JAM: August/September 2003 Issue: Correspondence

Respect the Elder Statesmen
This is in response to the letter in the December/January issue from a very young man from Chicago , Illinois , complaining about the music of “dead jazz musicians.” The gentle reader cited this as the reason for a lack of support for the KC jazz scene. Hmmm…I'll bet you don't hear Yo Yo Ma complaining about having to play the music of “dead classical musicians” like Bach and Rostropovich ! All I can say to this young feller is “Respect the Elder Statesmen of Jazz!” Jazz as a respected music form would never have been recognized if not for greats like Louis Armstrong, Charlie Parker, John Coltrane, Count Basie, Ornette Coleman and Duke Ellington. They were so great, much of their music cannot even be duplicated, as in the case of Coltrane and Bird Parker since they never played the same song the same way twice. I went to hear Peter Cincotti at the Folly and really enjoyed myself. But Cincotti and Harry Connick will never compare to Nat “King” Cole and Johnny Hartman! I have respect for both classic and modern performers, but I'll not stand by and allow the memory of the Greats of Jazz to be disparaged!
Imani Malaika

Critical Clarification
In my mini-rant about music critics ("Q&A," Feb./Mar. '04), I stated that there are some who suffer from "a bad case of self-loathing from being a failed player." My vibe detector has picked up some static from that remark, and I will agree, it might have been a bit over the top. (Although I can recall over the past 20-25 years hearing certain established critics in performance -- some known for their judgmental reviews -- and thinking, "Well, if they don't hate themselves for their playing, they should!") My comment could also be seen as more self-revealing than relevant to a discussion of critics. Had I the talent to have mounted and sustained a successful career playing music on the highest of levels, I probably never would have had the time to become a published music writer myself (let alone play all those horrible wedding jobs in Boston ). It takes a thief to catch a thief and all that.

However, here is another slant to this moot and always dicey subject (he said, as he continued to dig himself even deeper into the hole). I have often wondered if there has been anyone in the history of criticism -- music, art, dance, film, stage, literature, whatever -- who, as a kid first discovering the joys of a certain art form, made the conscious decision to "become a critic someday." I just don't think it happens that way. We all start off wanting to be on the inside of the creative process, not the outside. Yet, at some point along life's road -- for me it was in my mid 30s -- reality sets in and other options must be considered, one of which is the occupation I've sometimes thought of as Professional Observation.

Which is not to say there aren't plenty of excellent music writers out there! There are. Both here in Kansas City and elsewhere. And at their best, they can a) give someone's career a beneficial boost, b) help save hard-earned consumer dollars when a performance should be avoided, and c) make the equivalent of good music with well-chosen words.

But, there are also those Professional Wankers whose "qualifications" include having an opinion, an attitude, a good editor, and artistic abilities that would never survive the same yardstick that is applied to the subjects of nasty reviews.

Have I ever been on the receiving end of their negative critiques? Sure. As have performers far more gifted than me. But having spent some time on the other side of the fence in recent years, the faux critics have become even easier to spot. And more difficult to take.

The always-quotable "Anonymous" once summed things up like this:

"Nobody ever raised a statue for a critic."

The same could be said about barroom, wedding-band trumpet players with famous last names; but eventually (memo to self): those of us in that final group must realize that it makes more sense to spend quality time practicing rather than wasting it worrying about what the wankers of the world have to say.

And so, back to the woodshed.

(...And what I wouldn't give to have a good editor for every solo.)
Mike Metheny
Professional Observer Emeritus

Recognition for Kynard
As a former KC resident now living in metro Detroit , and a staunch jazz fan, I thoroughly enjoy JAM . I moved to the Detroit area in 1972 and have enjoyed the jazz scene here (Baker's Keyboard Lounge, The Detroit Jazz Festival, & other venues). Since I am also a Hammond B3 junkie, I often reflect on the first B3 organist I heard: Charles Kynard at the original Blue Room. This was 1959 through about 1962. Charles moved to Los Angeles in the early to mid 1960's, where he made quite a name for himself.

Upon visiting the current Blue Room, I observed that there is no recognition of Kynard and his group, or Reginald Buckner, another outstanding pianist and organist who often played there. Why? In your March 2003 issue, in Pat Metheny's article, “The Guitar and Kansas City Jazz,” he mentions playing with Kynard at a concert. He also mentions Reginald Buckner in the same article. Kynard and Buckner deserve to be recognized as Blue Room mainstays.
Elmer Jackson

Thanks
Thanks for allowing me to share the story of my association with pianist Mike Melvoin. I was very aware of Mike and his music as early as the 1970's and to have produced a Grammy-nominated CD with him and Phil Woods is still beyond belief and the honor of a lifetime. JAM magazine continues to light the way for other musicians to follow their dreams. Thank you for supporting Kansas City musicians.

As they say at the Mutual Musicians Foundation "The Tradition Jams On". David Basse
City Light Entertainment

Mike Melvoin's track “All or Nothing at All” produced by the City Light label did not receive a Grammy this year. But the good news is that David Basse's City Light has gained a bigger distributor as a result of the nomination.






	Search our site:		Respect the Elder Statesmen This is in response to the letter in the December/January issue from a very young man from Chicago , Illinois , complaining about the music of “dead jazz musicians.” The gentle reader cited this as the reason for a lack of support for the KC jazz scene. Hmmm…I'll bet you don't hear Yo Yo Ma complaining about having to play the music of “dead classical musicians” like Bach and Rostropovich ! All I can say to this young feller is “Respect the Elder Statesmen of Jazz!” Jazz as a respected music form would never have been recognized if not for greats like Louis Armstrong, Charlie Parker, John Coltrane, Count Basie, Ornette Coleman and Duke Ellington. They were so great, much of their music cannot even be duplicated, as in the case of Coltrane and Bird Parker since they never played the same song the same way twice. I went to hear Peter Cincotti at the Folly and really enjoyed myself. But Cincotti and Harry Connick will never compare to Nat “King” Cole and Johnny Hartman! I have respect for both classic and modern performers, but I'll not stand by and allow the memory of the Greats of Jazz to be disparaged! *Imani Malaika* Critical Clarification In my mini-rant about music critics ("Q&A," Feb./Mar. '04), I stated that there are some who suffer from "a bad case of self-loathing from being a failed player." My vibe detector has picked up some static from that remark, and I will agree, it might have been a bit over the top. (Although I can recall over the past 20-25 years hearing certain established critics in performance -- some known for their judgmental reviews -- and thinking, "Well, if they don't hate themselves for their playing, they should!") My comment could also be seen as more self-revealing than relevant to a discussion of critics. Had I the talent to have mounted and sustained a successful career playing music on the highest of levels, I probably never would have had the time to become a published music writer myself (let alone play all those horrible wedding jobs in Boston ). It takes a thief to catch a thief and all that. However, here is another slant to this moot and always dicey subject (he said, as he continued to dig himself even deeper into the hole). I have often wondered if there has been anyone in the history of criticism -- music, art, dance, film, stage, literature, whatever -- who, as a kid first discovering the joys of a certain art form, made the conscious decision to "become a critic someday." I just don't think it happens that way. We all start off wanting to be on the inside of the creative process, not the outside. Yet, at some point along life's road -- for me it was in my mid 30s -- reality sets in and other options must be considered, one of which is the occupation I've sometimes thought of as Professional Observation. Which is not to say there aren't plenty of excellent music writers out there! There are. Both here in Kansas City and elsewhere. And at their best, they can a) give someone's career a beneficial boost, b) help save hard-earned consumer dollars when a performance should be avoided, and c) make the equivalent of good music with well-chosen words. But, there are also those Professional Wankers whose "qualifications" include having an opinion, an attitude, a good editor, and artistic abilities that would never survive the same yardstick that is applied to the subjects of nasty reviews. Have I ever been on the receiving end of their negative critiques? Sure. As have performers far more gifted than me. But having spent some time on the other side of the fence in recent years, the faux critics have become even easier to spot. And more difficult to take. The always-quotable "Anonymous" once summed things up like this: "Nobody ever raised a statue for a critic." The same could be said about barroom, wedding-band trumpet players with famous last names; but eventually (memo to self): those of us in that final group must realize that it makes more sense to spend quality time practicing rather than wasting it worrying about what the wankers of the world have to say. And so, back to the woodshed. (...And what I wouldn't give to have a good editor for every solo.) Mike Metheny Professional Observer Emeritus Recognition for Kynard As a former KC resident now living in metro Detroit , and a staunch jazz fan, I thoroughly enjoy JAM . I moved to the Detroit area in 1972 and have enjoyed the jazz scene here (Baker's Keyboard Lounge, The Detroit Jazz Festival, & other venues). Since I am also a Hammond B3 junkie, I often reflect on the first B3 organist I heard: Charles Kynard at the original Blue Room. This was 1959 through about 1962. Charles moved to Los Angeles in the early to mid 1960's, where he made quite a name for himself. Upon visiting the current Blue Room, I observed that there is no recognition of Kynard and his group, or Reginald Buckner, another outstanding pianist and organist who often played there. Why? In your March 2003 issue, in Pat Metheny's article, “The Guitar and Kansas City Jazz,” he mentions playing with Kynard at a concert. He also mentions Reginald Buckner in the same article. Kynard and Buckner deserve to be recognized as Blue Room mainstays. *Elmer Jackson* Thanks Thanks for allowing me to share the story of my association with pianist Mike Melvoin. I was very aware of Mike and his music as early as the 1970's and to have produced a Grammy-nominated CD with him and Phil Woods is still beyond belief and the honor of a lifetime. JAM magazine continues to light the way for other musicians to follow their dreams. Thank you for supporting Kansas City musicians. As they say at the Mutual Musicians Foundation "The Tradition Jams On". David Basse City Light Entertainment Mike Melvoin's track “All or Nothing at All” produced by the City Light label did not receive a Grammy this year. But the good news is that David Basse's City Light has gained a bigger distributor as a result of the nomination. RETURN TO APRIL/MAY 2004 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2004. All rights reserved.