JAM: October/November 2006 Hear and There

The jazz scene in Kansas City is more varied than we give it credit for, and the late summer period seemed to cover the breadth of the offerings: CD releases, timely tributes, out-of-town guests, mainstream and avant-garde, familiar faces and several who play less frequently than we'd like, and some wonderful young talent.

Starting with the out-of-town guests, the Blue Room opened its stage to the Winard Harper Sextet in August and the Ken ny Werner Trio in September. Drummer Harper is a regular visitor, and always brings in a young band that loves to play. Harper seems to be filling the void left by Art Blakey, providing a regular stage for the development of future stars (young trumpeter Josh Evans fits that category). Like a Blakey band, this one is full of well-rehearsed energy, and is fresh on originals and standards. The band is a rarity today—a real working band. Werner is more of a stranger to KC. Long a personal favorite; Werner's trio had an “all for one” cohesiveness that provided just the right platform for Werner's melodic originals. He is a unique player, and one of the freshest writers of recent times.

Mark Southerland has been harder to find since the Cup and Saucer closed, but be brought the Malachy Papers (with percussionist Mike Dillon, bassist Johnny Hamil, and drummer Arnold Young) to The Brick for a set in September. Mike Dillon's Go-Go Jungle (which included Southerland) played a later set. The Malachy Papers are usually not confused with the straight-ahead side of jazz, but this evening's set included tunes by Nat Adderley, Dizzy Gillespie, and Thelonious Monk. Okay, their renditions were not what I'd call straight-ahead, but still…. The Go-Go Jungle was raw funk. Drummer Go-Go Ray is a ball of fire, and drives this team hard.

Staying with the more avant-garde side of things, the Arnold Young Quartet—yes, it's also been around as the Gerald Spaits Quartet, with Charles Perkins and Jack Lightfoot on reeds and trumpet, respectively, on the front line—still have it, and those at the Blue Room on their Thursday gig will attest to that. The band played originals, some Monk and some Ornette Coleman. These tunes are interesting, the solos top-notch, and Perkins' bass clarinet work is as classy as it gets. Hey, I used to be afraid of this stuff, too, but I can't for the life of me remember why.

Charles Perkins sightings are rare, as are opportunities to catch fellow reed master Kim Park. Kim was Joe Cartwright's guest at the August entry in the Best of Kansas City series at Jardine's. The Cartwright Trio, including Gerald Spaits and Ray DeMarchi, are especially inspired on these evenings with Kim. It's not just Park's prodigious technique, it's where he takes his solos, and it takes an ace rhythm section to stay on his path. These guys have a blast together, and they never fail to take their faithful on a satisfying journey through the standard book.

Yet another sax master, Ahmad Alaadeen, brought his Group 21 quartet to the Blue Room in August. Pianist Oscar Williams (go hear him), bassist Micah Herman, and drummer Donivan Bailey completed the band. Alaadeen even sang the blues.

Other highlights:

Bassist Seth Lee's Blue Monday Jam, which introduced many to UMKC freshman Hermon Mehari from Jefferson City , a young man who plays a lot of trumpet; it will be fun to follow Hermon's development. And Rich Wheeler doesn't often play at these jams, but his tenor sax was another highlight from a good night at the Blue Room.

I am embarrassed to have not been to the farmer's market in Overland Park before now. What a great way to start a Saturday, though. In addition to great produce and baked goods, there is fine music. Doug Talley Quartet was on the stage on my first visit, with Laura Chalk providing the sounds a couple of weeks later.

- Roger Atkinson

JIM MONROE REMEMBERED, AND THANKED

Forty musicians and singers, from both coasts and locally, gathered in Topeka August 23 for a memorable celebration to honor the late Jim Monroe, for many years a leading patron and impresario for jazz in the Heartland. Los Angeles reedman Gary Foster was the musical organizer of the event. “Show-stopper followed show-stopper” that Sunday afternoon and evening, per KU professor Chuck Berg, writing in the Topeka Capital-Journal.

Foster, tenor man Bob Kindred, trombonist Phil Wilson, drummer Joe LaBarbara, flugelist Stacy Rowles, and trumpeter Tiger Okoshi came the farthest for this gig. Vocalists (Sherry Jones, Julie Turner) and musician-singers (bassist Jennifer Lietham and Rowles) were especially eloquent in their tributes to Jim Monroe's legacy. There were memorable versions of tunes such as “I'm Glad There is You,” Antonio Jobim's “Triste,” “A Beautiful Friendship,” and “Memories of You.”

“Moved by the occasion, all (the) musicians dug deep,” said Berg He gave special praise to the rhythm sections for their effective backing of the various groups Foster assembled: pianists Ted Howe, Joe Cartwright, Paul Smith , Mike Ning, and Roger Wilder; bassists Jennifer Lietham, Jim DeJulio, Bob Branstetter, Gerald Spaits; and drummers Tommy Ruskin, Tom Morgan, and LaBarbara.

Expenses were minimized, making possible substantial contributions for jazz education to the Jim Monroe Scholarship Fund.

- Charlton Price






	Search our site:		The jazz scene in Kansas City is more varied than we give it credit for, and the late summer period seemed to cover the breadth of the offerings: CD releases, timely tributes, out-of-town guests, mainstream and avant-garde, familiar faces and several who play less frequently than we'd like, and some wonderful young talent. Starting with the out-of-town guests, the Blue Room opened its stage to the Winard Harper Sextet in August and the Ken ny Werner Trio in September. Drummer Harper is a regular visitor, and always brings in a young band that loves to play. Harper seems to be filling the void left by Art Blakey, providing a regular stage for the development of future stars (young trumpeter Josh Evans fits that category). Like a Blakey band, this one is full of well-rehearsed energy, and is fresh on originals and standards. The band is a rarity today—a real working band. Werner is more of a stranger to KC. Long a personal favorite; Werner's trio had an “all for one” cohesiveness that provided just the right platform for Werner's melodic originals. He is a unique player, and one of the freshest writers of recent times. Mark Southerland has been harder to find since the Cup and Saucer closed, but be brought the Malachy Papers (with percussionist Mike Dillon, bassist Johnny Hamil, and drummer Arnold Young) to The Brick for a set in September. Mike Dillon's Go-Go Jungle (which included Southerland) played a later set. The Malachy Papers are usually not confused with the straight-ahead side of jazz, but this evening's set included tunes by Nat Adderley, Dizzy Gillespie, and Thelonious Monk. Okay, their renditions were not what I'd call straight-ahead, but still…. The Go-Go Jungle was raw funk. Drummer Go-Go Ray is a ball of fire, and drives this team hard. Staying with the more avant-garde side of things, the Arnold Young Quartet—yes, it's also been around as the Gerald Spaits Quartet, with Charles Perkins and Jack Lightfoot on reeds and trumpet, respectively, on the front line—still have it, and those at the Blue Room on their Thursday gig will attest to that. The band played originals, some Monk and some Ornette Coleman. These tunes are interesting, the solos top-notch, and Perkins' bass clarinet work is as classy as it gets. Hey, I used to be afraid of this stuff, too, but I can't for the life of me remember why. Charles Perkins sightings are rare, as are opportunities to catch fellow reed master Kim Park. Kim was Joe Cartwright's guest at the August entry in the Best of Kansas City series at Jardine's. The Cartwright Trio, including Gerald Spaits and Ray DeMarchi, are especially inspired on these evenings with Kim. It's not just Park's prodigious technique, it's where he takes his solos, and it takes an ace rhythm section to stay on his path. These guys have a blast together, and they never fail to take their faithful on a satisfying journey through the standard book. Yet another sax master, Ahmad Alaadeen, brought his Group 21 quartet to the Blue Room in August. Pianist Oscar Williams (go hear him), bassist Micah Herman, and drummer Donivan Bailey completed the band. Alaadeen even sang the blues. Other highlights: Bassist Seth Lee's Blue Monday Jam, which introduced many to UMKC freshman Hermon Mehari from Jefferson City , a young man who plays a lot of trumpet; it will be fun to follow Hermon's development. And Rich Wheeler doesn't often play at these jams, but his tenor sax was another highlight from a good night at the Blue Room. I am embarrassed to have not been to the farmer's market in Overland Park before now. What a great way to start a Saturday, though. In addition to great produce and baked goods, there is fine music. Doug Talley Quartet was on the stage on my first visit, with Laura Chalk providing the sounds a couple of weeks later. - Roger Atkinson JIM MONROE REMEMBERED, AND THANKED Forty musicians and singers, from both coasts and locally, gathered in Topeka August 23 for a memorable celebration to honor the late Jim Monroe, for many years a leading patron and impresario for jazz in the Heartland. Los Angeles reedman Gary Foster was the musical organizer of the event. “Show-stopper followed show-stopper” that Sunday afternoon and evening, per KU professor Chuck Berg, writing in the Topeka Capital-Journal. Foster, tenor man Bob Kindred, trombonist Phil Wilson, drummer Joe LaBarbara, flugelist Stacy Rowles, and trumpeter Tiger Okoshi came the farthest for this gig. Vocalists (Sherry Jones, Julie Turner) and musician-singers (bassist Jennifer Lietham and Rowles) were especially eloquent in their tributes to Jim Monroe's legacy. There were memorable versions of tunes such as “I'm Glad There is You,” Antonio Jobim's “Triste,” “A Beautiful Friendship,” and “Memories of You.” “Moved by the occasion, all (the) musicians dug deep,” said Berg He gave special praise to the rhythm sections for their effective backing of the various groups Foster assembled: pianists Ted Howe, Joe Cartwright, Paul Smith , Mike Ning, and Roger Wilder; bassists Jennifer Lietham, Jim DeJulio, Bob Branstetter, Gerald Spaits; and drummers Tommy Ruskin, Tom Morgan, and LaBarbara. Expenses were minimized, making possible substantial contributions for jazz education to the Jim Monroe Scholarship Fund. - Charlton Price RETURN TO OCTOBER/NOVEMBER 2006 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2005. All rights reserved.