JAM: April/May 2001 Issue: KC/DC

Gregg Ottinger

Jammin' at the Smithsonian
With the AJM All-Stars

The National Museum of American History (part of the Smithsonian Institution) opened February's Black History Month on a fine note -- actually a multitude of fine notes -- by sponsoring a "Kansas City Jam" featuring the American Jazz Museum All-Stars from Kansas City and the Smithsonian Jazz Masterworks Orchestra.

Bobby Watson at the Smithsonian

The session was the highlight of a conference titled "A Quest for Freedom -- The Black Experience In the American West," held on February 2 and 3, and sponsored by the National Museum of American History Behring Center's Program in African-American Culture, in cooperation with Kansas City's American Jazz Museum.

The music was introduced by Dr. Rowena Stewart, the Executive Director of the Museums at 18th and Vine, and was preceded by a lecture by Dr. David Baker, Conductor and Artistic Director of the Smithsonian Jazz Masterworks Orchestra, titled "Territory Bands: Kansas City and Its Influence on Jazz." The purpose of the jam session was to give the conference participants a live example of the repertoire, style of improvisation, and friendly soloist competitions that were among Kansas City's contributions to jazz as it evolved from the 1920s to the early 1940s.

"If you came to Kansas City," according to Dr. Baker, describing the influx of musicians to the city during that period, "you'd better be prepared to do battle." And, while it was good natured, that's exactly what happened at the jam on February 3.

The musicians in both the Kansas City and Smithsonian camps were superb, not only in their respective ensembles, but especially in improvised solos. The AJM All-Stars were made up of Ahmad Alaadeen, soprano sax; Stan Kessler, trumpet; Tim Perryman, trombone; Gerald Dunn, tenor sax; Tyrone Clark, bass; Claude "Fiddler" Williams, violin; Chris Clarke, piano; Mike Warren, drums; Kevin Mahogany, vocals; Ida McBeth, vocals; and Bobby Watson, alto sax -- a "Who's Who" of jazz players from the current Kansas City scene. The Smithsonian Jazz Masterworks Orchestra (a name that actually encompasses a number of groups from big band to small combo) featured Charlie Young, alto sax; Tom Williams, trumpet; James King, bass; Chuck Redd, vibes; Ken Kimery, drums; and Aaron Graves, piano.

The format was simple. The Smithsonians opened the afternoon with a couple of tunes associated with Kansas City and its favorite sons: a Bennie Moten-style arrangement of "Broadway," and Count Basie's 1936 hit "Jive at Five." The real fun began when three Kansas Citians, Dunn, Perryman and Kessler, joined them. As the afternoon progressed, additional KC personnel joined in until the stage was completely full. The song selection was perfect for soloing and improvisation, although almost every tune had a Kansas City connection, from Charlie Parker's "Au Privave" and "Confirmation" to classics like "Body and Soul," "Route 66," "Moten Swing," "Every Day I Have the Blues," and (of course) "Kansas City." Everyone took solos and traded fours and there were even a few good-natured but hot cutting contests (particularly among the saxophonists), as well as plenty of great Kansas City riffs.

The crowd particularly enjoyed strong and enthusiast solos by Tim Perryman, some fine bebop improv by Bobby Watson, the stylish walking bass of Tyrone Clark, and the soulful, sultry swing of Ida McBeth. Without a doubt, however, the show stoppers were Ahmad Alaadeen and Claude Williams. According to his wife, Blanche, this was Mr. Williams' first "stand up" performance (without a cane) since an accident several months ago. For a few weeks shy of 93, Fiddler's playing and personality were as strong as ever, as was the respect of the other musicians. During his solo on "Confirmation," the other band members could be seen bowing in obeisance!

ne of the highlights of the session was "Moten Swing." Bobby Watson's solo was swinging and self-assured. Stan Kessler's was crisp, clean and as tightly creased as slacks fresh from the cleaners. (Is it my imagination, or does Kessler's hair do what Dizzy Gillespie's cheeks once did?) Ahmad Alaadeen had the audience in stitches when he quoted "Pop Goes the Weasel." And Tim Perryman made his trombone sing with the aid of a plunger mute before dropping the mute and really wailing.

Charlie Young, the Smithsonian's alto sax player who has been to Kansas City many times, mostly when he was with the Duke Ellington Orchestra, told me afterwards, "It was an absolute blast. I could tell when I first met the guys, before I heard them play, it was going to be fun. People who are that nice, that warm and genuine, couldn't help but be good. Whatever people like that do, they do well."

The American Jazz Museum is now affiliated with the Smithsonian. According to Dr. Stewart, "This enables us to do special programs like this. And whatever we do together in either Washington or Kansas City, we plan to do in the other city as well. We will be taking this jam session performance back to Kansas City in the fall."

While the venue and date have not been set (preliminary indications suggest the American Jazz Museum or the Gem Theater in September), Kansas Citians should watch for this event. When it comes, don't miss it. It's a chance to learn some history, to get a feel for what Kansas City must have sounded like when it was the Jazz Mecca of the nation, to hear some of the country's best jazz performers, and to enjoy a fun evening of wonderful music and fine musicianship.

One More Time!
Two weeks after his Smithsonian appearance, Bobby Watson was back in D.C. to perform as one of the headliners at the Tenth Annual East Coast Jazz Festival. Watson appeared with Terell Stafford on trumpet, Andrew Adair on piano, Carroll Dashiell, Jr. on bass, and, as a special treat, Mr. Dashiell's young son, Carroll Dashiell, III, on drums. It is always a treat to hear Bobby Watson. His compositions and arrangements are tuneful, tight and tasty, and he is, in my view, the best alto sax player around today. It is also evident from the support he gives to younger players that he is going to be a fine educator and Director of the Jazz Studies at UMKC.

Congratulations on your move back to Kansas City, Mr. Watson; but please keep coming back to D.C. as often as possible.

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