JAM: August/September 2001 Issue: Correspondence

Another Memo to The Star
In the June/July JAM, Mike Metheny wrote about the lack of support for jazz from The Kansas City Star since jazz music writer Calvin Wilson left KC for St. Louis. For once, in the comparison between the music scene in Kansas City and Topeka, Topeka comes out on top.

The Coleman Hawkins Neighborhood Festival's annual Hawkfest received poor coverage from The Kansas City Star. Surprisingly, after repeated mailed and faxed press releases, several follow-up phone calls from two Star reporters to two of our committee, The Star still managed to mangle the basic information. They did list our festival in the Preview, but listed it as a one-day event, instead of the two days that we heavily promoted.

The Topeka Capital Journal on the other hand provided in-depth pre-festival coverage written by Bill Blankenship including the cover story in the (weekend) magazine. Bill Blankenship and Morey Sullivan wrote additional articles and critiques. Two truly classic photos by David Eulitt were also published. Eulitt's photo of bassist Henry Franklin with the festival crowd reflected in Henry's sunglasses was photography at its storytelling best. The photo of saxophonist Claire Daly illuminated by the stain glass window inside Grace Cathedral (where our rained out festival resumed on Sunday) was inspiring.

It was gratifying to see Topeka's jazz heritage celebrated so publicly. Thank you Topeka Capital Journal, Bill Blankenship, Morey Sullivan and David Eulitt for your heartfelt support.

Memo to KC publisher Art Brisbane: Find writers and photographers with the caliber of the above mentioned and maybe you won't have to waste precious space with obituaries to jazz.

Respectfully,
Linda Henson
General Director
Coleman Hawkins Neighborhood Festival
Topeka, KS

It's a Struggle
Thank you for listing our June 3rd event in "News & Notes" in the June/July JAM. Unfortunately, the turnout for the Ophelia Ragtime Orchestra from Olso, Norway was embarrassingly small. When you bring the finest ragtime and early jazz orchestra in the world to a town this size, you hope to have more than 185 people show up.

We are struggling -- without much success -- to become known in Kansas City, and to generate more interest in ragtime and early jazz. We invite your readers to contact us to get on our mailing list. A copy of our latest newsletter will be sent to them with information on how to join KCRR.

Diane E. Capps
Secretary-Treasurer
Kansas City Ragtime Revelry, Inc.
Kansas City, MO
phone: 816-691-8781
email: dianecapps@juno.com

An Honest Letter
Honest feelings about certain people in the KC jazz scene seldom come out, yet these people are the ones who are a must for the music and for the local entertainment business.

I first met one such young man after returning to Kansas City (my hometown) after 20-some years. The first thing I needed to do was find out where everyone was playing and how I could get some exposure. This young man provided both. Although I had talked with him on the phone, we had not met in person.

Then one hot, blistering Sunday afternoon in July, I had the pleasure of performing with a Kansas City jazz legend who had also returned to her roots -- Myra Taylor. I was also blessed to share the stage that day with Ben Kynard, the late Sonny Kenner, Bobby Watson, Sr., Godfrey Powell, Duck Warner, Donald Cox, Lucky Wesley, Art Jackson and Sam Johnson, Jr. In the 100-degree heat of that July afternoon, this young man not only covered each event, he gave each entertainer their due.

I'm talking about my friend, Mike Metheny; editor, writer, musician, and all-around good guy.

I'm sure there are many others of you who feel the same way, but haven't taken the time to write. I say: hail to my idol! We love you, Mike.

Sincerely,
Monroe "Monny" Nash
Kansas City, MO

Mike Metheny replies:
Receiving a magnanimous letter like that makes for a tricky situation: print it and look like a self-serving editor; don't print it and risk offending a kind gentleman who was speaking from the heart. The decision to print was ultimately made simply because, at this late-middle age stage of the game, it sure is nice to be referred to as a "young man." Thanks, Monny.

Jazz Charts & Posters
I have a question perhaps JAM readers can answer. I possess a large collection of jazz charts (band book) that were owned by my father, Bill Trumbauer, Sr. I am in the process of taking inventory to encompass title, arranger and instrumentation. I would like to sell some of this and am asking if anyone knows where I should go, or who might be interested.

Additionally, I have a good collection of "vintage" KC Jazz posters, such as the one for the 1964 KC Jazz Festival (advertising Count Basie at the Municipal Auditorium), KC Jazz Week '65, the KC Jazz Festival featuring Duke Ellington, and the 13th Annual Festival featuring Clark Terry, the George Salisbury Trio and Arch Martin.

I also have programs for the Charlie Parker Memorial that were done (I think) in 1972 when the plan was for 12th and Vine instead of 18th and Vine. I remember this one because Max Roach was in town, along with others.

There's also "Spring for Jazz '68" featuring Wes Montgomery, Cannonball Adderley, Clark Terry, Bud Brisbois and Urbie Green.

These items do have great historical merit to jazz and Kansas City. I did ask the Jazz Museum if there was interest in purchasing some of these items and never got a response. Any reader input will be greatly appreciated.

Please contact me at trammusic@aol.com.

Thanks,
Bill Trumbauer, Jr.
Overland Park, KS

A Great Moment With a Great Musician
With the passing of this great musician on June 30, please allow me to share my one moment with Joe Henderson. Forgive me if you've heard it before.

As many of my friends know, a bit of carelessness in 1992 led to my being a guest in a local hospital for a few weeks. With a 35 foot fall you don't even need reservations! Towards the end of my stay and with only one surgery yet to go, I asked my wife Stephanie if she would bring up to my room a CD player and 10 or so things to play... all jazz, of course.

It was a Sunday afternoon and the first one I picked to pop in was the wonderful New York Reunion CD of McCoy Tyner's, which features Joe Henderson. I believe the first track on that is a long version, mostly solo, of Joe playing his "Recordame." It's a beautiful song, and an exquisite recording; one can even hear the pads click. It's magnificence swept me away and I suddenly found myself bawling like a baby. Of course, Stephanie thought my morphine had run dry, but I told her not to worry as they were tears of joy, realizing that I had not killed myself, and that again it was my privilege and joy to be not only surrounded by my loving family, but once again listening to this noble music that I... WE love so much. Many tough days were still ahead, but I truly feel that the beginning of my healing started with the click of Joe's pads on "Recordame."

Leaping forward a few years. As part of the opening of the new Station Casino here in KC, the "Verve Jazz Fest" spent an evening there. Besides Charlie Haden's "Quartet West" and the big band from the film "Kansas City," they brought in Joe along with George Mraz and Al Foster. Of course, I had to do a bit of stalking to track down Joe and have him sign a few things... including the chart of "Recordame." It was a personal, healing thing.

Stephanie and I caught up with him in the lobby of the hotel, case in hand, spending a few moments with a few other fans. Once he was free, I nervously approached him and he grinned as I pulled one thing after another for him to bless. The last was the chart, and when he had finished, I asked him if he could spare a moment and listen to a story of mine. "Why sure!" the gentleman said.

I recounted my trial and the path of healing I took and said that I honestly felt that one of the key moments of this process was lying in that hospital bed listening to his tenor that day. He seemed spellbound and his jaw dropped open as I wound up what I feared would bore the hell out of him. But he very softly said, "Thank you so much for sharing that with me. I think that's the nicest thing anyone has ever told me."

We chatted a bit more, he asking me if I was fully recovered (yes) and me telling him how happy I was that he was doing so well. And then Stephanie and I headed for the car, leaving Joe to head for his room. My feet never got closer than a foot above the pavement on the way to the car, and today that framed chart hanging in my office is a constant reminder of a great man and a warm moment.

Goodbye, Joe.

We're going to miss you!

Verne Christensen
Olathe, KS

RETURN TO AUGUST/SEPTEMBER 2001 MAIN INDEX

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






	Search our site:		Another Memo to The Star In the June/July JAM, Mike Metheny wrote about the lack of support for jazz from The Kansas City Star since jazz music writer Calvin Wilson left KC for St. Louis. For once, in the comparison between the music scene in Kansas City and Topeka, Topeka comes out on top. The Coleman Hawkins Neighborhood Festival's annual Hawkfest received poor coverage from The Kansas City Star. Surprisingly, after repeated mailed and faxed press releases, several follow-up phone calls from two Star reporters to two of our committee, The Star still managed to mangle the basic information. They did list our festival in the Preview, but listed it as a one-day event, instead of the two days that we heavily promoted. The Topeka Capital Journal on the other hand provided in-depth pre-festival coverage written by Bill Blankenship including the cover story in the (weekend) magazine. Bill Blankenship and Morey Sullivan wrote additional articles and critiques. Two truly classic photos by David Eulitt were also published. Eulitt's photo of bassist Henry Franklin with the festival crowd reflected in Henry's sunglasses was photography at its storytelling best. The photo of saxophonist Claire Daly illuminated by the stain glass window inside Grace Cathedral (where our rained out festival resumed on Sunday) was inspiring. It was gratifying to see Topeka's jazz heritage celebrated so publicly. Thank you Topeka Capital Journal, Bill Blankenship, Morey Sullivan and David Eulitt for your heartfelt support. Memo to KC publisher Art Brisbane: Find writers and photographers with the caliber of the above mentioned and maybe you won't have to waste precious space with obituaries to jazz. Respectfully, Linda Henson General Director Coleman Hawkins Neighborhood Festival Topeka, KS It's a Struggle Thank you for listing our June 3rd event in "News & Notes" in the June/July JAM. Unfortunately, the turnout for the Ophelia Ragtime Orchestra from Olso, Norway was embarrassingly small. When you bring the finest ragtime and early jazz orchestra in the world to a town this size, you hope to have more than 185 people show up. We are struggling -- without much success -- to become known in Kansas City, and to generate more interest in ragtime and early jazz. We invite your readers to contact us to get on our mailing list. A copy of our latest newsletter will be sent to them with information on how to join KCRR. Diane E. Capps Secretary-Treasurer Kansas City Ragtime Revelry, Inc. Kansas City, MO phone: 816-691-8781 email: dianecapps@juno.com An Honest Letter Honest feelings about certain people in the KC jazz scene seldom come out, yet these people are the ones who are a must for the music and for the local entertainment business. I first met one such young man after returning to Kansas City (my hometown) after 20-some years. The first thing I needed to do was find out where everyone was playing and how I could get some exposure. This young man provided both. Although I had talked with him on the phone, we had not met in person. Then one hot, blistering Sunday afternoon in July, I had the pleasure of performing with a Kansas City jazz legend who had also returned to her roots -- Myra Taylor. I was also blessed to share the stage that day with Ben Kynard, the late Sonny Kenner, Bobby Watson, Sr., Godfrey Powell, Duck Warner, Donald Cox, Lucky Wesley, Art Jackson and Sam Johnson, Jr. In the 100-degree heat of that July afternoon, this young man not only covered each event, he gave each entertainer their due. I'm talking about my friend, Mike Metheny; editor, writer, musician, and all-around good guy. I'm sure there are many others of you who feel the same way, but haven't taken the time to write. I say: hail to my idol! We love you, Mike. Sincerely, Monroe "Monny" Nash Kansas City, MO Mike Metheny replies: Receiving a magnanimous letter like that makes for a tricky situation: print it and look like a self-serving editor; don't print it and risk offending a kind gentleman who was speaking from the heart. The decision to print was ultimately made simply because, at this late-middle age stage of the game, it sure is nice to be referred to as a "young man." Thanks, Monny. Jazz Charts & Posters I have a question perhaps JAM readers can answer. I possess a large collection of jazz charts (band book) that were owned by my father, Bill Trumbauer, Sr. I am in the process of taking inventory to encompass title, arranger and instrumentation. I would like to sell some of this and am asking if anyone knows where I should go, or who might be interested. Additionally, I have a good collection of "vintage" KC Jazz posters, such as the one for the 1964 KC Jazz Festival (advertising Count Basie at the Municipal Auditorium), KC Jazz Week '65, the KC Jazz Festival featuring Duke Ellington, and the 13th Annual Festival featuring Clark Terry, the George Salisbury Trio and Arch Martin. I also have programs for the Charlie Parker Memorial that were done (I think) in 1972 when the plan was for 12th and Vine instead of 18th and Vine. I remember this one because Max Roach was in town, along with others. There's also "Spring for Jazz '68" featuring Wes Montgomery, Cannonball Adderley, Clark Terry, Bud Brisbois and Urbie Green. These items do have great historical merit to jazz and Kansas City. I did ask the Jazz Museum if there was interest in purchasing some of these items and never got a response. Any reader input will be greatly appreciated. Please contact me at trammusic@aol.com. Thanks, Bill Trumbauer, Jr. Overland Park, KS A Great Moment With a Great Musician With the passing of this great musician on June 30, please allow me to share my one moment with Joe Henderson. Forgive me if you've heard it before. As many of my friends know, a bit of carelessness in 1992 led to my being a guest in a local hospital for a few weeks. With a 35 foot fall you don't even need reservations! Towards the end of my stay and with only one surgery yet to go, I asked my wife Stephanie if she would bring up to my room a CD player and 10 or so things to play... all jazz, of course. It was a Sunday afternoon and the first one I picked to pop in was the wonderful New York Reunion CD of McCoy Tyner's, which features Joe Henderson. I believe the first track on that is a long version, mostly solo, of Joe playing his "Recordame." It's a beautiful song, and an exquisite recording; one can even hear the pads click. It's magnificence swept me away and I suddenly found myself bawling like a baby. Of course, Stephanie thought my morphine had run dry, but I told her not to worry as they were tears of joy, realizing that I had not killed myself, and that again it was my privilege and joy to be not only surrounded by my loving family, but once again listening to this noble music that I... WE love so much. Many tough days were still ahead, but I truly feel that the beginning of my healing started with the click of Joe's pads on "Recordame." Leaping forward a few years. As part of the opening of the new Station Casino here in KC, the "Verve Jazz Fest" spent an evening there. Besides Charlie Haden's "Quartet West" and the big band from the film "Kansas City," they brought in Joe along with George Mraz and Al Foster. Of course, I had to do a bit of stalking to track down Joe and have him sign a few things... including the chart of "Recordame." It was a personal, healing thing. Stephanie and I caught up with him in the lobby of the hotel, case in hand, spending a few moments with a few other fans. Once he was free, I nervously approached him and he grinned as I pulled one thing after another for him to bless. The last was the chart, and when he had finished, I asked him if he could spare a moment and listen to a story of mine. "Why sure!" the gentleman said. I recounted my trial and the path of healing I took and said that I honestly felt that one of the key moments of this process was lying in that hospital bed listening to his tenor that day. He seemed spellbound and his jaw dropped open as I wound up what I feared would bore the hell out of him. But he very softly said, "Thank you so much for sharing that with me. I think that's the nicest thing anyone has ever told me." We chatted a bit more, he asking me if I was fully recovered (yes) and me telling him how happy I was that he was doing so well. And then Stephanie and I headed for the car, leaving Joe to head for his room. My feet never got closer than a foot above the pavement on the way to the car, and today that framed chart hanging in my office is a constant reminder of a great man and a warm moment. Goodbye, Joe. We're going to miss you! Verne Christensen Olathe, KS RETURN TO AUGUST/SEPTEMBER 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.