JAM Magazine: October/November 1997 Issue: Hampton's Hot Licks

by Dean Hampton

What Next?
On the afternoon of September 6th -- the second day of its grand re-opening -- I took a stroll through the newly renovated 18th & Vine District. There were a lot of people listening to and loving a lot of live jazz, a sight that is always a personal thrill for me. While taking in this wonderful new beginning for Kansas City jazz, however, I also had a feeling of apprehension about the role of the Jazz Ambassadors. "Is our work done?" I wondered as I thought back to how the KCJA was formed 12 years ago to help promote Kansas City jazz. "Have we fulfilled our purpose? Is this, in at least one sense, an ending?"

While these questions are not particularly profound, they do suggest that we in the Kansas City jazz community may need to re-examine our specific objectives. This may be a time of new beginnings, but there is still so much more to do.

"How should Kansas City build on the interest and momentum created by the Jazz Hall of Fame's debut and the Gem Theater renovation?"

This was the question posed by the Kansas City Star to its online readers the same weekend as the reopening of 18th & Vine. Most of the forum answers I read were totally off the subject. They dealt with the Jackson/Johnson County border war, the motives of government officials, and the need for spending tax money on basic services instead of historic restoration and the arts.

I felt that the Star's question was a good one, but it was left to the reader to define many of its most important components.

"How should Kansas City. . ."
Who is "Kansas City?" Its citizens? The metro area? The government(s), the 18th & Vine Authority, the GEM Theater, the Black Economic Union, the jazz support organizations, the UMKC Department of Jazz Studies, the Folly Theater, ...the Phoenix Piano Bar & Grill? Does it mean all or just a select few of these entities? Is there a leader? Should there be? If so, who and why?

". . . build on the interest and momentum . . . "
What needs building? Is there a goal? A mission statement? If so, who wrote it? And who voted on it? Does it address the entire Kansas City jazz scene? What is the target audience? As for "interest and momentum," does that mean "something to do for the weekend?" Or something more enduring? Was the re-opening of 18th & Vine a one-weekend stand? Will people come back? If it's just a once-a-year event for most Kansas Citians, will that be enough to pay the $900,000 per year operating cost? And more importantly, will it all carry over to the rest of the KC jazz scene?

". . . created by the Jazz Hall of Fame's debut . . . "
Oops. Jazz Hall of Fame? The Charlie Parker Foundation has trademarked the term "International Jazz Hall of Fame." It's the Jazz Museum, not a hall of fame. There is a difference.

It's difficult not to be excited about the rebirth of the 18th & Vine District. Is there another city in the world that has a 26 million dollar jazz complex? Kansas City now has something very special to offer. But I also find myself putting this excitement in check. With the rebirth of 18th & Vine, we may have added pride to our past while enhancing the depth of Kansas City's total arts and entertainment package. But, now that it's all been built, "will they come?"

Only time will tell.

A Message to Our Jazz Venue Advertisers
(and Those Who Should Be...)
JAM is one of a few of its kind anywhere in the country -- a regional publication devoted entirely to the development and promotion of jazz. It's also expensive to produce, even with a volunteer staff. To those who advertise in JAM, we thank you. We have done, and will continue to do our best to see that you receive the best value for your advertising dollar. (We even offer some "extras" you probably don't always think about, such as free listings on our Internet web site, visited many times a month by jazz fans from all over the world.)

We have also decided to give our regular advertisers even more added value as you will see in our re-formatted "Club Scene" on page 42. Unfortunately, we can no longer provide equal space to those who don't help us foot the bill. While it is our charter to support the entire jazz community, those who have been paid advertisers in the last three consecutive issues will now get the bright lights (and bold print) in "Club Scene," as will new advertisers who sign on for a minimum of three issues. Our goal? To have every venue listed in bold! JAM wins, the clubs win, and most of all, Kansas City jazz wins. Give JAM ad rep Sunny McConnell a call at 822-2677.

Hot Licks Galore
Last year, after the first annual Kansas City International Jazz Festival, I claimed I had heard the best single day of live jazz in my lifetime. After this year's festival, that still holds true. However: I can now say that I've heard the best two-day event in memory!

There is something very special about the International Jazz Festival at Starlight Theater. There's the music, the professionalism of festival organizers, the surroundings, and the audience (even though it was way too sparse for a second year). This year's event, held September 19-20, had a broad mix of worldclass talent from the first note to the last. I can't imagine anyone not approving of the lineup. But, if there was a particular act not to one's liking, all you had to do was wait until the next. Every group was a standout, from the festival opener, Kerry Strayer (and his "Tribute to Gerry Mulligan") through "1 On 1" with Herbie Hancock and Wayne Shorter. There were so many great jazz memories to cherish. How can they do better next year?!

A New Staff Jazz Writer at the KC Star
Last issue, we bid a temporary farewell to the Kansas City Star's jazz writer, Calvin Wilson (he returns from New York next June). This issue, we welcome Lee Hill Kavanaugh as Wilson's interim replacement. Many of you know Lee as a jazz trombonist while others will know of her as a writer. She steps up to the plate with a masters degree in performance (North Texas State) and another masters degree in journalism (KU). As a musician, she is well seasoned by virtue of her tenure with "Diva: No Man's Band." As a journalist, she has written numerous features for Midwest Jazz Magazine, one of which covers the Kansas City Jazz Ambassadors and will appear in their next issue.

Lee has expressed a desire cover the KC jazz beat from a fresh perspective (that only a jazz musician and writer can) and she would like to hear from those with newsworthy information about jazz. She can be reached at 816-234-4404, or by e-mail at lhillkav@gvi.net.

Congratulations, Lee!

From Russia With Jazz
It was recently my pleasure to hear pianist Alex Noyenski at the Phoenix at Station Casino. Alex came to the U.S. from Moscow as a trained classical pianist. His first year in the States, he worked in New York and Chicago as a classical musician. Then it was on to KU where, as a student, he decided to try jazz, a music he clearly loves. Alex is inventive and has a style all his own. And while he doesn't show much emotion while he plays, his inner passion for jazz is apparent. He makes full and tasteful use of the entire keyboard and seems to have that unique ability to cause the audience to listen just a little bit closer.

Later that same evening, the Everette DeVan Trio with Millie Edwards took the stage. I hadn't heard Everette in a while, but his set reminded me of why, every time I get into a jazz chat on the Internet and the B-3 is mentioned, the name Everette DeVan comes up. It was a treat to catch him that night on the Station's Yamaha grand piano. It was a double dose of the cool sounds of Kansas City jazz!

Closing Chords
When it was still open, going to the Sunset Restaurant & Bar on State Line to hear Mike Ning and Sherry Jones also meant hearing a touch of class in trumpeter Wayne Ruppenthal. And there were the other jam sessions -- at Costello's and the Phoenix -- that Wayne seldom missed. I first met Wayne when he was nearly 80. Even then he still played the trumpet as if it were an actual extension of himself. He owned his art as both a band member and soloist, and he was a wonderful asset to the human race. Wayne passed away on August 31. He will be missed by all who knew him.

(For more on the life and career of Wayne Ruppenthal, see the February/March '97 "Cover Stories" page on the JAM web site. -- Ed.)

A HOT LICKS EXTRA
Impressions of September 5th at 18th & Vine
What went down at the September 5 gala grand re-opening of 18th & Vine made for one of the most memorable nights of music in Kansas City since that neighborhood last jumped with the sounds of the people who put it on the map in the first place.

Here are some short takes from one first-hand observer.

KC Mayor Emanuel Cleaver's opening remarks -- Poignant, heartfelt, sincere... and relieved, eight years/$26 million later.
Co-MC Billy Dee Williams -- Excited, genuine and thrilled to be a part of it all.
George Duke & Orchestra -- Swunky, tight and grooving (and enhanced by locals Jay Sollenbeger and Jack Lightfoot on trumpets, and Gerald Dunn on sax).
Al Jarreau -- Electrifying, hypnotically animated, and with a presence that ignited the whole theater.
Jay McShann -- Kansas City jazz personified, and with everything coming full circle 60 years later; a profound and historically significant moment when Jay walked on stage.
Co-MC Harry Belafonte -- Humbled by it all, and full of great jazz reminiscences (including those of Robert Altman's "Kansas City" filmed right around the corner).
Dianne Reeves -- Solid as a rock, and perfect in pitch, time and diction; a stunning and captivating set.
Pat Metheny -- A big brother's pride was only matched by the kind of virtuosity all have come to know and expect from one of the world's great guitarists.
Milt Abel & Tommy Ruskin (Pat's KC-based rhythm-mates) -- See "Jay McShann" above; Milt and Tommy are what KC jazz is all about; and Pat eloquently acknowledged how he'd learned much from each 25+ years ago.
Kevin Mahogany -- Soulful, swinging, scat-a-licious, and enjoying a well-deserved arrival on the national scene after years of dues.
Dr. Rowena Stewart (Director of the 18th & Vine project) -- A standing O for a job well done.
Claude "Fiddler" Williams -- See "Jay McShann," "Milt Abel," and "Tommy Ruskin" above; Claude may be closing in on 90 (next February), but he still sounds great.
David Sanborn -- Clear, clean, lyrical and strong, and more of a jazzer than he's given credit for.
Tony Bennett -- It's all been said; but after Mr. Bennett's September 5th performance, it should all be said again: Tony is The Real Thing.
Grand Finale All-Star Jam on "Killer Joe" -- Everybody smoked this Benny Golson standard (even the "killer bridge"); "How do you do that!..." said Tony Bennett to Al Jarreau, at which point Al lured Tony into some scatted fours. Has Tony Bennett ever been known to scat sing? It may have been a first. And Tony nailed it.

Is 18th & Vine back? Big time. Did the many events planned around its re-opening come off with style? Without a doubt. The GEM is a gem, the Jazz Museum is worldclass, the "Blue Room" has the potential to be an important KC jazz club, and the weekend of September 5-6 served as the perfect launch for an era of good times and great sounds.

-- Mike Metheny

FACTOIDS

An average of 7,000 copies of JAM are printed and distributed each issue.
For a second year, the well-promoted, well-organized and well-staffed Kansas City International Jazz Festival showcased high-profile local and international talent at Starlight Theater.
If those in the Kansas City area who regularly read all or part of JAM would have attended the Kansas City International Jazz Festival September 19-20 at Starlight (capacity 8,000), the theater would have been nearly filled.
Add to those JAM readers the supporters, proponents and patrons of the redevelopment of 18th & Vine, and Starlight would have been overflowing.
In the 1960s and early '70s, the annual Kansas City Jazz Festivals at Municipal Auditorium (capacity 10,000) consistently attracted five to seven thousand people; they, too, featured a mix of high-profile local and international jazz talent.
The Kansas City Royals, in or near the league cellar for most of the '97 season -- and 28 games under .500 as of September 20 -- drew crowds of 16,973 and 19,125 respectively for the weekend of September 19-20.

*
Irony (i' ron nee) n. -- an event or result that is the opposite of what is expected. (Webster's New World Dictionary)






	Search our site:		by Dean Hampton What Next? On the afternoon of September 6th -- the second day of its grand re-opening -- I took a stroll through the newly renovated 18th & Vine District. There were a lot of people listening to and loving a lot of live jazz, a sight that is always a personal thrill for me. While taking in this wonderful new beginning for Kansas City jazz, however, I also had a feeling of apprehension about the role of the Jazz Ambassadors. "Is our work done?" I wondered as I thought back to how the KCJA was formed 12 years ago to help promote Kansas City jazz. "Have we fulfilled our purpose? Is this, in at least one sense, an ending?" While these questions are not particularly profound, they do suggest that we in the Kansas City jazz community may need to re-examine our specific objectives. This may be a time of new beginnings, but there is still so much more to do. "How should Kansas City build on the interest and momentum created by the Jazz Hall of Fame's debut and the Gem Theater renovation?" This was the question posed by the Kansas City Star to its online readers the same weekend as the reopening of 18th & Vine. Most of the forum answers I read were totally off the subject. They dealt with the Jackson/Johnson County border war, the motives of government officials, and the need for spending tax money on basic services instead of historic restoration and the arts. I felt that the Star's question was a good one, but it was left to the reader to define many of its most important components. "How should Kansas City. . ." Who is "Kansas City?" Its citizens? The metro area? The government(s), the 18th & Vine Authority, the GEM Theater, the Black Economic Union, the jazz support organizations, the UMKC Department of Jazz Studies, the Folly Theater, ...the Phoenix Piano Bar & Grill? Does it mean all or just a select few of these entities? Is there a leader? Should there be? If so, who and why? ". . . build on the interest and momentum . . . " What needs building? Is there a goal? A mission statement? If so, who wrote it? And who voted on it? Does it address the entire Kansas City jazz scene? What is the target audience? As for "interest and momentum," does that mean "something to do for the weekend?" Or something more enduring? Was the re-opening of 18th & Vine a one-weekend stand? Will people come back? If it's just a once-a-year event for most Kansas Citians, will that be enough to pay the $900,000 per year operating cost? And more importantly, will it all carry over to the rest of the KC jazz scene? ". . . created by the Jazz Hall of Fame's debut . . . " Oops. Jazz Hall of Fame? The Charlie Parker Foundation has trademarked the term "International Jazz Hall of Fame." It's the Jazz Museum, not a hall of fame. There is a difference. It's difficult not to be excited about the rebirth of the 18th & Vine District. Is there another city in the world that has a 26 million dollar jazz complex? Kansas City now has something very special to offer. But I also find myself putting this excitement in check. With the rebirth of 18th & Vine, we may have added pride to our past while enhancing the depth of Kansas City's total arts and entertainment package. But, now that it's all been built, "will they come?" Only time will tell. A Message to Our Jazz Venue Advertisers (and Those Who Should Be...) JAM is one of a few of its kind anywhere in the country -- a regional publication devoted entirely to the development and promotion of jazz. It's also expensive to produce, even with a volunteer staff. To those who advertise in JAM, we thank you. We have done, and will continue to do our best to see that you receive the best value for your advertising dollar. (We even offer some "extras" you probably don't always think about, such as free listings on our Internet web site, visited many times a month by jazz fans from all over the world.) We have also decided to give our regular advertisers even more added value as you will see in our re-formatted "Club Scene" on page 42. Unfortunately, we can no longer provide equal space to those who don't help us foot the bill. While it is our charter to support the entire jazz community, those who have been paid advertisers in the last three consecutive issues will now get the bright lights (and bold print) in "Club Scene," as will new advertisers who sign on for a minimum of three issues. Our goal? To have every venue listed in bold! JAM wins, the clubs win, and most of all, Kansas City jazz wins. Give JAM ad rep Sunny McConnell a call at 822-2677. Hot Licks Galore Last year, after the first annual Kansas City International Jazz Festival, I claimed I had heard the best single day of live jazz in my lifetime. After this year's festival, that still holds true. However: I can now say that I've heard the best two-day event in memory! There is something very special about the International Jazz Festival at Starlight Theater. There's the music, the professionalism of festival organizers, the surroundings, and the audience (even though it was way too sparse for a second year). This year's event, held September 19-20, had a broad mix of worldclass talent from the first note to the last. I can't imagine anyone not approving of the lineup. But, if there was a particular act not to one's liking, all you had to do was wait until the next. Every group was a standout, from the festival opener, Kerry Strayer (and his "Tribute to Gerry Mulligan") through "1 On 1" with Herbie Hancock and Wayne Shorter. There were so many great jazz memories to cherish. How can they do better next year?! A New Staff Jazz Writer at the KC Star Last issue, we bid a temporary farewell to the Kansas City Star's jazz writer, Calvin Wilson (he returns from New York next June). This issue, we welcome Lee Hill Kavanaugh as Wilson's interim replacement. Many of you know Lee as a jazz trombonist while others will know of her as a writer. She steps up to the plate with a masters degree in performance (North Texas State) and another masters degree in journalism (KU). As a musician, she is well seasoned by virtue of her tenure with "Diva: No Man's Band." As a journalist, she has written numerous features for Midwest Jazz Magazine, one of which covers the Kansas City Jazz Ambassadors and will appear in their next issue. Lee has expressed a desire cover the KC jazz beat from a fresh perspective (that only a jazz musician and writer can) and she would like to hear from those with newsworthy information about jazz. She can be reached at 816-234-4404, or by e-mail at lhillkav@gvi.net. Congratulations, Lee! From Russia With Jazz It was recently my pleasure to hear pianist Alex Noyenski at the Phoenix at Station Casino. Alex came to the U.S. from Moscow as a trained classical pianist. His first year in the States, he worked in New York and Chicago as a classical musician. Then it was on to KU where, as a student, he decided to try jazz, a music he clearly loves. Alex is inventive and has a style all his own. And while he doesn't show much emotion while he plays, his inner passion for jazz is apparent. He makes full and tasteful use of the entire keyboard and seems to have that unique ability to cause the audience to listen just a little bit closer. Later that same evening, the Everette DeVan Trio with Millie Edwards took the stage. I hadn't heard Everette in a while, but his set reminded me of why, every time I get into a jazz chat on the Internet and the B-3 is mentioned, the name Everette DeVan comes up. It was a treat to catch him that night on the Station's Yamaha grand piano. It was a double dose of the cool sounds of Kansas City jazz! Closing Chords When it was still open, going to the Sunset Restaurant & Bar on State Line to hear Mike Ning and Sherry Jones also meant hearing a touch of class in trumpeter Wayne Ruppenthal. And there were the other jam sessions -- at Costello's and the Phoenix -- that Wayne seldom missed. I first met Wayne when he was nearly 80. Even then he still played the trumpet as if it were an actual extension of himself. He owned his art as both a band member and soloist, and he was a wonderful asset to the human race. Wayne passed away on August 31. He will be missed by all who knew him. (For more on the life and career of Wayne Ruppenthal, see the February/March '97 "Cover Stories" page on the JAM web site. -- Ed.) A HOT LICKS EXTRA Impressions of September 5th at 18th & Vine What went down at the September 5 gala grand re-opening of 18th & Vine made for one of the most memorable nights of music in Kansas City since that neighborhood last jumped with the sounds of the people who put it on the map in the first place. Here are some short takes from one first-hand observer. KC Mayor Emanuel Cleaver's opening remarks -- Poignant, heartfelt, sincere... and relieved, eight years/$26 million later. Co-MC Billy Dee Williams -- Excited, genuine and thrilled to be a part of it all. George Duke & Orchestra -- Swunky, tight and grooving (and enhanced by locals Jay Sollenbeger and Jack Lightfoot on trumpets, and Gerald Dunn on sax). Al Jarreau -- Electrifying, hypnotically animated, and with a presence that ignited the whole theater. Jay McShann -- Kansas City jazz personified, and with everything coming full circle 60 years later; a profound and historically significant moment when Jay walked on stage. Co-MC Harry Belafonte -- Humbled by it all, and full of great jazz reminiscences (including those of Robert Altman's "Kansas City" filmed right around the corner). Dianne Reeves -- Solid as a rock, and perfect in pitch, time and diction; a stunning and captivating set. Pat Metheny -- A big brother's pride was only matched by the kind of virtuosity all have come to know and expect from one of the world's great guitarists. Milt Abel & Tommy Ruskin (Pat's KC-based rhythm-mates) -- See "Jay McShann" above; Milt and Tommy are what KC jazz is all about; and Pat eloquently acknowledged how he'd learned much from each 25+ years ago. Kevin Mahogany -- Soulful, swinging, scat-a-licious, and enjoying a well-deserved arrival on the national scene after years of dues. Dr. Rowena Stewart (Director of the 18th & Vine project) -- A standing O for a job well done. Claude "Fiddler" Williams -- See "Jay McShann," "Milt Abel," and "Tommy Ruskin" above; Claude may be closing in on 90 (next February), but he still sounds great. David Sanborn -- Clear, clean, lyrical and strong, and more of a jazzer than he's given credit for. Tony Bennett -- It's all been said; but after Mr. Bennett's September 5th performance, it should all be said again: Tony is The Real Thing. Grand Finale All-Star Jam on "Killer Joe" -- Everybody smoked this Benny Golson standard (even the "killer bridge"); "How do you do that!..." said Tony Bennett to Al Jarreau, at which point Al lured Tony into some scatted fours. Has Tony Bennett ever been known to scat sing? It may have been a first. And Tony nailed it. Is 18th & Vine back? Big time. Did the many events planned around its re-opening come off with style? Without a doubt. The GEM is a gem, the Jazz Museum is worldclass, the "Blue Room" has the potential to be an important KC jazz club, and the weekend of September 5-6 served as the perfect launch for an era of good times and great sounds. -- Mike Metheny FACTOIDS An average of 7,000 copies of JAM are printed and distributed each issue. For a second year, the well-promoted, well-organized and well-staffed Kansas City International Jazz Festival showcased high-profile local and international talent at Starlight Theater. If those in the Kansas City area who regularly read all or part of JAM would have attended the Kansas City International Jazz Festival September 19-20 at Starlight (capacity 8,000), the theater would have been nearly filled. Add to those JAM readers the supporters, proponents and patrons of the redevelopment of 18th & Vine, and Starlight would have been overflowing. In the 1960s and early '70s, the annual Kansas City Jazz Festivals at Municipal Auditorium (capacity 10,000) consistently attracted five to seven thousand people; they, too, featured a mix of high-profile local and international jazz talent. The Kansas City Royals, in or near the league cellar for most of the '97 season -- and 28 games under .500 as of September 20 -- drew crowds of 16,973 and 19,125 respectively for the weekend of September 19-20. * Irony (i' ron nee) n. -- an event or result that is the opposite of what is expected. (Webster's New World Dictionary) -- MM RETURN TO OCTOBER/NOVEMBER 1997 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.