jam magazine - june-july 1992

8/7/2019 JAM Magazine - June-July 1992

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Monday thru Friday-: ~.tO/ .S ~oOr

-: /' ~- til- -1:00 -"'-. ~IJJ.' : r ? ; ~ .: : : ~ ; : ~ : :! ; : :; ~ : : : l

. . . . . . . . . ? , : '" ' X \ : ? : : : : ; : ; , . ?

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KCUR-The faa Place 8.-00 pm - 1:00.....WEDNESDAYNPR's fazzet" hosted byBranfordfRIDAYNPR's Blues Stage 8:00-10:00 pm...-beFdday Edltlon of the Dsh FI)'"'(R &.B) 10,00 pm - 1z O OS ATURDAY .Just faa with Ruth Rboden &.Glnney Coleman noon -Saturday Afternoon Swing Oub- 2 - 4 pmSaturday Nlsht Dsh FI)'"'(R &.B)8 pm - mldnlshtSUNDAYNPR's MarIanMcPartland Plano J a z z " ' 12:00 neon-I ,00 pmHearts of Space (Space &.New Age) 6-7 am &.9-10 pm-Night ndes (Progressive Jaa &.New Age) 10-11 pm

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JUNE/JULY 1992 VOL. 7 .:. NO. ~JAM Magazine is published bi-monthly by theKansas City Jazz Ambassadors, a non-profitorganization. All rights are reserved. Repro-

. duction o f any materials is prohibited withoutconsent of the publisher. For advert ising infor-mation' call (816) 384-0759. Letters should beaddressed to: KC Jazz Ambassadors, P.O.Box 36181, Kansas City, MO 64111-6181 o rphone (816) 384-0759. All article contribu-tions must be submitted no later than the 1 stof each odd-number month.

EDITORIN-CHIEF Dean HamptonSENIOR EDITOR Marilyn Wimp

CONTRIBUTI.NG WRITERSKathy Feist, J.P. Makus, Chuck Haddix, DickWright, Doug Alpert, Terry Malone, HowardNelson III , Sue Mallen, Mary El len FarneyADVERTISING Mike Rollf

PHOTO EDITOR Gary BeckerPRODUCTION MGR. John Archer

TYPESETTING/LAYOUT Matt QuinnPRINTING O'Dell Publ ishing

COVER PHOTODISTRIBUTION Barbara Barr

Everette DeVanAkers Aitch

KANSAS CITY The Jazz Ambassa-dors is a non-profitorganizationdedicated topromoting jazz anddeveloping a jazzaudience.

PRESIDENT Mary Ellen FarneyVICE-PRESIDENT Mike Rollf

SECRETARY K a t h y R a g a n - A l e xa n d e rTREASURER Mack KuhnSOCIAL COMMITTEE R i c k y & D o r is A n d e r so n

EDUCATION COMMITTEE John TrozzoloMEMBERSHIP Anna Sajovik

Dorothy EdwardsPUBLICITY Eddie Williams IIIJohn Trozzolo

VOLU NTEERS T a m m y T h om a s -D a V isSPECIAL PROJECTS Akers AitchMERCHANDISING Vicki Rollf

LAST TUES. NIGHT OUT Everette DeVanHISTORIAN J.P. Makus

SPONSORSSee page 30 for

a complete list of allJazz Ambassador Sponsors

June/July 1992

PRESid ENY'5 CORN ER I MARY E L L E N FARNEYPiano Night a Huge SuccessEveryone was thrilled with May's Last Tuesday Night Out,"Burnin' Up the Ivories" at the 12th Street Rag Room of TheAllis Plaza Hotel.Those who didn't see it missed one of those magic, spectacularjazz performances. The spirit of cooperation, artistry and excite-ment was high as Joe Cartwright, Pete Eye and Tim Whitmerbacked by Milt Abel and Vince Bilardo entertained an enthusiasticaudience. .The three jazz pianists played together on the last set. There areno words to describe the delight of it. Although playing together,each one was showcased wi th a song, Joe Cartwright "In aSentimental Mood," Pete Eye with "Everything Happens to Me,"and Tim Whitmer with "Sophisticated Lady." Their standingovation encore number was "All the Things You Are."Thanks to Pete Eye for appearing on Channel 4 at 6 a.m. thatmorning for a Sunrise News interview and for tuning the threepianos before the performance. Thanks to Joe Cartwright, TimWhitmer and toDebra Johnson ofKCUR who publicized the eventon Debra's jazz radio program. There is a video/audio record ofthe last set of these stellar performances, part of which was shownon Channel4's Sunrise News the next morning. Our special thanksto Eddie Williams III at Channel 4. Many people do get up earlybecause numerous people reported to the musicians and theAmbassadors how they enjoyed sharing the event with us via TV.

Itwas great to see some positive, good news for a change.The Last Tuesday's Night Series will resume in September. Forthe summer, the Ambassadors will be helping with the AnnualJazz Lovers Pub Crawl on June 25, the Blues and jazz Festival on.July 25 and 26, and we will again sponsor a riverboat jazz cruisein August. Thanks to all who support Kansas City's jazz activities.

President's Corner , 1News 'n Notes 2CENTER STAGEClaude "Fiddler" Williams 10Jazz Portraits 20Platter Chatter ,.. 26KC Jazz Commission News , 28Club Scene 32Jazz Artists 34On the Air 36


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N O T E S (CONTINUED)H ot S umm er, C oo l Jazz

When the temperatures beginclimbing,cool down with free Jazz inthe Kansas City Parks. Eddie Baker'sNew Breed K.c. Jazz Orchestra onSunday, June 21 and Great Ladies ofBlues & Jazz with Queen Bey and IdaMcBeth on July 19are free concerts atthe Benton & Brush CreekAmphitheater from 7-9 p.m.K e B lu e s/ Ja z z Fe s tiv a l

The biggest and best free jazz eventin the Parks this summer is the 2ndAnnual Kansas City Blues and JazzFestival at Penn ValleyPark,July25 &26.The Fest begins at noon featuring14 Jazz and Blues acts from K.c. TheJazz stage is south of the LibertyMemorialand the BluesStage isnorth.The national acts have been announcedand here's the lineup:

Ju ly 25Jazz Stage3:20 Terrance Blanchard4:40 Cornell Dupree6:10 Cassandra Wilson7:30 Kenny KirklandBlues Stage4:20 The Holmes Brothers5:45 The Jay McShann Quintet7:15 Buckwheat Zydeco

Ju ly 26Jazz Stage4:30 George Howard6:00 The Rippingtons7:30 Jay McShann Big BandBlues Stage3:05 Charlie Musselwhite4:30 Latimore5:55 Katie Webster7:25 Delbert McClinton

Ja zz L overs ' P ub C ra wlThe llth Annual Jazz Lover's PubCrawl begins at 8 p.m. on Thursday,June 25th. Thirty-one clubs areparticipating and tickets cost only $10in advance or $15 at the door, callTicketmaster, 931-3330. Your ticketwill cover the admission into all theclubs plus bus transportation. Over100 KC Jazz Ambassadors havevolunteered and will receive a PubCrawl T-Shirt which will be sold atparticipating Crawl clubs. For moreinformation, call 274-27000r444-4144.To volunteer, call 321-9354.

J az z a t th e Ne ls on -Atk in sMuseumJazz and Art mix at the Nelson-Atkins Museum on Friday evenings

from, 6:15-8:15. Admission is $4 andJazz is featured in the Rozelle CourtRestaurant where dinner is available.The music scheduled for RozelleCourtinclude: June 19, The New South

" " .!II1

l'~l~~I1};'.I.~

::~ll~,~1 The Phoenix open from 9 pm to 1am...featuring1 III TimWhitmer &K.CExpress III Tommy Ruskin Trio IIII \ III KarrinAJlyson IIIJoe Cartwright III Frank Smith Trio l 1 l i! \ 3 = " L /~i(c..+ CaliforSchedule! Kitchen Open from 11am untif MidnightL 302W.8thStreet. 47Z-0001

A downtown hotel a century ago,The Phoenix returns ...as a Piano Bar & Grill

.Iazz Happy Hour S-9 Mon-Fri Featuring TImWhitmer &KC ExpressKC Bottoms Band Wednesd~y. 9pm-1 amlheSca.rnPs Saturday Matinee. 4-8 pm

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Quartet; July 10, Ahmad AlaadeenTrio; July 17, Rich Hill Trio; July 24,Interstring; July 31, Karrin Allyson;August 7, The Scamps; August 14,Stan Kessler and the Sons of Brazil;August 21,TimWhitmerandJimMair;August 28, David Basse.J a z z A r t E x h i b i t i n K C K

"Jazz, A Kansas City Tradi tion" artexhibit at Kaw Valley Art Gallerylocated at 701 N. 7th St. Kansas City,Ks., continues through July 6thfeaturing Jazz art and photographs,highlighting the history ofKansas CityJazz. It is free and open to the public.F il m F e s t i v a l c o n t i n u e s i nK a n s a s C it y , K s .

Also, the Jazz Film Festivalcontinues atthe Kansas City.Ks, PublicLibrary, 625Minnesota with Short JazzFilmsonJune23and'RoundMidnighton June 30. Admission is free, beginsat 6 p.m., and is in the 2nd floorauditorium.

Preview tha t ispublished every Friday.Some special highlights to rememberinclude: The McFadden Brothers, hadtheir contract extended and willperform through December,Wednesdays through Saturday atAllisPlaza Hotel's 12th Street Rag Room.Their shows begin at 8:30 p.m. TheCity Light Jazz Club is now open onSundays and Ida McBeth will be

OJ performing every Sunday through~ August from 8:30 to 12:30a.m. David~ "Fathead"NewmanandTheNRETrio[ will appear on Tuesday, June 23.o~ I n te rs tr i n g / E x p o ' 9 2 b e n e f i t[ Interstring will be having a benefitto help defray their expenses for theirtrip to Expo '92 in Seville, Spain onJune 28 at the City Light Jazz Clubfrom 4-6 p.m. There is a $5 donation.

D o w n to w n J a z z B r u n c hAlso, on Sunday June 28, a Jazzbrunch will be held at the Allis PlazaHotel with live entertainment. The

Ida M cB eth a t C ity L igh t Ja zz C lub .

F o c u s o n J a z z C lu b s . . .Jazz is hot in Kansas City everyweek in the clubs, and your bestresource guide is the Kansas City Star

The Full Spectrum of

Mondaythru Friday 5-9 amw 1-4 pmSaturday 9:00 am-12:00 noon

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N O T E S (CONTINUED) summer in both sister cities, Seville,Spain and Kansas City. The first jazzgroup scheduled torepresent us aUheWorld's Fair, theyleaveonJunelS.Attheir pre-trip fundraisingjazzjam; theaudience was moving with RiehardRoss's rich, soulful vQCals.1'hey rosefrom their seats with the instrumentaljazz/blues/gospel rendition.of "BattleHymn ofthe Republic." Kansas Citianscan hear their world ..class.coneernenAugust 3at the FollyTheater.Sponsorsare the Kansas City JazzAmbassadorsand Expo '92 Kansas Cityl~viUe.C heck it o u t 011 th e J azz Tickets are $10to the public and $8forHot l ine Jazz Aml?assadors, tax deductible to

For biweekly updates on theKansas the extent. allowable. Proceeds all goCity Jazz scene, callthejazz Hotline toward their expenses incurred to(816) 931-2888. pr('!s('!):tt~nsas City' sjazzat.Expo '92. JoeCartlqrig~f;Can Tkketmaster at 931-3330 forJo e C a rtw righ t Trio an d advance tickets or.caI1478~8378 for ten vocalists, July 30, 7 to 11 p.m.,Rich ard R~ ss a t F olly moreinformaiion. proceeds to Jazz Ambassadors'August 3,1991 at 8:00p.m. If e vi n Mah o .gany r's l Ii rt hday ' Emergency Assistance Fund.The Joe Cartwright Trio (Gerald Kevin Mahog.any's tradci'{jonalSpaits and Tim Davis) and Richard Ce l e b ra t io n a tC i ty rl. ig b t birthday partycel(,!brationwi11 hell?Ross will appear in concert 'this "An Evening to Sing About" with Kansas City's old~l' ml1siCians;.This~~~~~~~~~~~~~~~--------~--~--~~--~.

brunch costs $14.95 for adults and$7.95 for children. The Riverview InnHotel,424 Minnesota, will host aKansas City [azz & Blues Explosionand Oldies ButCoedies Dance Benefitin memory of Mr. Norman Hodges.Donation is $8 in advance and $10 atthe door. Ms. Mary Moore and RoundIVfidnightBandPlusMs. Tanya Tuckerwill perform.Calt287:-6255 01'334-1157 for moreinfo.

L IS A H E N R V : K C 's Y o u n g e s t P~mi~pJ(]z:l!.V o c a l i s t Piano, voca ls and m oreby

, . I7 :J IDp .m . ~ Il3 IDp .m .S U N S E TR e s t a u r a l 1 t & Bar~:42'~I2J412921 S tate L illeAnft,IIF album is ava ila ble a t.,Au tog raph s. ' Re co rds & Tapes (Crow n Cen ter).JAM Magazine6


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KANSAS CITYJAZZ ...Become a Part of ItJoin the KC Jazz Ambassadors)I JazzParties)I Monthly Calendar of Events)I Discounts in over 20 jazz-related businesses)I Monthly newsletter - Whole Notes)I KKFI-FM90.1's "Jazz Ambassador Showcase")I Monthly meetings)I JAM magazine)I Volunteer opportunities)I Portlclpotlon in jazz events

KANSAS CITY Formore information, call (816) 478-8378or write to:KC Jazz AmbassadorsBox 36181Kansas City, MO 64111.r - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - ~ITo become a Kansas City Jazz Ambassador, complete the application below and return it withy-our tax-Ideductible contribution to: .

KANS AS C ITY KC JAZZ AMBASSADOR: Box 36181, Westport AnnexI Kansas City, MO 64111:Name ~ ~_-- ------~--------------Address .,....,....,..---------CityJStatelZip ---,- ---'-~_---_-----Phone (home) (work) --~-----------o PATRON ($30) 0PATRON COUPLE ($40) 0ACTIVE.CONTRIBUTOR ($20) o STUDENT ($15)o SPONSOR - $100 - Corporate or Individual (name published in every issue of JAMmagazine)

(Sponsor, Patron, Patron Couple, Active and Student allget JAM magazine and newsletter)o YEAR SUBSCRIPTION to JAM magazine only - $10I would like to volunteer for the following committee(s):o Membership 0Publication (JAM magazine) 0Social Committee 0 Publicity 0Advertising

How did you hear about the Ambassadors? (e.g., radio, performance, friend, etc.) _-.,- -.. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~

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N O T E S (CONTINUED) night when Jay McShann performed,will b e a night to remember featuring at the Signboard Lounge at Crownvocal artists: Kevin Mahogany, Karrin ' Center. In lieu of flowers, his family'Ailyson,Queen Bey. Greg Clark,Carol requests donations to the "Jack WadeComer, Angela Hagenbach, Kelly Musician's Relief Fund," P.O. BoxHunt, Pam Miller, Orrestie Tucker. 266433, Kansas City, MO 64126. HeLook for other surprise artist appreciated Kansas City's olderperformances here. Watch for more musicians. Pam Wade, as trustee, willdetails on this in the July newsletter, ' assist in the administration 'of Jackbut mark your calendars now. . Wade's fund to help musiciansthrough Kansas City'shistoric MutualMusician's Foundation. A jazz jamwith many surprise guest artists willbe held in his honor there. Listen toKCUR's "Just Jazz" on Saturday fordetails.

M em oria l to Jack P . Wade ,F ou nd in g M em ber o f th eK an sa s C ity Jan Am b as sad ors

Our sympathy goes outto the familyand many friends of Jack Wade, one ofKansas City's most ardent jazz fans,who died on June 11.For many years,he listened to and supported the jazztalents of Kansas City musicians.Among his favorites are: JayMcShann,Kim Park, Julie Turner and Russ Long.His long time friend, Ginnie Coleman,ofKCUR's "[ustjazz," remembers thatJack was in the front seat every single

Jan Am bassad ors ' Jan C ru isein Au gu st

The Kansas City Jazz AmbassadorsThird Annual jazz cruise on theMissouri River Queen will be heldThursday, August 27. Boarding startsat 7 p.m. and departs at 8 p.m.Featured artists: Tim Whitmer andthe Kansas City Express and Everette

DeVan & ssSlick and other artists tobeannounced.Tickets: $16 ($14 for JazzAmbassadors). Order throughTicketMaster at 931-3330.In th e N ext Issu e ...

Coming in August: the 18th & VineFestival. Headliners on AugustS & 9include Christopher Hollyday, Jimmyand Jeanie Cheatman, Clarence"Gatemouth" Brown and The BosmanTwins, plus local artists on multiplestages located on the corner of 18th &Woodland (main stage), and 18th &Vine. More on the 18th & Vine Fest inAugust/September JAM.

Always Quality Entertainment Professional Bands for All Occasions

Style Ranging 'from Jazz to Rock Most Competitive Prices

Guitar Lessons Also Available

UThink Of Us, AsMusic atYour Fingertips!!"WILLIE MATTHEWS (816) 358-2974P .O . 130x 438 : ;Kansas City, MO 64127-038)

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CENTER STAGE

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Claude"Fjddler"1 _ - t Y ears L acer

. Claude is still going strong playingfestivals, clubs and concerts. He re-cently performed in the award-win-ning Broad way play, "Blackand Blue."This interview was originally On-ducted in the studio of KCUR FM fora radio project, "George Morrison:Colorado Jazz Pioneer." Claude Wil-liams graciously consented to publi-cation of the first part of the interviewin JAM. The next issue of JAM willOntain the conclusion of the inter-view. The interview was transcribedand edited by Kathy Feist.

INTERVIEW BY CHUCK HADDIX

T his interview ., Claude"Fiddler" Williams marks adeparture from the straight historiesthat have been featured in "KansasCity Jazz Portraits." This "Portrait" isthe story of a major figure in theevolution of Kansas City jazz, told inhis own words.Claude's professional career hasspanned the entire history of jazz. AsamemheroftheT. Holder, Andy Kirkand Count Basie bands as well as hisown groups, Claude helped shape thecourse. of American music. At 84,C la ude "F iddler" W illia ms, fa r left, in th e

1 9 20 5 . Ph o to credit: Going to KansasOty collection, courtesy o f K a ns as CityM useum , K ansas City, Mo.

Chuck: Claude, I think we should. start by telling us your age and a little

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bit about your early lifeand your earlydays in Oklahoma. .Claude: Well, my age is somethingthat is kind of hard to make peoplebelieve. ,But it is 84. And I startedplaying the violin at about the age ofeight or nine. I started playing by earuntil I was playing pretty good. Itprobably took me five years to play itin tune, you know, because the fiddleis quite a hard instrumenttoplay. I'veheard that it has never been mastered.You just get so good on one.S o I was playing with my brother-in-law. He had a string band inMuskogee-Ben Johnson. And wewere playing popular music, such as/IAin't She Sweet" or "You Got to SeeYour Momma Every Night Or YouCan't See Your Momma At All."Very seldom we would play blues.But we'd have to play the blues in thetempo that the dance-whoever wouldbe calling the dances-we'd have toplay the tempo that he'd call. If hewanted a one-step, you had to playsomething in a one-step tempo. If hewanted two-step, play something [inatwo-step]' And every once in a Whilehe'd say "Okay, now we'll have awaltz." We had to be ready to playawaltzrightthen,as soon as he called it.So that was the way the jitney dancewas handled.Oh, I jumped away from when Istarted playing fiddle. I was playingfiddle pretty good when I took myfirst lesson. I got where I could readwhat could beconsidered pretty good.I thought Ihad gone far enough on the

fiddle, you know ...I could play in anypiano school or something like that. Ifound out later you could take violinfor 20 years and then you are about

cello and all those instruments theyfinally got me a violin. And I startedplaying by ear after awhile.Chuck: When you played in the string

" e'd play in barber shops ...go tohotels and ask permission to play. We'd'playa few numbers and pass' our hat."

Kansas Cit)' S First Choice Forjazz Recording!

band with your brother-in-law, whatwas the instrumentation of the stringband in those days?Claude: We had a violin, maybe twoguitars-one or two, depending onhow big we'd get the group.We always kept the group kind ofsmall, because we would go aroundand play different hotels and thingsand pass the hat. We were making awhole lot of money doing that. Buttha twas one of the reasons Iwan ted toplay the violin, on account of thosetwo fellows.Chuck: What kind of music were youplaying in those days, those real ear-lier days?Claude: Well, just popular numbers.I'm sure long about then St. LouisBlues was one of the popular numbersand Bessie Smith and some of those

ready for a symphony.Chuck: What made you first pick upthe violin, Claude?Claude: Itwas two different fellows.It was a fellow who came throughMuskogee with a string band by thename of Jack Scaggs. He came downfrom McAlester, Okla. He came uptherewith a string band. oh, man. Hewas the best I ever heard. He couldplay the blues on the fiddle that wouldmake you want to cry.Then Iheard JoeVenuti. He was playing down inMuskogee outdoors at the pavilion.And we were standing about haIfablock from the place, and you couldhear the violin on top of the wholeband. Whatever they were playing theviolin would be sticking out playingthe melody up. So I told my motherthat was what I wanted to play. S oafter playing at the mandolin, banjo,

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blues singers ...Mamie Smith ...Bessie .Smith. That was mostly what you wereseeing in those days was Bessie Smith.and Mamie Smith blues and the oth-ers. Along with popular sheet music,you know. And we would get one of .those every once in awhile and every-one would be playing it.Chuck: What kind of places did youplay in mostly?Claude: When I was playing with mybrother-in-law, we'd play in barbershops. And we'd go to hotels and askpermission toplay and then they wouldlet us play. We'd playa few numbersand pass our hat. And there would befour of us. Oh, a lot of times we wouldmake six.to seven dollars a piece. Butwe would start maybe around 6:00 inthe evening and by 10or 10:30we'd bequitting. We made $5 to $6. And theywere almost working all week for $5 to$6, then..Thatwasa whole lot ofmoney.Chuck: So basically you werefreelancing and kind of going place toplace, going to your audience ratherthan your audience going to you.Claude: By all means. And we wouldeven take trips out of Muskogee. Likewe would go up to Tulsa for what wewould call a "hustle a bus" or "bus ahustle," either one of those words. Wewould go up then and play in differentplaces. Then they would have two orthree trains going from Tulsa toMuskogee and back and forth. I thinkitwas a dollar or a dollar and a half toride the train. And it was worth it tocha~ge our hustling places because

you'd find Muskogee so small youcould just about play them all in onenight. .. And we even played out in resi-dences-go out and just stop and seethe people sitting in the house, sud~denly like that, and we would ease upon the porch and start playing. Andgot good tips from that.Chuck: Were there a lot ofstring bandsworking in that area. Or were youpretty much the lone rangers in thatdepartment?Claude: No, there wasn'ta lotof string'bands. Not the type of string bands Iplayed with. There were what I usedto call the hillbilly bands. But theyweren't like the string bands we had.We had a mandolin, banjo, guitar,bass. And me . .There would only beabout five of us..

ways been scarce. And when you cometo jazz, then that makes it more scarcebecause jazz violins have differentstyles of playing, just like trumpetplayers or sax ..My style was always a little differ-ent from others because Ialways likedthe way saxophones and trumpetsplayed. And having played guitar, Iknew quite a bit about chord changes,and I played my jazz and swing ac-cording to the chords in the number.Chuck: How did you first come intothe T. Holder Band?Claude: Well, T. Holder was aMuskogee boy, he was fromMuskogee. He knew me aroundMuskogee and when he got a chanceto pu t his band together, he asked meto come wi th him. He had been on thisjob for six months or longer before I

" W e used a lot of those [head ar-rangements] and they were sometimes some

of the best arrangements.joined. And Ijoined ... I think it was in'27.Chuck: What job was he on, Claude?Do you remember?Claude: He was playing at a joint in

Chuck: These days there seems likethere's not a lot offiddle players in thejazz field. You could probably countthem on both hands. Was this alwaysthe case?Claude: Yeah. Fiddle players have al-

1502 firll l1si J\fr2nm ~QI, ~ < I D .June/July 1992 13


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Tulsa, Okla. called the Louve Ball-room. Itwas quite popular, this place.It made so much money they gaveaway a brand-new Ford every Fridaynight. The fellows would go in andbuy their tickets, tear their stubs off,and drop the stub in, and on Fridaynight they would reach in and call anumber. If you had that number onyour stub, you would geta brand-newFord.Chuck: Now, these were the jitneydances, is that correct?Claude: Vh-huh.Chuck: Why did they call them jitneydances?Claude: Because at 10 cents, I mean itwas done so fast for that dime, younever did hardly get a chance to ...unless you were dancing fast ... younever would geta chance toget aroundthe dance floor before the fellow wouldbe blowing the whistle for us to stop.Soit was fast. Tha t is the reason I think

it was called the jitney. Because theyweren't calling a dime a jitney. Theyused to call what was a nickel tha twascalled a jitney. [Editors Note: Jitney isslang for a nickel or a small, cheapautomobile.]Chuck: Now were they racially mixedaudiences or all black or all white?Claude:A11 white. And we also playedatajitneydanceinNew Yorkwhen wefirst went there at the Roseland Ball-room.Chuck: Did you play many societygigs in those days?Claude: Well, at different times. Wewould get a good booking outside ofprivate deals. But mostly it was dancehalls.Chuck: Did you have a tendency totailor your music to the audience? Sayfor example, if you looked out thereand saw an audience full of "squares"would you play it sweeter?

Claude: Oh, yes. When we were justplaying a dance. Andy [Kirk], or whoever was directing the band, was sup-posed to notice what type of a crowd-you got. If you got more older peoplethan you have young, then you playedmore sort of sweet, slow numbers. Butif it was a younger place, we'd keepthem jumping.Chuck: How did you refer to yourmusic? What handle did you hang onthat kind of music you were playingwith the T. Holder band?Claude: Well,let'ssee.otherthan what... I think they called it swing back inthose days. I don't remember hearingthe name jazz until later years. Theycalled it swing.Chuck: There were a number of terri-torial bands traveling that circuit.Could you talk a little bit about thecircuit you would travel with T.Holder's Band?Claude: Well, yeah, we were just

JAM Magazine

ob-ses"slon: the domInation of one'sthoughts or feelings by a persistent, Idea, Image or desIreIf you are obsessed with a passion forfine food, great music. divine spirits andbeautiful people, OBSESSIONS Is theplace to Indulge In Kansas aty .. , "JAZZ"... "JUICE"... "RHYTHM & .. BLUES

. ' : : ' : : : ' : : . : : " ' : .NTRTAINMNT ... 5 PM - 2:30

Dan Doran Blues Jam Monday 8 - MidnIght Dance Lessons every Wednesday 8 pm with Joanne WillIams Ladies Night - Thursday with Free Appetizers

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around some pretty good towns. Likewe made a tour once from here to ... Ithink we,would go from here to Dal-las.We might stop inArkansas.maybeHot Springs. I played quite a fewdances in Little Rock. Most of thosedances were for blacks. We didn'tplay many white dances in those days.Every once in awhile ..well, wedid runinto a booker down in ... seems like itwas in North Carolina somewhere ...he booked us up for something like sixto eight weeks and on those jobs wewould play for mostly whites.Chuck: How far afield did you travel?What would be your parameters sayfor the circuit you had? How far southand how far north would you go?Claude: Well really, we never did dotoo much of that kind of playing fromone town to another, though,becauseWe had this job in Tulsa and Okla-homa City. And so we had those twojobs.We didn't start doing too much

S te ph an e G r ap elli w ith C la ud e. P h o to : D e ni s J. Wi ll ia m s . 1 98 0 .traveling until ...oh, itmust have beenabout '29 or '30. Then we got bookedby a company, an amusement servicecorporation. This was mostly out east.We didn't go very far south. I doremember we were booked out in

Toledo, Imet and played around withArt Tatum in Toledo, that was hishome. And I would playa job in De-troit. Oh, we would play all up inPennsylvania-Williamsburg, Penn.Mostly out east.

Kansas City Heritage.Hear it and see it

Tuesdays ...Saturdayson the twelfth floor

in The Bar.

THE RITZ .CARLTONKANSAS CITY

J un e/J uly 1992 15


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Ch uck: About wha tyear did you meetTatum?Claude: Itwas about 1930 or '31.Chuck: How were his chops then?Claude: Oh, boy! Itwas tough, man!Then, ifhe felt like doing some swing-ing, he would play two numbers atone time; like "Honeysuckle Rose"with one hand and "Tea for Two" withthe other. Boy, he was just so far! Hewas completely blind. S o he didn'thave a chance to learn no music. Hehad to learn toplaybyear.Everythinghe played was right, I mean the rightchanges and chords and things.Chuck: Did the personnel of theHolder band change very much dur-ing your tenure?Claude: Well, no, not too much. Be-cause at the time we were workingthose two jitney dance things we wereworking pretty regular. He was pay-ing a nice salary back in those days. Iknow probably the lowest man ..and I

might have been the lowest ... I wasgetting $50 a week, Then, that was awhole lotof money back in '28and '29.Chuck:Howwastheband'sdecisionsmade? How did the economics of theband work?Claude: Well, we had toputT. Holder... I mean, there was some conflict inthe payroll. So we just decided to sortof take, urn ... well, we all quit and justmade Andy the leader because he wasthe oldest and settled. We had Andyto do all our business for us. Althoughwe would sit down and talk over someofthe things like where we were goingor whatever. And then we would putAndy in front of us for talking andattending to business. Then there wasjust ... after we left T Holder ... it waswhat you would call a commonweal thband. We all got the same money.There were 12 of us.I remember when we were in To-ledo we were playing a place ... thisamusement service corpora tion

booked usin there. The way they woul dbook us was they would book us on apercentage deal. If we didn't make Xnumber of dollars, they would pay it.They would send us in there for $500.We would play there on a percentagewith whoever owned the dance hallthere, we were on a percentage withhim. Ifwedidn'tmake the $500enoughfor us, then he would make it up,Andthen he would send us to another job.But we did so good there in Toledothat the fellow held us over almostthree or four weeks. We would justsplit the money up 12 ways. Practi-cally all of those weeks we were there,we earned almost $100 a piece.Chuck: How did Kirk come into theband?Claude: (laugh) He came in fromGeorge Morrison's. Hewas inthe bandbefore I was. I think Kirk was the firstman that T.got from George Morrison.I don't know how he, T, made thecontact with Kirk. But Kirk was with

~mara rk 7~. 'J.u.On the NORTH COURT in the BLUE RIDGE MALL

4200 BLUE RIDGE BOULEVARD KANSAS CITY, MISSOURI 64133 (816) 353-5858THE 10th ANNUAL FLO AT ING JAZZ FEST IVAL REUN IO N

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1992 JAZZ ARTISTS INCLUDE:** AL GREY and his NEW SEXTET* ANITA O'DAY* THE DOROTHY DONEGAN TRIO with JO N BURR* LOUIE BELLSON and his QUARTET* SUMMIT REUNION

* SCOTT HAMILTON and his QUARTET* REBECCA PARRIS* FLIP PHILLIPS and his QUARTET* ILLINOIS JACQUET and his ORCHESTRA* GARY BURTON and his QUINTET* Artists subject to change.

B O O K E A R LY ! T he Jazz C ru ise is selling fast! S pace .is lim ited and su bject to availab ility at tim e of b ook ing .you dO lit w ant to m iss out on the sail of a lifttim e.

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Just Listen.You'll See...Vintage Jazz with Michael Maher

9 - 10 am SaturdayThe Jazz Scene with Dick Wright10 am - 12:30 pm Saturday

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solo or something, they could do that. But, no, as far ashaving arrangements, itwas real sad.We even had thattrou ble when we gotto New York.Wewere playing jitney up there and then some nights theywould just have a straight dance, a regular dance. And boyI'll never forget! We ran into a band up there by the nameof Ace Brigold and his 14Virginians. And man they had aterrific band! And on those days you would playa noveltyevery once in awhile. We had one or two Iittle novelties. Wehad "K.e. Jones." We'd go through the actions, like thetrombone player would be part of the train. That was aboutthe best one we had-"Ke. Jones" and different ones.About that time, we had John Williams which was MaryLou Williams' husband. He did quite a job of playing andacting. We acted and played. He played baritone. I meanhewasa regular alto player ... he was third. But he was firstalto for awhile until we got Johnny. Johnny Harringtontook John Williams' place as first alto because JohnnyHarrington had the righttone ...a big tone ..for playing leadon the alto. But John Williams would put on this act, man,and he would buck his eyes and pop his saxophone andeverything. But we didn't have enough of them when wegot to New York. Brigold's would go, man! Every othersong was a novelty.Chuck: Was Holder's band a commonwealth band likeKirk's band?Claude: No, no. T. Holder ... i t was his band. He paid eachindividual probably different salaries, I really don't know.After we left T., we broke it down to Andy. Then everyonewas commonwealth. Everybody got the same money.Chuck: What happened with T. Holder that caused theexodus ... that basically caused his band to divorce him?Claude: Well, T was sort of on a gambling kick, then. AndT.messed up the pa yroll one week. He couldn't make [thepayroll]. We had four or five of the fellows in the band whowere married ... one family had a kid ... but they wereexpecting the money every Saturday night. Well, oneSaturday night T. wasn't there to payoff the band. Rightaway, the band said "Well, we can't be working like that."They told Faulkenberg, "We're going toquit ifwedon'tletAndy or somebody have the band because as far as THolder's band, you can still have T. but we're all going topull out." So the fellow said, "No. But I need a band. Justforgetthe T.Holder part of it." 'Cause, like, he was makingmoney ... he was giving away a Ford every night. So youknow they weremaking money. So the fellow says, "We'llgive Andy a cut. Give us a contract." T. couldn't get noband together overnight like We had there. So they all justpulled out from T. and told T., "We ain't working for youno more." And couldn't be nothing said about that. Al-though at that time we were all straight with the, uh ... thewhite union, there wasn't any black union then. And afterT.couldn't come up with the payroll, there wasn't much hecould do about it-he didn't have no band. .:.

J u n e / J u l y 1992

S h o w c a se f o r t h e f in e s t K a n s a s C i t y a n d t o u r in g J a z z t a le n t.June

1 4 I D A M c B E TH a n d F r ie n d s16 J V C r e c . a r t i s t, p ia n is t M A K O T O O Z O N E

w I T h e C it y L ig h t T r io17 J V C r e c . a r t i s t, p ia n is t M A K O T O O Z O N E

w I T h e C i t y L ig h t T r io18 B IL L C A L D W E L L s a x S T A N K E S S L E R t r u m p te r

w r r h e C i t y L ig h t T r io1920 I N T E R S T R I N G

21 I D A M c B E T H a n d F rie n d s2 3 P re s t ig e r e c . a r t i s t D A V I D " F A T H E A D " N E W M A N s a x

w IT h e N R E T rio24 A N G E LA H A G E N B A p H v o c a ls

w r r h e C i t y L ig h t T r io25 I N T E R S T R I N G . . J a z z L o v e rs ' P u b C ra w l26 Q U E E N B E Y v o ca ls w rr h e C it y L ig h t T rio27 S H A R O N T H O M P S O N v o ca lsw r r h e C i t y L ig h t T r io28 E X P O '92 b e n e f i t I N T E R S T R I N G 4 p m

I D A M c B E T H 8:30 p m30 K E V IN M A H O G AN Y v o ca ls w IT h e C it y L ig h t T rio

JulyK A R R IN A L L Y S O N v o ca ls w IT h e C it y L ig h t T rio

2 4 S e a B re e z e r e c . a r t i s t, k e y b o a rd is t P A T C O I Lwrrhe C i t y L ig h t T r io

5 I D A M c B E T H a n d F rie n d s7 M i le s t o n e r e c . a r t i s t H A N K C R A W F O R D s a x

wI T h e N A E T r io

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I{ANSAS CiT JAZZ PORTRAiTS

CLAUDE BOLLlNG made musichistory in 1976 with his Sui te

fo r F lu te a nd Jazz P iano re-corded with flute virtuosoJean-Pierre Rampal. This

work, virtually defined thegenre of "Classical crossover"music, blending elements ofclassical and jazz to create a

new hybrid. The Suite becameone of the best selling classical

albums ever; No.1 on theBillboard classical charts fortwoyears, and remained in

the lop 10 for an unprec-edented 10 years. It also be-came the forerunner of otherBolling crossover composi-tions written For and per-formed with AlexandreLagoya (guitar), Maurice

Andre (trumpet), PinchasZuckerman (violin), Yo YoMa(cello) and Emanuel Ax (piano

duet). While not the firstcomposer to blend jazz and

classical elements (Gershwinand Bernstein before him), hisinnovative dialogs between

classical instruments (of whichBolling displays an intimate

knowledge) and the jazz pianoare an incontrovertible musi-

cal originality.20

ClaudeBolling:from Paris toKansas City

INTERVIEW BY KAREN RALSTON

Beforethese nonpareilrecordings won Bollingworld renown, this French-born musician had made his pianoplaying familiar and appreciated bythe grea tsofjazz heritage: Armstrong,Hampton, Bechet and his model,Ellington, who considered the youngBolling a member of his own musicalfamily. A native of Cannes and raisedinParis, Bolling began his formal musictraining at age 12 and began to playprofessionally as a jazz pianist whilestill in his teens. He formed his ownDixieland bandatage18and made hisfirst recordings, going on to becomeone of Europe's most popular jazz.artists. Bolling's brilliantcompositionsare equalled only by his masterfulcontrol of the piano keys, playingcomplex bass lines with his left handand incredible melodic

embellishments with the right.The following informal conversa-tion was held after Bolling's near sell-out concert at the Folly Theater (March14, 1992) where the nearly 1000 at-tendees were treated to a dynamicconcert by Bolling and his trio, (Pierre-Yves Sorin, bass, and VincentCordelette, drums). They performeda variety of Bolling originals and clas-sic jazz pieces, as well as the trade-mark Bolling crossover music withguest artists Eric Franceries on guitarand Pamela Sklar on the flute.JAM: How did you enjoy your stay inKansas City?Claude Bolling: Too short. It was tooshort because it's a city I'm very fondof, I like the people of Kansas City andthere's a lot ofjazz here I would like tohave heard, but we didn't have time.

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C la ud e B o llin g (p ho to : S ie ph an e O l lz olln o!f)We made a short stop at the MutualMusician's Union and thenatthePhoe-nix where we heard an excellentquin-tet [Tim Whitmer and Friends] - verygood musicians.JAM: What were your first experi-ences with American musicians?CB: I began to play with Americanmusicians at the end of World War II,during the liberation ofParis. The firstto really affect me was Rex Stewart,who was about to leave the Ellingtonorchestra. When a musician becomesfamous in a band like Ellington's, theywant to go ou t on their own and be-come a bandleader to earn moremoney. But when you leave a bandsuch as Ellington's you fall back into amagma where you are no longer in thesame class or level of interest. Butanyway,itwasanextraordinaryexpe-rience for me, with Rex Stewart - hewas the first - we did many concertsand recordings together. Then cameSidney Bechet, Lionel Hampton andmany others.JAM:Where did you begin to write, tocompose music?

June/July 1992

CB: Ibegan to compose when Iwas anaccompanist to variety artists, and Iwas asked to write arrangements forthe stage or recordings. And fromthen on, between my activities in jazzand variety shows, I had the chance tocreate dance music, songs, orchestrathemes. Itbegan like that. Then I padthe chance to wri te film music. One ofthe singers I had accompanied got arole in a film and asked me to writearrangements for her. One film led toanother and I began to do 4 or 5 filmsa year.JAM: How do you compose for thescreen? Do you see the film first, thenwrite?CB: In the best situations, it's thescreenplay first! Before filming. A filmneeds music written before shooting,to create a climate. For "Borsalino,"for example, one of my biggest hits, Idid the music before and I know the. shooting was influenced by the music.The rhythm of images, the dialogsbetween actors need to be influencedby music written beforehand, thenafter shooting, I complete the score.

JAM: Who had the biggest influenceon your music?CB: A lot of influence from the firstjazz musicians I ever heard: FatsWaller, Duke Ellington (who was even-tually to become the primary influ-ence on my jazz music), Jelly RollMorton, Scott [oplin.Earl Hines, CountBasie, Louis Armstrong, the pianistsArt Tatum, Errol Garner, OscarPeterson ...oh, I've been influenced by ,them all!And all thec1assics, too. 17th,18th, and 19th century greats, by all,Mozart, Beethoven, Chopin, Debussy.Everything has affected me, everyoneis influenced - some don't admit it-but they can' t escape it. As for me, Isay that like all artists, I undergoinflu-ence from everyone who precededme, I assimilate it,and then do some-thing else.JAM: Where did you get the idea toblend classical music with jazz?CB: Itwasn't my idea! It was that ofJean-Bernard Pommier, a famousFrench classical pianist. We wouldoften appear together on TV playingpop, jazz, classical, variety, and often

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at the end, people would ask us to playduets,and we would improvise them.Finally Pommier said, "You know,you should write something for us, sothat when we do these duets we'dhave something well written to per-form." S o Icomposed a shortS-minutepiece for jazz and classical piano anditwas sosuccessful that Pommier saidto finish it, to write a 3-movementsonata. So I did. We recorded it,weput it on a record with other things.Jean-Pierre Rampal wasatmy homeand I played him the record for simpleamusement, thinking a classical artistsuch as he would appreciate it. Hesaid, "I really like that. It's marvelous,original and could you write some-thing like that for me? Classical flute,of course, because I don't know howto play jazz flute, and even if I could,my public wouldn't accept it;butclas-sical flute and jazz piano trio woulddo." He never thought I would writeit because people promise to writethings for him and never do. But Ilooked at it as a challenge and I wrotethree pieces. He came to the house, weplayed, he liked it and asked me tofinish it tohave enough for a completerecording. Hence the "Suite for Fluteand Jazz Piano."Itcame outin France rather quietly.Rampal's American record companyliked itbut didn't want to produce it.Rampal and I were giving courses atthe National Summer Music School inNice, and one of his students workedatCBS, wasintrigued,and tookitbackto New York.When he played it in his office, C la ud e B ollin g (p ho to : S ie ph an e O u zo un ofj)

22 JAM Magazine


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people from the Masterworks depart-mentcameoutofthewoodwork,likeditso much they produced it, and twoweeks after itcame out, it was at thetop of the classical charts! Itstayed inthe top ten for 530 weeks. After that,many classical artists approached meto write similar works, later called"crossover" music. Ten years later,Rampal came back and said he wasalways asked to play the Suite andwas getting tired of it. Could I writesomething new? Hence, "Suite for FluteandJazzPianoNo.2!" And that's howthings are done ... I don't like to writein a void, I prefer to write on demand,for needs.JAM: Like films, for example?CB: Precisely..JAM: It is widely stated that Ameri-can jazz is more greatly appreciated inFrance than at home. What do youthink?

. CB: I think it's part of a world-wide

phenomenon. Due to communicationand curiosity, everyone is interestedinwhatcomes from elsewhere. There-fore, inFrance we're interested inwhatcomes from here, and you are moreinterested in foreign things than whatyou have here. Forexample, the GypsyKings are more successful here ratherthan in France because it's an exoticmusical sound. In Japan, they preferWestern music. In Russia, they wantnothing to do with their traditionalclassical music, whattheywantisrockand roll. I don't know if it's a goodthing, but it's a phenomenon worthobserving. I know that many greatauthorities in French history areAmerican, great wine connoisseursare American, and in cuisine, too. It'sexotic. Therefore, for jazz, it's the samephenomenon.JAM: What do you see for the future ofjazz?CB:As for all music, there will alwaysbe the real, classical jazz, which has an

advantage over the fixed nature ofclassical music. Even in traditionaljazz, one can innovate, one can renewit, and bring to it one's own personal-ity. So therefore, although one ex-presses oneself in a traditional style,one can always create. There will al-ways be music deri ved from jazz--jazzfusion, jazz rock, but you'll alwaysreturn to classical jazz, like one re-turns to Bach and Vivaldi. And youcan see it in Marsalis, for example,who brings back the standards to hismusic.JAM: And what lies in the future ofClaude Bolling?Whatdoyou still wantto do?CB: I always try to improve, to playbetter. I'm fortunate to play an instru-ment which, unlike the trumpet andother difficult instruments, can beplayed for a long time. Therefore, Ihope tocontinue finding more projects.I do too many things. I'm often criti-cized for doing too much. It's not

A JAZZ PARTY FOR THE ENTIRE CITY.THURSDAY JUNE 25, 199225 Area Clubs 40 Air-conditioned City BusesTICKET PRICE: $10 IN ADVANCE $15 AT THE DOOR$8 FOR GROUPS OF 25 OR MORE A v a i l a b l e in Advana A t Antoou~ IlU fflJAH Z Iil,;;;;i" .~ ' ~ . 4~ .4' I '_ . I

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June/July 1992 23


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because I want to do too much, it'sbecause so many things interest me.And I've been lucky to have succeeded.And when you succeed in something,you must pursue itto its fullest poten-tial. When I formed a group to dovariety music, it lasted for 7 years. Idid film scores, I didn't think it wasmy specialty, I had success and didover 100films! I formed my Big Bandwith friends for fun, we made a recordit sold well; we were asked to do aconcert, it was a triumph, and theBolling Big Band is still around after15years! I'm obligated to follow eachproject ...JAM: For that, your public isextremelygrateful.CB: And Iam grateful to them. I likethe American public so much becausethey are open, spontaneous and warmand the people of Kansas City wereamong the best partners of our tour.And so conel uded this delightfulexchange with a warm, spontaneouseand extraordinary talent, ClaudeBolling. .:.

A Claude Bolling Discography [by Karen Ralston]Live at the Meridien Big Band CBSJazz Brunch Big Band CBSBig Band Panorama Big Band MusidiscJazz a l a F ranca i se Trio CBSOriginal Ragtime Solo CBSRagtime Boogie WoogieJazz Classics Solo PhonogramBelling Band plays Ellington Music, volumes 1 and 2 CBSSuite for Flute and Jazz Piano Trio with Jean-Pierre Rarnpal CBSSuite for Violin and Jazz Piano Trio CBSwith Pinchas ZuckermanConcerto for Classical Guitar and Jazz Piano Trio CBSwith Alexandre LagoyaPicnic Suite (for flute, guitar and jazz piano trio) CBSwith Alexandre Lagoya and Jean-Pierre RampalCalifornia Suite CBSwith Hubert Laws, Shelly Mann and Bud ShankToot Suite (for trumpet and jazz piano trio) CBSwith Maurice AndreSuite for Chamber Orchestra and Jazz Piano Trio CBSw~th the English Chamber Orchestra, Jean-Pierre Rampal, condoSUItefor Cello and Jazz Piano Trio CBSwith Yo Yo MaSuite for Flute and Jazz Piano Trio No.2 CBSwith Jean-Pierre RampalSonatas for Two Pianists CBSwith Emanuel AxClaude Bolling's Greatest Hits CBS

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PLATTER ChATTER I ShiRIE MAE OWENSAfter Hours Swing Session, Duke Robillard

After Hours Swing SessionRounderOD3114selections: The Trouble withMeis

You;ICan'tBelieveYou~reinLovewithMe;SweetGeorgiaBrown; TwistTop; I'll Never Be the Same; Tiny'sTempo;A'ibiAin't Here,

D...uke ~obi1lardis still fondlyremembered as the musicianwho modeled Roomful of Blues afterJohnson's Savoy:BaUroomOrchestra-in 1967andfhenfrontedtheband for1 2 y ea r s. F or l1 f te rW Io u r s Sw i n g S e ss io n ,Duke Robillard,producer, reuniteshimself with1fourformermusiciansfrom Roomful: pianist AI


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COMMissioN NEWS I HOWARd NelsoN III'92 Pub Crawl Set for June 25It's Pub Crawl time! 1992 marks tracts participants from-all over the Mary Ellen Farney and Tammy 1110-the llth Annual Jazz Lovers' Pub country, and all over the world. Jazz mas-Davis. We are proud to haveCrawl presented by the Kansas City sells Kansas City! Coors Dryas a sponsor of this year'sJazz Commission. The "Craw)" has New additions for the 1992 Crawl Crawl, and the Westin Crown Centerbecome a much anticipated Kansas are smoke-free stops. The art gallery as our host hotel.City tradition, exhibiting the best of Kaw Valley Arts and Humanities We want to give a special thanks toattributes of this great city, (located, in the. lobby of City Hall, our long-time radio sponsor~ KCFXThe 1992Pub Crawl features thirty- Kansas City, Kansas.) and The Bird's 101,and KPRSHot103Jamz. The Foxone clubs -by far our biggest year to NestattheCharlieParkerFoundation has been a faithful supporter of thedate. Pub Crawl clubs will cover the forthosewholikethemusicandgood Pub Crawl, and many other eventsspectrum of jazz from traditional Kan- times, but wish to avoid the smoke- that are vital to the positive image ofsasCity Jazz, to dixieland, to the blues filled clubs. Kansas City. JeffCharney and the folksend of the jazz spectrum, to bop and The expansion of the Pub Crawl, atHot103Jamzareanxioustosupportpost-bop jazz, to contemporary jazz bringing in Kansas City, Kansas, and jazz in Kansas City, and the only com-fusion. There is indeed something for including more clubs in South Kansas mercial station in the city to featureeverybody on the Pub Crawl. City,andSouthJohnsonCounty,while jazz on a regular basis.

Beyond the wonderful array of jazz continuing its strong showing in mid- Finally, if you already have yourpresented on the Pub Crawl it is hard town, Plaza, downtown and 18th and ticket for the biggest and best Jazzto find any other event in Kansas City Vine indica tes the commitment of the Lovers' Pub Cra w1ever the Jazz Com-in which the participants experience Jazz Commission to a more metro- mission thanks you'. If you are one ofthe unbridled joy and good times of politan approach to its projects. Look the few people on your block yet to getthe evening, yet remain well-behaved for this trend to continue. your ticket, Call TicketMaster at 931-and respectful of others. The mix of The Jazz Lovers' Pub Crawl is not a 3330, or head to any of their outlets,participants black and white, young solo effort by the Kansas City Jazz including the JonesStores. Ifyou needand old is also something for which Commission. The Pub Crawl could more info. Call the Jazz Commissionwe can all be proud. not happen without the volunteersup- at 274-2700.TheJazz Commission isalso pleased port of the Kansas Ci tyJazz Ambassa - We look forward to seeing you onthat the Jazz Lovers' Pub Crawl at- dors, and particular thanks are due to June 25. .:.

SPEAk Up FOR A LouisARMSTRONG STAMp

As you know, in my yearsas a Member of Congress, Ihave always tried to bringdeserved national recogni tionto jazz music and jazz musi-1 ' : : : , _ _ 1 : : : 1 dans. This agenda began with

legisla tion to recognize jazz ast : : : : : : : : : ' : : : : : : : : : : : : i i ' : : 1 a National Treasure, and con-tinues now with H.J.Res. 435.

Itisa travesty tha tover twentyyears after the passing of oneof our most popular and most effec-tive non-political good will ambassa-dors, that we still fail to recognizeLouie Armstrong in one of the sim-plest, time-honored traditions pos-sible - a commemorative stamp.Armstrong's unique creative tal-ent and innovative improvisational

style transformed jazz, and continueto inspire generations of jazz musi-cians. Louie Armstrong and his mes-sage were loved and understood theworld over. A stamp would serve toremind generations to come of hissingular influence on jazz. Theunwavering dedication of LouieArmstrong to his craft serves as aninspiration for all Americans and as areminder of the important contribu-tions of African-Americans to Ameri-can culture.Asyou know, the ultimate decisionto issue a commemorative stamp ismade by the United States Postal Ser-vice, specifically the Postmaster Gen-eral. In addition, the Postmaster Gen-eral has appointed 14members to theCitizens' Stamp Advisory Commi tteeto begin the process of consideration

for commemorative stamps. Youmay want toexpress yoursupporttothe Postmaster General's Office, aswell as the Citizens' Stamp Advi-sory Committee. Both addresses areas follows:Mr. Michael S. CoughlinActing U.S. Postmaster General475 L'Enfant PlazaRoom 122Washington, D.C. 20260t h e C it i z e ns ' S t am p A d v is o r y C o m m i t te e475 L'Enfant PlazaRoom 445AEWashington, D.C. 20260-6756

- John Conyers, Jr.M em be r o f C on gre ss (M ich ig an )

28 JAM Magazine


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JO IN TH E JAZZ AM BAS S ADO RS AND REC EIV E YO UR ...

N IGHTCLUBSP re se nt yo ur m em be rs hip card to th e fo llo w in g bu sin es se s an d re ce ive :

REC ORD S TO RESBlayney's415 Westport Rd.)l $1.00 off cover charge.City Light Jazz Club4749 Pennsylvania)l $1.00 off cover charge.Grand Emporium3832 Main Street)l $2.00 off door charge for national [azz acts.The Point917 W. 44th St.)l $1.00 off cover charge.Eblon1608 E. 18th S1.)l Happy Hour all night on jazz nights (Fridays).Cajun Bistro3421 Broadway 561-8775)l '$1.00 off lunch or dinner entreKelly's Lounge8245 Worn all Road)l 50 off regular price of drinks on jazz nights and jamsessionsOverland Park Marriott10800 Metcalf, Ove rland Park, Ks.)l $1.00 off Happy Hour buNetART AND FRAM INGAmerican Impressions Gallery902 Westport Rd.)l 20% discount on framing and purchases.C LAS SESPenn Valley Community College3201 Southwest TraNicway.)l $5.00 off cost of jazz history courses offered byContinuing EducationV IDEOSRecord Cabinet5914-16 W. 59th Terr.)l Rent 2 videos for the price of one .

./ Monthly newsletter of Calendar of Events./ Monthly meetings with guest speakers./ Jazzjams/social functions

DIrt CheapWestport & Main)l 10% off all sales.Record CabInet5914-16 W. 59th Terr.)l 10% off regular price of pu r c hases ,Penny Lane Records4128 Broadway)l 20% off regular price7th HeavenAll locations)l 20% off regular price of LPs, cassettes & CDs.(Not valid

during Christmas season.)ClassIcal Westport4130 Pennsylvania)l 10% off all in-stock recordings.EVENTSFolly Theater300 W. 12th S1.)l $2.00 discount on reserved seating for jazz concert

series (subject to availability).S TEREO AND S O UND SYS TEM SSound Enterprises1600 Cherry)l 10% off all service work with special consideration for

Jazz Ambassador members.M US IC S TO RESBrady & Sons Music947 Minnesota Ave.)l 10% off all sales.OTHERSOptIcal InnovationsManor Square' 4050 Pennsylvania)l 10% off complete pair of eyeglasses

./ Jazz Ambassador Magazine subscription with Patronmembership./ Volunteer opportunities for jazz events.

Sponsor ($100) Patron Couple ($40) Patron ($30) Active Contributor ($15) Student ($10)For more information:Call (816) 478-8378 or write Jazz Ambassador, Box 36181, Kansas City, MO 64111


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O R I U MJ .~ zz AM b4 sudoR SpO NSO RSMike &Vicki RollfDr. Les BeckerKansas City Jazz CommissionDavid & Doris RubinJack Booth ConstructionCount Basie Enterprises, Inc.Pat Weishar Accent Advertising, Inc.Aaron Woodward IIICreative Communications Network (Ron Butler)

G H A N DA dvE R TisE RS ' IN dE X

_ f ! d t i e d/atdtV/~ (Jcu4 ! : o . & u f q lJ j, . 6 t o , 8 pm 18th & Vine Productions 24( J J . I w d ' d - / J 1 u M (J~ ! : o . & u f gat. II t o , 7 pm '92 Blues & Jazz Festival , 311 -_~ !I! I! ~ !!I !!! !I I! !!! II I!! ~ ~ !I I! !! !!1 !1 !!! !I !!! !I !I! !! II !!! I! ~ !!1 !! !! 11 ~_~ I All-Star Awa rds 33Allis Plaza Hotel, 12th Street Bar 27Allis Plaza's Jazz Brunch 35

Anderson Project 26Blue Note Cafe 27Chapman Recording Studios 12City Light Jazz Club 19Epicurean Restaurant & Lounge 13Grand Emporium 30Jazz Lovers' Pub Crawl ; back coverJim MairCD 8KANU-FM 91.5 17KCUR-FM 89.3 inside front coverKKFI-FM 90.1 5KPRS-FM 103.3 inside back coverLisa Henry (cassette) 6Mary Ann's on Main 22Mutual Music Service 8Obsessions of Kansas City 14The Phoenix Bar & Grill 4Primus Audio 36The Ritz-Carlton 15Sunset Restaurant & Bar 6Tamarack Travel 16Thomas Pender, jazz guitar instructions 24Tim Whitmer CD 15

3 8 3 ~ M A I N ~ 3 1 - I ~ 0 4

The Best ofKansas City .Jazz in

magazine.30 JAM Magazine


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12th Street Rag - Allis Plaza HotelA street that has become synony-mous with the tradition of jazz inKansas City is 12th Street. Alongthisthoroughfare, Euday L. Bowman

helped lay the foundation ofthis tradi-tion. by composing his famous "12thStreet Rag." As a living memorial tothe jazz legacy inKansas City, the 12thStreet Rag, located in the Allis Plazal;-JQtel,contribt.ltes the-necessary-sup-port, remembrance and continuationof this. heritage. This establishmenthighlights what this city is noted forand it communicates this perfectly.Upon entering, one is greeted andembrac~ wi th.a visual panorama bylocal adistDeanMitchell, Count Basie,Louis Armstrong, Charlie Parker,Mary Lou Williams and a host of otherjazz greats come alive in a showcaseofcolorful paintings that capture theirspecialperformance personalities. Onedefinitely receives the impression thatjazz is here to stay in Kansas City.As you pick a table to your likingand settle into theatmosphere, theenergetic pulse and passionate feel-ings for "a night out on the town"seem to be shared by many peoplearound you. The ambiance is satisfy-

ing,reassuring~dllnpretentious.1hedesign and acoustics of the 12thStreetRag allow for an enjoyable listeningexperience. The spaciousness of theroom may slightly take away from.theintimacy found in smaller clubs, yetthe charming decor andsoolhing lightsprovide the comfortable balance.One cant help but notice thosemusical mementos under the glasstabletops. Sheet music of a classic eraremind us about the timeless qualityof jazz. Standards like "I'm GettingSentimental Over You" and "Love isHere to Stay" add the right nostalgictouch,while still maintaining a senseof appropriatenessfor our contempo-rary age.The McFadden Brothers Baud setthe tempo for a night to remember.Theycertainlyaccornmoctateyourvi$itwith the kind of sound performancefor which this city has become recog-nized. Now featured through Decem-ber, The Mcfadden Brothers Band iswithout a doubt, a class act:Even for novice jazz lovers, theMcfadden Brothers are sure to winhearts and applause with a razmatazshow filled with tap dancing, power-

ful jazz, comedy and fun facts on KCjazz history.Club hours are from 11:30 a.m. to1:30a,m.,Monday-Saturday; and 11:30a.m. to 12:00 midnight on Sunday.Nightly entertainment is offeredWednesday through Saturday from8:30 p.m. to 12:30 a.m. The locationinside the Allis Plaza Hotel, down-town at 200 West. 12th Street makesthis an excellent meeting place fororganizations and groups. Variousdining services and spacious roomsare readily available.Without question, a major at-traction for any large ci ty is theexcitement and stimulation onereceives from downtown entertain-ment. The opportunity to "put onthe ritz" presents itself especiallyin these settings. Majestic build-ings seem to inscribe the uniquebackdrop for a city's picturesquelifestyle. Certain.clubs.restaurants,hotels and shops embellish thedowntown paintingwi.th a style allth-eir own. The 12th Street Rag atthe Allis Plaza Hotel helps createthe special signa ture that says ..."This is Kansas City!" .:.

magazine.

EARLY AD DEADLINE:Place your ad for the upcoming special1992 BI..es/Jazz Festivalt .Issue bV July 1...

Call Mike Rollf at (913).384.0759 (evenings)J un e/J uly 1992 31


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'C lub SCENE 1\ G~idE TO KC' s HOTTEST JA zz \J A Z Z H O T L IN E '

The Jazz Hotline provides acompletelisting of live jazz in the Kansas Cityarea. Call (816) 931.2888D O W N TO W N /N O R TH S U B U R B SAllis Plaza Hotel - 0112th Street Bar ,.. : 4216800

David Bafjse's RhythmmBoci(!ty,Wed-Sat, 8:30 p.m.-12:30 a.m.

Marilyn Marlin Piano, Mon-Fri, 4:30 .8:00 p.m., also Sunday, 10 a.m. - 2p.rn; for Sunday Brunch in lobby.Birdland -0219th& Vine 8428463Blvd. Cafe703 Southwest Blvd 842-6984The Sons of Brazil, Tuesdays,

8:00 - 12 midn.Eblon - 031601 East 18th 221-6612Hyatt Regency HOtel ..042345 McGee ......................... 421-1234Mary Ann'son Main - 05725 Main 474-7025Live Jazz & Blues every Wednesday,Friday and Saturday.Mary Ann's Penthouse-6th & Washington ; 421-1800Mutual Musician's Foundation -071823 Highland ; ~ 421-9297Nightmoves - 085110 Vivion 452-4393ThePhoenix PianoBar & Grill- D98th & Central 472~0001River City Cafe1113 Walnut 421-6433The Tuba - 00333 Southwest Blvd 471-6510Mon: Bow Bowman & InterstringTue: Sons of Brazil.Wed-Sat: KC Bottom~ BandM ID T O W N ', . . . . . ' .Cajun Bistro - M13421 Broadway 561-877532

Saturday Jazz Jam -- 3 - 7 pmCajun Seafood Restaurant - M2404 E. 31 st St. 756-FISHGrand Emporium - M33832 Main ; 531-1504JUNE

20 Mike Finnigan &the Bill Lynch Band andthe Cat Daddys23 Gary Primich plusPaul Orta & th e Kingpins25 Jazz Lovers' Pub CrawlLittle Hatch & the Houserockers27 Cate Brothers30 The Waxed TadpolesJULYEmporium's 7th Anniversary:many great prizes to be given away!!1 SDI

2 Mark Hummel &the Blues Survivorsplus Chris Duarte3 Walter Wolfman Washingtonplus Little Hatch4 James Harman Bandplus Rene Scofield16 The Unknowns

17c18 Johnny Reno23 Steve Pryor & the King Snakes24 The Tablerockers &the Dan Doran Band25 From the Blues/Jazz Fest:

Holmes Bros. & One-Eyed Jax31 Nathanand the Zydeco Cha-chasHarlings Upstairs Bar and Grill - M43941-A Main 531-0303

Milton's - MS805 W. 39th St. 753-9476Mon: Triology Big BandFri & Sat: Check Jazz Hotline

Obsessions - M6Southwest Trfwy & Westport Rd..... 931-1448Tues. - Sat.: ssSlick Trio 5 - 9 p.m.The Point- M7 .917 W. 44th 531-9800

W E S T P O R T ' 'Hurricane's - W14048 Broadway 753-0884Blayney's - W2415 Westport Rd 561-3747

. The Bird's Nest - P1CharlieParkerMemorial Foundation4605 PaseoThe Bristol Bar - P24740 Jefferson 756-0606City Light Jazz Club - P34749 Pennsylvania 444-6969June14 IDA McBETH and Friends16 JVC rec, artist,pianist MAKOTO OZOI\IEwIThe City Light Trio

17 JVC rec. artist,pianist MAKOTO OZONEwIThe City Light Trio18 BILL CALDWELL sax

JAM Magazine


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STAN KESSLERtrumpterwffhe City Light Trio19-20 INTERSTRING21 IDA McBETH and Friends23 Prestige rec. artistDAVID "FATHEAD" NEWMANsaxw/The NRE Trio24 ANGELA HAGEN BACH vocalswffhe City Light Trio25 INTERSTRING -Jazz Lovers' Pub Crawl26 QUEEN BEY vocalswffhe City Light Trio27 SHARON THOMPSON vocalswffhe City Light Trio28 EXEQ ' ~2 Q~O~fil -INTERSTRING 4 pmIDA McBETH 8:30 pm30 KEVIN MAHOGANY vocalswffhe City Light Trio

JULY1 KARRIN ALLYSON vocalswffhe City Light Trio2-4 Sea Breeze rec. artist,keyboardist PAT COILwffhe City Light Trio5 IDA McBETH and Friends7 Milestone rec. artistHANK CRAWFORD sax

wI The NRE Trio

WORLDHEADQUARTERS835 W. 39thKansas City, Mo.531-3635JO HNSO N C O.13505 W. 87th St.Lenexa, Ks.

888-0006BANNISTER AREA9607 ElmwoodKansas City, Mo.763-0070NORTHLAND

7070 N. Oak Trfwy.Gladstone, Mo.436-9339

Harry Starker's - P4200 Nichols Rd 753-3565The Levee - P516 W. 43rd 561-2821Saturday -- Tommy Ruskin & Friendsjazz jam, 3-6 pm

/Ritz-Carlton Hotel Lounge - P6Wornall & Ward Parkway 756-1500S O U T H /S O U T H S U B U R B SBB's Lawn Side Bar-B-Q - B11205 E. 85th St. 822-7427The Blue Note Cafe - B28617 W. 87th Street 642-6625

The Epi cu re an Rest au ra n t & Lo urqe - 837502 Troost 333-4541

Saturday & Sunday --Horace Washington & Friends,5 - 9pmHomer's - B4214 W. 85th 363-0900Kelly's Lounge - B58245 Wornall Rd 444-3707Riley's Bar ---.,Overland ParkMarriott 861-435 and Metcalf 451-8000Sunset Restaurant & Bar12921 State Line 942-1234

Club SCENE M A P8th 8t

12th st1 th 8t

8th 8t

~ 31st st

39th 8t

43rd 8t

47th se

75th 8t

85th st

33


36/40

JAIl DiRECTOR /(C;S FiNEST MusiciANSB A N O S / G R O U P S Jazz Plus 921-5854

Sam Johnson Company 342-4233'KC Bottoms Band 471-6510KC Horns 3844497Stan Kessler 's Sons of Brazi l .. ...................... 531-6881 . 931-1873Mahogany 941-7836Main st, Rhythm Devi ls. 648-8606MaHnae Idols 531-2872The McFadden Brothers Band .... ................................. 212-627-7552Greg Meise Trio 649-9725MMF Big Band 421-9297The New KC Saven ..................... 822-9086 . 756'()397Lonnie Newton Group ..361-9949MlkeNlngTrlo .... 4360318' 2745778Steve Miller Orchestra 722'()887New Breed Orchestra 924-2200Original Legends of Jazzw/Sammy Johnson Sr. and JackieAnderson ..... 621-2896 . 4721869

Milt Abel Trio 333-1212Alaadeen & the Deans of Swing ......................................... 831-4396Allernlty (fusion) 541-1641Vinca Bllardo & Friends 491-3271BlueNoteFour ... 5236537 231-8624Sandy Brown Quartet 523-7365Joe Cartwright Trio 756-2697City Light Orchestra 561-2489Delightful Dee Bartee & theAllstars 931-3410Everette DeVan & ssSlick ........................ 262-4784 . 722-5368Duke Elephant Band ........................ 942-7336 421-0093Lonnie Elliott Trio ......... 262-6587Flermon and the Kings of Jazz ........................................... 923-2812The Bryen Hicks Group 931-3556Interslrlng (800) 841-8863

John Armato 453-9356Dee Bertee 931-3410David Basse 561-2489Vince Bllardo 491-3271Tim Devls 333-7394Raymond DeMerchl 363-3892James De Regne ..Dave Draxler 384-6125Mike Harvey 471-6510John Hobbs 436-3835Terry Hughes 931-8973Dwight Jenkins 921-1416Sam Johnson, Jr 342-4233Matt Kone 333-7293Dennis Lucas 531-8917Brian Morahen 523-6537 EverelteDeVan .. 2624784' 722-5368

John Peul & the Hellhounds....................................... 8314578Mema (Dlene) Rey & The RichVanSant Band 836-3706Rich Hili & tha Riffs 363-3821Tommy Ruskin Trio 432-6885Frank Smith Trio 339-6698Touch of Cless 763-2841Lori Tucker & Shining Llght765-0640Julie Turner Group 432-6885Unbound Group 287 -8412

Jim Morrison 741-1981Rocky Neill 761-4382Alonzo Powell 371-4842Abel Ramirez 492-1315Tommy Ruskin 432-6885Jalsson Taylor 842-3001Roy Thompson 333-4206Arny Young 753-5641Dale Vlts 635-6569G U I T A R I S T S

John Curtright 931-8263Dan Embrey 894-1371Charlie Gatchel.. 765-3754Jay Daly 358-3316Tom DeMasters ....................... 942-7336 . 421-0093Rod Fleeman 649-2161Bryen Harmon .Rick Hendricks 2993173Sonny Kenner 9243807Tom Pender 765-0640Clive Renfroe 3582205Mark SI. John 3219178H A R M O N I C A

John Paul Drum 8314578Mo Paul 4534039P I A N I S T S

Carolyn Abbott 942-4889Eddie Baker 9242200Sandy Brown 5237365Joe Cartwright 7562697Allen Cook 8221621Donald Cox 763-2841Bill Erby 8617528Rich Hili 3633821Russ Long 831-3631Greg Meise 649-9725Allen Monroe 921-5854Steve Miller 7220887Lonnie Newton 361-9949Frank Smith 3396698O R G A N I S T S

34 JAM Magazin~

B A S S I S T SMilt Abal 333-1212Ricky Anderson 763-6873Bob Blount 737-3734Bob Bowman 262-9203Tyrone Clerk 523-1335Andy Dewitt 677-3763Lonnie Elliott 262-6587Bryen R. Hicks 931-3556Sam Johnson, Sr 621-2896Fr&ddle Llghlfool 333-1733Mark Montgomery 648-8606Dwight Foster 321-6504Tony LaPuma 2413628Gerald Spa Its 9260462Greg Warrell 422-5120Greg Whitfield 4441 813D R U M M E R S


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P E R C U S S I O N I S T SGreg~lse 649-9725 James Popejoy ......... 356-7830

V I O L I N I S T SMike Ferguson 764-2502 Pat Ireland 287-8412Todd Wilkinson 642-7979S A X O P H O N I S T SAhmad Alaadeen ...... 831-4396Ken Berry .................. 561-9614Carl Bender ~............. 561-6969Phil Brenner ............ 333-5094Bill Caldwell 756-2812Dwight Foster .... , 321-6504Steven Greene ......... 321-7719Cornell Hardy 371-3362. R onnie McFadden 924-1143Kim Park 356-6224Eddie Saunders 231-8624Kerry Strayer ............. 822-9086Horace Washington .... 531-7759Todd Wilkinson ......... 642-7979

F E M A L E V O C A L IS T SJackie Anderson 472-1869Queen Bey 541-1674Marsha C. Bland 923-1390Coco 753-1138Angela Hagenbach 891-9110Lisa Henry. 727-2240 . 651-6810Sherry Jones 436-0318' 274-8682Pat Lyons 763-2841Mary McMahon 942-3717Pam Miller 649-7450Diane (Mama) Ray 836-3706Rosemary Robinson .. 231-8987Rosetta Robinson 722-0887Sharon Stine ............. 241-4504lori Tucker 765-0640Julie Turner 432-6885M A L E V O C A L IS T SSauna Clark .............. 436-2442

Stan Kessler531-6881 . 931-1873 David Basse 561-2489Carmell Jones .......... 924-5123 Greg Clark 374-5823Scott Lloyd ................ 384-4497 Allen Cook ................. 822-1621Tom McC$rty . ... .. .. ... . 329-1906 Donald Cox . .. .. ... ... .. .. 763-2841Michael T. McGraw .... 262-2911 Donnie Gaines 822-9203Lonnie McFadden ...... 921-6791 Bryan R. Hicks 931-3556Pat Morrisey ............. 531-2872 Freddie Lightfoot 333-1733John Selzer ... . .. .. .. .. 432-6002 Kevin Mahogany .. ... . 941-7836"Duck" Warner 342-7819 Richard Ross .

Russ Simmons 561-0915Jalsson Taylor 842-3001V I B R A P H O N EMarsha C . Bland ......... 923-1390

SUPPO RT THEJAZ Z : A :M IIA : 'S~ t J tJ ,,:" ' ! A d . , N s :

ADVERTISERSJune/July 1992

Brvrtt~afThe;~P.l_~is more than a tradition ...it's a pleasure!

G a r d e n . . . . . . . . . . . a V a r i e t y o f S e v e nl : n fr w ;s , P r im e R i b , P a s t a ,O m e le tt e stD O r d e t ; .E g g s B e n e d i c t,B l i n tz e s a n d a L U ! 1 { . : i o u s A r n 1 ! j o fD c s se r ts . B r t m c h C . { ) l u e ~C O l n p l ~ t eW i tf l C . 1 1 ( l n l p a g l I e .S e r v e g $t{~kla~;~6: 'qnl1\l: (X)z\Mto

. i n T h " e L o b b v A t r l g m .i ....-------~

T he B es t o f K an sas C ity Ja zz in35


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"Th e F rida y Ed itio n o f th e F ish F ry "10 p.m . - m idn igh tSaturday : "J u s t Ja z z " n o o n - 2 p .m .Saturday : "S a tu rd ay Afte rn oo n S w in gC lu b " 2 p.m . - 4 p.m .Saturday: "Th e S atu rda y Nigh t F ish F ry "8 p.m . - m id nigh tSunday : "M a ria n M cP artla nd " 1-2 pm

ON T~ E AiR / W lllR E TO TU N E FO R JA~Z iN T ~E KC AR tAKANU FM,91.5National Public RadioUnlvarslty of KansasMonday--Fr iday: "J az z A ll N ig h t"8 p .m . -- 5 a .m .Saturday . " V in ta g e J a z z' w i th M i ch a e lM ah e r 9 - 10 a .m .Saturday : "Th e Ja zz S ce ne "w ith Dick W righ t 10 a .m . -- 1 :00 p .m.Saturday . "J a zz from Las V ega s" 12m id n . 1 a.rn.Saturday . "J az z O v ern ig ht" 1-5 a .m .Sunqay . "J a zz O v e rn ig h t" 1 .2 q lid n .-5a . rn ,Sunday . "P ia no J az z" 6 -7 p.m .KBEA-AM 1480"Music of Your LIfe" --'408, '50s and ~Ig BandsKCFX-FM 101Sunday: ,"Th e S lu es S ho w" w ith L in dsa y S ha nn on. 8 p .m .

KCMW FM90,.9National Public RadioCentral Missouri State UniversitySunday ."Jazzllne" 1 O p.m , -1 2 m id n .MondaY,"C o nfe ss in ' th e B lu es" 11 p.m .-12 m id n.Mon- -Fr i :"T he O n ly R ea l Jazz in T ow n "n o on - 5 pmWednesday ."B ra zil ia n H o u 1 '" 11 p,m .-12 m id n.Thursday :' Ev o lu t io n o f J a z z " 11 P 1 m . - 12 m ld n,Friday. ,"W orld wid e J az z" 11 p.m .-12 m ld n.Saturday:"Ma r i an ,McPa r t land ' s P i ano J a z z " 7 :00-8 :00p,m." B lu e s ta g e " 8 ;0 0- 9; 00 p.rn,"J a zz s~ t" 9 :0 0-1 0:0 0 p .m .KCLIR FM89.3National Public Radio - UMKC/ y f( )nqay . Thu rsday :"The Ja zz P la ce " 8 :00 p.m . - 1 a .m .Friday: "S lu e s S ta ge " 8 10 p.m .

KKFI FM 90.1M o nday - F riday, 5 :00 - 9 :00 a .m . a n d1 :00 - 4 :00 p .m ,Saturday : 9:00 a .m . -12 :00 no o nKPRS FM 103.3Sunday :"Th e S un da y M orn in g Ja zz B ru nch "w ith Je ff C ha rn e y 9 a .rn , _. n o o nAmerican Cablevision Channel 3 0Wednesdays: "K an sa s C ity Ja zz w ithRu th Rho den " 6 and 7 p.m .Friday: "Ru th 's M us ic C o rn er" 5 p.m .

I f c o o l ja zz d o e s n ' t s o u n d s o h o t o n y o u r p re s e n t s o u n d s y s te m , y o u m a y w an t to v is it P r im us . '1 W e c a rry o n ly th e f in e s t n a me s inh ig h f id e lity l ik e : M m a ntz , D ef in it iv e T e c h n o lo g y e n d A ud io A lc h e m y. S o w e c a n h e lp y o u d e s ig n lh e u lt im a te s y s te m s ta rt in g a ta r o u n d S , l 0 0 0 . A nd if y o u " r in g u s y o u r fa vo r it , e ja zz re c o rd in g s , y o u c a n lis te n to th e m in o n e o f o u r s ix a ud io ~I I , "ro o m s. ~ O f c o u rs e , y o u m ay b e s u rp r is e d b y w h a t y o u h e a r . N o sm oo th ta lk . N o c o m m is s io n h u n g ry s a le s I I 1 1p itc h es . J us t g re lJ t ja z z . ~ S to p in ( ! r id s ee u s to da y. P rim u s A ud io P le a s u re , 1 1 0 4 B a l t i m o r e , 8 1 6 4 2 1 3 6 5 5 . ' , '

36 JAM Magazine


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T he Sunday Morn ing , Jazz B runchw ith Je ff C ha rn ey - 9 a .m .-12 noon EXC ITING FEATURES INSP IR ING INTER V IEW S

11131 Co lo ra doKansas C ity , M 06 4 13 75767103


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K ;\ NS ;\ S r : I T Y ..1;\ Z Z COM MIS S ION P a .E SEN T S

Thursday Night")June 25th.Tiekets are $10 in advance")$15at the door.Toorder tiekets call Tickehnaster at (816)931-3330.For grou.psales or corporate package inforu"lationcall (816)274-2700.

Kaw Vall(-~yArts &l-Il.1.Hu.nities - I~ierre~s Phoenix l~ian.o Bar&(;rill -MaryAnn ~s (Ju Main. -Mary Ann ~sPen.thouse - RiverCity Caf(-~- Allis Plaza I-Iotel - Birdland -Mutual MusiciansFoundation - 'rhe 'ruha -Westin CroW"u Cen.ter I-Iotel -Levee- Blayn(~y~s of" W(-~stp()rt - l~arris I-:Iouse - The 1~lurricane - CityLight .Ja:z:zClub -Br-istol Bar &Grill- 'I'he Poin.t - (':>hsessioJ1.s-Epic,,,O('an l......ou.n.gt"" & Restanrant - B.B ~s l...JaW"nsideBar-B-()ll(~- 'I~hc()d()f-(~ St""~(-~gers- T'oulfo()leries Restau.rant ~~ I-lar- FlIzzy~s SOllth Sport.s Bat:"&Grill - Paddy O~ Qll.igley~s -Longshots - Ma,rt:wayH.oad.holise C:afe - Blue Note - l

jam magazine - june-july 1992

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