KANSAS CITY, You’ve Got GREAT TASTE. le World-class jazz. The best in blues. And, to top it off, the finest barbecue sauce around. THE SAUCE THAT RULES. ‘Adrian's Barbecue Sauce is available at grocery stores every here. »THE KANSAS CITY LUE ZL 1992 ‘Welcome to The 1992 Blues and Jazz Festival -- Kansas City’s World Class Event! You're about to witness World Class music -- by World Class artists. You're about to experience World Class fun -- in a World Class City. If you're from out of town -- welcome to World Class hospitality. A great deal of time, effort, sweat and tears have gone into making this year’s festival the World Class event we believe it to be. Our goals have always been to preserve and advance Kansas City’s rich jazz and blues tradition, and to promote today’s best jazz and hlues artists. We're pleased to have this opportunity to provide World Class entertainment, Our hope is that this event will have a positive impact on our city -- both culturally and economically. This World Class event would not be possible without the support and commitment of many, many people. We want to thank our sponsors, our staff, and the hundreds of volunteers who have combined their considerable resources, talents and efforts to make our mutual goals and vision a reality. We also want to thank you for your support and for your pride in Kausas City’s musical heritage ~- not just today, but throughout the year. You're a World Class audience -- enjoy the Festival and have a World Class good time! Sincerely, ‘Tim Swinney President President Kansas City Jazz Festival Committee Kansas City Blues Society Kathe Kaul Executive Director Kansas City Blues & Jazz Festivallestport's Cookin IT Y And it’s free. Live Jazz and Blues on ms a CCAM Se 0068 night, July 25, from $ ‘tl real late. a Hot spots like Harpo’s, Californos, Lynn ke CMC TUS TR 3 y Eee TN RSS ae CCTM SIA RST aR CUE LT TCLS bi as S So don’t end the festival on an eatly yi Ba TCM GOURMET Westport and watch things cook. Pe an ee cia ce Coe eae ee UC CMLL oc aig i ert clr vith spt pee EO NUON ecFestival Producer's Message Introduction 3 Festival Liner Notes — Jazz Artists Bram Wijnands Trio ‘with Richard Ross The Reunion of the Five Aces. ‘The McFadden Brothers ‘Terence Blanchard Comell Dupree Cassandra Wilson any Kirkland tial Tshirt, poster, eoozie, but Mahagony Tim Whitmer & the KC Express ton, or artist recording on cas Intersring i 1 ssSlick featuring KC Women of Jazz — Lisa than Ticket Stubs With free admission, you couldnt got a ke home a com- memorative Kansas City Blues & Jazz Fes. | ape or CD. And this program, of Henry course. Stop by our souvenir Karin Allyson and Mary Moore. Eigen bot located nee thea and ‘The Rippingtons featuring Russ Freeman Jay MeShann Big Band Youth Stage Performers Festival Program Schedule ival Liner Notes — Blu John Paul & the Hellhounds wus. 31 Ol eaaee KC Blues Bandon 31 pal 3 =| KC Guitar Masters — Sonny Kenner, ee, Ut Bill Dye, Freddie Johnson and John McNally blues stages. Or order by mail. Write: The Kansas City Blues & Jazz Festival, P.O. Box 26264, Kansas City, MO 64196, Phone: VISA/MASTERCARD ACCEPTED, PPROGRAM Contsibuting Editor and Waiters The Holmes Brothers : Sanne Collen, Mike Tavlor, Kathy tes 5 r ss Joy Zapel, Chuck Haddix, Stove Ozarc poe ae Mike Roll, Susan Bal, Kathe Buckwheat Zycleco Maria Howe, Lary Smit, Doran Cart The Whiney Singers Gospel Group. 3 Pre oie Hach aly Fos Diane “Mama” Ray & layout Typeseing Nat Quinn the Rich VanSant Band 3 DiC aust ae Printing iawension Graphics (= (© The Kansas Cay Blues Society anv the Kansas Cay Jazz Festival Commitee, 1992 Millage Gilbert & e the Down Home Blues Band Charlie Musselwhite «0. Laumore ... 4 P COVER eae whee c Concept/Design ‘ann Willowenby Delbert McClinton his program is published under the auspices of Special Thanks bh BF ve Kassas Cay faz Fesival Commer und Kansas Gy Blucs Society SUTANNE COLBERT (SECRETARY), BERNIE POPE (TREASURER). IRE LOWE, HANS NIERSWA, LARRY SMITH. KC JAZZ FESTIVAL CO) PRESIDENT), DAPHNE MOORE (SECRETARY), ICHAEL MOORE | MOLLY MYERS, SAM JOHNSON, JR., ROGER NABER, STEVE BU)BLUES AND JAZZ — TOGETHER AGAIN buck Haddix isone of Kansas City’s ‘most knowledgeable music bistori- ans, He is a sound recording spe- Cialistforthe University of Missouri- KansasCity’sMarr Sound Arcbives, awrter anal proctucer and host of The Tish Pry, which és beard on KCUR-PM 89.3 Friday and Saturday evenings. Thisinersiew was conducted June 5, 1992attbe MarrSound “Archives on the UMKC campus wow “The 1992 Blues and jazz Festival brings together the msi for which Kansas iy is famous. Over the past seventy plus years, blues and jazz has grown, matured and biossomedin thi historical city. Today, the two music genres continue to theve draw- ing from their well rooted heritage “This annual celebration reunites the two music styles that once were the same: the musi that fed the city and nurtured it through the depression; the music that pat ‘Kansas City on the map heralding i a8 a rece of deep music triton; the music thats stl in abundance today from dusk vat dawn “in te beginning of dae evelution of jazz and blues, they came together to Create a new music form. Actually blues precedes jazz. I goes back t0 the field hollers and i spar of the oral tradition of Mfienn Americans, whereas jz is a litle bitdliferent in thatieis an instrumental form primarily. But in the beginning, the two music forms came together," Haddix sai “The first recorling of Kansas City Blues is catalogued unde jazz Great Kan- sas City blues shouter Ada Brown recorded “Evil Mama Blues" in September of 1923 “This s considered to be the firs jazz recording although it was blues, but she svas accompanied by Benny Moton's Kan- fos City Orchestra (@ famed nly jazz soup). “troncaly, in the eatly days alot of people that we refer to as jazz players Sidi callitjaze. They called if gubucket* “The cities were very regional at that time and parts ofthe country were isolated from each other, but Kansas City was not Itserved asthe tm-aroune-point forthe Theater Owners Booking Association, ‘which operated from the mid-cen the 4 ‘mid 1930's bringing many of the national touring acts to town, ‘The blend of styles was not isolated 10 ‘Kansas City. “There were a lotofteritorial bands based in Oklahoma and Texas like ‘The Blue Devile, groups like Jesse Jones and his Blues Serenaders, They played a unique style that was basically a hybrid of, jazz and blues, So itis not unique to this ‘rea, but this area is known for the combi- nation. “Jazz happened simultaneously inalot of different regions across the country. “There was Ellington coming up on the East Coast. Ithad George E. Lee and Moten in Kansas City and it had the whole Texas scent with Milton Laskin and the Territorial bands of Texas and Oklahoma~so it all happened simultaneously across he coun- uy. “The first recorded blues was Mamie Smith who recorded "Crazy Blues’ for the Okeh label on August 10, 1920 in New York. She was accompanied by her Jazz Hounds, so that shows the two music forms were together in the early days.” “Crazy Blues’ was a major hit and ‘opened the door for other ‘big mamablues. women of the day,” Haddix said. ‘The carly music in Kansas City was very much based in the blues and ragtime tuadition. Later it would be a jump blues which is very similar to ewing "For example,” Haddix said, “Moten’s ‘Swing’ which was recorded in ’32. That's fone of the watershed recordings. That's where the jump blues tradition starts. Be- fore that, Jazz was rooted in the blues, but about ’32 they started jumping the blues. Joe Tumer recorded his frst record in "36 ‘and that's pure Kansas City jump blues. “The Basie material is simmered in the blues. One ofthe greatest blues shouters of all times was with the Basic Band, Jimmy Rushing who eaulier came from the Blue Devils. Thelead vocalist with JayMcShann, Walter Brown was rooted in the tradition. “Bven Charlie Parker's music was based. in the blues. What comes to mind is his composition 'K.C. Blues,’ so seally I guess the most eloquent way 6 putitis the blues. is the foundation of Kansas City Jazz." “The musiescenein Kansas ity reached, its peak: from the late twenties to the mid- thirties. Yom Pendergast, whowasindicwed in 1939 on two income tax charges, was unningthe political machine and the town ‘was a hot bed of activity. “Kansas City was 2 city for tourism fromall points north, south, east and west. ‘When people wanted to have a good time they came to Kansas City because it was a ‘wide open town. A lot of the places never dosed. There was gambling and all the vices that go with it and there was great sus, t00," Hadelix said, "The music was not restricted to the historic 18th and Vine area. There was ‘muse in the parks, municipal bands, ball- rooms such as the El Torreon Ballroom in the twenties and the Pia-Mor. “The resorts had musicin the summer. Fairyland at 79th and Prospect, and Winwood Beach nozth of the iver was a very popular spot. Andy Kirk used to play there-LouisJordan played thereon Thanks- siving during the fortes.” ‘There were halls which featured mu- sic, dances and battle of the bands. The music was abundant Because of Pendergast’s prosperity, the depression was not quite as bad in ‘Kunis City as it was in otber parts of the country, so many musicians came to Kan- sas City. There were clubs where they ‘could work and they migrated from the rural areas. Music helped the economy immensely “Music wasa very important partof the cultural fabric of the city from the twenties upthrough the fortes. The scene didn'tjust die down in the fortis. It kept going. “The war changed everything. Alotof musicians were drafied. Supplies neces- sary for touring such as gas and rubber were in short supply. People did not have a tendency to go out like they did before the war, That's what really changed things, that and Pendergast’s demise.” Following the war, the music which flowed through the hot streambed of Kan- ‘8 City changed its course “Bebop is what changed jazz because ‘twas not music you could easily dance to Ie was still based in the blues, but it was more abstract ‘CoNTINUED ON NEXT PAGEKC'S FINEST JAZZ SAL NEE PAT Bram Wijnands Trio With Richard Ross ‘Opening the jazz. stage will be a hot, | young Holland band with one of KC's smoothest voices, Richard Ross. | Formed in 1989, Bram Wijnands Trio ‘consists of three graduates of the Hilversum Conservatory in Holland, the largest jazz institution in Europe. Along with pianist \Wijnands, the tno consists of drummer JJargen Welge and Conservatory professor Jos Machtel on bass and tuba, Their first CD, Easy To Love, was recorded in 1990. Other Brotherswith David Basse is due out in August In '91, the to met Kansas Citian Richard Ress in Burope and subsequently toured four months together. Originally a Grummer for the Frank Smith Trio in the 60s and 70s, Ross has become one of KC's finest vocalists. He has recently performed at the US Pavilion at Expo '92 in Seville, Spain, SLE e Reunion Of The Five Aces This group of distinguished Kansas City jazz musicians originally began as a high school group featuring Chuck Rowan, James Beasley, John Williams, Lugman sma and later, Eddie Saunders. ‘They stated a musical tradition spanning 50 | years in Kansas City. | "The sounds of the Five Aces will be reproduced for the festival with a reunion | of two original members and fellow elder statesmen who also have a stake in KC's vich jazz legacy. The group will consist of Hama keyboards), Saunders(saxophone), Sonay Kenner (guitas), Samuel Johnson, | Se. (eass), and Albert “Delightful D” Burtee | Grams). Rowan, Beasley and Williams are deceased. Se The McFadden Brothers Lonnie and Ronnie McFadden have single handedly (er, four footedly) brought back an aura of vaudeville to Kansas City ‘Comedy, stage shows and dance acts were Integral pans of the complete entertain- ‘mentsceneduringthe 30'sand 40's. Among those who emerged from the Kansas City scene was *Smiling” Jimmy McFadden, ‘who eventually passed his entertainment legacy to his sons, Lonnie and Ronnie, Following in'the footsteps of their father, “Smiling” Jimmy McFadden, the ‘multi-talented brothers combine trumpet and sax, singing, songwriting, and humor with a silky dance style, whether its litte softsshoe or street comer moonwalking But their hearts are in their jazz heritage, ‘which harks back to Tin Pan Alley days. The McFaddens began learning 10 tap dance and play piano at age 5. Both brothers also learned to play the guitar, trumpet and saxophone. Their profes- sional careers began at ages 9 and 10 as, past of their father's act ‘The band they formed while in theit teens performed for 10 years. In 1982, they drew rave reviews touring with Blood- stone. The McFaddens have performed at festivals, clubs, special engagements and on television throughout the world. Their performance at the Festival is sure to be a show stopper. Once you see them per- form, you'll want to see them again. The ‘MeFaddens will be performing at the Twellth Steet Rag Room in the Allis Plaza Hotel, Wednesday through Saturday through December, ‘Blues began to change 100. Muddy ‘Waters discovered electricity and plugged Inanditchangedeverything,” Bandsshrank tosmall ensembles that played hy thine blues. ‘The music parted and headed in two separate directions. “One direction was Charlie Parker, Dirry Gillespie and the boppers. In the other direction you had the roots of R&B flowing off the river of jazz with the work of people like Louis Jordan, Bull Moose Jackson, Bill Doggett and some of those other jump bands that came out of the big bands.” These bands would later lead the ‘way to rhythm and blues and soul music. In the fifties some of the clubs ia the resort areas were still going strong across the city, but it wasn't as strong as it had. been in its heyday. Then, along came television t entertain people intheirhomes. “Itwas quite a change. Itwas a time of ygeat turmoil and it had a profound effect. Cn the evolution of Kansas City blues and. jazz “The thing that’s interesting is that uring the fifties you could see B.B. King, Aretha Franklin or Charles Brown at a place like the Mardi Gras Club. The next week at the same club you would see Sonny Stitt, Miles Davis or some otherhard ccore jazz. musicians.” The two shared the same venues and existed side by side. “The scene did not die here by any means, Itjust wasn't quite as strong with as many venues as there were here previ- ously.” ‘The blues and jazz scene in Kansas City has continued to grow side by side until today where music still prospers ‘There are over fifty clubs that feature live blues and/or jazz and over thirty jam sessions are held weekly. ‘Many world class musicians today still call Kansas City home including Jay McShann, Claude “Fiddles” Williams, Provine “Litle” Hatch, Erline Owens, Sonny Kenner, Abb Locke to name a few. Tromthe beginning the rivers of blues and jazz flowed together through Kansas City. Post World War I, they parted butthe island was narrow. Today, they are back together, maybe not so much in style as uring the early days, but together at the 1992 Blues and Jazz Festival © Suzanne Colbert, 1992g 3 Bs Fy I a a Fy E 5 STREETSIDE RECORDS aa W Viton au & Blues Festival TERENCE BLANCHARD COLUMBIN including: SING SOWETO/ AU PRIVAVE TOMORROW'S JUST A LUXURY off these select titlesTERENCE BLANCHARD ‘SATURDAY » 3:20 PM [ise roe nce as’ naliveson, inimpet vieuoso Terence Blanchard,comes to play, ‘With the release of his self led debut solo album in the summer of ‘91, Terence blanchard’'s musical career had Come full circle. His latest release, Simply Stated, is rapidly climbing up the jazz. chars (most recently at #10) in New Music Report and has spent three weeks in the top 20 on Billboard's joxz Charts Born in 1962, Blanchard played the piano before switching to the trumpet in elementary school. He attended the New (Orleans Centerfor the Creative Arts where he studied tunder Elis Marsalis ancl George Jenson. He stopped next at Rutgers Uni: versity where he studied jazz with Kenny Barron and Paul Jefferies, Tn 1982, Blanchard and the Aw rom i work with Art Blakey to Spike [ies ios you never know what to Ant Blakey jazz Messengers on the Grammy ‘winning album New York Scene. That album established him as one of the young br After the '86 collaboration with Donald Harrison, Nascene, a ourof the U.S '87's Crystal Star, the duo won the acclaim stars of jazz, and Europe, and ‘of Downbeat stmernational Ci ice Poll Awatd, and Jaz: Emerging Talent of the Year Award, In 1988, Blanchard released jother collaboration with Harrison, Pearl Black awarded the first Sony Innova: tors Award and the acclaim of Herbie Hancock. “They are Tt was tau innovators of trumpet and saxophone,” Hancock said. ‘They have an emotional style and technique that defines the image of jazz, Blanchard are forming the jazz of tomorrow." Blanchara’s his album rel with a connec picture producers, Spike Lee In 1990, Blanchard was nomi nated fora Grammy for his work with the Branford Marsalis Quartet in composin the soundirack force's Mo’ Better Blues.” In addition to his composing and perform- ingon*Mo Better Blues,” Blancharel worked with Lee on the soundtracks to “jungle Fever" and *School Daze. The year 1990 also found Blanchard at work with his own quintet. He has toured the world and has now solidified himselfas a premier jazz soloist of the ‘90: Harrison and success with, ses is coupled on with one of y's most acclaimed motion Terence Blanchard. | Described as a “mercutial sound that| ough the complicated har-| monies of his composition,” Blanchare's twumpet performance has deawn accolades: for more than a decade from mush ‘well 38 aficionados. Kansas Citians may be privileged to find Blanchardheve for an extended stayin °93 for a possible residency at the UMKC. onservatory of Musie—Jazz Studies Pro. | tows easily t SUPPORT THE FESTIVAL ADVERTISERS Available at Finer Independent Record Stores Pearle ert eau ew Rent) et 1d See ae Ce Cy esac id New Age Books 1607 W. 39h St (816) 931-0116 Kansas City, MO 64111 3 blocks Fast of State LineTHE KANSAS CITY STAR. IS PROUD TO SPONSOR & WELCOMES YOU TO THE KANSAS CITY BLUES & JAZZ FEST ’92 KANSAS CI SINCE 1986 DRUMWORKS YOU ARE HEAR sre tnese cums TODAY onthe BLUES ona JAZZ stages. ASK any protessional ooout KANSAS CITY DRUMWORKS CUSTOM DRUMS. WE provide TOP product and sence for EVERY type of drummer, STUDENT to PRO. 4014 State Line . Kansas City, Kansas 66103 : (913) 677-0996 VISIT THE FESTIVAL SOUVENIR BOOTHS. Take home a KC Blues & Jazz Festival T-shirt, button, coozie, poster, artist io on cassette fape or CD. s Gem VISA/MASTERCARD ACCEPTEDCORNELL DUPREE ® * Eee dds are, with the number of top name recordings Cornell Dupree has formed on, you already have Dupree's lyrical guitar lines lodged somewhere in yourmemory. He has performed on 2,500 recondings in the past three decades. Dupree nes played! itl suck tisic ‘greats as Aretha Franklin, lena Horne, Harry Belefonte, Joe cocker, Robert Palmer, Roberta Flack, Lou Rawls, Micheal Bolton, Miriah Carey, Wilson Pickett, Manhauan ‘Transfer, Jimi Hendrix, Barbara Suetsand, es McCann, Donny Hathaway, the Temp: tations and more. At is last estimate, he ‘was on his “2zillionth recording session, *Comell Dupree’s seamless synthesis of downhome sensibilities and uptown sophistication uses ery Fort Worth atback. funk and sparkling New York City jazz.” Withoutever takings guitarlesson, Dupree has made his way to the forefront of the jazz & blues world, Dupree cites Jimmy “Guitae’ Watson ashisfirstinspiration. At14, Dupreejoined his first band playing bass guitar, and at 16, he played sixstringin an organ-drums tio. In ’62 Dupree's mentor to be, Sax King ‘Cunis, plucked himup fromhis For Worth home to take to the Big Apple. During the 70s, Dupree appeared regularly on *Satut- day NightlLive" asa memberof the house band, Stuff. In 1988, Dupree earned his thi Grammy nomination for Coast 10 Coast, solo album. Return 10 the Wide Open Spaces, re- corded live in 1990 with a group of similarly accom plished peers, drew rave re- was judged “the best traditional jazz recomding of the year’ by the National Association of Independent Record Distributors. Following Dupree's Re. turn to the Wide Open Spaces, Billboard described him as a nonpareil chythm player, ac- cording to Billboard, Dupree is *expemtly conservant with Blues, Jazz, K & , Soul - in shor, any ‘strain of postwar black music.” Norjusta matter Cf simple quantity, but sus- tained quality makes Dupree’s peiformances 2 contibution to modern Can't Get Through is Dupree’s most recent solo work. Released in 1990, it Features saxist Steve Greenfield, drummer Eric Parker, bassman Frank Canino and keyboardist Mark Marigold Pe Cornell Dupree. yleis captivating, “Itwilleneakuponyou and make itself at home in your musical ‘memory, becoming an unconscious ele- ‘ment of pure musical appreciation long after the solo itself has ended.” Duringthisfes,rdethroughthe waveswith the funkies Jazz guitars on the planet Earth, ea” YOUR JAZZ SUPPORT LOCAL Only from HL = MUSICIANS Blue Cross and Blue Shield of Kansas City 9ee ; The K. C. Jazz Festival “ ( Committee a The seeds of the Kansas City Jazz Festal Committee were sown when a group of business and civic leaders de- its beautiful parks and an internationally renowned jazz heritage. Lunch + 11 am - 2 pit Cuesday-Friday Dinner 6 pm - 10 pm - Daily ‘What beter way to combine and market the Los Angeles Times and from San Anto- Happy Hour - 4:30 pm - 6:30 pm Cuesday-Sat, no, Texas, to Ontario, Canada, A partial list of past Jazz Festival per. formers include: Live Music by Southern Exposure Every Sunday 7 pm - 10 prt BACCHUS GRILLE 3947 Marin + 931-2828 Catering - Private Parties + Carry Out 10 Joe Williams, Wynton Mar Benson, Jay McShano, Ray Chasles, Stas Ger, the Duke Ellington Orchest “Sweets” Edison, John Luc Ponty, Major Ira Bloom, Jimmy Yellowjackets, Diane Schuur, Bobby watson JeCASSANDRA WILSON © | 1 mas > if A decade of storage technology | celebrating a tradition of great Kansas City music TALLGRASS Vi TECHNOLOGIES Architects of Storage Management Enjoy the 1992 Kansas City Blues & Jazz Festivalsteaks 'n jazz- great KC traditions traditionally kansas city's finest steaks, sizzling with flavor, ennsylvania on the plaza * 444-6969 for reservations | FH nooo Sl supercen al SHOWCASE VIDEO Ri Complete audio/video systems...our specialty! zi FULL LINE PIONEER SALES AND SERVICE Camcorder rentals SEGA * NINTENDO GAMES wi One of the largest laser disc dealers in the Midwest with over 4,000 titles available Sales & Rental Over 10,000 movie titles available with 3 Day rentals and Advance reservations taken wi All major credit cards Oe i 228-9350 1206 N. Woods Chapel Road 10-10 » Sunday - Thursday Kingsridge Center, Blue Springs, Mo SFemiright = Friday - Saturday FA nnn noneKENNY KIRKLAND ee | \ | cenny Kirkland s perhaps bestknown 38 the pianist in Branford Marsalis’ Virtuoso pianist of eclectic interests and great versatility, equally at home in several musical genres: Huropean classical, azz, ‘Afro-Cuban, rock, fusion, and rhythm and. | blues. Kirkland was born in Brooklyn, New York and began acareerasa pianist atage “Clos. interest afer afew lssons arck wanted to quit... But my daddy wasn't | goingiorthat. Hesaid, ‘Boy, you asked for that piano, and now you're going to learn wo play it,” said Kirkland Though he fist became enamored | with jazz’ piano from hearing Herbie ton, so T doped my plano majorand majored in theory and ‘composition, Kirklandexplained. “Bot wheneverl would use ajazz chord, the professor would siop me and say. ‘that’s not serious music... That'snot whatthis school is about After graduating, he began performing and recording. with violinist Michael Urbaniale who tntroduced him to a wide aud: cence of jazz fans. Kirkland went ‘on to play with saxophonist Billy Harper, drummer Chico Hamilton, and bassist Miroslav Vitos. An alumnus of the Wynton Marsalis Band, Kirkland began his collaboration with Massalis in 1981 when they went to do a | recording date for a Christmas record Marsalis was doing. The two had metearlier ata jam session in New ie the pianist has retumed to the acoustic Hancock's electric keyboards on “Head- | York. hunters,” Kirkland remains committed to | the acoustic piano, boards for certain effects, but the acoustic | “I play electric key- | and remained with him u In 1985, Kirkland joined Sting’s band | il 1990. During time he did two world tours and paws is my first love,” be sh He spent years studying Buropean classical music and performed a repertoire that included Bach, Beethoven, List and Brahms. Heattended the Manhattan School ‘of Musle where his interest in jazz got him. into rouble. “There was no jazz instruc: | recorded sever! albums. although his plano where he can extend the art of| planistic mentors Herbie Hancock, Kenny Barron and Mecoy Tyner, three giants of| 7. tradition. The album showcases his abilities as a composer as well as an instrumentalist Kirkland's tunes have a contemporary sound, but he plays homage to jazz tradi- tion by interpreting the compositions of| Bud Powell, Wayne Shorter, Ornette Coleman and Thelonious Monk. | work with Sting was financially rewarding, Kirkland felt it was notas anstcallyfulill- | ing as his years with Marsalis, “All those electric instruments can'ttouch an acoustic | instrament that deals with air and the spirit,” Kirkland said, PROUD TO BE A SPONSOR OF THE 1909=> KANSAS CITY BLUES & JAZZ FESTIVALELDERSTATESMEN The Elder Statesmen Of Kansas City Jazz long after the clubs, ballrooms and even sucels from Kansas City's jazz heyday disappeared—the famous 12th Street and ‘Vine iscurrently an empty ieki—the people who made the music remained to pass on their legacy to future During the first Ka 1983, thiny-eight musicia year-old black musician: 627, sere honored fortheir giftsto America es Bes Music series Mtns sees jazz, deweoniy oratelavepetome Ac ae a eS! OTS™ | sare eligible for induction [ae _— i * of Kansas City jazz, than 200 people have dee Statesmen of}azzin Thank you. A portion of the proceeds of this program support jazz and blues on public radio at KANU-FM. VISIT THE FESTIVAL SOUVENIR BOOTHS. cTen more remisiciios will be inducted Take home a KC Blues & Jazz Festival T-shirt, button, coozie, ~ oe seems poster, artist recording on cassette tape or CD. ss on the Plaza at 5 p.m. The inductees willbe Albert D. Bartee, drums; James Brown, trombone; Dr. Wik Tia: Clitk, minister of Kunis Ciky jes ‘Stan Elliot, trombone; Byron “Pete” Eye, piano; Skip Hawkins, saxophone; Teny Hughes, drums; Myles Pruett, piano; Rich- ard Ross, vocals and drums; and Anetta ‘Cation Candy” Washington, vorals A sae Va ae) iy rigigic SYSTEM oS a] ATT Tey 3 Aas cj essed his ye: dn # SUPPORT > YOUR LOCAL JAZZ MUSICIANS sand 5s, omy wt oP Meco he est ons Felon ade Any, Sow on eo sg 14C'S FINEST JAZZ m ei by SDE PROC Mahogany ‘At age 12, Kevin Mahogony stepped into the professional spotlight with his aritone saxophone and performed with the 18-piece Kansas City’s New Breed Orchestra Inspired by Eddie Jefferson, Jon Hendricks, Mark Murphy and Al Jarseau, Mahogony decided in college to focus his alent solely Jon vocals. ‘There he formed a jazz chotr. | His group, Mahogany, has been a soughtafier favorite in Kansas City for years | Mahogony’s talent has been show: cated with other artis — he's performed with Stanley Clarke, David “Fathead” Newman, Kevyn Lettau, Bobby Watson and many others. Recently, Mahogony ‘was featured on Frank Mantooth’s Dan- ‘gerous Precedent recording with Ramsey Mahogony performs at the Kansas City Blues and Jazz Festival with Rob Powell on piano, Kerry Layton on bass, SamJohnson, Jon drums, and Max Berry on guitar Tim Whitmer and the KC Express ‘Whitmer has never let his formal musical education interfere with his mu- sic. Beginning with the City Light Orches- tra, he has led outstanding bands that have showcased both up and coming talent and the many jazz legends who make thelr home in Kansas City. AI these facets of ‘Whiltmer's muste: the respect forthe trad tion, the combination ofokderand younger players, and anistie integrity come to- | gether on his new release Humorous In- Jentions to create a real gem. ‘Tim Whitmer studied at the UMKC Conservatory of Music under the direction of George Salisbury, the legendary piano master. THis band includes Oreste “hu ‘Tucker on bass and Oscar “Lucky” Wesley falda SPA Interstring Danny Embrey’s musical career started a2 a child growing up in mid-town Kansas City. He and his two brothers all leaned to play the drums, sharing one set and practicing one after the other. Embrey began working professionally right after high school, touring throughout the United | States and playing guitar with Deanna Lee| and the Deedrums. Danny studied music| with John Elliott, 2 leading educator of| Kansas City jazz musicians. After spending! a year with a disco band in Los Angeles, Danny joined the Sergio Mendes group, | and spent ix years performing all overthe world, Bob Bowman was born and raised in Topeka, Kansas, and knew he wanted to) play the bass at age 12 —after hearing his first Pete Fountain recording. In 1968 Bob varded a scholarship by the Topeka Jazz Workshop to attend the Stan Kenton summerjazz camp. After high school, Bob enrolled in North Texas State University — and this is where, he says, he reallymade himselFintoa bass player. Rob played with the prestigious Thad Jones/Mel Lewis Jazz Orchestra, recording with them and tour. ing Europe. In 1988, Bob and his wife returned to the KC area, where his freelance career continues to flourish Rod Fleeman credits George Alter, musicteacherat Southwest High School, as the one who evoke Fleeman's interest in jazz. After studying at the University of| Utah and Miami (Fl) U,, Heeman began playing professionally at 19. A member of UMKC’s Conservatory faculty, Todd Strait has played drums all over the World with some of the foremost jazz musicians, UU) Dt BC eT) Washington ¢ 421-1:16 ISCOVER WHE SECRET F SHOPPING SMART. 50 Factory-Direct Outlets ¢ Boy * Harve Benard + Chaus ano * American Tourister ¢ Fieldcrest Cannon ‘Coming-Revere * Van Heusen * Kid’s Zone * Leges, Hanes, Bali * Banister Shoes Peruvian Connection * Westport Ltd, + Book Warehouse * Enro-Damon Perfumania*Wallec Works Jonathan Logan * Oneida Brass Factory *Leather Loft Ballard!’s Sporting Goods Music4 Less * Housewares Maidenform * Ye Olde Sugarosity Shoppe * Bass Cape Isle Knitters Toy Liquidators * Aileen Welcome Home * Paper Factory + Jewelry Source The Villager * Capezio Dugout Sports River City Golf+ Marks Plaza Jewelry River City Market Food ‘Court * And more. LAWRENCE RNVERFRONT PLAZA FACTORY OUTLETS Take 1-70 wo Exit 204 or K-10 to Downtown Lawrence, Kansas, (913) 842-5511. Mon-Wed 10-7, Thurs-Sar 10-9, Sun 12- Call and ask about Group Tour and Convention Discount CeKC WOMEN OF JAZZ SUNDAY ¢ 3:05 PM ssSlick Hammond B-3 organ guru Everette DeVan heads up this consistently strong. ‘groupalong with Thomas Walkeron drums, Bill Caldwell om saxupluone and Rick Hendricks on guitar. Raised in Colorado, DeVan trained in concert piano until listening to the organ of Jimmy Smith struck a chord and new ‘irection in his music. He landed his fist jobwhen he was ten, and moved to Kansas Gity in pursuit of azz.in 1968. DeVan feels Kansas City has a good reputation for | nirningout*highcaliber msicians." ssSlick hhas demonstrated an ability to attract the same caliber vocalists o the band over the last dozen years DevVan will be hosting a post-festival jazz jam at Obsessions from 7-11 pm on Sunday, July 26. Lisa Henry Lisa Henry, arguably Kansas Ciy’s premier young jazz vocalist, joined the ranks ofssSlick three years ago at the age Of 19, Everette DeVan sad, “She had raw talent. Tsave it the band saw it Lisa isa throwback. she can sing like Ania Baker bat prefers Sarah Vaughan.” Hienny’s fist recording Straight, No (Ghuser snniged by DeVan sa picid | the strength we can expect 10 see Henry produce for years to come. Karrin Allyson Karrin Allyson sweptinto Kansas City several years ago, tumed the town on its ear, and brought packed houses t0 the Phoenix with her honeyed dove-like pitch. Combiningherextensive classical train ingasa pianist with her warmsmoky voice, Karrn at home with an enormous reper toire that runs from jazz andl blues to pop ‘and french cabaret. However, her grea strength, like all the classic singers, lies in her treatmentof the standards. To hearher sing “Whats New?” or ‘A Ghost of Chance,” you know you'te listening to a storyteller who can lead you from the sophisticated world of Gershwin and Cole Porter to Monk's blues and Bonnie Rait's heartaches, Allyson works from her twin bases, Kansas City and hometown, Minneapolis, to make her marks in clubs fromlas Vegas to Tokyo. Her new album, [Didin Know About You showeases her versailltyasshe swings fiom standards to samba. It also featuses a Portuguese song re-arranged by Karrin and Bill Metaughlin, a big jazz fan and Director of the Kansas City Symphony. Mary Moore ‘The giant voice and presence of Mary ‘Moore rooted as a child growing up in the ‘countryside of Louisiana, ‘Moore's frst solo was singing gospel Inthe church at age four. By age five che sang ina trio with her sisters. This musical Involvement continued throughout her school years where she consistently won state solo competitions. “Isang gospel, but Tlistened to the great voices of jazz and soul. The sounds of Sarah Vaughan, Nancy’ Wilson and Aretha Franklin werea tremen- dous influence,” said Moore. Following her relocation to Kansas City in the eatly 70s Moore was discovered by Ekier Statesman Donald Dixon at a talent show. Dixon encouraged her to pursue a career asa vocalist and featured her with his band for several years. She then worked with Future Shock, later called The Kansas City Band, who were billed in shows along with Bobby “Blue” Bland, Cool & the Gang, ‘Tower of Power, and the Manhattan. Moore went on to work with ssSlick fora couple years and then headed forthe Bast Coast ing the Apollo House amateur contest, Moore began to sing with the Apollo Rockers, the house band. With thataffiliation, she played throughout New York City. She has since returned to her Kansas City home performing with her| band on Saturdays at Nice's Club. You won't Rr need when you go Pam cy ® You don’t need an appointment, and it doesn’t take all day © We won't sell you services you don’t * We guarantee satisfaction or your money back For Information Call 531-LUBE Experience Counts a7.Universal Press Syndicate and Andrews and McMeel are proud to support The Kansas City Blues & Jazz Festival. Roo S ex f - Pee 0 LE Announcing L2TH STREET SERIES October 3, 1992 February 6, 1993 BILLY TAYLOR & RAMSEY LEWis "A LITTLE MO Jazz II" with ‘THE McFADDEN BROTHERS Noveniber 7, 1992 THE FRANK MORGAN DUO plus Mare 61993 ALEXANDER ZONJIC & FRIENDS ‘THE DOROTHY DONEGAN TRIO Noveriber 5, 192 Apr 34, 1993 SUPERSAX MARCUS ROBERTS & ELLIS MARSALIS Deceniber 3, 1992 May 2, 1993 RoB McCONNELL win KANSAS Crry JAZZTET REBIRTH BRASS BAND & UMKC Jazz ORCHESTRA & BEAUSOLEIL All Performances at 8pm Saturday ORDER COMPLETE SERIES TICKETS TODAY! 474-4444 TICKETS To INDIVIDUAL CONCERTS GU UN SALE SEPTEMBER 14, 1992 Fouty THEATER + 300 W.12TH STREETROC COVA me My TNA LN NEA NY) hidadelphia-bomn saxophonist George Howard's music is consistent and true to his artistic vision. His unmistakable style of vast and variable influences is Instantly recognizable to his ever-growing audience. Although he began recording only 120, Howard has been steeped in music since. At the age of six, he began classical musictraining on the clarinet, later switching to the bassoon and other wood- ian. ‘Uhtimately,itwas the soprano sax that eda teenage Howard to work with various Philly-based r&b groups such as Blue Magic, Harold Melvin & the Blue Notes and Pirst Choice His diverse musical influences include ames such as Bach, the Beatles, John Coltrane, Chick Corea, Miles Davis, Sonny Fortune, Herbie Hancock, Handel, Eddie Haris, Public Enemy, Wayne Shorter anc Vivaldi. In 1979, Howard began touring with Grover Washington Je. and within a few years he was recording his debut album. His 85 commercial breakthrough Dane- ing in the Sun was the fist Of sev nine years 3 cians’ heaven to Howard, There is no out that the type of enersy that gets sparked from performing live sallover is Iatestand ninth album release, presently in the top ofthe jazz chats, Do Ever Cros Your Mind was co-produced by Howard and nored drummer Rayford Guin who has performed with Howard'sband of and on for several yeas. Howaed expressed total satisfaction with Do [Ever Cross Your Mind “There's a real spontaneity on this record and yet, its been well thought out. There are tracks that express where Fmat. Yes, this album is an honest presentation of where Tm at and shat I'm about.” “This alluim is important because 1) sureiche!@ lle more creatively. 1¢8 an ‘opportunity to explore different musical avenves,avenves that ve felt comforable in but that people haven't heard from me in awhile." Ns duttiasoubomeyiiaoes Hwaed| will always put his personal stamp onthe | powerful collection of material that serves as a showease for his evocative artsy. And, discerning listeners can tell that Howard is all about masterfel musician ship, always displayed with enengy, taste and style | ‘Along with Griffin, Howard wiljoined by guitarist Derick Scott, bassist Ronnie Garrett, and Vance Taylor on keyboardson iis Reta George Howard. albuns to reach the op of the nation’s jazz charts. In 1990, George Howard released his debut album for GRP, the much-ac- claimed Tone and lindorstanding A consistent performer whose “live” performances have made him a staple on touring circuit, Howard has toured. throughout the United States and Europe In 1991 he made bis first wip to Japan where he was greeted with the same kind of enthusiasm that his dynamic, on-stage shows have generated among US. and European music lovers for several years. Being on tour, playing five nights a week for dee weeks suitight, is susie Dyce ao Tagen AND SW IRA Bpinnh Romeo eens NEST Friday , July 24, 19 Ssslick learuning Lisa Heney - 5p.m Obsessive City Ensemble - 10 p.w. ‘wi Diane "Mama" Ray, Greg Meise Bill Caldwell, Davy Embrey, Sam Johnson, JR. Saturday, July 22, 1992 Ssslick with Special Guests, Open Jam 5p. Obsessive City Ensemble - 10 p.m ‘Sunday. July 26, 1992 Ssstick featuring Richard Ross & Rusty Tucker 7 pn LR C Te) in ‘ TAPAS PARTY 5-9 PM. 19a st = a The » Piano Bar & Griff A downtown hotel a century ago, The Phoenix returns...as a Piano Bar & Grill ‘The Phoenixis open from 9 pmto 1 am...featuring "Tim Whitmer & KC Express Tommy Ruskin Trio = *KarrinAllyson Joe Cartwright Frank Smith Trio = CallforSchedule Kitchen Open from 11 am until Midnight 302 W. 8th Street "472-0001 rs “Sammy loves jazz. . . Ber since Sammy was litle guy, heft the rythm. His mama woud sing Bie Holiday tunes to him a a baby. He would sien to Coltrane and Basie records onthe old hil with his daddy. The house was abvays jumpin ‘with music, Sammy had righteous childhood! But ashe gre older, Samy’ fe lost focus. Though he sil loved jaz, he would wander aime from club to lb looking for plac that had that special atmosphere, that ‘wall1osall groove like back home. The music ust didnt move him anymore. Then one magical night Sammy met Roxy and his fe was changed forever. Roxy loved jaz oo, bt she was smart. She knew tha ie {is what you make it. She introduced Sammy to Audioport where he discovered that the jaz he so loved could once again come ale on great home audio sem. Oh, happy day ‘These days Samy and Roxy spend las of ime ogee... with thee jazz. with he ends. or ust by themsehies. But one thing ‘for cera. Now Sammy's house is always jumpin’ with music on terric sounding tem from Audioport ‘Adcom « hati Research Cop. © AudoQuest « B&W « PieBe ce IC get e Pane Sa SO ee een eMC ye earHE RIPPINGTONS Juss Freeman was born in 1960 in Nashville where he was exposed to the studio scene of Music Cit early age. Freeman's father was good | friends with John Pella studio guitarist in | Nashville. Pell and Freeman's father co ‘corded music there in Freeman's home. | man took lessons with Pell and | began playing in cover bands as a teen. ager. In 1978, at age 18, he left Nashville and relocated in Valencia, California, were he studied music atthe California Institute ‘ofthe Arts. He later studied film scoring at A Valley College and at UCLA. In 1985, he went into the studio to document his compositional ideas, The result was Nocsurned Playground, 2 viral ‘one-man band which had Freeman delving deeply into the MIDI process. [i The Rippingtons. this new fusion act, whose grinningjazzcat | really tried to stay away from the technol- visual mou was pictured on every album | ogy thing and let the players stretch just a cover. litle bit more.” ‘The Rippingtons saw more success “The following year, Freeman was a proached by the Japanese Alfa label roc 1 record which bs effort Moonlighting, featuring Davi Benoit, Kenny G and Brandon Fields. twas the bith of a band Passport Jazz and rocketed to the top 1 the Rippingtan's “Moonlight- ing was licensed in the United States by Billboaed chats. Set Pp ‘with 1988's Kilimanfaro, 1989's Tourist in Paradise and 1991's Welcome to the St James Clu For his fth Rippingtons project, Russ Freeman decided to dispense with drum | machines entirely and retuen to a more organic approach to the music. “I wanted. to have some of the excitement of the live band on this album,” Freeman said. “I id a Mark Portman plays the plano on the ‘group's latest album Curves Abead and Dave Grusin plays the Steinway grand on ‘one tack. Saxist Kick Whalum aleo makes a guest appearance on the album. Gunes Abead is a long way from the ‘early days of The Rippingtons, when Free- ‘man programmedthe drummachine, played ‘keyboard bass, puttogethersynth sequences andbasically rana one-man MDIoperation. | | Monday Noon-1 p.m. Friday Noon-1 p.m. Blue Monday with Chris King OT 03 JAMZ! Blues & Jazz Fusion Friday with Chris King Blues & Jazz on the air Jazz Brunch with Jeff Charney 9 neck 5-8 p.m. Blues & All That Jazz White Hat Mike & Freddie Bell 24Oe eC ee ese esha Musicland has the greatest selection Plus you can order over 130,000 hard to find CDs, cassettes, movies, laser discs and more available through Special Order in our stores. musicland WE GOT WHAT'S HOT.JAY MCSHANN en jay MShann stepped he bus [Vinci ns einen fake 2 quick look around before Suowiog odo Omaha. Dats apap a, Billy Hadnot, onstage at the Famous Club eno, convinced McShana to sick around Tn tose days, Kansas Cy nightspots were Open 24m, “They dat have wo Jock and keys to them. hated to go 10 Sleep because was aad 74 miss some: thing,” McShann said. Ses cra ieee ee eee eee tsa plantand band leader, His tof az tesocitionsIncldes Count Base, icky Milner Jiminy Forestand Charli Parker But the uur veralty of Meshann’s of blues associations, MeShaan wil per |foem on both stages at his years Pest onthe Blues Sage with te Joy MeShann | Quintet andon the Jazz Stage withthe Jay Mtshann Big Band Besheon over yin in Muskogee, Oklahoma in 1916 and taught himsel 19 |pay the plano os a child despite his parents! doapproval. He studied at Fak | Uaivesiy, one ofthe leading tonal lasuions In the United Sates, From 1935 o 1936, he performed around jieas and Oltsbou, tn 1936, Me Cty and played at the Monroe Inn on here he ene aoe wasqullly mating name forhimeel ina town that boasted more than af Ce ‘The following ye beatiereyee ere ere on the Plaza in late 1939, MeShann educa Parker, Theis wecunding of “Hootie Blues” was the first recording to document Parkers ‘emerging genius. The band debuted atthe Savoy Ballroom in New York in 1942 10 nn moved to Kansas n, who served in the armed forces from 1943 10 1944, led a small combo that featured vocalist Jimmy Witherspoon throughout the late 40s, In 1950, McShann retumed to Kansas City and began studies at the of Music. He toured regionally with h ~ heformeda sextet assembled a big band and played at the | ' \Century Room and Fairyland Park ‘The! MeShann's list of critically acclaimed IcShann Orchestra touredexten- | ®ecordings includes “Paris Alister Blues" sively and recorded the popular Bluey | fo Which he received a Grammy nomina Sane Cotrcea the Blues rer sound | on, ‘Swingmatsm,""Confesin'the Bes" | bridged traditional Kansas City jazz and | a” “Hootie Bhs.” ae eSisen I e-ogneeavene ote | “Thismuskally progressiveband, whose | Mestgiled pianstsof the times ldestmemberatthe imewas25, included | known orblues and boogie wooge-infl Gus Johnson, Gene Ramey and Charli = ndis most | Nobel s Jay McShann. enced peicussive piano style. Dut the versatility of his style will be evident as he makes his appearance at the 1992 Festival ‘on both stages. The big band swinging into song Sun- ‘day with MeShana on the jazz Stage will be the K.¢. Jazz Brokers Big Band consisting of leaderand drummer Perry Reid, Michael Palmer on bass, Jim Barker, Henry Hoard, Al Zanders, Ellis Ezell and Ross Woolf on saxophones, John Booth, Ben Roberts, Al Pearson, Sylvester Heath and Godfrey Powell on trumpets, Chuck Eliot, Matt| Kern, Ken Clond and Jeff Schwartz on| trombones. These players also perform as the Munval Musicians’ Foundation Big Band. Performing along with MeShann in the MeShann Quintet Saturday on the Blues Stage will be Sonny Kenner on guitar, uals Hughes on drums and Ahmed Alazdeen on saxo- phone 23John Paul & the Hellhounds KC Blues Band Full Blast Kansas City Guitar Masters ‘eciuring Senay Kenner, 84 Oye, Freddie Johoson & John Nelally The Holmes Brothers 4 Jay McShann Quintet Bram Wijnands Trio wi fad ts) Buckwheat Zydeco 1:00 2:10 3:20 4:40 6:10 7:30 The Reunion of the Five Aces The McFadden Brothers Terence Blanchard Cornell Dupree Cassandra Wilson 1:00 - 5:30 pm © Double OTO+TONE © Milt Il & Milt Abel © ‘© Shawnee Mission West High School Brass Band © ‘The KC Boyz © Park Hill High School Ensemble Kenny Kirklandisos Cily Parks ond Receation. Mahagony Tim Whitmer & the KC Express Interstring ssSlick tomy KC Women of Juxx & so Hay, Karin Ayan & ary Moore George Howard The Rippingtons iowig ts femn Diane “Mama” Ray Jay McShann Big Band & the Rich VanSant Band Sy ee j Millage Gilbert & the Down Home Blues Band Charlie Musselwhite iwi - 5:15 pm The Sam Murrell Group Paseo High School Jazz Choir © Eder Statesmen * Paseo Academy Jazz Emsembld Latimore Katie Webster Delbert McClintonPEO vur youth is the next musical genera (ice performers and audiences. The Festival would be incomplete without recognizing them. The Kansas City Blues Society and the Kansas City Jazz Festival Committee are excited about what the ‘Youth Stage offers. For two days, young performers from throughout the city will present dancing, vocal, rap, and instru- mental performances — some of it orginal material; stories of jazz and blues history ‘willilustrate smoe of K.C.'s musical legacy: and demonstrations by well known instru- ‘mental artists may inspire furure aspira- tions in music as a career. ‘Through the common language of music, maturity and youth communicate and hopefully cultivate understanding and values conducive to social and economic productivity. Young performers can expe- rience the satisfaction and thuill of public acclaim, as wellas being showcased as role models. ‘The Youth Stage is all this, plus fine entertainment for everyone. Pam Hider and Sam Johnson, Jr. - Youth Stage Coordination Co-Chairs SAUL aa THE KC BOYZ ‘This highly energetic rap group theills audiences with their original rap songs all written by the group of elementary and middle school students. The group says they don'thave a leader ~all decisions are made democratically. One of the group's members is Amir Kenner ~ the son of ‘guitarist Sonny Kenner, and the third gen- ‘eration performer in this musical family. MILTON ABEL if WITH MILT ABEL A welcome back ~ eight year old Milton Abel Ion piano takes stage with his father, veteran bassist Milt Abel. THE SHAWNEE MISSION WEST HIGH SCHOOL BRASS BAND ‘This 12-piece jazz band performs tra- ditional jazz selections ~ but with a style all their own. Under the direction of John Selzer, this group of high school students isa delight to hear. ‘These talented young musicians formed Jn 1990 - because of a common interes in the music of the Dirty Dozen Brass Band, and the Rebirth Brass Band of New Or- Jeans. In Apal 1991, the band took a fleld tip to the New Orleans Jazz and Heritage Festival where they saw shows by many area musicians to include several street bands and the Diny Dozen Brass Band. ‘One of the main objectives of the band hae been to learn to perform tunes without the aid of written music. As a result, the students have developed the ability to be both spontaneous and emotional through music. Like the Dirty Dozen and Rebish, the band’s instrumentation is that of a traditional New Orleans street band. The beat is from the second-line street parade, fone can still see perform in Louisiana ‘Their melodies and harmonies are fresh and exciting. The Shawnee Mission West Brass Band is thilled to offer their talents at the Blues and Jazz Festival Leader and Trumpet - John Selzer ‘Trumpet - Bernie Foulk ‘Alto Saxophone - Kim Walker Tenor Saxophone - Ryan Churchill ‘Tenor Saxophone - Jason Nachtrab Baritone Saxophone - Eric Lynn ‘Trombone - Matt Smith Bass Trumpet - lan Burns ‘Tuba - Brandon Shuey Percussion - Aaron Hetherington Percussion - Curtis Mulvenon | | | YOUTH STAGE ALUMNI | | | ‘Trumpet - Karriem Sayles ‘Trombone - Tim Perryman Piano - Anthony Brockman Drunss - Darrien Gates 1991. graduates of Wyandotte High School, these gentlemen have preformed forthelastthree festivals. FromWyandotte’s Jazz Band, these musicians have begun secondary music studies at Kansas City Kansas Community College and Donnelly | College. Kartiemand Tim have performed | ‘with the Mutual Musicians Foundation Jazz Brokers and on the Missouri River Queen. ‘When asked f their annual participation in the Festival contributed to their desire 10 become professional musicians’ ‘Ihe an- swer was YES! DOUBLE 00TO + TONE Double Out of The Ordinary + Teach ens of a New Era) DOUBLE COTO - Reggie Banks J. Rian C, Banks, Marco Hill Dance). TONE Amaco Watkins, Chris Howard Marcos Denmon (Vocals). “These talented groups of young aduly have performed both regionally and nation ally. ‘Their innovative syle of tap and hi hop dance is exciting, exhilarating and inspiring to watch. All performances an their own, original material SUNDAY PERFORMERS THE SAM MURRELL GROUP Features Samuel Murrell Jr. and Samuel Murrell, I, father and son violin duo. This 1s a gospel group that preforms in loca churches as well as gospel concerts across the country. THE ELDER STATESMEN LC. Speedy Huggins (Vocals), 1 Jackie Anderson (Vocals), Provine “Little Hatch (Harmonica), Samuel Johnson (Bass), Terry Hughes (Drums) What is an Fler Statesmen? During the first Kansas City Jazz Fest val in 1983, thirty-eight musicians from the, Local 34-627 were honored for their gifts to America and the world~the Kansas City style of Jazz, Each year since, jazz musi who are over the age of sixty, or who have performed! for over thirty years, are eligible forinduction as “ElderStatesmen” of Kansa: City Jazz, Presently there are over tw’ hundred Elder Statesmen of jazz in Kansag City PASEO ACADEMY JAZZ ENSMEBLE This twenty piece jazz ensemble will perform entertaining and upbeat number ranging from contemporary classics to latin) beat, and lots of old Kansas City Swing, Tothebestofourknowledge, thisis th first year that either Paseo High School Paseo Academy has ever had a jazz band Even in their inaugural year, this schoo| Coninuco on Pack 27 26“Yours: Stage” raom Pace 26 placed more students thanany otherschool inthe Kansas City, Missouri #3 District Jazz Band, which is made up of members of 10 KC Metro schools, 18 suburban schools, and 10 private schools! Camilla Houston made the National Honors Jazz Ensemble and is the first ‘woman fo do so. Co-Directors - Lee Hake is not only a co-director of this band, he is also the ‘Missouri All Sate Jazz Band Coordinator, and the Assistant National Honors Jaz Band coordinator Stephen Sampsell is the Instrumental Music Resource Teacher for the KCMO | School Distict ‘They have played with Ahmed Aladeen, Society Tue Kansas Cy Bhes Society incor porated in 1980 to promote and preserve The more various styles of blues music thaa five hundred member strong Society presents monthly jam sessions, several local and national blues concerss yearly ich GAMES MAO HSU. and what has been the main annual pre [VISIT THE FESTIVAL |=" SOUVENIR BOOTHS. | Take home a Festival T-shirt, | button, coozie, poster, arfist | recognition by being honored with the recording on cassette tape or CD. | w.c. Handy “Keeping the Blues Alive” ity Blues and Heri- The Kansas Ci Blues Society is the | only blues group to twice receive national Find yourself in the eye of the storm and at the edge of your seat on our — awards (1984 and 1991) for the best non- newest ride - The Monsoon! profit blues organization in the country A partial list of past Blues Festival performers include: Jay McShann, John Lee Hooker, Bo Diddley, Koko Taylor Jimmy Witherspoon, ‘Tyrone Davis, Albert King, Bobby Bland, Robert Jr. Lockwood, John Mayall's Bluesbreakers, Buddy Guy, LaSalle, Priscilla Bowman, Luther Allison, Chick Willis, John Jay McShane, Eddie Pierre's Cajun ? Cafe } ‘Cajun, Creole & Spanish Cuisine Lee Hooker Drop into the cool blue depths from swinging vines. Ride a Thendly 8 ark, Or just float lazily along on log rafts. Anson Ponderbugh snd he Rockets. Te | Hy along on Log raf, fun in the sun for all! Worlds of Fun Oceans of Fun (816) 454-4545 “Cleanhead” Vinson, Katie Webster, Femest Arceneaux and the Thunders, Junior Wells, Mighty Flyers, Eddie Clearwater, George Jackson, Albert Collins, Valerie Wellington, Lookforourbooth i © pre nay serine (Otis Rush, Eddie Kirkland, Buster Benton, Rufus Thomas, Sugar Blue, Koko Taylor, Joanna Connor, Jessie Mae Hemphill, Fontella Bass, Valerie Wellington, Denise BAT ay erie) | LaSalle, Rod Piazza & The Mighty Flyers, Jimmy Johnson, 27From the strident cheer of Dixieland jazz to the smoky sigh of the blues, nothing can express the full range of man’ emotions like the power of blues and jazz. Boatmen’s Bank can orchestrate a jazzy solution to all of your banking needs. For noteworthy results count on Boatmen’ ~ a proud sponsor of the 1992 Kansas City Blues & Jazz Festival. Member FDIC @ PIONEER’ The Art of Entertainment Audio, Video, Receivers, Cassette Decks, CD Players, Laser Disc Players, Projection Television, ‘Speakers PRESENTS THE NEW PD-TM2 3-MAGAZINE MULTI-PLAY COMPACT DISC PLAYER * Continuos play of 18 discs *CD-Deck ene For easy CD-to-tape editing * Compu-PGM Edit and Time fade editing + ADLC (Audio Digital Level Controller)SAVE THEWAILS @) FF ee = ea ee Support Kansas citys Ja Blues Heritage . 29The NEW Sound of News In Kansas City Ae LL 5 A Proud Sponsor of the Second Annual Kansas City Blues and Jazz FestivalKC'S FINEST BLUES DNNUIAGD John Paul & The Hellhounds. “I wanted to put together a young band to take the blues into the 21st Cen tury," John Paul Drum said, As winners of this year’s KC Blues Society Amateur Tal- ent Contest, the HellHounds are on their ‘way to accomplishing that goal ‘The HellHounds are composed of Drum on vocals and harmonica, Tony Ansterson on guitar, Joe Witfekl on bass, ‘TJ. Ethan on the keyboards, and Joe Shields on drums Witfeld and Anderson are original members ofthe HellHounds, playing with Drum fos three years. Ethart and Shields joined the band in March. Drum has a number of harp idols, but ‘says that Sugar Blue has been helping him develop some “Zen harp.” After aa appearance at the Spirit Fes- tival this Labor Day weekend, the band wall jump into a van and head for Memphis for the nationaltalent contest. “Ithinkwe have the right sound.” says Drum. Local fans hope his optimism is well placed | a KC Blues Band ‘The Kansas City Blues Band has been playing the bluesfor22 years. They hosted 4 “faoned” Monday nlght jam conuinually for over 12 yean—7 years at Blaney’s in | Westport and 4 years at the Husricane, Originally called Colt45, they changed their name when they released their first record Too Many Drivers in 1982, Their second album Kansas City Rocks the Blues, premiered in 1984. Acutfromthis release, *Kansas City Blues,” can be heard weekly as the theme song for Lindsey Shannon's Kansas City Blues Show on KCFX-FM 101 The Fox, Sunday nights at / pm. Band members include Ed Yokley on guitar and vocals, Larry Van Loon, key- boards and vocals; Ted Ward on bass and vocals; drummer Tom Thomas; Joe Miquelon on sax and keyboards; and Bill Caldwell on sax. Yokely describes the band’s style as a “hybrid rhythm and blues. We interpret everything we do ourselves.” SLD Full Blast Full Blast’s name is synonymous with its sound. This eleven piece rhythmand blues hom band gives its audiences a full blastof the blues. Since formingin 1985, they have appeared at numerous clubs, Crown Cen- ter concests and the Spisit Festival. Although all band members are accom- plisited musicians and serious about their muie, they delivertheircound with a’have fn’ attiude." The group consists of Joe Herman, proud Kansas City Company for over 10 years*