connor’s American String 

Celebration Holiday Concert! 

featuring Carrie Rodriguez – Saturday, 

December 17 – 8:00 p .m . 

JazzTalk pre-concert interview with Mark O’Connor 

@ 7 PM with guest host, Bob McWilliams 

Violin virtuoso Mark O’Connor brings his American 

roots, Bluegrass, classical and jazz-inspired ensemble 

(3 violins, cello, guitar, bass & vocals) to the Folly for 

a richly–mixed, intricately textured evening of holiday 

music in support of his newly-released recording, An Appalachian 

Christmas. It will be an unforgettable music 

experience for the entire family to enjoy. 

steve irwin 


As many of you are aware, Mark O’Connor was last 

heard on the Folly Jazz Series two seasons ago performing 

his Hot Swing jazz tribute to his violin mentor, Stephane 

Grappelli, and guitar inspiration, Django Reinhardt. 

A product of America’s rich aural folk tradition as well 

as classical music, Mark O’Connor’s creative journey began 

at the feet of a pair of musical giants. The first was the 

folk fiddler and innovator who created the modern era of 

American fiddling, Benny Thomasson; the second, French 

jazz violinist, considered one of the greatest improvisers in 

the history of the violin, Stephane Grappelli. Along the 

way, between these marvelous musical extremes, Mark 

O’Connor absorbed knowledge and influence from the 

multitude of musical styles and genres he studied. He has 

melded and shaped these influences into a new American 

Classical music, and a vision of an entirely American 

school of string playing.

We’re very pleased that critically-acclaimed singer/ 

songwriter/musician Carrie Rodriguez will be the featured 

artist for Mark O’Connor’s holiday music special. Love 

and family have always been sources of inspiration for 

Carrie Rodriguez, but never have they featured so prominently 

than on her brand new release Love & Circumstance, 

a covers album that includes songs written by her father, 

and once performed by her great aunt. 

Carrie’s journey from teenage violin student to touring 

the world with the likes of Chip Taylor, Lucinda Williams 

and Alejandro Escovedo, has resulted in a prodigious 

output of recordings - eight albums in as many years - for 

the young musician; with the new album, Carrie relies on 

others to handle the songwriting duties, she provides the 

interpretations. 

…and to kick-off your New Year in style, please join us 

for jazz vocalist extraordinaire… 

Nnenna Freelon 

www .nnenna .com 

Saturday, January 14, 

2012 – 8:00 P .M . 

Six-time Grammy ® Award-nominee Nnenna Freelon 

is hailed as the “ international voice of Jazz.” She has 

shared the stage or recordings with Jessye Norman, Herbie 

Hancock, Aretha Franklin, Ray Charles, Take 6, Al Jarreau, 

the Count Basie Orchestra and more! Phenomenal 

performances at Carnegie Hall to The Hollywood Bowl, 

2011 - 2012 Season 

The ArtsKC Fund 

12th & Central 

Kansas City, MO 

816-474-4444 

www.follytheater.org 

TICKETS 

ON SALE NOW! 

Mark O’Connor 

Saturday, December 17, 2011 

American String Celebration 

featuring 

Carrie Rodriguez 

Nnenna Freelon 

Saturday, January 14, 2012 

Grace Kelly Quintet 

Saturday, February 4, 2012 

w/special guest Phil Woods 

Vanguard Jazz Orchestra 

Saturday, March 3, 2012 

John Pizzarelli Quartet 

Saturday, April 14, 2012 

All Shows Begin at 8:00 p.m. 

Preceded by JazzTalk @ 7:00 p.m. 

800-745-3000 

www.ticketmaster.com 

Neighborhood Tourist 

Development Fund 

City of Kansas City, Missouri 


10 

folly jazz news continued 

the Monterey Jazz Festival to the Newport Jazz Festival, 

and from Montreux to London! And now, she’ll be center 

stage at the historic Folly Theater! 

Nnenna Freelon has been heard and seen in the feature 

film What Women Want, and In Performance At The White 

House to celebrate the 20th Anniversary of the Thelonious 

Monk Institute of Jazz, Variety’s The Children’s Charity, 

on the #1 TV hit Mad Men, on the Jerry Lewis’ Labor Day 

Muscular Dystrophy Telethon, on stage alongside The 

Roots performing in the hit musical Ask Your Mama, and 

2011 ANNUAL MEETING AND CHRISTMAS PARTY 


for numerous charities and at special events such as at the 

Society of Singers’ “Ella Awards” honoring the legendary 

Julie Andrews. 

Freelon’s seventh Concord Records release Homefree 

was released in April 2010. A mix of tunes that Freelon 

identifies as “feeling at home in your own skin,” Homefree 

bubbles with the energy and creativeness that are hallmarks 

of Freelon’s recordings. 

Compiled by Steve Irwin, Development Director of 

the Folly Theater 

On behalf of the Folly Theater Management Team, 

Board of Directors and our 285 Community Volunteers, 

we wish all of you - and your families – a wonderful holiday 

season and happy New Year! We look forward to seeing 

you at one of the upcoming Folly Jazz Series concerts. By 

the way, Jazz Series tickets make a great holiday gift for 

friends, family and your special business associates. Your 

support is truly appreciated! 

Tickets for all Folly Jazz Series concerts are: $35, 

$27, and $18. Please call Linda Bowlen, our box office 

manager, to order tickets: 816-474-4444. Linda will 

make sure you have the best seats available in the price 

range you want. 

December 11, 2011 

Lidia’s Italy of Kansas City 

4:00 P.M. – 9:00 P.M. 

• Annual Meeting • Cash Bar 

• Silent Auction • Reception Buffet 

Music by Bram Wijnands with Phillip Lakefield 

and Steve Lambert. 

Mark your calendar and make your reservation 

today by calling (913) 967-6767 or e-mail Bev 

Mann at foodfads@everestkc.net. 

Reservations must be received by 

December 8, 2011.

PEER Ambassadors 

The American Jazz Museum initiated another way 

for advocates and supporters of the arts to get involved 

with promoting the message of the organization. The 

very first PEER Ambassadors program free reception was 

held on November 15 

with about two dozen 

people in attendance. 

PEER Ambassadors are 

asked to actively participate 

in three primary 

areas: (1) simply help 

spread the word about 

the American Jazz Museum 

and the programs 

we offer; (2) recruit 10 

people to become PEER 

Ambassadors and join 

the team; and, (3) consider 

becoming a table 

captain at the PEER Into The Future luncheon on April 

16th. 

PEER is an acronym for the American Jazz Museum’s 

tenant operational mission 

areas of: Performance, 

Education, Exhibitions 

and Research. 

We invite all readers to 

join us. 

Highlights of the 

event included remarks 

by AJM Board Member, 

John Readey, who recalled 

his first exposure 

to jazz music and how 

that has impacted his 

continued interest in all 

aspects of the art form 

to this day. 

Attendees also heard from Greg Carroll, CEO of the 

American Jazz Museum, via his testimony which included 

the vibraphonist performing jazz musical excerpts in concert 

with his remarks. And, of particular note was the fact 

Sunni Patterson at the Blue Room 

Stan Kessler and student band 

OFF THE VInE 

that the event’s music was provided by a modern creative 

jazz trio that was led by AJM Director of Education, Dennis 

Winslett. Mr. Winslett in his acknowledgments of the 

group members made note of the fact that the two young 

professional jazz artists were products of the American Jazz 

Museum’s Jazz Institute 

program. 

2012 Rhythm 

& Ribs Jazz 

and Blues 

Festival 

It’s official! Mark 

your calendars now 

to attend the 2012 

Rhythm & Ribs Jazz 

and Blues Festival on 

the second Saturday of 

October 13, 2012. The 

2011 festival was a resounding success by all accounts and 

contributed greatly to the landscape of significant Kansas 

City arts-related activities and events that have taken place 

throughout the entire 

year. 

New Years 

Eve Guitar 

Summit 

The American Jazz 

Museum in partnership 

with the Kansas 

City Jazz Ambassadors 

will bring in the New 

Year with a “Guitar 

Summit” in The Blue 

Room. The featured 

performers include: the 

Count Basie Orchestra 

guitarist, ARC recording artist and Kansas City native, 

Will Matthews; Danny Embrey, guitarist and member of 

The Sons of Brasil, who is also internationally renowned; 

chris burnett 


12 

off the vine continued 

and, Little Apple Records recording artist and Director of 

Jazz Studies at Kansas State University, Dr. Wayne Goins. 

This will be one for the ages. Tickets: 

Single, $75; Couples, $125; Tables of 4, 

$240; Tables of 6, $360. Get your tickets 

now because they will go fast! 

The American Jazz Museum and the 

Kansas City Jazz Ambassadors present this 

series of summit concerts throughout the 

entire year in The Blue Room. The recent 

“Piano Summit” was held on November 3 

featuring Charles Williams, Joe Cartwright 

and Angela Ward. That event was very 

well attended and was a resounding success 

too. 

Creative Programming 

and Presentations 

Abound at the AJM 

American Jazz Museum’s CEO Greg Carroll often 

makes us aware of the fact that during challenging economic 

times, arts organizations are typically the first to 

realize any negative impact inherent to such dynamics. 

And, he further states that not-for-profit organizations 

like the AJM are impacted beyond the challenging times 

into the initial recovery period because it takes longer for 

donations to reconstitute after such prolonged instances 

2011 Rhythm & Ribs Jazz and Blues Festival 

of fiscal anxiety. With this dynamic reality in mind, the 

various departments have been very creative in successfully 

presenting substantive programs. 

The brand new “Jazz n’Dine” add-on package to the 

Jammin’ at the Gem concert series offerings has proven 


to be a keeper. Concert series attendees can purchase a 

package that includes a gourmet meal prepared by an 

award-winning chef, attend a preconcert 

reception where they hear 

directly from the featured artist, and 

then listen to great music performed 

in one of the best jazz concert venues 

in the world. 

The “Jazz Poetry Jams” series not 

only serves as a functional creative 

outlet to the Kansas City area spoken 

word artist community, but also presents 

national and international spoken 

word artists in The Blue Room. 

These events are always well attended 

and we hope to put this scene on the 

radar of more Kansas Citians. 

The Blue Room continues to provide 

one of the best listening room 

environments for jazz and improvised music in the world 

and it is right here in Kansas City! GM Gerald Dunn 

was recently honored in a truly surprise event that was 

organized by many of his own fellow Kansas City-based 

jazz artists. The well-attended event included the presentation 

of a very notable acknowledgement by Congressman 

Emanuel Cleaver, who specifically cited Mr. Dunn’s 

longevity of dedicated work and consistent excellence in 

artist programming within the context of his well-written 

proclamation. 

The Historic 18th & Vine 

Legacy Belongs to Everyone 

Being a practicing jazz artist and native of the 

Kansas City metropolitan area community is inherently 

very cool. I have had the opportunity to 

travel and live in many locations around the world 

as a performing artist. Whenever I mentioned 

that I was from the Kansas City metropolitan area 

community, the response was the same: positive 

and respectful. 

So often today, I am exposed to accounts that 

relate to how bad the state of “jazz” music is. These 

accounts prevail beyond being anomalous, almost to the 

point of my wondering if this creative music that traditionally 

always speaks to modern times has become a relic 

PHOTO BY BOB BARRY 

continued on page 25

Wayne Hawkins, Todd Strait, 

and Karyn Quinn 

Great Days 

Personnel: Wayne Hawkins, piano; Karyn Quinn, bass; 

Todd Strait, drums 

Tracks: Grace, I’ve Never Been in Love Before, Chelsea 

Bridge, Both Sides Now, Great Last Day, Blame It On 

My Youth/While We’re Young, Cheryl, Laverne Walk, 

Alone Together, O Meu Lugar 

“Great Days,” is very 

much a collaborative endeavor 

for pianist Wayne Hawkins, 

bassist Karyn Quinn, and 

drummer Todd Strait. For the 

past seven years, the three have 

worked together as clinicians 

at the University of Kansas 

Summer Jazz Camp. This is the culmination of that 

time, experience, and musical camaraderie. It was made 

possible, in part , through the auspices of the University of 

Wisconsin-La Crosse College of Liberal Studies and Jazz 

Studies where Karyn is on the faculty. She also produced 

and co-mixed the project. 

Everyone plays exceptionally well throughout; that is 

a given. They are accomplished and inspired players, each 

in his/her prime. There is plenty of solid, impassioned, 

good old-fashioned blowing, but it isn’t just a blowing 

affair, so to speak. The recording highlights skillful arrangements 

of a variety of material with a great deal of 

textural contrast. 

Wayne contributed three original compositions: 

“Grace,” “Great (Last) Day,” and “O Meu Lugar,” as 

well as a truly inspired reharmonization of Joni Mitchell’s 

chestnut, “Both Sides Now.” “Grace” is based on a 

5-note theme built on a pedal D. This is moved around 

a bit and then shifts chromatically down to a very open 

collective improvisation. The interplay between the three 

is uncannily clairvoyant. 

It is mentioned in Wayne’s liner notes that “Great 

(Last) Day” was inspired by the Brad Mehldau Trio. 

Harmonically and rhythmically, this would be a nod to 

FOR THE RECORD 

that part of their canon which deals with repertoire of a 

more raucous nature. More importantly, the song is both 

an elegy and a celebration. Without divulging anything 

more personal than what is in the sleeve, let me say that 

there is a time in every sentient being’s life when they 

must confront the inevitable. We are fortunate to have 

music as a medium for reflection on these things. The 

ensemble plays with the utmost conviction and Wayne 

solos as though he were touched by a bright light. There 

has never been anything cliché about his playing. He 

has a fertile musical imagination which is manifest at all 

times. 

A sprightly samba in three, “O Meu Lugar” is taken 

at a good clip and showcases the drums accompanied by 

crisp, syncopated piano/bass riffs. Todd is a very painterly 

player with a broad palette of percussive hues. 

“Both Sides Now” is allowed to kind of just play 

itself. The verses are shared by the bass and piano and 

the final phrase of the chorus is repeated in an ascending 

chordal vamp which is beautifully shaded in by drums 

and cymbals; an artful rendition, almost chamber-like. 

Karyn arranged Oscar Pettiford’s “Laverne Walk” in a 

revival meeting vein and deftly negotiates the head. After 

the piano solo, there is a second-line volley between bass 

and drums leading into a Cannonball-esque shout chorus 

(or Horace Silvery; I don’t know). She also juxtaposed 

Oscar Levant’s “Blame It on My Youth” with Alec Wilder’s 

“While We’re Young” wherein the bass states the first 

melody over the fanciful music box piano triplet figures. 

The piano then leads us into the waltz time of “While…” 

for this ode to youthful impetuousness. 

Karyn has a great time-feel, rich tone, and sound 

harmonic and melodic sense. Along with compliments 

to her overall musicality, I give a tip of the hat for the way 

in which she sequenced the CD. All of the songs lay very 

well within the program. 

A more straight-ahead treatment in given the remaining 

four tracks, although each is instilled with a hook or 

an attitude which characterizes it as being unique to this 

occasion. 

Frank Loesser’s “I’ve Never Been in Love Before” Is 

played on a pedal except for the bridge. “Chelsea Bridge” 

is doubled to a medium groove with equally groovesome 

continued on page 20 


mith? 

Legacy of Leon Brady

16 

clarence smith continued 

time comes for Mr. Brady to reduce his role. And one 

could not have a more dedicated educator in Smith to lead 

KCYJ in the future. 

At a recent rehearsal of the Orchid band (one of four 

KCYJ bands), the strength of the Clarence Smith teaching 

style was evident. “This is a difficult rhythm,” he told 

the band as they worked through one difficult passage. 

“Let’s run through it again, this needs to be staccato, like 

this,” and he sings the part. When they are done, the alto 

saxophonist circles the phrase on his music; you just know 

he’ll spend time during the week perfecting the phrase, 

and he’ll nail it the next week. 

You see him encourage the students when they get a 

part just right, with a “there you go!” or a simple head nod. 

You see him find an extra copy of some music when one 

of the students realizes he left it at home. He could have 

made an example of him, but there was no point in that. 

The students worked hard in this hour-long rehearsal. You 

can tell they want to be there. And no doubt Clarence 

Smith and Leon Brady and the rest of the faculty are the 

reasons for this. It’s obviously a rewarding experience, 

every Saturday morning. 

Clarence has already earned a strong reputation during 

his years as director of the jazz program at the Paseo 

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Academy of Fine and Performing Arts, where creative 

musicians such as Logan Richardson, Harold O’Neal, 

Seth Lee, and Solomon Dorsey had important early development. 

After the Paseo years, he started working at 

the Metropolitan Community College, where he has been 

for eight years and is now coordinator of music, teaching 

jazz history, music appreciation, percussion, and directing 

the jazz ensembles. In 2000, DownBeat honored him as 

Jazz Educator of the Year, and he also received the first 

Alaadeen Award for Excellence in Education, which he 

is particularly proud of. Unfortunately, the programs at 

the Paseo and the elementary arts schools were dismantled 

piece by piece. 

He’ll tell you that he has developed strong relationships 

with students and parents, and that it is essential. 

“You know you are doing something right, as long as I am 

maintaining positive relationships, I am doing something 

right,” he told me after the rehearsal. At the Paseo, he says 

he was the task-master; he has now mellowed, and finds 

that these students respond to his easy-going approach 

just as much, maybe more. 

“KCYJ kids are different than the average high school 

or middle school student musician. They are here to get 


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18 

clarence smith continued 

more of a jazz experience. So, that desire to play well, and 

the motivation to practice, to spend time learning their 

instrument is more like a college student. Most are here 

to get an in-depth jazz education. They normally practice 

and prepare, and work hard. You put it out there, and 

they take it! 

“Before I was Musical Director of KCYJ, I would tell 

Mr. Brady and any group that I spoke in front of that of all 

the things that I do in my musical life, as a performer and 

educator, a clinician, KCYJ is right top of the list. There 

is never a Saturday morning that I want to be somewhere 

else. I can’t wait to get here to practice. The Brady’s have 

developed a culture that makes learning possible. And, 

they make it easy for instructors. Once you get here and 

realize the impact that you have on the kids, and the impact 

they can have on the future of jazz in this town…. I 

just never realized the impact of what I do on my students. 

So KCYJ is extremely important to the future of the music. 

Hopefully these kids will leave here and then go to college, 

maybe at UMKC or somewhere else, and some will come 

back and have an impact on jazz in Kansas City.” Like, for 

example, Bobby Watson. “Oh, yes, a huge impact, he’s one 

of the best players on Earth, and he chose to come back, 


it is really important. You know, some of the students 

in KCYJ have friends at UMKC, they learn from them, 

and play and gig with them, and the UMKC program’s 

influence can be heard in the number of great young 

players who are from – or even still in – the program who 

are working in town. My son is at UMKC, a trombone 

player, and is working hard and having a great experience, 

doing very well there. 

The program 

has gone to 

the next level.” 

As an educator and 

musician, Clarence is 

also a promoter of jazz, 

and sees the need to tell 

his students the truths 

about jazz history and 

its place in our culture, 

and how Americans 

seem to take it for 

granted. “I wouldn’t 

say these are dark days 

for jazz, even its popularity 

and awareness 

of the music, it’s not 

very good,” he related. 

“Some s e e 

PHOTO BY EMILY ATKINSON 

jazz a museum 

piece 

you can go 

see. Jazz has become music for academics, mostly done 

in schools, and working hard to find an audience. The 

jazz scene in Kansas City is really pretty robust, I don’t 

see it in other places I visit. My jazz history students have 

to go out and listen to jazz, and I have a lot of choices for 

them. 

“We have to do a better job of making younger people 

aware. When I started teaching in Kansas City, the city of 

Kansas City, Missouri, and the Kansas City school district 

partnered on a Jazz Day, where they brought in every fifth 

grader to the Music Hall. They would get a little pamphlet 

on the history of Kansas City jazz, and they would get 

a concert by a big band made up of teachers, and we’d 

bring in Frank Smith and Leon Brady, and there would 

be several different kinds of combos. And they don’t do 

it anymore. Every fifth grader had to do that, and teachers

did a unit on it. The kids learned a little about jazz, and 

also about the history of their town.” 

Clarence is originally from Marshall, Missouri. “Bob 

James is also from Marshall, and there is now an annual 

Bob James Jazz Festival there, that I partner with and 

help run. Joe Athon is also from there; Joe and I do a 

steady thing at 1911 Main, Tuesdays. I attended Central 

Methodist in Fayette, Missouri. I taught in Marshall for 

five years, and then in the elementary performing arts 

schools here for two years before moving to Paseo.” 

And what does the role of Musical Director of KCYJ 

entail? “I direct the Reno band and the Orchid band, 

which are the advanced bands. They do most of the performing, 

and I schedule the performances. I also oversee 

the staff. We are an official partner of the college. The 

facility offers more than the former KCYJ home. We have 

classrooms here, the teachers have chalkboards they can 

use. It’s much better for teaching. There’s space here. We 

have great support from the several leaders at Penn Valley, 

including President Joe Seabrooks, Al Dimmitt, the Dean 

of Instruction, and Vicki Raine, Humanities Department 

Chairperson at MCC-Penn Valley. They are supportive 

of the festival that we coordinate with the Jazz Museum 

every year. 

“Parents are very important to what we do at KCYJ, 

we couldn’t do what we do without their support, and they 

are very supportive of their students. They are cooperative 

and giving and willing to take advice, and of course they 

get their kids here, some watch every rehearsal. Some of 

the parents are out in the jazz community, getting to know 

the musicians, have them over for dinner. It’s interesting 

to see. They are all out there supporting the music.” 

As for the perpetuation of Kansas City Youth Jazz, 

Clarence notes that “Mr. Brady had a plan all along. He 

was able to see it through. I think Youth Jazz is going to 

be here for a very long time, as far as I’m concerned. 

“I’m humbled to have been selected for this position, 

and I accept the responsibility, and we’ll make it work.” 

In addition to his education duties, Clarence also maintains 

a busy schedule as a performer, playing drums in 

various groups around town, with Joe Athon, Toni Gates, 

and an R&B/jazz group called J Love. 

Kansas City Youth Jazz accepts donations from the public to 

support their programs. For information, see their Web site 

www.kcyouthjazz.org. Every Spring they also hold a Masters 

of KC jazz fundraiser; more information will be available on 

their Web site and in JAM. Their groups are also available 

for performance. 

EXPRESS 

yourself 

OU Jazz Studies, 

Dr. Todd Wilkinson, Director 

Jazz Ensemble Big Band 

Jazz Combos 

Dr. Todd Wilkinson, Alto Saxophone 

Mr. Keith Mallory, Percussion 

Mr. Brian Baggett, Guitar 

Mr. Ryan Heinlein, Trombone 

Mr. Robert “Bob” McCurdy, Trumpet 

Mr. Bill McKemy, Bass 

Dr. Michael Pagan, Keyboards 

Call the Office of Admissions at 

800-755-5200 OPTION 2 

OR 

E-mail Dr. Todd Wilkinson at 

todd.wilkinson@ottawa.edu 

JAZZ SCHOLARSHIPS AVAILABLE 

STARTING SPRING 2012 SEMESTER 


20 


for the record continued 

solos from piano and bass. The Bird blues “Cheryl” has 

piano/bass unison on the first head with strong solos and 

a trading section with the drums. 

The most free-wheeling track is “Alone Together” with a 

double-time feel stretching the form over twice as many 

measures. Karyn halves the time to the original gait for 

a nice change on her solo. 

So, a Wisconsin teacher uses a grant to help finance a 

worthy art project; not an easy thing to do these days, in 

that part of the country. “The life of the arts is far from 

an interruption, a distraction, in the life of a nation. It is 

close to the center of a nation’s purpose and is the test of 

the quality of a nation’s civilization” (J.F.K.) 

—Bryan Hicks 

Sir Threadius Mongus 

Threads 

Artists Recording Collective ARC-2352 

Personnel: Jeff Davis, guitar; Andrew McGhie, tenor 

saxophone; Nick Rowland, alto saxophone; Russell 

Thorpe, bass clarinet; Mike Stover, electric bass; 

Stanton Kessler, trumpet; Patrick Ketter, reeds; Matt 

Otto, saxophones; Jonathan Taylor, drums, Annie 

Ellicott, vocals (tracks 2-4). 

Tracks: Before That, Purr, Gone Lessie Ornithespie, 

Suancé Duendéton, When Ghandarvan Whispers. 

Tracks 1 and 5 recorded June 19, 2011 at Markosa 

Studios, Kansas City; tracks 2-4 recorded December 

16, 2010 at the R Bar, Kansas City. Additional 

sessions recorded by Matt Otto. Engineered by Mark 

Thies. Mixed and mastered by Matt Otto. 

“One of the 10 jazz sites worth visiting” 

-New York Times 

Online 

kcjazzambassadors.com

This EP from the reedheavy 

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features five originals from 

guitarist Jeff Davis is a style 

not unlike a David Murray 

Octet or a Beaver Harris 

band: heavy riff-based 

tunes, changing rhythms, 

layering melodies, and fine 

blowing. Their name implies some Monk and Mingus 

influence, too, and I can imagine a larger Mingus group 

playing in this mode. Three tracks feature the versatile 

vocalist Annie Ellicott in a setting that allows her improvisational 

talent to shine. 

There is much variety from these five strong tracks. 

“Before That” is a good introduction, moving between a 

march-like rhythm and a rock beat, with several simple 

repetitive melodies interweaving, with a tenor sax solo (I 

assume Matt Otto) in the march part, before the rhythm 

gets heavier, with some guitar comping behind the tenor. 

Throughout, the melodies never seem far away, making 

this an enjoyable listen through the density. 

The first Ellicott feature is a ballad with saxophone 

and bass clarinet riffs in support. Annie acts like an 

added horn here, with some particularly enjoyable improvisational 

scat. “Gone…” opens with a guitar riff 

and then a repeated Ellicott phrase which is picked up by 

the reeds. The track starts slow, but shifts into high gear 

led by Davis and drummer Taylor, followed quickly by 

exchanges with the reeds. As it is throughout, Russell 

Thorpe’s bass clarinet playing is an effective contrast to 

the sound of the saxophones. Ellicott’s voice is powerful 

on “Suancé…” From the quiet work on “Purr” to her 

scat and the glissandos here, the breadth of her vocal 

talent is very much evident on these three cuts. 

The full ensemble opens the final cut, and that may be 

Matt Otto’s bass sax blowing over the repeated riff before 


Lonnie 

McFadden 


STORyVILLE 

22 

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to put together a piano version of their popular Guitar 

Aerobics book, Wayne was determined to offer something 

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IMPROVISATION #29

for the record continued from page 21 

the melody emerges. You’ll hear a lot of lines layered here, 

truly many sounds of surprise that will keep you engaged. 

This is some fine, creative writing from Davis. 

This is a band worth hearing on this EP and on their 

dates around town, and maybe you’ll be lucky enough to 

catch Annie Ellicott as well. The music never gets excessively 

free or incoherently noisy, and the compositions are 

well-constructed in the use of layered melodies and the 

various voices; it all holds together well. It’s an enjoyable 

listen. 

—Roger Atkinson 

John Stein 

Hi Fly 

Whaling City Sound 054 

Personnel: John Stein, guitar; John Sherman, piano and 

Hammond organ; John Lockwood, bass; Zé Eduardo 

Nazario, drums. 

Tracks: Speak Low, Skippin,’ Hi Fly, Lazy Afternoon, 

Laura, Threesome, Plum Stone, Sea Smoke, Love Letters, 

Funkin’ It Up 

Recorded February 19-20 at PBS, Westwood, 

Massachusetts 

John Stein is originally 

from Overland Park and is on 

the faculty at Berklee in Boston. 

He’s got a nice grouping 

of fine recordings to his credit, 

and you can add this quartet 

date to that list. 

Veteran New England 

bassist Lockwood and Brasilian native Nazario have been 

part of the Stein trio; current Berklee student Sherman 

makes it a quartet on piano and organ. 

The tunes are split between five standards and five 

Stein originals. Except a straight-ahead and fast “Speak 

Low,” the standards are all done a bit differently. Nazario 

uses a busy samba rhythm on “Hi Fly” – it might remind 

you of what Todd Strait does – which gives it a different 

feel. The band is particularly tight on this arrangement. 

On “Lazy Afternoon” Nazario uses the mallets to create 

a mysterious vibe, in no small part aided by a swirling 

Sherman piano. They do “Laura” as a fast bossa nova, and 

Nazario’s cymbal work is a highlight on “Love Letters.” I 

like how he plays fast, but the melody is only a tad quicker 

than the tempo you’d expect on this ballad. Needless to 

say, Stein’s single note solo work is fine throughout. 

I liked the Stein originals as well. “Skippin’” is mid-tempo 

bop with a head introduced by unison guitar and piano. 

The Nazario brushwork is excellent here. Lockwood 

opens the waltz (surprise!) “Threesome” with a solo that 

has touches of “House of the Rising Sun,” you’ll hear a 

“whoo!” after one of his phrases here (and you may add 

your own as well). “Plum Stone” reminded me of Donald 

Byrd’s “Tanya,” with some great tension and release into 

the 4/4 section. “Sea Smoke” had me thinking Grant 

Green, and I can’t tell you anything about the blues 

“Funkin’ It Up” that the title doesn’t handle. 

The music was very nice straight-ahead classic jazz guitar 

quartet, with strong moments from everyone. One gripe, 

though, is that the drums were too prominent in the mix, 

often drowning out the guitar and especially the piano. 

But no complaints about Nazario’s playing, which was 

excellent throughout. Nevertheless, I recommend this to 

fans of the genre, and if you have not heard John Stein’s 

music, this is a great place to start. 

—Roger Atkinson 

University of Missouri Concert Jazz 

Band 

Tunnel Vision – A Collection 

of New Music 

Personnel: Arthur White, director, saxophones; Bobby 

Watson, saxophone; Mike Metheny, flugelhorn; and 

the MU Concert Jazz Band: Michael Metcalf, Ryan 

Meinkoth, Dirk Downing, Max Vale, Sarah Carney, 

saxophones; Michael Rabadan, Lexie Signor, Caleb 

Franklin, Annie Linders, trumpets; David Witter, Matt 

Schmitz, Laura Brekke, Seth Elder, Brian Vaughn, 

trombones; Josiah Bryan and Grace Lyden, piano; Mike 

Strausbaugh, guitar; Louie Pagán, bass; Skip Thompson, 

vibes; Phylshawn Johnson and Will Lyons, drums. 

Tracks: Back to Business, Tunnel Vision, Race to the 

Clouds, Refractions, Elegy for Debbie, Six of One…, 

Rite of Scorpio, After Hours, Attitude Blues, Go 

Mizzou!, Appointment in Milano. 

Recorded May 16-17 2010, Mansion Studios, 

Columbia, Missouri. Engineered by Bruce Barkelew 



CLuB SCEnE 

24 

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Mon. — Blue Monday Jam 

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1601 E . 18th St . . . . . . . . . . . . . . . . . 816 .421 .1200 

Wed. Karaoke 8-12 with Darrin Story 

Thurs. Millage Gilbert Blues 

Fri.-Sat. Live Blues/Jazz/R&B 

Kansas City Blues & Jazz Juke House 

1700 E . 18th Street . . . . . . . . . . . . 816-472-0013 

Mon., Wed.,Thur.-Sat. — Music 

Mutual Musicians Foundation 

1823 Highland . . . . . . . . . . . . . . . . . . . 816-471-5212 

Fri.-Sat. — Late Night Jazz 

DOWNTOWN 

1911 Restaurant & Lounge 

1911 Main Street . . . . . . . . . . . . . . 816 .527 .0200 

Tues through Sat – Live music 

American Restaurant 

25th & Grand . . . . . . . . . . . . . . . . . . . . . 816-426-1133 

Fri. - Music 

Hilton President, Drum Room 

1329 Baltimore . . . . . . . . . . . . . . . . . . 816-221-9490 

Fri.-Sat. — Live Jazz 

Majestic Restaurant 

931 Broadway . . . . . . . . . . . . . . . . . . . 816-221-1888 

Live Jazz Nightly 

The Phoenix 

302 W . 8th Street . . . . . . . . . . . . . . . . .816-221-jazz 

Live Jazz Mon. - Sat., plus 2nd Sun. 

R Bar & Restaurant 

1617 Genessee . . . . . . . . . . . . . . . . . 816 .471 .1777 

Live music Thursday – Saturday 

yj’s Snack Bar 

128 W . 18th Street . . . . . . . . . . . . . 816-472-5533 

Sun. - Live Jazz 

jam’s picks for live music 


MIDTOWN/WESTPORT 

GiGi’s Jazz Inn & Gallery 

3226 Troost Avenue . . . . . . . . . . . . 816-352-4753 

Live Jazz 

Jazz - A Louisiana Kitchen 

39th & State Line . . . . . . . . . . . . . . . . 816-531-5556 

Tues. - Sun. — Live Music 

Westport Coffee House 

4010 Pennsylvania . . . . . . . . . . . . .816-756-3222 

PLAZA 

Accurso’s Restaurant 

4980 Main Street . . . . . . . . . . . . . . . 816-753-0810 

Tues. & Fri. 6-9 – Tim Whitmer 

Café Trio 

4558 Main Street . . . . . . . . . . . . . . . 816-756-3227 

Tues. 6-9 Mark Lowrey; Wed. 6-9 Michael Pagán 

Thurs. - 6:30-9:30 - Tim Whitmer 

Fri. & Sat. - 7:30-10:30 PM - Alice Jenkins 

Jardine’s 

4536 Main Street . . . . . . . . . . . . . . . 816-561-6480 

Seven Nights a Week - Live Jazz 

Plaza III 

4749 Pennsylvania . . . . . . . . . . . . . 816-753-0000 

Raphael Hotel, Chaz Restaurant 

325 Ward Parkway . . . . . . . . . . . .816-756-3800 

Tues.-Sun. — Live Jazz 

EAST 

Ophelia’s 

201 N . Main St ., 

Independence, MO . . . . . . . . . . . . . 816-836-4004 

NORTH 

Cafe Cedar Mediterranean 

Restaurant & Bar 

2011 ANNUAL MEETING 

AND CHRISTMAS PARTY 

December 11, 2011 

Lidia’s Italy of Kansas City 

4:00 P.M. – 9:00 P.M. 

MARK YOUR CALENDARS 

2 E . 2nd St ., Parkville . . . . . . . . . . 816-505-2233 

Tues. Brian Ruskin Open Mic Night 6:00-9:30 

Thurs. Mike Ning & Friends Jazz Jam 5:30-8:30 

Music Fri 6:30 

Cascone’s north 

3737 North Oak Trfy . . . . . . . . . 816-454-7977 

Sat. — Live Jazz 

SOUTH & WEST 

B.B’s Lawnside BBQ 

1205 E . 85th Street . . . . . . . . . . . . 816-822-7427 

1st Wed . of a month - New Vintage Big Band 

Sat. — 2-5:30 —Jazz & Blues Jam w/ Mama Ray 

Bristol Seafood Grill 

5400 W . 119th St . . . . . . . . . . . . . . 913-663-5777 

Sun 5-8: Scott McDonald Trio / CoCo Trio (alt 

weeks) 

Café Augusta 

12122 West 87th . . . . . . . . . . . . . . . 913-859-9556 

Jazz Fri- Sat 6:30 – 9:30 

Cascone’s 

6863 W .91st . Street . . . . . . . . . . . 913-381-6837 

Sat. — Jim Mair 

EBT Restaurant 

I-435 & State Line Road . . . . . . . 816-942-8870 

Thurs: Dave McCubbin / Ruben Pascottini (alt 

weeks) 

Fri: Kim Sivils-Steve Rigazzi Duo / Candace 

Evans (alt weeks) 

Sat: Noel Scott – Don Warner Duo / Chris 

Foster (alt weeks) 

Gaslight Grill And Back Room 

5020 W . 137th Street . . . . . . . . . 913-897-3540 

Wed. - Sun. - 6:30 Lynn Zimmer Jazz Band 

Intentions Live Music Sushi Bar 

7316 W . 80th Street 

Jazz / Cabaret 

Lucky Brewgrille 

5401 Johnson Drive . . . . . . . . . . . .913 403-8571 

Fri 7-10 Ron Carlson, Greg Clinkingbeard, and 

guests 

The Piano Room 

8410 Wornall Rd . . . . . . . . . . . . . . . 816-363-8722 

Fri.-Sat. — Dave McCubbin 

Take Five Coffee + Bar 

5336 West 151st . . . . . . . . . . . . . . . 913-948-5550 

Live Jazz Fri-Sun 

Touche 

6820 W . 105th St . . . . . . . . . . . . . . 913-383-1555 

Sat. - Jazz in the Sinatra Room 

Sullivan’s Steakhouse 

4501 W . 119th St . . . . . . . . . . . . . . 913-345-0800 

Every Night — Live Jazz 

WestChase Grille 

11942 Roe Avenue 

913 663-5400 

Live Jazz & R&B Wed. - Sun.

off the vine continued from page 12 

of history - rather than the dynamic catalyst to western 

popular culture it actually still is and has obviously been 

all of my entire life. I just don’t think that folks who 

promote such pessimistic positions consider the entirety 

of the equation. 

After more than a century of being, the legacy of the 

music known commonly as “jazz” is inarguably a more 

firm part of the broader history and legacy of the United 

States. Like all forms of art, this genre of music gave an 

intellectually viable voice to oppressed people and has 

subsequently inspired people all over the world to positive 

initiations and resolutions. It can’t be sincerely or coherently 

disputed as to where the music originated. That is 

fact. Without the United States, there is no “jazz.” What 

opportunity lies in this fact is the inherent legacy and 

future of the music that belongs to all of us. 

We have the American Jazz Museum in Kansas City 

- the only place of its kind in the world. We are fortunate 

and should indeed be proud. Just ask anyone in the 

world. 

Not many people remain who were actually alive or 

worked significantly as active musicians during the early 

ATTENTION 

MUSICIANS! 

Create or update your 

FREE MUSIC MART 

listing on our website. 

Email 

MusicMart@kcjazzambassadors.com 

or leave a messageat 913-967-6767. 

Ask about new SPECIAL BENEFITS 

for MEMBER MUSICIANS. 

historical times and community of our 18th & Vine Jazz 

District. However, those of us who remain, sincerely 

understand the significance of the music and the Jazz 

District as paralleled throughout our complete history as 

a nation. 

We, collectively (and each of us individually), have the 

duty to continue to provide venue for the next generations 

to explore this important and vital aspect of our society 

heritage and collectively shared United States cultural 

legacy. 

You can ensure the mission of the American Jazz 

Museum in numerous ways. Yes, donations and corporate 

sponsorships are always needed and welcomed. However, 

if every citizen in the Kansas City metropolitan area community 

made it a point to visit the American Jazz Museum 

and attend some of our events a few times each year, the 

organization would be able to expand programming 

throughout our performance, education, exhibitions and 

research initiatives. This is a nominal investment that 

will have a huge positive impact upon the historic legacy 

of 18th & Vine. Think about it. 

editor’s corner 

continued from page 4 

Kansas City Jazz Ambassadors for their 

continued support, and also the many 

people who make this happen: Connie 

Humiston, Rod McBride, Keith 

Kavanaugh, Cambria De Lee, the 

outstanding writers and reviewers, and 

reliable distribution team who make 

JAM an important part of the local 

scene. And, of course, we thank the 

kind words of the readers who let us 

know how much you enjoy JAM, and 

the generous advertisers Kansas City 

Jazz Ambassador members, sponsors, 

and patrons who make it possible. We 

wish you all a terrific holiday season 

and healthy and peaceful 2012. 

“One of the 10 jazz sites worth visiting” 

-New York Times 

Online 

kcjazzambassadors.com 


ALTERnATE TAKE 

26 

R-E-S-P-E-C-T 

“Find out what it means to me!” When someone asks 

you a thoughtful question, you take notice. While having 

lunch with one of my twenty something musician friends, 

he asked, „What does someone your age (considerably 

older) want most from someone my age?“ I had to stop and 

think for a minute. Money? Free yard work? Your health 

care policy? Your first born? After I came to my senses, I 

realized it was respect. 

What does that mean exactly? I don‘t need anyone 

holding doors open for me or helping me up the stairs. I 

want a person to acknowledge that I‘ve been around the 

block, that I may know some things they don‘t based on 

my vast experience and wisdom. It‘s not something that 

is verbalized, only an unspoken nod to Knowingness. 

OK, that last paragraph was crap. I want doors to fling 

open for me like they do for Agent 86 on Get Smart. I 

want fans to hail my achievements and wildly clamor to kiss 

the hem of my garment. All of my students should accept 

everything I say as gospel and all of my clients should beg 

me to take more money. Glad I got that out of the way. 

I was brought up to respect, even revere, the musicians 

who came before me, carving out careers based on talent 

and perseverance. They had a sense of history themselves, 

a virtue which I readily adopted, as any serious player 

would. It‘s important and helpful of be aware of who and 

what came before you in order to understand why music 

is the way it is and where it is going. I garnered a wealth 

of information observing and talking to my predecessors. 

Today’s youth can potentially benefit from any pertinent 

information that I or my contemporaries can impart, 

avoiding our failures and imitating our strengths. As Harry 

Truman said, „There‘s nothing new in the world except the 

history that you don‘t know.“ Some things never change, 

excluding technology. Some things are always true, like, 

never piss off the bartender! 

Conversely, we learn from the younger players. It‘s 

a two way street. The fact is that everyone wants respect, 

no matter the age. It‘s a good idea for musicians my age 

to keep an open mind, to enjoy what the youth of today 

have to offer and profit by it. Old dogs can and should be 

open to new tricks and collaborations with those younger 

stanton kessler 


than they. After all, once the music swings into action, the 

age differences melt away. 

In the student-teacher relationship, respect is key. This 

is usually not a problem. Most of my students have heard 

me play, but respect me anyway, out of pity. In Kansas City, 

my reputation usually precedes me, so respect is pretty 

much automatic with them, unless I owe them money. In 

other places, respect can be elusive. If they don‘t know me 

from Adam, what I have to impart may not carry as much 

weight or fit within their paradigm. It can sometimes be 

akin to a dog watching a card trick. That‘s fine, because 

respect is earned. If you can‘t get across to someone in a 

relatively short period of time that you are a person to be 

reckoned with, then maybe you don‘t deserve respect in 

the first place. 

There exists a number ways to gain respect. Bear in 

mind that it‘s like your reputation. It takes a while to earn 

and can take a mere moment to lose. Asking an intelligent 

question, as my youthful friend did, swiftly earns you respect 

from a peer. Try imparting a bit of information that 

your future admirer couldn‘t possibly know, like what were 

eight tracks and why did they disappear? I find that cash 

buys immediate respect. Simply playing well does quite 

nicely. 

Say something really stupid or insensitive, especially 

in public, and wham, you‘re back to square one and your 

integrity has vanished faster than you can say, „(Insert 

name of any politician).” In this day and age, you have 

to watch your “Ps” and “Qs,” for something that seemed 

smart thirty years ago may not be “P.C.” today. I remember 

mooning a friend in another car on the way home from a 

gig. Every time I see him, he reminds of it and how cool he 

thought it was. Today, that just wouldn‘t fly. Holding on 

to your dignity goes a long way towards retaining respect. 

Besides, my butt is not something I now would want to 

expose. 

Respect can never be overrated, you can never attain 

too much. Respect should never be taken for granted or 

abused, for it‘s an honor, not a privilege. Using someone‘s 

respect for you in order to take advantage of them is a 

crime of the spirit and should not be tolerated, no matter

KPR-FM 91.5 (1—888-577-5268) 

National Public Radio-University of Kansas 

Monday, Tuesday, Thursday & Friday 

“Jazz In The Night” with Bob McWilliams . . . . . . 9:00 pm - Midnight 

Wednesday 

“Piano Jazz” with Marian McPartland . . . . . . . . . . . . . . .9:00 - 10:00 pm 

“Jazz In The Night” with Bob McWilliams . . . . . . . . . . . .9:00 - 1:00 am 

Saturday 

“The Jazz Scene” with David Basse . . . . . . . . . . . . . . . . . . . . .1:00 - 4:00 pm 

Sunday 

“Music From the Hearts of Space” . . . . . . . . . . . . . . . . . . .10:00 - 11:00 pm 

Seven nights a Week 

“Jazz Overnight” 

KCFx-FM 101.1 (816-576-7739) 

Sunday 

“The Blues Show” with Lindsay Shannon . . . . . . . . . . . . . . . . . . . . . . . 8:00 pm 

KKFI-FM 90.1 (816-931-5534) 

Monday-Friday 

“Morning Buzz” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:00 - 8:00 am 

Monday 

“Beautician Blues” w / Luscious Lynn . . . . . . . . . . . . . . . . . . . . . .10am - Noon 

“Jazz, Blues & Latin Tracks” 

w/ The Jazz Insider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:00 - 3:00 pm 

“Mother’s Mix” w/Lady D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3:00 - 6:00 pm 

Tuesday 

“Tuesday Midday Medley” w/ Barry Jackson . . . .10:00 am - Noon 

“Lunch & Brunch” w/The Jazz Disciple . . . . . . . . . . . . . . . .1:00 - 3:00 pm 

“Road Trippin’ Blues” w/ The Voodoo Kittens . . . . . . .3:00 - 6:00 pm 

Wednesday 

“Afternoon Jazz” w/ Jeff Harshbarger . . . . . . . . . . . . . . . . .1:00 - 3:00 pm 

Old G’s Hangout with Groovy Grant . . . . . . . . . . . . . . . . . . .3:00 - 6:00 pm 

Thursday 

“My Place” w/Larry J . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10:00 am – Noon 

“Afternoon Jazz” w/KC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:00 - 3:00 pm 

Main Street Mojo w/ Various DJs . . . . . . . . . . . . . . . . . . . . . . . .3:00 - 6:00 pm 

Friday 

“Lunch & Brunch” w/The Jazz Geek . . . . . . . . . . . . . . . . . . . .1:00 - 3:00 pm 

“Edged in Blue” w/ Wendy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3:00 - 5:00 pm 

Saturday 

Larry’s Freak Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5:00 - 6:00 am 

Beale Street Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:00 - 8:00 am 

“The Blues Kitchen” w/June 

Bug & Chuck Pisano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:00 - 11:00 am 

KCUR-FM 89.3 (816-235-5775) 

National Public Radio-University of Missouri/Kansas City 

Friday 

“Friday Night Fish Fry” w/Chuck Haddix . . . . . . 8:00 pm - Midnight 

Saturday 

“Saturday Night Fish Fry” w/Chuck Haddix . . . 8:00 pm - Midnight 

Sunday 

12 O’Clock Jump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .midnight - 1:00 am 

“Music from the Hearts of Space” . . . . . . . . . . . . . . . . . . . . . . .7:00 - 8:00 pm 

“Night Tides” with Renee Blanche . . . . . . . . . . . . . . . . . 8:00 pm - Midnight 

KJHK-FM 90.7 (785-864-4747) 

Daily 

“Jazz In The Morning” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:00 - 9:00 am 

KUDL-FM 98.1 (913-677-8998) 

Sunday 

Smooth Sunday Brunch w/Taylor Scott . . . . . . . . . . . . . . .7:00 - 11:00 pm 

KxTR-AM 1660 

Saturday 

Dick Hawk’s Gaslight Jazz, 

featuring Lynn Zimmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:00 pm — Midnight 

Sunday 

Dick Hawk’s Gaslight Jazz, 

featuring Lynn Zimmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:00 am - Noon 

kcjazzambassadors.com 

On THE AIR 


28 


alternate take continued 

how sacred the cow. Contrary to some popular beliefs, 

no one is entitled to respect. Even a parent or elder has to 

demonstrate that they are worthy. 

Now, my friends have cut me a lot of slack over the 

years. They know that, in spite of my frequent erratic 

behavior and my propensity for occasional childishness, 

deep inside resides a mature and thoughtful person. If, 

someday, they choose to reverse their opinion of me, I 

respect their right to do so. 

storyville continued from page 22 

musically interesting and satisfying as well as technically 

thorough. (Thus he joins the company of another 

KC native, guitarist Steve Cardenas, who transcribed 

virtually the entire oeuvre of Thelonious Monk for Hal 

Leonard’s Thelonious Monk Fake Book.) Hawkins used 

his considerable sophistication and versatility to address 

piano technique in the context of samples of quite a few 

musical styles: boogie woogie, stride, swing, salsa, jazz, 

blues, rock, gospel, bossa nova, and new age. His dual 

purposes of technical development and musical variety 

lead to such unlikely titles as “Bossa Nova Workout” and 

“New Age Workout.” 

Twenty one of the exercises in the book can be heard 

on a play-along CD featuring mostly local musicians 

Hawkins, Luis Orsano, Forest Stewart, Sam Wisman, 

Anfrisio Rocha, Aaron Simcox, Doug Talley, Tim Brewer, 

and Keith Kavanaugh. Pianists who lack opportunities to 

play with other musicians should enjoy hearing themselves 

in a virtual band including drums, bass, sax, guitar, flute, 

percussion, and several keyboard sounds. The CD also 

has a piano duet that looks quite interesting; the listener 

can choose to hear either or both parts. Hearing the CD 

made me want to learn some of the exercises! The music 

progresses from intermediate difficulty level to advanced 

and is intended as a 40 week program. I’ve been playing 

piano professionally for half my life, and it would take me 

hours to get the more advanced pieces together. 

The book may be best suited to the intermediate to 

advanced pianist who is interested in various styles of 

music. I wouldn’t recommend it to a highly motivated 

and disciplined pianist seeking only to develop technique, 

but I would recommend it to those who leave books by 

Hanon and Czerny on the dinner table next to the uneaten 

spinach and broccoli. 

—Roger Wilder

for the record continued from page 23 

and Adam Roehlke. Mixed and mastered by Bruce 

Barkelew, Adam Roehlke, and Arthur White. 

Tunnel Vision, by Arthur 

White and the Missouri University 

Concert Jazz Band is 

a powerful collection of arrangements 

that showcase the 

talents of his most celebrated 

students in jazz. The album 

also features a pair of familiar 

guests who showed up to lend a hand—alto saxophonist 

Bobby Watson, and trumpeter (as well as former MU 

alum) Mike Metheny. 

“Back to Business” is a straight-ahead shuffle written 

by one of MU’s own, trombonist Matt Schmitz, who takes 

a pretty sweet solo. Bobby Watson’s breezy alto sax solo 

flows so effortlessly, while Metheny’s solo bounces along 

with the mellow flugelosity he is so known for over the 

years (and yes, that’s my word and I’m sticking to it.). 

“Tunnel Vision,” written by bandleader White, has 

the kind of groove that is based on Bernard Purdie’s 6/8 

feel “double shuffle” groove heard in Steely Dan’s “Home 

at Last.” Although the tune features an “all-freshman” 

rhythm section, they sound much more mature than that. 

Dirk Downing gives a strong effort during his tenor sax 

solo, and the vibe solo by Skip Thompson is really satisfying, 

especially when he blows on the swinging bridge. 

Inspired by guitar wizards Frank Zappa and Steve 

Vai, “Race to the Clouds” is a feature written by Mike 

Strausbaugh that has a melody that sounds beautifully 

frenetic. Mike’s tone and melodic contour reminds me 

of a slower version of ‘Contusion’ from Stevie Wonder’s 

Songs in the Key of Life album. Strausbaugh’s guitar solo 

is both blistering and soulful. Will Lyons hard backbeat 

drums serve as a perfect compliment, as does the unison 

bass lines supplied by Louis Pagán. 

“Refractions” is a Metheny-esque romp written by 

the vibe player, Skip Thompson. The intro features a 

staggered, layered intro that dramatically unfolds into a 

unison trumpet/vibe melody that eventually gives way to 

Michael Metcalf’s lead alto solo, which has just the right 

balance of consonance and dissonance placed strategically 

throughout his melodic lines. 

The pensive ballad “Elegy for Debbie” was written 

by Arthur White as a loving tribute to his dog. Bobby 

Watson takes his time and delivers a thoughtful solo that 

simply glistens with the bright tone of his alto. 

“Six of One…” is a beautiful cacophony of melodies 

and counterlines that converge to create an intricate 

musical tapestry over a tight rhythm section. Using a 

twelve-tone technique, the minor chord progression seems 

to constantly shift centers, creating melodic tension and 

release throughout. We finally hear from pianist Grace 

Lyden, who offers a percussive piano solo that hugs the 

changes quite well, followed by a snappy drum solo from 

Phylshawn Johnson. 

“Rite of Scorpio” has a great melody, inspired by— 

strange though it might seem, but it works—Jimi Hendrix 

and Michael Brecker. It’s downright funky, and the trumpet 

solo by Michael Rabadan opens the way for Arthur 

White, who takes a daredevil ride on saxophone. For my 

money, it’s the best tune on the album. 

“After Hours” is a medium-galloping tune that has 

quite a bit of humor in the mood-shifting grooves that 

occur at the outset. Max Vale’s light-hearted tenor solo 

captures the mood quite well, while David Witter’s blustery 

bone solo delivers the counterpunch. Josiah Bryan 

perks things up nicely during his piano solo, but Brian 

Vaughn gets the last word on the bass bone. 

“Attitude Blues, ” a medium-tempo excursion, opens 

with a tasty Grace Lyden solo, and also makes room for 

solos for Lexie Signor on lead trumpet, Ryan Mienkoth 

on alto, and Mike Metheny on flugelhorn, who gently 

shows them how it’s done. 

“Go Mizzou!” is a fun ride over a funk groove that 

features a sax battle between White and Watson that really 

heats up with both players screaming at the end—an 

absolute delight. 

“Appointment in Milano” serves as the swinging 

closer, a Watson original arranged by White. The jabbing 

melody gives way to one of the most compelling solos on 

the album, delivered by Josiah Bryan. The trombone solo 

of David Witter is superb, the following unison lines are 

executed with flair, and the flawless alto solo from Watson 

(along with the final battle between sax and bone) brings 

thing to such a dramatic conclusion that it leaves you 

wanting more. 

I am not overstating the case when I say that these 

students played like pros. The result of Arthur White’s 

efforts yielded an album that is filled with thrills. From 

start to finish, this collection of big band arrangements 

will make every audience wait with great anticipation for 

the next session. 

—Wayne Goins

9:00 PM - Kansas City Jazz Ambassadors

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