A LABOR OF LOVE

by Tim Cross

Thanks to a dedicated and determined few, jazz stays alive in many of KC's most popular venues.

Let's be honest. The next time you go out to hear live jazz, the last thing you'll be thinking about while you're listening is how the musicians in front of you actually got there, who booked them, how much they are paid, or what their relationship is with the owner.

Chances are you're probably not going to be giving much thought to the mundane logistics of scheduling, rent, real estate taxes, fire codes, city politics, or building maintenance either.

But every creative endeavor has its practical realities. Just as visual artists need galleries and exhibition spaces, and writers need publishing houses and printers, musicians need locations and opportunities for performance. Without clubs and restaurants, there are no significant outlets for local live music.

In this sense, live music is a collaboration between commerce and art, between business and entertainment. The jazz you experience "in the moment" at a gig is really the end result of a much longer process, a part of a larger continuum.

So how does live music in a club happen anyway? Who are the people who own or manage the venues? Why do they do it? What is their interest in jazz? What obstacles do they encounter? What are their concerns and opinions? What are their visions or predictions for the future?

Although opinions and situations may differ, one thing is consistent for owners and managers of jazz clubs: their work is truly a labor of love. This is what some of them had to say about keeping the music alive in Kansas City.

(L-R) Janie McShann, Wynton Marsalis, Blue Room server Penny Jenkins

JANIE MCSHANN
The Blue Room
For Janie McShann, initiation into the music business came at an early age. The daughter of legendary pianist and bandleader Jay McShann, she has long been involved in the promotion of concerts, fund raisers, and other projects, including coordination of the 1987 and 1992 18th and Vine Heritage Jazz Festivals. As indicated by the time-worn black and white photograph on her office wall, which shows her father and bassist Milt Abel at the famous Reno Club, jazz is more than an art form to her -- it's an integral part of her family history.

McShann currently manages the nighttime operations of the Blue Room at 18th and Vine. And during her tenure, this vital part of the American Jazz Museum has built a strong reputation as a jazz venue, in and beyond the city, with a schedule that features the finest musicians from the area, but also prominent names like Russell Malone, Pat Martino, Danilo Perez, and Eric Alexander.

"For nationally recognized artists from other cities, it's a thrill to play at 18th and Vine where so much history happened," McShann says.

She adds that musicians also feel "at home" and respected when they play the Blue Room, something they don't often experience in other parts of the country. She attributes this to midwestern hospitality, staff longevity, rapport with patrons, and the club's personal approach to business.

"We strive for an atmosphere of comfort. People want to feel welcome... in a more intimate setting. People like the closeness of the environment. It's a listening venue. They expect it. Musicians always say: 'One thing about the Blue Room -- people listen.'"

The club has also become a local "hang" for musicians on Monday nights, when up-and-coming young players and veterans can cut loose at the weekly "Blue Monday" jam session.

Although running a jazz club is "all about the music," as McShann puts it, she's quick to point out that it's also hard work.

"I do everything from stocking the bathroom supplies to taking Wynton Marsalis out for dinner!"

Apparently the hard work is paying off. The Blue Room is making it.

"I think we're here to stay. I see growth in various forms. You've got to venture out and take chances. Expand your audience. This is a business and it's important to remain viable. But success comes from consistency and high quality, which by the way, is good for bar sales -- the bottom line."

As a person who grew up with jazz, McShann has seen the evolution of the music and its culture over time, and remains positive about the outlook.

"I think jazz is still thriving. But our thinking in Kansas City is kind of limited. We think, if a club is not packed, it's not thriving. That's not true. You can go into a club in New York and only see twenty people in there, but nobody's worried. Here, we think there's a problem. It's like the Royals games. Just because every game is not sold out doesn't mean the team is folding. You don't have to have a packed house every night to be a viable club. If you're able to keep your doors open, you're okay. And we're doing okay.

"The Blue Room is located at 18th & Vine. Call 816-474-2929.

JOE WILCOX
The Club at Plaza III
According to Joe Wilcox, "In any job, if you get to do what you love for even one hour a day, that's a great life."

Despite the daily aggravations of a typical work day, from finding a plumber to dealing with the construction project next door, Wilcox clearly enjoys what he's doing at the Club at Plaza III.

"What we have here is a unique Kansas City environment," he explains. "The dining room upstairs emphasizes the western heritage, and the club downstairs emphasizes the jazz heritage -- both things the city is famous for."

Another nice thing about his job at Plaza III is that Wilcox gets
the chance to hear some of Kansas City's best musicians on a nightly basis.

"I love musicians. I like the creativity, the interaction. Do I like
all kinds of jazz? No. But I like any kind of jazz where you get that
dynamic, that moment, when you can tell the musicians are feeling it and enjoying each other. Like Lisa Henry or Queen Bey. They let their energy come down off the stage."

Regardless of his affinity for the music, keeping a jazz club afloat these days is a lot harder than it used to be. "Casinos have had an impact. They've cut into the entertainment dollar. And with the growth of outlying areas, getting people into town is becoming a challenge."

To adapt, the Club at Plaza III has had to cut back some, with less nights and smaller groups, but the commitment to jazz continues.

An important part of this commitment involves Kansas City area musicians. Although the club used to book a mix of local and national artists, Wilcox says that, "the dichotomy that we ran into with national acts is that they wanted both a club setting and a concert setting, which severely limited food and drink sales. We were losing money. And the truth is, the national acts that were coming through weren't as good as the local musicians who were already here."

While he is a big supporter of the home team, he also makes the criticism that "jazz needs to evolve" and that there is a lack of emotion and spontaneity in some of the music now performed in clubs. "You hear the same sets, the same standards, the same tunes, in the same order."

That aside, Wilcox doesn't hesitate to mention that "there is so much talent here," and he wants to help musicians to do well, which is not easy in the present culture.

"You can't charge a cover in this town anymore. Everybody thinks jazz should be free. With festivals everywhere and music on every corner in the Plaza, who's going to pay to see the same group play in a club? It has evolved into this free medium. And this erodes the ability to charge for it, which hurts musicians. Jazz has become an amenity for us, not an attraction. When you have to give it away, it becomes an amenity."

Attraction or not, Wilcox is not likely to give up on jazz any time soon.
"Are we getting rich having jazz? No. Is it compatible with what we're doing in the restaurant business? Absolutely.

"The Club at Plaza III is located in the Country Club Plaza at
4749 Pennsylvania. Call 816-753-0000.

BEENA BRANDSGARD
Jardine's Restaurant & Bar
Beena Brandsgard, the new owner of Jardine's, is having the time of her life. "I've never been happier," she says. "I'm very passionate about what I do."

Happy doesn't mean satisfied, though. She has a number of new projects in the works already, and has been networking with venues in St. Louis to "start bringing some national acts through."

"My focus is to make Jardine's the number one jazz club in the Midwest," she says.

Her reasoning for seeking a higher profile is pretty basic. "I want musicians to stay here. I'd like to see things improve so they don't have to move away to have a successful career."

While accepting that the passing of icons like Richard Ross, Sonny Kenner and Speedy Huggins, and the departures of figures like Kevin Mahogany, Todd Strait and Karrin Allyson have had a big impact, Brandsgard also stresses the need to appreciate what is here.

"There are not many cities I can think of that have this much jazz. People talk about the way it was, but I think what we have right now is wonderful. We've got a great thing going. We need to build on what we have and not worry about what we had in the past. We need to stop dwelling in the past. The music is still good. We just need to support it. And I'm trying to do my part."

One aspect of doing her part is ensuring that the musicians who work at Jardine's are respected and treated well.

"I like musicians and I understand them. They're a different breed. When a club owner doesn't understand musicians, there's a problem. And you've got to love the music."

Brandsgard is empathetic to the needs of creative artists, but is also realistic about the inevitability of noise and distraction in a bar situation.

"Musicians like to play here. There's energy in the room, and a lot of interaction between the performers and the audience. But it's not a concert setting. It's a jazz club. We try to put the listeners up front and the bigger, louder parties in the back. We expect customers to respect the musicians and the people who are trying to listen, but it's a give and take."

Another give and take involves balancing a love for jazz with the need for financial solvency. Brandsgard thinks the resources exist for success, despite uncertain times. So far, casinos and the bad economy have not affected her business, and customers are still coming through the door. Expressing it succinctly, she says, "Good things happen. Bad things happen. People still drink!"

In the end, the primary requirement for keeping the lights on in any club is dedication.

"Keeping it all together is a daily project. It's a huge undertaking. The food, the staff, the booking, the taxes, paying the bills -- it can be overwhelming. I spend 17-18 hours a day on this job. I call this my home now, because I spend more time here. But I love what I do. You have to love it to be in this business."

Jardine's is located just north of the Country Club Plaza at 4536 Main.
Call 816-561-6480. (And for more about Beena Brandsgard, see "Q&A" in this issue.)

DOUG BARNARD
The Majestic Steak House
When Doug Barnard opened the Majestic Steak House in 1993, the future may have been unsure, but one thing was certain: there was going to be jazz under the roof at 10th and Broadway.

"We had jazz right off the bat," he remembers. "We started with two nights a week, then added a Sunday jam, then figured, 'well, we've gone this far, let's go to seven nights a week.' And we never looked back!"

Barnard makes no bones about his music policy. "The reason we have jazz is because I love jazz. If we wanted to make money from music, we would play country-western and sell shots of whiskey and long-neck beers."

This love of jazz goes back to his youth, growing up in Kansas City, and his college days in Chicago. He describes himself as "a frustrated sax player" who was drawn to "melody, swing," and the soulful styles of Les McCann, George Benson and Eddie Harris.

"Jazz is magical," Barnard says. "That's what it's all about."

But "jazz is not life or death," he adds. "It's also for enjoyment. People like to come here to listen to great music and have a good time, have dinner with friends, enjoy a good steak and a bottle of wine. And jazz at the Majestic is not background music. In fact, Friday and Saturday nights are insane in here! As far as the issue of noise... it happens. This is not Carnegie Hall. It's a club. We would never allow a customer to be abusive, but we want people to come down and not be afraid to have fun."

A pragmatic businessman, Barnard is also a fan, and he's pleased that the Majestic has been able to provide longstanding house gigs for artists like Julie Turner, Bram Wijnands, Joe Cartwright, Tommy Ruskin, Billy Meynier and Wes Knowles. And now that the Majestic has settled its recent lawsuit with ASCAP, it looks like live music will continue on here as it has for the past decade.

"We're not making anybody rich, but we are providing work for a number of musicians. There are so many great musicians in this town that it's kind of a heartbreak that they can't all get enough work to make a living."

Obviously, in order for musicians to make a living, clubs have to survive and make money. Barnard says things aren't all that bad as far as the Majestic is concerned.

"The economy hasn't been as big a negative for us as it has been for others. We've kicked up our marketing efforts. We've also lost some business to the casinos, but that's a mixed bag, because they've made the city a convention destination, which has brought in business.

"If we could get the downtown convention district happening, which would take some time, we could have a real music district in this area. We may never be like the French Quarter in New Orleans, but with the Crossroads Art District, and the Folly Theater, and ten to twelve live music clubs, we'd really have something."

Until then, Doug Barnard will be keeping the legacy alive at 10th and Broadway.

"To me, this is classic Kansas City. A steak house with live jazz.

"The Majestic Steak House is located in downtown KC at 931 Broadway.
Call 816-471-8484.

"Bird" by Jim Myers

ROLAND SABATES
The New Point Grille
Eye surgeon, ophthalmologist, jazz-blues aficionado, art collector, businessman, owner of the New Point Grille... Dr. Roland Sabates is a man of many interests.

One look at the sculpture of Charlie Parker on the patio leading to the front door of his restaurant, or the walls inside, covered with posters, photographs and paintings, and it's clear that the words "Great American Cuisine and Jazz" on the club's logo are more than just a subtitle.

"There's nothing else like this," Sabates says. "There are few places where people can get a great meal and hear great jazz."

Since 1999, the upscale American cuisine has been created by chef and general manager John Roe. Accompanying the food, jazz is served up by the David Basse Trio, with Greg Richter and Bryan Hicks, or by occasional engagements from house favorites like Angela Hagenbach and Ida McBeth.

"We support local musicians and try to give them a place to play," Sabates comments. "We try to help them keep going."

He also says that musicians find the New Point Grille "an exciting room to play in, because the stage is in the center of the room, and the customers are enthusiastic and vocal about their appreciation of the music."

A jazz-and-blues fan and an entrepreneur, Sabates has invested a lot of himself in the restaurant. "This whole place is a labor of love. If I was in it for the money, I'd go broke."

He says it's difficult to keep live music going on a full time basis.

"It's real hard. We've noticed that people don't come out as much as they used to, although we do have a loyal following of regulars. We thought about cutting back, but it would change who we are.

"We don't know who comes for the food and who comes for the music," he continues. "But the food and music are really one thing. It's subtle. They work together. Jazz has been played in this building for over thirty years. When we opened, it wasn't an afterthought. The stage was built right into the floor plan. If we cut out live music, we'd change our whole concept."

Sabates has no intention of changing that concept and has no doubts about the kind of music he supports. "It would be un-cultural to have anything else but jazz. The Kansas City sound is part of the roots of jazz. This is our culture here, our heritage."

Although he is committed to continuing on with what he's doing, Sabates has some thoughts on how things could be improved for clubs like his. He thinks that the city government could do more to support, promote, and market Kansas City's native art form.

"It's important that the city not lose its heritage, and that all the jazz clubs to do well. They each offer something unique. They should never let that wither away. It would help if the city got involved and pushed tourists toward the jazz clubs. I see the future of jazz here as tourists and conventions.

"We're like a baseball 'small market,'" Sabates concludes. "We don't expect to be subsidized, but we could use a little help.

"The New Point Grille is located near Westport Road and Southwest Trafficway at 917 W. 44th St. Call 816-561-7600.

TIM WHITMER
The Phoenix Piano Bar & Grill
As a performer and part owner of a jazz club, Tim Whitmer has a unique perspective when it comes to the issue of live music venues and their success or failure.

Whitmer, a pianist and vocalist, has been a popular entertainer at the Phoenix for years, and got into the other end of the business when the original owners, Ron Schoonover and Kevin Heaton, moved on to other ventures. Feeling that it was important to keep the club going, Whitmer was able to pull together a group of investors, including co-owner Rich Denny, to buy it.

"I had played here since the beginning," he recalls. "I wanted to keep a seven-nights-a-week club open. And I knew the Phoenix had been an anchor for this area of town."

He doesn't regret the decision. Despite dark clouds in the economic forecast, Whitmer thinks jazz in Kansas City will weather the changes as it always has. "It's alive. It's a form that still flourishes. In fact, people still open new jazz clubs. I think the more, the better.

"I'm always accused of being the perennial optimist," he admits. "We've gone through changes, but to have six places (in Kansas City) that have full time jazz formats, that says something. One of the fascinating things is that all of these clubs have made full time commitments to jazz, which means a lot of people must love the music.

"(Jazz) goes though cycles," Whitmer adds. "The Kansas City tradition has been going a long time, and I think we're going through a building cycle right now. The downtown core is growing, the River Market area is thriving, and the city has made a commitment to this area. The growing loft population has been a boon to our business, too, which has been one of the biggest pluses. This is an exciting time to have a jazz club downtown. It's going through a rebirth."

That doesn't mean things are easy, however. "Any time you do something seven nights a week, whatever the format, it's a bit of a challenge," Whitmer says. He also acknowledges that it's a challenge he shares with other owners across town.

"We all come to it as a labor of love. Each club has its own niche, its own part of the jazz rainbow. Our niche is that we are a fun place to go, more of a party environment. Each of the artists who work here have a strong following, and most of them have been playing here a long time. It's like family. We encourage people to have a good time. Our mission statement is 'Let the good times roll.'"

Still performing regularly at the Phoenix, Whitmer has settled into his dual role as business owner and working musician. He has achieved his goal to keep the good times rolling at the club, and he knows he'll have a steady gig booked there for a while.

"I just love this place," he says with affection. "I like the room. I like the people who work here, I like the customers, I like the building. There's a certain spirituality in the place. There's a lot of history in the walls. And we still have a line out the door on Friday nights.

"The Phoenix Piano Bar & Grill is located in downtown KC at 8th & Central. Call 816-472-0001.

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