JAM: June/July 2002 Issue: Correspondence

Thank you, Warren
With the passing of Warren Durrett the Kansas City music community has lost a compassionate philanthropist.

In 1995, as my club (The Drum Room) was losing $1,500 a week, I called Warren for lunch. Actually, I only knew him from being in the same room on several occasions. He'd been in to see Boko Maru, and there had been a "roast" in his honor at The Drum Room. But, because he was a successful bandleader and businessman as well as a source of objective opinion, I wanted the benefit of his experience and candor. Between bites, he laid it out plainly: "Close the joint, but keep that group together. You've got a very good band." Looking back, that was some of the best advice I got.

My wife was pregnant with our first child. I was going through bankruptcy and facing a very uncertain future. As the club shut its doors I began looking for construction work. Without a truck, I was in trouble. I began booking as many gigs as possible with the band. We started playing more "service" music and compromising our ideals. (Though we were working more.) The baby arrived and I was looking into the financial "abyss." Just as I thought it was "curtains," a letter arrived saying simply, "I thought you could use this about now." Enclosed was a check from Warren for $1,000. Wow! Thanks to his generosity, I bought an old van and began painting and remodeling houses. It kept me on my feet through court proceedings and nights with a new infant. He got my family through a winter filled with anxiety and despair.

Today only the scars remain. The band is still together and our friendship continues to be a valuable asset. Warren was right; the club was only baggage.

If ever there was a man deserving of my praise, it is Warren Durrett. I can never convey my appreciation for this man's compassion on a foolhardy musician. I raise my glass in his honor and sing his praises to the angels. Thanks to Warren Durrett, I have learned to distinguish between "making a dollar" and "making a difference."

God Bless you, Warren. I hope somehow I can pass on the faith you restored in me.

Todd Wilkinson
Shawnee, KS

Good Questions
My name is Shawn Roney and I'm a jazz lover. Last year, I wrote you a letter regarding jam sessions and where I could sing. Mike Metheny wrote me a very nice reply suggesting I try Fedora's, which, in turn, led me to Inge's (now The Piano Room). I've sung with Luqman Hamza and Lucky Williams at The Piano Room a few times and have greatly enjoyed myself. Thank you very much for helping me find a place where I can pursue my hobby of making music with people.

When I last wrote, I don't think I mentioned that I play the autoharp. For some time, I thought I couldn't play jazz on the autoharp because it doesn't lend itself to the intricate chord changes found in jazz; therefore, I didn't think the autoharp was a "jazz" instrument. But after reminding myself that jazz uses instruments ranging from flutes to mandolins, I've decided I'd like to try.

Are there any jazz autoharpists out there? If so, who are some good ones to listen to, so I can develop a style? Does the autoharp seem to work best in any particular jazz genre, such as Dixieland?

Speaking of which, are there any clubs around Kansas City that feature Dixieland jazz and have Dixieland jam sessions? If so, which ones?

Please contact me via email at SRoney7635@aol.com. I hope to hear from you soon.

Sincerely,
Shawn Roney
Jazz Lover, Amateur Singer and Musician

Murky Impediments
What are some of the barriers to the growth, as well as the mainstreaming of jazz in Kansas City?

While it is clear that the nearly universal demise of jazz radio is attributed to station formatting, group ownership, increased costs of stations, and lack of promotion and vision from record labels, live performance impediments are more murky.

People who don't want to breathe second-hand smoke are limited to just a few venues. Noisy patrons can limit enjoyment of gifted artists. Concerts are frequently too expensive for all but the near-wealthy.

However, clubs and performers bear some responsibility, too. Within the fairly recent past, a number of people attempting to hear a prominent vocalist at a ticketed event only learned after waiting several hours inside that the tickets had all been given away to friends of the promoter along with a few others. Those of us who were kicked out could hardly help but feel that jazz really is becoming the music of the elite rather than that of the rank and file, as it was in the '30s and '40s. At that same location, other performers have cancelled too late for the public to be informed or have double-booked and not shown up.

I don't see any of this changing unless more of the public demands change.

Sincerely,
Jefferson E. Lewis
President, KC Jazz Ambassadors (1987)
Kansas City, MO

Let's Move On
I just read the Q&A with Robert Barrientos in the April/May JAM and wanted to agree with his comment about people saying what jazz is and what it isn't.

I've heard the same comment on a local public radio station's jazz program, hosted by two women, about who else but Pat Metheny.

Let's acknowledge the deaths of Pendergast and Parker and move on. Thank you for your publication.

Randall Ennes
Independence, MO

More Jazz, Please
Thanks for presenting Mr. Barrientos' side of the KKFI story (JAM, April/May 2002). I for one would like KKFI's format to include more jazz and less talk, and I definitely do not miss "Democracy Now," which had become little more than a whinefest for the terminally dissatisfied.

Larry Roth
Kansas City, MO

Gone With the Wind
The April/May issue of JAM mentions that Kenny G once held a note for 45 minutes. At a festival in London years ago, Rahsaan Roland Kirk held a single note for 90 minutes. I'm sure that in Rahsaan's case, the feat was truly entertaining. I hope I never have to mention Rahsaan and you-know-who at the same time again.

Bright Moments,
Steve Shoemaker
Kansas City, MO

Gratitude from Tram III
I would like to take this opportunity to thank the Elder Statesmen of Kansas City Jazz for inducting both my grandfather, Frank, and my father, Bill.

The reception was held at the Kansas City Club on April 19th, and this fine event, which was also a fundraiser, was attended by some of Kansas City's true living legends.

Without the focus, drive and desire of people like Sam and Pam Johnson, as well as David Basse, events such as this would not happen. We must not lose sight of the reasons this organization exists: To provide help to those older musicians who have given us years of service through music.

Thank you,
Bill Trumbauer, Jr.
Overland Park, KS

Recalling a Different Time
In the early '60s, somewhere between playing gigs and listening to albums, a small group of Kansas City musicians dreamed of a jazz festival in Kansas City. With the help of a few civic leaders, Kansas City Jazz, Inc. was established, and the first festival was born in 1964.

A board of directors was founded, and the work became an ongoing, all-season labor of love that enabled the sculpting of one more opportunity for jazz in Kansas City. High school and college ensemble winners held the festival's early afternoon slots, followed by local Kansas City name musicians. Then, as the evening progressed, the national headliners took the stage, often joining with local players.

The Kansas City Jazz Festival was an event that offered a peaceful model in a turbulent decade. And my father was one of those musicians with the dream. While I was a child, he taught me that jazz held the vision of removing gender and racial barriers. It was his hope for something greater that kept him directly involved in the planning and the playing. But, that festival eventually died and new life forms took shape.

Now, nearly four decades later, it is with sadness that we've watched the demise of the Blues and Jazz Festival. It has joined our collective memory of festivals that once were, including the Kansas City International Jazz Festival, and the 18th and Vine Heritage Jazz Festival, to name but a few.

It is the nature of jazz to evolve towards something new that has never been heard before. And now, as we find ourselves standing in the midst of another turbulent time, jazz can create a place that leads a diverse people towards a glimpse of unity. That would be a worthy legacy for a new millennium: a festival that embodies the blending of race and gender, and where musicians come together out of a love for creating music.

I am hoping for a new group of dreamers.

Pam Gibson Bauer
Leawood, KS

Pam Gibson Bauer is the daughter of the late Sherman L. "Jack" Gibson, former lead trumpeter with the Warren Durrett Orchestra and the Kansas City Kix Band, and one of the founders of the Kansas City Jazz Festivals of the 1960s and early '70s. -- Ed.

RETURN TO JUNE/JULY 2002 MAIN INDEX

© Kansas City Jazz Ambassadors 1996-2002. All rights reserved.






	Search our site:		Thank you, Warren With the passing of Warren Durrett the Kansas City music community has lost a compassionate philanthropist. In 1995, as my club (The Drum Room) was losing $1,500 a week, I called Warren for lunch. Actually, I only knew him from being in the same room on several occasions. He'd been in to see Boko Maru, and there had been a "roast" in his honor at The Drum Room. But, because he was a successful bandleader and businessman as well as a source of objective opinion, I wanted the benefit of his experience and candor. Between bites, he laid it out plainly: "Close the joint, but keep that group together. You've got a very good band." Looking back, that was some of the best advice I got. My wife was pregnant with our first child. I was going through bankruptcy and facing a very uncertain future. As the club shut its doors I began looking for construction work. Without a truck, I was in trouble. I began booking as many gigs as possible with the band. We started playing more "service" music and compromising our ideals. (Though we were working more.) The baby arrived and I was looking into the financial "abyss." Just as I thought it was "curtains," a letter arrived saying simply, "I thought you could use this about now." Enclosed was a check from Warren for $1,000. Wow! Thanks to his generosity, I bought an old van and began painting and remodeling houses. It kept me on my feet through court proceedings and nights with a new infant. He got my family through a winter filled with anxiety and despair. Today only the scars remain. The band is still together and our friendship continues to be a valuable asset. Warren was right; the club was only baggage. If ever there was a man deserving of my praise, it is Warren Durrett. I can never convey my appreciation for this man's compassion on a foolhardy musician. I raise my glass in his honor and sing his praises to the angels. Thanks to Warren Durrett, I have learned to distinguish between "making a dollar" and "making a difference." God Bless you, Warren. I hope somehow I can pass on the faith you restored in me. Todd Wilkinson Shawnee, KS Good Questions My name is Shawn Roney and I'm a jazz lover. Last year, I wrote you a letter regarding jam sessions and where I could sing. Mike Metheny wrote me a very nice reply suggesting I try Fedora's, which, in turn, led me to Inge's (now The Piano Room). I've sung with Luqman Hamza and Lucky Williams at The Piano Room a few times and have greatly enjoyed myself. Thank you very much for helping me find a place where I can pursue my hobby of making music with people. When I last wrote, I don't think I mentioned that I play the autoharp. For some time, I thought I couldn't play jazz on the autoharp because it doesn't lend itself to the intricate chord changes found in jazz; therefore, I didn't think the autoharp was a "jazz" instrument. But after reminding myself that jazz uses instruments ranging from flutes to mandolins, I've decided I'd like to try. Are there any jazz autoharpists out there? If so, who are some good ones to listen to, so I can develop a style? Does the autoharp seem to work best in any particular jazz genre, such as Dixieland? Speaking of which, are there any clubs around Kansas City that feature Dixieland jazz and have Dixieland jam sessions? If so, which ones? Please contact me via email at SRoney7635@aol.com. I hope to hear from you soon. Sincerely, Shawn Roney Jazz Lover, Amateur Singer and Musician Murky Impediments What are some of the barriers to the growth, as well as the mainstreaming of jazz in Kansas City? While it is clear that the nearly universal demise of jazz radio is attributed to station formatting, group ownership, increased costs of stations, and lack of promotion and vision from record labels, live performance impediments are more murky. People who don't want to breathe second-hand smoke are limited to just a few venues. Noisy patrons can limit enjoyment of gifted artists. Concerts are frequently too expensive for all but the near-wealthy. However, clubs and performers bear some responsibility, too. Within the fairly recent past, a number of people attempting to hear a prominent vocalist at a ticketed event only learned after waiting several hours inside that the tickets had all been given away to friends of the promoter along with a few others. Those of us who were kicked out could hardly help but feel that jazz really is becoming the music of the elite rather than that of the rank and file, as it was in the '30s and '40s. At that same location, other performers have cancelled too late for the public to be informed or have double-booked and not shown up. I don't see any of this changing unless more of the public demands change. Sincerely, Jefferson E. Lewis President, KC Jazz Ambassadors (1987) Kansas City, MO Let's Move On I just read the Q&A with Robert Barrientos in the April/May JAM and wanted to agree with his comment about people saying what jazz is and what it isn't. I've heard the same comment on a local public radio station's jazz program, hosted by two women, about who else but Pat Metheny. Let's acknowledge the deaths of Pendergast and Parker and move on. Thank you for your publication. Randall Ennes Independence, MO More Jazz, Please Thanks for presenting Mr. Barrientos' side of the KKFI story (JAM, April/May 2002). I for one would like KKFI's format to include more jazz and less talk, and I definitely do not miss "Democracy Now," which had become little more than a whinefest for the terminally dissatisfied. Larry Roth Kansas City, MO Gone With the Wind The April/May issue of JAM mentions that Kenny G once held a note for 45 minutes. At a festival in London years ago, Rahsaan Roland Kirk held a single note for 90 minutes. I'm sure that in Rahsaan's case, the feat was truly entertaining. I hope I never have to mention Rahsaan and you-know-who at the same time again. Bright Moments, Steve Shoemaker Kansas City, MO Gratitude from Tram III I would like to take this opportunity to thank the Elder Statesmen of Kansas City Jazz for inducting both my grandfather, Frank, and my father, Bill. The reception was held at the Kansas City Club on April 19th, and this fine event, which was also a fundraiser, was attended by some of Kansas City's true living legends. Without the focus, drive and desire of people like Sam and Pam Johnson, as well as David Basse, events such as this would not happen. We must not lose sight of the reasons this organization exists: To provide help to those older musicians who have given us years of service through music. Thank you, Bill Trumbauer, Jr. Overland Park, KS Recalling a Different Time In the early '60s, somewhere between playing gigs and listening to albums, a small group of Kansas City musicians dreamed of a jazz festival in Kansas City. With the help of a few civic leaders, Kansas City Jazz, Inc. was established, and the first festival was born in 1964. A board of directors was founded, and the work became an ongoing, all-season labor of love that enabled the sculpting of one more opportunity for jazz in Kansas City. High school and college ensemble winners held the festival's early afternoon slots, followed by local Kansas City name musicians. Then, as the evening progressed, the national headliners took the stage, often joining with local players. The Kansas City Jazz Festival was an event that offered a peaceful model in a turbulent decade. And my father was one of those musicians with the dream. While I was a child, he taught me that jazz held the vision of removing gender and racial barriers. It was his hope for something greater that kept him directly involved in the planning and the playing. But, that festival eventually died and new life forms took shape. Now, nearly four decades later, it is with sadness that we've watched the demise of the Blues and Jazz Festival. It has joined our collective memory of festivals that once were, including the Kansas City International Jazz Festival, and the 18th and Vine Heritage Jazz Festival, to name but a few. It is the nature of jazz to evolve towards something new that has never been heard before. And now, as we find ourselves standing in the midst of another turbulent time, jazz can create a place that leads a diverse people towards a glimpse of unity. That would be a worthy legacy for a new millennium: a festival that embodies the blending of race and gender, and where musicians come together out of a love for creating music. I am hoping for a new group of dreamers. Pam Gibson Bauer Leawood, KS Pam Gibson Bauer is the daughter of the late Sherman L. "Jack" Gibson, former lead trumpeter with the Warren Durrett Orchestra and the Kansas City Kix Band, and one of the founders of the Kansas City Jazz Festivals of the 1960s and early '70s. -- Ed. RETURN TO JUNE/JULY 2002 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2002. All rights reserved.