JAM Dec/JAN 2013 - Download now - Kansas City Jazz Ambassadors

JAZZ EDUCATION 

JAZZ ED 

HUMOR 

AMY 

LEWIS’S 

JOURNEY 

JAZZ 

ALLIANCE 

FOLLY, VINE, CD REVIEWS, AND MORE 

DECEMBER 2012 / JANUARY 2013

December 2012 

Schedule subject to change 

ConCert 

SerieS 

Jammin’ Jammin’ 

at the Gem 

100 great years... 

americanjazzmuseum.org 

The Blue Room 

$10 Admission Fridays & Saturdays (unless otherwise noted) 

Saturday 1 North Coast Brewing Presents Holly Hofmann 

with special guest Bobby Watson, $20 

Monday 3 Jazz Disciples 

Thursday 6 Wine Tasting from 6-9, $5 

Millie Edwards and Roger Wilder 

Friday 7 James “Fuzzy” West 

Indigo Hour – JWB 

Saturday 8 Darcus Gates, $15 

Monday 10 Everette DeVan with Kelly Gant 

Thursday 13 Sons of Brasil 

Friday 14 Montez Coleman 

Indigo Hour – BMW 

Saturday 15 Charles Williams Quartet with Lisa Henry 

Monday 17 Louis Neal Big Band 

Thursday 20 Musician’s Appreciation Night 

Elderstatesmen of Jazz and Esquire Band 

Friday 21 Lee Langston’s Christmas Show 

Indigo Hour – Just A Taste of Jazz 

Saturday 22 Jazz Disciples with Stephanie Moore 

Monday 24 Merry Christmas! Blue Room Closed 

Thursday 27 Kansas City Latin Jazz All-Stars 

Friday 28 Bob Bowman & Friends 

Indigo Hour – Lady D 

Saturday 29 Wild Men of Kansas City 

Monday 31 NEW YEaR’S EVE PaRtY! 

Reggie & mardra thomas with special 

guest Bobby Watson & Will matthews 

For Reservations: 816.474.6262 

Tickets: Single, $75; Couples, $125; Tables of 4, $240; Tables of 6, $360 

the Blue Room is one 

of DownBeat Magazine’s 

top 16 Jazz Clubs 

Worldwide! 

February 2012 issue 

January 2013 

Blue Room Hours 

Monday & Thursday: 5pm – 11pm 

(music starts at 7pm) 

Friday: 5pm – 1am (music starts at 8:30pm) 

Indigo Hour (music starts at 5:30pm) 

Saturday: 7pm – 1am (music starts at 8:30pm) 

Thursday 

Friday 

Saturday 

Monday 

Thursday 

Friday 

Saturday 

Monday 

Thursday 

Friday 

Saturday 

Monday 

Thursday 

Friday 

Saturday 

Monday 

Thursday 

Indigo Hour In the Blue Room! No Cover Charge! 

Blue Room Martinis • Drink Specials: Beer, Wine & Wells • Live Music • Appetizer Buffet 

EDuCatIoN PRogRamS 

Jazz Poetry Jams 

Jazz Storytelling 

Stories from the Vine 

Visit www.americanjazzmuseum.org 

for a complete listing of the 

Education Programs happening 

in Dec. and Jan. 

Kurt Elling 

Saturday, February 16, 2013 

american 

jazz 

museum 

1600 E. 18th Street • In Kansas City’s Historic 18th & Vine Jazz District • americanjazzmuseum.org 

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2012 

2013 

816-474-6262 

AfterGroove 

Kerry Strayer Quintet 

Indigo Hour – BMW 

James Ward Band 

Jason Goudeau 

Peter Schlamb with Hermon Mehari Quartet 

Darcus Gates $15 

Indigo Hour – Esquire Band 

Jazz Disciples 

Pablo Sanhueza 

TC Quartet 

Bob Bowman & Bowdog 

Indigo Hour – Just A Taste of Jazz 

Happy Birthday! 

Lee Langston 

Jazz Disciples 

Matt Otto Quintet 

Bill Crain Quartet 

Indigo Hour – Lady D 

Wild Men of Kansas City 

Brothers Leifer 

Mambo DeLeon & Carte Blanc 

A percentage of every purchase of Blue Room Pale Ale is donated by North 

Coast Brewing to support programming at the American Jazz Museum. 

Join us for one hour and see how we are 

keeping Jazz alive on the Vine… 

Upcoming Tours: Dec. 6 & 18, 

Jan. 3 & 15, 6 pm, Atrium, 

American Jazz Museum 

RSVP to takefive@kcjazz.org or 816-474-8463 Ext. 238 

DON’T MISS THIS 

FABULOUS LINEUP! 

MONTErEy jAzz 

FESTIvAL ON TOUr 55TH 

ANNIvErSAry 

DEE DEE BrIDgEwATEr, cHrISTIAN 

McBrIDE, BENNy grEEN, LEwIS 

NASH, cHrIS POTTEr AND AMBrOSE 

AKINMUSIrE 

Saturday, March 23,2013 

ErIc HArLAND 

AND vOyAgEr 

wITH TAyLOr EIgSTI, wALTEr 

SMITH III, jULIAN LAgE, HArISH 

rAgHAvAN 

Saturday, April 20, 2013 

ALEx BUgNON 

wITH cINDy BrADLEy 

Saturday, May 18, 2013 

BLuE Room

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: p.crawls2012@gmail.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 2013 issue 

is January 18, 2013. 

• Contact Ad Manager Connie “Crash” Humiston: 

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

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

Dick Hawk’s 

Gaslight Grill 

& BACK ROOM 

December and January Entertainment Schedule 

Wednesday through Sunday weekly: Lynn Zimmer and the Jazz Band 

Monday, December 3: New Red Onion Jazz Babies with Lynn Zimmer 

Monday, December 10: Kansas City Cabaret Club featuring Blue Valley H.S. Choirs 

Monday, December 24: Lynn Zimmer and the Jazz Band 

Friday, December 28: Vocalist Talya Groves with Lynn Zimmer and the Jazz Band 

Monday, December 31: Vocalist Donna Tucker with Lynn Zimmer and the Jazz Band 

Friday, January 4: Vocalist Talya Groves with Lynn Zimmer and the Jazz Band 

Monday, January 7: New Red Onion Jazz Babies with Lynn Zimmer 

No Cover Charge • Black Angus Steaks • Seafood • Chef Specialties • Dance Floor 

5020 W. 137 th St. ( Just south of 135 th on Briar Drive) Leawood, KS 66224 

913.897.3540 • www.gaslightgrill.com

Soulful SundayS 

2:00pm - 6:00pm 

December 2 - HigH Vibe 

December 9 - AngelA HAgenbAcH Trio 

December 16 - Millie edwArds Trio 

December 23 - sHAdes of JAde 

December 30 - MAx grooVe Trio 

January 6 - HigH Vibe 

January 13 - MAx grooVe Trio 

January 20 - sons of brAsil 

January 27 - MArK MonTgoMerY 

coMbo 

1800 E. Front Street • Kansas City, MO 64120 

www.isleofcapricasinos.com 

connecT wiTH us 

© 2012 Isle of Capri Casinos, Inc. Must be 21 or older. Bet with 

your head, not over it. Gambling problem? Call 1-888-BETS-OFF. 

www.isleofcapricasinos.com

editor’s corner 

2 

Some of you may have seen the article “The End of 

Jazz” in the November issue of The Atlantic. The article is 

a review of Ted Gioia’s book The Jazz Standards: A Guide 

to the Repertoire. The reviewer gives a very positive review, 

then concludes that the end is near since so many of the 

essential tunes are from the middle of the 20th century, 

are no longer relevant, and no new essentials are being 

written. It is kind of an odd, out-of-left-field conclusion. 

So many of today’s great musicians play little of these 

standards, and contribute original material. Brookmeyer 

did, Pat Metheny has for decades, and add in the Bad Plus 

and Fred Hersch and John Scofield and Tom Harrell and 

you can keep this list going until the cows come home. 

Oh, we should not forget that the earliest jazz predated 

the “standards.” 

roger atkinson 

Jazz 

Enjoy an evening of jazz, along with specialty 

jazz-themed cocktails, a full bar and small 

� 

plates of tempting appetizers. 

So come to the Hotel Phillips, order a 

libation and then sit back and savor some 

wonderful jazz! 

Complimentary 

JAM DECEMBER 2012 + JANUARY 2013 

at The Hotel Phillips 

And, by the way, these standards have not been relevant 

for half a century as it is, and they have survived a 

lot of bullets over this time. They survive because they 

are great. 

As we present this annual Jazz Education issue, let’s 

not forget that there are more musicians gravitating and 

learning this music now than ever. That’s here in the Kansas 

City area, the US, and the world. They are attracted 

by the standards and so much more. It seems to me that 

jazz, including the standard repertoire, will continue to 

thrive and evolve as long as creative musicians choose to 

deal with it. 

We are also are reaching the end of Volume 26 of 

JAM. That’s 26 years! It’s quite a feat, really, and we thank 

New Hours: Thursday – 7:00 to 10:00 p.m. 

Friday and Saturday – 8 to 11 p.m. 

Victoria Barbee Joe Cartwright Stan Kessler Millie Edwards 

Duck Warner Candace Evans Molly Hammer Angela Hagenbach 

Parking for Jazz 

at Hotel Phillips 

Hotel Phillips | 106 West 12th Street | Kansas City, MO 64105 | (816) 221-7000 | www.HotelPhillips.com 

continued on page 6

December 2012 + January 2013 | Volume 26, No. 6 

©2012, 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 advt@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 

carolyn Glenn Brewer 

chris Burnett 

carol comer 

Greg carroll 

cambria deLee 

dawayne Gilley 

E D I T O R 

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 

sharon Valleau 

roger Wilder 

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 

Kansas city High school All star Big Band, taken by Gail 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 2 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 

SECRETARY casey Ventrillo 

TREASURER Penny oathout 

D I R E C T O R S 

DIRECTOR, PRIVATE PUB CRAWLS sharon rabius 

DIRECTORS AT LARGE 

Bob clark | Mark Lowrey | Bev Mann | Michael Mcclintock 

Hermon Mehari | Penny oathout | Bill Paprota 

The Board of Directors gratefully thanks Darrell Hoffman 

for his untiring contributions to the KCJA. 

contents 

Editor's Corner . . . . . . . . . . . . .2 

News & Notes . . . . . . . . . . . . . .4 

Off the Vine . . . . . . . . . . . . . . .9 

Folly Jazz News . . . . . . . . . .11 

Amy Lewis's Journey 

from 18th & Vine 

to the Classroom . . . . . . . . . .13 

Jazz Ed Humor . . . . . . . . . . . . 14 

For the Record . . . . . . . . . . . .20 

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

On the Air . . . . . . . . . . . . . .25 

Kansas City Jazz 

Alliance Expands Activity . . . .26 

JOIN TODAY! 

KCJA Membership Application 16 

DECEMBER 2012 + JANUARY 2013 JAM 3

neWs+notes 

4 

Anat Cohen at Folly 

We have been telling friends about Anat Cohen for 

a few years now. One, Stu Mathewson, nephew of Jazz 

Ambassador Barb Mathewson and her late husband Don, 

shared this story with me. Stu loves the clarinet, and was 

enjoying Anat and her quartet at the Village Vanguard. 

After one tune he leans over to the stranger sitting next 

to him at the bar and says, “She’s really good!” The man 

agreed that yes she is, and added that “she’s the best at 

what she does.” 

After another tune, Anat invites a special guest to the 

stage, who of course was Stu’s neighbor at the bar. It was 

Anat’s trumpet-playing younger brother Avishai. 

And Stu is right, she is really good, and surely one of 

the finest at what she does. The December 14 concert at 

the Folly should be one of the highlights of the year. 

CODA Jazz Fund Reaches 

10th Anniversary 

For the past 10 years, people in Kansas City have answered 

the door when the CODA Jazz Fund has knocked. 

This year, 2012, is the 10th anniversary of the fund. The 

money raised through the fund goes to pay for the funerals 

and burials of lifelong area jazz musicians. 

In recognition of the 10th anniversary, the advisory 

board of the fund is also announcing the distribution of 

the Coda Jazz Fund collection boxes to area jazz clubs 

throughout the city. Since 2002, the Coda Jazz Fund 

has paid for more than 25 funerals and burials of jazz 

musicians across the area. Now when that moment of 

benevolence overtakes a jazz listener, somewhere to place 

that donation will be nearby. Any type of contribution 

is always appreciated. Donations can be sent to P.O. Box 

412116, Kansas City, MO 64141. 

Alaadeen Awards 

Alaadeen Enterprises Inc. announces two recipients 

of this year’s annual Alaadeen Awards of Excellence. The 

outstanding achievements of these individuals were acknowledged 

at the Kauffman Center for the Performing 

Arts in Kansas City on September 14. Kerry Strayer, artis- 


Kevin Mahogany 

tic director for the Kansas City Jazz Orchestra, presented 

the awards during the band’s Tribute to the Count Basie 

Orchestra. The Alaadeen Awards of Excellence include 

Jazz awards in two categories: The Alaadeen Achievement 

of Excellence Award and The Alaadeen Educator of 

Excellence Award. The recipients are recognized for their 

creative approach, originality and their ability to reach 

beyond technical excellence in Jazz music. 

This year’s recipient of the Alaadeen Achievement 

of Excellence Award recognizing artistic excellence in 

Jazz performance was presented to Dennis Winslett. 

The Alaadeen Educator of Excellence Award recognizing 

excellence in Jazz education was presented to Kevin 

Mahogany for his role as a teacher in developing each 

student’s uniqueness. 

On presenting the awards, Kerry Strayer, the Artistic 

Director for the Kansas City Jazz Orchestra, commented: 

“The Kansas City Jazz Orchestra was honored to present 

the Alaadeen Awards of Excellence at our concert. 

Alaadeen was a vital part of the Kansas City jazz scene 

for many decades. His legacy will live on in the works and 

deeds of his many students and colleagues as they follow

his example of passing this music on by sharing it freely 

with others. Congratulations to Kevin and Dennis.” 

JCCC Winterlude is 

Coming! It’s Free! 

The annual Jazz Winterlude will be held January 18 

and 19 at Johnson County Community College, with 

another great lineup. Performing Friday evening will be 

David Basse, Julian Lage, and Deborah Brown. Saturday 

afternoon performances are by Megan Birdsall, Michael 

O’Shiver, the two organists Everette DeVan and Chris 

Hazelton, Alice Jenkins, Diverse Quartet, Candace Evans, 

the New Red Onion Jazz Babies, and Alaturka. The 

Saturday evening sets are from Killer Strayhorn and Eldar. 

Thanks to the community donors who have allowed this 

to be free! 

More information and the full schedule is available 

on the JCCC Web site, www.jccc.edu/music/ 

jazz-winterlude. 

Jazz Carol Fest at Community 

Christian Church 

The annual Jazz Carol Fest at Community Christian 

Church once again has a stellar lineup. The December 

2 event will feature Tim Whitmer, Jürgen Welge, James 

Albright, Rod Fleeman, Everette DeVan, Jim Mair, and 

Stan Kessler, with special guests Megan Birdsall, Millie 

Edwards, Monique Danielle, Diane “Mama” Ray, Duck 

Warner, Jaisson Taylor, Miguel DeLeon, Mike Sedovic, 

and Sensational Saxes Jim Mair, Kerry Strayer, Doug 

Talley, Mark Cohick, and Matt Otto. 

The show starts at 4 p.m. Tickets are $17 in advance and 

$20 at the door. Community Christian Church is located 

at 4601 Main Street in KCMO. For more information call 

816-561-6531 or www.community-christian.org. 

KCJO Christmas Concert 

December 21 

The Kansas City Jazz Orchestra’s second concert 

in their new Kauffman 

Center home will be 

held on December 21. 

The evening is billed 

as “Christmas at the 

Kauffman with Karrin 

Allyson,” and that is all 

you need to know, right? 

That and how to get 

tickets: they are available 

at the Kauffman box office, 

call 816-994-7222. 

Karrin Allyson 

Order your 

DVD of this 

65 minute 

feature 

documentary 

film at 

www.suevicory.com 


6 

�e �e Gala Christmas Show 

Friday, December 14 & Saturday, December 15 7:30 p.m. Concerts 

Sunday, December 16 2:00 p.m. Concert 

BROWNVILLE CONCERT SERIES 

brownvilleconcertseries.squarespace.com 

FOOD • ART • MUSIC 

Book your Holiday Party 

in the Crossroads! 

Call 816-421-1634. 

Check our calendar 

for shows. 

1727 McGee • Downtown KCMO 

816.421.1634 • thebrickkcmo.com 

Lonnie 

McFadden 


news+notes continued 

More information, including the rest of the KCJO season, 

is available on their Web site www.kcjazzorchestra.org. 

Owen/Cox Dance Group 

Performing The Nutcracker 

and the Mouse King 

In December the Owen/Cox Dance Group brings together 

a “who’s who” of Kansas City artists and musicians 

to breathe new life into an old classic. Fifteen musicians 

of the People’s Liberation Big Band, horn sculptor Mark 

Southerland, artist Peregrine Honig, and students from 

the Paseo Academy of the Performing Arts join in presenting 

a familiar story that turns out to be not so familiar 

after all. Returning to the original and notably darker 

E.T.A Hoffman story, The Nutcracker and the Mouse 

King (1816), this production will feature original music 

and radical rearrangements of Tchaikovsky melodies created 

by a host of innovative Kansas City jazz musicians, 

as well as the award-winning choreography of Jennifer 

Owen. This year’s production will take place at the Folly 

Theater on December 22 at 8:00 p.m. Ticket and other 

information is available at www.follytheater.com or www. 

owencoxdance.org. 

Ragtime Revelry Presenting 

Bryan Wright 

On January 24, the Kansas City Ragtime Revelry will 

present pianist Bryan Wright. The concert will be held at 

Californos in Westport, starting at 7 p.m. Tickets are $15, 

with children attending with parents and students with ID 

admitted free. For more information, call 913-831-1860 

or 913- 491-6923. 

Bryan Wright is presently a graduate student at the 

University of Pittsburgh where he is pursuing a PhD in 

historical musicology. Classically trained on piano from 

age 5, Bryan first heard ragtime late in elementary school 

and soon began studying the rags of Scott Joplin, James 

editor’s corner continued from page 2 

all who have made it possible: the members and sponsors 

of the Kansas City Jazz Ambassadors, our contributors 

and staff, our distribution team and the advertisers who 

generously give their time and money. Also thank you 

to the musicians and teachers who are the reason we are 

here at JAM, and to music fans everywhere for supporting 

the scene we enjoy. We wish you all a great holiday 

season, and look forward to the start of Volume 27 in 

February.

Scott, and others alongside the works of Beethoven, Schumann, and Mozart. 

Apart from his student obligations, Bryan operates Rivermont Records, a 

Grammy-nominated label devoted to ragtime and early jazz. His new recording 

Breakin’ Notes features a mixture of classic and modern rags, piano novelties, 

and the Bix Beiderbecke suite of modern piano solos. 

Christy Meinhardt at Truman Medical Center 

As for the past three years, vocalist Christy Meinhardt will be appearing 

at Truman Medical Center’s First Friday Concert Series that are free to the 

public. The December 7 concert is from noon to 1 p.m. in the Lakewood 

Main Lobby, with the January 4 Series from 2 to 3 p.m. at the Hospital Hill 

main lobby. More info is available from www.trumed.org/truweb/corporate/ 

about_tmc/healing_arts/healing_arts. 

Christy also performs regularly around town, including EBT with Dan 

DeLuca and at both Cascone’s locations. 

Donna Tucker at Gaslight Grill New Year’s Eve 

Donna Tucker will help bring in the New Year as she performs at Gaslight 

Grill with Lynn Zimmer and the Jazz Band on New Year’s Eve. Reservations 

for Gaslight Grill’s New Year’s Eve four-course dinner featuring Donna Tucker 

can be made by calling 913-897-3540 or online at GaslightGrill.com. 

Also, the New Red Onion Jazz Babies perform with Lynn Zimmer and 

the Jazz Band on December 3 and January 7; and vocalist Talya Groves joins 

Lynn on December 28 and January 4. 

Jazz by the Lake 

The first two concerts in the Jazz by the Lake Series of monthly concerts 

were a hit, so the good news is they’ll continue in 2013. The Joe Cartwright 

Trio will be featured in the third concert of the series from noon to 1 p.m. on 

Thursday, December 6. The 2013 season starts in February, and will feature 

Diverse February 5, Chris Hazelton and Friends March 7, and Tim Whitmer 

April 4. The concerts are held in the Conference Center (also known as the 

cabin - in a living room setting). The concerts are free and open to the public. 

This is a cross campus collaboration sponsored by The KCKCC Intercultural 

Center Fun Arts series, the Music Department, and the Kansas City Jazz Alliance. 

For more information call 913-288-7149 or email Jim Mair at jmair@ 

kckcc.edu. 

Jazz Cruise News 

Entertainment Cruise Productions, LLC is celebrating the 10th Anniversary 

of The Smooth Jazz Cruise, The Greatest Party at Sea. Departing from Ft. 

Lauderdale on January 13 – 20, 2013 and then again on January 20-27, 2013, 

Cabins are still available www.thesmoothjazzcruise.com 

The 12th Annual Sailing of THE JAZZ CRUISE is almost sold out! This 

is the one with Karrin Allyson and Anat Cohen on a stellar lineup that also 

includes Arturo Sandoval and Eddie Palmieri. Get all the information from 

www.thejazzcruise.com. There is also a Jazz Ambassadors Special Offer; call 

888-852-9987 for details. 

Take Five 

Take Five Coffee + Bar in Leawood continues to present a broad spectrum 

of jazz, and December is a great example. Their Web site www.takefivecoffeebar.com/Music_and_Events 

has the full calendar, which includes Arrika 

THE PERFECT STOCKING STUFFER 

Purchase your 

copy now at: 

Barnes & Noble 

(Country Club Plaza) 

Barnes & Noble 

(Town Center Plaza) 

The Jazz Museum 

(18th & Vine) 

The Kansas 

City Store 

(Country Club Plaza) 

iTunes, CD Baby, eMusic, Amazon, & 

www.lonniemcfadden.com 

For bookings, special events, 

various genres of music, call 

816-765-8888 

816-668-9822 cell 

charleswilliamspiano@gmail.com 

www.charleswilliamspiano.com 

ON SALE NOW ON 

I-TUNES, CDBABY, AMAZON 


8 

news+notes continued 

Brazil, Mike Thompson and Chuck Cowan, Snuff Jazz, 

Matt Chalk with Diverse Trio, Parallax, Mandy Nousain, 

Shades of Jade and Drew Williams. They are located at 

5336 West 151st Street in Leawood. 

We Always Swing 

The We Always Swing 2012-2103 series has some 

shows that are worth the drive east to Columbia. The 

Marcus Roberts Trio is appearing on December 4 at 

Murry’s for two shows at 3:30 and 7:00. On January 

20, the Bad Plus will be playing at the Blue Note in the 

Jazz in the District series. Later in 2013 Grace Kelly, 

Champian Fulton, Gerald Clayton, the Joe Locke-Geoff 

Keezer Group (with the MU Concert Jazz Band), and the 

Monterey Jazz Festival On Tour will perform. Details and 

ticket information are on their Web site www.wealwaysswing.org. 

Isle of Capri 

The Lone Wolf Club at the Isle of Capri has revamped 

their 2 to 6 p.m. Sunday afternoons into “Soulful Sundays,” 

still with plenty of fine jazz. Highlights include 

DEBORAH 

BROWN 

“All Too Soon” 

Available at 

www.cdbaby.com/deborahbrown23 


High Vibe on December 2 and 23, Angela Hagenbach 

(December 9), Max Groove (December 6) and Millie 

Edwards on December 30. Book of Gaia will be there 

from 8 p.m. to midnight on January 4, plus their Sunday 

afternoons include High Vibe, Max Groove, Sons of Brasil 

and Mark Montgomery. 

Topeka Jazz Workshop Continues 

The Topeka Jazz Workshop Inc. continues its 2012- 

2013 season with concerts in December and January. The 

series tickets are by subscription only, and the price decreases 

as the season progresses. Contact Marcene Grimes 

at mgrimes14@cox.net or 785-379-5169 for information 

on how to order tickets. The website is www.topekajazz. 

com. 

On December 2, they will present flutist Holly Hofmann 

and pianist Mike Wofford, with Tommy Ruskin 

and Gerald Spaits, followed by a January 6 concert with 

David Basse’s Orchestra, with Joe Cartwright, Hermon 

Mehari, Steve Lambert, Jason Goudeau, Zach Beeson, 

and Brian Steever.

Located in the Historic 18th & Vine Jazz District, the 

American Jazz Museum showcases the sights and sounds 

of a uniquely American art form through interactive exhibits 

and films, the Changing Gallery, the Blue Room 

jazz club and the Gem Theater, a 500-seat performing 

arts center. Thousands of visitors come here annually to 

enjoy education and community-based programs, traveling 

exhibits, over 200 live musical performances and other 

special events. 

Programs - Changing Gallery 

Beyond Words: A Fusion of Poetry, Visual Arts and 

Jazz Exhibition is currently showing in the Changing 

Gallery. This exhibition includes the work of visual 

artists whose works employ text or that in some fashion, 

chris burnett 

Jazz and Adult Contemporary 

Special Guest – Guitarist Jerry Hahn 

oFF tHe Vine 

compliment the visual poetry that is presented throughout 

the exhibition. Curated by Glenn North and Sonié 

Joi Ruffin, and featuring poets Dr. Tony Bolden, Robert 

Brown, Natasha Ria-El Scari, Jose Faus, Aracelis Girmay, 

Queen GodIs, Douglas Kearney, Jessica Care Moore, 

Glenn North, Shin Yu Pai, Joel Dias Porter, and Giovanni 

Singleton, and the visual artists Michael Brantley, 

Jeff Bailey, Ryan Harrelson, Scribe (Donald Ross), J.T. 

Daniels, and Sonié Joi Ruffin. 

The exhibition also includes a collection of tribal 

African drums borrowed from the “Carroll Collection,” 

which will tie into the musical theme of the exhibit along 

with an exploration of the history of “talking drums” 

demonstrating another method of communicating that 

is, Beyond Words. 

continued 

CD Available at 

TomDeMastersMusic.com, iTunes & Amazon 

Performance Schedule: KCguitar.com or 816-531-1000 


10 


off the vine continued 

A selection of video pieces from the Museum’s John 

H. Baker Jazz Film Collection will also add the third 

element in this multi-dimensional piece. 

Remaining Public Programs are as follows: 

• Thursday, February 7, 2013, Gem Theater 

Poetry, Jazz, & the Civil Rights Movement 

Time: 6:30 p.m. Reception / 7:00 p.m. 

Performance 

Cost: Free and Open to the public 

• Friday, March 1st, 2013, AJM Atrium 

Jazz Storytelling: “Hearing Colors, Seeing Sounds” 

Time: 10:00 a.m. – 11:00 a.m. 

Cost: Free and Open to the public 

• Tuesday, April 16th, 2013, Blue Room 

Jazz Poetry Jams featuring Douglas Kearney 

Time: 7:00 p.m. – 10:00 p.m. 

Cost: $5 

• Tuesday, April 26th, 2013 

Exhibit Closes 

The collection of commissioned poets positively reinforces 

the Museum’s mission and serves as outstanding 

exemplars within the well-established reputation the museum 

holds with respect to presenting exceptional visual 

art, while also developing and bringing a new audience 

into its Changing Gallery space. 

Programs – Jammin’ at the 

Gem and The Blue Room 

Grammy Award winning vocalist, Kurt Elling is 

presented at the Gem Theater stage on Saturday, February 

16. Saturday, March 23 features a super star ensemble 

from the Monterey Jazz Festival touring to celebrate its 

55th Anniversary, featuring Dee Dee Bridgewater, Christian 

McBride, Benny Green, Lewis Nash, Chris Potter, 

and Ambrose Akinmusire. On Saturday, April 20, Eric 

Harland and his ensemble Voyager, with Taylor Eigsti, 

Walter Smith III, Julian Lage, and Harish Raghavan, is 

a concert that optimistically represents the next generation 

in jazz. The season concludes with a performance 

by contemporary jazz master Alex Bugnon with Cindy 

Bradley. 

The Blue Room features several special shows in 

December and January. On Saturday, December 1, North 

Coast Brewing presents flautist, Holly Hofmann with 

special guest Bobby Watson. On Friday, December 28, 

continued on page 28

The Folly is very proud to present the Jazz Series debut 

of clarinetist and saxophonist Anat Cohen, who was very 

recently voted (December 2012) “Best Jazz Clarinetist” 

in DownBeat Magazine’s 77th Annual Readers’ Poll, for 

the third straight year! Joining Anat is her stellar rhythm 

section featuring pianist Jason Lindner, bassist Joe Martin, 

and drummer Daniel Freedman. 

Anat Cohen, born in Tel Aviv, Israel, was raised into 

a musical family, and - early on - was inspired by the recordings 

of Benny Goodman, Louis Armstrong, Dexter 

Gordon, Sidney Bechet and John Coltrane. Through The 

World Scholarship Tour, Anat was able to attend the Berklee 

College of Music in Boston, where she not only honed 

her jazz chops, but her musical horizons - developing a 

deep love and facility for various Latin music styles. 

“This is the kind of music — warm, human, diverse 

and irresistible — that will not only bring 

the clarinet back into favor, but jazz itself.” 

Seattle Times 

During these Berklee years, Anat 

visited New York City during semester 

breaks, making a beeline for the West 

Village club Smalls to soak up a melting 

pot of jazz, contemporary grooves and 

world music in a scene that included such 

future collaborators as Jason Lindner, 

Omer Avital and Daniel Freedman. Back 

in Boston, she played tenor saxophone 

in myriad contexts and bands, including 

Afro-Cuban, Argentinean, klezmer, 

contemporary Brazilian music and classic 

Brazilian choro. Moving to New York 

in 1999 after graduating from Berklee, 

Anat spent a decade touring with Sherrie 

Maricle’s all-woman big band, The Diva 

Jazz Orchestra; she also worked in such 

Brazilian groups as the Choro Ensemble 

and Duduka Da Fonseca’s Samba Jazz 

Quintet, along with performing the music 

of Louis Armstrong with David Ostwald’s 

“Gully Low Jazz Band.” She has recently 

released her sixth CD Claroscuro, and also 

three releases as the 3 Cohens with brothers 

Avishai and Yuval. She has performed 

around the world with her quartet and the 

3 Cohens band, and has also appeared at 

Anat Cohen Quartet 

Friday, December 14 – 8 p .m . 

FoLLy JAzz neWs 

many jazz festivals including Newport and Umbria Jazz. 

Whatever style of music Anat plays, you can be sure of 

one thing – it will swing! 

James Carter Organ Trio 

Friday, January 25, 2013 – 8 p.m. 

Bob McWilliams, host of KPR’s Jazz in the 

Night, will interview James Carter at our 

pre-concert JazzTalk feature at 7 p.m. 

When the great saxophonist James Carter) hits center 

stage at the Folly Theater it will be somewhat of a Kansas 

City homecoming. He made his screen debut (and 

contributed to the subsequent film soundtrack CD) in 

Robert Altman’s 1994 film Kansas City, playing/recording 

the role of legendary tenor saxophonist, Ben Webster. 

While the film was mediocre by Altman’s standards, the 

Roger Atkinson, editor of JAM Magazine, will interview 

Anat Cohen at our pre-concert JazzTalk feature at 7 p .m . 

Swing is definitely Anat’s thing! “With the clarinet she 

becomes a singer, a dancer, a poet, a mad scientist, 

laughing—musically—with the sheer delight of reaching 

that new place, that new feeling, with each chorus.” 

—JazzTimes 

steve irwin 


Y BAND 

2 – 8:00 PM 

iams, bass; 

ms 

SERIES 

gust 31st 

– 8 PM 

T 

2 – 8 PM 

TRIO 

– 8 PM 

TET 

– 8 PM 

IO 

– 8 PM 

– 8 PM 

12 

TICKETS ON SALE NOW! 

ANAT COHEN QUARTET 

The ArtsKC Fund 

F E A T U R I N G 

Jason Lindner, piano; Joe Martin, bass; Daniel Freedman, drums 

Friday, December 14th, 2012 – 8 PM 

JazzTalk with Anat Cohen at 7 PM, Roger Atkinson, guest host 

JAMES CARTER ORGAN TRIO 

Friday, January 25th, 2013 – 8 PM 

KENNY GARRETT QUARTET 

Friday, February 15th, 2013 – 8 PM 

MATTHEW RYBICKI TRIO 

Saturday, March 9th, 2013 – 8 PM 

ELIANE ELIAS 

Saturday, April 13th, 2013 – 8 PM 

12th & Central 

Kansas City, MO 

816-474-4444 

www.follytheater.org 

The Richard J. Stern 

Foundation for the Arts – 

Commerce Bank Trustee 

800-745-3000 

www.ticketmaster.com 

Neighborhood Tourist 

Development Fund 

City of Kansas City, Missouri 


folly jazz news continued 

soundtrack has become a jazz classic catapulting a slew of 

(then) young jazz lions & lionesses into the internationally 

jazz spotlight: Joshua Redman (Lester Young); Craig 

Handy (Coleman Hawkins); Cyrus Chestnut (Count 

Basie); Geri Allen (Mary Lou Williams); David Murray 

(Hershel Evans); Mark Whitfield (Freddie Green); and 

Kansas City’s own Kevin Mahogany (Jimmy Rushing). 

Primarily known for his tenor and soprano work early 

on, James Carter has recently gained prominence as one 

of the today’s great baritone sax players, garnering him 

the recent 2012 DownBeat Readers’ Poll Baritone Saxophone 

Player of the Year Award (tied with Gary Smulyan). 

Joining James Carter for his homecoming will be organist 

Gerald Gibbs, and drummer Leonard King, Jr. The James 

Carter Organ Trio is one of the most critically-acclaimed 

and “in-demand” jazz groups working today. Come find 

out for yourself, on Friday January 25 at the historic Folly 

Theater – our new marquee sign lights the way to great 

jazz! 

Tickets for all Folly Jazz Series concerts are $35, $27 

& $18. Please call Linda Bowlen at the Folly Theater Box 

Office for best available seating: 816-474-4444. The 

Folly Theater is a not-for-profit performing arts organization. 

Your support is very important to us…and greatly 

appreciated! 

Ellis Marsalis Quartet 

Friday February 11, 2011 

Arturo Sandoval Quartet

Amy Lewis's Journey 

from 18th and Vine to the Classroom 

Whenever Jayne McShann 

Lewis and I would run into each 

other the subject would always turn 

to how our kids were doing. So there 

was no surprise when she called to 

talk about what daughter Amy was 

up to. 

Amy was raised in music. Jayne 

would take her down to the Blue 

Room, and she got to meet and hear 

the great musicians that play there, 

and of course soak up everything 

else in that scene. Grandfather Jay 

was her first teacher. “I still remember 

the first ‘lick’ he taught me on 

piano,” she says. “He would always 

tell me to never stop learning. I took 

that lesson and have applied to all 

aspects of my life. 

“When I began college at De- 

Paul University, I had no intention 

of majoring in Music Education. 

I was heavily involved in music in 

high school. Although I had these 

experiences, I was not interested in becoming a music 

educator. It wasn’t until I was an intern at the Mutual 

Musician’s Foundation’s Summer Camp of 2007 that I 

was inspired to become a music educator. That summer, 

the students showed me the amount of joy that takes place 

when teaching. The amount of learning and fun that summer 

was truly rewarding. I realized that the educational 

side of music is just as life changing as the music itself.” 

Amy graduated Cum Laude from the DePaul University 

School of Music with a Bachelor of Music in Music Education. 

She has been teaching at the Iroquois Community 

School in Des Plaines, Illinois. The school is elementary 

through middle school, and Amy teaches Band, Jazz Band, 

Choir, and General Music. “Now that I am in my third 

year of teaching, my goals are to continue to grow as an 

By Roger Atkinson 

educator and inspire students everyday 

through all aspects of music. This can 

be done through collaborating with 

many local musicians, educators and 

even community members. I currently 

teach a wide range of classes 

and students. My objective for all of 

my classes is for the students to gain an 

appreciation for the power of music. I 

challenge my students to acknowledge 

the impact music has had on their 

lives. Then they must reflect on why 

music has impacted them in that way. 

I want students to be able to articulate 

why they like a specific artist or genre. 

These skills can be transferable to 

many different life skills and are not 

only unique to music.” 

Her dedication is being recognized. 

“Last year, I was a clinician at the Illinois 

Music Educator’s Association 

Conference. There were about 20,000 

music educators that attended the 

conference. Speaking at such a large 

conference challenged me to grow as an educator and as 

a person. The topic of the presentation was “The Secret 

of Surviving the First Year of Teaching Music.” She also 

received the award of Excellence as an Early Career Educator 

from the Illinois State Board of Education. There were 

three rankings for the awards; Recognition, Merit and 

Excellence. Within the many recipients, there were only 

about five teachers that received the highest ranking of 

Excellence Award for Early Career educator. “This award 

has motivated me to become a better educator. I want to 

make sure that I’m doing everything I can to provide a 

sound education for my students because teachers have 

the most direct influence with the future, and I want the 

future to be bright and filled with music!” 


The stories collected by bassist Bill Crow are a favorite 

of many musicians and fans. Bill has two collections of 

stories, Jazz Anecdotes and From Birdland to Broadway. He 

also has a monthly column “Bandstand” on the Web site 

of the Associated Musicians of Greater New York, www. 

local802afm.org. 

Paul Smith thought it would be fun to do something 

for JAM. We thought some stories from Jazz Education 

settings would be a good way to start, and sent a request 

to some of our local educators, and Paul forwarded on to 

some of his friends as well. Thanks, all, for the submissions! 

Kerry Strayer taught for many 

years at the Toon Shop, and these 

two stories came to mind: 

“When I taught at the Toon Shop I would always go 

in about 30 minutes before my first lesson. This allowed 

me time to check messages, do some book keeping and 

prepare for the day’s docket of students. One Wednesday 

I went in a bit earlier than usual. I went down to use the 

rest room but it was in use. I patiently waited outside the 

door. When the door opened there was a 4 year old boy 

standing there. As he attempted to walk around me I said, 

‘Wait a minute. Did you flush the toilet?’ The boy got a 

very disgusted look on his face, sighed wildly, shrugged 

his shoulders and marched back to the toilet and flushed. 

As he attempted to pass by me again I said, ‘Hold on there 

little fella. Did you wash your hands?’ He again sighed, 

shrugged his shoulders and gave me a disdainful glare as 

he retreated to the sink to wash his hands. 

About three months later I went in a bit earlier than 

usual, again on a Wednesday. After doing my book keeping 

and checking messages I went to use the rest room but 

it was in use. I waited patiently. When the door opened 

there stood the same 4 year old boy I had encountered 

three months earlier. Upon looking up and seeing my face 

he immediately, without a word or any provocation from 

me, turned around and proceeded to flush the toilet and 

wash his hands. He then sighed, gave me his now famous 

and familiar glare and exited. 

You never know for sure how much students are absorbing 

when you teach them. After 8 years of teaching 

at the Toon Shop the only thing I know for sure is that 

I taught one boy to flush the toilet and wash his hands 

after going to the bath room.” 

Also from the Toon Shop: 

“I had a middle school clarinet student at the Toon 

Shop who was driving me crazy. He had limited talent

at best but also was insolent, lazy and inattentive to any 

instruction. It was the last lesson of the month so I decided 

to release him after this lesson as I billed by the month. 

I told him, ‘I cannot teach you any longer. Today will be 

our last lesson. If you wish to continue lessons you need 

to go upstairs and ask them to assign you to another instructor. 

I will call your mother and inform her as well.’ I 

called and left several messages for his mother regarding 

this action but never heard back from her. Please note that 

his mother never came to his lessons. She always dropped 

him off at the front door and went shopping during his 

lesson, which is what the majority of parents did at the 

Toon Shop as it was in the middle of the Prairie Village 

Shopping Center. It was typical to only meet the parents 

at the first lesson. 

About 6 months later the student who took over his 

spot on my roster was absent so I took a break and went 

walking down the halls. I saw the former student sitting 

outside a studio holding his clarinet case in his lap. ‘Hi, 

how are you?’ I said, ‘who are you studying with now?’ He 

got an extremely worried look on his face and nervously 

pointed to Marshall DeMuynck’s studio door. I thought 

his actions were peculiar so I said, ‘Oh, so you’re studying 

with Walt now.’ To which he answered, ‘Yea, I really 

like Walt.’ Note that Marshall’s name was clearly printed 

on the studio door. So I naturally became suspicious and 

went upstairs to see whom he had signed up with after I 

fired him. He had signed up with NO ONE!!!!! 

So I called his mother. She said, ‘Oh, hello Mr. 

Strayer, how his my son doing in his lesson?’ ‘Didn’t he 

give you a message from me about 6 months ago?,’ I asked. 

‘Yes,’ said his mother. ‘He said that you were raising your 

rates from $12 to $15 and that you would only accept 

cash each week.’ So for 6 months this kid was getting 15 

bucks cash from his mother and, knowing that she never 

came down to the studio, having her drop him off at the 

studio entrance. He would hang out down there for the 

duration of the phantom lesson and then go up and meet 

her. When I told his mother what had happened she said, 

‘That little t**d is grounded until college.’ I apologized 

about not being able to reach her by phone when I fired 

him. She told me that she was missing a lot of messages at 

that time and took her machine in for repair. There was 

nothing wrong with it. Apparently he was intercepting 

and erasing her messages. 

I don’t know for sure, but I’ll lay odds 

that this kid became a politician.” 

Here’s another from Kerry, from his student days: 

“When I was at UMKC I began to play the clarinet. 

Although I had played professionally for some years I

16 

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jazz ed humor 

continued 

had never taken lessons on the instrument 

and thought some formal 

training would be helpful. The 

clarinet instructor at that time was 

a brilliant musician by the name 

of Patricia Kostek. She was a very 

young Conservatory professor and 

has went on to have a very active and 

successful career. I had an old Conn 

clarinet that I purchased on a garage 

sale. It wasn’t a very good instrument 

and wasn’t in very good repair. On 

clarinets it is common for some of 

the smaller tone holes to get plugged 

up with lint, especially if you don’t to 

swab them out regularly, which was 

the case with my instrument. If the 

tone hole is plugged up it will affect 

response and intonation. During my 

third lesson I was having problems 

with both response and intonation 

on the note A. Upon inspecting my 

clarinet Patricia said to me, ‘Kerry, 

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18 

jazz ed humor continued 

you really need to clean out your A-hole.’ As soon as she 

said it she covered her face and looked away with embarrassment. 

To which I responded, ‘Yea, I supose a fella 

ought to do that now and then.’” 

Jim Mair has this story from 

a student audition: 

“Before IAJE collapsed about 8-10 years ago I had a 

trumpet student audition for the IAJE Community College 

All Star Jazz Ensemble. He told me that he recently 

had a lot more resistance when he played. Well, he made 

the audition recording and was selected lead trumpet 

in the band. He continued with the resistance problem 

through the convention and into the rehearsals for the 

band. He became increasingly frustrated with his playing. 

In the hotel room he finally decided to take my advice and 

give his trumpet a bath and put a snake through it. To his 

surprise he found a cigarette stuck inside. He removed it 

and needless to say his playing really was smoking after 

that!” 

Band festivals and contests are a 

jazz ed staple. John Leisenring 

shares this true story: 

“I often judged sight reading at annual band contests, 

and one year a particularly rag-tag young band filed into 

the room, led by a young band director who couldn’t have 

been out of school for more than a year or two. As always, 

they had 5 minutes to talk through the score. Here’s 

what he told them: 

‘Now this piece starts out in 4/4 time, and I’m sure you’ve 

all seen that before. It looks like this.’ (he demonstrated 

his 4/4 conducting pattern) ‘Any questions?’ None. 

‘Now at letter B, it goes into 3/4 time, and I think you’ve 

all seen that. It looks like this. Again he demonstrates. 

‘Any questions?’ None. ‘Now at letter C, it goes into 6/8, 

and I don’t think some of you have ever seen that. It looks 

like this.’ He begins to demonstrate, but stops and starts 

several times before finally getting his 6/8 conducting 

pattern correct. ‘Everybody okay with that? Want to see 

it again?’ Nobody did. ‘Now here at letter D, it goes into 

5/8, and I don’t think I’ve seen that before. Oh well, don’t 

worry about it - we won’t get that far anyway.’ 

And they didn’t.” 


Carl Prather submitted several 

stories from a contest in St. Joseph: 

“The first clarinet in a small band forgot her music so 

she sat behind a flute player and played from her part. They 

announced that the band was playing an arrangement of 

Beethoven’s Eroica Overture. I can sing those themes and 

am glad they told me what they were performing, or else 

I would not have known!” 

“At the same contest on other years: The judge told 

the director that he should use his chimes. So he asked the 

judge if he had the address of the chimes manafacturer so 

he could have them tuned. They swear this is not made 

up. 

Another from the same contest: “The judge said the 

band was terribly out of tune. The conductor said ‘No 

way, I tuned all the instruments myself. I even soldered 

all the tuning slides so they kids couldn’t move them!’” 

This one from Carl is from 

a contest in Springfield: 

“In early 1960s in Springfield contest a very young 

group from the area performed late in the day, a very rainy 

day. Winston Lyons, a very charismatic ex-Hollywood 

trumpet player was one of the judges. The group arrived 

in ones, twos, and threes with various amounts of mud 

and wet uniforms. The conductor stepped onto a very high 

podium and began tuning the band. Winston is watching 

this debacle and after 20 or so different pitches are 

offered of which none matched, Winston said ‘aw shitttt’ 

and went outside the auditorium to smoke during their 

rendition.” 

And another: 

“I judged bands with Bill Mack in early 1980s in Springfield. 

After a contest the week before we agreed not to be 

tough on the small bands in Springfield area. By noon we 

had each given a total of eight 5’s and over lunch we commented 

it would be better in p.m. It DID get better later 

on. Much better. But I remember so well the first group of 

the afternoon, a nice looking group of 70 or so students. 

The score of the first number was an advanced marching 

chart written in rock glorioso style for large university and 

large high school group. I swear I followed the score with 

my own great sight-reading eyes...and I did not recognize 

with my ears anything on the printed score. So we began 

the p.m. with two more 5’s. When day was finished I saw 

and overheard the p.m. band members saying their plan 

to get their band director fired was surely a success. They

seemed to have decided they needed to make a statement 

to the superintentent and school board--never found out 

if they succeeded.” 

Sometimes things don’t go so 

well. Stan Kessler shares these 

interactions with students: 

“A student was given to me at a youth jazz organization 

trumpet sectional. He had no business being there in that 

he had no training and no school music program within 

which to learn. He was virtually self-taught, without talent 

or intelligence (not his fault) and possessing a tin ear. His 

needs were basic and rudimental, so I asked him, ‘How 

do you make a higher note without changing the valves?’ 

His reply: ‘Raise your eyebrows.’ Correct answer: Speed 

up the air. It was all I could do to not laugh in the poor 

kids’ face.” 

Also from Stan: 

Me: You played a flatted 7th on that major 7th 

chord. 

Student: No I didn’t! 

Me: Incredulously laughing 

On the other hand, some stories 

just bring a smile to your face, like 

these from Charles Williams: 

“On one occasion as a private piano teacher, I had a 

very wonderful young preschool girl that started coming 

to me for lessons. She and her mom were very excited, and 

just overjoyed for what was to come. The little girl had 

her first lesson and was just bubbly all over. Her bright 

and cheery face was lit up like it was Christmas morning. 

Sometimes after meeting a student for their first lesson, 

the parent or student might ask if I would play something 

“One of the 10 jazz sites worth visiting” 

-New York Times 

Online 

kcjazzambassadors.com 

for them. The girl appeared to be very infatuated with me 

as well and just smiling. So I proceeded to play something 

very classy and very smooth. I just did this for about two 

minutes and stopped. 

All of a sudden, the girl took a deep gasp and said, 

‘That was SO romantic’” Her mom and I looked at each 

other in awe, because we never expected to hear words 

like that come from a 5 year old. Most of all it was the 

way she said it.” 

Sometimes the lessons are 

beyond music. This one from 

Charles may bring a smile: 

“I had was a young girl who had temper tantrums. I 

mean serious ones. As you grow and mature you learn how 

to deal with these things. So one day the little student, 

about 7 years old proceeds to have a temper tantrum again, 

and falls down on the floor, kicks, and cries, and instead of 

me saying anything this time I just ignored her, and acted 

like she wasn’t in the room. Oh how furious this made her 

that no one was even getting her attention. After a few 

minutess of laying on my floor, she got quiet and stopped. 

I calmly turned around and said, ‘I am glad you are done, 

Now here is your lesson for next week.’ Like nothing had 

even happened. This young lady had to move away a few 

months later. Her last lesson she gave me a certificate for 

being the best music teacher ever. A few years later, when 

she was about 17 or 18, she came to town one summer, and 

we found each other on a social internet site and connected 

via e-mail. I told her I was playing on the Plaza with Ida 

McBeth, and, she showed up that Sunday afternoon to see 

me, and was so glad to see me and hugged me like I was 

her dad. The point here is that it’s such a warm feeling to 

not only teach someone, but to be a positive role model 

in their life and make a difference.” 

Your imAGE 

deseRvEs 

soMetHiNg 

eXtrA... 

grApHic DEsiGn 

by Rod MCBRidE 

913.271.9352 


For tHe record 

20 

Grand Marquis 

The Sun Session 

Personnel: Bryan Redmond, lead vocals, saxophones; Chad 

Boydston, trumpet, backing vocals; Ryan Wurtz, guitar; Ben 

Ruth, bass, sousaphone, backing vocals; Lisa McKenzie, drums, 

washboard. 

Tracks: CD: The Jungle, Bad Dream Blues, Easy to Be the Devil, 

I’m a Wine Drinker, That’s My Desire, Mystery Train, When the 

Saints Go Marching In. 7” 45 rpm vinyl: The Jungle, Easy to Be 

the Devil. 

Recorded February 1, 2011, Sun Studio, Memphis. Engineer: 

Matt Ross-Spang, Mixing and Mastering: Duane Trower, 

Weights & Measures Sound Lab, Kansas City, Missouri. 

Let’s say you have the 

urge to go hear some Kansas 

City Jazz. The urge for the 

real stuff, that unmistakable 

mix of blues and swing and 

improvisation. Or maybe you 

are not familiar with what 

that really means. May I suggest 

Grand Marquis as a great 

band to hear? 

This is the sixth release from Grand Marquis, and was 

recorded at the truly legendary Sun Studio in Memphis 

(which had to be very cool). They really get into the history 

here; Junior Parker recorded “Mystery Train” there, 

and Joe Hill Louis, co-writer of “Tiger Man,” was a Sun 

session man. 

The agenda here is the blues the way they used to be 

done from KC to New Orleans and through Memphis, of 

course. “The Jungle” jumps. Lisa McKenzie’s drums are 

rock-solid here, and the simultaneous blowing by Bryan 

Redmond on tenor and Chad Boydston on trumpet is 

a highlight of these tracks. Boydston can really growl, 

too, as he does on “Bad Dream Blues,” and his use of the 

plunger in his solo on “Easy to Be the Devil” is another 

highlight. McKenzie is on washboard on this track. There 

are lots of roots here. The fast “I’m a Wine Drinker” has 

some great responses to Redmond’s vocal. Redmond’s 

vocals are featured throughout, and really fit the genre. 

And I don’t want to forget the Ryan Wurtz guitar and Ben 

Ruth’s killer sousaphone on “Bad Dream Blues,” either. 


“That’s My Desire” is the ballad feature, and Grand 

Marquis is just the latest to record this 1931 classic. Prior 

recordings cross decades and musical styles; it has been 

recorded by Sammy Kaye, Frankie Laine, Martha Tilton, 

Hadda Brooks, Chris Connor, James Brown, Patsy 

Cline, Ella Fitzgerald, Woody Herman, and scores of 

other artists. 

This too-short (under 30 minutes) set closes as it 

should, with “Saints.” But the brevity is fine, as Grand 

Marquis covers a lot of their bases here, the sound of Sun 

is front and center, and there is even that great red vinyl 

45 that is part of the set. You can grab this from their Web 

site, or surely from one of their regular gigs at Jazz or The 

Levee. 

—Roger Atkinson 

Michael Pagán 

Keyboard Christmas 

Personnel: Michael Pagán, piano 

Simply entitled Keyboard 

Christmas, Pagán gets an early 

jump on the holiday spirit 

with this latest release—a 

collection of solo piano 

arrangements dedicated to 

the season’s greetings. And a 

cheerful album it is. Pagán 

has tons of chops to spare for 

this hand-picked selection of Christmas classics. When 

I reviewed his last album, Twelve Preludes and Fugues, I 

viewed him from a composer perspective. This time he’s 

going for himself. 

The opening track, “God Rest Ye Gentlemen,” starts 

with a direct Miles Davis quote from “So What,” a real 

surprise—but, lo, and behold, it actually works quite well. 

The tune bounces right along with walking left hand bass 

lines, replete with effortless right had riffs that remind one 

instantly of Keith Jarrett’s prolific gifts. 

“Oh Come Emmanuel” is both elegant and delicate 

in its delivery, and is simply beautiful—what else is there 

to say?

“It Came Upon a Midnight Clear” offers the listener 

a real treat. Although it doesn’t happen on every piece, 

this tune reminds me of Bill Evans Conversations With 

Myself, where the guest accompanist is, well…himself. 

While “Midnight Clear” has rippling, cascading lines 

with stop time in left hand with rolling lines (ala 

Oscar Peterson), “Good King Wenceslas” is a pensive, 

introspective reading, with an unfolding rubato opening 

that slowly unfolds with an airy texture. After the initial 

statement, the piece segues into an almost Debussy-like 

adventure, only to give way to a Bach minor fugue of the 

main melody. 

Then there is the unmistakable “Oh Christmas Tree.” 

Upon hearing the opening phrase, of course, one cannot 

escape the inevitable comparison to the classic, swinging 

version of Vince Guaraldi’s swinging piano playing on his 

album, A Charlie Brown Christmas. Then, suddenly after 

the melody is stated, Pagán breaks into a jaunty ragtime, 

complete with a stride feel that takes you immediately 

out of the Vince realm. It has the kind of lilt that Harry 

Connick may have given it. The classic plink, plink, plink 

Basie ending is a refreshing touch. 

“Oh Come All Ye Faithful,” is a rolling triplet-feel, 

played in a fairly straightforward manner and is the 

shortest piece on the album—no frills. “Let It Snow” is a 

medium-tempo swing piece with a bit of stride touch, with 

shades of Errol Garner scattered throughout the tune. This 

is one of my favorites because it swings probably harder 

than anything on the album—you could hear how much 

fun he was having with this one—Pagán is in total control 

of the musical elements. A two-handed Oscar Peterson run 

gives way to a bit of frolicking gamesmanship on the keys 

(just to goose your ears a little) and the tune ends with a 

fantastic flourish. 

“I’ll Be Home for Christmas” is delivered in a 

medium-tempo waltz style, with a grand modulation after 

the initial melody is stated. Finally, the languishing rubato 

melody is offered, with two sparse sprinkles of chords to 

finish it off. “Coventry Carol” is almost improvised right 

out of the gate, the melody barely stated before Pagán 

breaks out with boppish lines. Later, the walking bass 

lines, along with hints of ragtime, appear sporadically 

underneath the solo. 

“Gesu Bambino,” the Italian carol written by Pietro 

Yon in 1917, has the borrowed melody and lyrics of the 

chorus taken from “Oh Come All Ye Faithful,” and is 

performed exquisitely here by Pagán. He thoroughly paces 

himself, taking the piece through several iterations until 

he is satisfied. “Carol of The Bells” is offered with the 

traditional chord progression, but the flavors burst forth 

when the jazz chord substitutions enter the fray. Combined 

with superior rhythmic manipulation, it packs a pretty 

potent punch. The solo is so inventive—so Beethovenish 

in character—it rather easily makes the piece another 

one of my favorite selections on the album. It is by far 

the most elaborate arrangement of the tunes, and, as one 

might expect, is the longest piece of the collection. 

Although I expected a raucous version of the closing 

track, the album ends calmly with a medium-slow version 

“Sleigh Ride,” with Pagán using a gentle touch at first, 

only to give way to a sixteenth-note run that perfectly 

propels the tune forward. After some delicious, bluesflavored 

passages (not to mention an irresistible quote 

of “Honeysuckle Rose,”) the song—and the album 

itself—comes to its conclusion, and the sleigh ride was 

definitely worth the trip. Ho-Ho-Hope you get your copy 

of this new holiday disc—it will serve as a great stocking 

stuffer. 

—Wayne Goins 

Brian Baggett Trio 

Brian Baggett Trio 

Personnel: Brian Baggett, guitars; Bill McKemy, bass; Josh 

Adams, drums 

Tracks: Stella by Starlight, The Days of Wine and Roses, God 

Bless the Child, Beautiful Love, Angel Eyes, I’m So Lonesome I 

Could Cry, Solar, You Go to My Head 

Recorded and mixed at Studio 17, Lawrence, Kansas, 2012. 

Guitarist Brian Baggett’s 

new CD is a compelling, innovative 

standards album. 

You may have also heard 

Baggett as the guitarist in Ken 

Lovern’s OJT or as the leader 

and guitarist of the fusion/ 

rock band DOJO. A talented, 

skilled guitarist with a foot in 

more than one city, Baggett 

performs regularly in KC, manages Supersonic Music in 

Lawrence, and teaches at Ottawa University. 

Reminiscent of the Jim Hall style on this album, Baggett’s 

playing is often sparse, but Baggett says a lot with each 

note; he chooses with wisdom, artistry, and grace. Baggett’s 

guitarist voice is clear, bright, and intelligent--and 

wisely, vibrantly understated. 

One of the most compelling tracks on this CD is Baggett’s 

group’s rendition of the standard “Solar,” executed 

with a funky fusion feel. Upbeat, contemporary, but still 

grounded in the roots of the original, Baggett’s version 

of “Solar” feels a little like Chick Corea’s Electrik Band 

meets Sonic Youth. Baggett’s playing is at first sparse and 

contemplative, but heats up and gets busy as the tune 

progresses--and everything about this track is forward 

moving, solar hot: from yellow flame to blue flame hot. 


22 

for the record continued 

The vamps on this tune highlight the comping and soloing 

skills of each group member, from drummer Josh Adam’s 

funk-march riffs and fills in which he skillfully lands the 

backbeat in innovative places to bassist McKemy’s soulful, 

low, grooving ostinato lines to guitarist Baggett’s ‘70s 

feel, echoing notes, which in the sparser spots sound like 

hip, held, Morse code signals for a space landing. Like 

much of the album, this tune grooves hard, is melodic 

and filled with sensitive full-band interplay, but is understated, 

played with the low steady flame of discipline and 

measured, but vibrant, control. And, remarkably, this is a 

memorable version of the tune that appears to chart and 

stake some new territory. You won’t hear another band 

play “Solar” quite like this. 

Another of my favorite tracks from this album is 

Baggett’s trio’s rendition of “Beautiful Love.” A more 

traditional arrangement, this love song swings hard, 

and features Baggett’s soloing skills, often reminiscent 

of Hall, but at times of Metheny. Baggett’s sound is his 

own, though, full of characteristic repetend, a meditative 

approach, and just the right approach to space. Baggett’s 

introductions are often filled with pregnant pauses that 

lead to bright, crafty, compelling runs. And Baggett is not 

often one to overplay, although he is not afraid at the arc 

of the solo to get busy. Returning to the tune, the end of 

“Beautiful Love” includes a tasty duet between Baggett 

on low tones and Adams on toms. Each plays just enough, 

as in a conversation between people who truly know each 

other. This final interlude is one reason to play and replay 

this track. 

A mix of swung tunes and fusion/funk revisionings, 

Brian Baggett Trio is an album for the jazz aficionado, the 

seasoned player, or the listener new to the scene, but interested 

in new views, new interpretations. A clean, vibrant, 

polished album--but one with lift--this CD can be set to 

play on repeat and should not disappoint. Its nuances-some 

classical (golden age jazz), some contemporary--are 

worth listening to, and returning to. 

Copies of the CD can be purchased at Baggett’s 

website: brianbaggett.net 

—Kevin Rabas 

V INYL RENAISSANCE & AUDIO 

Let us put a smile between your ears. 

Kansas City: 

1415 West 39th Street 

816.756.0014 


Tom DeMasters 

Better to Be Lucky 

Personnel: Tom DeMasters, guitar and vocals; Jerry Hahn, guitar 

(tracks 4,7,9); Rick Huyett (1,4-8) and Joe Pruessner (2,3,10), 

bass; Mike Moreland, organ and synth (1,8); Tim Whitmer, 

piano (5,6); Wayne Hawkins, piano and organ (4,10); Bob 

Jolley (2,3,10), Ray DeMarchi (5,6), Allen Fishell (4,7), and Andy 

Hambleton (1,8), drums; Millie Edwards (2,3) and Lori Tucker 

(1,8), vocals. 

Tracks: Better to Be Lucky, Going Out of My Head, Boy’s of 

the Seventies, Swimming Hole, Sarita, Sonny’s the Man, Just 

Because, Christmas-Procrastination Blues, You Don’t Know Me, 

New Years Day. 

Recorded and Mixed at Hammerhead Audio, Kansas City, 

Missouri, by Mike Moreland. Engineered by Mike Moreland. 

Mixed by Mike Moreland and Tom DeMasters. Mastering by 

Themasteringstudio.com. 

Guitarist and vocalist 

Tom DeMasters has been on 

the KC scene for nearly 30 

years now, and has seemingly 

played with everyone. On this 

recording he has invited many 

of his musical friends, including 

his teacher at Wichita 

State, Jerry Hahn, for a set of 

mainly original tunes. 

As Tom came up musically in the 1960s and 1970s, 

there are a variety of influences that are on display here, 

from pop to rock and the blues and straight-ahead jazz. 

“Better to Be Lucky” and “Boy’s of the Seventies” represent 

the rock side of DeMasters. The former is from a lesson 

from his dad. Lori Tucker has a background vocal here, 

and there is a DeMasters guitar blast that comes out of 

nowhere, a surprise in a nice track. The latter features 

Millie Edwards, has a great groove, and that “Smoke on 

the Water” lick at the end shows where this was from. 

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Shawnee: 

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“Lucky” is not the only personal writing from DeMasters. “Sarita” is a 

pretty bossa nova for his wife, with a nice chorus from Tim Whitmer. “Just 

Because” was co-written with his wife, and is a poppy vocal that would fit in 

with early Beatles tunes. Hahn is also here, as he is on the original instrumental 

“Swimming Hole” and their cover of “You Don’t Know Me,” a DeMasters/ 

Hahn duo that shows Hahn embellishing the melody and some classic Hahn 

bent notes. 

Edwards and DeMasters share the vocals on the Little Anthony and the 

Imperials and Lettermen hit “Going Out of My Head,” a tune that has been 

covered by everyone from Wes to Hank Mobley to Sinatra. They are true to 

the tune, and it was a favorite of mine. “Sonny’s the Man” is for Sonny Kenner, 

and is a straight-ahead jazz track with solos from Whitmer, Tom (nice 

octave work), and bassist Rick Huyett. The closer “New Years Day” is another 

straight-ahead instrumental groove co-written with pianist Wayne Hawkins, 

who has a solid solo. 

“Christmas-Procrastination Blues” is a riot, a funky blues with a 

“Superstition”-like opening about an inept gift shopper who thinks he has to 

do better than the vacuum cleaner, weight loss and gym memberships, and gift 

cards from the past. Lori Tucker plays the wife here. 

This is a fun outing from Tom DeMasters, with great support from his 

friends putting the breadth of his music on display. 


Rick Smith 

Last Call 

Little Apple Records 

Personnel: Rick Smith, guitar; Bobby Scharmann, bass; Austin Barnes, drums. 

Tracks: Um Marongo, Bourbon and Coke, Ray and the Recalcitrant Redhead, Cherry 

Pizza and Pepperoni Cheesecake, Coco & Bella, Nao Obrigado, Blues for G. 

Recorded March 19-20 at Crystal Clear Audio & Video, Manhattan, Kansas. Recorded, 

Mixed, and Mastered by David Brown for Brown Bear Sound. 

Rick Smith was one of Wayne Goins’ students 

at Kansas State, and makes his recording debut 

on Wayne’s Little Apple label. This collection is 

all Smith originals, written over time to give him 

“a break from just playing standards all the time,” 

as he says in his liner notes. The tunes are nicely 

“stretched-out” to live performance length, and 

are interesting enough harmonically to support 

improvisation. Rick states in his liners that Wayne 

and Grant Green are his favorites, and you can hear 

the influence in his single note and chording style. 

There are two bossa novas here. The opener, which translates to 

“Strawberry,” has changes that don’t go where you expect. Smith shows his 

single-note style, very melodic, and finds a place for a “Suicide Is Painless” 

quote. There’s a nice bass solo from Bobby Scharmann and good brushwork 

from Austin Barnes, although I would rather not have the drums so strong in the 

mix. “Nao Obrigado” means “no thank you,” and has that underlying sadness 

that exists in Jobim-influenced music. Smith states that there is reference to 

Lady Gaga’s “Telephone;” I’ll take his word. 

continued on page 28 

Book Now for 

Special & Holiday 

Events 

816 588 8171 


cLuB scene 

24 

18TH & VINE 

the Blue room 

18th & Vine . . . . . . . . . . . . . . . . . . . . . . . . 816-474-2929 

Mon. — Blue Monday Jam 

Thur. - Sat. — Live Jazz 

danny’s Big easy 

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 

American restaurant 

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

Fri. - Music 

the Brick 

1727 McGee . . . . . . . . . . . . . . . . . . . . . 816-421-1634 

Live Jazz & Eclectic 

the chesterfield 

14th & Main . . . . . . . . . . . . . . . . . . . . . . 816-474-4545 

Fri. 9 p.m. — Burlesque. Sat. 9 p.m. — Live Jazz 

& Swing 

Hilton President, drum room 

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

Fri.-Sat. — Live Jazz 

Hotel Phillips Mezzanine 

106 W . 12th St . . . . . . . . . . . . . . . . . . 816-221-7000 

Live Jazz Thurs. 5-8, Fri.-Sat. 7-10 

the Kill devil club 

14th & Main . . . . . . . . . . . . . . . . . . . . . . 816-588-1132 

Wed.-Sat. — Live Music 

Majestic restaurant 

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

Live Jazz Nightly 

nica’s 420 

320 Southwest Blvd . . . . . . . . . . . . . 816-471-2900 

Live Jazz & Eclectic (Joe Cartwright 3rd Thursdays) 

the Phoenix 

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

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

yj’s snack Bar 

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

Sun. - Live Jazz 

jam’s picks for live music 


MIDTOWN/WESTPORT 

californos 

4124 Pennsylvania . . . . . . . . . . . . . 816-531-1097 

Live Jazz 

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 p.m. — Michael Pagan 

Wed. 6-9 p.m. — Mark Lowrey 

Thurs. 6:30-9:30 p.m. — Tim Whitmer 

Fri. & Sat. 6:30-9:30 p.m. — Alice Jenkins 

capital Grille 

4740 Jefferson . . . . . . . . . . . . . . . . . . . 816-531-8345 

Sundays 5-9 p.m. – Dan Doran Trio 

intercontinental oak Bar & Lounge 

121 Ward Parkway . . . . . . . . . . . . 816-756-1500 

Live Jazz Wed.-Sat. Sets start at 8 p.m. 

Plaza iii 

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

Sat. 7-11 p.m. Lonnie McFadden 

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 

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

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

Music Fri 6:30 

cascone’s north 

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

Sat. — Live Jazz 

Gold star theater at Finnigan’s Hall 

503 E . 18th Ave, NKC . . . . . . . . 816-221-3466 

Tues. 6 p.m. Abel Ramirez Big Band Dinner 

Show 

isle of capri casino 

1800 E . Front St . . . . . . . . . . . . . . . . . 816-855-7777 

Soulful Sundays 2-6 p.m. 

Piropos restaurant/Briarcliff 

4141 N . Mulberry St . . . . . . . . . . 816-741-3600 

Live Jazz Wed.-Thurs. 6-11, Fri. 5-12, Sat. 7-12 

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) 

cascone’s 

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

Sat. — Jim Mair 

eBt restaurant 

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

Live Jazz Thurs-Sat 

Gaslight Grill and Back room 

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

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

La Bodega tapas & Lounge 

4311 West 119th St . . . . . . . . . . . 913-428-8272 

Sun. 6-8 p.m. Jazz w/Mistura Fina, Flamenco 

w/Al Andaluz (alt. weeks) 

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 Thurs-Sun 

touché 

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.

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/Junebug 

& 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 

12th Street 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 

KMBz BUSINESS CHANNEL 1660 AM 

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 

“One of the 10 jazz sites worth visiting” 

-New York Times 

Online 

kcjazzambassadors.com 

on tHe Air 

KCxL 1140 AM/102.9 FM 

saturday 

Neon Jazz with Joe Dimino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:00 am 


Kansas City Jazz Alliance 

Expands Activity 

By Roger Atkinson

The non-profit Kansas City Jazz Alliance 

under the leadership of Jim Mair 

continues to bring many educational 

and other supporting programs to the 

Kansas City Area. 

The Kansas City Jazz Summit is in 

its third year, and is scheduled for April 

24-26, 2013. This is a jazz celebration 

at KCKCC for colleges, High Schools 

and Middle school jazz groups. Then 

there is the Jazz Camp, a week-long jazz 

camp for all ages during the first week of 

June that has been running for 12 years. 

This includes the selection of the KC 

High School All Stars. Approximately 

55 students participated last year. 

The Kansas City High School All 

Star Jazz Band and Jazz Combo program 

is for the elite high school jazz 

musician living within a 60 mile radius 

of Kansas City. It is an opportunity to 

perform and network with like-minded 

“serious” high school jazz musicians. 

The group is under the direction of 

Hermon Mehari with assistance from 

Jim Mair and Doug Talley. This program 

operates on Wednesday nights and 

is a very affordable opportunity. They 

also have public performances, like the 

November 14 concert at Planet Sub in 

Lenexa. 

The Alliance also has performances. 

The “Jazz by the Lake” monthly 

concert series at KCKCC started this 

fall, and they are rebroadcast with 

“man on the street” interviews on the 

Wyandotte County Time Warner cable 

channel, which goes out to 100,000 

homes. There is The Kansas City Jazz 

Quintet, an ensemble that performs 

and perpetuates exclusively Kansas 

City Jazz music in the style of and with 

the feeling known internationally as 

Kansas City Jazz. This includes a highly 

informative, interactive and energetic 

demonstration of the key components 

that are synonymous with Kansas City 

Jazz. This has already been presented in 

Canada and Idaho with more dates on 

the calendar. 

More information about the Alliance 

and these events can be found on their 

Web site www.kansascityjazz.org. 

CDs 

Package Design 

Replication 

Duplication 

Postcards 

Posters 

Printing 

WEB 

Website Design 

Hosting 

PayPal 

CDbaby 

YouTube 

iTunes 

Keith Kavanaugh 

816.506.3397 • 888.8BAUWAU 

keith@bauwau.com • www.bauwau.com 


28 

off the vine continued from page 10 

Bob Bowman & Friends are the featured performers and 

Cumulus Radio’s Magic 107.3 FM broadcasts live during 

“Indigo Hour.” Special New Year’s Party on Monday, 

December 31 features the husband and wife duo of Reggie 

and Mardra Thomas with special guests Bobby Watson 

and Will Matthews. This is a special New Year’s Eve 

celebration that is not to be missed. 

The Blue Room starts 2013 by featuring Kerry Strayer 

on January 4. Cumulus Radio’s Magic 107.3 FM broadcasts 

live from The Blue Room during “Indigo Hour” on 

the second and last Fridays of each month. And, North 

Coast Brewing will continue its tangible support of the 

museum’s programming by donating a percentage of every 

purchase of Blue Room Pale Ale. 

Tickets for all Gem concerts and ticketed shows in 

The Blue Room are on sale now at all Ticketmaster outlets, 

online at Ticketmaster.com and AmericanJazzMuseum. 

org, and by calling the American Jazz Museum Box Office 

at 816-474-6262. 

for the record continued from page 23 

Smith likes his quotes, but it’s not like he just strings 

them together. He finds room for “Over the Rainbow” 

in the easy swing of “Bourbon and Coke,” “My Favorite 

Things” shows up in “Ray and the Recalcitrant Redhead” 

(which sounds like the title of a Perry Mason novel), a 

long “Prelude to a Kiss” phrase is in “Coco & Bella,” 

and “Eleanor Rigby” is there in “Blues for G.” But that is 

hardly all of the Smith style. He is a strong melodist, and 

shows it on each of his lengthy turns. I especially like his 

work on two tracks with the strongest Grant Green and 

Blue Note feel, the Monkish “Cherry Pizza and Pepperoni 

Cheesecake” and the tribute to Dr. Goins, “Blues for G.” 


Programs – Education Programs 

Held the third Tuesday every month in the Blue 

Room, Jazz Poetry Jams offer opportunities for aspiring 

artists to share their work and gain a better understanding 

of the relationship between jazz and the spoken word. 

Poetry workshops are also included as part of the program, 

guiding students and other artists on a path to finding 

their creative voices and developing as professional artists. 

Providing free educational access to over 3,000 children 

in Kansas City annually, Jazz Storytelling meets 

educational standards, introduces children to new music 

& cultures, and provides opportunities to enhance their 

social skills in a safe environment. Jazz Storytelling is held 

the first Tuesday of each month. RSVP is not necessary, 

but welcomed, to the attention of the Education Department. 

Watch for our brand new website and mobile app 

soon. To learn more, call the Museum at 816-474-8463 

or visit us online at www.AmericanJazzMuseum.org. 

Both benefit from some fine Blakey-like drumming from 

Barnes. 

The sets only ballad, “Coco & Bella,” is another 

favorite. It is about two cats, and the dual melodies 

scamper between guitar and bowed bass. 

I gather from the notes that Rick plays occasionally 

at della Voce in Manhattan. Based on the sounds in Last 

Call, this trio would be a good reason to check that out. 

Or, maybe we’ll be fortunate and have Rick visit Kansas 

City. I’ll spring for the gas. 


Commercial Roof Coatings 

Dan Griffin Sales Company 

Daniel J. Griffin 

B 816.472.1313 • C 816.589.3362 

226 NE Landings Court 

Lee’s Summit, MO 64064

JAM Dec/JAN 2013 - Download now - Kansas City Jazz Ambassadors

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