Feeds:
Posts
Comments

Posts Tagged ‘American Jazz Museum’

 (Above: Branford Marsalis solos and shows off his new drummer, Justin Faulkner, at a 2009 concert.)

By Joel Francis
The Daily Record

Saturday’s Branford Marsalis concert at the Gem Theater was a night of new beginnings.

The show kicked off the 2010-2011 season of Jammin’ at the Gem and featured new bass player Robert Hurst – this was only his second gig with the quartet in as many nights. It even opened with a new song.

That number, tentatively titled “Joey’s Tune” after its composer, pianist Joey Calderazzo, was a bit of an outlier. Admittedly a work in progress, the arrangement was busy to the point of claustrophobia. When Marsalis stepped back, Calderazzo and drummer Justin Faulkner flooded the room so completely one wondered if Marsalis would be able to wedge his way back in the song.

Fortunately, the rest of the two-hour set fared better. Alternating between soprano and tenor saxophones, Marsalis guided the band through breakneck changes and lumbering mood pieces. Some of his solos displayed the pop sensibilities that made him the go-to hornsmith for Sting and Bruce Hornsby, yet his playing was always challenging, never resting too lightly on the ears.

If the set had one blemish it was that Marsalis seemed too content to introduce a number with a solo, then step away for the rest of the number to let his trio play. Aside from being the best player onstage, Marsalis’ horn was the catalyst that helped the rest of the sounds to coalesce.

“The Blossom of Parting,” a track from Marsalis’ 2009 album “Metamorphosen” was the high point of night. The song opened softly with Marsalis on soprano sax, and Faulkner switching between brushes and mallets to build new textures. Calderazzo’s mesmerizing solo blurred the lines between jazz and classical music, and showed more than a hint of Brad Mehldau’s plaintive style. When the band re-entered, Marsalis gradually built the song’s intensity. Before the song could climax, however, an over-exuberant Faulkner accidentally knocked his ride cymbal to the floor. It wasn’t the ending Marsalis hoped for, but the audience took in stride and responded with a standing ovation.

Faulkner had no problem filling the drum stool occupied by Marsalis’ longtime beatman Jeff “Tain” Watts. On a cover of Thelonious Monk’s “Teo,” Faulkner traded bars with Marsalis with a maturity that outpaced his age of 19 and an energy that underlined it. His solo during a later song recalled another drummer of Marsalis’ acquaintance, Art Blakey.

Hurst also handled himself well, despite sight-reading all of the material. His lengthy solo would have worked better tied to a song than as a stand-alone piece. Aside from that moment, Hurst drew little attention to himself – a positive attribute for now in these new surroundings.

The evening ended with an encore of “St. Louis Blues” that found Marsalis showing off his New Orleans roots and reeling off some Satchmo-like trumpet licks on his saxophone.

Keep reading:

Clark Terry’s Last Stand

Releasing Jazz from Aspic

Review: Oleta Adams

Buck O’Neil: Sweet Times and Sweet Sounds at 18th and Vine

Advertisements

Read Full Post »

(Above: Ahmad Alaadeen plays for Charlie Parker at a 2008 graveside memorial service.)

By Joel Francis
The Daily Record

I grew up in a musical household where classical was the genre of choice. Consequently, I was left to discover everything else on my own.

NPR was my gateway to jazz. The car my parents let me drive in high school didn’t have much that worked (including heat or air conditioning, which ensured I wouldn’t venture too far from home). The radio, however, was fine. On evening drives I switched between KCUR and KANU, both of which had long blocks of jazz into the night.

I couldn’t tell you who was playing at any given moment. If the song didn’t reach me, or the announcers started talking too much I’d hit the button for the other station. Although I didn’t know Mingus from Monk, I did know that this stuff was a heck of a lot better than hearing the same Pink Floyd, Led Zeppelin and Metallica songs for the millionth time on commercial rock stations.

The other jazz fact I knew all too well was that everyone I had heard of was no longer living. Like the classical music my parents enjoyed, the genre was confined to corpses, their legacies entombed with Beethoven and Armstrong.

Ahmad Alaadeen was my entry into jazz as a living art form. My sister told me a “guy who played with Billie Holliday” was having a concert in a church near Paseo and Linwood. I convinced a couple of friends to make the trek with me, and we were all blown away. I can’t remember what he played, but I know he played in a trio and the drummer had the tiniest kit I had ever seen. At most he had four pieces, but he did more with those than any of the rock drummers with mega-kits I had seen.

After that show I started paying more attention to jazz shows around town. School prevented me from attending most, but I made it a point to see who had played and check out their music from the library. I also started paying more attention to Kansas City’s role in jazz history. As I did, I realized many of the roads led back to Jay McShann (then still living) and the horn players whom he gave his first jobs: Charlie Parker and Alaadeen. (Both men also shared the same saxophone teacher, Leo Davis.)

It seems strange to say, but I had almost forgotten about that Alaadeen performance until I saw him receive the American Jazz Museum Lifetime Achievement Award last May at the Gem Theater. Clark Terry received the same award that night and, deservedly, most of the attention. Terry, however, only sang two songs and did not play. Alaadeen was right there on the front row of the orchestra, horn in his mouth, blowing several solos during the evening’s tribute to Duke Ellington.

A couple days later, Alaadeen’s neighborhood threw a celebration in his honor. I was able to convince one of my friends who saw Alaadeen with me over a decade before to join our party. As we congratulated Alaadeen on the award, I reminded my friend of that show.

Alaadeen didn’t play that night. He seemed content to sit in his lawn chair, greet fans and take in the neighborhood funk band. We had hoped he would play, but weren’t too disappointed – there would be other opportunities.

None of us could have predicted that in a little more than three months Alaadeen would be gone. Next to the frail Terry on the stage of the Gem, he seemed immortal. Shortly after that weekend he was hospitalized for nearly two weeks. News of his cancer only emerged a few weeks ago before his passing.

In hindsight, this award came at the right time. It was the final show of the 2009-2010 Jammin’ at the Gem series. Who knew he wouldn’t live to see the opening of the next season?

When Alaadeen received another award to honor his work as an educator at the neighborhood party he seemed overwhelmed by the weekend. He stood silently at the mic for a few moments, as if recording everything in his mind. Finally, he spoke.

“I’m at a loss for words,” he admitted. Then he paused. “I will never forget this.”

Me neither.

Keep reading:

Sho’ Nuff: Alaadeen’s blog

Clark Terry’s Last Stand

Remembering Rusty

A tour of KC’s Women in Jazz

Read Full Post »

By Joel Francis
The Daily Record

Janet Kuemmerlein has been interested in jazz even longer than she has been making art. Growing up in Detroit, she had to take two buses to reach her arts-focused high school downtown. While there, members of the Modern Jazz Quartet might stop by and ask to borrow instruments from the school. She also made sure to take in concerts by Ella Fitzgerald, Sarah Vaughn, Woody Herman, Count Basie, Cab Calloway, Stan Kenton … well, you get the picture.

After high school, Kuemmerlein was invited to study at the Cranbrook Academy of Art. Upon graduation she moved to Chicago, where she met her husband. Work assignments finally landed the couple and their four children in Kansas City, Mo. in 1960.

Kuemmerlien started in painting and sculpture. When she found the chemicals toxic around young children she moved to fabric. Her fabric works are on display across the country in government and office buildings, libraries and hotels, churches and synagogues.

Jazz and art didn’t intersect until Kuemmerlien was asked to contribute to the Johnson County Community College art auction in 2000. Her painting of Miles Davis was purchased by a local attorney and later given to the American Jazz Museum. Last month, Kuemmerlien unveiled her latest project, a series of 11 portraits commissioned by the AJM for their Women in Jazz celebration.

The paintings are on display in the gallery off the museum lobby from 9 a.m. to 6 p.m., Tuesday through Saturday, and noon to 6 p.m. on Sundays, until the end of May. There is no charge to view the exhibit.

Kuemmerlien was kind enough to take The Daily Record on a tour of the exhibit and speak about each piece.

Oleta Adams

Oleta Adams – “We actually talked on the phone quite a bit beforehand because she was out of town so much. I wanted to showcase her hands because they’re such an expressive part of her performance. She and her husband are delightful people. God she is funny. She’s just adorable.”

Karrin Allyson

Karrin Allyson – “I made this from a concert photo. When I told her I was doing this she said ‘don’t paint any lines (on my face),’ but she doesn’t have any. She’s too young. She was in town recently, but I don’t know if she’s seen this or not.”

Queen Bey

Queen Bey – “Queen lives in California now, but when we were putting the exhibit together the museum told me she absolutely had to be in it. They supplied me with some photos and this is what I came up with. Although she isn’t in Kansas City any more, Queen Bey has been around for a long time and was an important figure to our jazz and blues scene.”

Deborah Brown

Deborah Brown – “Deborah spends a lot of time in Japan and Amsterdam. It was tricky to schedule the photo shoot, but we finally found a time and she came into my studio. She’s just a wonderful woman. I wanted the large circle in the background to reflect her career in Japan.”

Pearl Thurston Brown

Pearl Thurston Brown – “I did this partly from a photo she gave me, and partly from a photo session in her home. She’s as beautiful as she ever was. Although the painting portrays her at a younger age, she’d make a great portrait today as well.”

Carol Comer

Carol Comer – “Carol is a personal friend of mine. I took her face from one photo, then went to her house and took a bunch of photos of her hands. I made up the trumpet player. Carol teaches many of the other vocalists in this series.”

Angela Hagenbach

Angela Hagenbach – “This is the first one I did. I got photos of her at Jardine’s one night before her set. I was so excited, because I got terrific pictures, except she’s so tall and I’m so short I would accidentally cut the top of her head off. She’s just a beautiful women – and great singer, too.”

Lisa Henry

Lisa Henry – “This is one of the first ones I made. Again, I went to her house to take pictures. I knew she loved red roses, so I made those the background, then took photos of her at the Blue Room. She has such feel and phrasing. I think she’s a wonderful artist.”

Marilyn Maye

Marilyn Maye – “I painted this from photos Marilyn sent me and from album covers. Marilyn lives in New York, but she’s certainly a Kansas City legend. I tried to capture her longevity with the painting. She’s such a dynamo. Johnny Carson referred to her as a singer’s singer. She was his favorite singer.”

Julie Turner

Julie Turner – “I went to her house and photographed her. I used actual jewels to give textual interest to the painting and to have a little fun.”

The Wild Women of Kansas City

Wild Women of Kansas City – “I met with Geneva Price before I did any of the paintings, because she was working on an oral history of women jazz artists. For the painting, I used several group photos and then created a composite. I picked the best poses from each photo.”

Keep reading:

Review: Oleta Adams

Read Full Post »

(Above: A somewhat recent performance of Clark Terry’s signature song, “Mumbles.”)

By Joel Francis
The Daily Record

Perhaps only baseball reveres its heroes of the past as much as jazz. Each year, Stan Musial, Ted Williams or another bygone star is paraded around the field before the All-Star Game. Likewise, the songbooks passed down from Miles, Duke, Satchmo, Monk and others are considered sacrosanct.

Unlike baseball fans, however, jazz traditionalists are loathe to replace their legends with up-and-comers. This makes it frustratingly inconvenient when the links to that halcyon era keep dying.

Fortunately, Clark Terry was up to the task Friday night at the Gem Theater for the American Jazz Museum’s Duke Ellington celebration. The 89-year-old trumpet master played with Ellington for 10 years, led Johnny Carson’s Tonight Show band, and recorded with Oscar Peterson, J.J. Johnson, Thelonious Monk and scores of others throughout his eight-decade career.

Fellow Ellington orchestra alum Barrie Hall, Jr. introduced Terry by reminiscing when he was able to record with his hero on the soundtrack of the “Fabulous Baker Boys.” Stationed in a wheelchair, Terry appears from the backstage recesses of stage right, hidden in the wings.

As the applause built, Terry’s son, standing behind the chair, frantically waves his arms, as if to call the celebration off. The museum’s two-day tribute to Ellington has been building to this moment. Has something gone wrong? Will Terry not be able to appear after all? Killing time, Hall nervously sings a few stanzas of “Do Nothing ‘Till You Hear From Me.”

Clark Terry recieves the American Jazz Museum lifetime achievement award from museum CEO Greg Carroll in Kansas City, Mo. on April 30, 2010.

Finally, Terry emerged, slumped in his chair, wearing a dark suit and white yachting cap reminiscent of Count Basie’s favorite headwear. A clear tube of oxygen runs beneath his nose, resting atop his albino moustache. A trumpet case is tantalizingly set next to Terry’s wheelchair, but it’s obvious he won’t be able to play even before the announcement is made.

As the band, led by Hall, kicks into “Full Moon at Midnight,” Terry rests his hands on the cane that stands between his knees. He takes in the saxophone solo by Ahmed Alaadeen. The esteemed Kansas City jazz fixture is another Ellington alumnus who received the museum’s lifetime achievement award earlier that evening.

When the song ended it was time for Terry to receive his own lifetime achievement award. His son pushes the wheelchair near the podium. As chief executive officer Greg Carroll reads a biography, Terry fiddles with his wristwatch, seemingly unsure of where he is. When the award is presented, he looks at the miniature bust of Charlie Parker in wonder as Carroll holds it up. Terry’s grip is too weak to clutch the statue.

While the camera flashes fade, Carroll looks at Terry and suggests a song. Terry looks so frail It seems an imposition to ask this much, but he graciously accepts the mic that has to be placed in his right hand. The band launches into “Squeeze Me,” one of Terry’s signature numbers with the Ellington orchestra. His warm voice starts out thin and strained, but grows stronger with each verse. The years fall away as he starts scatting the final verse, his left knee rocking up and down.

The applause is still strong when Hall looks at the band and blasts the intro to “Mumbles.” Terry joins right in and his nonsense spoof of blue singers brings laughter from the audience. He’s into it now, rocking back and forth and even backing his chair up so he can look Hall in the face as he supplies fills on his trumpet. Hall and Terry trade riffs back and forth from voice to horn and back like a jazz version of an Abbot and Costello routine.

The audience jumps to its feet with the final note, and a broad smile beams from Terry’s face. Wheelchair or not, it is obvious that when Terry is put onstage and given the mic he still knows exactly what to do. He has no difficulty conjuring smiles and making everyone happy. As his son wheels him offstage, Terry blows kisses and doffs his hat. A few songs later, Terry’s son and a nurse escort him quietly out of the building.

(Below: Clark Terry blows his horn on the Tonight Show in 1980.)

Keep reading:

Review: Sonny Rollins

Review: Oleta Adams

Review: Kind of Blue turns 50

Remembering Gennett Records

Releasing Jazz from Aspic

KC Recalls: The Coon-Sanders Night Hawk Orchestra

Buck O’Neil: Sweet times, sweet sounds at 18th and Vine

Piano Men: Dave Brubeck, Dr. John and the Jacksonville Jazz Festival

Read Full Post »

(Above: “Get Here” brought down the house at Oleta Adams’ recent homecoming concert in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

Oleta Adams took the stage of Gem Theater on Saturday night with a smile and an apology.

“I’m sorry I’m dressed this way,” she said, wearing a stunning, strapless, turquoise dress. “I thought it was supposed to be spring.”

It would take more than a dumping of out-of-season snow to keep the nearly full house from seeing its hometown girl. For more than two hours, the singer, who was a staple of the local jazz scene in the 1980s, indulged them with stories, a wide selection of songs, and surprises.

The evening got off to a rocky start. Adams’ piano was initially buried in the mix. The drums, played by her husband John Cushon, and keyboards, played by Kansas City native Everett Freeman, Jr., overshadowed everything. The songs were played at a level reserved for noisy clubs or large theaters, not a respectful group in an acoustically sound room.

Adams’ powerful voice, however, would not be derailed by the sonic disarray. After opening with “Feelin’ Good,” the first of several cuts from her latest album, she led her four-piece band into “New York State of Mind.” By the time she got to the reworked bridge that ushered in a lengthy guitar solo, the song bore little resemblance to Billy Joel’s hit. “I Just Had to Hear Your Voice” displayed Adams’ dynamic range. The lyric-heavy melody found her working the verses in a lower register before opening up and soaring on the chorus.

After 40 minutes, Adams announced a short break. It felt premature, but the timing couldn’t have been better. When the group returned 30 minutes later, the sound issues had been resolved. Balance had been restored and instruments were complementing instead of competing. The always-upbeat Adams seemed happier with the situation, too. During “My Heart Won’t Lie” she held onto a note with a phrasing that recalled Nina Simone and drew big applause.

The biggest cheers of the night, however, didn’t go to Adams. After playfully introducing her band, Adams informed the audience that the mother of her bass player, Jeanne Arland Peterson, was sitting in their midst. With the spotlight focused on Peterson, Adams was able to coax her to come onstage.

Peterson looked fragile making her way up the steps, but spring to life behind Adams’ grand piano. After a breathtaking solo, Peterson launched into “All the Things You Are” with her son, Paul Peterson, and Cushon. The impromptu trio sounded like they’d been playing together for years (and, I suppose, two-thirds of them had). When the 88-year-old pianist wanted to hear a solo, she raised her left hand and shot her index finger at the musician in question as if holding a gun.

Once the massive standing ovation died down, Adams joined the trio for a romp through “More Than You Know.” Peterson’s hands slid across the keyboard with gusto and inspired Adams’ best performance of the night.

Clearly excited to be playing again in her adopted hometown, Adams relished talking with the crowd as much as performing. She sang the praises of the 18th and Vine District, and recalled her days playing at the Signboard Lounge in Crown Center.

“My favorite moment every night,” Adams said, “was waiting to see who got beat up in the bathrooms.”

Fights, Adams remembered, sometimes broke out because someone didn’t applaud the right way. Adams also told of a police detective who frequented her gigs. When someone would start talking too loudly, he would start polishing his badge, hinting at what might happen if the chatter didn’t stop.

“I always had the most dedicated fans,” she said, laughing.

The night ended with what Adams said she called the “fourth set” back in her Signboard days. After hinting at her gospel roots in the first set by prefacing “No Way To Love Me“ with I Corinthians 13, Adams took the assembly to church with a powerful one-two of “If You’re Willing” and “Holy is the Lamb.” Both songs were from Adams’ 1997 gospel collection “Come Walk With Me” and fans voiced their pleasure by clapping along and shouting amen.

The poignant “Long and Lonely Hours” is part of a new collection of prayers set to song that Adams hopes will be her next album. The invocation was written after her mother died after spending five months in the hospital, and deals with the feelings of abandonment, awkwardness and, ultimately, acceptance, one feels alone at night in the hospital.

Adams wouldn’t let the night end on a dark note, so she immediately sprang into “Get Here.” Fans burst into applause at the opening chord of her most famous number and several cried out with excitement. Expectations can be high for homecoming shows, but it was clear from the closing ovation that Adams had met them all.

“Tonight,” the woman sitting next to me said, “we got our own jewel, right here at the Gem.”

Setlist: Feelin’ Good; New York State of Mind; I Just Had To Hear Your Voice; I Hope You Dance; Picture You the Way That I Do; Circle of One. Intermission. The Power of Sacrifice; Let’s Stay Here; My Heart Won’t Lie; All The Things You Are (ft. Jeanne Arland Peterson); More Than You Know; If You’re Willing; Holy is the Lamb; Long and Lonely Hours (solo); Get Here.

Keep reading:

Review: Kind of Blue turns 50

Review: Sonny Rollins

Buck O’Neil: Sweet times, sweet sounds at 18th and Vine

15 jazz greats to emerge in the last 20 years

Read Full Post »

(Above: Jimmy Cobb’s So What Band delivers “The Theme” – and a drum solo.)

By Joel Francis

Jimmy Cobb had been onstage at the Gem Theater for over an hour Saturday night before he finally gave the capacity crowd what they came for: a drum solo.

As the last living musician from the landmark Miles Davis sessions for “Kind of Blue,” Cobb would have deserved an ovation regardless of what he played. The taught and thunderous riffs that snapped from his 80-year-old wrists would have been impressive from someone half Cobb’s age.

All year Cobb and his sextet, dubbed the So What Band, have toured the world celebrating the 50th anniversary of “Kind of Blue.” Since Cobb is the last living musician from those sessions, it’s a noble gesture and fantastic marketing, but the execution could have been deadly. Play it too close to the original and you end up with paint-by-numbers Davis and John Coltrane. Improvise too much and the music not only loses its spirit, but the evening seems like a gimmick.

Fortunately, the band played it down the middle, playing homage without slavish dedication. As the trumpet player, Wallace Roney had the greatest cross to bear. While not emulating Davis, Roney’s similar moody tone and posture made comparisons inevitable. Tenor saxophonist Javon Jackson seemed hesitant and overwhelmed at times in his role filling Coltrane’s shoes but overall added a strong voice to the night.

As the stand-in for the lesser-known Cannonball Adderly, alto sax player Vincent Herring had the most flexibility. Herring took advantage by chipping in adventurous solos that varied the textures laid by Roney and Jackson. Pianist Larry Willis was the ensemble’s hero, vamping on the chords behind the soloists with flourish and relishing every turn in the spotlight.

The band whipped through “Kind of Blue” in order, extending the original LP’s run time by about a half hour. “So What” started at an aggressive tempo accentuated by Roney’s angry solo that made “Freddie Freeloader” seem almost jovial in contrast.

Willis opened “Blue In Green” with a tremendous solo before Roney took over. The melancholy number was made even more poignant by the way Roney whipped away from the mic after his solo, leaving before the note was finished and before any resolution.

Since there was no drum solo on “Kind of Blue,” the band added “The Theme,” a piece from Davis’ period on the Prestige label, as a showcase for Cobb. He took another brief solo during “Four,” the joyous victory lap of an encore.

After striking the right tone, the ensemble had carte blanche with the rapturous crowd. The musicians were speaking through an established vocabulary with the emphasis on the right syllables. There would be no funk breakdowns, hip hop remixes or hard rock power chords. While the conservative approach often cuts against the genre’s best interests, Saturday night it sounded magnificent.

Setlist: So What, Freddie Freeloader, Blue In Green, All Blues, Flamenco Sketches, The Theme. Encore: Four.

Read Full Post »