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·The Jazz Place· 8:00 pm - 1 WEDNESDAY

NPR's ·Amedcan Radlo Jazz Festlv~ DlURSDAY

NPR's HMartan McPartland Plano JazzFRIDAY

NPR's -Blues Stage- 8:00-9:00 pm ·The fdday £d1tton of the flsb frY' (R. L. B) 9:00 pm - 1:00 SATURDAY

·Just Jau- with Ruth Rhoden L. GIDney Coleman noon .. 2 -Saturday Afternoon Swing Oub- 2 - 4 pm

·Saturday Night flsb frY' (R. L. B) 8 pm - midnight SUNDAY

·Hearts of Space· (Space L. New Age) 6-7 am L. 9-10 pm ~Ight nds- (Progressive Jazz L. New Age) 10-11 pm


OCT./Nov. 1991

VOLUME 6 .. No. ~

JAM Magazine is published bi-monthly by the Kansas City Jazz Ambassadors, a non-profit organization. All rights are reserved. Reproduction of any materials is prohibited without consent of the publisher. For advertising information, call 631-1089. Letters should be addressed to: KC Jazz Ambassadors, P.O. Box 36181, Kansas City, M064111-6181 orphone (816) 631-1089. All article contributions must be submitted no later than the 1 st of each oddnumber month.


WRITERS Kathy Feist J.P. Makus Chuck HaddiX Dick Wright Doug Alpert


The Jazz AmbassaKANSAS CITY dors is anon-profit organization dedicated to promoting jazz and ~1!J1t~~~: developing a jazz audience.


Vicki Rollf

October/November 1991


Kansas City Jazz Scene in High Gear

U/hata summer we had for Kansas City Jazz, the Kansas City Jazz

" Ambassadors and for JAM Magazine. In my 17 years as a KC area resident, I have never seen so many special jazz events to go along with the high level of daily jazz activity. There are more clubs featuring jazz now and more jazz musicians working than there have been since I have been on the KC scene.

JAM's size and formal change combined with the four-fold increase in distribution proved to be an astounding success. We have made these positive growth changes to keep up with the changes in the Kansas City Jazz scene.

I personally feel that jazz in Kansas City has experienced phenomenal growth during the past two years. Both quality and quantity have seen positive change. For all too many years, our jazz scene had been rather stagnant. For the real jazz lover, it was a painful experience. That era is now in the past.

Is the pain gone? I don't believe so. Now we are enjoying the pain of success - growing pains. The new era brings a high profile to the jazz community.

We are ona roll and the local press hasn't discovered it yet! While the "national jazz press" is raving about what is going on in Kansas City, local publications continue to write uninformed bunk about how bad things are.

Critics uninformed

The Kansas City Business Journal managed to talk to one club owner who reported he will possibly break the million dollar barrier in gross receipts this year and another who will gladly tell you how much he has lost over the last few years. They also found a few jazz musicians who consistently enjoy the wine of wining but they couldn't find the guys and gals who were too busy enjoying the wine of success. Then, they use a sensational headline: "Business of Jazz No Longer Blows With Financial Thunder of Bird Era."

The beauty of all this is that, while the jazz community takes heat for not having the financial thunder of the Pendergast era, more people are sponsoring and supporting jazz, attending jazz events, and more musicians are playing better jazz than they have in the last several decades.


Ambassador Accents 1

President's Corner ...........•........................................................ 2

Letters 2

News'n Notes , 4

Kansas City Jazz Portraits 12

Center Stage 14

Storyville 16

Platter Chatter 18

Club Profile Blue Note Cafe 20

KC Jazz Commission News 21

Club Scene 24

Jazz Artists :: , 26

On the Air , ,. 28

Should I go on?

If you are a member of the jazz community in Kansas City, it is my hope that the Jazz Ambassadors have been part of one of the events you have attended. Let me just say thatthe KansasCity Jazz Ambassadors cannot save the Kansas City jazz scene, or even any part thereof. If we haven't had an event at a particular location (since our inception) there are good reasons.

Jazz is an art-form, not a business.

I find it tragic that jazz is not a major part of today's popular culture, and therefore often unprofitable. I'm sorry that there is so much competition for what little money is out there in jazz. I'm sorry people get so ugly over factional affairs such as style, politics, racism, scheduling, 'media attention, technique, location, etc. It's just not the fault of any support organization. I will take no responsibility for the actions of my predecessors or successors. The Jazz Ambassadors are doing what they can .... I refuse to build a wall around this group, and then throw stones at everyone who has their own opinion. If you like jazz, I urge you to get involved in our community. Kansas City has a dynamic and vital jazz scene: See you on the streets. ..


Jazz is an Art Form Not a Business

w.ell it's in print! "Some musicians and club oumers said the biggest enemies of modern Kansas City jazz are the people who claim to be jazz supporters. In that group they [unspecified] included the Kansas City Jazz Commission and the Kansas City Jazz Ambassadors." - Kansas City Business Journal- August 30,1991. Total malarkey! Absolutely untrue ...

The Kansas City Jazz Ambassadors is not a special interest group. It is our purpose to support the jazz community through volunteer efforts. This community includes approximately 150 musicians, 30 to 40 clubs, 4 or 5 other jazz support organizations, about eight annual festivals, as well as our own internal projects.

Over the past year we have produced (without outside funding) an event at 6 different jazz venues, and held our monthly business meeting at 3 others. We have held two membersponsored jazz parties, including live entertainment, and at all events have paid the artists a decent wage. Just to name a few of these, we have featured musicians such as: Milt Abel, Tommy Ruskin, Russ Long, Bill Caldwell, Doug Talley, Eddie Saunders, New Red Onion Jazz Babies, Bill Stroder, Gary Sivils, Mike Metheny, Paul Smi th, Bob Bowman, Gerald Spaits, Bill Perkins,

Keith Kavanaugh, Kerry Strayer's New Kansas City Seven, Boulevard Big Band,Frank Smith, Mike Ning, Wayne Hawkins, Todd Strait, Lonnie Newton, Ahmad Aladeen and the Deans of Swing, the Scamps, and more. Ask around ... we've had guest speakers, too.

We have produced five magazines (very expensive) with the aid of the Kansas City Jazz Commission, done 2 highway clean-up projects, produced 8 newsletters, provided hundreds of volunteers for the 10th Annual Pub Crawl, 18th & Vine Festival, Blues/ Jazz Festival, Spirit Fest, Juneteenth, done educational jazz tours with Communiversity, "[azzin' Up the Town." Produced a book, The Kansas City Jazz and Blues Nightlife Survival Kit (sponsored by Blue Cross/Blue Shield), provided guides for numerous Jazz Commission Mini PubCrawls, appeared on numerous radio and television information formats, helped raise funds for KCUR, attended meetings with the Jazz Commission, Musician's Union, increased our membership (almost 400), backed the Jazz Ambassador Showcase on KKFI, sold tickets to George Shearing at the Folly Theater, done a Jazz Cruise, attended Musician's Advisory Board meetings to the Jazz Commission, and more.

Thank you, Kansas Cityl

Thank you. The 1991 Kansas City Blues & Jazz Festival was a tremendous success. This premier cooperative venture between the Kansas City Jazz Festival Committee and the Kansas City Blues Society demonstrated to citizens and visitors alike that our music legacy is not just of the past, ..___-, but now.

The 28 bands on the two main stages plus the Youth Stage attracted over 100,000 people to Penn Valley Park.


People had a great time, there were no major incidents, and the event was critically acclaimed.

This achievement was in a large part due to you, the audience, the volunteers,and the organizations who pitched in to make it happen.

Congratulations are out to: the Jazz Ambassadors, the Jazz Commission, Parks and Recreation, AF of M Local 34-627, The Blues Society,and the Jazz Festival Committee. Not to be overlooked - our sponsors, both media and corporate: CommuniGroup long distance service, Pioneer Electronics, Budweiser, the Kansas City Neigh-

borhood Tourist and Development Fund, The Embassy on the Park Hotel, WDAF Channel 4, The Kansas City Star, KCFX, KPRS, and KYI02. Thanks are also out to the public and community radio staffs and many others for their contributions.

Your comments and suggestions arc always welcome. Address them to: K.C. Blues & Jazz Fest P.O. Box 26264, KCM064196

Kathe Kaul,

Kansas City Jazz Festival Committee

JAM Magazine


r.f Neon Pink CAPS with Jazz Ambassador logo $10 ($8 for members)

r.f Neon Pink VISORS with Jazz Ambassador logo $8 ($6 for members)

r.f CAN COOLERS with Jazz Ambassador logo $3 ($2 for members)

Add $1.00 for Postage



(sizes run small)

CONTENT: 50-50




T-SHIRT - $12



Ordering info: Include check or money order for amount of purchase Name




Send to: KC Jazz Ambassadors, Box 36181, Kansas aty, MO 64111. For more Infonnation, call (816) 631-1089.

Barbecue and JazzA Natural

The Annual American Royal Barbecue, a longstanding Kansas City tradition, will honor another local tradition by including jazz in its lineup of events October 4-6 at the American Royal complex in the Kansas City bottoms.

On Friday, October 4, look for the bands Mahogany, the UMKC Jazz Band, and David Basse's Rhythm Society to perform from 7 to 10 p.m. outside in Lot A.

On Saturday, October 5, the country sounds of Asleep at the Wheel will perform a "Street Dance" at 7:30 p.m. in Lot A.

And Sunday, October 6, will round out with the KC Bottoms Band performing at 1 p.m. and 3 p.m. in Lot A.

Cost of admission is$3 and includes all activities within the American Royal complex. Call 221-9800 for more information.

MJQ to Celebrate 40 Years

The Modern Jazz Quartet will celebrate their 40th anniversary as a band with a tourthatincludesastopat the Johnson County Community College Cultural Education Center, 12345 College Blvd, in Overland Park, on October 5 at 7:30 p.m.


Recipient of Scholarship Returns as Performer

hat goes around comes around. Such is the situation for the upcoming UMKC Joe Thomas Scholarship Concert when the first recipient of the scholarship, vocalist Gerald Trottman, returns to perform for the fund raiser concert on October 18 at White Recital Hall Gerald Trottman,student and first Joseph V. Thomas

~:~~ J~~~' B!!~ Scholar at. UMKC, is pictured with LaVe"!e ~atkins,

and the UMKC Jazz WIdow of the famed saxman who dIed In 1986.

Orchestra under the leadership of Vincent Henry.

Mike Parkinson will play. The Joseph V. Thomas Memorial

Trottman, the first recipient of the Jazz Scholarship was established by Joseph V. Thomas Memorial Jazz LaVerne Watkins Thomas, her Scholarship, graduated in 1989 and friends and family and the Kansas continued study in New York with City Jazz Commission in memory of composer / arranger, trombonist Bob her husband, tenor saxophonist, Brookmeyer at BMI Composers' "Jumpin' Joe" Thomas, who was the Workshop. He also studied in jazz featured soloist with the Jimmie programs at The New School, with Lunceford Orchestra during the Bernard Purdie, Cecil Bridgewater 1930s and 1940s. It was the first and Donald Byre. endowed jazz scholarship in the

Trottman is the music director at Midwest.

Sweetwaters and Indigo Blues, two Tickets are $6, or $5 for students New York City jazz clubs, and he and senior adults. Call the Central recently opened for saxophonist Ticket Office at (816) 235-2700. .;.



Jazz Ambassadors present the ·ORGAN GRINDERS FISH FRY" OCTOBER 29

featurins Everette Devan & Larry Van Loon With their Hanvnond· B3 organs

7502 ijJr.o.ost J\fr~n~ ..• !f1taI, ~®



JAM Magazine

Jazz All Night

8 pm - 5 am • Monday - Friday

. .

Just· . Listen.

You'll See ...

Vintage Jazz with Michael Maher 9 - lOam • Saturday

The Jazz Scene with Dick Wright lOam - L-OO pm • Saturday


The band consists of vibraphonist . 931-3330.' Milt Jackson, pianist John Lewis, bassist Percy Heath" and drummer

Connie Kay. ...., . . .

Tickets are $lS':for the concert ($10 for students and senior' Citizens) and $25 for a post concert reception. Call 469-8500 for more information.


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Folly Kicks Off With Duke Ellington Orchestra

A legend in the world of jazz comes to Kansas City on Saturday, October 5, at 8 p.m. when the Duke Ellington Orchestra, directed by Mercer Ellington, performs at the Folly Theater located at 300 W 12th St.

Mercer Ellington was a long-time trumpeter, band manager, and composer for his father. Mercer and the Duke Ellington Orchestra won a Grammy for best instrumental jazz' album-big band.

Tickets are $22 and $18 and can be purchased by calling the Folly Box Office at 474-4444 or TicketMaster,

stand. Kelly, a product of Juilliard, appeared at City Light earlier this year. The Los Angeles-based vocalist is currently enjoying the success of her latest album, Some Other Time (Chase Music CMD 8017).

Jam With Ameran

Multi-instrumentalist David Ameran will perform at the Jewish Community Center, 5801 W. 115 St., on Sunday, October 20, at 2:30 p.m.

A range of exotic music from the Middle East to the toe- tapping sounds of Kansas City Jazz will wind its way through the afternoon concert when the composer/conductor performs with the Vince Bilardo Trio.

Tickets are $12 and can be purchased by calling 451-1177.

Trick or Treat at Masquerade Ball

The Eddie Baker New Breed Orchestra will celebrate Halloween in appropriate style with a Masquerade

Julie Kelly returns to City Ught

Julie KellY' will return to City Light "Thursday through Saturday, October 10-12:'Sh.i will be appearing with the Kim Park Quartet for the three night

Julie Kelly at City Light Jazz Club.

Her debut. album is available at:

Autographs' Records .. &· .. TapeslCrown Center)

i _ -._, .. _:' ,.'1. :.~.' ..•. " -,' "


Piano, vocals and more by

Fridays Saturdays

7:30p.m. - 11:30p.m.


Restaurant & Bar

942 - 1234 12921 State Line

JAM Magazine

Max Roach'sUptown String Quartet at Folly

An outgrowth of

legendary percussionist Max Roach's Double Quartet, the Uptown String Quartet, consisting of Maxine Roach and trumpeter Clarks Terry's daughters, Lesa Terry, is growing out of the shadow of their famous fathers and entering the limelight of their own unique jazz style. The New York group has set tongues wagging and will soon do the same in Kansas City when they appear at the Folly Theater, 300 W. 12th Street, on November 8 at8 p.m.

The string quartet, consisting of violinists ----------------

Roach, Terry, and Dinae Monroe and cellist Eileen Folson, received raving reviews from critics when they release their debut recording Max Roach Presents the Uptown String Quartet.

Says Vis-a- Vis magaztne, "Traditionally, strings in jazz have been relegated to mere sweetening ... but on its debut disc, the group sets that tradition on its ear, taking center stage in a delicious mix of rag, blues, old-time Americana, jazz and pre-jazz."

''The Uptown String Quartet's music offers hope that there are still untapped options for jazz

Ball, October 31, at8 p.m. at the Bird's Nest located in the Charlie Parker Memorial Foundation at 4605 Paseo.

In addition to dancing to the big band sounds of the orchestra, Halloweenersare encouraged to dress in costume. Prizes will be awarded to the best costume.

For more information, call 924-2200.

Workshop Offered to Musicians

A Technical Assistance Workshop featuring information every musician

October/November 1991

Daughters of jazz greats to perform at the Folly, November 8.

musicians," stated the Commercial Appeal.

And the 1990 JazzTimes Critics Poll rated the quartet "Best String Group."

The group was formed by Max Roach over 10 years ago as a means of bringing strings to the forefront and for an all female-grup to perform along side Roach's regular quartet.

The Uptown String Quartet is being presented by Friends of Chamber. Tickets are $20 for the general public and $1 0 for the Kansas City Jazz Ambassadors. Call 474-

4444 for more information. .:.

would ever want to know regarding marketing, grant writing, recording, and obtaining health insurance is offered Saturday, November 2 beginning in the morning at the Folly Theater.

The workshop is a project of the Kansas City Jazz Commission's ad visory board which consists oflocal musicians and club owners. It is sponsored in part by the Jazz Commission, the National Jazz Service Organization, and the Mid-American Arts Alliance.

For more information, call 274-2700.


805 W. 39TH STREET Phone: 753-9476

Gary Foster Performs at UMKC

Saxophonist Gary Foster will perform with the

Kansas City

Jazztet on

Sunday, November 3, at 2 p.m. at Grand Recital Hall at 52nd and Holmes.

Tickets are $6, Gary Foster:

or $5 for students UMKC, October 3.


and senior adults. Call the Central Ticket Office at 235-2700.

Groups record live at

local clubs

Local jazz fusion group Alternity will perform live at the Grand Emporium, 3832 Main, on Tuesday, November 5 at 8 p.m.

The Bob Bowman Quartet will record live at The Tuba, every Monday, starting October 14 through November 4. The best of the four will be commercially produced.

Wynton Marsalis plays the Folly

Jazz giant Wynton Marsalis will perform to a sold-out room at the Folly Theater, 300 W. 12 St., on Saturday, November 10 at 8 p.m.

The 29-year-old trumpeter is highly regarded as the creme de la creme in the jazz world. Since he first performed and recorded with Art Blakey's Jazz Messengers less than 10 years ago, Marsalis has earned several Grammy

nominations, top of the Billboard jazz chart ratings, and "Best of" Down Beat awards.

Tickets are $22 and $18 and can be purchased by calling the Folly Box Office at 474- 4444 or TicketMaster at 931-3330.

Look for Chick Corea at the Folly Theater

Keep an eye out for a rare Kansas Ci ty appearance by Chick Corea and his Elektrick Band, on Saturday, November 16 atthe Folly Theater, 300 W. 12 St. The concert is being presented by the Grand Emporium and the Folly Theater. For more information, call 474-

Wynton Marsalis will perform at the Folly, November 10.

. "
" "
8 JAM Magazine


~picurtan l\t~taurant & lLoungt

. 7502 Troost -- Kansas City, Mo.

Plenty of Lighted Parking in Rear.


l' Everette De Van ~ Larry Van Loon

Playing the Fabulous Hammond B-3 Organ

Tuesday October 29, 1991 7 -II PM

_Serving the 'Best Catfish in Town'





Neon Design

on FRONT (4-color)

All Fest Artists listed on BACK


l000A» Pre-shrunk Cotton (Fruit of the Loom)

$12.00 + $2.50 handling KC Blues/Jazz Fest P.O. Box 26264 KCMO 64196

(allow 2 weeks for deUvery)



Christmas tapes offered for Dream Factory Fund Raiser

Local jazz fans will find a treat in store for them at various retail stores this Christmas. A tape filled with jazzed up Christmas tunes performed by local musicians will make its way across retail counters this Christmas season as a means of raising money for the Dream Factory.

Several local jazz musicians, including Mike Metheny, Greg Meise, Joe Cartwright, and Kim Park, have donated their time and services for this recording designed to raise money to help terminally ill children's dreams come true through the Dream Factory.

For more information, call the Dream Factory at 471-8086.

On The Jazz Tube

The 10th Annual Jazz Lovers' Pub Crawl will be featured on KCPT, Channel 19,onOctober2 at8 p.m. and October 5 at 9 p.m.

Phil Woods performs at Folly for UMKC programs

Phil Woods, alto saxophonist, will performasguestartistwith the UMKC Jazz Orchestra and Kansas City [azztet at 7:30 p.m. Saturday, December 7, at

the Folly Theater, 300 W. 12th Street.

Woods will also give a jazz' masterclass at 4 p.m., Friday, December 6, Center for the Performing Arts, 50th and Cherry streets. The free . masterclass is made possible through the Frank Katz Hoffman Memorial Jazz Artist fund.

Spring ground breaking planned for Jazz Hall of Fame

The ground breaking for the future International Jazz Hall of Fame is currently scheduled for the Spring of '92, according to Eddie Penrice, a representative of the Charlie Parker Memorial Foundation which has seen the project through thus far.

The Hall of Fame was recently appropriated $14.5 million from the City. The money is allocated for Phase I (the ''brick and mortar" phase) only of the development project. The project includes the redevelopment of the historic 18th & Vine area with over $20 million going towards a Black Archives, a Negro Baseball League Hall of Fame, and the Jazz Hall of Fame.

The hall of fame, which will be located at 18th& Paseo, has been in the works for over a decade, beginning as


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Improvisation. Music Theory. Ear Trainln~. & Chord Melody Private Instruction

Novice through Advanced College Credltal50 available

THOMAS PENDER Home: 765-0640 Studio: 942-2114

JAM Magazine

a brain child of the Charlie Parker Memorial Foundation. Despite the recent city funding, Penrice has resigned himself to the slow development process. "Realistically, I think ground breaking will take place in late spring, early summer," he states. "And if it happens before then, God bless the child!"

Tribute to Miles Davis

"The Jazz Scene" with Dick Wright will air a two-part tribute to the late Miles Davis during rnid-October. The 10:00 a.m. Saturday dates will be announced by Mr. Wright during the October 5 and 12 shows.

A "Best of Miles Davis Discography" compiled by Dick Wright will be published in the December /January issue of JAM.

ScaHin' The Town

Congratulations are in order for vocalist Kevin Mahogany who is touring the US with the Kelly Roberti Band out of Minnesota. His route so far includes Chicago and Montana .... Also to the Phoenix, which has been awarded the filming location on October 31, for the movie currently being shot in KC, ''Burden of Proof." Owner Ron Schoonover says he hates to close down on Halloween, but it was an offer too good to pass up. Well, that's show biz!.. ..

The 12th Street Rag Room at the Allis Plaza Hotel has brought back jazz with David Basse .... The Blvd Big Band is performing every Sunday night at the Blue Note in Johnson County .... The Tuba is having a Nose & Glasses jam on Oct. 17 when they will give every customer a pair of nose and glasses to wear. This will make things easier to keep a look out for a possible Barney Kessel concert at the Tuba sometime soon.

October 23-27, 1991

Directed by Charlie Wells Bands Scheduled to Appear:

Banu Gibson * Jim Cullum Tommy Saunders * Rev. Al Townsend Sammy Gardner * Jay McShann

St. Louis Ragtimers * Artie Shaw Orchestra Southwest Missouri State University ...

Jazz & Dues Bands and Firehouse Dixieland Band The Lake Area Jazz Band

For Information Call: 800-843-3143

The Lake Area Chamber of Commerce and the Missouri Arts Council invite you to enjoy the spectacular fall beauty of the lake of the Ozarks while you are treated to some great jazz.

Festivities will begin on Wednesday with local and college jazz groups performing at locations throughout the Lake Ozark/Osage Beach area for your listening and dancing enjoyment. Friday afternoon noted Jazz historian Charlie Menees, KMOX Radio, St. louis, will provide a FREE LECTIJRE on JAZZ. On Friday night Dhe Stars come out at 7 different locations for 2 nights and 3 days of the best of jazz.

JOIN US for the MAGIC ... JAZZ and FALL COLORS and take advantage of our Excellent Golf Courses, Shopping, Fine Dining and all of the other amenities of this fabulous resort area in Central Missouri. WE WII.L BRIGHTEN YOlJR illEI

-ORDER FORMMake Checks payable to: Chamber Jazz Festival.

Mail order form to: Lake Area Chamber of Commerce

P.O. Box 193 • Osage Beach, MO 65065

A schedule and map locator will be sent to you upon receipt of your check. Badges and souvenir programs may be picked up, when you arrive in the lake area, at the Chamber of Commerce office Tuesday through Thursday 9am-5pm, Friday 9am-9pm and Saturday 9amNoon. October 22-26, 1991.

Patrons please print individual names for listing in Souvenir Program. Your order must be received no later than September 15, 1991.

Please send Patron Tickets at $75.00 each, for aU sessions, including College


N~e: _

N~e: _

A~: ___

City/State/Zip: ~-----------------------

Individual session tickets, $15.00 each, may be purchased at location doors or at the Lake Area Chamber of Commerce.

October/November 1991



Rival Leaders Helped Create KC's Early Big Bands

George E. Lee Novelty Singing Orchestra

B andleaders George E. Lee and Bennie Moten shaped the evolution of Kansas City jazz from the early 1920s through the mid-1930s. GeorgeE. Lee was the firsttolead a big band and is a pivotal figure in the evolution of Kansas City jazz. Regrettably, his contribution has been somewhat overshadowed by his chief rival, Bennie Moten. This is primarily because many members of Count Basie's first great band were alumni of the Moten band.

George Ewing Lee was born in Boonville, Missouri, April 28, 1896. His sister and musical collaborator, Julia, was born in Kansas Ci ty October 31, 1902. George's father, who led a string trio, encouraged their interest in music.

George began his music career in 1917 while in the army. In 1918, he formed a trio with Julia and drummer, Bruce Redd. George was the lead vocalistand played banjo, ukelele, musical saw, baritone and tenor saxophone. George was noted for his "slap tongue"


style on baritone saxophone.

In 1920, the Lee trio played Lyric Hall at 18th and Lydia. Billed as the George E. Lee Novelty Singing Orchestra, they played an extended engagement at the Novelty Club located at 16th and McGee. In 1922, the Lee band featured: Sam Utterback, trumpet; Thurston "Sox" Moppins, trombone; Clinton Weaver, saxophone; Abe Price, drums; Clarence "Tweedy" Taylor, reeds.

The George E. Lee Novelty Singing Orchestra recorded "Down Home Syncopated Blues" and "Meritt Stomp" in 1927 for the Meri tt label, which was owned by the Winston Holmes Music Company located at 1704 E. 18th St. Winston Holmes began his career asa piano technician for the Baldwin Piano Company in 1898 and opened his own shop that repaired Victrolas as well as pianos in 1918.

During the early twenties, he expanded his inventory to include records as well as sheet music and

billed his store as the "only Negro music house in Kansas City." In addition to the George E. Lee band, Holmes also recorded Sylvester and Lena Kimbrough with the Paul Banks Trio and a number of sermons. Recordings on the Meritt label are extremely rare and coveted by collectors.

The addition of arranger, composer and pianist Jesse Stone in 1928 increased the Lee band's musical s0- phistication. Stone's primary function was that of arranger and composer. Julia remained the featured pianist. By 1929, George E. Lee and his Orchestrainc1uded 14 pieces and was the most popular band in Kansas City. They frequently defeated the Moten Band in battles of the bands at Paseo Hall, 15th and PaseoduetoJulia'sand George's strong vocals and showmanship. They also toured regionally on the mid-western circuit.

George E. Lee and His Orchestra recorded six selections for the Brunswick label in November 1929.

JAM Magazine

These sessions were recorded in the studioofWDAFwhich was located in the Kansas City Star building. George was featured vocalist on "Saint James Infirmary." This was the first recording of this standard and the arrangement that Cab Calloway would appropriate for his 1931 recording. Julia's vocals on ''Won't You Come Over To My House" and "He's Tall, Dark and Handsome" anticipated her most playful and suggestive recordings during the 1940s for the Capitol label.

Because of the depression, these recordings did not receive much national distribution. However, they did sell well in Kansas City with the first release, "If I Could Be With You One Hour Tonight," selling 2,000 copies the first week.

The February 6, 1930 issue of the Kansas City American, a weekly black newspaper, advertised the George E. Lee releases on the Brunswick label

with copy which reads "Hot, sweet, knock out records-both of them. Rhythm that makes you dance. Seething sentiment and golden vocal choruses by George E. Lee himself."

The depression also made engagements outside of Kansas City harder to obtain. The band was not working enough to support all of the members. Herman Walder and Sam "Baby" Lovett left the band in New Orleans and joined Thamon Hayes in the first edition of the Kansas City Rockets.

In the fall of 1932 the Lee and Moten bands were merged by the Musicians Protective Union, Local 627 which has become the Mutual Musicians Foundation. The Lee-Moten band played the Harlem Club which was located at the former Paseo Hall. The Harlem Club featured an elaborate stage show with dancers and comedians. The personnel of the Lee-Moten Band included Herschel Evans, Buster Smith, Oran

"Hot Lips" Page, Bill Saunders and Eddie Durham. The band also featured three pianists: Bennie Moten, Count Basie and Julia Lee.

In 1933, Moten re-formed his own band and stayed at the Harlem Club. Lee also re-grouped and went back on the road.

Because she did not like to travel, Julia split with George in 1934 and followed her own musical path. She worked several different venues as a solo or with a drummer. In 1935 she began her long tenure at Milton·s Tap Room, 35th and Troost.

During the summer of 1937, Lee led a small combo at a resort in Eldon, Missouri which featured Charlie Parker. That fall he retumed to Kansas City and led a small combo at the Antlers Club. Lee left Kansas City in 1940 and moved to Detroit where he managed a night club. In 1945 he moved to Los Angeles where he died on October 2,1958. .:.






The Folly Theater

Saturday, November 16, 1991, 8:00 p.m.

Call 474-4444 for tickets now!

October/November 1991

ncmSAT ~

TICK~ v.lSTl:i:i=I

A"~":": TICKET .p;

CALL·FOR·TIX (816) 931-3330


Jim Mair - Jazz Musician of the Nineties

by Dean Hampton

•• 1 im Mair - an excellent musician.

_, Ienjoy having him in my band and best of all, I get to watch him grow!" explained Tim Whitmer, piano player and leader of the Kansas City Express. Whitmer describes Mair as a young player who has intensely studied the Kansas City jazz tradition. "He has found the common thread between the KC music and the KC spirit." said Whitmer.

When one thinks of Kansas City jazz, saxophone almost always comes to mind. We tend to think of the great old timers such as Charlie "Bird" Parker and Lester Young. With the likes of Jim Mair in town, Kansas City no longer has to live in its wonderful past. If you ask anybody on the street who the sax player of the day is, Mair will be one of the first ones mentioned.

Jim plays just about everywhere and with just about every top echelon group in the metro area. A sure bet to find him is at the Phoenix Piano Bar and Grill with Tim Whitmer's, the Kansas City Express. This early evening gig five nights a week has helped to put Jimon the list of Kansas City favorites.

Young Jim Mair

At age 24, Jim has a good start on what may possible be a great career as a jazz performer. In addi tion to his performance goals, Mair feels very strongly about spending time as a music educator.

If you have ever heard Tim Whitmer introduce Jim Mair at the Phoenix


you will never forget that "Young Jim Mair" is from Winnipeg, Manitoba, Canada. While we in America - especially Kansas City - don't think of Canada as the place to be to become a great jazz musician, it seems to have


worked for Mair.

Jim explained, "I used to love to play hockey. When I got into junior high, all my friend were growing and I wasn't. So, I quit hockey and started playing saxophone." Jim credits his first music teacher wi th genera ting his interestin jazz. "He only taught music in the mornings and did studio work in the afternoon. He would warm up in the band room at noon and we would eat lunch there and listen to him."

Jimand his friends started a band in 8th grade even though they could not

would teach him everything. We auditioned drummers because there were no drummers. We didn't know anything about chords. I remember that I went into a music store to get some sheet music for the band. The lady asked if we had a rhythm section. I said thatI didn't know. As the band got better, we started doing things like telethons and playing nursing homes. The band was called A Touch of Brass."

Award winner from age 16 Jim went to an out of division high school because it had a great music program. "From there we formed

another group and by the time we graduated from high school, I had a quintet called Mark V. We won the Canadian High School Jazz Combo Championship award." said Mair. That year Mair was also selected as first tenor in the Canadian All Star Big Band.

While most of Jim's friends chose to go to more prestigious schools such as Berklee in Boston, he wanted to get into teaching and chose the University of Mary (UM), a small school in Bismarck, North Dakota. Jim found the small town atmosphere to be difficult at first. There was quite a difference between Winnipeg and Bismarck. The pool of musicians was much smaller. It turned out to be the smartest choice Jim made.

He found that Bismarck had some great players. Jimexplained, "There was a saxophone player there who could compete with

Jim Mair at the 1991 KC Blues & Jazz Festival. anybody in the world. There were

a couple of them. There are all

play their instruments. They were these grea t players hidden where

allowed to stay in the band room.after you least expect them."

school, and rehearse. "We really . The .smal.l pool of musi~ans procouldn t read music for a while so we vided JIm WIth an opporturuty to play started teaching ourselves tunes like a lot of gigs. "There were some mon'In The Mood' and 'Tuxedo Junction.' ster teachers up there as well as great I remember our bass player couldn't players. I gotto do a lot ofthings with even play bass. He owned one so we the faculty. We'd go up into Canada

and do clinics. The trumpet and per-

JAM Magazine

cussion teachers would go and I'd do the saxophone. It was a wonderful school. I wouldn't trade it for anything. They taught you more than music: how to deal with people; the importance oflooking sharp and 'early is on time, on time is late.'"

While playing with the UM Jazz Combo, Jim won Elmhurst College (Chicago) Jazz Festival Outstanding Soloist Awards three years in a row. The combo won the best of festival award two of those years, competing against much larger, nationally-known schools. This resul ted in Jim's first brush with national recognition. Down Beat Magazine (June 1986) listed him as a musician deserving wider recogni tion. He was described as a 19-year old saxophonist who "has been garnering awards as a jazz performer since he was 16."

After graduation from the UM, Jim. won a scholarship to the Banff School of Fine Arts. There, he studied with artist such as Kevin Eubanks, Julian Priester, Dave Holland and Marvin "Smitty" Smith. "It was kind of a free jazz school. It was an unbelievable experience. I was one of the weakest and youngest players. I was a little kid."

Basie made him do it

Mair'shigh performance goals combined with an unquenchable desire to learn were not yet satisfied. Postgraduate school was a must. His instructors recommended that he move toa major city. Depaulin Chicago was in compe-

tition with UMKC. Bothofferedassistant teaching programs.

A major influence in his decision was the Kansas City jazz heritage.


Y V hen I was in

high school, I listened to a lot of Count Basie.

I liked their style of

music - swing."

Mair reflected, "When I was in high school, I listened to a lot of Count Basie. I liked their style of music - swing, Lester Young. Now I could play. I had to get in there and develop."

When asked if he had ever regretted his Kansas City decision rather than Depaul/Chicago, Jim was very candid. "I've never really thought about it. I'm totally thrilled with what I'm doing now. I probably wouldn't be giggin' nearly as much (in Chicago). There's really no place like the Phoenix in the country. I talk to buddies I know inNew York and they say, 'you mean there is a place like that in this country.' It's a place you can really play and develop. You learn how to relate to people and deal with people. At the Phoenix you are getting every end of the business. That's part of the gig. It's important to interact with the crowd, both musically and personally. "

Jim attained his Master of Arts degree from UMKC in 1990. During the summer months, he kept busy. The first summer, he received a full fellowship to the Aspen Music Festival. The following summer, Jim toured with David Basse's City Light Orchestra.

A Roswell, New Mexico newspaper recounted Mair's excellence in concert at the Performing Arts Center of Eastern New Mexico UniversityRoswell. "It was Jim Mair, alternating alto, tenor, and soprano saxophone spotlight solos, who electrified the audience with his remarkable artistry and command of these instruments. His presence, like a Calvin Klein model breathing molten golden tones, received appreciative sighs from the ladies. His breathing control and key fingering are in perfect balance and he never loses the central thematic line of any piece, as he develops his improvisations."

As a non-academic student, Mair continues to study and develop. One can tell that this artist will always find growth opportunities. Whitmer explained that, as a performer, "Jim is always listening. He tries to sit in with everybody. He plays with the Scamps. In my group, he pays very close attention to LaVerne and Rusty."

Jim discussed what turns him on most about jazz-improvisation. "As a kid, the thing I liked about jazz is the improvisation. You didn't have to always read music. You just kind of



10 HRS 24 TRACK $ 300.00




October/November 1991

15' .i

STOR villE I J.P. MAku§

Standards of Excellence

The Passion for Jazz by Leonard Feather. Horizon Press. New York. 1980; reprint with new Introduction. index and author corrections. Do Capo Press. Inc .. 233 Spring Street.

New York. New York 10013. 1990. $10.95.

The Passion For Jazz is worth a look because it conveys to the reader a sense that those who made a difference listened fervently to their own drummer. How they achieved their goals and aspirations was a matter of satisfying this personalized, inward rhythm. That's what makes for the passion.

A person's consummate passion for something is often reflected as a labor oflove. This passion becomes a choice and desire to associate oneself closely with a certain philosophy, occupation or life goal.

Those who have committed their lives to foster the growth and development of jazz are prime examples. They know that jazz as a form of human expression encompasses emotions, creativity, study and discipline. Those artists who subscribe intently to jazz are often representative of people who have the vocational direction to be focused and passionate.

By using a four point guideline to determine artistic impact, musical influence, aesthetic quality and time-

lessness, Feather establishes his standard of excellence. Getting right to the point he speaks about ten artists who have followed this credo. By selecting certain recordings from their discographies he gives the reader the references to appreciate his recommendations.

As a prelude to the book, Feather wants you to know that these ten:

Ellington, Armstrong, Tatum, Holiday, Gillespie, Parker, Goodman, Hawkins, Hines and Venuti had the right stuff, and the necessary passion to make the difference in jazz.

Most of the book follows a pattern of interesting anecdotes, interviews and commentary. Feather has a conversational style that allows for relaxed reading for novices, students and professionals alike. Since The Passion For Jazz was originally published in 1980, the material is dated because it concerns itself primarily with the music and the events of the 1970's.

But how it is relevant to us today is a matter of evaluating and reflecting on these events as a means of furthering our awareness and understanding. For example, Feather puts together some past remembrances of Charles Mingus and Stan Kenton that almost encourages one to review and listen to their music. Interviews with the Heath brothers and Toshiko Akiyoshi-Lew Tabackin along with selected quota-

tionsfrom Donald Byrd, McCoy Tyner, Phil Woods, Dollar Brand and Art Blakey enables one to weigh differences in attitude, style and business politics.

Throughou t the section on "People," Feather is not too confined to limit his focus only on traditionalists but rather opens the reader's 1 awareness to more contemporary musicians such as Carla Bley, Al Jarreau and Pat Metheny. His 1979 perspective on Kansas City's (Lee's Summit) native was right on target:

Metheny was a symbol of new values in music that transcend the usual categories of jazz, rock, classical or, particularly, fusion ... He understood the value of tension and release, the intelligent use of contrasting colors; he took himself seriously, yet conveyed in his performances the joy of communication.

For all the time that was spent to reprint this book in 1990, I'm surprised that Feather did not spend the effort to add more than just a new introduction, index and author corrections. Many areas of the book deserve a consideration of new facts. This should have been a given for someone like Feather who is highly recognized asa major writer and commentator on jazz. The chapter on the



JAM Magazine


JAZZ ... Become a Part of It

Join the KC Jazz Ambassadors

Jazz Parties

Monthly Calendar of Events

Discounts in over 20 jazz-related businesses Monthly newsletter - Whole Notes

KKFI's "Jazz Ambassador showcase"

every Wednesday, 10:30 a.m. to noon with Mable G.

Monthly meetings

JAM magazine

Volunteer opportunities

Participation in jazz events


For more information, call (816) 631-1089 or wnte to:

KC Jazz Ambassadors Box 36181

Kansas City, MO 64111.


I To become a Kansas City Jazz Ambassador, complete the application below and return it with your tax-

I deductible contribution to: 'i,1

KANSAS CITY KC JAZZ AMBASSADOR Box 36181, Westport Annex m~~ Kansas City, MO 64111

Name ------ __

Address _

City/StatelZip _

Phone (home) (work) ---:::==::---_

Q PATRON ($30) Q PATRON COUPLE ($40) Q ACTIVE CONTRIBUTOR ($15) Q STUDENT ($10) (Patron gets membership badge and JAM magazine subscription Free)

Q YEAR SUBSCRIPTION to JAM magazine - $10 Q $5 with Student and Active Contributor Membership

Q SPONSOR - $100 - Corporate or Individual (name published in every issue of JAM magazine)

I would like to volunteer for the following committee(s):

Q Membership a Publication (JAM magazine). Q Social Committee Q Publicity Q Advertising


October/November 1991



Joe Cartwright Trio Triplicity

by Dick Wright

Recorded: June 25 and September 9, 1990

PERSONNEL: Joe Cartwright (piano & leader), Larry Holloway (acoustic bass), Tim Davis (drums).

SELECI1ONS: Unit VI; Einbahnstrasse; Blues for Wim and Maxine; Ruby, My Dear; Haunted Ballroom; Body and Soul; My Favorite Things; Lafayette's Laugh.

This recent cassette release by the Joe Cartwright Trio goes a long way in dispelling the notion that one must go to New York or LA to hear great jazz. It is an outstanding recording by three

fine musicians who, over the past few years, have worked together many times on club and concert dates.

The solid cohesiveness of the trio shines through on every cut. Joe is one of the most exciting technical piariists and Larry and Tim, both fine soloists in their own right, continuously provide a rock-steady and "always right" backing for whatever direction the pianist goes.

One of the main attractions of Joe's playing for me has been his knack for always choosing great material. The works he performs are always by the recognized master jazz/ popular composers, although not necessarily the same ones that so many other artists seem to play.

The program for this new release includes two Cartwright originals, "Unit VI" and "Lafayette's Laugh,"

Johnny Green's classic "Body and Soul" (here done with an up-tempo samba/bossa nova feel as opposed to the usual ballad approach), a long and very personal reading of Richard Rodgers' "My Favorite Things" and four under-played jazz standards, ''Einbahnstrasse'' by Ron Carter, Tete Montoliu's "Blues for Wim and Maxine," Monk's "Ruby, My Dear" (in my book as lovely as '''Round Midnight") and "Haunted Ballroom" by Victor Feldman.

This is a fine release by a great "local" jazz trio. I certainly recommend it highly and urge you to add it to your collection!

Triplicity is available at City Light Jazz Club, Ritz-Carlton Gift Shop, the Record Cabinet, Classical Westport, the Music Exchange and at the Phoenix when Joe is playing there. +

,"vn. Do], Bowman Quartet

jues, Stan Keuler Ie tLe BaDAl of Brazil featurint Danny Em],rey KC Bottom. Band wI Lisa Sato Jam NitLt

The TuLa. fea.turea tL.e ~t-m loeal

and retional

entertajUJ'Dent Monday tLru Saturda"

333 SoutLwest Blvd.




JAM Magazine

J.J. Johnson Quintergy

Concord CCD-4459. recorded January. 1991. Hollywood. Ca.

Personnel: J.J. Johnson (trombone), Ralph Moore (tenor sax), Stanley Cowell (piano), Rufus Reid (bass), Victor Lewis (drums).

Selections: When The Saints Go Marching In (Trad.); Blue Bossa (Kenny Dorham); Doc Was Here J.J. Johnson); Bud's Blues (Sonny Stitt); Quintergy a.J.Johnson); Lamenta.J. Johnson); Why Indianpolis-Why Not Indianapolis? (J.J. Johnson); It's All RightWith Me (Cole Porter); Coppin' The Bop (J.J. Johnson); Nefertiti (Wayne Shorter); You've Changed (Bill Carey-Carl Fischer); Commutation (I.]. Johnson).

Wow! J.J.'s back and the Antilles label's got him! What a treat it is to ha ve this great jazz figure back on the recording scene. J.J., the first modem player on trombone, has been on the jazz scene for almost 50 years and took his first recorded solo back in 1943. For this live date at the Village Gate back in Mayof1988,J.J.isbacked by a superb rhythm section and has as a front line partner one of the most exciting tenor saxophonists on the scene today, Ralph Moore. Thereisa fine mix of jazz/pop standards and Johnson originals to keep up the listener's interest. The wide range of tunes includes such jazz classics as Kenny Dorham's "Blue Bossa," Cole Porter's "It's All Right With Me." "Nefertiti" by Wayne Shorter and, possibly J.J.'s best known composition, "Lament." With a look back to theroots,J.J. even romps through the old tradi tional"When The Saints Go Marching In." Since I am such a fan of Ralph Moore, it makes this album

doubly exciting.

I'll give this release a rating of outstanding all the way. It belongs in your collection not only because of J.J. Johnson's importance in the history of jazz trombone playing but, mainly, because it is excellent jazz from the whole group. ..


A downtown hotel a century ago,

The Phoenix returns ... as a Piano Bar & Grill

Jazz Happy Hour. 5 - 9 Mon-Fri Featuring 11m Whitmer &KC Expres s

lhe Scamps • Saturday Matinee • 4 - 8 pm

In October & November atThe Phoenix ••• 9 PM-1 AM • 11m Whitmer &KC Express. Tommy Ruskin Trio • • KarynAilison • Kevin MahoganyOuartet

Call for Schedule

Kitchen Open from 11 am until Midnight

aoz W. 8th Street • 47Z-0001


October/November 1991



The Blue Note Cafe - Overland Park

The Blue Note cafe at 9617 W. 87th Street, Overland Park, Ks., 642-6625

Hours: Sunday through Thursday, 11 :30 am-11 :00 pm; Firdayl Saturday, 11 :00 am-2:00 am.

Ulhen you hear about jazz "happening at the Blue Note, you normally think of the Big Apple. The KansasCity area now has it's own - the Blue Note Cafe at 9617 W. 87th Street, Overland Park, KS. Owners Thorn Parker and Steve Grappy bring over 30 years experience to this new jazz venue. Their professionalism shows from the moment you enter.

This location, formerly Ta tIer's and Baxter's, has been tastefully redecorated. The layout remains basically the same as the former clubs. Theonly expansion is in the bar area. This carpeted area with red brick walls is an ideal place for that quiet after work or evening cocktail. The low lighting features the glow of the new Blue Note

Cafe sign.

The dining area is spacious and comfortable. An addition in this area is the abstract jazz mural covering the south wall. Its pastel colors tastefully blend with the light blue color theme. When there is no live music, the restaurant's jazz theme is enhanced with recorded jazz via compact discs. Grappy said he felt that a juke box was not in keeping with the total presentation the Blue Note desires.

Primarily a restaurant, the one page menu presents a delightfully balanced selection of non-fried foods (except for french fries). Lunch and dinner entrees include Beef, pork, seafood, and pasta dishes. Also included are appetizers that would serve as a mini dinner.

Wherediningisconcerned, the Blue Note Cafe provides Johnson County with a well needed alternati ve to over crowded chain restaurants and sports bars. Prices range from $4.95 for lunch specials to about $15.00 for top prime evening dinners.

Live jazz is featured Friday, Satur-

day and Sunday nights. Groups appearing at the Blue Note Cafe thus far have included the Milt Abel Quartet, Carol Comer and Friends, Everette Devan and ssSlick, Mama Ray and the Rich Van Sant Band, Jim Mair and Mahogany. Grappy said, "We realize that we can't start with live jazz every night but we will increase it as we can afford to do so."

The Blue Note is open everyday, seats 250 people and boasts no cover charge for live music. Whether for an after work stop, a romantic dinner for two,or an evening of super Kansasci ty jazz, or a nightcap, the Blue Note Cafe is worth a try or two. .:.


Jazz Hall of Fame clouds issues

Kansas Citians are concerned about the Kansas City Jazz Hall of Fame. We hear a lot about this "$14.5 million project." I feel that it is very important that, in the sure to come, political and financial controversy that will surround this landmark, Kansas City's mainline jazz be held separate from these issues.

Can Kansas City, by itself, support the Jazz Hall of Fame? No! The key phrase is "by itself." NeithercanKansas City by itself support the Royals, the Chiefs, the Nelson-Atkins Art Museum, or Worlds of Fun. These attractions are supported by a population base that extends over at least a four state area. Remember, we are in the Midwest where people do not think


much about taking a 150 mile Sunday drive.

The Kansas City Jazz Ambassadors' membership has nearly doubled during the past year. Although we sometimes wear badges for identification purposes, we are normally just among the crowd with our non-member friends, doing the thing we love most -listening to good Kansas City Jazz.

None of the recent articles about the Kansas City Jazz scene have included interviews with the president, board of directors or members of our organization. I would like to suggest that before any more such articles are published, the KC Jazz Ambassadors take the local pressona weekend long tour of the local scene. We will start with local jazz radio programming on Friday morning and go non-stop until the. last jam session ends on Sunday

night. It would be a very busy weekend and those who participate should take a day of vacation on Monday to recuperate.

Jazz Hotline lists

34 KC jazz venues/ events

This week is not an unusual week to listen to the Kansas City Jazz Hotline (816-931-2888). Ginney Coleman has done her usual fine job of listing 34 different places to hear jazz. During the next two months the listing will probably be just as lengthy. I think I have called ever jazz hotline and listing service in the United States over thelastfewyears. Nonecompare! Hits jazz you want, Kansas City's got it!

While you are out listening to some good some good Kansas City jazz this week, take time to fill out the KC Jazz Ambassadors membership application. Join us in the fun of jazz! ..

JAM Magazine


The Future is the Music

1.1' ansas City Jazz has completed " what has by all accounts been a very successful summer. There has been no time within the last twenty years when local interest in jazz has been as strong. There has been a flurry of press coverage, both positive and negative on the International Jazz Hall of Fame, and many other events and issues concerning the jazz community. However, as Kansas City Jazz continues its resurgence we run the risk of losing sight of what jazz is all about.

Amidst all the discussion of administrative occurrences we must continually strive to keep the focus where it belongs - on the musicians who play the music. This is not a new challenge, but it is vital not to let our great jazz musicians sink into the background as we receive greater and greater scrutiny from the press. The Jazz Commission's musicians advisory board has not with members of the print media to discuss this issue, and find ways to keep the focus on the

music. Without the music there are no events to plan, no buildings to build.

We must meet the challenge to focus on the music by increasing the opportunities for jazz education. Education starts in our elementary schools. We must constantly strive to develop the next generation of jazz musicians and jazz listeners, and create a sense of pride and self-esteem for our children - especially African-American children. As the Mutual Musicians Foundation still remains in use - over sixty years since its inception - it should still be in use sixty years hence.

We must also meetthe challenge by creating an environment for the artistic growth of jazz. Jazz is America's classical music. In promoting and presenting jazz we have an obligation to preserve this treasure by cultivating its continued development. The jazz community accomplishes this by exposing young, emerging and adventuresome talent to present jazz audiences, and by bringing now audiences, with new perspectives into the fold.

The Jazz Commission looks forward to bringing the Women's Jazz Festival back as part of the 1992 Kansas City Winter Jazz Festival in March, 1992. By focusing on women in jazz we hope to broaden our audience and broaden the music.

Jazz workshops and jazz residencies have not yet been utilized to any great degree in Kansas City. Workshops and residencies, in schools, in community centers, in clubs, in senior citizen centers serve as a bridge for understanding between the musicians and their music, and a new audience of listeners.

In short the fu ture of jazz in Kansas City will be shaped by the music, not by buildings, or organizations. We must keep sight of what jazz is all about, and convey that vision to the press, and the entire community. Ultimately jazz in Kansas City will succeed or fail not on issues of organization, but on our ability to communicate the music. .;.



P.o. Box 36181, Westport Annex Kansas City, Missouri 64111 (816) 942-3349

Kansas City Jazz Ambassadors is a nonprofit, all-volunteer organization dedicated to promoting jazz and jazz musicians through such projects as the bi-monthly JAM magazine, radio programs, jazz events, and discounts to members various jazz nightclubs and businesses.


City Hall

Kansas City, Missouri 64106 (816) 274-2700

Given such a rich legacy of outstanding contributions and continued influence, Mayor Richard L. Berkley and theCityCouncilestablished the Kansas City Jazz Commission. The Commission seeks to preserve, perpetuate and promote jazz right here where it all began.

October/November 1991

The Commission is distinguished as the only one of its kind in the nation.



Kansas City, Missouri 64110 (816) 924-2200

The Charlie Parker Foundation is a nonprofit educa tionaland cultural institution that was incorporated in 1971. The foundation sponsors teaching facilities with divisions in instrumental music, dance and voice. Besides sponsoring local and national tlent, the Foundation is dedicated to the preservation of Charlie Parkers numerous contributions to jazz.


P.o. Box 26264

Kansas City, Missouri 64105 (816) 753-3887

The Kansas City Jazz Festival Committee

is a non-profit, all-volunteer organization that was formed in 1983 by a group of local business, civic and entertainment leaders. In August of that year, the group presented Kansas City Jazz 83, a week-long festivai that attracted more than 100,000 people. Since that time the Festival has become an annual event and has featured such jazz greats as Dizzy Gillespie, Sarah Vaughan, the Modem Jazz Quartet and Wynton Marsalis.


1823 Highland

Kansas City, Missouri 64108

Many jazz legends have graced the rosters . of Local 627 since it was established in 1904. Its current site at 1823 Highland is on the National Historic Register and was renovated and restored. Throughout the years, the Mutual "Musicians Foundation has been an important part of the legacy of Kansas City jazz.



)JISS)(»)lrJ' m K(~ .)JIZZ


Present your membership card to the following businesses and receive:



415 Westport Rd.

~ $1.00 off cover charge.

City Light Jazz Club 4749 Pennsylvania

~ $1.00 off cover charge.

Grand Emporium

3832 Main Street

~ $2.00 off door charge for national jazz acts.

The Point

917 W. 44th st.

~ $1.00 off cover charge.


1608 E. 18th St.

~ Happy Hour all night on Jazz nights (Fridays).

Cajun Bistro

3421 Broadway· 561-8775

~ $1.00 off lunch or dinner entre

Kelly's Lounge

8245 Wornan Road

~ 50e off regular price of drinks on jazz nights and Jam


Overland Park Marriott

10800 Metcalf, Overland Park, Ks. ~ $1.00 off Happy Hour buffet

ART AND FRAMINC American Impressions Gallery 902 Westport Rd.

~ 20% discount on framing and purchases.


Penn Valley Community College 3201 Southwest Trafficway

~ $5.00 off cost of jazz history courses offered by Continuing Education


Record cabinet 5914-16 W. 59th Terr.

~ Rent 2 videos for the price of one .

.I Monthly newsletter of Calendar of Events .I Monthly meetings with guest speakers _ .I Jazz jams/social functions

Dirt Cheap Westport & Main

~ 10% off all sales.

Record cabinet 5914-16 W. 59th Terr.

)I 10% off regular price of purchases.

PennyLane Records

4128 Broadway

~ 20% off regular price

7th Heaven

All locations

~ 20% off regular price of LPs, cassettes & CDs.(Not valid

during Christmas season.)

Classical Westport

4130 Pennsylvania

)I 10% off all in-stock recordings.


KC Symphony Nightlights Series )I 20% off price of ticket

Folly Theater

300 W. 12th st.

)I $2.00 discount on reserved seating for jazz concert

series (subject to availability).


1600 Cherry

~ 10% off all service work with special consideration for Jazz Ambassador members.

MUSIC STORES Brady & Sons Music 947 Minnesota Ave. )I 1 0% off all sales.


Optical Innovations

Manor Square· 4050 Pennsylvania

~ 10% off complete pair of eyeglasses

.I Jazz Ambassador Magazine subscription with Patron membership

.I Volunteer opportunities for jazz events.

Patron Couple ($40) Patron ($30) Active Contributor ($15) Student ($10) For more information:

Call 631-1089 or write Jazz Ambassador, Box 36181, Kansas City, MO 64111


JAM Magazine


fool around. And often times, that's the best way to learn. That's why so many kids take lessons for years and still cannot express a musical thought. It's because every time they get the hom out, they spent the time practicing the


try to find a happy medium. I

try to satisfy myself artistically, while keeping the audience interested so

they will come back."

material in the book. They never experiment to see what they could come up with or let their personality come through the instrument."

Mair is the kind of player who will fit in just about anywhere with just about anyone. He has that unique ability to change with the mood or the circumstances of the time. Frequently, he sets the mood. He takes you on a trip with him rather than leaving you to find your own way. He explained, "I try to find a happy medium. I try to satisfy myself artistically, while keeping the audience interested so they will come back."

Recording career beginning

Jim Mair's recording career has just begun. He is the featured saxophonist on Lisa Henry's tape, "Straight, No Chaser" (See review in june/July JAM). Mair played as part of the back-up group, Everette Devan and ssSlick. Ms. Henry spoke about Mair: "For the most part, as a singer, when you have done a song before, you have done it. When you doitwithJimMairon stage, after you have done a song that you have done before, you feel that you have never done the song before. That's exciting to me. I can't say enough about him.

Jim's own compact disc, "Beautiful Friendship," has just been completed and is scheduled for release in December or January. Both recordings include some of the best of Kansas City's jazz musicians. +

Jim Mair performing at the Levee.

October/November 1991


3-5 Johnny Reno _

10 ICBS Jam with host Abb Locke 11 Magic Slim & the Teardrops

12 The Nighthawks and Magic Slim & Teardrops 17 Eddy Clearwater

18-19 Sugar Blue

24 John Hammond

25 Charlie Musselwhite and

Roy Rogers & the Delta Rhythm lings 31 Boo Zoo Chavis & Magic Sounds


1-2 Lamont Cranston Band 5 Alternity

7 Blues Deluxe

8-9 James Harman 12 BCR

14 IC Blues Society Jam Session 16 Hank Ballard & the Midnighters 19 Lucky Seven

22 Dynatones

23 Walter Smith & Groove Merchant 27 SOl

28-30 Bel Aires

$eIUIbuf ,(/~ qlUU!e~ B~

383Z MAIN ~31-I~04




The Jazz Hotline provides a complete listing of live jazz in the Kansas City area. Call (816) 931-2888


Allis Plaza Hotel - 01

12th Street Bar 421-6800

Birdland - 02

19th& Vine 842-8463

Eblon - 03

1601 East 18th , 221-6612

Hyatt Regency Hotel· 04

2345 McGee 421-1234

Mary Ann's on Main· 05

725 Main ~ 474-7025

Live Jazz & Blues every Wednesday, Friday and Saturday.

Mutual Musician's Foundation· 07

1823 Highland 421-9229

Nightmoves • 08

5110 Vivion 452-4393

The Phoenix Piano Bar & Grill· 09

8th & Central 472-0001

The Tuba· 00

333 Southwest Blvd 471-6510

Tues: Sons of Brazil Wed-Sat: KC Bottoms Band October

7 Blvd Big Band 9 Nightcrawlers

14 Bob Bowman Quartet 17 Nose & Glasses Jam 21 Bob Bowman Quartet 28 Bob Bowman Quartet

18-19 Sugar Blue

24 John Hammond November

1 Kelly Hunt

4 Bob Bowman Quartet 16 Lisa Sato

23 Lisa Sato

30 Lisa Sato


Cajun Bistro· M1

3421 Broadway 561-8775

Saturday Jazz Jam -- 3 - 7 pm featuring ssSlick with Lisa Henry

Cajun Seafood Restaurant· M2

404 E. 31 st St. 756-FISH

Grand Emporium· M3

3832 Main 531-1504


3-5 Johnny Reno

10 KeBS Jam with host Abb Locke 11 Magic Slim & the Teardrops 12 The Nighthawks and

Magic Slim & Teardrops 17 Eddy Clearwater

18-19 Sugar Blue

24 John Hammond

25 Charlie Musselwhite and Roy Rogers &

the Delta Rhythm Kings

31 Boo Zoo Chavis & Magic Sounds


Blue Rote eale



Ilvs JAZZ • FRidAY & SATURdAY NiGl-n • 9 PM .. 1 AM




LORi Iuckrs & Sl-liNiNG LiGI-IT

OPEN FOR LUNCH &. DINNER • 642~662J 961'1 W. B'1th ~treet • E)veriand ParR. K:i.

~ A

JAM Magazine



1-2 lamont Cranston Band 5 Alternity

7 Blues Deluxe

8-9 James Harman 12 BCR

14 KC Blues Society Jam Session 16 Hank Ballard & the Midnighters 19 lucky Seven

22 Dynatones

23 Walter Smith & Groove Merchant

27 SOl 28-30 Bel Aires

Harlings Upstairs Bar and Grill- M4

3941-A Main 531-0303

Milton's - M5

805 W. 39th St. 753-9476

Mon: Triology Big Band

Tues: Tim Davis Group

Wed: Michael Deleon - latin Jazz Thurs: New Kansas City 7

Fri & Sat: Check Jazz Hotline

Sat 4-7 pm: Lonnie Elliott Jam Session

Patches - M6

3041 Main 931-2711

The Point - M7

917 W. 44th 531-9800

12th st

1 th st

9 31st st

39th se

75th st


85th st

Hurricane's - W1

4048 Broadway 753-0884

Blayney's - W2

415 Westport Rd 561-3747

Join the KansasCify



The Bird's Nest - P1

Charlie Parker Memorial Foundation 4605 Paseo

See page 17 for details.

Saturday & Sunday--

Horace Washington & Friends, 5-9pm

Homer's- B4

214 W. 85th 363-0900

Kelly's lounge - B5

8245 Wornall Rd 444-3707

Riley's Bar-Overland Park Marriott - B6

1-435 and Metcalf 451-8000

Thursday -- Milt Abel Trio, 7-11 pm Friday --Abel, Ruskin, Long, 8-midn.

Uptown Down & Dirty - B7

6508 Martway ; 236-4300

Monday -- Boulevard Big Band,

The Bristol Bar- P2 8:30-11 :30 pm

4740 Jefferson 756-0606 Ritz-Carlton Hotel Lounge - P6

City Light Jazz Club - P3 Womall & Ward Parkway .. 756-1500

4749 Pennsylvania 444-6969

Mondays: Check Jazz Hotline Tue-Sat:Plaza Jazz Quartet

Harry Starker's - P4

200 Nichols Rd 753-3565 The Blue Note cafe - B2

8617 W. 87th Street 642-6625


BB's Lawn Side Bar-B-Q - 81

1205 E. 85th St. 822-7427

The levee - P5

16 W. 43rd 561-2821

Saturday -- Tommy Ruskin/Milt Abel & Friends jazz jam, 3-6 pm

The Epicurean Restaurant & Lounge - B3

7502 Troost 333-4541

October/November 1991




A1aadeen a. !he Deans of Swing ..

....................................... 831'4396

Ronn.1I Bright Orchestra .

....................................... 561-2140

City Ught Orchestra ...•.. 561-2489

Duke Elephant Band ..

...................... 942-7336 . 42H)093

MMF Big Band •••.••••••••... 421-9297 The Bryan Hicks Band .. 931-3556 New Bread Orchestra •••• 924-2200 Miller Orchestra .. 722~7


Milt Abel Trio .•••..•••...•••.• 333-1212

A1tarnlty (fusion) 541-1641

Alaadeen & the D.ans of Swing .

....................................... 831-4396

Blut Not. Four ..• 523-6537 . 231-8624 Vinca Bllardo a. Friends 491-3271 Ronn.11 BrlghtTrlo •••.... 561-2140 Sandy Brown Quartet ..•. 523-7365 Joe cartwright Trio ......• 756-2697 City Light Jazz Ensemble

(City Light House Band) .. 756-2697

City Light Orch.stra ..•..• 561-2489 Everette DeVan a. ssSlick ......•....•

.............. 262-0456 . 722-5368

Lonnie Elliott Trio 262-6587

Flermon and the Kings of Jazz •.••

....................................... 923-2812

Th. Bryan Hicks Group 931-3556 Speedy Hugglns •••.••••.... 561-9311

Jazz Plus •...•.•••...••.•••.••.• 921-5854

Sam Johnson Compeny 342-4233 Main Sl Rhythm D.vlls 648-8606 Matln .. Idols •...•............ 531-2872

Tha New KC Sav.n ......••••••••........•

...................... 822-9086 . 756-0397

Lonnie Newton Group ..• 361-9949 Mlk. Nlng Trio ..•. 436-0318' 274-5778 Modern Times .•...•.......•. 6n-3763 Original Legends of Jazz w/Sammy Johnson Sr. and Jackie Anderson ..... 621-2896 . 472-1869

John Paul a. the Hellhounds

....................................... 831-4578

Mama (Dian.) Ray a. Th. Rich

VanSant Band •••. ~ 421-()093

Rich Hili a. !he Riffs ....••. 363-3821


Tommy Ruskin Trio .....•. 432-6885 Sam Johnson, Jr 342-4233

Frank Smith Trio ...••....... 339-6698 Dennis Lucas .....•.•........ 531-8917

Touch of Class ..•....•....... 763-2841 Brian Morahan 523-6537

Lori Tucker & Shining Light. 765-0640 Jim Morrison 741-1981

Jull. Turn.r Group •..•..•. 432-6885 Alonzo Pow.II 371-4842 Abel Ramirez ..•••••.••....... 492-1315

Tommy Ruskin 432-6885

Arny Young 753-5641

Dale Vita 635-6569


Milt Abel ...••..•........•........ 333-1212

Ricky And.rson •.....•.•.•.. 763-6873 Bob Blount ..•.•.....•..•..•.••. 737-3734

Bob Bowman ....•....•....... 262-9203

Tyrone Clark .•.•...•.....•..•. 523-1335 Saan COnly .......•............. 561-4151 Andy Dewitt •......•......•..... 6n -3763 Lonnl. Elliott •...••...••...... 262-6587

Bryan R. Hicks 931-3556

Freddie Lightfoot •.......... 333-1733

Mark Montgomery 648-8606

Dwight Foster ...•..•.......••. 321-6504 Harold Rice ••.......•....••.... 523-6537

Tony LaPuma 241-3628

G.rald Spa Its 926-0462

Greg Warr.n •.................. 422-5120

Greg Whitfield 444-1813


John Armato 531-6n4

David Basse ..........•......•. 561-2489

Vince Bllardo 491-3271

Tim Davis 333-7394

Raymond D.Marchl 363-3892

John Hobbs 436-3835

Terry Hughes 931-8973

DwlghtJ.nklns 921-1416


Kansas City, Mo.




8875 Rosehill 9607 Elmwood

Lenexa, Ks. Kansas City, Mo.

88&-0006 763-0070


John Curtright 931-8263

Dan Embrey 894-1371

Charlie Gatchet 765-3754

Tom DeMasters .

..................... 942-7336 . 421-0093

Rod FI.aman 649-2161

Sonny Kenner 924-3807

Glenn Patrlk 361-2160

Willie Matthews 221-2685 (x74)

Tom Pandar 765-<l64O

Mark Sl John 321-9178


John Paul Drum 831-4578


carolyn Abbott 942-4889

eddie Baker 924-2200

Ronn.1I Bright 561-2140

Sandy Brown 523-7365

Joe Cartwright 756-2697

Allen Cook 822-1621

Donald Cox 363-2841

Bill Erby 861-7528

Rich HIli 363-3821

Russ Long 831-3631

Alan Monroe 921-5854

Harry Miller 229-2802 . 642-5254

Steve Miller 722-0887

Lonnie Newton 361-9949

Frank Smith 339-6698

JAM Magazine


Everett. DeVan •• 262-0456 . 722-5368


Ahmad Alaade.n .•••••••••• 831-4396

Ken B.rry 561-9614

Carl B.nd.r •••....••••••.•..•• 561-6969 Phil Br.nn.r .......••••....••• 333-5094 Dwight Fost.r .••••••••••••.•• 321-6504

St.v.n Gr •• ne 321-n19

Kim Park 356-6224

Eddl. •••..•....... 231-8624 Kerry Stray.r ...•••••.••••.••• 822-9086 Horace Washington •••••• 531-n59


Taswell Baird, Jr .•••••....• 931-1805


Stan KIssler. 531-6881 . 931-1873 Carmell Jones ..•...••••••••• 924-5123 Scott Lloyd ••••••••••....•...•. 384-4497 Michael T. McGraw •.••.••. 262-2911 Pat Morrisey ..•••••••..••••••• 531-2872 Sauna Relf •••••••••••.....•..•. 436-2442 John Selzer •••••..•.....••..•• 432-6002 "Duck" Warn.r •.••••••••••• 756-3725


Marsha C. Bland ...•........ 923-1390 (vibraphone, vocals, & dance)

K8nt Me.ns •••.•...•••.•••••••. 472-7412


Pet ••.•.••.•••.••••...... 287-8412


Jackl. And.rson •.••.•...... 472-1869

aueen Bey 541-1674

Coco 753-1138

Angela Hag.nbach •••••.•.. 891-9110 Lisa Henry .•.• 727-2240· 651-6810 Sherry Jones .•••. 436-0318' 274-8882

Pat Lyons 763-2841

Mary McMahon •..•.•.••.••.•• 942-3717

Pam MIII.r 649-7450

St.phanl. Moor ••••.•••••..• 931-9016 Sharon Stln •.................. 353-0997 Lori Tuck.r •.................... 765-0640 Julie Turn.r .•.••..•.••.••...... 432-6885


David Bass •...•..•...•........ 561-2489 Greg Clark .............••••.•••• 444-1866 AII.n Cook .....••.•..•......... 822-1621 Donald Cox .................••• 763-2841 Donnl. Galn.s .......••.••.•• 822-9203 Bryan R. Hicks ••.•.•.••..•..• 931-3556 Freddl. Lightfoot .•......... 333-1733 Russ Simmons ••••••.••••••• 561-0915


media, concerning public radio lacked some important elements which occurred in the mid to late 1970s.

First, there should have been a thorough consideration of the valuable and creative jazz programming broadcasted on college, alternative noncommercial PM stations. Personally, I know it was alive and well in Oeveland.

Second, there was really no reference to the local National Public Radio affiliate stations who's mainstay was the programming of jazz in conjunction with network shows.

Third, even though "Jazz Alive" was a forerunner of a number of network programs to come from National Public Radio, there have been so many other programs that could have been inclusive of an updated version of his article. One particular program that comes to mind is "Marion McPartland's Piano Jazz." .:.

Be sure and get your advertisement in early for the December/Januaryissue of JAM magazine.


DecJJan. 1992 11/15/91

Feb./Mar. 1992 1/15/92

Call Mike Rollf (913-384-0759 eves) or Dean Hampton (816-455-1628) to reserve ad space.

October/November 1991




National Public Radio University of Kansas Monday-"Friday: "Jazz All Night" 8 p.m. -- 5 a.m.

Saturday. ·Vintage Jazz" with Michael Maher 9 - 10 a.m.

Saturday: "The Jazz Scene"

with Dick Wright 10 a.m. -- 1 :00 p.m. Saturday. "Blues in the Night" 8-11 p.m.

KBEA-FM 1480

Moments to Remember'40s, '50s and Big Bands

KCMWFM90.9 National Public Radio

Central Missouri State University Monday.

"Confessin' the Blues" 11 am-12 noon Mon--Fri:

"The Only Real Jazz ln.Town'noon - 5 pm Friday:

"Marian McPartland's Piano Jazz" 10-11 p.m. Friday:

"American Jazz"11 p.m.--midnight

KCUR FM 89.3 .

National Public Radio - UMKC Monday~ Thursday:

"The Jazz Place" 8:00 p.m. -- 1 a.m. Wednesday: ·AmeriCan Radio Jazz Festival"

8:00 -- 10:30 p.m. .

Thursday: "Marian McPartland" 8-9 pm Friday: "Blues Stage" 8 - 9 p.m.

''The Friday Edition of the Fish Fry"

9 p.m. - midnight

Saturday: "Just Jazz" noon - 2 p.m. Saturday: "Saturday Afternoon Swing Club" 2 p.m. - 4 p.m.

Saturday: "The Saturday Night Fish Fry" 8 p.m. - midnight


Monday-Friday. "Jazz Break" noon-1 pm

KIDZAM 1510 "Jazz and R & B" KKFI FM 90.1

7 Days ~ Week: 10:30 a.m. -- noon Monday: Mutual Musicians Foundation Tuesday: The Don

Wed: Jazz Ambassador Showcase

Thurs & Fri.:The Don Saturday:O.U.B. (10 a.m. -- noon) Sunday: Mable G. (10 a.m .• - noon)

KPRS FM 103.3

Sunday: "The Sunday Morning Jazz Brunch" with Jeff Charney 9 a.m. -- . noon

American Cablevlslon Channel 30 Wednesdays: "Kansas City Jazz with Ruth Rhoden" 6 and 7 p.m.

Friday: "Ruth's Music Corner" 5 p.m.


The Best of Kansas City Jazz in •••

The Full Spectrum of

Monday - Fritday 10:30 am - l?_noon Saturday, Sunday 10 -12 noon


JAM Magazine

The Sunday Morning Jazz Brunch with Jeff Charney - 9 a.m.-12 noon



2440 Pershing Rd., Suite 118 3 Crown Center Kansas City, MO 64108





with assistancefrom The Mason L. Dean Trust as administered by Boatmen's Bank.


DIANE MONROE,viohn· LESA TERRY, violin • MA~INEROACH,Violl1 •. 'ELLE·EN M. FOLSON, cello

. the Folly Theater •. , i Friday; November 8,"1991,8:00 p(fu.,·

• . " - I ~ ~

,", , Special.Oi~roul1t to Jazz'A1r!-bassadors.

, " '~~~~~$6~~¢iI~~E . .'u .


Call 474-4444 '


'.. ,~

" ,