JAM: February/March 2004 Issue: Hampton's Hot Licks

Dean Hampton

KC Jazz is alive and well says the New York Times
When I first moved to Kansas City in 1974 I began reading in various publications that Kansas City jazz was dead. I knew it was not what it used to be back when Tom Pengergast was running things. Through my 12+ years on the JAM staff, I continue to read such rubbish. On January 3, 2004 , I was very happy to read in the New York Times that jazz in KC is doing quite well. The 1200 word article was, “A Jazz Legend Rekindles Kansas City's Musical Past” by Stephen Kinzer. While it mostly covered Jay McShann and his recent concert at the Folly Theater, there was plenty said about how well jazz is doing in KC today.

Kinzer wrote, “Although the musical scene that produced Mr. McShann faded long ago, Kansas City still has more than two dozen clubs where jazz is played regularly, making it one of the country's leading jazz centers. Musicians here are caught in the perpetual bind of whether to respect the city's tradition by playing in the classic style that Mr. McShann helped develop or to embrace bebop, free jazz and other more modern approaches. The tension between these poles is a creative force that fuels the music scene here and keeps Kansas City on the jazz map.”

On the other side of this coin on Friday, January 9, Tom Leathers of The Squire announced on KCMO's “Mike Murphy Show,” that his feature article in the February 1 issue of Squire focused on a “Farewell to KC Jazz.” When Marilyn Maye called into the talk show, he proclaimed he liked her jazz but that people in KC just don't like jazz anymore. Maye did a good job of explaining that he was making an unfair blanket statement, similar to asking people if they liked food. There is some food you like and some that you don't like. She continued to describe some of the happening jazz in the city, the styles that are being played here (and in other cities) and her very successful approach to getting the audience involved with her.

My opinion: If jazz is dead in KC, so are the thousands of people who attend local jazz events, purchase locally and nationally produced jazz CDs with KC roots and support public radio jazz programming. We have lost some festivals in KC but that is not due to lack of interest in the music; rather, lack of corporate funding and sponsorships. Along with a crummy economy, we are still feeling the 9-11 impact on the arts.

If you think jazz in KC is dead, consider:

Calling the Jazz Hotline (816-753-5277) and listen to about eight minutes of jazz events going on this week.
Previewing and/or buying the great KC-produced jazz CDs on the shelves at Borders, Barnes & Noble, Streetside, The Music Exchange and other dealers.
Visiting UMKC's course catalog and look at the classes now available at one of the finest jazz studies programs in the nation, a growing program with double the enrollment from a couple of years ago. Thank you Bobby Watson and Hal Melia!
Taking in some of the junior college and high school jazz concerts that are building future musicians and fans.
When prom season comes around, make a visit to Plaza III on a Saturday night and witness the large crowd of high schoolers on their first visits to a world- class jazz club for dinner, dancing and (soft) drinks. When they turn 21, they will be back!
Finally, you put up the bucks and I will put up my time to give you a tour through a week of jazz events to see all of those musicians who make KC jazz fun and great.

Blue Room - Pillars are gone
Most of us who have gone to the Blue Room have occasionally had to sit behind one of the three pillars that contained a lot of valuable historic information. Seldom did I see anyone looking at these to study KC jazz history during a live performance. The “obstructions” have been removed providing a clear shot at the stage from those “back seats”. Good move by the American Jazz Museum!

Mike Metheny - A Class Act on Horn or Pen
Mike Metheny and I started working together on JAM 10 years ago. We didn't know each other very well. That changed as we worked through about 60 issues together. It was a decade of progress, growth and change with some major hiccups along the way. For us to survive it as a team and keep on track, we had to understand each other's strengths and weaknesses. JAM has become one of the top jazz magazines in America. If I were to give an award to anyone in the KC jazz community for best decade of service, absolutely no question who would be the winner. Thanks, Mike, for doing a fantastic job of building JAM… and jazz in the midwest.

On January 12, Mike along with PBT Trio played the Jardine's gig. It took me back to those early years when I questioned, “Is this guy better on horn or pen?” I never did settle on the answer. What was important is that he did his very best at whichever one he focused on at the time and the result was always excellent. On this night these guys presented one of the best nights of KC jazz I've heard. Be sure to keep track of Mike in the future via his web site, www.mikemetheny.com .

-- Dean Hampton






	Search our site:		Dean Hampton KC Jazz is alive and well says the New York Times When I first moved to Kansas City in 1974 I began reading in various publications that Kansas City jazz was dead. I knew it was not what it used to be back when Tom Pengergast was running things. Through my 12+ years on the JAM staff, I continue to read such rubbish. On January 3, 2004 , I was very happy to read in the New York Times that jazz in KC is doing quite well. The 1200 word article was, “A Jazz Legend Rekindles Kansas City's Musical Past” by Stephen Kinzer. While it mostly covered Jay McShann and his recent concert at the Folly Theater, there was plenty said about how well jazz is doing in KC today. Kinzer wrote, “Although the musical scene that produced Mr. McShann faded long ago, Kansas City still has more than two dozen clubs where jazz is played regularly, making it one of the country's leading jazz centers. Musicians here are caught in the perpetual bind of whether to respect the city's tradition by playing in the classic style that Mr. McShann helped develop or to embrace bebop, free jazz and other more modern approaches. The tension between these poles is a creative force that fuels the music scene here and keeps Kansas City on the jazz map.” On the other side of this coin on Friday, January 9, Tom Leathers of The Squire announced on KCMO's “Mike Murphy Show,” that his feature article in the February 1 issue of Squire focused on a “Farewell to KC Jazz.” When Marilyn Maye called into the talk show, he proclaimed he liked her jazz but that people in KC just don't like jazz anymore. Maye did a good job of explaining that he was making an unfair blanket statement, similar to asking people if they liked food. There is some food you like and some that you don't like. She continued to describe some of the happening jazz in the city, the styles that are being played here (and in other cities) and her very successful approach to getting the audience involved with her. My opinion: If jazz is dead in KC, so are the thousands of people who attend local jazz events, purchase locally and nationally produced jazz CDs with KC roots and support public radio jazz programming. We have lost some festivals in KC but that is not due to lack of interest in the music; rather, lack of corporate funding and sponsorships. Along with a crummy economy, we are still feeling the 9-11 impact on the arts. If you think jazz in KC is dead, consider: Calling the Jazz Hotline (816-753-5277) and listen to about eight minutes of jazz events going on this week. Previewing and/or buying the great KC-produced jazz CDs on the shelves at Borders, Barnes & Noble, Streetside, The Music Exchange and other dealers. Visiting UMKC's course catalog and look at the classes now available at one of the finest jazz studies programs in the nation, a growing program with double the enrollment from a couple of years ago. Thank you Bobby Watson and Hal Melia! Taking in some of the junior college and high school jazz concerts that are building future musicians and fans. When prom season comes around, make a visit to Plaza III on a Saturday night and witness the large crowd of high schoolers on their first visits to a world- class jazz club for dinner, dancing and (soft) drinks. When they turn 21, they will be back! Finally, you put up the bucks and I will put up my time to give you a tour through a week of jazz events to see all of those musicians who make KC jazz fun and great. Blue Room - Pillars are gone Most of us who have gone to the Blue Room have occasionally had to sit behind one of the three pillars that contained a lot of valuable historic information. Seldom did I see anyone looking at these to study KC jazz history during a live performance. The “obstructions” have been removed providing a clear shot at the stage from those “back seats”. Good move by the American Jazz Museum! Mike Metheny - A Class Act on Horn or Pen Mike Metheny and I started working together on JAM 10 years ago. We didn't know each other very well. That changed as we worked through about 60 issues together. It was a decade of progress, growth and change with some major hiccups along the way. For us to survive it as a team and keep on track, we had to understand each other's strengths and weaknesses. JAM has become one of the top jazz magazines in America. If I were to give an award to anyone in the KC jazz community for best decade of service, absolutely no question who would be the winner. Thanks, Mike, for doing a fantastic job of building JAM… and jazz in the midwest. On January 12, Mike along with PBT Trio played the Jardine's gig. It took me back to those early years when I questioned, “Is this guy better on horn or pen?” I never did settle on the answer. What was important is that he did his very best at whichever one he focused on at the time and the result was always excellent. On this night these guys presented one of the best nights of KC jazz I've heard. Be sure to keep track of Mike in the future via his web site, www.mikemetheny.com . -- Dean Hampton RETURN TO FEBRUARY/MARCH 2004 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2004. All rights reserved.