JAM: October/November 2001 Issue: Correspondence

We Are Fortunate
We who live in Kansas City are so fortunate to have several venues for the appearances of excellent, nationally-known jazz performers, among them the beautifully renovated Folly Theater, the Gem Theater, the Kansas City Jazz Workshop, and the Kansas City Blues and Jazz Festival.

Government funding for the arts is drying up making the competition for corporate, trust and foundation monies extremely stiff. If attendance at these events and venues does not indicate that the public is interested, the financial support will go elsewhere. Personally, I have found the quality of music at these events to be very high. Even though I have not always had prior knowledge of the performers, I have taken the risk and have been awestruck at the quality of music with which I was rewarded.

In May, The Kansas City Star suggested that jazz is dead in Kansas City due to a lack of attendance at both jazz clubs and events. Let's each take responsibility for proving The Star wrong. Pick at least one jazz series, make a commitment, and purchase season tickets. Then go one step further and call, mail or email the information to 10 or 20 others who might be interested.. Be creative; get a group together, share season tickets!

And while you're doing that, do some bragging about one of the best local jazz magazines anywhere, Kansas City's JAM, along with the Jazz Ambassadors who sponsor it. And don't forget our excellent musicians and clubs. I recently heard a newly formed, high energy band that gave it 100% for the entire evening: the Steve Rigazzi Group. That night many tourists and conventioneers were there, having a ball and very impressed with Kansas City jazz. This is what it's all about!

It's up to each of us.

We should "use it," or we'll "lose it!"

Beverly Rehkop
Prairie Village, KS

Let's Keep Jazz Alive
The recent loss of radio station KCMW should be a reminder to us all that if we don't support jazz, we will lose it.

Support your local musicians by buying their CDs and showing up at clubs. Become a member of the Jazz Ambassadors, and support the Folly Theater and Kansas City Jazz Workshop concerts.

Only then can we keep jazz alive in Kansas City

Don Merker
Raytown, MO

Ed. Note: Mr. Merker also enclosed a check for a new KCJA membership and we thank him for that.

May This Trend Continue
Dear JAM,
In a recent conversation with my band mates, this question was raised: "How many musicians are members of the Jazz Ambassadors?" I had to admit I was one of those who are not. Why? Certainly not out of any ill will toward the Ambassadors. They do more to promote jazz and KC's local musicians than anybody. I'm embarrassed to say that it just never occurred to me to join. After all the free press I have personally received, the articles about other players I've enjoyed reading, and the continued unconditional support for our local scene this group of people have given, this was a sad realization for me.

My check for KCJA membership will follow this email. And I encourage all musicians who read JAM and are not members to think about joining this organization that spreads the word about YOU! It just makes sense and is certainly the right thing to do.

Sincerely,
Todd Strait
Prairie Village, KS

More About KCMW
Regarding KCMW's recent format change and their effort to appeal to the "sophisticated listener" (as the form letter I received stated), I sent my public radio money to them because they supported my musical preferences; and most particularly they supported local musicians. I made sure they knew that.

On a more pleasant note, I haven't read all of the August/September JAM, but I have read the excellent "President's Corner" by John Leisenring. It applies to so many of the arts: it's all about communication and connecting. Everyone has a different receiver, and for that we should be grateful for different senders. Also, what was appealing at an earlier time in life will certainly change with attention and education.

Perhaps you think that is a negation of my first paragraph. I don't object to the formats offered by various stations. But, I'm crushed to have lost a format of my liking and to such widely available music.

Also, I very much appreciated Mike Metheny's open letter to The Kansas City Star in the June/July issue of JAM. I wonder if that is what's behind recent articles about jazz in The Star by Joe Klopus. I would like to think so.

Thanks,
Marilyn York
Olathe, KS

Wanted: Back Issues of JAM
As a very UN-official archivist for JAM I would like to appeal to all readers to help me complete my collection. I am missing the following issues:
1986 -- August and October
1987 -- the entire year
1988 -- February, April and June
1989 -- October and December
1990 -- February and April
My only reason for collecting them is to be sure this era of Kansas City jazz documentation is preserved. Thanks in advance.

Paul Smith
PBT Jazz
P.O. Box 3161
Independence, MO
64055-3161

Thanks From Preston
Dear Gregg Ottinger,
Thanks for your very kind review of our CD (JAM, June/July 2001). Everyone who saw it was so impressed. We received good reviews in Jazz Times, Cadence, Living Blues and some others, but yours was my favorite. Incidentally, we are starting on my new CD. It will mostly highlight some full reed section things that I did in past days with Count Basie, Lucky Millinder and possibly one from my days with Ray Charles. I will overdub all the sax parts.

Gee, I would hope to do the Kansas City (Blues & Jazz) Festival sometime. I contacted the director on several occasions without reply. My friends, Claude Williams and Sonny Kenner urged me to do so. Fiddler and I have done several European Jazz Festivals together.

I have been contacted to go to Paris this fall or winter and rehearse a big band for two weeks at the Lionel Hampton Room at the Meridien Hotel. We will play ALL BASIE! I played lead alto on various of the original Basie recordings of several of the tunes we will do. I did that room at the Meridien for two weeks in 1983 after I was over there with the Basie alumni band and later with Eddie "Cleanhead" Vinson.

I would appreciate any advice you might give me about the Kansas City Blues and Jazz Festival. I would love to do it.

Sincerely,
Preston Love
Omaha, NE

KCMW's End: Another Take
If there was a silver lining to the demise of KCMW's longtime jazz format, it was how newly-arrived Program Director Jon Hart went down with the ship as an on-air announcer (and a good one) while giving abundant airplay to local Kansas City jazz artists. I'm sure I can speak for many of those featured when I say, "Thank you, Jon." It was a classy thing to do; especially after it was clear that Hart had done all he could to stop the bleeding.

Once the station went off the air on August 20, however, the debates began over why jazz radio in the KC metro had lost yet another vital part of its fabric. In his regular column, Dean Hampton alludes to how local musicians bear some of the blame. It's a theory that would seem to tie in with KCMW's announced explanation that "...it is increasingly apparent that the jazz format will not lead to the necessary audience levels or membership support required to maintain a quality public radio product."

From this vantage point -- and with all due respect -- the "quality" of KCMW's product had long since been in doubt, dating back to well before Hart's arrival and his heroic efforts to save the day. On-air incompetence had become legendary (how is it possible to mispronounce "Dizzy Gillespie"?), and with the yardstick of so many knowledgeable jazz announcers in the area, it was frequently difficult to take KCMW seriously. And it wasn't always that way! Remember the Bill Kim era at KCMW? Somehow over the years that would follow, things went awry.

Which is now water under (90.9) "The Bridge." It's just that with 20/20 hindsight, one has to wonder if this blow to the health of jazz radio in the Midwest could have been better anticipated. And then prevented.

-- Mike Metheny

RETURN TO OCTOBER/NOVEMBER 2001 MAIN INDEX

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






	Search our site:		We Are Fortunate We who live in Kansas City are so fortunate to have several venues for the appearances of excellent, nationally-known jazz performers, among them the beautifully renovated Folly Theater, the Gem Theater, the Kansas City Jazz Workshop, and the Kansas City Blues and Jazz Festival. Government funding for the arts is drying up making the competition for corporate, trust and foundation monies extremely stiff. If attendance at these events and venues does not indicate that the public is interested, the financial support will go elsewhere. Personally, I have found the quality of music at these events to be very high. Even though I have not always had prior knowledge of the performers, I have taken the risk and have been awestruck at the quality of music with which I was rewarded. In May, The Kansas City Star suggested that jazz is dead in Kansas City due to a lack of attendance at both jazz clubs and events. Let's each take responsibility for proving The Star wrong. Pick at least one jazz series, make a commitment, and purchase season tickets. Then go one step further and call, mail or email the information to 10 or 20 others who might be interested.. Be creative; get a group together, share season tickets! And while you're doing that, do some bragging about one of the best local jazz magazines anywhere, Kansas City's JAM, along with the Jazz Ambassadors who sponsor it. And don't forget our excellent musicians and clubs. I recently heard a newly formed, high energy band that gave it 100% for the entire evening: the Steve Rigazzi Group. That night many tourists and conventioneers were there, having a ball and very impressed with Kansas City jazz. This is what it's all about! It's up to each of us. We should "use it," or we'll "lose it!" Beverly Rehkop Prairie Village, KS Let's Keep Jazz Alive The recent loss of radio station KCMW should be a reminder to us all that if we don't support jazz, we will lose it. Support your local musicians by buying their CDs and showing up at clubs. Become a member of the Jazz Ambassadors, and support the Folly Theater and Kansas City Jazz Workshop concerts. Only then can we keep jazz alive in Kansas City Don Merker Raytown, MO Ed. Note: Mr. Merker also enclosed a check for a new KCJA membership and we thank him for that. May This Trend Continue Dear JAM, In a recent conversation with my band mates, this question was raised: "How many musicians are members of the Jazz Ambassadors?" I had to admit I was one of those who are not. Why? Certainly not out of any ill will toward the Ambassadors. They do more to promote jazz and KC's local musicians than anybody. I'm embarrassed to say that it just never occurred to me to join. After all the free press I have personally received, the articles about other players I've enjoyed reading, and the continued unconditional support for our local scene this group of people have given, this was a sad realization for me. My check for KCJA membership will follow this email. And I encourage all musicians who read JAM and are not members to think about joining this organization that spreads the word about YOU! It just makes sense and is certainly the right thing to do. Sincerely, Todd Strait Prairie Village, KS More About KCMW Regarding KCMW's recent format change and their effort to appeal to the "sophisticated listener" (as the form letter I received stated), I sent my public radio money to them because they supported my musical preferences; and most particularly they supported local musicians. I made sure they knew that. On a more pleasant note, I haven't read all of the August/September JAM, but I have read the excellent "President's Corner" by John Leisenring. It applies to so many of the arts: it's all about communication and connecting. Everyone has a different receiver, and for that we should be grateful for different senders. Also, what was appealing at an earlier time in life will certainly change with attention and education. Perhaps you think that is a negation of my first paragraph. I don't object to the formats offered by various stations. But, I'm crushed to have lost a format of my liking and to such widely available music. Also, I very much appreciated Mike Metheny's open letter to The Kansas City Star in the June/July issue of JAM. I wonder if that is what's behind recent articles about jazz in The Star by Joe Klopus. I would like to think so. Thanks, Marilyn York Olathe, KS Wanted: Back Issues of JAM As a very UN-official archivist for JAM I would like to appeal to all readers to help me complete my collection. I am missing the following issues: 1986 -- August and October 1987 -- the entire year 1988 -- February, April and June 1989 -- October and December 1990 -- February and April My only reason for collecting them is to be sure this era of Kansas City jazz documentation is preserved. Thanks in advance. Paul Smith PBT Jazz P.O. Box 3161 Independence, MO 64055-3161 Thanks From Preston Dear Gregg Ottinger, Thanks for your very kind review of our CD (JAM, June/July 2001). Everyone who saw it was so impressed. We received good reviews in Jazz Times, Cadence, Living Blues and some others, but yours was my favorite. Incidentally, we are starting on my new CD. It will mostly highlight some full reed section things that I did in past days with Count Basie, Lucky Millinder and possibly one from my days with Ray Charles. I will overdub all the sax parts. Gee, I would hope to do the Kansas City (Blues & Jazz) Festival sometime. I contacted the director on several occasions without reply. My friends, Claude Williams and Sonny Kenner urged me to do so. Fiddler and I have done several European Jazz Festivals together. I have been contacted to go to Paris this fall or winter and rehearse a big band for two weeks at the Lionel Hampton Room at the Meridien Hotel. We will play ALL BASIE! I played lead alto on various of the original Basie recordings of several of the tunes we will do. I did that room at the Meridien for two weeks in 1983 after I was over there with the Basie alumni band and later with Eddie "Cleanhead" Vinson. I would appreciate any advice you might give me about the Kansas City Blues and Jazz Festival. I would love to do it. Sincerely, Preston Love Omaha, NE KCMW's End: Another Take If there was a silver lining to the demise of KCMW's longtime jazz format, it was how newly-arrived Program Director Jon Hart went down with the ship as an on-air announcer (and a good one) while giving abundant airplay to local Kansas City jazz artists. I'm sure I can speak for many of those featured when I say, "Thank you, Jon." It was a classy thing to do; especially after it was clear that Hart had done all he could to stop the bleeding. Once the station went off the air on August 20, however, the debates began over why jazz radio in the KC metro had lost yet another vital part of its fabric. In his regular column, Dean Hampton alludes to how local musicians bear some of the blame. It's a theory that would seem to tie in with KCMW's announced explanation that "...it is increasingly apparent that the jazz format will not lead to the necessary audience levels or membership support required to maintain a quality public radio product." From this vantage point -- and with all due respect -- the "quality" of KCMW's product had long since been in doubt, dating back to well before Hart's arrival and his heroic efforts to save the day. On-air incompetence had become legendary (how is it possible to mispronounce "Dizzy Gillespie"?), and with the yardstick of so many knowledgeable jazz announcers in the area, it was frequently difficult to take KCMW seriously. And it wasn't always that way! Remember the Bill Kim era at KCMW? Somehow over the years that would follow, things went awry. Which is now water under (90.9) "The Bridge." It's just that with 20/20 hindsight, one has to wonder if this blow to the health of jazz radio in the Midwest could have been better anticipated. And then prevented. -- Mike Metheny RETURN TO OCTOBER/NOVEMBER 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.