JAM: April/May 2001 Issue: Views and Reviews

FOUR MAGICAL NIGHTS
(Or: Notes From One Fine Week in March)

The Gem Theater
March 2, 2001

Myra Taylor: In grand form at the Gem

Those in attendance at Myra Taylor's Gem Theater/American Jazz Museum "Women in Jazz" concert on March 2 experienced vintage KC jazz -- and audience repartee -- at its finest. Not only was the 80-something singer in grand form with a strong set that included timeless standards ("Route 66," "Sunny Side of the Street") and originals ("Hey There," and her signature "The Spider and the Fly"), but she was a commanding presence onstage from the get-go, her non-stop side-splitting banter between songs the cause of broad smiles in the house, start to finish.

Taylor also enjoyed the backing of a solid all-star supporting cast led by pianist/arranger Bram Wijnands. Featured were Bobby Watson, Hal Melia and Dan Thomas (saxes), Al Pearson (trumpet), Lucky Wesley (bass) and Tommy Ruskin (drums). The charts were tight, and all solos just right.

Because of her long absence from the KC scene (see an online profile in the February/March 2000 JAM at www.jazzkc.org), Myra Taylor is not a household name like other more established KC jazz and blues veterans. But she is the real deal, and with many stories, musical and otherwise, to tell. (If you dare, get her to reminisce about how she first met baseball legend Buck O'Neil...)

A new CD is due out this year, and there are occasional appearances at area festivals and in the 18th & Vine Jazz District where Taylor grew up. Don't miss any opportunity you have to hear the great Myra Taylor. It doesn't get much better than this.

The Folly Theater
March 3, 2001
Having a famous last name in any musical field can offer a unique set of challenges. And if you're a jazz musician named Monk, those challenges might be pretty daunting. Not for drummer T.S. Monk.

The son of the iconoclastic pianist is not only completely cool with his lineage, he clearly enjoys talking about growing up with the great Thelonious. And prior to his Folly Theater show on March 3, he did just that in the traditional pre-concert "JazzTalk" hosted by Doug Tatum. Of the many great stories the gregarious T.S. told early arrivers, one involved his discovery as an emerging teen that "not everyone played like the people who used to hang out with my dad." Of course those "people" were Charlie Parker, John Coltrane, Max Roach, and all of Monk Sr.'s other brilliant peers of the 1950s. Imagine having that bunch as a first yardstick by which you would measure everyone who would follow.

Another "JazzTalk" revelation was that Thelonious wasn't as verbally restrained as folklore (and the acclaimed documentary "Straight, No Chaser") would make it seem. "I had to inherit this from someone!" T.S. told a tittering crowd, as each of his answers to Tatum's questions became more and more involved.

But then there was the music. The T.S. Monk Sextet is a first rate, cutting edge jazz ensemble with eyes to the future ("The Dealer Takes Four,") and a nod to the past ("Evidence," "Round Midnight"). Even local hero Bobby Watson's compositional skills were featured ("Appointment in Milano"). The band played as one throughout, and individual contributions from Bobby Porcelli (alto), trumpeter Winston Byrd (keep an eye on this guy), Willie Williams (tenor), Ray Gallon (piano), David Jackson (bass) and the leader on drums made for a thoroughly enjoyable and satisfying evening.

And with many more to come, we hope. There were empty seats on March 3 with KCJA written all over them. If more KC Jazz Ambassadors will take advantage of their Folly Jazz Series discounts, such forward-looking programming will be able to continue well into the new century.

The Blue Room
March 5, 2001
Speaking of the real deal and things not getting much better than this...

On March 5 at 18th & Vine's Blue Room, a hip, hushed and enthusiastically supportive near-capacity house got a full helping of world class sounds from the "Gerry Mulligan Tribute Band." It was easily one of the most exciting and well executed jazz shows in recent memory.

As expected, the set lists were drawn heavily from the Mulligan book ("Lines for Lyons" and "Bernie's Tune," among many others) with the core Mulligan-alumni rhythm section of Ted Rosenthal (piano), Dean Johnson (bass) and former Kansas Citian Ron Vincent (drums) joined by the equally remarkable front line of Bob Berg (tenor sax) and Randy Brecker (trumpet). On a scale of one to ten, tens were the rule throughout on all solos and ensemble lines as Kansas City got a healthy dose of Big Apple energy, precision and passion in a rare nightclub setting.

With the current dearth of area clubs willing to chance such big league bookings, Gerald Dunn and the Blue Room team are to be praised for bringing such high level of artistry to hungry area jazz club goers. The combination of intimate setting and intense playing is hard to beat. Let's have more!

The Community Christian Church
March 6, 2001
The words "prodigy" and "genius" have a way of getting tossed around when someone like pianist Eldar Djangirov comes along. But, in the case of this 14 year old wunderkind, not only are such superlatives completely appropriate, they seem strangely inadequate.

What Kansas City is having the opportunity to witness with this young phenom is breathtakingly rare. And even a little scary. There have been other ahead-of-their-time types in jazz history, KC and otherwise, but this is something altogether different -- an early teen playing like someone three times his age in nearly all possible ways.

Melodically, each fresh invention is reminiscent of important influences (Evans, Peterson) yet with the sense that all is new (which, for Eldar, it is!). Harmonically, many of the reharms are on the same level or beyond what is taught to advanced students at Berklee. And rhythmically, while most kids learning to play jazz have a way of leaving the time in the dust, Eldar is always right in the pocket. As he was on March 6, in a "For the Record" Community Christian Church concert to raise money for a first CD.

From standards ("Well You Needn't," "Sweet Georgia Brown") to originals (including some of his "older" tunes, a comment that got a chuckle from the nearly-full house), Eldar, along with bassist Gerald Spaits and drummer Todd Strait, reminded all in attendance that the future of jazz is in very good hands.

About all that remains to be seen now is just how young Eldar's future will take shape. Even ten years from now, at 24, he will still be a pup, and that leads to all the predictable concerns about the possible pitfalls of being so good so soon. But, with qualified mentoring (KC saxophonist, pianist and teacher Kim Park has served in that role with distinction), hard work, a realistic world view, steadfast humility, and just plain good luck, Eldar is in line for one of the more brilliant careers in the history of the art form that brought him from his native Kyrgyzstan to America -- and Kansas City -- just a few short years ago.

And so, as he embarks on this exciting, jazz-filled journey, we wish him well. In 2001 the future for Eldar Djangirov looks mighty bright. As does the future of the music he loves to play.

-- Mike Metheny

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