JAM: December 2001/January 2002 Issue: Correspondence

Taking Stamm's Message to Heart
Marvin Stamm's important essay "Time for Bitterness to End; Time to Heal the Wounds" (JAM, August./September 2001) should be required reading for anyone interested in a thoughtful analysis of some of the tensions and difficulties that exist among so many jazz musicians these days.

Sadly, I contend, the present "anger and divisiveness, racism, ageism, suspicion and distrust" Stamm laments have their roots in, while also being symptomatic of, America's divided wider culture. Terry Teachout has similarly defined this broader state of affairs as "Republican Nation, Democratic Nation?" (a much-discussed article in the April 2001 Commentary magazine). In other words, the societal problem has become systemic, affecting many spheres of life, jazz included.

I'm a generation younger than Stamm and even a little younger than Teachout, but -- and focusing again on music, even as the wider ramifications remain important -- I have also noticed a seismic cultural polarization. When I was young, one turned on AM radio and heard "general popular" formats where ALL the latest hit records -- regardless of style -- were heard. Indeed, some of my fondest childhood memories are of listening to the radio in the early '70s. How many of you have similar experiences?

Typically, in the course of an hour I'd hear some of the latest music from Chicago, Al Green, Stevie Wonder, Yes, Carpenters, Credence Clearwater Revival, Three Dog Night, Carole King, Simon & Garfunkel and Ray Stevens. Quite a diversity: Jazz-Rock, Soul/R&B/Motown, "Progressive Rock," "Soft Rock," Mainstream Pop, Folk, and even novelty songs. The Ed Sullivan Show without Sullivan, I suppose. Or, quoting our national motto, E Pluribus Unum: One general pop music culture out of many musical styles and backgrounds.

In 2001, there are separate radio stations for each musical category; thus, many of the artists who made it big thirty years ago probably never could these days (for that matter, neither could Sullivan). Today's emphasis is decidedly on appealing (and selling) to niche markets in lieu of any general audience. At present, if one wants to hear the latest music from Stevie Wonder, one needs to listen in on a "Black Urban" station and hope for the best.

Want to hear a Genesis or Kansas record? Turn to a "Classic Rock" station. The latest from James Taylor or Paul Simon? For this, there's now a radio format called "Adult Contemporary" (what does THAT mean? Similarly, and perhaps more relevant here, how about "Smooth Jazz"? Didn't Ahmad Jamal play "smooth jazz"? Or Lester Young?). In short, the recording and broadcasting industries both have come to reflect the same cultural fragmentation that has bedeviled America at least since the 1960s (with Stamm's reference to "ageism" a sadly predictable consequence of what used to be called "The Generation Gap").

For all our racial progress since the Eisenhower presidency, angry ethnic politics have assumed a distressing prominence over the past few decades; as might be expected, such politics have also embedded their way into jazz. Stamm writes: "Throughout the history of jazz, many of the groups that have earned our deepest respect were racially mixed." Sure enough, which is why Teddy Wilson's hiring by Benny Goodman was so laudable.

In select instances, Goodman and other white bandleaders employed black musicians way before Jackie Robinson first stepped onto the field for the Brooklyn Dodgers. Yet Bill Evans' well-known distress in hearing constant catcalls from black audiences due to his being the only white member of Miles Davis' great quintet/sextet (in 1958, well before the modern era Stamm is concerned with) continues to give me pause.

I hope we can all agree that racism is deplorable from any quarter: white, black, or purple. I say this even as I am that dreaded modern figure (to some): a white male of European descent. "Privileged," however, I am not; I myself have lost work simply because of MY race -- though I won't bore anyone with the gory details, nor do I ever dwell on this in public (or even in private).
I'm proud of asking both black and white musicians to play on my CDs over the years; in every case, the only consideration has been whether I was attracted to the music they played (or in Kevin Mahogany's case, the notes he sung). For instance, I remain a big fan of Mike Metheny's playing (and composing), and will always look forward to making music with him. The fact that he's purple is simply of no consequence to me.

Seriously, it's not like me to dwell on race; after all, I've spent the better part of my life making music many of whose greatest innovators have, by chance, been black. Yet by now I've suffered through too much maddening malarkey -- and this from some prominent black musicians who ought to know better -- paraphrasing: "Blacks are the most legitimate and best creators of jazz..."

Listening objectively (and remembering Leonard Feather's "blindfold tests"), I contend that many of these same artists couldn't hold an artistic candle to white musicians like Stan Getz, Mel Lewis, Keith Jarrett or Joni Mitchell. Or Tommy Ruskin. And let's not forget that Ellington and Strayhorn were -- famously -- as influenced by white French impressionist composers as by anyone else (and they said as much).

In the end, the music's the thing -- am I right? Not race; not gender; not age; and certainly not marketing. In contrast with today's predilection to "produce jazz music based on the marketing strategies of 'pop' music," Stamm continues: "Musicians of my period seemed to know instinctively that jazz was about our spending a lifetime seeking to find our own voice with which to express our deepest inner emotions..."

This is so well said! In fact, it may be a better description of my own musical philosophy than anything I've ever voiced. Let's hope that more musicians, young and old, and irrespective of race, take this very important message from Marvin Stamm to heart. If so, perhaps the artistic future of jazz might be brighter than I've lately feared.

Paul Hofmann
MHR Records
Rochester, NY
www.mhrrecords.com

How About a "Part II"?
In regard to Steve Kraske's article in the Star Magazine (Kansas City Star, Oct. 7, 2001) titled "KC Jazz 101," I was very disappointed in noticing that many Kansas City area jazz musicians were omitted.

Granted, it was an informative and entertaining piece that included information about some of the area's finest talent. I also realize that space might not have been available for more. But, the general public deserves to be aware of other outstanding talent that performs in Kansas City on a regular basis. Some of the names missing from the article were Paul Smith, Russ Long, Candace Evans, Greg Meise, Tommy Ruskin, Julie Turner, Millie Edwards, Sharon Thompson and Wayne Hawkins.

Let's hope that between writing political columns, Mr. Kraske might find the time to do some more research into "Kansas City Jazz 101 -- Part II"!

Sincerely,
Jane Stevens
Leawood, KS

More Praise for John Elliott
I was delighted to see the piece on John Elliott in the Oct./Nov. JAM.

John was always a great role model to me and everyone else in KC area music circles. In addition to his teaching, he always held down the best gigs in town. Which was as it should have been -- his musicianship and professionalism were beyond question. And he was a Big Brother to all of us. Although I didn't study with him, I probably should have.

But, nonetheless, he was most encouraging and supportive of my efforts as an arranger-composer. And that meant a lot to me, since John was an established heavyweight in that area. He was already there -- and I wanted to be in HIS league.

I remember two great moments: One was while he was Music Director at the Playboy Club in the late '60s. The vocalist Marian Love, who had just signed a contract with Capitol Records, had been booked into the club and John's trio was the house band. She needed arrangements. And I got the call.

In my zeal to show off my writing chops, I wrote some charts that were really big band stuff reduced to trio format (I thought they might need to be expanded later for a bigger band, which turned out to be correct). The piano parts were a bit tough, with chord voicings intended for horn sections to be played on the piano. I'm not sure I could have played them right myself then. But John nailed them! And he understood what I'd done -- and why I'd done it.

A few weeks later, he came by my place in Westport on the way home from his gig. We had a great time just listening to records. I remember that I'd acquired a copy of a "live" Thad Jones-Mel Lewis big band album, and John wanted to hear it. Although the version of Thad's great chart "Little Pixie" was just over ten minutes long, it took us almost a half-hour to play through that ten minute cut! Because John and I kept putting the tonearm back and listening over and over to his favorite parts. Unlike many older musicians I've known who insist on putting out a worldly-wise, "been there-done that" vibe, John was like a 5-year old at Disneyland when he heard something he liked for the first time. And I loved him for it. He listened at the same advanced level as he played and wrote.

One of my favorite people in the music world.

Three more cheers for John Elliott!

Dave Zoller
Dallas, TX

A Most Accurate Assessment
The interview with Ron McCurdy in the October/November JAM really struck a chord with me. It is the finest and most accurate assessment of jazz education today that I have seen to date. I'd like to echo his sentiments on two points.

It is unfortunate that many high school and college band directors are woefully ill-equipped for the job of leading a jazz band. They may know how to rehearse a band but know little or nothing about teaching the art of playing jazz. Ignorance and an unwillingness to change are the two main problems. One solution would be workshops for jazz band directors which would focus on pedagogy, theory and improvisation, history, and just plain listening.

Secondly, I also became somewhat dismayed with competitive jazz festivals. The emphasis is on trophies and that old pat on the back from the boss, not learning. I have known directors who are absolutely obsessed with rehearsing three or four tunes so they can win. Meanwhile, the kids lose, not even knowing what they're missing.

I recently participated in a jazz festival workshop led by Todd Wilkinson at Washburn University. What a breath of fresh air! Each band played two tunes followed by the pros working with them for forty or so minutes. There was a whole lot of learning goin' on! At the evening concert, the clinicians were integrated into each band's performance. I'd love to see this model adopted by other festival coordinators.

Finally, I too am a John Elliott disciple. In his gentle yet firm way, he set me straight on theory and improv. John taught me how to teach myself, and then he cut me loose. Once again we hear the refrain, "I couldn't have done it without him." Brilliant, yet self-effacing, I'm sure John is blushing from all this adoration.

Well, John... you deserve it. And much more.

Stan Kessler
Kansas City, MO

Heartfelt Thanks
To My Friends in the Kansas City Music Community,

On September 7th of this year, some of you know that I faced the unlikely prospect of undergoing open-heart, valve-replacement surgery... unlikely to me, that is. I can't lie; it's a big, fat, life-changing event, and at first a hugely scary one. Especially if you've been lulled into taking good health for granted like I have.

But I survived it and survived it well, and as I sit here in Nashville, Tennessee, writing to you during Thanksgiving week 2001, I know that this year there's more to give thanks for than usual.

For one thing, I'm thankful for some of the most gifted doctors and nurses available anywhere. Bright people with sharp senses of humor and easy laughter, talented people highly concerned about the welfare of a musician, all the way from Kansas City, who got caught off guard. People who acted like friends. Hey, there were even times I had fun. And there were profound moments that produced major updates in my understanding of the will of God.

And meanwhile, the musical community of Kansas City decided that on September 30th at B.B.'s Lawnside Barbeque, it would be a Good Thang indeed to hold a benefit concert in my behalf. I wasn't ready to make the trip back to KC, but I did learn something I hadn't previously understood about friendship, and I'm going to tell you now what that is: there is energy, there is a tangible power in the warmth of the wishes of a group of friends coming together with a common focus. I am here to report that I'm a witness and a beneficiary of it. I was so weak, and so uninclined to put up a fight. I believe I would not have survived the experience without your prayers, and your presence, and your love lifting me up.

It's in that spirit that I'm writing now; to my old and dear friends, the marvelous and soulful bands and musicians of Kansas City who worked hard and played hard, all for free, because they thought they could make it a little easier for me; to the fine fellows at Darkhorse Productions -- Cole York, Mike Harvey, Dave Brock and Bill Oxler -- who created and organized this event and continue to remain my living connection to the KC music scene; to my old pals The Camp-Harlow Band, musical hosts; to the fa-aabulous Connie "Crash" and the rest of the fine, dedicated folks at the indispensable KKFI radio station; to my ancient friend, the sainted Lindsey Shannon, for doing just about everything that needed to be done to make a sudden extravaganza fly, including providing his wonderful establishment, B.B.'s Lawnside Barbeque, and word-up on his radio show on the Fox; and last but not least, all y'all peoples who support the music community and came out on September 30th to make donations; my heartfelt thanks and love to you all. There is no adequate way that I can reciprocate.

All I can do is write this little message, put it in a bottle and, along with the best wishes of Mike Metheny and the folks at JAM Magazine, hope it gets to all of you.

Stay well. And I'll see you soon on the next trip home.

Larry van Loon
Nashville, TN

Larry van Loon is featured on the new CD, Bless This House, reviewed in "For the Record."

RETURN TO DECEMBER 2001/JANUARY 2002 MAIN INDEX

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






	Search our site:		Taking Stamm's Message to Heart Marvin Stamm's important essay "Time for Bitterness to End; Time to Heal the Wounds" (JAM, August./September 2001) should be required reading for anyone interested in a thoughtful analysis of some of the tensions and difficulties that exist among so many jazz musicians these days. Sadly, I contend, the present "anger and divisiveness, racism, ageism, suspicion and distrust" Stamm laments have their roots in, while also being symptomatic of, America's divided wider culture. Terry Teachout has similarly defined this broader state of affairs as "Republican Nation, Democratic Nation?" (a much-discussed article in the April 2001 Commentary magazine). In other words, the societal problem has become systemic, affecting many spheres of life, jazz included. I'm a generation younger than Stamm and even a little younger than Teachout, but -- and focusing again on music, even as the wider ramifications remain important -- I have also noticed a seismic cultural polarization. When I was young, one turned on AM radio and heard "general popular" formats where ALL the latest hit records -- regardless of style -- were heard. Indeed, some of my fondest childhood memories are of listening to the radio in the early '70s. How many of you have similar experiences? Typically, in the course of an hour I'd hear some of the latest music from Chicago, Al Green, Stevie Wonder, Yes, Carpenters, Credence Clearwater Revival, Three Dog Night, Carole King, Simon & Garfunkel and Ray Stevens. Quite a diversity: Jazz-Rock, Soul/R&B/Motown, "Progressive Rock," "Soft Rock," Mainstream Pop, Folk, and even novelty songs. The Ed Sullivan Show without Sullivan, I suppose. Or, quoting our national motto, E Pluribus Unum: One general pop music culture out of many musical styles and backgrounds. In 2001, there are separate radio stations for each musical category; thus, many of the artists who made it big thirty years ago probably never could these days (for that matter, neither could Sullivan). Today's emphasis is decidedly on appealing (and selling) to niche markets in lieu of any general audience. At present, if one wants to hear the latest music from Stevie Wonder, one needs to listen in on a "Black Urban" station and hope for the best. Want to hear a Genesis or Kansas record? Turn to a "Classic Rock" station. The latest from James Taylor or Paul Simon? For this, there's now a radio format called "Adult Contemporary" (what does THAT mean? Similarly, and perhaps more relevant here, how about "Smooth Jazz"? Didn't Ahmad Jamal play "smooth jazz"? Or Lester Young?). In short, the recording and broadcasting industries both have come to reflect the same cultural fragmentation that has bedeviled America at least since the 1960s (with Stamm's reference to "ageism" a sadly predictable consequence of what used to be called "The Generation Gap"). For all our racial progress since the Eisenhower presidency, angry ethnic politics have assumed a distressing prominence over the past few decades; as might be expected, such politics have also embedded their way into jazz. Stamm writes: "Throughout the history of jazz, many of the groups that have earned our deepest respect were racially mixed." Sure enough, which is why Teddy Wilson's hiring by Benny Goodman was so laudable. In select instances, Goodman and other white bandleaders employed black musicians way before Jackie Robinson first stepped onto the field for the Brooklyn Dodgers. Yet Bill Evans' well-known distress in hearing constant catcalls from black audiences due to his being the only white member of Miles Davis' great quintet/sextet (in 1958, well before the modern era Stamm is concerned with) continues to give me pause. I hope we can all agree that racism is deplorable from any quarter: white, black, or purple. I say this even as I am that dreaded modern figure (to some): a white male of European descent. "Privileged," however, I am not; I myself have lost work simply because of MY race -- though I won't bore anyone with the gory details, nor do I ever dwell on this in public (or even in private). I'm proud of asking both black and white musicians to play on my CDs over the years; in every case, the only consideration has been whether I was attracted to the music they played (or in Kevin Mahogany's case, the notes he sung). For instance, I remain a big fan of Mike Metheny's playing (and composing), and will always look forward to making music with him. The fact that he's purple is simply of no consequence to me. Seriously, it's not like me to dwell on race; after all, I've spent the better part of my life making music many of whose greatest innovators have, by chance, been black. Yet by now I've suffered through too much maddening malarkey -- and this from some prominent black musicians who ought to know better -- paraphrasing: "Blacks are the most legitimate and best creators of jazz..." Listening objectively (and remembering Leonard Feather's "blindfold tests"), I contend that many of these same artists couldn't hold an artistic candle to white musicians like Stan Getz, Mel Lewis, Keith Jarrett or Joni Mitchell. Or Tommy Ruskin. And let's not forget that Ellington and Strayhorn were -- famously -- as influenced by white French impressionist composers as by anyone else (and they said as much). In the end, the music's the thing -- am I right? Not race; not gender; not age; and certainly not marketing. In contrast with today's predilection to "produce jazz music based on the marketing strategies of 'pop' music," Stamm continues: "Musicians of my period seemed to know instinctively that jazz was about our spending a lifetime seeking to find our own voice with which to express our deepest inner emotions..." This is so well said! In fact, it may be a better description of my own musical philosophy than anything I've ever voiced. Let's hope that more musicians, young and old, and irrespective of race, take this very important message from Marvin Stamm to heart. If so, perhaps the artistic future of jazz might be brighter than I've lately feared. Paul Hofmann MHR Records Rochester, NY www.mhrrecords.com How About a "Part II"? In regard to Steve Kraske's article in the Star Magazine (Kansas City Star, Oct. 7, 2001) titled "KC Jazz 101," I was very disappointed in noticing that many Kansas City area jazz musicians were omitted. Granted, it was an informative and entertaining piece that included information about some of the area's finest talent. I also realize that space might not have been available for more. But, the general public deserves to be aware of other outstanding talent that performs in Kansas City on a regular basis. Some of the names missing from the article were Paul Smith, Russ Long, Candace Evans, Greg Meise, Tommy Ruskin, Julie Turner, Millie Edwards, Sharon Thompson and Wayne Hawkins. Let's hope that between writing political columns, Mr. Kraske might find the time to do some more research into "Kansas City Jazz 101 -- Part II"! Sincerely, Jane Stevens Leawood, KS More Praise for John Elliott I was delighted to see the piece on John Elliott in the Oct./Nov. JAM. John was always a great role model to me and everyone else in KC area music circles. In addition to his teaching, he always held down the best gigs in town. Which was as it should have been -- his musicianship and professionalism were beyond question. And he was a Big Brother to all of us. Although I didn't study with him, I probably should have. But, nonetheless, he was most encouraging and supportive of my efforts as an arranger-composer. And that meant a lot to me, since John was an established heavyweight in that area. He was already there -- and I wanted to be in HIS league. I remember two great moments: One was while he was Music Director at the Playboy Club in the late '60s. The vocalist Marian Love, who had just signed a contract with Capitol Records, had been booked into the club and John's trio was the house band. She needed arrangements. And I got the call. In my zeal to show off my writing chops, I wrote some charts that were really big band stuff reduced to trio format (I thought they might need to be expanded later for a bigger band, which turned out to be correct). The piano parts were a bit tough, with chord voicings intended for horn sections to be played on the piano. I'm not sure I could have played them right myself then. But John nailed them! And he understood what I'd done -- and why I'd done it. A few weeks later, he came by my place in Westport on the way home from his gig. We had a great time just listening to records. I remember that I'd acquired a copy of a "live" Thad Jones-Mel Lewis big band album, and John wanted to hear it. Although the version of Thad's great chart "Little Pixie" was just over ten minutes long, it took us almost a half-hour to play through that ten minute cut! Because John and I kept putting the tonearm back and listening over and over to his favorite parts. Unlike many older musicians I've known who insist on putting out a worldly-wise, "been there-done that" vibe, John was like a 5-year old at Disneyland when he heard something he liked for the first time. And I loved him for it. He listened at the same advanced level as he played and wrote. One of my favorite people in the music world. Three more cheers for John Elliott! Dave Zoller Dallas, TX A Most Accurate Assessment The interview with Ron McCurdy in the October/November JAM really struck a chord with me. It is the finest and most accurate assessment of jazz education today that I have seen to date. I'd like to echo his sentiments on two points. It is unfortunate that many high school and college band directors are woefully ill-equipped for the job of leading a jazz band. They may know how to rehearse a band but know little or nothing about teaching the art of playing jazz. Ignorance and an unwillingness to change are the two main problems. One solution would be workshops for jazz band directors which would focus on pedagogy, theory and improvisation, history, and just plain listening. Secondly, I also became somewhat dismayed with competitive jazz festivals. The emphasis is on trophies and that old pat on the back from the boss, not learning. I have known directors who are absolutely obsessed with rehearsing three or four tunes so they can win. Meanwhile, the kids lose, not even knowing what they're missing. I recently participated in a jazz festival workshop led by Todd Wilkinson at Washburn University. What a breath of fresh air! Each band played two tunes followed by the pros working with them for forty or so minutes. There was a whole lot of learning goin' on! At the evening concert, the clinicians were integrated into each band's performance. I'd love to see this model adopted by other festival coordinators. Finally, I too am a John Elliott disciple. In his gentle yet firm way, he set me straight on theory and improv. John taught me how to teach myself, and then he cut me loose. Once again we hear the refrain, "I couldn't have done it without him." Brilliant, yet self-effacing, I'm sure John is blushing from all this adoration. Well, John... you deserve it. And much more. Stan Kessler Kansas City, MO Heartfelt Thanks To My Friends in the Kansas City Music Community, On September 7th of this year, some of you know that I faced the unlikely prospect of undergoing open-heart, valve-replacement surgery... unlikely to me, that is. I can't lie; it's a big, fat, life-changing event, and at first a hugely scary one. Especially if you've been lulled into taking good health for granted like I have. But I survived it and survived it well, and as I sit here in Nashville, Tennessee, writing to you during Thanksgiving week 2001, I know that this year there's more to give thanks for than usual. For one thing, I'm thankful for some of the most gifted doctors and nurses available anywhere. Bright people with sharp senses of humor and easy laughter, talented people highly concerned about the welfare of a musician, all the way from Kansas City, who got caught off guard. People who acted like friends. Hey, there were even times I had fun. And there were profound moments that produced major updates in my understanding of the will of God. And meanwhile, the musical community of Kansas City decided that on September 30th at B.B.'s Lawnside Barbeque, it would be a Good Thang indeed to hold a benefit concert in my behalf. I wasn't ready to make the trip back to KC, but I did learn something I hadn't previously understood about friendship, and I'm going to tell you now what that is: there is energy, there is a tangible power in the warmth of the wishes of a group of friends coming together with a common focus. I am here to report that I'm a witness and a beneficiary of it. I was so weak, and so uninclined to put up a fight. I believe I would not have survived the experience without your prayers, and your presence, and your love lifting me up. It's in that spirit that I'm writing now; to my old and dear friends, the marvelous and soulful bands and musicians of Kansas City who worked hard and played hard, all for free, because they thought they could make it a little easier for me; to the fine fellows at Darkhorse Productions -- Cole York, Mike Harvey, Dave Brock and Bill Oxler -- who created and organized this event and continue to remain my living connection to the KC music scene; to my old pals The Camp-Harlow Band, musical hosts; to the fa-aabulous Connie "Crash" and the rest of the fine, dedicated folks at the indispensable KKFI radio station; to my ancient friend, the sainted Lindsey Shannon, for doing just about everything that needed to be done to make a sudden extravaganza fly, including providing his wonderful establishment, B.B.'s Lawnside Barbeque, and word-up on his radio show on the Fox; and last but not least, all y'all peoples who support the music community and came out on September 30th to make donations; my heartfelt thanks and love to you all. There is no adequate way that I can reciprocate. All I can do is write this little message, put it in a bottle and, along with the best wishes of Mike Metheny and the folks at JAM Magazine, hope it gets to all of you. Stay well. And I'll see you soon on the next trip home. Larry van Loon Nashville, TN Larry van Loon is featured on the new CD, Bless This House, reviewed in "For the Record." RETURN TO DECEMBER 2001/JANUARY 2002 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.