JAM: April/May 2005 Hear and There

The George Salisbury Memorial Concert was held at UMKC with guest stars Nicholas Payton on trumpet and Joe Chambers on drums. This year's concert was held in connection with the UMKC Jazz Festival and featured the UMKC Jazz Band led by Bobby Watson. Joe Chambers led off with seven drummers, which got the place jumping, followed by Nicholas Payton performing a scorching “St. James Infirmary.” The band was tight with Bobby Watson swinging on “River Jordan.” This was followed by “Rhythm in E” and “Cherry Juice.” As an added treat, Dan Jaffe gave us some swinging jazz poetry as usual. A good time was had by all while helping the scholarship program.

Tim Whitmer has been hosting Spirituality and All That Jazz at Unity Church on the Plaza for over 10 years. March's program featured Jim Mair, Dan Thomas, and Terry Peffer. The Sax Summit started with a rocking “Have You Met Miss Jones” and ended ironically with “Green Card” which was appropriate since two of the players are Canadian. Terry Peffer blew everyone away with “Don't Get Around Much Anymore” and ended with a rousing “Cottontail.” The “old man” of the group, Jim Mair, followed with a song dedicated to his daughter called “Mandy's Song.” It was reminiscent of being on the West Coast in the ‘60s listening to Eric Dolphy and Chico Hamilton. He ended his set by singing “Night and Day.” All three tenors closed out the program with a stomping “Cherokee,” followed by “Moten Stomp.” Tim Whitmer held the whole thing together, and the rhythm section did their usual outstanding job. This is a series that should not be missed.

The duo of Mike Ning on piano and Jim Mair on sax entertained a full house at the noon jazz series at Johnson County Community College. The two who play regularly at Cascone's South played a diverse program that included “In a Mellow Tone,” “Beauty and the Beast,” “Take Five,” and in honor of St. Patrick's Day, “Danny Boy.” Mair alternated between tenor and soprano sax. Ning played a song dedicated to his parents called “Blues for Y.P. Ning and his Wife.”

It was obvious that they played a lot together, as the entire concert was very smooth. The Canadian and Chinese natives finished the concert with “America the Beautiful.” They are obviously at the top of their game and should not be missed.

Sax man Red Holloway entertained the crowd at the Marriott with an outstanding mix of straight-ahead jazz plus a blues number or two. Backed by the outstanding trio of Joe Cartwright, Gerald Spaits and Tommy Ruskin, he opened with a scorching “Love For Sale” followed by “Lover Man.” He even had the crowd participate in a chorus of “Drink Muddy Water.” And further beguiled them by playing a song on a pennywhistle.

Cartwright was superb as usual and really got down on “Muddy Water” and “St. Thomas.” Spaits stepped out in “Lover Man,” and Ruskin was tremendous as usual. After “Caravan” and “Take the A Train,” the band received a justified standing ovation.

This is probably the best concert I've seen in years.

Mardi Gras arrived early for the patrons of the Folly Jazz Series as Dr. John (also known as Mac Rebennack) delivered an eclectic program of New Orleans funk, blues and basically toe-tapping music. Jazz it wasn't, but the audience didn't seem to mind.

Dr. John was ably backed by John Fohl on guitar, David Barard on bass and Herman Ernest on drums. When he played “Love For Sale,” “Caravan,” “Makin' Whoopie,” and “Do Nothing Til You Hear from Me,” he did so in his New Orelans beat, occasionally shifting from piano to organ.

The sets were long, the music hot and on ”Right Place at the Wrong Time” he even had them dancing in the aisles. Obviously the good Doctor had the right prescription, as everyone left feeling good.

—Don Merker

One of the consistent highlights of the local scene are the national stars that Gerald Dunn brings to the Blue Room. There is something about the informal intimacy of a smaller listening room that adds to the moment. There were two recent evenings to remind us that this is the best way to listen to jazz.

Bobby Watson has been regularly blessing us with some of his colleagues from New York since he joined the faculty at UMKC. These KC/NY connections are consistently excellent shows. The February 3 show featured Bobby with drummer, pianist, and composer Joe Chambers, trumpeter Nicholas Payton, pianist Harold O'Neal, and bassist Seth Lee for two searing sets. Chambers has long been a personal favorite due to his classic Blue Note recordings with Bobby Hutcherson in addition to his own leader dates. He stuck on the drums on this rare Kansas City appearance. Payton seems to drop into Kansas City more frequently and has become a town favorite. Their “It Was Just One of Those Things” in the second set was a blistering highlight.

On Valentine's Day, Dunn did it again, bringing in the Kenny Garrett Quartet into a mobbed Blue Room. Kenny showed his horn mastery on funky originals and Coltrane tunes. He shows that one can borrow from the best of modern popular trends to keep his music fresh, without sacrificing his mainstream approach. I have long been a KG fan, but this was an ear-opener. I doubt that many in attendance will miss a Kenny Garrett appearance if they can help it.

Ann Hampton Callaway's concert at the Folly was a delight. There is nothing wrong with great songs performed with excellence. Billed as a tribute to Ella Fitzgerald, the gig included top-drawer support from bassist Gerald Spaits and drummer Tommy Ruskin. In addition to her vocal talents, Ms. Callaway proved to be an entertaining humorist and storyteller. But the highlight of the evening was when she brought Marilyn Maye to the stage for some friendly “who's the diva” give and take and an impromptu vocal duet with lyrics made up on the spot that had us laughing in the aisles.

Do catch the Everette DeVan group at Bobby's Hangout. This room has a great New York organ room feel, and Everette's group has never sounded better. Matt Carrillo on tenor is the wailer that we love in this kind of band.

The Malachy Papers have a great local following; it seems to be standing room only whenever I hear them, like at their recent visit at the Cup and Saucer. They call it “genre juxtaposition”—the band draws from a vast array of influences for its sound, from Monk to Sam Rivers to free bop and rock. It's just wonderfully weird fun played by some of the best, including hornman Mark Southerland, percussionist Mike Dillon, and bassist Johnny Hammil.

—Roger Atkinson






	Search our site:		The George Salisbury Memorial Concert was held at UMKC with guest stars Nicholas Payton on trumpet and Joe Chambers on drums. This year's concert was held in connection with the UMKC Jazz Festival and featured the UMKC Jazz Band led by Bobby Watson. Joe Chambers led off with seven drummers, which got the place jumping, followed by Nicholas Payton performing a scorching “St. James Infirmary.” The band was tight with Bobby Watson swinging on “River Jordan.” This was followed by “Rhythm in E” and “Cherry Juice.” As an added treat, Dan Jaffe gave us some swinging jazz poetry as usual. A good time was had by all while helping the scholarship program. Tim Whitmer has been hosting Spirituality and All That Jazz at Unity Church on the Plaza for over 10 years. March's program featured Jim Mair, Dan Thomas, and Terry Peffer. The Sax Summit started with a rocking “Have You Met Miss Jones” and ended ironically with “Green Card” which was appropriate since two of the players are Canadian. Terry Peffer blew everyone away with “Don't Get Around Much Anymore” and ended with a rousing “Cottontail.” The “old man” of the group, Jim Mair, followed with a song dedicated to his daughter called “Mandy's Song.” It was reminiscent of being on the West Coast in the ‘60s listening to Eric Dolphy and Chico Hamilton. He ended his set by singing “Night and Day.” All three tenors closed out the program with a stomping “Cherokee,” followed by “Moten Stomp.” Tim Whitmer held the whole thing together, and the rhythm section did their usual outstanding job. This is a series that should not be missed. The duo of Mike Ning on piano and Jim Mair on sax entertained a full house at the noon jazz series at Johnson County Community College. The two who play regularly at Cascone's South played a diverse program that included “In a Mellow Tone,” “Beauty and the Beast,” “Take Five,” and in honor of St. Patrick's Day, “Danny Boy.” Mair alternated between tenor and soprano sax. Ning played a song dedicated to his parents called “Blues for Y.P. Ning and his Wife.” It was obvious that they played a lot together, as the entire concert was very smooth. The Canadian and Chinese natives finished the concert with “America the Beautiful.” They are obviously at the top of their game and should not be missed. Sax man Red Holloway entertained the crowd at the Marriott with an outstanding mix of straight-ahead jazz plus a blues number or two. Backed by the outstanding trio of Joe Cartwright, Gerald Spaits and Tommy Ruskin, he opened with a scorching “Love For Sale” followed by “Lover Man.” He even had the crowd participate in a chorus of “Drink Muddy Water.” And further beguiled them by playing a song on a pennywhistle. Cartwright was superb as usual and really got down on “Muddy Water” and “St. Thomas.” Spaits stepped out in “Lover Man,” and Ruskin was tremendous as usual. After “Caravan” and “Take the A Train,” the band received a justified standing ovation. This is probably the best concert I've seen in years. Mardi Gras arrived early for the patrons of the Folly Jazz Series as Dr. John (also known as Mac Rebennack) delivered an eclectic program of New Orleans funk, blues and basically toe-tapping music. Jazz it wasn't, but the audience didn't seem to mind. Dr. John was ably backed by John Fohl on guitar, David Barard on bass and Herman Ernest on drums. When he played “Love For Sale,” “Caravan,” “Makin' Whoopie,” and “Do Nothing Til You Hear from Me,” he did so in his New Orelans beat, occasionally shifting from piano to organ. The sets were long, the music hot and on ”Right Place at the Wrong Time” he even had them dancing in the aisles. Obviously the good Doctor had the right prescription, as everyone left feeling good. —Don Merker One of the consistent highlights of the local scene are the national stars that Gerald Dunn brings to the Blue Room. There is something about the informal intimacy of a smaller listening room that adds to the moment. There were two recent evenings to remind us that this is the best way to listen to jazz. Bobby Watson has been regularly blessing us with some of his colleagues from New York since he joined the faculty at UMKC. These KC/NY connections are consistently excellent shows. The February 3 show featured Bobby with drummer, pianist, and composer Joe Chambers, trumpeter Nicholas Payton, pianist Harold O'Neal, and bassist Seth Lee for two searing sets. Chambers has long been a personal favorite due to his classic Blue Note recordings with Bobby Hutcherson in addition to his own leader dates. He stuck on the drums on this rare Kansas City appearance. Payton seems to drop into Kansas City more frequently and has become a town favorite. Their “It Was Just One of Those Things” in the second set was a blistering highlight. On Valentine's Day, Dunn did it again, bringing in the Kenny Garrett Quartet into a mobbed Blue Room. Kenny showed his horn mastery on funky originals and Coltrane tunes. He shows that one can borrow from the best of modern popular trends to keep his music fresh, without sacrificing his mainstream approach. I have long been a KG fan, but this was an ear-opener. I doubt that many in attendance will miss a Kenny Garrett appearance if they can help it. Ann Hampton Callaway's concert at the Folly was a delight. There is nothing wrong with great songs performed with excellence. Billed as a tribute to Ella Fitzgerald, the gig included top-drawer support from bassist Gerald Spaits and drummer Tommy Ruskin. In addition to her vocal talents, Ms. Callaway proved to be an entertaining humorist and storyteller. But the highlight of the evening was when she brought Marilyn Maye to the stage for some friendly “who's the diva” give and take and an impromptu vocal duet with lyrics made up on the spot that had us laughing in the aisles. Do catch the Everette DeVan group at Bobby's Hangout. This room has a great New York organ room feel, and Everette's group has never sounded better. Matt Carrillo on tenor is the wailer that we love in this kind of band. The Malachy Papers have a great local following; it seems to be standing room only whenever I hear them, like at their recent visit at the Cup and Saucer. They call it “genre juxtaposition”—the band draws from a vast array of influences for its sound, from Monk to Sam Rivers to free bop and rock. It's just wonderfully weird fun played by some of the best, including hornman Mark Southerland, percussionist Mike Dillon, and bassist Johnny Hammil. —Roger Atkinson RETURN TO APRIL/MAY 2005 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2005. 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