K.C. Blues, Part Four

I didn’t set out to enrage readers with the unintentionally incendiary K.C. Blues series.  The first three installments are a surprisingly controversial reality check.  Problems are best addressed with candid recognition of the challenges.  This, the fourth and final part of the series, lists eight reasons for optimism.

1. Lonnie’s Reno Club isn’t a new jazz venue. The hotel at 1111 Grand Boulevard has long hosted live jazz.  But the newly rebranded club is slated to feature performances by the dynamic Lonnie McFadden three nights a week.  In addition to being an ideal attraction for guests from out of town, the exciting concept breathes new life into Kansas City’s arts scene.

2. Rashida Phillips hasn’t had an adequate opportunity to show her stripes.  The pandemic hit a few months after she was named the Executive Director of the American Jazz Museum.  Here’s hoping Phillips is a creative innovator capable of altering the trajectory of the troubled institution.

3. The stylistic breadth of jazz made in Kansas City continues to expand.  Amber Underwood, Eddie Moore and Logan Richardson are among the musicians capable of growing the audience for improvised sounds by bridging the divide between jazz and popular music.

4. Bobby Watson is irreplaceable.  Yet the addition of Adam Larson to the faculty of the UMKC Conservatory lessens the blow of Watson’s retirement from academia.  Larson possesses substantial artistic imagination and vital industry connections.

5. "Chronicles of Conception", a track Ernest Melton quietly issued earlier this year, suggests the brilliance occasionally flashed by the saxophonist may soon turn into a consistent torrent of inspiration.

6. The improvised music scene will be infused by a manic burst of energy if the peripatetic Mike Dillon continues to hang his hat in Kansas City.  His return to his longtime home coincides with the release of the outstanding Rosewood.

7. The emergence of live streaming as a (semi)viable alternative to conventional performances is constructive.  The high quality of productions at Black Dolphin continues to astound.  There’s no reason the digital presentations shouldn’t be held over following a return to normalcy.

8. I’ll reveal my annual year-end top ten jazz album list by Kansas City artists in several weeks.  Impressive 2020 releases are so plentiful that several strong albums won’t make the cut.  My recognition of the abundant artistic excellence is yet another reminder to readers that my grievances shouldn’t be misconstrued as discontent with the music produced by Kansas City’s jazz musicians.

Now’s the Time: Myra Taylor

Myra Taylor was one of Kansas City’s last living representatives of the area’s jazz heyday.  She chats about her 1941 recording of “I Don’t Want to Set the World on Fire” in the embedded video.  (The audio is only in one channel.)  Taylor died in 2011.

Confirmation: Weekly News and Notes

*The Kansas City Business Journal reports on the opening of Lonnie’s Reno Club at the Ambassador Hotel.

*Amber Underwood is interviewed by Nick Spacek for The Pitch.

*The Kansas City Jazz Orchestra added a new video to its jazz history series.

*Emanuel Cleaver lobbies for the Save Our Stages campaign from the Blue Room.

*Tweet o’ the Week: KOJH 104.7- James D. Conqueror- Baptism (Holy Water) Magnum Opus

K.C. Blues, Part Three

I was the only journalist to show up when the American Jazz Museum held a press conference to promote a concert by the jazz giant Randy Weston in 2010.  The situation has since grown even graver.  Jazz coverage fell off a cliff when newspapers, radio and television stations gained instant access to audience analytics.  The click-throughs and ratings driving editorial decisions and programming just aren’t there for jazz.  

That’s why Plastic Sax- an outlet that neither solicits nor receives any outside financial support- has long been the most comprehensive outlet for Kansas City jazz news and reviews.  Indifference to Kansas City’s jazz scene is one thing.  Fully engaging in Kansas City’s jazz scene without monitoring Plastic Sax is impossible.

Ironically, my status as the primary source of forthright coverage subjects me to slights and digs from musicians.  I don’t think a less-than-glowing review was written about a Kansas City jazz artist until I came along.  My refusal to join the inveterate squad of cheerleaders is heretical in an ecosystem dominated by mutual admiration societies.

The provincial perspective fosters abuse and ignorance.  Few object when a very fine jump blues band is promoted as a jazz act.  No one bats an eye when Kansas City’s most prominent jazz institution hails a beloved hometown soul balladeer as a “global jazz star.”  Cast in the best light, such obfuscations are merely misleading.  Viewed cynically, the willful deceptions could be interpreted as schemes to misappropriate funding.  

Next week: the inadvertently incendiary four-part K.C. Blues series concludes with eight reasons for optimism.

Now's the Time: Sammy Price

Sammy Price was born in Honey Grove, Texas, in 1908.  He died in New York City in 1992.  The pianist rose to prominence as a key component of Kansas City’s lively jazz scene in the 1930s.  He’s seen here as a member of an all-star band entertaining a nostalgic French audience in 1958.

Confirmation: Weekly News and Notes

*Steve Cardenas is featured on the October 6 episode of the GuitarWank podcast. (Tip via PF.)

*Jim Mair chatted with Joe Dimino.

*Kevin Collison reports on an ambitious new proposal for the vacant, city-owned Boone Theater in the Jazz District.

*Tweet o’ the Week: The Independent- Suddenly, classical radio is back. Almost exactly 20 years after its disappearance from the FM dial, the music that KC is becoming known for worldwide has made its way onto local airwaves again. On June 30th, 91.9 Classical KC went live.

K.C. Blues, Part Two

If each of the voluntary and paid boosters of Kansas City prone to making proud declarations about the town’s jazz history actually enjoyed the music, the area jazz scene would be far healthier.  Plenty of Kansas Citians like the concept of jazz.  Far fewer actually listen to it.  Numbers tell the story.

Kansas City isn’t among the top five markets for the homegrown jazz heroes Charlie Parker, Logan Richardson. Bobby Watson or We The People at the leading music streaming service Spotify.  And the monthly Spotify audience for a significant portion of the locally based artists covered by Plastic Sax is less than 50.  (Kevin Morby, a Kansas City based indie-rocker who performs at the 400-capacity recordBar, has 1,433,000 monthly listeners.)

Viewership for free livestreams of Kansas City jazz artists is similarly anemic.  I scrutinized the public indifference to the publicly funded Jazzy Jamdemic.  Yet they’re still at it.  I was one of 15 viewers of a concert at the Gem Theater when I tuned in on October 3.  Support for the astoundingly pristine livestreams at Black Dolphin is also woeful.  

The crisis wasn’t caused by the pandemic.  I’ve long been accustomed to attending jazz performances at which there are more people on stage than in the audience.  Locally based musicians aren’t the only ones afflicted by the scarcity of organic patronage.  Proper jazz festivals in Kansas City repeatedly fail in part because less than 1,000 people are willing to pay more than $25 to hear instrumental jazz.  Consequently, Kansas City is a no-go zone for all but a few of the artists who regularly perform in Chicago, Denver and St. Louis.

Last week at Plastic Sax: the belittling snub sparking this series.  Next week: an analysis of media coverage, musical illiteracy and artistic hubris.

Now’s the Time: Bird: Not Out of Nowhere

Bird: Not Out of Nowhere was uploaded to YouTube on October 6, five weeks after the hour-long documentary aired on KCPT.  My skeptical analysis of the program ruffled a few feathers.

Confirmation: Weekly News and Notes

*The man behind Plastic Sax discussed his opera initiative on KCUR’s Up To Date program yesterday.

*Tweet of the Week: Ryan Heinlein- Was really looking forward to participating in @BIGGSteps Unfortunately I was attacked and shot in the abdomen on Friday. I may not get the miles I want but I can tell you that every single step I take for this is gonna mean so much more. I’m lucky to be alive.

K.C. Blues, Part One

Kansas City was shut out of WBGO’s widely circulated fall jazz survey of 88 notable new albums and initiatives.  Not a single Kansas City musician, recording or area event rated a mention.  The snub isn’t surprising to readers of Plastic Sax.  I regularly note the lack of acknowledgement garnered by Kansas City’s jazz scene.  The most dispiriting aspect of the influential preview is the sickening sense the dismissal is warranted.  In the coming weeks I’ll examine the reasons behind the all-too-familiar Kansas City blues.  I’ll  conclude the analysis with eight reasons for optimism.

Now's the Time: Harlan Leonard

“Get a load of these hepsters who are gonna holler at ya!”  The excitable patter opening this wartime radio shot threatens to steal the spotlight from the energetic performance of Harlan Leonard‘s band.  His group was once Kansas City’s premier jazz ensemble.

Confirmation: Weekly News and Notes

*Lonnie McFadden’s longstanding Friday afternoon gig at The Phoenix will end October 30. He’s slated to begin performing at the former Reserve Restaurant & Lounge at The Ambassador Hotel in November. The Kansas City Business Journal  reports the venue is now named The American Reserve Bar & Grille.

*Joe Dimino documented a performance by We the People. He also recorded his chat with saxophonist Rich Wheeler.

*Hermon Mehari created a lush music video for “Dreamscapes,” a track from his A Change For the Dreamlike EP.

*From a press release: The American Jazz Museum's newest gallery space honors Kansas City native Ida McBeth, a self-proclaimed "song stylist" and nationally recognized jazz legend. The Ida McBeth Gallery offers space for artists, particularly those devoted to music, who need a small gallery space to showcase their work. The inaugural collection Legendary Jazz Greats by Robert Blehert honors Ida along with 26 other jazz heroes like Count Basie, Thelonious Monk and Charlie Parker… (T)he new exhibit... will be on display until December 31. The Ida McBeth Gallery is open to the public with paid admission to the American Jazz Museum.

Album Review: We the People- Misunderstood

Eddie Moore has acted as a change agent since his arrival in Kansas City several years ago.  His willingness to go on the record about perceived disparities on the jazz scene and his eager embrace of popular music make Moore a civic and artistic leader.

Misunderstood, the new album by Moore’s group We The People, puts Kansas City’s jazz community on notice.  Along with bassist Jason Emmond, drummer Zach Morrow and turntablist Keith Rodgers, the keyboardist created a blend of jazz fusion, soul-jazz and the synthesis of improvised music and hip-hop associated with California based musicians like Flying Lotus.

We The People’s disruptive intent is made explicit by spoken word samples and rapping.  On “KFC”- it’s clearly not a song about fried chicken- We The People decry Kansas City’s fixation on jazz heritage and lament “you gotta f##king grow.”  The ferocious outburst “50th Law” features unhinged musical aggression and a grungy sound field.

Not all 28 minutes of Misunderstood are dyspeptic.  “Enough” is a gospel-infused self-empowerment anthem featuring rapturous vocals by Angel Gibson.  “The Truth” is undulating neo-soul while the contemplative “Round Up” recalls the prettiest tracks on Moore’s solo albums.

We The People throw down the gauntlet with Misunderstood.  History suggests the majority of Kansas City’s jazz community will respond with unknowing indifference.  Yet whether the recording is embraced or ignored, Misunderstood will stand as an essential document of this tumultuous time.

Now’s the Time: Kansas City Jazz & Blues: Past, Present & Future

Kansas City Jazz & Blues: Past, Present & Future was released to great fanfare in 2010.  Marilyn Maye performed at the premiere of Sue Vicory’s documentary at the Gem Theater.  The entire film now streams at YouTube.

Confirmation: Weekly News & Notes

*Elmer Jackson, a prominent member of Kansas City’s jazz community, has died.  I took a photo of Jackson at the Blue Room in 2009.

*We The People’s debut album Misunderstood is available for preorder.  The street date is Friday, September 25.

*Tweet of the Week: Maggie- Every morning, I listen to classic jazz while I write some morning pages. John Coltrane, Art Blakey, Charlie Parker, Charles Mingus, Thelonious Monk. It’s like... magic. Pure art. And I think of people who make fun of jazz (or ppl who like jazz) and feel super bad for them.

Album Review: Matt Otto- Alliance

The timing of Alliance is fortuitous.  Matt Otto released his latest album on August 29, just as the longing for worry-free live performances reached an apex.  While I’ve reconciled myself to continuing to abide by pandemic precautions, I particularly miss attending performances led by Otto.  

The saxophonist’s regular gigs at the Kansas City venues Black Dolphin, the Blue Room, recordBar and Westport Coffee House every couple months were among the artistic highlights of Kansas City’s music scene.  The 44-minute Alliance resembles a short but satisfying set typical of the musician who’s responsible for one of the most rewarding strains of jazz in Kansas City of the past 15 years.  

The album’s extensive lineup initially looks like a comprehensive roll call of Kansas City’s elite young talent.  Marcus Lewis, Hermon Mehari, Peter Schlamb, Adam Schlozman and Brian Steever are among the prominent contributors.  Each man modifies his approach to suit Otto’s graceful lyricism.  Even when a drummer bashes aggressively, the gentle ripple of Otto’s signature style is maintained.  The only surprise is the entrancing whine of Mike Stover’s pedal steel guitar on “Debs.”

While Alliance isn’t Otto’s most important work, it’s another vital statement from a man who continues to embolden Kansas City’s improvised music scene with his profound talent and fresh ideas.  I’ve never taken Otto for granted, but I’ll have a new appreciation for his performances when this extended nightmare is over. 

Now's the Time: Stanley Crouch

Stanley Crouch has died.  The jazz critic and author of Kansas City Lightning: The Rise and Times of Charlie Parker visited Kansas City in 2014 to promote the biography.

Confirmation: Weekly News & Notes

*Brian Scarborough’s Sunflower Song was reviewed by Chicago Jazz Magazine.

*Tweet of the Week: KC Jazz Orchestra- Check out that forecast, KC! Beautiful weather brightens any situation, and we're taking advantage with another @kcdriveinconcerts this coming Sat 9/19, Tenor Madness! Our last drive-in concert sold out, so get your tickets before they're gone! (link)

Album Review: Norman Brown- Heart to Heart

Céline Dion’s backing band impressed me almost as much as the hitmaker’s celebrated voice when I saw the diva perform at the Sprint Center last year.  The musicians were as slick as black ice on a Canadian turnpike.  

The affable trifles of Heart to Heart, the 12th studio album by the former Kansas City resident Norman Brown, resemble the frothy anonymity of the vamping that accompanied Dion’s off-stage costume changes.  Brown’s improvisation-laced blend of diluted funk and subdued pop is luxuriantly utilitarian background music. 

Brown hasn’t forsaken the exceptional guitar prowess that made him one of the biggest names in smooth jazz.  His playing on “She’s Mine” and “Unconditional” places him squarely in the crossover lineage of Wes Montgomery and George Benson.

“Outside the Norm,” the closing track of Heart to Heart, comes as a bit of shock after 40 minutes of unobtrusive murmuring.  The unexpected burst of unvarnished smooth jazz hints at a tantalizingly different aspect of Brown’s talent that doesn’t elicit comparison to an easy listening act.

Now's the Time: Buck Clayton

The trumpeter Buck Clayton, a native of Parsons, Kansas, and prominent alumnus of the Count Basie Orchestra, performs “Stompin’ at the Savoy” with Sir Charles Thompson, Gene Ramey and Oliver Jackson in the embedded video.