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 One of The Best Thank you for including me in "The Best of Q&A" (Dec. 2002/Jan. 2003). So many great interviews you have conducted, with interesting comments, observations, history, happenings, and points of view. Cheers to you! JAM is one of the main factors that keeps the music scene going in our city. When people say, "Not much is happening musically in Kansas City," I say, "Get the JAM, observe the listings for the appearances of singers and musicians, then go out and listen!" One thing I must tell you... When I read the part of my Q&A about Ella (Fitzgerald), I realized that, during the interview, I must have sounded off-handed and trite (or at least that's the way it reads to me). The "someone" who asked Ella who she listened to was Johnny Carson, and again Mike Douglas during her television appearances on their shows. Of course, I was totally honored. And, although I did say that being on the opposite side of the mike with Ella was "fun" (and it was), I have to tell you it was one of the most thrilling highlights of my singing life. And it always will be. Again, "Bravo" to JAM, the staff, and to the Jazz Ambassadors' board. Sincerely, Marilyn Maye For a review of Marilyn Maye's latest CD, see "For the Record." -- Ed. Congratulations Dear Mike, Thanks for the copies of JAM: Jazz Ambassador Magazine. I will share them with the managing editor of the International Musician and proudly display the magazine in our lobby. Congratulations on your 100th issue and good wishes for the next 100! Sincerely, Florence Nelson Secretary-Treasurer American Federation of Musicians of the United States and Canada New York, NY "Strange Frut" Greetings to you, Mr. Mike Metheny. I hope this letter finds you in good health. The reason I have decided to write this letter to you is because you mentioned "community support" in your article ("Here's to Long-term Success at 18th & Vine... For Everyone," Dec. 2002/Jan. 2003) regarding the "reconsidering of the name Strange Frut" as the restaurant name coming to the Historic Jazz District at 18th and Vine. As a member of the community I think you should know that the name "strange frut" adds a history lesson to a Historic District. Frankly, I think of it as a disservice for us not to support this millennium moment. As (you are) a member of the Board of Directors at the American Jazz Museum, I thought it would be an honor for the Board to recognize the accomplishments of this community, people, culture, legacy and nation. As for me, when I think of "strange frut," I don't think about the "image of black men hanging by nooses from trees." I think about fresh, natural and organic foods that taste remarkably well. I think of a healthy culinary experience. I think of (Strange Frut owner) M.J. Harper who has shown me love. Love enough to remind us of where we have been, where we are, and where we are going. Congratulations to "Strangefrut Catering Services" for lifting every voice and singing. Sincerely, LeAnne Richardson Kansas City, KS Mike Metheny responds: It's just a hunch, but something tells me that when Billie Holiday sang about "Strange Fruit," neither she nor her rapt listeners were thinking about food. But, as time goes by, and as I become more dazed and confused about life's many contradictions, I'll admit there's a chance I'm missing the point here. This much I do know: I absolutely, positively want 18th & Vine to succeed, right down to each and every entity that invests in this vitally important part of town. But, new controversy -- such as this one that began in The Kansas City Star last fall -- is the very last thing 18th & Vine needs. Why not honor the great Miss Holiday with a restaurant name like "Lady Day," or some other reference that will remind (and educate) patrons about one of the most influential jazz singers ever? No controversy or discomfort there, just another good reason to head on over to the Jazz District for food, fun, valuable lessons in history, and classic jazz sounds. Some Thoughts on Live Jazz I've been putting food on the table by performing all styles of music for 35 years. Here's my two cents on the subject of live jazz. Because music videos and technology have desensitized the watching and listening public into a visually over-stimulated technology-driven monster, I feel the only real way to get an audience reaction these days is to do something they haven't already seen on TV. Like, arrange to have a fellow band member set on fire. Live music by jazz musicians is usually so visually boring (they just sit or stand in one place and play), bored audiences seek stimulation elsewhere. When this country only had radios, jazz was really happening because people were actually forced to listen and then come up with their own visuals. When fans went to hear live jazz in its heyday, it was fun for them to finally see the faces of the musicians on the records. After that thrill was over, however, it was boring to watch. But the beat of the music was infectious, and audiences couldn't sit still. So, dancing was the logical thing to do. Today, if there actually was a jazz act or band in Kansas City that featured pyrotechnics, video, smoke, dancers, lasers, and anything having to do with T & A, they'd be packing the place night after night and the act would be the talk of the town. But eye candy is not what jazz is. So, as a visual, jazz is doomed, or dead already. I feel like there are maybe 10 to 15 more years of this jazz thing. After that, all of the people who lived it and saw it in its heyday will be gone, leaving nothing but jazz musicians with day jobs and a few near-dead die-hard fans. Jazz's universally accepted multi-definition is now contorted and whacked out beyond anybody's comprehension. When the Fairway Trio used to sit in my van during our breaks and listen to FM radio, our local "smooth jazz" station would follow a Motown recording with an Eric Clapton tune. We didn't know whether to laugh or cry. We used to have an FM station in this area that billed itself as "the only real jazz in town." That station is now "The Bilge" and plays no jazz at all. Are you a true fan? Jazz is surviving in little pockets, here and there. There are quite a few places in KC where you can still go to hear and watch jazz music being played. Each venue offers varying degrees of audience acceptance, or interference, depending on where you go to listen. Most audiences are happy to largely ignore the band and the music and talk and laugh as loud as possible. Perhaps the best way to enjoy listening to jazz music is to go buy the DVD or CD and take it home. That way, there are no crying babies, cell phones, dishes and glasses shattering on the floor, talking/laughing/screaming table-loads of uninterested diners and drinkers. It's quiet. It's private. Just you and the song. But that usually doesn't help the local performing musician feed their kids. Jazz musicians haven't received a cost-of-living raise in over 50 years, and they are still expected to show up and play four sets for $50 to $75. Why does this happen? Because musicians let it happen. A jazz pianist trying to keep a roof over the heads of his family of five has totally different needs than the jazz pianist living with his parents. Both are great players, but the father of five needs to make $100 or more for a night's work. The live-at-home guy is tickled to make $50. Who gets the gig? Is the live-at-home guy aware that he's helping to ruin it for all players? Maybe, but it doesn't matter. He's just happy to be working. And this scenario is going on with rock and country musicians, too. The fix for this is obvious. But, sadly, musicians aren't united enough to pull it off. Are you a jazz musician? Are you being ignored? Perhaps we, as musicians, should be more willing to follow a logical path and check our attitudes, adapt and expand. Know what my band does to kill the boredom and spice up things? We change the arrangement almost every time we play a song Why? Why the hell not? Who wants to hear it the same way every night? That might be a huge part of the overall problem. Last summer, somebody asked us to play "Billie Jean." Instead of copping an attitude about it, we played it and it sounded cool. It didn't sound like the record; it sounded like us. And people liked it. Most of the time we have fun. People see us having fun, and that plays a big part in the opinions they form about their experience with live music. To live music fans, I say thanks very much for your support. But please stop yelling over the live music. Continue to listen, buy locally produced CDs, and don't forget to tip your bartenders and servers. To musicians and performers, I say try to lose the attitude, be kind to your fellow musicians, shut up and play. Stop thinking of it as a death sentence. It's going to get better only if you make it better. At least try to appear as if you're having fun. To the wealthy bar, club, and restaurant owners and managers who insist on treating their entertainment performers like Pavlov slave labor and third-class citizens, I say howdy. (Just wanted to give all parties a mention here.) Lastly, I'd like to say that jazz is not the big rent-collectin' landlord it used to be. Jazz is currently sharing a big, one-bathroom house with several other proud and loud music styles as roommates. It's hard for jazz to stand up and stretch like it used to. Jazz is not thrilled about losing its covered parking, either. But you have to be flexible if you want to coexist. Rent party, anyone? Denny Osburn Kansas City, MO Denny Osburn and the Fairway Trio were the house band at the Fairway Grill from 1998 to 2002 -- Ed.
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