JAM: April/May 2001 Issue: Correspondence

Rumblings...
I am writing this letter in response to a review in your February/March 2001 issue of JAM of David Basse's latest release. I'm afraid I have to respectfully disagree with your reviewer, Gregg Ottinger and would like to address a couple specific observations made by Gregg about Strike When Your Iron Is Hot.

Gregg?! I'm begging you for a definition of "L.A. Noir"! I'm familiar with KC swing, but I just can't associate Basse's voice with anything I've ever heard from any "west coast" or L.A. jazz singers. In fact, there isn't a specific voice (except maybe that of Chet Baker) that I associate with west coast jazz singers.

Secondly, referring to the overall sound of this recording as "Technicolor" couldn't be further from the truth. Think: old, 5-inch black and white TV, with a radio built in!

Let me also say that I always enjoy looking at JAM. So, please don't take any of my above comments as a personal assault on David Basse or Gregg Ottinger or your publication.

Sincerely,

Dennis Royer
Kansas City, MO

Gregg Ottinger responds:
Thanks, Mr. Royer, for reading the JAM, for taking the time to write, and especially for supporting Kansas City jazz and musicians. I wish more people would do all of the above. I stand by my review, but reasonable minds (and ears) can differ. "L.A. Noir" was meant to conjure an image of femme fatales, two-bit losers and world-weary saps, like you might see on an old, 5-inch black and white TV, with a radio built in. When I listened to Basse's recording, that image kept creeping into my mind, yet I couldn't stop tapping my foot (hence the reference to K.C. Swing, which is also evident in the music). "Technicolor" was admittedly a mixing of metaphors, but the texture and layers of sound in the songs, particularly when the vibes or tenor sax joined the group, made for a vibrant palette. At any rate, I hope my words didn't diminish your (or anyone else's) enjoyment of a fine CD.

... and Kudos
Congratulations on the February/March issue of JAM. You have my vote for the best Jazz Society newsletter!

I especially enjoyed the appreciation of Milt Hinton by Floyd Levin, "Memories of Milton's" by John Anthony Brisbin, and Russ Dantzler's summary of the recent IAJE conference in NYC. Dantzler's comments are especially applicable about the recent PBS "Jazz" series by Ken Burns: "The 'Jazz' series was a gift, and it will open ears and doors. Just say 'Thanks' to Ken Burns."

And I say thanks to all the people who work to put out JAM, perhaps the best of the Jazz Society newsletters.

Norman Vickers
Volunteer Executive Director
Jazz Society of Pensacola, Inc.
Pensacola, FL

Norman copied me and I'll second his vote for JAM being the best newsletter. I've used mine through the years to give people, who are going to Kansas City an update on where the jazz is
.
Thanks for all the issues, and I'll be sure to continue reading it on your web site. I think that KC is the best jazz city anywhere.

Rich Johnson
Music Director
Bix Beiderbecke Memorial Jazz Festival
Davenport, IA

JAM's Reach Continues to Grow
Dear friends,
You are written by your reader from far Kyrgyzstan. Thanking (Kansas City's) Alex Nazarov, I have the opportunity to get acquainted with materials of your magazine. It is very interesting to me to learn musical news, and to get acquainted with materials about the musicians.
The jazz for me means very much. I compose music in different styles and frequently I write jazz compositions for theatrical performances and execution in concerts.
My friend Alex Nazarov has made for development of jazz very much to our country. I hope that he successfully continues the activity in America.

Vladimir Gusev
Bishkek City,
Kyrgyzstan

A Good Question...
Could you please answer a question about proper jazz concert-going etiquette? Is it appropriate to clap after jazz solos (as most people seem to do), or should one wait until the end of the piece?

I am aware that one should not clap between movements of a classical piece, although many people applaud anyway, and I was wondering if a similar rule applied to jazz music.

Thanks for taking the time for this question.

Sincerely,

Alexandra Fraser
Univ. of Kansas student,
& neophyte jazz lover

Although there's a long-standing tradition in jazz of clapping after solos, whether or not to do so is best determined in a case-by-case kind of way. Did you enjoy the solo enough to show your appreciation with applause? Or would clapping seem like an obligatory and expected kind of thing? Would applauding after a particular solo create a distraction for what comes next in the music (especially on a ballad)? Or would appreciative silence be more appropriate? Every situation is different. And it's best just to do what comes naturally. (Although, most jazz musicians will tell you that applause at any time is very much appreciated!) -- MM

...and a Blast From the Past
Dear JAM,
I recently ran across your magazine on the 'net and it has been great seeing that old buddies are still alive and playing. John Albertson's interview even brought a few tears as I reminisced about my many hours at Milton's. I haven't played (drums) since 1989, and that was at Milton's.

I doubt that many people there will remember me, but if you run across anyone who does, my email is graysc27@yahoo.com.

I now live in Oaxaca, Mexico and have started practicing so I can do some playing again. Believe it or not, we have a jazz club here and a very arty scene in general. My wife and I have a big house with lots of beds and a piano, so if anyone wants to come and hang in a beautiful place, come on ahead.

Once again, I enjoy your magazine. Hello to all of the guys.

Charles Gray
Oaxaca, Mexico

On the Importance of Friends...
After all the activities around his death, and jazz jam sessions before Pat Morrissey's funeral, I found myself spending a lot of time reflecting on all the things that make people friends.

I guess the most important thing we all need to be aware of is time. Make sure you don't let time slip by when you can be a friend in so many ways. And don't think you are going to say something to someone "tomorrow." Tomorrow might be too late.

Always remember this quote from the 13th century: "Friends are relatives that you make for yourself."

Steve Kenemore
Kansas City, MO

...and Fallen Colleagues
Death is a great teacher. It encourages humility and reminds us how precious each moment is. It also leads us to re-evaluate our own lives and to recall the value of others. Today, I remember Pat Morrissey.

What is the measure of a man? Is it how high or fast he plays? Or how much money he makes? Is it his flashy clothes or the accolades he has accumulated? I think not.

Pat embodied virtues we all can strive for: tolerance, compassion, and a genuine love for all people. As a fellow trumpet player, he never saw us as rivals or competitors, but extended his full support to me and all musicians. Pat saw our differing styles as complimentary and collaborative. He was never petty, gossipy or selfish. (I wish I could say that...) And while my occasional neurotic behavior could unnerve some, Pat always showed me respect and the patience of Job.

The bottom line is that Pat knew exactly who he was. He knew his strengths and milked them for all they were worth, bringing joy to thousands in the process. He was also aware of his weaknesses and knew when and how to ask for help.

Pat was not a saint, but he was a prince. And I will miss him.

Stan Kessler
Kansas City, MO

RETURN TO APRIL/MAY 2001 MAIN INDEX

© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Rumblings... I am writing this letter in response to a review in your February/March 2001 issue of JAM of David Basse's latest release. I'm afraid I have to respectfully disagree with your reviewer, Gregg Ottinger and would like to address a couple specific observations made by Gregg about Strike When Your Iron Is Hot. Gregg?! I'm begging you for a definition of "L.A. Noir"! I'm familiar with KC swing, but I just can't associate Basse's voice with anything I've ever heard from any "west coast" or L.A. jazz singers. In fact, there isn't a specific voice (except maybe that of Chet Baker) that I associate with west coast jazz singers. Secondly, referring to the overall sound of this recording as "Technicolor" couldn't be further from the truth. Think: old, 5-inch black and white TV, with a radio built in! Let me also say that I always enjoy looking at JAM. So, please don't take any of my above comments as a personal assault on David Basse or Gregg Ottinger or your publication. Sincerely, Dennis Royer Kansas City, MO Gregg Ottinger responds: Thanks, Mr. Royer, for reading the JAM, for taking the time to write, and especially for supporting Kansas City jazz and musicians. I wish more people would do all of the above. I stand by my review, but reasonable minds (and ears) can differ. "L.A. Noir" was meant to conjure an image of femme fatales, two-bit losers and world-weary saps, like you might see on an old, 5-inch black and white TV, with a radio built in. When I listened to Basse's recording, that image kept creeping into my mind, yet I couldn't stop tapping my foot (hence the reference to K.C. Swing, which is also evident in the music). "Technicolor" was admittedly a mixing of metaphors, but the texture and layers of sound in the songs, particularly when the vibes or tenor sax joined the group, made for a vibrant palette. At any rate, I hope my words didn't diminish your (or anyone else's) enjoyment of a fine CD. ... and Kudos Congratulations on the February/March issue of JAM. You have my vote for the best Jazz Society newsletter! I especially enjoyed the appreciation of Milt Hinton by Floyd Levin, "Memories of Milton's" by John Anthony Brisbin, and Russ Dantzler's summary of the recent IAJE conference in NYC. Dantzler's comments are especially applicable about the recent PBS "Jazz" series by Ken Burns: "The 'Jazz' series was a gift, and it will open ears and doors. Just say 'Thanks' to Ken Burns." And I say thanks to all the people who work to put out JAM, perhaps the best of the Jazz Society newsletters. Norman Vickers Volunteer Executive Director Jazz Society of Pensacola, Inc. Pensacola, FL Norman copied me and I'll second his vote for JAM being the best newsletter. I've used mine through the years to give people, who are going to Kansas City an update on where the jazz is . Thanks for all the issues, and I'll be sure to continue reading it on your web site. I think that KC is the best jazz city anywhere. Rich Johnson Music Director Bix Beiderbecke Memorial Jazz Festival Davenport, IA JAM's Reach Continues to Grow Dear friends, You are written by your reader from far Kyrgyzstan. Thanking (Kansas City's) Alex Nazarov, I have the opportunity to get acquainted with materials of your magazine. It is very interesting to me to learn musical news, and to get acquainted with materials about the musicians. The jazz for me means very much. I compose music in different styles and frequently I write jazz compositions for theatrical performances and execution in concerts. My friend Alex Nazarov has made for development of jazz very much to our country. I hope that he successfully continues the activity in America. Vladimir Gusev Bishkek City, Kyrgyzstan A Good Question... Could you please answer a question about proper jazz concert-going etiquette? Is it appropriate to clap after jazz solos (as most people seem to do), or should one wait until the end of the piece? I am aware that one should not clap between movements of a classical piece, although many people applaud anyway, and I was wondering if a similar rule applied to jazz music. Thanks for taking the time for this question. Sincerely, Alexandra Fraser Univ. of Kansas student, & neophyte jazz lover Although there's a long-standing tradition in jazz of clapping after solos, whether or not to do so is best determined in a case-by-case kind of way. Did you enjoy the solo enough to show your appreciation with applause? Or would clapping seem like an obligatory and expected kind of thing? Would applauding after a particular solo create a distraction for what comes next in the music (especially on a ballad)? Or would appreciative silence be more appropriate? Every situation is different. And it's best just to do what comes naturally. (Although, most jazz musicians will tell you that applause at any time is very much appreciated!) -- MM ...and a Blast From the Past Dear JAM, I recently ran across your magazine on the 'net and it has been great seeing that old buddies are still alive and playing. John Albertson's interview even brought a few tears as I reminisced about my many hours at Milton's. I haven't played (drums) since 1989, and that was at Milton's. I doubt that many people there will remember me, but if you run across anyone who does, my email is graysc27@yahoo.com. I now live in Oaxaca, Mexico and have started practicing so I can do some playing again. Believe it or not, we have a jazz club here and a very arty scene in general. My wife and I have a big house with lots of beds and a piano, so if anyone wants to come and hang in a beautiful place, come on ahead. Once again, I enjoy your magazine. Hello to all of the guys. Charles Gray Oaxaca, Mexico On the Importance of Friends... After all the activities around his death, and jazz jam sessions before Pat Morrissey's funeral, I found myself spending a lot of time reflecting on all the things that make people friends. I guess the most important thing we all need to be aware of is time. Make sure you don't let time slip by when you can be a friend in so many ways. And don't think you are going to say something to someone "tomorrow." Tomorrow might be too late. Always remember this quote from the 13th century: "Friends are relatives that you make for yourself." Steve Kenemore Kansas City, MO ...and Fallen Colleagues Death is a great teacher. It encourages humility and reminds us how precious each moment is. It also leads us to re-evaluate our own lives and to recall the value of others. Today, I remember Pat Morrissey. What is the measure of a man? Is it how high or fast he plays? Or how much money he makes? Is it his flashy clothes or the accolades he has accumulated? I think not. Pat embodied virtues we all can strive for: tolerance, compassion, and a genuine love for all people. As a fellow trumpet player, he never saw us as rivals or competitors, but extended his full support to me and all musicians. Pat saw our differing styles as complimentary and collaborative. He was never petty, gossipy or selfish. (I wish I could say that...) And while my occasional neurotic behavior could unnerve some, Pat always showed me respect and the patience of Job. The bottom line is that Pat knew exactly who he was. He knew his strengths and milked them for all they were worth, bringing joy to thousands in the process. He was also aware of his weaknesses and knew when and how to ask for help. Pat was not a saint, but he was a prince. And I will miss him. Stan Kessler Kansas City, MO RETURN TO APRIL/MAY 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.