Michael Pagán Eboni Fondren€¦ · DECEMBER 2015 + JANUARY 2016 From Jazz to Theater to Turn Off...

DECEMBER 2015 + JANUARY 2016

From Jazz to Theater to Turn Off Your Phone

Young Jazz Masters: Students in a Jazz Landmark

New CDs from Mike Metheny Matt Hopper Ron Carlson Michael Pagán

Eboni Fondren

JANUARY

DECEMBER

TOP JAZZ CLUBRECOGNITION-Downbeat and Ingrams magazines

TUES 1 WED 2 THURS 3 FRI 4 SAT 5

BMWCheri Evans &CEEJazzSoul

DEBORAH BROWN

SUN 6 TUES 8 WED 9 THURS 10 FRI 11 SAT 12

Delynia Bailey & the Boss Kings

INTERSTRING

Indicates Indigo Hour performances

RYAN THIELMAN

LESTER “DUCK” WARNER


THE TRUTHSons of BRASIL

IDA MCBETH


CLOSEDChristmas

Day!

CLOSEDChristmas

Eve!

CHARLOTTEFLETCHER &

SOIGNE’

NEO SOULLOUNGE w/Jason Betts

MUSICIAN“APPRECIATION DAY!”

Elder Statesmen of Jazz 5:00pm

Max Berry 7:30pm

SUN 27 TUES 29 WED 30 THURS 31

FRI 1 SAT 2Happy New Year!


GRAY MATTER

Sons of BRASIL

KANSAS CITY DIVAS NIGHT OUT!:

Eboni FondrenCharlotte Fletcher

J LoveAmber Underwood

JAMES WARD BAND

MAX BERRY

SUN 10 TUES 12 WED 13 THURS 14 FRI 15 SAT 16BMW

TC & True Dig

SUN 17 TUES 19 WED 20 THURS 21 FRI 22 SAT 23THE TRUTH

Everette DeVan&

Eboni Fondren

MATT OTTO

JAZZ DISCIP LES

HAPPY Martin Luther

King DAY!EDDIE MOORE &

THE OUTER CIRCLE

ENSEMBLE IBERICA

with

SHADES OF JADE


IDAMCBETH

GRUPO AZTLAN

DOUG TALLEY

QUINTET

LADY D

ROGER WILDER QUINTET

INFO:816.474.8463

NCA percentage of Blue

Room Pale Ale is donated by North

Coast brewing to support programming at the

American Jazz Museum.

NEO SOULLounge w/Jason Betts

•Blue Room Martinis •Drink Specials •Beer, Wine & Wells•Live Music •Appetizer Buffet

INDIGOHOUR:

IN THE BLUE ROOM NO COVER

CHARGE

MAGIC107.3

AmericanJazzMuseum.orgBlueRoomKC.org

JAMES & ANGELA WARD

DWIGHT FOSTER

LOUIS NEALBIG BAND

SAX SHOWCASEMike HerraraHouston SmithErnest Melton

TYREE JOHNSON&

GROOVE101

JAY MCSHANNBIRTHDAY

CENTENNIALWEEK

MARCUS LEWIS

BIG BAND

B L U E

MONDAY JAM 7

B L U E

MONDAY JAM 14

B L U E

MONDAY JAM 21

B L U E

MONDAY JAM 28

B L U E

MONDAY JAM 4

B L U E

MONDAY JAM 11

B L U E

MONDAY JAM 18

B L U E

MONDAY JAM 25

**Indicates Feature Performances for the month

*

+

3rd Annual BORDERWARS Showdown!

KU vs. MU“A friendly

big band exchange”

+

+

+ *

*

*

++

+

NEW YEAR’S EVE CELEBRATIONEVERETTE DEVAN 7:30pm – 9:30pm

CHARLES WILLIAMS QUARTET w/ PAULA SAUNDERS& ASA BARNES 10pm – Midnight

“MUSICAL HANDSHAKE”As part of the “ALL HAIL to HALE” exhibit. Will Matthews Quartet with special guest

Wayne Goins and Ensemble Berica with Matt Otto.

*

*

$1 0 Admission Fridays & Saturdays (unless otherwise noted)

NEW YEAR’S EVECELEBRATION

Everette DeVan Charles Williams Quartet

w/ Paula Saunders& Asa Barnes

JANUARY

DECEMBER


BMWCheri Evans &CEEJazzSoul

DEBORAH BROWN


Delynia Bailey & the Boss Kings

INTERSTRING

RYAN THIELMAN

LESTER “DUCK” WARNER


THE TRUTHSons of BRASIL

IDA MCBETH


CLOSEDChristmas

Day!

CLOSEDChristmas

Eve!

CHARLOTTEFLETCHER &

SOIGNE’

NEO SOULLOUNGE w/Jason Betts

MUSICIAN“APPRECIATION DAY!”

Elder Statesmen of Jazz 5:00pm

Max Berry 7:30pm

TUES 29 WED 30 THURS 31

FRI 1 SAT 2Happy New Year!


GRAY MATTER

Sons of BRASIL

KANSAS CITY DIVAS NIGHT OUT!:

Eboni FondrenCharlotte Fletcher

J LoveAmber Underwood

JAMES WARD BAND

MAX BERRY

TUES 12 WED 13 THURS 14 FRI 15 SAT 16BMW

TC & True Dig

TUES 19 WED 20 THURS 21 FRI 22 SAT 23THE TRUTH

Everette DeVan&

Eboni Fondren

MATT OTTO

JAZZ DISCIP LES

HAPPY Martin Luther

King DAY!EDDIE MOORE &

THE OUTER CIRCLE

ENSEMBLE IBERICA

with

SHADES OF JADE


IDAMCBETH

GRUPO AZTLAN

DOUG TALLEY

QUINTET

LADY D

ROGER WILDER QUINTET

NCA percentage of Blue

Room Pale Ale is donated by North

Coast brewing to support programming at the

American Jazz Museum.

JAMES & ANGELA WARD

DWIGHT FOSTER

LOUIS NEALBIG BAND

SAX SHOWCASEMike HerraraHouston SmithErnest Melton

TYREE JOHNSON&

GROOVE101

MARCUS LEWIS

BIG BAND

JAM 7

JAM 14

JAM 21

JAM 28

JAM 4

JAM 11

JAM 18

JAM 25

*Indicates Feature Performances for the month

*

3rd Annual BORDERWARS Showdown!

KU vs. MU“A friendly

big band exchange”

+

+

+ *

*

*

++

+

NEW YEAR’S EVE CELEBRATIONEVERETTE DEVAN 7:30pm – 9:30pm

CHARLES WILLIAMS QUARTET w/ PAULA SAUNDERS& ASA BARNES 10pm – Midnight

“MUSICAL HANDSHAKE”As part of the “ALL HAIL to HALE” exhibit. Will Matthews Quartet with special guest

Wayne Goins and Ensemble Berica with Matt Otto.

*

*

$1 0 Admission Fridays & Saturdays (unless otherwise noted)

NEW YEAR’S EVECELEBRATION

Everette DeVan Charles Williams Quartet

w/ Paula Saunders& Asa Barnes

JAZZ AMBASSADOR MAGAZINE • DECEMBER 2015 + JANUARY 2016DECEMBER 2015 + JANUARY 2016 • JAZZ AMBASSADOR MAGAZINE2

CONTINUED ON PAGE 28

PRESIDENT’S CORNER

mikemetheny.com • amazon.com • cdbaby.comAVAILABLE AT:

ALSOAVAILABLE:

FROM MIKE METHENY

STEPHEN MATLOCK

Let’s start this issue by congratulating—as Eboni does on the cover—our World Series champion Kansas City Royals. There’s no reason for a jazz magazine to ignore what is arguably (or maybe unarguably) the biggest story in this city in years. After all, in the days when a unique style of music was born here, the Kansas City Monarchs of the Negro Leagues were an integral part of life in the 18th & Vine district. Today, the jazz and Negro Leagues museums share a building. In Kansas City, baseball and jazz have always held close ties. And then let’s note the special event that the Jazz Ambas-sadors are hosting on December 12th. That is the date of what would have been Frank Sinatra’s 100th birthday, and we’re celebrating with a fundraiser in the Valentine Room at the Uptown Theater. You’ll find details in an ad and in News + Notes elsewhere in this issue. The Jazz Ambassadors publish Jam which in 2016 will be celebrating its 30th year. While the goal is to pay for each issue through ads, that doesn’t always happen. And when it doesn’t,

the Ambassadors make up the difference. We raise money through Ambassador memberships and through events like this one. Join us at the Sinatra fundraiser. It’s going to be a whole bunch of fun. And it’s a way you can help support Jam. Joining the Ambassadors is a new Advisory Board, an adjunct to the Board of Directors, bringing unique experience to help guide the organization with valuable advice. For our initial Advisory Board, we’ve recruited four mem-bers. One is jazz vocalist Angela Hagenbach. Angela has been entertaining around the world for over two decades. Most recently, she wrote and produced Jazz Alice (last issue’s cover story) and competed in the Sarah Vaughan International Jazz Vocal Competition. With Angela, the Ambassadors gain the wisdom and insights of one of one of this area’s most successful jazz artists.

JAZZ AMBASSADOR MAGAZINE • DECEMBER 2015 + JANUARY 2016 3

President’s Corner . . . . . . . . . . . . . . . .2News + Notes . . . . . . . . . . . . . . . . . . .4Eboni Fondren: Jazz, Les Misérables, and Turn Off Your Phone . . . . . . . . . .8Young Jazz Masters: Learning The Music Where It Began . . . . . . . . . . . . . . . . 12Off the Vine . . . . . . . . . . . . . . . . . . 14Folly Jazz News . . . . . . . . . . . . . . . . 16Bits of the Blues . . . . . . . . . . . . . . . 18For the Record . . . . . . . . . . . . . . . . 20Next Jam . . . . . . . . . . . . . . . . . . . . . 22Join Today! . . . . . . . . . . . . . . . . . . . 23Storyville . . . . . . . . . . . . . . . . . . . . . 24Club Scene . . . . . . . . . . . . . . . . . . . 26

Jam is published bi-monthly by the Kansas City Jazz Ambassadors, a non-profit 501(c)(3) organization dedicated to the development and promotion of Kansas City jazz. All rights are reserved. Reproduction of any material is prohibited without consent of the publisher.

To contact the KC Jazz Ambassadors, call (913) 967-6767.

For advertising information, call (816) 582-3090 or (816) 591-3378 or email [email protected]. Letters should be addressed to:

Jam, P.O. Box 36181, Kansas City, MO 64171-6181. To contact the editor, email [email protected]. “Jam” and “Jazz Lover’s Pub Crawl” are Registered

Trademarks of The Kansas City Jazz Ambassadors, Inc. Jam/Jazz Ambassador Magazine (Online) ISSN: 1533-0745

E D I T O RLarry Kopitnik

C O N T R I B U T I N G W R I T E R SRoger Atkinson

Carolyn Glenn BrewerBill BrownleeChris BurnettJoe Dimino

Raymond Franson Wayne GoinsChuck Haddix

Connie HumistonLarry Kopitnik

Danny PowellKevin Rabas

Michael RaganMichael Shults

P R O O F R E A D E RRick Hellman

A D V E R T I S I N GSharon Valleau (816) 582-3090

Connie ‘Crash’ Humiston (816) 591-3378T Y P O G R A P H Y & G R A P H I C D E S I G N

Rodric McBrideC O V E R P H O T O G R A P H Y

Larry KopitnikC O V E R L A Y O U T & D E S I G N

Rodric McBrideP R I N T I N G

Single Source PrintingD I S T R I B U T I O N ( P R I N T )

K.C. Jazz AmbassadorsD I S T R I B U T I O N ( E L E C T R O N I C )

www.kcjazzambassadors.comI N T E R N E T W E B M A S T E R

The Digital Agenda

2 0 1 5 B O A R D O F D I R E C T O R S

E X E C U T I V E C O M M I T T E EPRES IDENT Stephen MatlockSECRETARY Dr. Tyler Craig

TREASURER Jennifer Wismeier

D I RECTORS AT L ARGEKris Siriwangchai | Lynn Abrams

ADV ISORY BOARDDean Hampton | Tom Alexios | Jim Ramel | Angela Hagenbach

The Board of Directors gratefully thanks Darrell Hoffman and Bob Clark and the Jam distribution team for their untiring contributions to the KCJA.

©2015 Kansas City Jazz Ambassadors, Inc.

DECEMBER 2015 + JANUARY 2016VOLUME 29, NO. 6

Cover photo: Vocalist Eboni Fondren celebrates the World Series champion Kansas City Royals on the small baseball diamond next to the Paseo YMCA at 19th and The Paseo. The Paseo YMCA is the building where the charter creating baseball’s Negro Leagues was signed. Painted on its wall are memori-als to Buck O’Neil and to the Negro Leagues.

CONTENTS


NEWS+NOTES

Since the last issue of Jam hit the streets, The Broadway Kansas City, which opened two years ago as The Broadway Jazz Club, has closed. Its space will be converted to a Scandinavian restaurant. But a spectacular new project was announced for the 18th & Vine district, to be located behind the American Jazz Museum complex and in Parade Park. In a joint venture between the Kansas City Royals, Major League Baseball and the Major League Baseball Players Associa-tion, the country’s seventh MLB Urban Youth Academy will be built. Phase I includes four ball diamonds, two full size and two for youth softball, and a walking trail. It’s expected to be completed in a year. Phase II will include an indoor training facility for baseball and a new outdoor event space. Fundraising is ongoing for Phase II with the expectation it will open a year later. What does this have to do with jazz? It has the potential to bring a new audi-ence to Kansas City’s historic jazz district with the possibility that new businesses will follow. A major project which further builds the district directly benefits jazz. Let’s take a look at what else is going on.

Woody Herman at MCC-Penn Valley If you’d like to see Woody Herman’s clarinet and his 1987 Lifetime Achieve-ment Grammy Award, you can. They’re on loan and on display in the library at the Penn Valley campus of Metropolitan Community College, 3201 Southwest Trafficway.

Tom Alexios, who for 15 years managed specia l projects for Downbeat magazine, has arranged loan of these items from the Woody Herman Society through June, 2020. Alexios has placed similar artifacts in the collection of jazz instruments at the Smithsonian Museum of American History and in the Milwaukee Youth Arts Center. Alexios and Ambassadors presi-dent Steve Matlock are also work-ing with Penn Valley art students on posters with the image of Duke

Ellington. Ellington’s estate has approved the project and the use of Ellington’s likeness. The designer of the selected poster will receive an honorarium and the poster will be reproduced in a limited, numbered edition to be sold as a fundraiser for the Jazz Ambassadors. A poster design is planned as an annual event to culminate each April, which is Jazz Appreciation Month. Next April 29th would be Ellington’s 100th birthday.

Sinatra Celebration December 12th would have been Ol’ Blue Eyes’ 100th birthday. The Kansas City Jazz Ambassadors, publishers of

this magazine, are celebrating Frank Sinatra that day with a fundraiser gala in the Valentine Room at the Uptown Theater, 3700 Broadway. You’re invited. Proceeds support the Ambas-sadors’ Musicians Assistance and Jazz Studies Scholarship funds.

A similar Woody Herman exhibit at the Milwaukee Youth Arts Center


It’s the Sinatra Centennial Birthday Bash featuring the Dave Stephens Band with guest vocalist Frank Vigliaturo. Mayor Sly James will be recognized as the 2015 Kansas City Jazz Ambassador of the year. There will be a buffet of Italian cuisine, a silent auction, swing dancers and Sinatra trivia. Dress in your “Rat Pack” or holiday best. Dinner starts at 7 p.m. The show starts at 8. A VIP ticket also includes a VIP cocktail hour at 6 and preferred seating. General Admission tickets are $75 through Ticketmaster. $60 tickets for Ambassador members or $100 tickets for a VIP sponsorship are available by contacting Treasurer Jen Wismeier at 816-886-8369 or [email protected]. Jen is also the liaison for tax-deductible corporate sponsorships or donations of food, gift bag goodies, and silent auction items. More infor-mation is at www.KCJazzAmbassadors.com.

Donald Cox Kansas City jazz lost one of its favorites on November 6th with the passing of Donald Cox. “Big Don” was a pianist, bassist, guitar-ist, vocalist, bandleader, teacher, and – the press release announcing his death proudly notes – a member of the Mutual Musicians Foundation. He served on the board of The Elder Statesmen of Kansas City Jazz. He was 71 years old. In 1957 at the age of 13, Donald made his professional debut, and by 1963 he released his first recordings on Chess Records: Just Can't Win and What Can You Do for Me. He performed with life-long friends, including Claude “Fiddler” Williams, Jay “Hootie” McShann, Ahmad Alaadeen, and Luq-man Hamza. He played in bands that backed up or opened for names like Eartha Kitt, Wes Montgomery, Dizzy Gillespie, Al Green, Little Jr. Parker, Tina Turner, and James Brown. And as editor, I’m going to add a personal note not in the official press release. Back in the late 1980s, when I served as chairman of The Kansas City Jazz Commission, the Commis-sion staged mini-pub crawls for visitors. The Mutual Musicians Foundation was the final stop on every mini-crawl. We served a barbecue dinner there accompanied by jazz. Donald Cox was who you coordinated with back then if you wanted to do anything at the Foundation. I called him a number of times to set up mini-crawls. And I have never worked with a nicer, a more gracious, or a more accommodating host than Donald Cox. He was usually behind the piano on those stops. I can hear him now.

CONTINUED

IN ASSOCIATION WITH: STATE HISTORICAL SOCIETY OF MISSOURI

Proudly Presents

“A MUSICAL TRIBUTE TO THOMAS HART BENTON”*

ORRIN EVANS CAPTAIN BLACK BIG BAND

THURSDAY, FEBRUARY 4, 7 P.M.MISSOURI THREATRE COLUMBIA, MO

MU COLLEGE OF ARTS & SCIENCE “SIGNATURE CONCERT”

ORRIN EVANS’ CAPTAIN BLACK BIG BANDOrrin Evans, Piano/Leader

Todd Bashore, saxophone Troy Roberts, saxophone David Gibson, trombone Stafford Hunter, trombone

Bryan Davis, trumpet Josh Lawrence, trumpet Luques Curtis, bass Anwar M. Marshall, drums

Joanna Pascale, Vocals

“In Sync with Thomas Hart Benton” FEBRUARY 2-4, 2016A Three-Day Event w/Films, Panel Discussions, Artist/Guest Reception AND A Major Concert.

[*This program was originally commissioned by the Metropolitan Museum of Art and created in conjunction with the exhibition Thomas Hart Benton’s “America Today Mural

Rediscovered” (September 2014 – April 2015). The performance had its premiere at the Metropolitan Museum of Art, February 20, 2015]

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Degrees From the London College of Music Last issue’s News + Notes concluded with an item noting that Everette DeVan wa s rece iv ing a n honor from the Lon-don College of Music. There’s more to this story than we knew. T h e L on d on College of Music is the largest and oldest music examination college in the United Kingdom, accredited by the government. They honor people who they feel make a contribution to or show special potential in the performing arts. This year, they honored three Kansas City musicians: Everette DeVan, Jim Mair and Mark Lowrey. In DeVan, they noted his influence on the musicians he trains in the great Kansas City tradition. With Mair, they they have heard from students who spent time with him in camps and in college 20 years ago and still talk about his influence. And with Lowrey, they saw terrific potential in his compositions that deserved recognition. Each musician received an honorary degree from the Lon-don College of Music from Stuart Corbett, father of Kansas City musician Ian Corbett, visiting from London.

Spirituality and All That Jazz The first Wednesday of each month finds Tim Whitmer and the Consort Band at Unity Temple on the Plaza, 707 W. 47th St. Their guest on December 2nd is pianist Joe Cartwright. On January 6th they’re joined by pianist Bram Wijnands. Tick-ets are $7 at the door, and children under 16 are admitted free.

David Basse and Joe Cartwright Looking ahead, David Basse and Joe Cartwright re-lease a new CD with a concert at historic Pilgrim Chapel, 3801 Gillham Rd., on Sunday, February 21st at 3 p.m.. The CD, Live at Pilgrim Chapel, was recorded here. In fact, it’s the chapel where Cartwright and his wife were married. Tickets for the concert are $10 and can be purchased at www.eventbrite.com.

N E W S + N O T E S CONTINUED

Stuart Corbett and Everette DeVan in the studios of KKFI

David Basse and Joe Cartwright’s new CD


'Tis the Season for a JAZZY Bed & Breakfast STAY-CATION!

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Bill Frisell A l s o l o o k i n g ahead (same day, actu-ally), Bill Frisell returns to Kansas City as part of the Harriman-Jewell series at the Atkins Au-ditorium in the Nelson-Atkins Museum of Art. The show is When You Wish Upon a Star with music from the movies. It starts at 5 p.m. (right when the show at Pilgrim Chapel ends, so you can make both) on Sunday, February 21st. Tickets start at $20 and are available at www.hjseries.org or by calling 816-415-5025.

Hootie at 100 January 12th would be the 100th birthday of Jay “Hootie” McShan. One of the greatest legends – and in this case, “legend” is not hyperbole – in the history of jazz is remembered by everyone in Kansas City who had the wonderful fortune to hear him. Admit it, just thinking about his music you’re smiling, aren’t you? At press time, an event was being discussed for the week of January 12th to celebrate Hootie’s hundredth. Planners are not yet ready to share the details. But keep your eye on the American Jazz Museum and KC Jazz Ambassadors websites and Facebook pages for those

Bill Frissell

details when they’re announced. And be ready to exclaim, Happy Birthday, Hootie!

Quick Takes• The year’s final new 12th Street Jump records at the Green

Lady Lounge, in the downstairs Orion Room, on Wednesday, December 9th at 7:30 p.m.

• Singer Ann Hampton Callaway joins the Kansas City Jazz Orchestra on Tuesday, December 8th for their annual Christ-mas show in Hellzberg Hall at the Kauffman Center. Tickets start at $20 and can be ordered at 816-994-7222.

• Trumpeter Doc Severinsen joins the Kansas City Symphony for their Christmas Show, Jingle Bell Doc (that title is just too cute). The show starts at 8 p.m. on Friday, December 11th in the Kauffman Center’s Hellzberg Hall. Tickets start at $49 and can be ordered at 816-471-0400.

• The Jammin’ at the Gem series opens on December 12th with a Christmas concert featuring one-time Kansas Citian and now internationally-renowned bass player Julian Vaughan. The show at the Gem Theater starts at 8 p.m. Tickets start at $35 and can be ordered at 816-474-6262.

• The annual holiday concert by the Kansas City Boys Choir and the Kansas City Girls Choir is on Sunday, December 13th. It starts at 8 p.m. at Unity Temple on the Plaza, 707 W. 47th St. A $15 donation is suggested.

• The New Red Onion Jazz Babies headline New Year’s Eve at the Gaslight Grill.


Eboni FondrenJazz, Les Misérables, and

Turn Off Your Phone

B y J o e D i m i n oP h o t o s b y L a r r y K o p i t n i k

You’ve almost certainly heard Eboni Fon-dren. While watching the Royals’ World Series run on television, if you saw the Ride KC ad, that voice was Eboni. If you’ve seen a movie in an AMC theater the last couple of years and a female voice asked you to turn off your phone, that was Eboni. Or just maybe in The Blue Room, or The Broadway Jazz Club, or during a jam session at The Phoenix, you’ve heard the smooth yet precise stylings of a singer swinging jazz stan-dards, and probably some R&B, with theatri-cal dynamism and genuine delight. That’s Eboni Fondren.


GROWING UP ALL OVER In The Blue Room last month, Fondren hosted the first night that Hammond B3 organ master Everette DeVan returned to the stage following heart surgery. Privately, she refers to De-Van as “Poppa Bear.” He’s her mentor. She consults with him on the next song. DeVan plays the intro. Then Fondren jumps in. Her vocals tell a story with a vivacious excitement, filling the room with smiles. The song ends, Fondren giggles for just a moment, and a connection with the audience has been sealed. You suspect she was always like this. “When I was a kid,” Fondren says, “if there was a micro-phone or stage, I was on it.” It was a youth that bounced from Chicago to Louisiana to West Virginia and to Florida before landing in Kansas City. “When I was growing up,” she recalls, “there was always music around. My aunt sang, and my dad was in a band. He played synthesizer, drums and congas. He had a studio in the basement, and I was always right there sitting on his knee.” But Fondren’s music didn’t start with jazz. “I didn’t grow up listening to the jazz in the house,” she says. “When I wanted to be a singer, I wanted to be like Whitney Houston or Jennifer Holiday. I was R&B. I was soul. The jazz bug got me halfway through college when I was introduced to this vocalist who I thought was great. “It was through a relationship. I had known about jazz music, but I didn’t study it. I was seeing this guy and every time we would hang out he would play Diana Krall. I was like, man, who is this? He showed me the CDs. Do you remember Columbia House? I bought them all. I had them on repeat. “I loved the timbre in her voice and the orchestration of her tunes. I loved everything about what she was doing. It was during that time I decided I wanted to sing this music.”

LEARNING WITH EVERETTE After college, Fondren says, “I was going to the jams at Jardine’s.” A fan stopped her. “He said, ‘You’re really great,’ and ‘Have you ever heard of Everette DeVan? You need to go find him. He works with up and coming vocalists. He plays jams at Jilly’s on Broadway on Tuesday nights.’” The next Tuesday, “I walked in, signed up and sang two songs on the bandstand and when I got done I waited for them to take a break. I went back and said, ‘Hi, I’m Eboni, I hear you work with vocalists. Did you like me?’ I was very naïve but very eager and very forward. He said, ‘Hang on, doll, here’s how it works.’ Luckily, he agreed to take me on.” Lessons were at DeVan’s home. “The first lesson, he talked to me about the bandstand, listening, watching, how to count a band in, how to signal to the band. Then what happens, you go through the song once, you pay attention. “We went to his wall of CDs and pulled out three or four, and he was like, ‘Learn number seven, number nine and number twelve on this CD, learn number four and number six

and number eight on this one.’ I would have a week to go home and learn those songs. “The next week he was like, ‘Stop. Why’d you do this? Do that.’ I had to learn at least 75 songs before he would put me on the bandstand. “It was a year and a half before I had my first gig, at The Phoenix, the Eboni Fondren duo.” The other half of that duo was DeVan. “It was intimidating. I never really knew exactly what he was going to do. I was afraid of scatting at one point in my career. Sometimes, we’d be on the bandstand in the middle of a song and he’d go, scat! and he’d just look at me. And I would doobie doobie doo!

Everette DeVan

CONTINUED

Eboni Fondren surrounded by Matt Hopper on guitar, Danny Rojas on drums and Everette DeVan on Hammond B3 organ


E B O N I F O N D R E N CONTINUED

Westport Coffeehouse Theater Weekly schedule: WestportCoffeeHouse.comJazz Underground

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The Jazz Underground Series is now on select Wednesdays & Thursdays: check website

and FB for lineup.

Event Space for 100!!Videotaping available!

“Everette worked me very hard so that I would learn. He taught discipline. Everette made sure I was ready. I thank him for that. I got that training and experience, and it was invalu-able. He is a master at what he does.”

THEATER AND COMMERCIALS During the early 2000s, Fondren established herself as a staple of KC clubs spotlighting jazz: at The Phoenix, Jilly’s and Jardine’s. Especially Jardine’s. “Jardine’s was fun for the atmosphere, ambiance and what it did for the jazz community. It was a place where a lot of people played,” Fondren said. “You felt like you were a cool kid if you played there. Just like The Blue Room.”

It was at The Blue Room that one night she noticed a table paying unusually special attention to her. “So I started throwing them lines and winks,” Fondren said. “During a break in the set I stopped by and talked to what turned out to be folks from the Kansas City Repertory Theatre. They were impressed with my voice and said they were casting and that I should give them a call.” She did. An audition led to a call back on her January birthday. She was cast as Ronette, one of the doo-wop girls in Little Shop of Horrors. That show was followed by Hairspray at The New Theatre Restaurant, then back to the Rep for Decem-ber’s A Christmas Carol. And that was just 2012. Productions of Ain’t Misbehavin’ and Les Misérables fol-lowed. Early this year, Fondren was recruited for a new pro-

duction of Les Misérables in Rock Island, Illinois. Fondren’s voice and personality captured more attention. Commercial and voiceover opportunities opened up, including promotions for Wendy’s pretzel bacon cheeseburger and Ride KC. Since early 2013, she has been the female voice in AMC Theaters. “Every two or three weeks I’m in the recording studio” for AMC, she said.

AND ALL THE JAZZ All of this work and experience come together to elevate the jazz singer heard in The Blue Room, to bring forward a presence uniquely Fondren’s own. “I’m an actress, and I’m a clown,” she explains, “so I can take the process I would with a script of learning the script and applying it to a life situation, or putting myself in the situation of the character, to perform it from my own perspective. I’ve

The Eboni Fondren Quintet at The Broadway Kansas City with Charles Williams on keyboards, Tyrone Clark on bass, Michael Warren on

drums, Eboni Fondren, vocals, and Ian Corbett on saxophone


Kansas City Boys ChoirKansas City Girls Choir

Directed by Ah’Lee Robinson20 Years of Turning Boys of Song into Men of Note

Sunday, Dec. 13th5:00-8:00pm

Unity Temple on the Plaza$15 Suggested Donation

www.KCBoyChoir.org816-474-7464

“Home for the Holidays”

Annual Concert

Guitarist

Bill Frisell“When You Wish

Upon a Star”A re-imagining of

time-honored music we have heard in films

featuringcellist Eyvind Kang,

bassist Thomas Morgan, drummer Kenny Wollesen,

and singer Petra Haden

5 p.m. Sunday, Feb 21Atkins Auditorium

The Nelson-Atkins Museum of Art Kansas City, Missouri

Tickets are $40, $30, or $20, and are on sale now.

Select seats at HjSEriES.orG or call 816.415.5025 for assistance.

This event is a collaboration with The Nelson-Atkins Museum of Art.

taken that and applied it to songs. You can tell the story. You can become the character. That work with Everette in combination with my theater work has let me develop this sort of style that I like to give on stage.” She reflects on a thriving Kansas City jazz scene where it can nevertheless be difficult for vocalists to find steady work. “I feel like there is great music in KC and great oppor-tunities, but as a vocalist it’s a bit harder because the guys I like to play with have other things going on,” Fondren notes.

“It’s harder to pull a gig together. I love to go out and support and listen to the Hermon Meharis, Peter Schlambs and Chris Hazeltons. I sit in when I can.” Yet, she adds, “I like the big little town-ness of Kansas City. “I say that Kansas City is like an onion. You have the touristy things – great things happening on the surface. When you peel back the layers, there are so many things that are great about KC.” What does she see in her crystal ball? “Ten years from now, I would like to tell you I just got back from Paris and that my husband and I just celebrated our 10 year anniversary. Then, I’ll tell you I’m about to go to another country to do a show.” But until then, when you’re in an AMC theater and you hear a female voice suggesting you go to the concession stand or that you turn off your phone, do what Eboni tells you.


Lester Young rehearsed in here, and Mary Lou Williams, and Ben Webster, and Count Basie. On a fall evening this past September, a group gathered upstairs in the Mutual Musicians Foun-dation. This was once the union hall of American Federation of Musicians Local 627. Today, its walls at 1827 Highland are decked with photos, illustrations, and paintings of the jazz legends who jammed and learned and taught in the building. This night, five students and their teachers work through eight tunes. These are the Young Jazz Masters, or the YJM. Each Saturday night at 7 p.m. they learn jazz in Kansas City’s most historic jazz landmark.

Jazz Education for Those Without The Young Jazz Masters was founded in 2007 as a place for kids who can’t pay for lessons to learn jazz. It has been led since its start by Osmond and CharCarol Fisher. Their basement is a warehouse of instruments available to students, accumulated through donations, Craigslist, flea markets and garage sales. YJM is based at the Foundation. It operates solely on donations. Some of its students attend schools with no music program. Others are in school music programs but feel that jazz education

there is lacking. And some, without access to private lessons through grade school, can’t pass auditions to enter into more elite high school programs. In contrast, Osmond says, “We meet them where they are.” The Young Jazz Masters accepts all skill levels. The YJM education focuses on fundamental concepts, especially blues improvisation. Osmond explains that YJM builds a learning environment, connecting with the music

and not overwhelming the students. Lessons consider how should they play the music, how should they study it, how can they improvise over it. As student Madolyn Marshall puts it, they “focus on learning to emote and tell a story” Osmond is particularly proud that they can rehearse in the Foundation, building on its heritage as a place where musicians learn from established players and peers. Supporting diversity in jazz is important to YJM. That diversity includes students’ ages, their skill levels, and where they live. Some drive in from Grandview and Harrisonville in Missouri, and some travel from as far as Topeka and Manhattan in Kansas. Students find the program mostly by word of mouth. They stay as long as they want. By meeting them at

Young Jazz Masters:Learning The Music Where It Began

B y R a y m o n d F r a n s o n | P h o t o s b y L a r r y K o p i t n i k

CharCarol Fisher, at the right, and Osmond Fisher, at the drums, direct the Young Jazz Masters in the atrium of the American Jazz Museum

Osmond Fisher leads a rehearsal in the Mutual Musicians Foundation

JAZZ AMBASSADOR MAGAZINE • DECEMBER 2015 + JANUARY 2016 13C O N TI N U E D O N PAG E 2 5

their skill level, the program can help each participant, whether the student stays for one rehearsal or for years. The YJM currently educates about 20 students with a nucleus of 12. Parents are welcome at the rehearsals. This night, Madolyn Marshall, on alto sax, drove in with her father from Manhattan. She first saw the group in a feature on KCPT when she was in the eighth grade. She is now in her fifth year with YJM. Also on the Foundation stage this night are Jahlil Drew (alto sax), Ethan Ashu (tenor sax), Charles Fisher, (trumpet), Cameron Huey (drums), and Alan Ishmael (guitar). This is Alan’s first night with the group. He has played with the Five Star Jazz Band for several years but came here for experience in a small combo. Throughout the session, Osmond and CharCarol moved to whatever instrument was required for each song. Osmond conducted and played trombone, tuba, trumpet and piano. CharCarol shifted from sax to piano. The songs were diverse, with Now’s the Time, Billie’s Bounce, That Big Fat Hand (a Wynton Marsalis composition played as a New Orleans shuffle), Keep That Same Old Feeling (a Wayne Henderson Crusaders classic, but again as a New Orleans shuffle), One for Daddy-O (by Cannonball Adderley), a minor blues, Blue Bossa (by Kenny Dorham, performed with a Latin rhythm), and All Blues. The group was preparing for an October 10th performance on the student stage at the 18th and Vine Jazz and Blues Festival.

PUBLIC REHEARSAL The YJM performs about 10 times a year in a variety of set-tings, from festivals to clubs to conventions. Mid-August found them in a Saturday afternoon open rehearsal in the atrium of the American Jazz Museum / Negro Leagues Museum complex. Seven students attended. Madolyn Marshall, from Man-hattan, was there. So were Mackenzie Tubach (piano), and Jacob Steiner (bass). Mackenzie is a high school senior and Jacob is now enrolled in the jazz program at UMKC. Other students ranged from 9-year old Charles Fisher – CharCarol’s and Os-mond’s son – to longtime member Steven Boyd (keyboards), a Paseo High School grad who can now be heard performing with groups around town. Also joining were Emma Wagner (flute), Jahlil Drew, and Ethan Ashu. In most ways it was a normal rehearsal with CharCarol leading the group. She worked with each student individually, always bringing positive insights to the individual and the band.

Attentive parents filled chairs set up in the atrium. But the students also felt a steady stream of museum visitors passing by and staring curiously at them, some walking directly in front of the band. CharCarol calmly assured the students that all they had to do was concentrate on a normal rehearsal. The rigidity and formality of a high school band room is missing with YJM. The group has an open door policy, mean-ing that the number of students at both rehearsals and perfor-mances varies. This makes flexibility in performing in combos of different sizes an integral part of the training. And with no mandatory attendance, the students who are there want to be there. CharCarol and Osmond don’t need to start a session with

“Sit down, shut up, pay attention!” The group acknowledged the public setting by beginning with a tune played all the way through. Despite the informality and the difference in ages and skill levels, the front line didn’t have the sour sound that student groups sometimes bring when they don’t intonate well. After sight reading Charlie Parker’s Now’s the Time, CharCarol told them not to worry about notes they may have missed. She had missed some too, she said and, besides, “Charlie Parker will hurt your brain. Don’t stress about it.’ Osmond provided a steady beat on drums. But when a soloist began to struggle, he reacted with a firmer, clearer stride, guiding the student back on track. He drove the soloist to shine instead of panic. They worked through five tunes (three by Charlie Parker—Now’s the Time, My Little Suede Shoes, and Confirma-tion,—Miles Davis’ All Blues and Joe Zawinul’s Mercy, Mercy, Mercy). On one, CharCarol taught the front line a riff by ear to play behind the soloists. A soloists would start with 8 bars and then the rest of the front line would come in with the riff behind the next 8 bars of the solo, much like the Bennie Moten and Count Basie bands did.

The Young Jazz Masters rehearse in the historic Mutual Musicians Foundation


OFF THE VINECHRIS BURNETT

Dr. Rowena Stewart, the founding executive director of the American Jazz Museum, passed away on September 19, 2015. She was 83. The museum hosted a memorial tribute to Dr. Stewart on Thursday, November 12th. It was open to the public in the award-winning Blue Room. Congressman Rev. Emanuel Cleaver II spoke. The signif icance of Dr. Stewart’s contributions as vision-ary, administrator, leader and mentor cannot be overstated. She was recruited to oversee the development of the American Jazz Museum in Kansas City, then served as executive director from 1995 through 2002. Dr. Stewart was recognized as a giant among authorities on African American culture and history. She was the first direc-tor of the Rhode Island Black Heritage Society in Providence. Then, from 1985 to 1992, she served as director and curator of the Philadelphia’s Afro-Amer-ican Historical and Cultural Museum. There she transformed what was described as “a rather static museum” into one that provided visitors an interactive and animated experience. In 1992, Dr. Stewart moved to Detroit to head the Motown Historical Museum for three years. As the American Jazz Museum approaches its 20th an-niversary, appreciation for Dr. Stewart’s vision and service here is tangible within our community. Leaders of this caliber are vital to the continuation of institutions such as the American Jazz Museum. They ensure that proper historical contexts are maintained, and that artifact acquisitions and permanent collections content are properly focused for the organization’s mission and goals. The American Jazz Museum, a non-profit organization, is a contractor managing a City of Kansas City resource. That’s

unique. Ultimately, AJM is responsible for operating as a self-sustaining enterprise. Every leader of the museum has been charged with moving toward that goal, from Dr. Stewart in the beginning to our current top executive. In order to be successful as a business, arts organizations must operate effectively, using success-ful best business practices. Profit centers must generate profits. Inventories must be managed economically. All business divi-sion accounting lines must be accurate in order to plan, budget and project realistically. Over nearly two decades, the American Jazz Museum has developed a significant museum collection of artifacts through important acquisitions. This department requires ongoing credible funding in order to document, catalog, present and maintain these valuable city-owned treasures. The museum is a steward of city property. The

physical facilities, plant equipment and aesthetics of the Muse-ums at 18th & Vine require continued deliberate consideration in order to maintain a second-to-none experience for visitors who come from our local communities and from around the world. As a global community, we should be reminded of the tremendous positive impact that the American Jazz Museum continues to impart on the progressing world of jazz music and on the accurate telling of the significant artistic contributions of African Americans. After nearly two decades of existence, the American Jazz Museum has established itself among the most desirable perfor-mance venues by world-class artists and musicians from all parts of the globe. And, its location at 18th & Vine remains among the most esteemed addresses in American music. We should

In Honor of Dr. Stewart

Dr. Rowena Stewart, the first executive director of the American Jazz Museum


Live at Chaz on the Plaza,Lucky Brewgrille in Mission &The Art Factory at Prairiefire

Available 4 Holiday Parties, Clinics, Guitar Lessons913.515.0316 • [email protected]

Available 4 Holiday Parties, Clinics, Guitar Lessons913.515.0316 • [email protected]

RON CARLSON

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Ron Carlson | Bob Bowman | Roger Rosenberg | Rob SchepsAngela Hagenbach | Kathleen Holeman | Shay Estes | Brian Steever

also be reminded that an institution such as the American Jazz Museum is bigger than individual people. It belongs to each of us in our own time. Clearly, Dr. Stewart and other past leaders of the organization understood this fact. As current Kansas City Mayor Sly James once stated,

“Kansas City is better because of the American Jazz Museum!” We should appreciate the vision of the founding executive di-rector of the American Jazz Museum, along with all of the city officials and citizens of that period in the early 1990s. Thanks should also be given, not only by those in Kansas City and the United States of America, but by those people all over the world who recognize that jazz is continuing beyond our times. The perpetuation of its historical continuum into future generations is in good hands. Get involved. Volunteer. Become a member. Go see the current free exhibition in the Changing Gallery called, All Hail To Hale. Check out the free film, A People’s Journey in the Horace Peterson III Visitors Center. Attend a concert or community event in the historic Gem Theater. Participate in our renowned education programming like Jazz Storytelling. It’s free every first Friday. Listen to a show in the award-winning Blue Room working jazz club exhibit. Find interesting and unique items in the Swing Shop gift store. There’s more. Visit the American Jazz Museum online at AmericanJazzMuseum.org.


FOLLY JAZZ NEWSCONNIE ‘CRASH’ HUMISTON

David Benoit Christmas Tribute to Charlie Brown with Special Guest Jane MonheitFriday, December 18 — 8 p.m.Jazz Pianist Max Groove will interview David Benoit and Jane Monheit at our pre-concert Jazz Talk feature at 7 p.m. It is only natural for Grammy-nominated pianist/com-poser/arranger David Benoit to bring out the kid in us during this special holiday tribute to Charlie Brown – complete with a local children’s choir. Growing up in Los Angeles, Benoit was bitten by the jazz bug after watching a Charlie Brown special on television and listening to the music of Vince Guaraldi in 1965. “I was already a fan of the comic strip,” he relates, “but when I heard that jazz piano trio, that was the defining moment when I decided that I wanted to play like Vince Guaraldi.” In 2000, Benoit paid tribute with his noteworthy compilation Here’s to You, Charlie Brown: Fifty Great Years. With his thirty-fifth album as a leader, he celebrated his first with a vocalist—2 in Love, released in June 2015, featuring Jane Monheit, the Grammy-nominated, cool-toned chanteuse from New York who burst on the scene in 1998 as the first runner-up in the Thelonious Monk International Vocalist Competition. Stepping out of his role as one of the founding fathers of contemporary jazz, Benoit wanted to show other dimensions of his artistry, influenced by Stephen Sondheim, Burt Bacharach, Dave Grusin, and Leonard Bernstein. “I’ve done records where I had a token vocal tune, all the way back to my first album,” Benoit says. “But I never did an entire record [with vocals]. So the thought here was to do something really different.” It was Concord Records that suggested Jane Monheit.

“She was the perfect vocalist. I like to make records a certain way: I prefer to go in live and record it all at once. And a lot of vocalists can’t do that; they need to edit, fix, and use auto-

“2 in Love represents a lovely opportunity to hear two extraordinary musicians express their passion in an intimate setting. While you

sense each one’s commanding ability (hence, the solo careers) you also sense the marriage of their work.” — Joe Frazier, PPcorn

tune. But Jane doesn’t need to do any of those things. Many of the keys were difficult, but she sang everything live. Jane also has a background in Broadway, which is another part of my lexicon that I’ve not explored. She was up to the task and easy to work with. She made it a complete, perfect package.” Monheit has won acclaim, releasing a steady stream of recordings since bursting onto the national scene. That acclaim has included two Grammy nominations, for Best Instrumental Arrangement Accompanying Vocalist(s) on her rendition of the Judy Collins ballad Since You’ve Asked from the album Live at

David Benoit and Jane Monheit


2015-2016FOLLY JAZZ SERIES!

2015-2016FOLLY JAZZ SERIES!

The Richard J. SternFoundation for the Arts –Commerce Bank Trustee

Neighborhood TouristDevelopment FundCity of Kansas City, Missouri

12th & Central • Kansas City, MOFOR TICKETS 816-474-4444www.follytheater.org

Alicia Olatuja Quintet – March 11Christian McBride Trio – April 9

Dee Dee Bridgewater and Irvin Mayfield withthe New Orleans Jazz Orchestra – May 21

Alicia Olatuja Quintet – March 11Christian McBride Trio – April 9

Dee Dee Bridgewater and Irvin Mayfield withthe New Orleans Jazz Orchestra – May 21

David Benoit Christmas Tributeto Charlie Brown with

Special Guest Jane MonheitDecember 18 • 8:00 p.m.

F E A T U R I N GDavid Benoit, piano, keyboards

Jane Monheit, vocalsDavid Hughes bassJamey Tate, drums

Jazz Pianist Max Groove will interview David Benoit and Jane Monheit at our pre-concert Jazz Talk feature at 7 p.m.

“2 in Love represents a lovely opportunity to hear two extraordinary musicians express their passion in an intimate setting. While you sense

each one’s commanding ability (hence, the solo careers) you also sense the marriage of their work.” — Joe Frazier, PPcorn

David Benoit Christmas Tributeto Charlie Brown with

Special Guest Jane MonheitDecember 18 • 8:00 p.m.

F E A T U R I N GDavid Benoit, piano, keyboards

Jane Monheit, vocalsDavid Hughes bassJamey Tate, drums

Jazz Pianist Max Groove will interview David Benoit and Jane Monheit at our pre-concert Jazz Talk feature at 7 p.m.

“2 in Love represents a lovely opportunity to hear two extraordinary musicians express their passion in an intimate setting. While you sense

each one’s commanding ability (hence, the solo careers) you also sense the marriage of their work.” — Joe Frazier, PPcorn

the Rainbow Room (2003), and for Dancing in the Dark from Taking a Chance on Love (2005) In fact, Benoit and Monheit were such a perfect synergy that the duo followed June’s 2 in Love with an October release of heart-warming, holiday-themed favorites in Believe, an equally vivacious, vivid and varied masterpiece. Featuring Benoit’s trio, with drummer Jamey Tate and bassist David Hughes (both in this Folly performance), renowned jazz flautist Tim Weisberg, and the quintessential The All-American Boys Chorus, Believe is composed of trio, choral, and orchestral renditions of the music of Vince Guaraldi, Richard Rodgers, Mel Tormé, and Jule Styne – plus an original composition from Benoit. The Folly will be bursting in vivacious celebration for this Christmas Tribute, all gift-wrapped in “a complete, perfect package.”

Folly Spotlight Artist Alicia Olatjuja + McBride, Bridgewater and Mayfield in 2016: March 11th Alicia Olatuja Quintet

April 9th Christian McBride Trio

May 21st Dee Dee Bridgewater & Irvin Mayfield with the New Orleans Jazz Orchestra

Heartland Men’s Chorus + Celtic Tenors The Heartland Men’s Chorus continues Kansas City’s non-traditional holiday tradition with their December 4th to 6th mix of classic carols and merry mischief at the Folly, including Blended, a new commission about family and the holidays from the 1950s to today. On December 12th at 8 p.m., the Celtic Tenors bring their highly acclaimed music and charm to benefit the Folly Kids’ Series. The Tenors’ talent goes beyond their Irish roots into classical, pop, and for this event, winter holiday favorites. For ticket prices for these special shows, please check the Folly website at www.follytheater.org.

Sharing a Special Holiday Season The Folly staff, board and volunteers wish you and your families a joyous season, and we are very grateful for your sup-port over the years. Folly Jazz Series tickets make wonderful gifts at $35, $27 and $18 (group discounts for 10 or more). Dis-counted Jazz Series subscriptions are available, and KCJA members are eligible for additional discounts at 816-474-4444 or www.follytheater.org. To make end-of-year, tax-deductible gifts, please contact Director of Development Brian Williams at [email protected] or 816-842-5500. Year-round, please check our website for special presenta-tions and follow us on Facebook.

Compiled by Connie “Crash” Humiston, Crash in Communica-tions, [email protected]


BITS OF THE BLUESDANNY POWELL

Blues For The Holidays (That’s A Good Thing) Happy holidays, blues fans! The Kansas City Blues Society has a full plate of blues for your holiday season. This is a busy time for KCBS as we wrap up our 35th year of supporting the Blues in Kansas City. On November 7th, KCBS celebrated with a grand party at the world famous Knucklehead’s Saloon. Over 500 people came out as we inducted our first members into the Kansas City Blues Society Hall of Fame. Inductees included musi-cians Millage Gilbert, Pris-cilla Bowman, Provine “Little” Hatch, Julia Lee, Jay McShann, Jimmy Rushing and Big Joe Turner. One non-musician, club owner and concert promoter Willie Cyrus, was also inducted. In the Historic category, the selections included band leader Bennie Moten and Meritt Re-cords owner Winston Holmes. The 2015 song inductee is the famed Kansas City Blues Parts 1 & 2, Jim Jackson, composer. It is with great honor that we acknowledge these Kansas City legends of the blues. On December 23rd, 7 p.m., at Knucklehead’s Saloon, KCBS will be hosting in conjunction with many local blues musicians our third Annual Christmas Ball. It’s organized by the local blues musicians to raise funds for the Michael Shan-non Musician’s Fund, which helps local musicians and music industry professionals in time of economic hardship due to medical emergencies. In 2015, the fund raised nearly $20,000. To date it has paid out more than $5,000 for rents, utilities and other living costs for our local musicians. The line-up for the ball will include the Nick Schnebelen Band, Old No. 5’s, and Stone Cutters Union. In the Gospel

Lounge, Brody Buster will be a special guest of Carl Butler, with Sean McDonnell and Josh Parks sitting in. There will be special guest artists and a silent auction featuring treasures from past blues events. Tickets are available at www.knuckleheadskc.com. We invite everyone to come out and enjoy Christmas Eve’s Eve with some great Blues while supporting our local musicians. This is the time of year when KCBS has its annual member-ship meeting and board of di-rectors elections. On Thursday, January 14th at Knucklehead’s, all members and non-members are invited to attend and hear about the current state of the KCBS and the 2016 outlook. Then members will vote on four directors to the board. To be considered for a directorship, the cadidate must be a current member in good standing as of December 15th, 2015. To be considered for nomination, submit your name, photo and

bio to [email protected] by December 15th. It is a three year term with the top four receiving the most votes elected. To become a member of the second oldest blues society in the nation, contact us at [email protected]. This night will also be the send-off party to the Interna-tional Blues Challenge in Memphis, January 26-30, 2016. This year’s Kansas City representatives are: Band, Jason Vivone & The Billy Bats; Solo/Duo, Karla Peterie and Jim Herbert; Youth Band, Missing Blue; CD, “Hungary” Doghouse Daddies; Keep-ing the Blues Alive Award, The Blues Kitchen on KKFI 90.1 FM with host John “Junebug” Stuerke. There will be raffle drawing for a guitar that is autographed by many great blues legends and


JAZZ AMBASSADOR MAGAZINE • DECEMBER 2015 + JANUARY 2016

Dick Hawk’s

GASLIGHT GRILL & BACK ROOM

Dick Hawk’s


Dick Hawk’s


No Cover Charge • Kansas Dry Aged Steaks • Seafood • Chef Specialties • Dance Floor5020 W. 137th St. ( Just south of 135th on Briar Drive) Leawood, KS 66224

913.897.3540 • GaslightGrill.com

Enjoy scintillating New Orleans jazz and mellow traditional favorites by Lynn Zimmer and the Jazz Band featuring some of

K.C.’s �nest jazz musicians Wednesday through Sunday every week.

Lynn Zimmer is joined by the New Red Onion Jazz Babiesfor our gala New Year’s Eve in the Back Room.

Private EventFacilities

for 10 – 200

SundayBrunch

10am – 2pm

Private Rooms Available for Holiday and other Party Events

Expansive Happy Hour Menu


FOR THE RECORD

Mike MethenyTwelve for the Road3 Valve MusicPersonnel: Mike Metheny, keyboards (all tracks) and flugelhorn (“Home”)Tracks: Prelude, Clouds, Ostinato, Reflections, Carousel, Catharsis, For Parkville, Transition, Home, AmenRecorded and mixed by Mike Metheny, November-December 2013 and October 2014. Mastered at BRC Audio Productions, Kansas City, Kansas. Bill Crain, engineer. Will Crain, assistant engineer It has been five years since Mike Metheny released the wonderful 60.1, which included several tracks that showed a new direction in his music, using keyboards and Garage Band, playing all of the instruments him-self rather than playing with a traditional combo. These tracks, Mancini Sunset, Adagio for Maya and Hassell Free, have an impressionistic and hypnotic quality that was easy for this listener to melt into. Twelve for the Road shows that Metheny has continued to find musical ways to create a mood with these new instruments. In fact, the instruments that we have expected from Mike, his flugelhorn and EVI, are mostly left in the closet (the EVI never comes out). There have always been two qualities in Mike’s music that I have enjoyed. First, he composes and plays beautiful melodies. Second, he pays much attention to the quality of his sound. Both of these qualities translate from his more pure “jazz” recordings to Twelve for the Road. The fun starts with Prelude and its other-worldly sounds that build into a crescendo and then disappear. Similar sounds continue in Clouds, changing in intensity much like clouds do, then there is the storm and apparent clearing. It seems to be perfect mysterious background for a planetarium show. Even three note phrases over a melody comprise Ostinato; is this what Satie would do if he had Garage Band? Maybe.... Reflections may go with the picture of a lake that is on the CD cover; ever changing washes of gorgeous electronic chords. The first time I heard Carousel I did not know the title, but “carousel” indeed came to mind. This has one of those pretty Metheny melodies I mentioned earlier, with an electric piano-like sound. Catharsis has a steady repeated bongo beat, and the purge comes from what sounds like a fuzzed out guitar. The purge must have worked, for the rest of the CD is all about beauty. For Parkville is a pretty ballad, played on what sounds like a

Fender Rhodes over synth strings. Transition has variations of four repeated notes that eventually fade. The flugelhorn comes out of the closet on the ballad Home. Amen is played simply on piano over the quiet sounds of nature at night, the melody emerging slowly with the two notes of the title as you lay beneath the stars. Just as I found the “Garage Band” pieces in 60.1 engag-ing, I continue to enjoy the destinations in these new musical excursions from the creative world of Mike Metheny. I like being engaged as a listener, and this engaged me.

—Roger Atkinson

Matt HopperFirst LovePersonnel: Matt Hopper, guitar; Ken Lovern, organ; Kevin Frazee, drumsTracks: Green Lady Low Down; Song for Wes; Heartbreak Hurts; Set Your Fears Aside; First Love; Straight Chill/n; Darn That Dream; My Ideal.Produced by Matt Hopper, Ken Lovern and Chad Meise. Recording Engineer: Ken Lovern. Mastering Engineer: Collin Jordan at The Boiler Room. Mix Engineer: Chad Meise The debut album by one of Kansas City’s reigning guitar titans, Matt Hopper, was long overdue. First Love is a stunning showcase of Hopper’s characteristic soul-ful clarity, crystalline guitar sound, and deep command of the vernacular of a wide breadth of influences. Long a relatively unheralded hero in the bands of local pros including Eddie Moore, Everette DeVan, and Chris Hazelton, Hopper’s turn in the leader’s spotlight is the welcome arrival of a mature, self-assured improvisational and compositional voice. Hopper’s moody solo introduction to the title track shows the UMKC-bred guitarist’s affinity for current masters like Jonathan Kriesberg and Kurt Rosenwinkel, but gives way to a Latin groove-oriented slow jam with straight-forward func-tional harmony. Here, Hopper brandishes his deeply secure and inviting rhythmic feel along with his command of concise melodic statements that appear heavily informed by Jim Hall and Wes Montgomery. Drummer Kevin Frazee and B3 organist Ken Lovern’s agreeable accompaniment are a testament to the strong rapport they have developed through their frequent gigs at the Green Lady Lounge. Frazee’s discriminating solo on the outchorus vamp shows off the drummer’s keen sense of tasteful restraint. Hopper pays homage to the aforementioned Montgomery on his original Song for Wes, a minor blues with infectious rhythmic


hits. His use of the full range of the guitar, with preference for middle to low, along with his adroit use of octaves, is straight out of the playbook of the man who inspired the tune. Lovern’s solo turn is highlighted by a string of sanguine triplet figures, and gives way to Frazee again delivering a cleverly constructed solo. The trio’s unique take on Jimmy Van Heusen’s classic bal-lad Darn That Dream is in a surprising 6/4, which spawns some fresh playing from the group over a well-worn chestnut. My Ideal is the other standard on the album, delivered in 12/8. Lovern stylishly opts for a straightforward chordal solo, and Hopper brings it home with a satisfyingly consonant turn, peppered with strong bop and blues-tinged language. First Love is destined to be a jazz radio success with its iden-tifiable melodies and amiable solo statements, and continues a recent trend of skillfully recorded albums by artists appearing regularly at the Green Lady Lounge. For Kansas City jazz fans who prefer the intersection of quality playing with easily digest-ible aesthetics, Matt Hopper has struck a pleasing balance.

—Michael Shults

Ron CarlsonKind FolkARC-2635Personnel: Ron Carlson, guitar; Rob Scheps, soprano and tenor saxophone and flute; Roger Rosenberg, baritone saxophone and bass clarinet; Bob Bowman, acoustic bass; Brian Steever, drums and percussion; Angela Hagenbach (track 2), Shay Estes (track 5) and Kathleen Holeman (track 7), vocals.Tracks: Soundtrack, Bye Bye Country Boy, Kind Folk, First Song, A Felicidade, Beatrice, A Beautiful Friendship, J. S.Recorded at C R Sound, Kansas City, Missouri, November 3 and 5, 2014. Recording, Mixing and Mastering by Craig Rettmer.

Guitarist Ron Carlson has been leading great gigs in the KC area in recent years, including his long-running Friday evening series at the Lucky Brewgrille. These Fri-day shows have been regular stops for saxophonist and flutist Rob Scheps (and Rob’s guests) on his semiannual Midwest tours. Last November that guest was baritone saxo-phonist and bass clarinetist Roger Rosenberg, who has been in Steely Dan in recent years. One big change occurred from prior Scheps visits: this time, Carlson got the band into the recording studio. Kind Folk, dedicated to the memory of Kenny Wheeler and Charlie Haden, is the result. This is a super program. Four of the five instrumental tracks are rarely heard. Soundtrack is by guitarist John Aber-crombie, and opens with Bob Bowman’s bass ostinato, then Carlson enters to introduce the horn’s melody statement. Rob is on soprano here, and it blends beautifully with Rosenberg’s baritone. Drummer Brian Steever’s colors on drums and per-


F O R T H E R E C O R D CONTINUED

One of the pivotal moments of Kansas City jazz history occurred here, in the mid-1930s, when then-unknown sax players brought down the acknowledged king of tenor sax in a jam session that became part of jazz lore. This is also where Bill Basie first called himself Count. It opened as a silent movie theater in 1923. It converted to a night club in 1933. It burned in 1984. But its facade still stands, its significance unrecognized, on Vine Street. The story of the Eblon / Cherry Blossom / Chez Paree in the next Jam.

NEXT JAM

cussion and Carlson’s chords are perfect throughout. Bob has a strong solo, too. Wheeler’s Kind Folk has yet another fine Bowman intro. Scheps (soprano), Rosenberg (bari), Carlson and Bowman solo, and Steever’s polyrhythmic drums are stellar throughout. Haden’s First Song is a ballad feature, and Bob’s melody statement is beautiful, leading to Rosenberg on bass clarinet (excellent!) and Scheps’ flute, all the while with Bob providing the counterpoint. The flute and bass clarinet play together towards the end. The combination is gorgeous. Beatrice is the best known of the instrumentals. Ron has the first solo before Scheps (tenor this time) and Rosenberg tear into this great Sam Rivers line. They close the way they opened, with an Abercrombie tune, J. S. This is a pretty ballad feature for Rosenberg (bari) and Carlson, and Bob once again provides perfect bass counterpoint throughout. The vocals feature three on KC’s finest. Angela Hagenbach does Bye Bye Country Boy, with its “Killer Joe” groove and three

“horn” (Angela being the third) harmony at the beginning. The tune is a blast! Shay Estes sings A Felicidade in beautiful Portuguese. I enjoyed Carlson’s bossa nova comping here, also Schep’s flute work with Shay. A Beautiful Friendship features Kathleen Holeman. I love how she opens slow with just Bob in support, before the band gets into and easy swing. Roger quotes Without a Song to open his solo. Kathleen later has a great scat chorus, first with just Bob, then with the band, and she trades fours with Steever. On most records I can pick out a favorite track. I started to make that declaration on every tune here. It’s all good, and highly recommended. Hopefully Ron Carlson has reserved studio time for future visits from Rob Scheps.

—Roger Atkinson

Pagan/Bowman/SteeverThe Ottawa SessionsARC 2628Personnel: Michael Pagan, piano; Bob Bowman, bass; Brian Steever, drums.

Tracks: Lullaby of the Leaves; Hebgen Happy Hour; Softly, As in a Morning Sunrise; Owe You Blues; Forgotten Space; Kalamara Rex; C# Minor Tune; Just in TuneRecorded between February, 2014 and March, 2015 at Fredricson Chapel, Ottawa University. Mastering: Neil Simpson, Chapman Recording and Mastering. Recording engineer: Derek Gjovig. Assistant engineer and mixing: Louie Pagan.

The Ottawa Sessions of-fers us a glimpse into the latest grooves coming from three of the most active art-ists on the KC scene today: the trio of pianist Michael Pagan, bassist Bob Bowman, and relative newcomer Brian Steever. Bowman and Pagan’s reputation among KC jazz aficionados need no introduction here—they are highly-reputable stalwart jazzmen in the com-munity. Steever, while not yet having the lengthy and stellar track record of veterans Bowman and Pagan, more than holds his own on this album, as he is increasingly establishing himself as a first-call drummer in town. The session opens with Irving Berlin’s Lullaby of the Leaves, a gentle trio setting that invokes shades of Brubeck with the light brush work, nimble bass line and airy piano touch. Bow-man’s bass is bubbling fiercely underneath the surging single lines of Pagan, and, when handed the reins, delivers a series of rapid-fire sixteenth-note bursts, followed by spitting triplets. Meanwhile, Steever downplays the forward thrust by casually throttling the tempo downward, establishing a tempo that is somewhat less intense compared the opening salvo initiated by the trio.Inspired by the atmosphere inside The Happy Hour Bar on Hebgen Lake in Montana, Bob Bowman’s Hebgen Happy Hour is a serious funk-fest that has strong overtones from The Chicken by Jaco Pastorius. Indeed, after a solo opening statement, Bow-man gives a downright upright rendition of Jaco’s legendary electric grooviness. Pagan wastes no time when the baton is passes to him, and he dives in head-first as he delivers Horace


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Silver-tinged blues as the gospel truth. Steever’s tight backbeat serves as the glue that keeps the pocket tight during the entire romp—I kinda smell a bit of Bernard “Pretty” Purdie in him on this one! Bowman’s double-stops take us through the last chorus and walks us right out the back door, swingin’ all the way. Lasting at right under five minutes, it’s all the time Bob needs to lay down the law. Softly As In A Morning Sunrise is served up in a way that—I must admit—I never expected. Refreshingly, Pagan eases up alongside the melody with an understated tempo and muted tone on the piano that establishes the atmosphere for the elegant chamber music to come. Bowman bows the bass, Steever sim-mers on cymbals, and Pagan percolates delicately as the main melody slowly enters the room. Elegantly, the bridge is then stated, and is re-harmonized through the sustained pedal tone of Bowman. In turn, Pagan then re-harmonizes the key and chord progression against the same pedal tone upon which Bowman insists. As one might anticipate, the dance begins: Bowman takes both the melodic and rhythmic liberties as he improvises, while Pagan provides the understated perfect counterpoint. They then reverse roles, for another chorus, and again switch positions—this time with Brazilian-flavored seasonings. It is here than Steever’s hand-drum solo and eventual poly-rhythmic stick work shines like gold. The overall interpretation and entire



STORYVILLE

Ron Roberts had a long career as a musician, mostly “on bass,” but he was also an educator, union leader, and businessman (record store, recording studio and magnetic tape distribution). He was also a composer and played guitar and keyboards. This memoir is an interesting history not only of Roberts, but also of the music scene in Kansas City from the 1960s to the 1990s. Ron tells us about how he was drawn to music at an early age. Even as his father pushed him to more academic pursuits, it was music that he was drawn to. As Ron says, “You don’t choose music, it chooses you.” Being a musician is not an easy life. There is no safety net, no paid health insurance or sick days or vacation days. Roberts knew what he was getting into early on and was wise enough to create his own safety net. Part of that was to avoid the traps that are set for you. He did not use drugs, and

there were enough alcohol-related close calls that he stayed away from that vice, also. Roberts was also wise to those who would exploit musicians, from greedy contractors and agents who exerted their control when they could, to club and restaurant owners who treated musi-cians with disdain. Roberts figured that he had to have his own power, and he refused to be ex-ploited. He developed multiple income sources so that he was free to walk away from a bad situation. He was quick to call the bluff of a club owner or an educator who tried to take unethical advantage, and he usually won. He was also willing to play in many styles and settings, from backing a vocalist to playing pop covers and country music. This

allowed him to do what he loved: to compose for and lead his own band, the Ron Roberts Concert Ensemble. (Their album, A Wildman, Waiting... is not an easy find.) He understood the power of numbers. A strong musicians’ union was essential. Ron worked to strengthen that union and became a union leader himself. Roberts also understood that it was important to be ethical and generally a nice person. He was convinced that you did not have to exploit others to succeed, and his successful career is confirmation. As he states, “At any point in my life, I’ve done pretty much exactly what I wanted to do!” I personally came to Kansas City after Roberts’ musical career largely ended. It was interesting to read about that era prior to these last two decades. The picture he paints here is of a great music scene with many venues and musicians in high demand. There was music everywhere, including afternoon gigs. There were six night a week gigs that provided some stability to the musicians. As the ’90s approached, the scene wound down and there were fewer gigs. He developed Chronic Fatigue Syndrome, and at that point Roberts happily walked away from the career. I enjoyed the abundant stories (often humorous) Roberts shares about the musicians he worked with and admired over his career, such as Kay Dennis, Mike Ning, Frank Smith, Julie Turner, Carol Comer, Gary Sivils, Mike Perryman, Paul Smith, Danny Embrey, Rod Fleeman, Steve Cardenas, Carmell Jones, Pete Eye, Russ Long, Mike Thompson, Jay McShann, Gil Melle and many others. He writes about the Hyatt disaster (he was in the band) and has great stories from the road and at the Playboy Club. “Close Enough for Jazz” is a recommended memoir of the life and career of a wise, ethical musician, as well as a great era of music in Kansas City.

—Roger Atkinson

“Close Enough for Jazz” (my life on bass)by Ron RobertsHaifisch Publications, Lenexa, Kansas. 220 pages.


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Y O U N G M A S T E R S CONTINUED FROM PAGE 12

This was YJM’s last rehearsal before participating in the Charlie Parker Boot Camp, a part of Kansas City’s Charlie Parker Celebration.

HOME IN THE JAZZ DISTRICT But the Young Jazz Masters home on most weeks, the Mutual Musicians Foundation, has proven to be the ideal base for a program which operates outside of the schools and neighborhood resources. The Fishers came to KC from Cleveland. Both studied music at Central State University in Wilberforce, Ohio. CharCarol received her Masters in Music Therapy at UMKC while Osmond received his Masters in Music Education at the University of Central Mis-souri in Warrensburg. CharCarol works as a music therapist and Osmond teaches at Wyandotte High School and is president of the Mutual Musicians Foundation. With meeting just once a week, and with students of varying skill levels moving in and out of the program, you might think that Osmond and CharCarol couldn’t achieve much. You’d be wrong. The students in the Young Jazz Masters clearly show a desire to learn from this unique opportunity in this historic location. They perform with inspiration. Watch them, and you’ll realize you’re seeing the maturing of the next generation to play jazz in Kansas City, shining in a neighborhood where the music was born. Find out more about the program at www.youngjazzmasters.com.


CLUB SCENELOCAL LIVE MUSIC

18TH & VINEThe Blue Room18th & Vine ............................ 816-474-2929Mon. — Blue Monday JamThur. - Sat. — Live JazzDanny’s Big Easy1601 E. 18th St. .....................816.421.1200Tues. — El Barrio Band, 7 to 11Thurs. — Millage Gilbert’s Big Blues BandFri. - Sat. — BandsKansas City Blues & Jazz Juke House1700 E. 18th Street ................ 816-472-0013Thurs. - Open Jam session 7:30-11:30 p.m.Fri. - Live band 6-10 p.m.Sat.- Live Band 5-9 p.m.Mutual Musicians Foundation1823 Highland ....................... 816-471-5212Fri.-Sat. — Late Night Jazz

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PLAZACafé Trio4558 Main Street ................... 816-756-3227Tues. 6-9 p.m. — Michael PaganWed. 6-9 p.m. — Mark LowreyThurs. 6:30-9:30 p.m. — Tim WhitmerFri. & Sat. 6:30-9:30 p.m. — Alice JenkinsCapital Grille4740 Jefferson ....................... 816-531-8345Sundays 5-9 p.m. – Dan Doran Trio InterContinental Oak Bar & Lounge121 Ward Parkway ................ 816-756-1500Live Jazz Thurs. - Sun. Sets start at 8 p.m.Plaza III4749 Pennsylvania ................. 816-753-0000Sat. 7-11 p.m. Lonnie McFaddenRaphael Hotel, Chaz Restaurant

325 Ward Parkway ............... .816-756-3800Mon. - Sat. — Live JazzSun. — Jazz Brunch 10-1

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SOUTH, WEST & EASTThe Art Factory5621 W 135th St. .................. 913-217-7861Fri., Sat. - Live JazzB.B’s Lawnside BBQ1205 E. 85th Street ................ 816-822-7427Tues. - Sun. — Live BluesSat. 2-5:30 — Jazz & Blues Jam w/ Mama RayBristol Seafood Grill5400 W. 119th St .................. 913-663-5777Sun. 5-8 — Live Music Cascone’s6863 W.91st. Street ............... 913-381-6837Sat.—Live Jazz 7-10pmEBT RestaurantI-435 & State Line Road ........... 816-942-8870Live Jazz Thurs-SatGaslight Grill and Back Room5020 W. 137th Street ............. 913-897-3540Wed. - Sun. - 6:30 Lynn Zimmer Jazz BandLa Bodega Tapas & Lounge4311 West 119th St. .............. 913-428-8272Sun. 6-8 p.m. Jazz w/Mistura Fina, Flamenco w/Al Andaluz (alt. weeks)Louie’s Wine Dive7100 Wornall Rd .................... 816-569-5097Live Jazz Fri. – Sat.Lucky Brewgrille5401 Johnson Drive ................ 913-403-8571Fri 6-9 Ron Carlson and friendsThe Piano Room8410 Wornall Rd. ................... 816-363-8722Fri. - Sat. 8-12 — Dave McCubbinSullivan’s Steakhouse4501 W. 119th St. ................. 913-345-0800Every Night — Live JazzSummit Grill & Bar4835 NE Lakewood Way Lee’s Summit ........................... 816-795-1299Wednesdays Live Jazz 4-7 p.m.

1700 E 18th St. • Kansas City, Missouri(816) 472-0013

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B I T S O F T H E B L U E S CONT. FROM PAGE 18

a drawing for two tickets and two nights lodging in Memphis for the Blues Music Awards in May of 2016. Keep up to date with all of the KCBS activity at www.BluesSocietyKC.com and the weekly calendar at www.Blues-LoversCalendar.com. For weekly email blasts with updated information, CD reviews and calendars, email us at [email protected]. The board of directors of the Kansas City Blues Society wishes everyone a happy, safe holiday season and we look forward to seeing you out enjoying some live Blues.

adventurous journey (nearly fourteen minutes) taken by the trio is, in a word, unique. Owe You Blues, one of Pagan’s original pieces, is a play on the initials O.U., which hints at Ottawa University, where the recording took place. The piece emerged as a consequence of a classroom writing assignment on blues form, and, as the title appropriately suggests, is dedicated to his jazz composition students who inspired him. Inside the Fredrikson Chapel, Mi-chael leads the charge during this non-traditional blues. Tasty solos are served up, especially when Bowman’s blissful denial of tempo allows for unbridled spillage of notes everywhere—not to mention the tongue-in-cheek hint of Bu’s March as a nod to Art Blakey in Steever’s drum solo. And it was Bowman himself who, only during the session’s proceedings, came up with the idea of Brian Steever’s loosely structured intro and exit of the tune. The tender rendition of Forgotten Space, written by Pagan, creates an atmosphere of longing and wonder, and most avid listeners will pick up immediately on the direct influence of the piano touch and compositional style of Bill Evans. Michael channels Evans’ seminal ++Time Remembered++ by directly channeling the chord progression—only in reverse. The effect is intoxicating. One is gently lulled until Bowman’s bass solo appears, changing the mood sharply with his surprisingly ag-gressive right-hand percussive pluck and flurries—a very real nod to Evans’ best-known bassist, Scott La Faro. Pagan admits that it’s his favorite tune on the album. Kalamara Rex is a Bowmanistic affair. Oddly enough, the title—first heard by Bowman when he heard it used as a name for a race horse—is a slight derivative of a hotel moniker in southern Greece (the historic Kalamata Rex.) Anyway, the overall minor-key groove established between Pagan and Bow-man is more than reminiscent of the legendary Oscar Peterson trios that always had Ray Brown as wingman. Pagan seriously displays his chops on this one; Bob lays down a perfunctory solo but deliberately makes extra room for Steever, who shines yet again here with his patented Blakey shuffle and effortless soloing with brushes. The bossa-ballad C# Minor Tune really reminds me of Jacky Terrason’s beautifully French-drenched piano trio arrangement of Francis Poulenc’s song, Les Chemins De L’amour (The Paths of My Love). Pag’s delicate arrangement features a steady melodic line from his right hand, as Bowman delivers floating counter-melodic phrases against it while simultaneously outlining the harmonic structure. Things eventually shift toward an impro-vising Bob once again, who propels rhythmic figures forward, never abandoning the roadmap while he drives. The trio’s final track is Pagan’s choice to borrow from guitarist John Abercrombie’s original, Just In Tune, (recorded in 1999 on ECM). Michael kept the tune in its original key and tempo, only shifting the main melody from flugelhornist Kenny Wheeler (on Abercrombie’s version) to himself. The

F O R T H E R E C O R D CONT. FROM PAGE 23

band glides easily into the medium-up groove with an elegantly stated piano solo, as the song concludes with Pagán and Brian Steever trading eight- and four-bar phrases. If the trio comes across as cohesive, it’s for good reason: to prepare for the auspicious recording session, the guys put in long hours during an extensive 18-month weekly gig at Piropo’s in Kansas City—a move that allowed their creative jazz juices to coalesce. What remains from the sessions at Ottawa University (documented somewhere between 2014-15) is what they, along with their colleagues in KC, can all be proud of. Well done, boys!

—Wayne Goins


P R E S I D E N T ’ S C O R N E R CONTINUED FROM PAGE 2

Another is Tom Alexios. Tom was introduced to Jam read-ers a couple issues ago, through his collection of rare Charlie Parker documents. In this issue, you’ll read about the loan and display of Woody Herman’s clarinet and Lifetime Achievement Grammy that he arranged to the Metropolitan Community College Penn Valley campus. Tom spent 15 years managing special projects and events for Downbeat magazine. He’s worked with the estates of Duke Ellington and Woody Herman. Few in Kansas City’s jazz community don’t know Dean Hampton. He was active with the Ambassadors for years, launching our original web site and helping to keep Jam (and previous Boards) on track. And, whether at festivals or other events, you’d find him with camera in hand, documenting Kansas City jazz. Dean’s extensive knowledge of Jazz Ambas-sador history brings much-needed perspective and background to the current Board. Advisory Board member Jim Ramel joined the Ambassa-dors nearly 15 years ago. He worked for 20 years at Xerox and another 20 as a partner in an investment firm. His business acumen, marketing expertise, Ambassadors knowledge and the-glass-is-always-half-full attitude are a valuable addition. Help us welcome Angela, Tom, Dean and Jim to the new Jazz Ambassadors Advisory Board. And see you at the Sinatra celebration on December 12th!

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Conservatory Concert Jazz Band & 11 O’Clock Jazz Band

directed byBobby Watson and Dan Thomas

Dec. 8, 2015, 7:30 p.m. White Recital Hall

CONSERVATORY.UMKC.EDU

Tickets 816-235-6222.

The Sinatra CentennialBirthday Bash fundraiser

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Proceeds support KCJA’s Musicians Assistance & Jazz Studies Scholarship FundsMayor Sly James presented with 2015 KC Jazz Ambassador of the Year Award

Saturday, December 12th The Valentine Room at the Uptown Theater • 3700 Broadway, Kansas City, MO

6:00-7:00 pm VIP Cocktail Hour (w/VIP ticket)7:00-8:00 pm Dinner + Cash Bar • 8:00-11:00 pm Showtime

THE DAVE STEPHENS BANDspecial guest Italian Vocal Favorite Frank Vigliaturo

“The Best of Everything”(Dress in Rat Pack or Holiday Best)!Italian Cuisine Buffet | Old Blue Eyes TriviaSilent Auction | Swing DancersTickets:Jen Wismeier [email protected] | 816-886-8369 VIP Sponsor $100 | Table of 10 @ $1,000 includes 6pm Cocktail Hour + Preferred Seating + Thank You Gift Bag + Jam magazine acknowledgmentKCJA Members $60General Admission $75: Ticketmaster Only

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Michael Pagán Eboni Fondren€¦ · DECEMBER 2015 + JANUARY 2016 From Jazz to Theater to Turn Off...

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