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.