Monday, December 24, 2007

Radio: Malling and Un-Malling

My first freelance piece for Chicago Public Radio aired last Friday. It's about a Chicago suburb of Oak Park (and the place were I currently live), returning a pedestrian-only shopping mall to car traffic after more than 30 years.

You can listen to (or read) the piece on Chicago Public Radio's website.

As is usually the case, there was more information than would fit in the alotted time (five minutes), so here are a few follow-up notes.

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Ped Malls is the US - past and future
Several hundred pedestrian-only malls were built in cities around the US, starting in the late 1950s with Burdick Street in downtown Kalamazoo, Michigan, in 1959. According to Robert Bruegmann, the urban planning professor (and author) quoted in the report, all but about 20 or 30 of these have been torn out. The pedestrian mall movement in the US was a response to a trend that started in Europe after WWII. Bruegmann says that in Europe more of the malls have remained, in part because many of the streets that have gone pedestrian-only were already too narrow for motor vehicles. In the less dense, car-dependent US, the pedestrianized malls faced greater challenges, not least among them the convenience of the suburban shopping centers with their free parking lots. Two pedestrian-only malls in the US that are doing well are the Third Street Promenade in Santa Monica and the 16th Street Transit Mall in Denver.

Bruegmann also had this to say: "I think this is the end of a particular chapter in the pedestrian mall story, but my guess is that we're going to come back to it. As cities become more and more complex organisms and there's a lot more revival in inner cities, my guess is that we'll see further generations of pedestrian malls."

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The Density Factor
Another planning expert I spoke to is Daniel Lauber, who formerly worked for the Village of Oak Park as a city planner. He opposed re-streeting Lake Street back in the 80s and Marion Street in 2007, but now that the streets are all open again the Oak Park should be concentrating on raising the density of housing in its downtown.

Lauber: "Any downtown, a suburban downtown in particular, really needs high-density housing to thrive. It produces a captive market for your retailers and restaurants in your downtown. That will help them thrive and produces more sales tax for the village."

Oak Park's Village President David Pope says that where density is concerned the town headed in the opposite direction. The Village Board plans to actually lower height restrictions in the area from 125 feet to 45 feet. This is to help preserve the intimacy of the space and to ensure that it doesn't become, "a row of condo towers."

This is in contrast to Evanston, another Chicago suburb, which has pretty much gone hog-wild for density in its downtown. In fact, Evanston has taken the first steps toward a plan to build a 49-story skyscraper downtown. As an admitted newcomer, it seems to me Oak Park and Evanston are in an unspoken contest to be the area's "most enlightened suburb" so it should be interesting to see how this works out for both.

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Further Reading
Here's what the Project for Public Spaces has to say about downtown Oak Park:

Wednesday, December 5, 2007

Free: Surf and Sleigh

You're probably knocking yourself out (and your checking account for a loop) getting "holiday" gifts right about now. Fortunately, the folks at iTunes offering up something fun and free: a rollicking surf-punk version of Leroy Anderson's Sleigh Ride by L.A.'s Los Straightjackets from their 2002 album "Tis the Season for Los Straightjackets."

TNLD says act now (the free download is only good for a week or so)

The link comes courtesy of the excellent blog Free iTunes Downloads, which I recommend adding to your RSS reader if you're into that (or just check it out every so often, Grandpa). I've also updated the righthand column here with a Free Stuff nodule with links to other sites with freebies for you to stick in your ears.

Merry Grimble!

Tuesday, November 20, 2007

Video: Tom Walbank, Harmonicat



Video courtesy of JazzVideoGuy.

More on Tom Walbank and the Ambassadors at their MySpace page.

Word Dork alert

Ever had a phrase pop out of the media ether and slap you on the noggin? Call me an English major, but that's what happened in this report on NPR's Morning Edition last week. At about 1:38, a political analyst named Denise Strasser lays the blame for former Mexican President Vicente Fox's recent troubles on his -- wait for it -- "unbridled protagonism" [insert noggin slap here].

I think one part of the problem is translation. "Protagonismo" means a lot more in Spanish than "protagonism" does in English, where it sounds ever so slightly artificial. But as is often the case, the noggin problem lies in the adjective: Are there bridled forms of protagonism, and if so are they more acceptable? Where on the protagonist (protagonizer?) would this bridle fit and who would hold the reins? And sadly it's a short step from tall men with mustaches and horse tack to bondage porn and who needs that during breakfast?

The lesson is this: If your noun is sound, resist the urge to goose it with an adjective.

Speaking of head-scratch-inducing modifiers, check out this online ad from L.L. Bean featuring three words I never expected to see chain-ganged together in the service of commerce.

Wednesday, November 14, 2007

Show: Chiara String Quartet

Chamber music wasn't on the agenda for my recent trip to Kansas City, but I'm always willing to make room for it. The Chiara String Quartet's show at The Brick was definitely worth the detour.

The Kansas City Star's peripatetic Pablo Horsely caught the second set, after a performance by the Zehetmair String Quartet a few blocks away at the Folly Theater (part of the Friends of Chamber Music series). His review is here, but let me fill in what Paul missed and what for me was the head-snap part of the show.

The CSQ opened their first set with a movement from Jefferson Friedman's String Quartet #2. It's a muscular and angular piece he composed especially for the Chiara, full of growling and animal drive. They followed that with a movement from a piece by Haydn. The effect of that juxtaposition for me was like seeing the skeleton of the same or similar beast.

This is something that Chiara likes to do in club shows like the one at the Brick and it makes sense. They've already broken down the distance and formality that usually separates classical players from their audience. Losing the formal structure of individual works has the same effect. Frankly, I'm more motivated now to go out and find/hear the rest of the Freidman and Haydn (and Brahms and Bartok and other pieces) they played selections from than I would be had I been forced to sit through each in turn.

It's pretty clear that Chiara is still getting used to the club approach. They seemed to be somewhat abashed by the applause between pieces. I didn't think the amplification was altogether necessary or helpful (during the music, that is; it was great for between-piece chats) and it seemed to flatten the overall dynamic from where I was sitting, as though the actual quartet was competing with its amplified doppeganger. I also think the mics occasionally got doinked in the process of spirited bowing.

That said, I'm looking forward to seeing them again. Brava!

Further reading:
The week before the show, Wayward Blog asked the perspicacious Chris Packham to put Chiara in context. And, of course, he did.

Chamber Music Today also covered the Brick gig here, and they have more edjumacated things to say about the gig (and chamber music) than I.

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Photo above courtesy of the Chiara String Quartet's website. (And no they're not standing in downtown KC trying to figure out where the new light rail system is going to be. They can worry about that when they play The Brick in 2025 or so.)

Awarded

I made a brief trip back to Kansas City last weekend (by train - more on that later), to tie up a few loose ends from our recent move and also to collect an award. The Kansas City Association of Black Journalists selected a piece I produced about urban farmer Joe Jennings as best radio feature.

As is so often the case, it came down to luck. I was lucky to have come across Mr. Jennings during my brief-candle stint as producer of the Walt Bodine Show in the summer of 2006. I didn't have room for him on an urban agriculture show, but he was such a great talker that I kept him in my mental reminder file. Then last June, I spent part of day trying to keep up with him at his place in Wyandotte County. When it came time to put the piece together, the trick was staying out of his way. I was pleased with the results and apparently so was the KCABJ.

Have a listen for yourself:


Mr. Jennings is an award winner himself. The Pitch named him Best Urban Farmer in this year's Best of KC issue. Congrats, Mr. J!

Extra linkage:
KC Star story about the KCABJ awards (which featured a KCUR sweep of the radio category)

Poor Mr. Metheney

The Onion

Overfunded Public School Forced To Add Jazz Band

MANALAPAN, NJ—Benjamin Harrison Middle School faculty members regretfully announced Tuesday that, despite their best efforts to prevent it,...

Monday, November 5, 2007

Autumn Leaves (and what to do with them)



Greetings from "Chicagoland" (gag) where the autumn leaves have begun to fall, avec gusto. Two thoughts entered my head when I saw the stately maple in front of our rented bungalow in Oak Park.

- "Ooo, fall colors. Pretty..."
- "God I hate raking leaves."

Actually the raking part isn't so bad. It's the bagging and disposing part that frosts my tomato blossoms. At least it was in Kansas City, where I would invariably not get everything bagged by the time curbside collection (literally) rolled around.

Not a problem around here, where they invite you to just rake your leaves into the street (within certain guidelines). Then throughout October and November the diesel equivalent of a broom and dust pan roam the side streets looking for piles (see above).

This is thanks not only to the sheer volume of deciduous leaves dropping hereabouts but also a level of municipal services that no doubt boils the blood of guys over at Americans for Limited Government. But then I'm not sure the Sierra Club is thrilled about the exhaust either.

Thursday, November 1, 2007

DT Archive: KC Street Names

By request, we return once again to the dusty, shallow confines of the Daytripper archives. The following column demonstrates that you can indeed spend four-plus hours poking around aimlessly in the library's local history collection and still have something to show for it. Photo at right: Petticoat Lane circa 1990 (by LI).

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It's all in a name (or was)
Kansas City View - November 1990

A breeze of controversy buffeted Kansas City in 1966 when the City Council announced its intention to officially rename the section of 11th Street between Main and Grand Petticoat Lane. All the change amounted to was making a customary title legal. Nevertheless, Hartzfeld's, a local clothier who operated on the street in question, objected. Hartzfeld's made a line of clothing called Petticoat Lane and claimed that its trademark rights would be diluted.

The name change went through, but as years passed and shoppers went elsewhere, the two blocks eventually went back to plain old 11th Street. These days, Petticoat lane, like Hartzfeld's, exists only in Kansas City's memory. Not a comforting thought since Kansas City has the collective memory of a flea.

Memory, though, is an odd thing. Take for example the 1988 controversy over naming a section of Maple Street in Independence Higashimurayama Avenue. Higashimurayama, a suburb of Tokyo, is Independence's sister city in Japan. The good folks of Higashimurayama had already renamed a major street in their town Truman Boulevard as part of the tenth anniversary of the sisterhood and the good folks in Independence were trying to do their part.

A group of about 50 veterans showed up at a council meeting to protest the change and, to read the Times account of it (May 3, 1988), the debate centered on whether Harry Truman was rolling over in his grave for or against the change.

"I believe Harry Truman would turn over in his grave if he knew something like this was going on behind his back," said former VFW Post 1000 Commander Buck Stodtman, mixing a sweet metaphor against the change.

The Times apparently couldn't reach the former president for comment. Suffice it to say, the forces of love and world harmony won out over xenophobia, and Higashimurayama is still in the family.

Most of the street name changes in Kansas City's history have been for the benefit of mail carriers and street car conductors. East-west streets were changed to numbers in 1869, which resulted in the loss of many feminine street names: Emily (6th street), Gertrude (17th), Catherine (18th), Amelia (l9th) and Adeline (20th), among others, were banished in one fell bureaucratic swoop, their long hair whipping in the wind.

In 1910, the Post Office, in a fit of excessive practicality, asked that all street names in Kansas City be changed to numbers. City Hall ignored the Post Office until the issue went away.

As the city continued to grow through annexation and other kinds of expansion, street names had to be changed. Many streets in town have had several names. 11th Street, for instance, was first called Chestnut east of Main. West of Main, it was Chouteau. Main Street used to be Eleanore. Grand used to be Market Street. Walnut Street, named for a walnut grove which stood at its north end, has always been Walnut.

A re-survey in 1931 eliminated many duplications in Street names, but was only a warm-up for the nomenclatural lalapolooza the city pulled of in 1947. As part of the Ten Year plan, 149 street names were changed overnight. City Hall explained that this was being done to avoid confusion.

Many streets which had names before became numbered terraces. Hence such names as Loma Linda Road, Bel Airy Place, Reservoir Place and Steptoe Street were gone, taking their music and rhythm with them.

The City Planning Department's escapades continued north of the river in the 1950s, but not without incident. The same system was adopted as south of the river: east-west streets numbered, with eight streets to a mile. A problem cropped up in 1951 when a two-block stretch of pavement was named Crane street because it fell between 45th Terrace and 46th Street. L.D. Klein, who lived at 608 Crane, took exception. The name didn't mean a thing to him. As it turns out, it didn't mean much to anyone else.

As an unnamed Kansas City Star reporter explained (Feb. 18, l95l): "Crane is a small town in Stone County down on the Arkansas line. The city employee that chose the name never lived there, has no friends or relatives there and no love for the place. It was just a short name so he put it on the city map."

So what's in a name? Plenty, if it's where you live.

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Postscript: A companion to this column dealt with Petticoat Lane more extensively and elicited my only written response. I quoted from local history writer Mrs. Sam Ray, who wrote for the Star for many years, and a week or so later got a letter from some Poindexter there asking me not to quote from the late Mrs. Ray in the future, as her heirs found some of the advertising in the View unseemly. Massage parlor ads positively give some folks the vapors.

Concerted efforts on my part to find something else of Mrs. R's to incorporate ended in sad defeat.

Tuesday, October 23, 2007

SWAK


Bye bye, Lee!
Originally uploaded by DBasci.
My last day of work at KCUR was last Friday. It was also the last day of the fall membership drive and I'm pleased to say I helped to raise around 15 grand on my way out the door. Apparently some persons were so moved by my fundraising prowess that this picture of my head was defaced (a pun, at last!). If memory serves, the pink is a favorite shade of Program Director Bill Anderson's. Thanks, big guy! And thanks to Danielle Basci for snapping the image.

Anyhoo... I cleaned out my desk and headed for home around 3 PM. About 18 hours later, two sleep-deprived people and two frazzled dogs arrived in Chicagoland.

And so I promise more pictures, more posts and puns. In the meantime, there's unpacking and laundry and other fun things to do. See you (here) soon!

Wednesday, October 17, 2007

The Mesopotamians

The original gods of geek rock are back with this cracking-good bit of animated musicality. From their latest album "The Else" on Rounder. Also available on - get this - vinyl.



By the way, it's true, as reported here and here: I'm moving to Chicago.

Tuesday, October 16, 2007

Going to Chicago

Going to Chicago, sorry that I can't take you.
Going to Chicago, sorry that I can't take you.
There's nothing in Chicago that a monkey woman can do.

When you see me coming, raise you window high.
When you see me coming, raise you window high.
When you see me passing, hang your head and cry.

If you love your baby, tell the world you do.
If you love your baby, tell the world you do.
There's coming a day your baby really learn to love you too.

- "Going to Chicago Blues," Jimmy Rushing & Count Basie

Thanks to everyone who made the last four years in Kansas City such a treat - and to hell with the rest of you. :)

Saturday, October 6, 2007

Radio: Eldar and Alaadeen

Sorry for all the dust around here. The times, they are a changin'. More on that in a later post. In the meantime, let's catch up on recent radio adventures.

Eldar

The Russian-born pianist was in Kansas City at the end of last month for a pair of concerts with the Kansas City Jazz Orchestra. This preview aired on KCUR Friday September 28, but you can listen to it here:
I was out of town for the shows and apparently no one at the Star could be bothered. So if you went and have an opinion I'd love to hear it. Happy in Plastic covered Eldar's last appearance in KC in his review of last summer's Jazz in the Woods festival.

The following Sunday, KC Currents aired this interview with Eldar about his new album, "Re-Imagination," released this summer on Sony Classical. Listen to it here:
Alaadeen

I also interviewed Kansas City saxophonist Alaadeen recently about his new album, "And the Beauty of it All - Ballads." A dazzlingly crafted version of it airs on KC Currents tomorrow night (7 October) at 5 PM with a repeat Monday at 8. (Seriously, I was really pleased with the result.) A slightly shorter version will air next week during Morning Edition.

Where to tune in
  • KCUR FM 89.3 on your terrestrial radio
  • kcur.org on your kom-poo-tor
Final note, both Alaadeen and Eldar were featured in my most recent appearance on KCUR's Up to Date. Check it here.

Sunday, September 23, 2007

Radio: September 21 Jazz Update - notes and links

Here are the tracks and links from last Friday's jazz update on Up to Date. I'll update this post with notes over the next few days.

If your eyes are tired, you can listen to the segment instead (runs 11:30).












Louis Armstrong and the All-Stars
CD - Live at the 1958 Monterey Jazz Festival (Monterey Jazz Festival Records)
Track - Now You Has Jazz

The Monterey Jazz festival
turns 50 this year (with this year's fest kicking off this weekend). To mark its golden anniversary, the festival has teamed with Concord to release a series of live performances recorded over the last half century. The first batch includes performances by Sarah Vaughn, Dizzy Gillespie, Thelonius Monk, Miles Davis and the aforementioned Satchmo. There's also a festival sampler disc with additional cuts by Jimmie Witherspoon, Pat Metheney, Dave Brubeck and Dianna Krall et alia.

Re-issues bring with them an quandary for the ethical jazz fan: is it better to shell out your hard-earned jazz dollar for music by a past (i.e., dead) master, or to spend it in support of a corporeal artist trying to make a living in the here and now. Concord and MJF Records bridge the gap by donating all the profits from the series to the MJF's jazz education programs. The ethics of jazz education are also a subject of much debate. Ben Franklin has this take; the IAJE would undoubtedly beg to differ.

But I digress... The rest of the selections all have a Kansas City connection, with the first two living and working here, and the second pair spending some of their formative years on the scene (and passing through on a somewhat regular basis).

Charles Gatschet

CD - Step Lightly
Track - Caracas

Alaadeen
CD - And The Beauty of It All - Ballads (ASR)
Track - And The Beauty of It All

The Harold O'Neal Project
CD - Charlie's Suite: Cries and Whispers From My Great-Great-Great Grandfather (PME Records)
Track - Felix Bebop

The Harold O'Neal Project is Harold O'Neal on piano with Rick Gibbins on guitar. Harold will be making three appearances in KC in October.
  • October 9: w/ The Dan Thomas Quintet at Epperson Auditorium, Kansas City Art Institute
  • October 13: w/ Alaadeen and Group 21 at The Blue Room
  • October 26: The Harold O'Neal Quintet at Rush Hour at Mutual Musician's Foundation
  • October 31: w/ The Dan Thomas Quintet at Crazy Olives

Eldar
CD - Re-Imagination (Sony)
Track - Prairie Village

Tuesday, September 18, 2007

Eldar returns to KC



I had the chance to interview piano phenomenon (see the performance above for proof of that description) Eldar yesterday for a feature that will air next week. No surprise, but the kid's a sharp cookie.

Eldar's parents emigrated to the Kansas City area from Kyrgyzstan in the late 90s, arriving in Prairie Village when he was 10. For the next six years or so, Eldar studied with local jazz pros like Kim Park (and generally dropping jaws around the KC jazz scene) before signing with Sony and heading for New York.

Eldar says he's on the road about half of the time these days, and occasionally that brings him back to his old stomping grounds. Last summer, he simmered at the Corporate Woods festival (see some guy named Bill's review). Next week, he'll be back for a pair of concerts with the Kansas City Jazz Orchestra next week.

Gazarek and Nelson



I've featured vocalist Sara Gararek here before. She's a young jazz singer developing a fine set of chops. And in case you want to verify that for yourself, she's recently posted the video of "Let's Try This Again" above on YouTube. (As a grouchy side note, the video is also proof that it takes more than software to maintain visual interest.)

Gazarek co-wrote the tune with Josh Nelson, the pianist for her touring combo. Next week, 24-year-old Nelson releases his first CD as a leader, "Let it Go" (Native Language Music). It features a raft of original compositions and support from drummer Matt Wilson and tenor saxophonist Seamus Blake. I think Nelson is mature beyond his years and definitely one to watch.

Friday, September 14, 2007

Radio: Up to Date jazz update 9/21

My next appearance on KCUR's Up to Date update happens next Friday. Hope you can tune in.

On deck
  • Local jazz goodness including Alaadeen's "And the Beauty of it All" and guitarist Charles Gatschet's Step Lightly, and additional jazz goodness TBA
  • Notes from the local scene
  • and maybe, just maybe, an progress report on TNLD's podcast

When to tune in
  • Friday, September 21 at somewhere between 11:45 and noon Central
Where to tune in
  • KCUR FM 89.3 on your terrestrial radio
  • kcur.org on your cyber wawa
As per usual, a post with notes and links will follow. As always, if you like these jazz segments, scream and shout at uptodate@kcur.org

Thursday, September 6, 2007

And now for something completely different



Wee Jazz, featuring members of the Snuff Jazz collective.

Video via Wayward Blog, where DJ Clem chimes in to notify one and all (i.e., you) that Wee Jazz performs tomorrow (Friday 9/7) at Davey's Uptown in Kansas City, with Mr. Marco's V7, featuring DJ Clem.

The circle is not round.

Wednesday, September 5, 2007

Another Helping of Bird


If you missed the annual Charlie Parker graveside remembrance, fear not. Documentations of the event continue to arrive.

Steve Paul, the Kansas City Star's writer for all seasons, has put together a collection of images (including the one above) from the event. View a slideshow here or click the image above.

My audio feature aired on KC Currents Sunday (and repeated Monday). You can listen to it here.

Bird persists!

Friday, August 31, 2007

Remembering Gregory

The evening after last Sunday's raucous celebration for Charlie Parker, I stopped by a smaller memorial for another Kansas City artist who passed on, the singer Gregory Hickman-Williams.

Gregory passed last year on August 26th after 23 weeks in the hospital, awaiting a heart transplant. He entered the hospital a week before a release party for his CD "Passages."

"Passages" is a remarkable document of an incredibly talented artist. Here is a great natural voice that received excellent training (both in the U.S. and Europe) yet never lost the pure joy of singing. Here was a trained singer who could "get off the page" and improvise the blues. The CD shows off Gregory's mastery of not only straight-ahead jazz singing but also Latin and spirituals.

The selections are also full of telling references to the heart. Jon Bauer, Gregory's partner and the album's producer, says that ironically the repertoire was picked out two years earlier, before they had any hint of Gregory's condition.

Here's one of my favorite cuts from the CD, a beautiful and spare treatment of Luis Bonfa's Manha De Carnaval, backed by Danny Embrey on guitar and Stan Kessler on trumpet.



"Passages" is available through iTunes or at CD Baby.

I first heard about Gregory through the tireless enterprise of His Bagness at There Stands the Glass. A few months later I started to work on what I thought would be a short radio feature, but has since grown into a documentary. More news on that front as it develops.

Thursday, August 30, 2007

Miracle Snack

The bag of "Old Tyme" pretzels pictured next to this paragraph made the 1,012-mile journey from the Snyder's plant in Hanover, PA to Kansas City and then survived the drop from the top rack of a vending machine without a single broken pretzel. I repeat, NOT A SINGLE BROKEN PRETZEL.

It's a small miracle, granted, but I'll take what I can get. And any pretzel actuary worth his or her oversize salt crystals will tell you that the odds against this are huge.

That reference to salt might cause you to say, "Lee, surely some of the large tasty salt crystals must have been dislodged from their fat-free surface."

You'd have a point, but I'd be tempted to pop in some color correcting contact lenses so that I could look at you with steely blue eyes and tell you not to get between a hungry man and his miracle. An awkward, electrically charged silence would follow. Then one of us would giggle and we'd both laugh at the absurdity of it. I mean, who's ever heard of a pretzel actuary?

Footnote:
In the small print on the package, the folks at Snyder's of Hanover make it clear that they don't want you to confuse them with cross-state rival snackmakers Snyder of Berlin, PA. You have to wonder if it's about more than just the name. Are they still mad that the Berliners sold out to Birdseye, went commercial ("Snack makin's about the fans, dude, not the money"). Or maybe it all goes back to that unfortunate ruckus at the Pennsylvania Snack Producer's Softball Tournament in 1988.

If you know please leave a comment.

Wednesday, August 29, 2007

Prankin' Diz

By most accounts, trumpeter Dizzy Gillespie enjoyed a good prank as much as the next guy, maybe even more. But apparently he met his match in San Francisco in the late 60s, at the hands of uber-pranksters Coyle and Sharp.

Parker's Birthday

Today would have been Charlie Parker's 87th birthday. Happy birthday, Bird, wherever you are.

Of course in Kansas City, and elsewhere, the celebration got started last Sunday. Every year on the Sunday closest to Parker's birthday, local jazz folks gather at his grave in Blue Summit's Lincoln Cemetery to play his music and remember. After failed attempts in 2005 and 2006, I made it to the event this year, fancy recording device in tow. I'm editing a piece about the event that should run on KCUR's KC Currents this Sunday at 5 (with a repeat on Monday at 8).

Update: Listen to "Jazz Fans Gather to Celebrate 'Bird'"












By most accounts, this year's turnout was good. The KC Star's Rich Montgomery put it at around 150 and I'm no good at those kinds of estimations so I'll go along. (For one local Casandra, it was cause for more yet more grousing about the dwindling audience for jazz. More flies with honey, Mr. Bag...)

The weather was good, as in not life threateningly hot, and spirits were generally high.

A nice moment came after the event was starting to break up. Local sax man and educator, Ahmad Alaadeen was showing off an alto sax he'd brought with him. He said it belonged to John Jackson, who played in the Jay McShann band with Parker. Since Parker was notorious for either losing or pawning his horns for drug money, Jackson often loaned this particular horn to Bird for gigs.

Bobby Watson, Gerald Dunn, Dennis Winslett and several other local sax players were standing around. Alaadeen handed the horn to Watson, who fingered the keys and declared to it to be "like butter." He blew a single note and handed it back to Alaadeen, then immediately made a show of rubbing his hands on his horn, as if trying to transferring the Parker mojo.

Can you blame him?

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Photo above from talented flickr user yngrich used under a Creative Commons license.

Tuesday, August 28, 2007

Up for an eclipse?


eclipse
Originally uploaded by WoogglyBooggly.
For the last year, my job has involved getting up at an unspeakably early hour (OK, I'll type it: 3:30 AM). And today - finally! - it paid off.

I got up as bleary eyed as usual and began the daily routine. At some point, I noticed that C and the dogs were headed downstairs. Then I remembered: the eclipse. A ragged shadow was just creeping across the top of the visible moon when I made it downstairs. We took turns using the binoculars while the dogs hunted cicadas attracted to the yardlight.

There was just a sliver of reflected sunlight visible by the time I made it to work. I passed Terry from the cleaning crew on my way in and asked him if he'd seen the eclipse. Apparently he hadn't even heard about it. So we went back outside for a look at the ghostly rufous orb (sorry, English major).

A young guy was walking south on Troost, headed home I assume. He saw us gawking and swung his head that over that way, and did a full-body flinch at the sight of the huge red ball hanging over the Plaza. Can't say as I blame him. It was quite a sight.

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Thanks to Flickr user WoogglyBooggly in St. Louis for posting the beautiful image above. It's pretty much what I saw, give or take 250 miles.

Also: My co-way-too-early-in-the-morning-worker Michael and I also wandered out for a look. He has this take on his MySpace blog.

Friday, August 24, 2007

DT Archive: A Trolley Barn Requiem

Time for another trip to the Daytripper Archive. This time the sad tale of the Kansas City Trolley Barn neighborhood. Never heard of it? Read on...

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A Trolley Barn Requiem
(originally published in the KC View January 11, 1991)

On the Saturday after Thanksgiving I was walking from the Plaza library to the View's offices at 48th and Troost. I passed the Theis Fountain, it's base dry and unseemly for the winter. My shoes picked up clods of mud from the field east of Theis Park, where UMKC students play flag football. After I crossed Rockhill Road and started down 48th Street, I began to stomp and stagger and drag my foot sideways through the grass to get the stuff off. There, it occurred to me that I had crossed over the western boundary of the Trolley Barn neighborhood. But boundaries are irrelevant in a neighborhood without houses.

In the distance, I saw a man weeping a metal detector over the torn up ground on the west side of Campbell Street, ground that used to be someone's front yard. I went over to talk with him.

He looked a little nervous as I approached. Nabokov wrote that "in an American suburban street a lone pedestrian is more conspicuous than a lone motorist." And in a vacant, decimated inner city neighborhood, you could probably add "threatening" to conspicuous.

I hailed him a half block off and smiled, thinking that might put him at ease.

"Finding anything?" I asked when I got close enough to be heard without shouting. .

"Nah," he said, taking off his earphones, "a couple pennies."

He glanced around, probably looking for something to hit me with if he needed to. Telling him I was a writer on my way to the office seemed to calm him a little but not much. I tried a little cajoling which I'm not very good at. He told me reluctantly that he was from Illinois that he was visiting relatives of his wife's whom he'd met while he was attending Central Technological Institute here in the early 1950s.

"I loved Kansas City then," he said after a pause. His sudden sad wistfulness surprised me. "I thought I was the greatest place. But it's not much of a city anymore.

I said that it certainly was a shame the city couldn't seem to maintain the neighborhoods in the older parts of town. Like the one we were standing in.

"I'm not racist or anything," he said, his voice dropping although we were the only two people in sight, "but the blacks have ruined that part of town. He gestured generally to the east. He told me about driving down the Paseo back then and how beautiful it was.

"The Paseo looks like the London Blitz now," he said.

When I suggested that there might be other culpable parties besides African-Americans, he said that he had to get back to his in-laws' place. He said he'd told them he'd be right back and that was an hour ago. I asked for his name as he headed for his car, in case I decided to write about the neighborhood, but he said he'd rather not give it. I wished him a good day and turned my face toward Troost.

It occurred a to me, facing that direction, that the African-American community is in no way responsible for the most prominent Blitz-esque remnant on the east side: Paseo High. And neither is it responsible for the wreck of the Trolley Barn neighborhood.

[Note: The original Missouri-limestone Paseo High School (picture right from paseo52.com)was torn down and replaced in the 1990s. At the time this piece was written, it was still a hollow shell awaiting the wrecking ball.]

The Trolley Barn neighborhood got its name from the Kansas City streetcar barn (formerly at 48th and Harrison) where the trolley cars were parked at night. Many streetcar employees had homes in the neighborhood, which remained placidly upper-middle class until the streetcars stopped running in 1957.

This wasn't a fatal blow to the neighborhood. Some residents moved out but some remained to mix with the new, younger neighbors who moved in. University employees moved there throughout the 1960s, as did artists and writers. Two literary magazines -- The Harrison Street Review and Chouteau Review began publishing in the neighborhood in the 70s.

The fatal blow came with the Brush Creek flood of September 12, 1977. Many homes were damaged and while private homeowners began to make repairs, houses owned by the University of Kansas City Trustees fell into disrepair less than a month after the flood, tenants of the trustees were given eviction notices and told vacate by the end of the year.

Protests were made, suits were filed and a few houses were spared but the battle was lost. The Trustees wanted the land. In 1978, the Trolley Barn, a red brick building built in 1910, came under the wrecking ball before it could be declared a historic site. There is a large parking lot in its place now. As surrounding houses in the neighborhood were bulldozed, what do you suppose happened to property values?

Watching this neighborhood die for several years was like watching an elderly neighbor on the decline. The neighborhood was already wizened when I first encountered it, but there still seemed to be signs of normal life in its buildings, businesses and people. There was Joe's Fantasy Island Barber Shop, the fabled Kaye's Rockhill Bar, and even a masque for Islamic students at UMKC. The bulldozers blade has removed them all.

The long awaited, much touted, highly contested University Park research development is on its way. Whether we'll be all that thrilled when it arrives is a story for another day. To borrow the terminology of the Star's real estate writer, the first building should be "coming out of the ground" this year.

For now, the neighborhood is a grid of empty streets and sidewalks, sparsely populated by trees, which actually do come out of the ground. On their own, the trees would stay, putting out leaves every spring, dropping them in the fall, all the while changing carbon dioxide into oxygen. But the bulldozers will find them, and then the neighborhood will really be dead.

Postscript - 2007
Looking back, things haven't turned out so badly for the Trolley Barn Neighborhood. Yes, the houses are all gone and so are the bars. But the area now houses the headquarters of the Kauffman Foundation and the Anita B. Gorman Conservation Discovery Center, an urban conservation campus run by the Missouri Department of Conservation and the Missouri Department of Natural Resources. And a fair chunk of it is still a large open field, frequented by geese, which some people detest. I pass it everyday going back and forth to work.

The aforementioned University Park died a sputtering death overseen by keen lawyers about nine months after I wrote this column. More on that next time.

Thursday, August 23, 2007

Radio: Snuff preview

I caught a rehearsal yesterday at Country Club United Methodist last night for the Jazz & Beyond concert at All Soul's Unitarian Church on Saturday. Of course, "rehearsal" probably isn't the best word for what happened. How do you rehearse for a performance that the musicians are going to make up on the spot?

Anyway, I gathered some sound and am working furiously to produce a preview that will air tomorrow during Morning Edition.

Where to tune in
  • KCUR FM 89.3 on your terrestrial radio
  • kcur.org on your interweb dongle-ding
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Update
Finished the feature at midnight (woo-hoo!). Here's a link:

Wednesday, August 15, 2007

KC Alert: SNUFF, Bird and AJM at 10

Upcoming KC Jazz haps in to note:

Jazz and Beyond series presents SNUFF and Bells - August 25
God (or Whomever) bless those crazy Unitarians. All Souls Unitarian Universalist Church in Kansas City presents the latest in its adventurous Jazz & Beyond series and "An Evening of SNUFF JAZZ" sounds like it could be the most adventurous yet. SNUFF regulars Mark Southerland (aka Shark Motherland), Bill McKemy, Arny Young are promising two sets regular SNUFF. They'll be joined by Jeffrey Ruckma (whom I label a genius), Alonzo Conway and -- get this -- the All Souls Handbell Choir. As a former high school hand bell player, I'm mighty interested.

The show starts at 7:30. No ticket price is listed on the church's site, but previous shows have been $10.

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Bird's B-Day - August 26
This nostalgic ramble by former Kansas Citian William B. Smith ran yesterday in the Wall Street Journal. It should serve to remind the greater world that Charlie Parker's birthday (8/29/20) is fast approaching and with it the annual commemorations thereof. Events are planned in New York (both in Harlem and the East Village) and, of course, at Lincoln Cemetery in Blue Summit where Bird's bod is interred. This year's graveside 21-sax salute takes place on Sunday, August 26th at 1 PM. A jam at the Mutual Musicians Foundation follows that evening at 8 PM. A handy map to the cemetery is at webjazz.net.

I just received word today that a new -- and possibly competing -- event is being added to the commemorative mix this year. At 2 PM that same day, a memorial exhibit opens at the Town House Gallery, 7th and State in Kansas City, Kansas, Parker's birthplace. It's being organized by local historian Sonny Gibson. Esteemed local jazz elders Ben Kinard, Frank Patterson and Pearl Thuston will speak. Lee Brown and the Smooth Groove will play.

YouTube bonus: Here's Parker playing with another big name around KC at one time, Coleman Hawkins:



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Turning X on the Vine piles on
The American Jazz Museum is adding more events to the roster for it's upcoming 1oth anniversary shindig. The "extravaganza" now starts on September 13 with a symposium on Jazz and Baseball. That same night Bobby Watson hosts KC's first VandoJam National at the Blue Room (that's basically a jam session sponsored by reedmaker Vandoren).

September 14 is a fundraiser concert at the Gem headlined by Patti LaBelle and the Dizzy Gillespie All Star Big Band featuring Jimmy Heath and Slide Hampton. Vocalist Roberta Gambarini is also in the bill. She was recently named a rising star vocalist in Downbeat's annual critics poll. AJM will present a Lifetime Achievement Award to pianist Ellis Marsalis (the father of all those Marsalises you've heard so much bout recently). Tickets for the fundraiser are around $200, so please wave at us peons on your way in.

September 15 is a free day-long street fare with music and food and artists and craftspeople, marching bands, African drummers, two-steppers, fire eaters, jugglers and sacrificial mimes (OK, I made that last one up but a guy can hope).

More info on Turning X on the Vine can be found at the AJM website.

Saturday, August 11, 2007

Ridin' with the Dean

...Dean of Broadcasters, that is.

I'll be filling in for the lovely and talented Kelley Weiss next Wednesday as the co-host of the Walt Bodine Show. Walt and I will be welcoming the Ethic Professors back for their monthly attempt to clarify of the often murky waters of morality. The topic this time is "The Ethics of Apologies." (The musical interlude possibilities are limitless...)

When: August 15 @ 10 A.M. Central

Where: KCUR FM 89.3 in Kansas City - online at kcur.org

It should be a good time and hopefully far less contentious that the last time I guest-hosted a talk show on KCUR.

A Podcast's Progress

Still sorting out the details, in particular how to podcast music without getting one's ass in a legal sling, but so far things are looking promising for a TNLD podcast. ETA unknown, but I'll keep all four of you posted.

Radio: August 10 Jazz Update - notes and links

Another month, another passle of new jazz. Here's what Kraske and I covered on the August 10th edition, along with my notes and some links for further reading/listening.

Listen to the segment (9:46)










If you like these segments, let us know. How? Email the show.

Artist - Maria Schneider Jazz Orchestra
CD - Sky Blue (ArtistShare)
Track - The Pretty Road

Maria Schneider's music represents some of the most sophisticated stuff you can ever pull from the great grab bag that is this thing called jazz. It's carefully composed and orchestrated, which puts it in an entirely different category than the head arrangements of most small ensembles or the free-for-all of most free jazz. It's also more deft than most big band music, which too often ends up sounding like a whole bunch of instruments playing a head arrangement. The music is definitely jazz and creates a space for inspired solos by Ingrid Jensen, Scott Robinson, Steve Wilson and Gary Versace among the many other fine musicians in the ensemble.

Each of the five gorgeous tracks on Sky Blue has a story to tell. Each takes you on a journey, whether it's through the Minnesota landscape of Schneider's childhood in Minnesota, or through the avian flights of "Cerulean Skies," complete with birdsong. It's well worth the trip. Less is, indeed, often more in artistic endeavors, but Schneider proves that more can also be pretty damn fine.

Schneider is also a trailblazer in another sense, having abandoned the traditional record company contract for the more entrepreneurial road of ArtistShare. So far it seems to be working. Her 2004 Concert in the Garden was the first Grammy winning album to be sold online only. Read more about the pleasures and pressures of the process in this article.



Artist - The James Ward Band
CD - In Perspective (GroovWard)
Track - Bet That Up

Formed the late 90s at the Blue Room in Kansas City's 18th & Vine District, The James Ward Band has developed a faithful following in town for its mixture of groove and funk infused jazz. The heart of the group is the husband and wife team of James and Angela Ward, with James on bass (and trumpet and bass clarinet) and Angela on keyboards. They share writing duties on most of the tracks, and get great contributions from Gerald Dunn (soprano and tenor sax) and Ray Stewart (percussion).

The JWB continues to perform regularly at the Blue Room, and frequently run the Blue Monday Jam session. Grab your axe and git it.



Artist - Charles Mingus Septet with Eric Dolphy
CD - Cornell 1964 (Blue Note)
Track - Fables of Faubus

Dark days were not too far off for the troubled genius of post-bop, but in this previously unknown recording of a March 1964 concert at Cornell University, Charles Mingus is at his boisterous best, working with a group of musicians he adored, all playing music that they all obviously love. The sextet is clearly in the zone, loose and energized for an upcoming tour of Europe. The set list ranges from Mingus's own work, to Ellington and Strayhorn tunes, to a rollicking waltz through "When Irish Eyes are Smiling." Sadly, within a few months Dolphy would die in tragic circumstances in Germany, his death would contribute to an emotional tailspin for Mingus that would cripple him for the rest of the decade. But on this particular night in upstate New York, the good times rolled.

» Charles Mingus official site



Artist - Bruce Hornsby
CD - Camp Meeting - (Sony)
Track - Giant Steps

Maybe it's the piano, but there was something jazz inspired about the pop music of Bruce Hornsby and his group The Range. The group hit it big with songs like "The Way it Is" and "Mandolin Rain" in the late 80s and early 90s. But once the bloom was off the poppy, Hornsby didn't settle into an oldies act. He's continued to pursue his muse through a series of adventurous projects, among them a stint as the keyboardist for the Grateful Dead and 1995's Hot House, which included fellow square pegs Pat Metheney and Bela Fleck. 2007 has already produced two surprises: a bluegrass album with Ricky Scaggs (featuring a version of "Super Freak" that could conceivably disturb the eternal slumber of Rick James) and now "Camp Meeting."

He's working here quite confidently with two undisputed jazz masters: bassist Christian McBride and drummer Jack DeJohnette. In addition to two Hornsby originals, the album includes an ambitious set of tunes by Ornette Coleman, Bud Powell and John Coltrane, and Miles Davis among others. The result can't be called anything but a jazz album. That's just the way it is.

Read some more: "Hornsby calls jazz "Meeting" with McBride, DeJohnette".

Wednesday, August 8, 2007

Radio: Up to Date jazz quickie - Friday


Another Up to Date update is upon us. Hope you can tune in.

Spinning
  • Maria Schnieder (pictured) and her Jazz Orchestra's amazingly lush "Sky Blue"
  • A jazz outing by Bruce Hornsby, formerly of the Range
  • Lost Charles Mingus now among us
  • Local jazz goodness TBA

When to tune in
  • Friday, August 10 at somewhere between 11:45 and noon Central
Where to tune in
  • KCUR FM 89.3 on your terrestrial radio
  • kcur.org on your interweb ringading
As per usual, a post with notes and links will follow. As always, if you like these jazz segments, scream and shout at uptodate@kcur.org

Friday, August 3, 2007

Meet the new jazz boss

Today's Kansas City Star has a profile of of Greg Carroll, the new executive director of the American Jazz Museum.

My interview with Carroll ran on KCUR's KC Currents last month.

Carroll has a big job ahead of him but he comes with an impressive resume. He's a percussionist who continues to perform when his schedule allows. I believe this makes him the first musician to head the AJM. He's also a longtime jazz educator, having taught in Colorado high schools and run the University of Colorado at Boulder's jazz studies program. He comes to the AJM after a decade with the International Association for Jazz Education, most recently serving as its director of education.

It's Carroll's association with IAJE that is raising hopes for the AJM's long-term viability. The IAJE is one of the most powerful organizations in the jazz universe, for good or not-so-good, depending on your point of view. If he can tap into that influence, it could benefit an institution still struggling to establish itself even after 10 years.

As the saying goes, we shall see.

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Meanwhile over at PlasticSax, HIB asks "Can hippies save jazz?" (Nice cane, by the way.)

Thursday, August 2, 2007

KC Alert: Organ jazz for Deadheads

I've said it before, I'll say it again: Ken Lovern fears no cheese.

The brave keyboard wiz also fears neither genre nor venue. He'll be flying his organ jazz freak flag this weekend as part of the 12th Annual Jerry Garcia Memorial Tribal Stomp at Davie's Uptown Ramblers Club. The event promises "2 nights & 1 day of awesome JERRY GARCIA related music" (their caps, not mine) performed in a variety of styles by a variety of groups.

Ken and the guys hold things down on the jazz tip Friday night between the Buttermilk Boys, a bluegrass band, and the Ramblin' Bears (the band not the sandals). Tix are $6.

Saturday night features The Risky Shift Phenomenon and The New Alligators, again at Davies.

Sunday afternoon the event moves to Theis Park and features a BYO-instrument jam. Groovy.

» More details here.

(Photo above by Brian Turner, from KenLovern.com)

Wednesday, August 1, 2007

DT Archive: Bridge to Nowhere

Without emaw, would I blog at all? A fair question. When I finally met the guy a last week at the KC blogger meet up, I discovered that he is one of three living humans in North America (RIP Hiebsch) to have actually read the Daytripper archive pages I lovingly coded a few years back.

Background: For eight months in 1990-91, I wrote a column called Daytripper for the The KC View (RIP KC View). I was supposed to be about local travel, but I ended up obsessing over the Kansas City I saw disappearing around me. One consistent theme was the city's vanished streetcar system.

And now that the city's transit system is once again something to obsess over, it seems like as good a time as any to unearth my youthful experiments in journalism. Enjoy (RIP Enjoyment).



Bridge to Nowhere
[Original pretentious title: “Where my hair grows, there grow I”]
K.C. View December 28, 1991

“…making yourselves sick, that you may lay up something against a sick day.”
-Thoreau

When I was a college student in Liberty and wanted to drive down to the Plaza, I knew I had two exits to choose from when it came time to leave I-35 South: either Broadway or Southwest Trafficway. I took the Broadway exit whenever I could, because Broadway seemed like a much happier street. Southwest Trafficway was quicker, but the way it deposited me on the Plaza left me feeling like a cheeseburger at the end of a stainless steel chute.

Since moving into Kansas City and, indeed, onto Broadway, it seems strange that I once thought the street or the area happy. It’s my neighborhood now; where I work, where I buy groceries, where my hair grows. It has lost the aura of novelty it once held for that kid from South Dakota.

There were two good things about driving down Broadway, before I knew Broadway. First, there was the jog it takes after 40th Street. This bend in the road brings you to Westport, with its warm brick buildings, its lights and activity. These things struck me, flying by at 35 miles an hour, as profoundly happy. Later I would work in Westport and come to view the place differently.

The other thing I enjoyed about Broadway was the bridge that cuts across it diagonally at 43rd. I could never discern any purpose to it, since nothing ever seemed to cross over it, but something about it was, and still is profoundly pleasing, if not happy. It was an easy landmark, something to help me get my bearings in a city at that time seemed so big. After I moved into the neighborhood, the bridge became like another piece of furniture to me. For years I was among the many who drove under it day in and day out without knowing what it was.

The bridge is a remnant of the Country Club Line, a part of the old streetcar system that ran from Westport through the Plaza, Brookside and Waldo and then on south to 85th Street. In its prime, the Kansas City streetcar system, one of the most extensive in the U.S., carried 300,000 passengers a day. The Country Club Line--specifically who owns it--has been a legal issue almost since the day the street-cars stopped running in the late 1950s.

And it remains a legal issue. The Kansas City Area Transportation Authority (ATA) paid $1 million to buy the line in 1981 with the intention of building a new light-rail system along it and has so far paid $675,000 in legal fees to prove their ownership. ATA officials have set no ceiling on future legal costs and can’t estimate with any certainty when the new line will he built. All the same, they blithely claim that the cost of a new rail line south of the Plaza will be around $50 million. So if all goes well we may soon--sometime in the next century anyway--have a fast, efficient rail system linking downtown to Waldo and points south.

About two years ago, I walked across the bridge on my way to work. There were broken bottles, graffitti, and weeds sprouting from the dirt that had collected around the rails. A few weeks ago, I took another look and found chain link fences at both ends.

I asked Ron Guglielmino, rail manager for the ATA about it. He, too, recalled walking over the bridge a few years ago, but didn’t realize that it had since been fenced off. Ron didn’t know about the fences, he said, because he deals with long-term aspects of the rail line. Another ATA employee deals with short-term things like putting up fences. Ron gave me that employee’s phone number.

Then Ron dropped the bomb: someday the bridge will be torn down. It doesn’t figure into the new rail plan and the city would like to clear it out for better traffic access. Undoubtedly the bridge gives beer truck drivers trouble getting to and from the Levee, a nightspot around the corner. No date has been set for the bridge's demolition. It could be in ten years or fifty, nobody knows. But it will go; the powers that be have so decreed.

I know the bridge serves no real purpose. It so longer does what a bridge is supposed to do. It connects nothing but two grassy hills and two stretches of abandoned rails. But I will mourn its loss, and with good reason. When the bridge goes a part of my life will go with it.

The bridge is a ruin and performs the function of a ruin ably. It grounds our sense of place. It used to tell me where I was, back before I knew my way around. And it continues to be a marker for me, telling me both where I've been and reminds me of both failures and triumphs past and keeps me, in the best sense of the word, humble.

It serves the city as a marker, too, reminding us that we will spend hundreds of millions of dollars over the next half a century to replace what we already had a little over 30 years ago.

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Postscript: The Mill Creek Viaduct was designed in 1928 by Edward Buehler Delk, who also designed much of the Country Club Plaza for J.C. Nichols. The bridge outlasted both the creek (which was diverted below ground) and the streetcars (which stopped running in 1959). It stood as a beautiful urban ruin until was finally demolished in 1996.

More information on The Mill Creek Viaduct and Edward Buelher Delk is at the Historic Kansas City Foundation website.

Monday, July 30, 2007

KC Alert: Two for the Blue Room

In addition to the usual line up of fine local acts, the Blue Room is bringing in two special out-of-town guests in August.

On Saturday, August 11 the Bobby Watson Quartet will be joined by trumpeter Valery Ponomarev.

Ponomarev
famously escaped what was then the Soviet Union in 1977 to play jazz. If that sounds like the story line of Moscow on the Hudson, you'd be right (and showing your age). Whether Ponomorov was indeed the inspiration for the movie, as is sometimes claimed, remains in doubt. What isn't in doubt is that since landing on these shores Ponomorev has gone on to have a distinguished career as a player, composer and author. Watson and Ponomarev both were members of Art Blakey's Jazz Messengers in the late 70s and early 80s when Watson was the group's Music Director.

It should be a fine show. As numerous Horizon albums demonstrate, Bobby Watson loves to work with trumpet players.

The Watson/Ponomorev show also serves as an occasion to feature the following performance of "Wheel Within a Wheel," recorded in 1980, in Antibes (the one in France). In addition to solos by both Watson and Ponomorev, it's remarkable for the presence of two pairs of brothers, one named Marsalis (Branford and Wynton), the other named Eubanks (Kevin and Robin). They've all done well for themselves in the time since. Presiding over the event is the circus master himself, Art Blakey, resplendent in a powder blue suit with matching cowboy hat. You just know everybody in Antibes wanted one.





In case you missed Dr Lonnie Smith's appearance at the Rhythm and Ribs Festival in June, he's coming back Thursday August 23rd. The good doctor was part of the troupe that Javon Jackson brought to the festival. This time he'll be bringing a classic organ jazz trio to the more intimate confines of the Blue Room. Smith has earned his "legend" status. For a demonstration of his chops, check out the following video of Dr Lonnie, drummer Yoron Israel & guitarist Mel Henderson working over Monk's Bemsha Swing.




Both shows are $20. See you on the Vine.

The Blue Room at the American Jazz Museum
1616 East 18th Street
Kansas City, MO 64108

Sunday, July 29, 2007

Hello, Mary Lou

Attention students of Kansas City (and every other kind of) jazz:

National Public Radio's Jazz Profiles has produced a fine portrait of Mary Lou Williams, "the Lady who Swings the Band." Williams is a key figure in the history of jazz, having been schooled by Jelly Roll Morton and later having schooled Thelonius Monk.

Starting with Andy Kirk's Twelve Clouds of Joy, she was influential in developing the Kansas City sound. In addition to being a fine pianist with an amazing left hand, she was also a composer with a visionary sense of what jazz music could become.

If you care about jazz, you ought to know more about Mary Lou.

Tuesday, July 24, 2007

Radio: July 19 Jazz update - notes and links

I subtitled this Jazz Update "Hello Ladies" but looking over the selections, it could as easily be "In a Sentimental Mood." What can I say? It's summer, so sue me already.

Listen to the segment:











Artist - Sara Gazarek
CD - Return to You (Native Language)
Track - Make Me Feel This Way
More evidence for the ongoing evolution of the jazz standard. On her first album Yours (2005) Gazarek and company featured a selection of standard standards (Ev'ry Time We Say Goodbye, Cheek To Cheek, You are My Sunshine, etc.) in addition to four originals. That's what you expect from a young jazz singer's debut disc. This time around the originals are still solid but the cover choices a bit more adventurous: Leonard Cohen, Joni Mitchell, Paul McCartney and Billy Joel. Gazarek's technique is exquisite: cool the rain in her native Seattle but tight as a snare drum. As with Erin Bode, there is much "next Norah Jones" talk, but I wouldn't wish that on anyone.

For a sample of Gazarek's live chops, check out this performance of I'm Old Fashioned.

Artist - Waverly Seven (featuring Anat Cohen)
CD - Yo, Bobby! (Anzic Records)
Track - I Guess I'm Good For Nothing But The Blues

About Anat Cohen: A native of Tel Aviv, Cohen studied at Berklee College of Music where she says became intrigued with bossa nova and other forms of Latin Jazz. She later made the inevitable move to New York where she's picked up notoriety for her reed work. She was recently voted Best Clarinetist of 2007 by the Jazz Journalists Association and this seems appropriate. Her work on the various saxes is excellent but, for me, the clarinet is where she really shines.

About The Waverly Seven: The two-disc tribute to Bobby Darin brings together some of the bright young things of the current New York scene to record songs that are at least twice if not three times as old as most of the performers. In addition to Anat Cohen, the ensemble features her younger brother, trumpeter Avishai Cohen, Joel Frahm, Manuel Valera, Barak Mori, Jason Lindner and Daniel Freedman. Scott Robinson guests on bari sax and Vic Juris on guitar. The youth factor helps out here I think. While they're not breaking any ground, they are putting a nice polish on the old ballroom.

Two numbers from the Waverly Seven's debut performance:
Nature Boy
Charade

Artist - Deborah Cox
CD - Destination Moon (Decca/EMI)
Track - I Don't Hurt Anymore
Originally from Toronto, Deborah Cox had a gajillion seller in 1998 with "Nobody's Supposed to Be Here," one of those mechanized Mariah-esque late 90s make-out songs. Here she's back with something that makes better use of her admirable pipes, a tribute to Dinah Washington. No small challenge that, but Cox is definitely up it. In fact, you have to wonder why she it's taken this long. The string arrangements are a tad gooey, but the swinging big band numbers harken back to the days of Basie and Sinatra at the Sands.

Listen: An interview with Cox on NPR's News & Notes

Artist - Hiromi's Sonicbloom
CD - Time Control (Telarc)
Track - Real Clock Vs. Body Clock = Jet Lag
And now for the palate cleanser. Hiromi Uehada, like Anat Cohen is grad of Berklee, who works comfortably in both acoustic and electric settings. And like another prodigy named Eldar, she was originally inspired to take up jazz by Oscar Peterson records. They've both absorbed other influences into their styles, while maintaining the OP flair. Hiromi's Spiral was one of my favorites of 2006. This project features a new set of co-conspirators, including guitarist David “Fuze” Fiuczynski (of the Screaming Headless Torsos, etc.) and a lot more electrification, but the results are similarly spirited.

Download yourself an EP - 6 tracks from two of Hiromi's earlier releases.

Hiromi in performance:
Time Difference
A piano duet with some guy named Chick Corea

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The next TNLD Jazz Update on Up to Date will be in the 3rd week of August (I've been promised more than 23 hours notice this time). As always, if you like these segments, please let us know. Email the show at uptodate@kcur.org.