JAM: December 2003/January 2004 Issue: Correspondence

Inadvertent Omissions
Re: "In Praise of Those Who Spread the Word" (JAM, Oct./Nov. 2003) check out my bio at http://www.joe-cartwright.com/bio/index.html. I think my name and bio would qualify as inadvertent omissions.

Joe Cartwright
Kansas City, MO

Editor's Note: Here is Joe Cartwright's bio that can be found at the above web address:

"One of the brightest stars in the Kansas City Jazz firmament," says Dr. Chuck Berg of JazzTimes Magazine. Jazz pianist Joe Cartwright has lived, performed and taught in the Kansas City area for the last eighteen years. He is a graduate of the UMKC Conservatory of Music. Cartwright currently leads his own duo, trio and quartet. Joe has performed on and produced numerous jazz recordings. His credits include work with internationally recognized jazz artists Eddie Harris, Sheila Jordan, Bill Watrous, Conte Candoli, Jeff Clayton, Rob McConnell, Carl Fontana, Red Holloway, John Clayton, Karrin Allyson, Tiger Okoshi, Claude "Fiddler" Williams, Richie Cole, Jimmy Witherspoon, Kevin Mahogany and Mel Torme'. He has been a featured performer with the Kansas City Symphony and the Independence Symphony, and his trio was featured in performance at the 1992 World's Fair in Seville, Spain as representatives of Kansas City Jazz. Cartwright was a semi-finalist in the First Annual Thelonious Monk Jazz Competition in Washington D.C., a finalist in the Great American Jazz Piano Competition in Jacksonville, Florida, and a winner of the Missouri Music Teachers Classical Piano Competition. In the summer of 1997 Cartwright was invited to perform in Hong Kong as part of the change-over celebration. In the fall of 1998 he toured Africa as part of the USIA/ Kennedy Center Jazz Ambassador Touring Program. In the spring of 2000, Cartwright toured the Middle East, Africa, India and Southeast Asia as a USIA Jazz Ambassador. When not performing and giving clinics, Joe composes, arranges and teaches jazz piano and theory.

Dear JAM,
Living in Miami means I'm too far from Kansas City. I have to come home four or five times a year to get my jazz fix.. Between times I feast on JAM and let my imagination do its thing. I argue with New Yorkers and others about where the great music comes from. Your recent issue (Oct./Nov. 2003) gives me great ammunition. They always respond by saying, "I didn't know." I answer, "There's more." That's another reason why I'm writing.

I remember the '60s and '70s vividly; a considerable number of great players kept the music in town alive. Certainly one would have to mention George Salisbury, Herb Six, Frank Smith and Milt Abel among them. You could easily devote an issue to those four players, to so many extraordinary moments and achievements, to the breadth of their influence, to their spectacular teaching, and to the high regard in which they were and are held by other players. Story has it that Bird would only play with George on those rare times he came back to Kansas City, that Frank had a following in Tokyo as well as at home, that Herb Six not only started the jazz program at UMKC (KCU then), but let loose some real stars. And, of course, all of us can remember how Milt could mesmerize enormous audiences, almost alone, with his bass, his voice and his whistle.

I'm sad they didn't get first billing in JAM. They stayed in town rather than sought celebrity furiously elsewhere. They weren't big at self-marketing, but they lived for the music and kept the Kansas City tradition alive for all of us.

Cheers,
Dan Jaffe
Miami, FL

Dear JAM,
First, I would like to thank you for your wonderful and informative articles honoring our rich jazz heritage (JAM, Oct./Nov. 2003). At the very least, I think the names of all those musicians should be enshrined in Kansas City's American Jazz Museum.

If there is an "update" in a future issue, here are some more names that might be considered:

Bass player, singer and producer John Hatton. John played with Pete Eye, Gary Sivils and others when he was in Kansas City. He has lived in Los Angeles since 1974 and has performed with Brian Setzer, Tony Bennett, Clark Terry, Steve Allen, Rosemary Clooney, Marilyn Maye, Liza Minnelli, Elvis Presley and many more.

Our own Joe Cartwright! Joe has been "spreading the word" for years and has appeared with many acclaimed jazz musicians.

Drummer Scott Robinson. When "Scotty" was growing up in Lee's Summit 25 years ago he was widely respected as an outstanding young musician. He is now playing with guitarist Pat Martino.

And speaking of Lee's Summit, how about Mike Metheny? I understand his reluctance to mention his own name, but he is certainly deserving of this kind of recognition.

Again, my heartfelt thanks for the attention you've given to our incredible jazz history. May we never forget.

Paul Smith
Independence, MO

What Else Jazz Needs
We received our October/November JAM and have read most of it. It's good. We noted the letter titled "What Jazz Needs" ("Correspondence") and thought several good points were raised.

However, one key point was missing.

My wife and I need a smoke-free environment if we are going to be able to enjoy the music without hurting our health. We frequently enjoy the Folly Theater, Unity on the Plaza, the Gem Theater, and the Blue Room. But we can't enjoy "the clubs" because of the smoke. I can't tell you how many times we have gone out for a meal with cash money to spend but couldn't be seated because of the smoke. That means lost sales for the club and lost enjoyment for us.

We've taken to calling ahead to check on the availability of smoke-free facilities before driving to the club. One recent call to a well known and respected KC club brought this response: "Darling, we're a jazz club. We're all smokers." Well, you all may be smokers, but we're not. You don't get my money and I don't get sick. Fair?

If you agree, take a minute and drop a note to the editor of JAM. And when you go out for a night of music, ask for a smoke-free (or at least a non-smoking) area. Make sure the owners know how you feel.

Jay and Sylvia Lautzenheiser
Kansas City, MO

Why Jazz Is Dying In KC
Dear JAM,
I consider myself a young jazz fan in that I just turned 25. I have been a huge fan of jazz for as long as I can remember, and I actively listen to, attend, and buy jazz music.

I grew up in Kansas City, but moved to Chicago after my college career. I will be moving back to Kansas City in a year, but I am disheartened by the jazz scene there. It seems there is a dedicated fan base, and the history is not in dispute, but the feelings I get are that Kansas City jazz now is by and for an older generation.

Kansas City jazz fans seem to be content to listen to old standards covered by old guys in stodgy upscale clubs. I have not heard one mention of young jazz artists creating new music, and I certainly have not seen any of these artists booked at clubs or theaters in town. Where are the Medeskis, Martins and Woods? The Brad Mehldaus? And even the Norah Joneses of the world? They are worldclass artists who would draw a younger crowd. They are original and push the boundaries of jazz, which is at the heart of the music. Why have I not seen much about even the likes of Pat Metheny, Dave Holland, John Scofield and Christian McBride? The list goes on and on.

The only reason jazz is dying in Kansas City is that the inner circle of jazz promoters in the city are supporting dead jazz. Charlie Parker is dead, Duke Ellington is dead, Lester Young is dead. Their music has been played by virtuosic musicians, and those CDs can be picked up for $10. Why would I be tempted to see a weak knock-off band play the same old tunes with no real direction? What is the real enticement for the younger crowd to attend jazz events? Just because we need to support jazz in Kansas City?

There is a huge fan base for jazz music in the younger generation that I bet JAM would not know exists. I will support jazz my entire life, and I would like nothing more than for Kansas City to become the jazz capital of the world again. However at the current pace, and with the current leadership, I am afraid that the future is not so bright.

There are great jazz musicians in the world; let's lure them to our great city and inject some life into Kansas City's music scene.

Sincerely,
Nick Scott
Chicago, IL

For the record: KC appearances in recent years by Medeski, Martin & Wood, John Scofield, and Brad Mehldau (at either the Kansas City Blues & Jazz Festival or the Kansas City International Jazz Festival, both of which eventually folded due to lack of local support), along with Dave Holland (Folly Jazz Series), Christian McBride (the now-defunct Drum Room, The Club at Plaza III, the Grand Emporium) and Pat Metheny (most recently at Liberty Hall in Lawrence) have all been promoted in this magazine. And following her Grammy sweep earlier this year (see JAM, April/May 2003), Norah Jones performed to a packed Midland Theater in July. -- Ed.






	Search our site:		Inadvertent Omissions Re: "In Praise of Those Who Spread the Word" (JAM, Oct./Nov. 2003) check out my bio at http://www.joe-cartwright.com/bio/index.html. I think my name and bio would qualify as inadvertent omissions. Joe Cartwright Kansas City, MO Editor's Note: Here is Joe Cartwright's bio that can be found at the above web address: "One of the brightest stars in the Kansas City Jazz firmament," says Dr. Chuck Berg of JazzTimes Magazine. Jazz pianist Joe Cartwright has lived, performed and taught in the Kansas City area for the last eighteen years. He is a graduate of the UMKC Conservatory of Music. Cartwright currently leads his own duo, trio and quartet. Joe has performed on and produced numerous jazz recordings. His credits include work with internationally recognized jazz artists Eddie Harris, Sheila Jordan, Bill Watrous, Conte Candoli, Jeff Clayton, Rob McConnell, Carl Fontana, Red Holloway, John Clayton, Karrin Allyson, Tiger Okoshi, Claude "Fiddler" Williams, Richie Cole, Jimmy Witherspoon, Kevin Mahogany and Mel Torme'. He has been a featured performer with the Kansas City Symphony and the Independence Symphony, and his trio was featured in performance at the 1992 World's Fair in Seville, Spain as representatives of Kansas City Jazz. Cartwright was a semi-finalist in the First Annual Thelonious Monk Jazz Competition in Washington D.C., a finalist in the Great American Jazz Piano Competition in Jacksonville, Florida, and a winner of the Missouri Music Teachers Classical Piano Competition. In the summer of 1997 Cartwright was invited to perform in Hong Kong as part of the change-over celebration. In the fall of 1998 he toured Africa as part of the USIA/ Kennedy Center Jazz Ambassador Touring Program. In the spring of 2000, Cartwright toured the Middle East, Africa, India and Southeast Asia as a USIA Jazz Ambassador. When not performing and giving clinics, Joe composes, arranges and teaches jazz piano and theory. Dear JAM, Living in Miami means I'm too far from Kansas City. I have to come home four or five times a year to get my jazz fix.. Between times I feast on JAM and let my imagination do its thing. I argue with New Yorkers and others about where the great music comes from. Your recent issue (Oct./Nov. 2003) gives me great ammunition. They always respond by saying, "I didn't know." I answer, "There's more." That's another reason why I'm writing. I remember the '60s and '70s vividly; a considerable number of great players kept the music in town alive. Certainly one would have to mention George Salisbury, Herb Six, Frank Smith and Milt Abel among them. You could easily devote an issue to those four players, to so many extraordinary moments and achievements, to the breadth of their influence, to their spectacular teaching, and to the high regard in which they were and are held by other players. Story has it that Bird would only play with George on those rare times he came back to Kansas City, that Frank had a following in Tokyo as well as at home, that Herb Six not only started the jazz program at UMKC (KCU then), but let loose some real stars. And, of course, all of us can remember how Milt could mesmerize enormous audiences, almost alone, with his bass, his voice and his whistle. I'm sad they didn't get first billing in JAM. They stayed in town rather than sought celebrity furiously elsewhere. They weren't big at self-marketing, but they lived for the music and kept the Kansas City tradition alive for all of us. Cheers, Dan Jaffe Miami, FL Dear JAM, First, I would like to thank you for your wonderful and informative articles honoring our rich jazz heritage (JAM, Oct./Nov. 2003). At the very least, I think the names of all those musicians should be enshrined in Kansas City's American Jazz Museum. If there is an "update" in a future issue, here are some more names that might be considered: Bass player, singer and producer John Hatton. John played with Pete Eye, Gary Sivils and others when he was in Kansas City. He has lived in Los Angeles since 1974 and has performed with Brian Setzer, Tony Bennett, Clark Terry, Steve Allen, Rosemary Clooney, Marilyn Maye, Liza Minnelli, Elvis Presley and many more. Our own Joe Cartwright! Joe has been "spreading the word" for years and has appeared with many acclaimed jazz musicians. Drummer Scott Robinson. When "Scotty" was growing up in Lee's Summit 25 years ago he was widely respected as an outstanding young musician. He is now playing with guitarist Pat Martino. And speaking of Lee's Summit, how about Mike Metheny? I understand his reluctance to mention his own name, but he is certainly deserving of this kind of recognition. Again, my heartfelt thanks for the attention you've given to our incredible jazz history. May we never forget. Paul Smith Independence, MO What Else Jazz Needs We received our October/November JAM and have read most of it. It's good. We noted the letter titled "What Jazz Needs" ("Correspondence") and thought several good points were raised. However, one key point was missing. My wife and I need a smoke-free environment if we are going to be able to enjoy the music without hurting our health. We frequently enjoy the Folly Theater, Unity on the Plaza, the Gem Theater, and the Blue Room. But we can't enjoy "the clubs" because of the smoke. I can't tell you how many times we have gone out for a meal with cash money to spend but couldn't be seated because of the smoke. That means lost sales for the club and lost enjoyment for us. We've taken to calling ahead to check on the availability of smoke-free facilities before driving to the club. One recent call to a well known and respected KC club brought this response: "Darling, we're a jazz club. We're all smokers." Well, you all may be smokers, but we're not. You don't get my money and I don't get sick. Fair? If you agree, take a minute and drop a note to the editor of JAM. And when you go out for a night of music, ask for a smoke-free (or at least a non-smoking) area. Make sure the owners know how you feel. Jay and Sylvia Lautzenheiser Kansas City, MO Why Jazz Is Dying In KC Dear JAM, I consider myself a young jazz fan in that I just turned 25. I have been a huge fan of jazz for as long as I can remember, and I actively listen to, attend, and buy jazz music. I grew up in Kansas City, but moved to Chicago after my college career. I will be moving back to Kansas City in a year, but I am disheartened by the jazz scene there. It seems there is a dedicated fan base, and the history is not in dispute, but the feelings I get are that Kansas City jazz now is by and for an older generation. Kansas City jazz fans seem to be content to listen to old standards covered by old guys in stodgy upscale clubs. I have not heard one mention of young jazz artists creating new music, and I certainly have not seen any of these artists booked at clubs or theaters in town. Where are the Medeskis, Martins and Woods? The Brad Mehldaus? And even the Norah Joneses of the world? They are worldclass artists who would draw a younger crowd. They are original and push the boundaries of jazz, which is at the heart of the music. Why have I not seen much about even the likes of Pat Metheny, Dave Holland, John Scofield and Christian McBride? The list goes on and on. The only reason jazz is dying in Kansas City is that the inner circle of jazz promoters in the city are supporting dead jazz. Charlie Parker is dead, Duke Ellington is dead, Lester Young is dead. Their music has been played by virtuosic musicians, and those CDs can be picked up for $10. Why would I be tempted to see a weak knock-off band play the same old tunes with no real direction? What is the real enticement for the younger crowd to attend jazz events? Just because we need to support jazz in Kansas City? There is a huge fan base for jazz music in the younger generation that I bet JAM would not know exists. I will support jazz my entire life, and I would like nothing more than for Kansas City to become the jazz capital of the world again. However at the current pace, and with the current leadership, I am afraid that the future is not so bright. There are great jazz musicians in the world; let's lure them to our great city and inject some life into Kansas City's music scene. Sincerely, Nick Scott Chicago, IL For the record: KC appearances in recent years by Medeski, Martin & Wood, John Scofield, and Brad Mehldau (at either the Kansas City Blues & Jazz Festival or the Kansas City International Jazz Festival, both of which eventually folded due to lack of local support), along with Dave Holland (Folly Jazz Series), Christian McBride (the now-defunct Drum Room, The Club at Plaza III, the Grand Emporium) and Pat Metheny (most recently at Liberty Hall in Lawrence) have all been promoted in this magazine. And following her Grammy sweep earlier this year (see JAM, April/May 2003), Norah Jones performed to a packed Midland Theater in July. -- Ed. RETURN TO DECEMBER 2003/JANUARY 2004 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2003. All rights reserved.