Jazz Ambassadors Magazine

NEWS, FOLLY, VINE, REVIEWS AND MORE

BRAD GREGORYWAYNE GOINS CHATS WITH

PAT METHENY ABOUTREADY FOR KCJO SEASONCLINT ASHLOCK& KERRY

STRAYER

AUGUST / SEPTEMBER 2013

Saturday OctOber 12, 2013

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Enjoy an evening of jazz in 12 Baltimore at the Hotel Phillips. Savor specialty jazz-themed cocktails, a full bar and tempting menu from executive chef Justin Voldan. So come to the Hotel Phillips, order a libation and then sit back and hear some wonderful jazz.

at The Hotel PhillipsJazzStan KesslerJoe CartwrightVictoria Barbee Millie Edwards

Lacey Wolff Candace Evans Molly Hammer Angela Hagenbach

Hotel Phillips | 106 West 12th Street | Kansas City, MO 64105 | (816) 221-7000 | www.HotelPhillips.com

Complimentary Parking for Jazz at Hotel PhillipsCynthia Van Roden

JAM A U G U S T + S E P T E M B E R 2 0 1 32

contents

News & Notes . . . . . . . . . . . . . .3Off the Vine . . . . . . . . . . . . .10Folly Jazz News . . . . . . . . . .12Kerry Strayer & Clint Ashlock Great Friends Lead KCJO Into New Season . . . . . . . . . . 14Brad Gregory . . . . . . . . . . . .20Pat Metheny Discusses Tap: John Zorns Book of Angels Vol . 20 . . . . . . . . . . .25Club Scene . . . . . . . . . . . . . .26On the Air . . . . . . . . . . . . . .27For the Record . . . . . . . . . . . .31JOIN TODAY! KCJA Membership Application 18

August + September 2013 | Volume 27, No. 42013, Kansas City Jazz Ambassadors, Inc.

JAM is published bi-monthly by the Kansas City Jazz Ambassadors, a non-profit 501(c)(3) organization dedicated to the development and promotion of Kansas City jazz. All rights are reserved. Reproduction of any material is prohibited without consent of the publisher.

to contact the Kc Jazz Ambassadors, call (913) 967-6767.

For advertising information, call (816) 591-3378 or email [email protected]. Letters should be addressed to: JAM, P.O. Box 36181, Kansas City, MO 64171-6181. To contact the editor: Email [email protected]

JAM and Jazz Lovers Pub Crawl are Registered Trademarks of The Kansas City Jazz Ambassadors, Inc. JAM/Jazz Ambassador Magazine (Online) ISSN: 1533-0745

carolyn Glenn Brewerchris Burnettcarol comerGreg carroll

Dawayne GilleyWayne Goins

Bryan Hicksconnie Humiston

steve IrwinHermon Meharicharlton PriceKevin Rabas

Michael RaganMichael shults

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Roger Wilder

A D V E R T I S I N G

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PRES IDENT steve HargraveSECRETARY casey VentrilloTREASURER Penny oathout

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The Board of Directors gratefully thanks Darrell Hoffman for his untiring contributions to the KCJA.

E D I T O R

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P R O O F R E A D E R S

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C O N T R I B U T I N G W R I T E R S


KC Trumpet Summit CD Release Party September 20 Following an SRO performance at the Blue Room on June 29, The KC Trumpet Summitwith Stan Kessler, Hermon Mehari and Mike Methenywill host a CD release party at Take Five in Leawood on September 20 at 8 p.m. Rounding out the band will be TJ Martley (piano), Gerald Spaits (bass) and Brian Steever (drums). For more info, call 913-948-5550.

Fall Rob Scheps Tour Featuring Jim OConnor Saxophonist and f lutist Rob Scheps is planning his second 2013 visit to KC, and this tour will include NYC-based trumpeter Jim OConnor. Rob has been

playing with Jim for 30 years. Jims credits include the BMI, Akiyoshi/Tabackin and Vanguard orchestras as jazz soloist. He has also recorded with They Might Be Giants, John Pizzarelli, Keely Smith and David Brandom. So far they have dates at the Jazz on the Lake noontime series at KCKCC on October 3, with the Washburn University Big Band in Topeka on October 3, and at Take Five on October 11. Well have more about this in the October/November issue.

Prairie Village Jazz Festival Features Marilyn Maye, Bobby Watson and Jon Faddis UMB Bank will be the presenting sponsor for the 2013 Prairie Village Jazz Festival, in partnership with

cont inued on page 5

neWs & notes

No Cover Charge Black Angus Steaks Seafood Chef Specialties Dance Floor

5020 W. 137th St. ( Just south of 135th on Briar Drive) Leawood, KS 66224913.897.3540 GaslightGrill.com

Enjoy scintillating New Orleans jazz and mellow traditional

favorites by Lynn Zimmer and the Jazz Band featuring some of

K.C.s nest jazz musicians Wednesday through Sunday every week.

GASLIGHTG R I L L

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Lynn Zimmer is joined by the New Red Onion Jazz Babies on the rst Monday of each month

Lynn Zimmer is joined by vocalist Talya Groves on August 1, 8, 16, 22 & 30

New Orleans Jazz Special Menus every Sunday evening 5 pm 9 pm


news+no t e s con t i n u ed f r om page 3the Prairie Village Municipal Foundation and the City of Prairie Village. The Prairie Village Jazz Festival takes place Saturday, September 7, at Harmon Park and looks to be another exciting evening of jazz. In its fourth year, the festival has become a recognized jazz event not to miss. The event will feature two outstanding headliners: Marilyn Maye & Trio followed by the Bobby Watson All-Star Big Band with Special Guest Jon Faddis. The full line-up can be found on prairievillagejazz.org. A portion of the Prairie Village Jazz Festival proceeds will go to Heartland Habitat for Humanity for their Brush with Kindness program operating in Prairie Village. There are still opportunities for sponsorships, and volunteers will be needed for the event. For further information see www.prairievillagejazz.org or contact the City of Prairie Village at 913-385-4616.

Spirituality and All That Jazz Events Include Bird Bio Debut! Experience the longest-running Jazz Concert Series in Kansas City on the first Wednesday of every month, 7 pm., Unity Temple on the Plaza, 707 W. 47th Street (tickets available at the door). These 90 minutes of musical magic feature a new special guest artist each month performing with Tim Whitmer & The Consort Band (James Albright, Jim Mair and Jurgen Welge). Upcoming shows:

August 7: Rich Hill, pianist and vocalist September 4: Eboni Fondren, vocalist October 2: Jazz Historian, Author and Radio

Show Host Chuck Haddix debuting and signing his new book Bird: The Life & Music of Charlie Parker with Special Guest Bobby Watson and an All-Star Band. For more information on the book, go to www.press.uillinois.edu/books/catalog/66xkc6nx9780252037917.html. The book is already on the usual on-line seller sites.

Also join Tim Whitmer weekly on Tuesdays at Ac-cursos on Main, Thursdays at Caf Trio on Main and Saturdays at the Phoenix in Downtown Kansas City. For more information on these events: www.uni-tytemple.com/culture/allthatjazz.asp and www.timwhit-mer.net.

Karrin Allyson Live on 12th Street Jump! On September 16, there will be a special live perfor-mance of 12th Street Jump, Public Radios Weekly Jazz, Bluesand Comedy Jam, at Unity Temple at the Plaza in

Kansas City. The performance will feature Karrin Allyson. The show starts at 7:30 p.m. Tickets are $11 in advance and $15 at the door (plus applicable service charges). Tickets are available now at the Central Ticket Office in the UMKC Performing Arts Center, 4949 Cherry St., by phone at 816-235-6222 or online at www.12streetjump.com.

Jazz in the Roses The Kansas City Rose Society will be presenting the Mike White Quartet in their Jazz in the Roses concert on Sunday, September 8, from 4:30 to 6:30 p.m. The concert will be held at the Laura Conyers Smith Municipal Rose Garden in Loose Park. The concert is free and open to the public.

Audra McDonald to Perform Benefit Concert for Arts Education Kansas City Young Audiences (KCYA) will host a benefit concert by Tony Award winner Audra McDonald, performing with the Kansas City Symphony at the Kauff-man Center for the Performing Arts on November 16. Audra McDonald is highly regarded for her work as both a singer and an actress. With this unparalleled breadth and versatility, she has won five Tony Awards, two Grammy Awards, and has a long list of other accolades. Tickets are available through the Kansas City Symphony Box Office. Proceeds support KCYA arts education programs for children.

Kickstarter Raising Money for Myra Taylor Musical A Kickstarter campaign is underway with a goal of $14,000 to record five demo songs with professional per-formers and to finish the script and other elements for a new musical based on the life and career of Myra Taylor called All for a Song. The campaign closes on September 4. For more information and a link to the Kickstarter Web site, go to www.allforasong-myrataylor.com. Theres also an informative Facebook page: All for A Song - The Myra Taylor Jazz Story.

IAJRC Coming to Kansas City The International Association of Jazz Record Collec-tors has been in existence for around five decades. Their goal is to connect collectors of jazz recordings of all eras and styles, both sound and video recordings. Their annual

cont inued


convention will be held at the Marriott Country Club Plaza Hotel from September 5 to 7. Theyll have presen-tations and guest speakers, record vendors, a listening room, classic film presentations, live jazz and more. The registration is $135 with the banquet and $80 without the banquet. Youll have to join IAJRC to attend, and for $150 you can join and attend. Registration and member-ship information is available from their Web site at www.iajrc.org.

Abyssinian: A Gospel Celebration featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis and Chorale Le Chateau Since Wynton Marsalis composed and recorded In This House, On This Morning two decades ago, he has

remained committed to projecting a theme of universal humanismand raising a joyful noisewhile reflecting the form of the African American church service. Marsalis has never blended the codes of sacred and secular expres-sion more successfully than with the 2008 extended work Abyssinian Mass, commissioned to celebrate the 200th anniversary of the Abyssinian Baptist Church in Harlem. This rare performance will revisit the masterwork by

augmenting the Jazz at Lincoln Center Orchestra with a 70-voice gospel choir, Chorale Le Chateau, conducted by Damien Sneed. The Harriman-Jewell Series presents Jazz at Lincoln Center Orchestra with Wynton Marsalis and Chorale Le Chateau at 8 p.m. Saturday, October 19 at the Kauffman Center for the Performing Arts Helzberg Hall. Select seats online at www.hjseries.org or call 816-415-5025 for assistance.

Dueling Piano Summit Returns Back by popular demand, the second annual Duel-ing Piano Summit will be held Sunday, September 8 at 3 p.m.inside Piropos Piano Bar in Briarcliff Village. Performers will be the same as last yearfour of Kansas Citys premier jazz pianistsRoger Wilder, Joe Cart-wright, Michael Pagn and Bram Wijnands. The pia-

nists will match up in different combina-tions and play on two pianos for two hours. Proceeds will benefit the Alzheimers As-sociation Heart of America Chapter. Tickets are $50 re-served in advance by phone 816-589-9384 or email [email protected], or $60 at the door the day of the show, no guarantee of seating. Advance purchase is strongly recom-mended! Light food and drinks available. All ticket holders will receive 20 percent off their dinner im-mediately following the show at Piropos

Restaurant upstairs. Piropos Piano Bar is located at 4141 N. Mulberry Drive, KCMO; phone 816-741-3600

Alaadeen Enterprises, Inc . Re-launches Education Mission Alaadeen Enterprises (AEI), the non-profit educa-tion organization founded in 1998 by the late Ahmad Alaadeen, has re-launched its jazz educational initiative

news+no t e s con t i n u ed

Wynton Marsalis


with an event on July 24 (his 79th birthday) next to the Charlie Parker Memorial in the 18th and Vine District where he started his career as a jazz musician. The purpose of this event was to highlight AEI, its vision, and plans; to introduce its new Executive Director, Dennis J. Winslett, and to announce its major educational initiatives, includ-ing its Bird House Fellowship Program, which will develop a select group of music students through a comprehensive arts and humanities curriculum in workshops scheduled throughout the year, based on the Alaadeen Method of Instruction . The 2013 Summer Program is the first in a series of workshops. In its continuing five-year relation-ship, the Duke Ellington Family Foundation has provided generous financial support for the Bird House Fellowship Program. Winslett, a jazz musician and educator who apprenticed at the feet of Alaadeen for over 20 years, was selected by Alaadeen to continue the mission of AEI.

Kansas Citys Vine Street Rumble Jazz Orchestra Recently featured on the local Fox morning show and in the Kansas City Star, Kansas Citys Vine Street Rumble Jazz Orchestra is KCs newest old band. VSR

Order your

DVD of this

65 minute

feature

documentary

film at

www.suevicory.com

Public Radios WeeklyJazz, Blues & Comedy Jam

Produced by Theater League

NOW HEARD ON 67 STATIONS ACROSS THE COUNTRY AND ON PRX.ORG

GET TICKETS ONLINE AT 12THSTREETJUMP.COM, CENTRAL TICKET OFFICE OR CALL 816.235.6222

LIVE! Performance of 12th Street Jump

with Special Guest

Karrin AllysonSEPTEMBER 16TH

7:30 PMUNITY TEMPLE ON THE PLAZA


news+no t e s con t i n u edwas specifically formed to honor the musical legacy of the incredible musicians who made Kansas City world famous for jazz. Exclusively playing the old testament music of Count Basie, Bennie Moten, Jay McShann, Andy Kirk, Harlan Leonard, Mary Lou Williams, Pete Johnson and Joe Turner, etc., VSR is the only group of its kind to show-case the exciting Kansas City Jazz sound with each song. Finding an obstacle in the lack of written scores, Musical Director Kent Rausch wrote many of the arrangements straight off recordings and found a few scores in Europe. You can find VSR on Facebook or www.vinestreetrumble.com. And as of press time, they have a gig at the Blue Room on August 23, with more performances TBA.

2014 Jazz Cruise Now Booking Cruise Production was the first and only company to charter a full-ship dedicated to straight-ahead jazz. The 2014 Jazz Cruise invites the greatest performers and vocalists to come on board and perform the tunes you know and love. You sail for seven days with over 90 of the worlds finest jazz performers. The cruise sails from Ft. Lauderdale January 26 to February 2. Cabins start at $1,875. These book quickly,

DeborahBrown

Cabaret Friday, August 16 and Saturday, August 17 at 7:30 p.m.

Concert Sunday, August 18 at 2 p.m.

BROWNVILLE CONCERT SERIESbrownvilleconcertseries.com

402/825-3331


June 6 Grand MarquisJune 13 Millie Edwards Trio June 20 Rob WhitsittJune 27 Anna Lee & the Lucky So n SosJuly 11 Everette Devan TrioJuly 18 A La ModeJuly 25 Monique Danielle TrioAugust 1 Sons of BrasilAugust 8 Doug Talley QuartetAugust 15 Joe Cartwright TrioAugust 22 Bram WijnandsAugust 29 Miguel El Mambo & Carte Blanc

so reserve your cabin today. For more information contact Carolyn Hall at 816-763-6440 or email her at [email protected], or visit www.thejazzcruise.com. A portion of the proceeds will support The American Jazz Museum.

Channeling Danny Embrey JAM contributor Charlton Price shared this from Paris during his visit there in May: In Paris on a recent weekend, we went to a club sug-gested by JAM Editor Roger Atkinson: the Caf Laurent. We discovered this bote just around the corner and a short block from our Left Bank pocket hotel, near Boulevard Saint-Germain. They feature tasteful small group sounds and all manner of liquid refreshments, provided one brings enough . The smooth mainstream jazz that we heard as we entered came from a quartet featuring the adroit phrasing with quiet urgency from a guitarist named Hugo Lippi, whom I took for a Danny Embrey doppelganger. We settled in for satisfying sets from the quartet that included Moonlight in Vermont, I Remember You and Have You Met Miss Jones.



oFF tHe VIne

c h r i s b u r n e t t

August and September highlights at the American Jazz Museum on The Vine.

Kansas Citys 18th & Vine Jazz and Blues Festival Formerly known as the Rhythm & Ribs Jazz and Blues Festival, Kansas Citys 18th And Vine Jazz And Blues Festival is a premier one-day music festival and educational event produced by the American Jazz Mu-seum in cooperation with the immediate 18th & Vine Jazz District neighborhood businesses and citizens, as well as the greater Kansas City region and beyond. Headline talent was announced at the July Press Conference and features: George Duke, Con Funk Shun, Bettye LaVette, Art Blakey Tribute Band, and Kelley Hunt. The official poster was also unveiled.

American Sabor: Latinos In U .S . Popular Music Salsa. Mambo. Rumba. Cha-cha-ch. The very names of Latin music genres suggest an irresistible, unmistakable rhythm. And through the decades, these distinctive musi-cal styles have continuallyand profoundlyinfluenced American popular music. Latino musicians helped shape many traditional genres of music in the United States, including jazz, R&B, rock n roll, and hip hop. The Smithsonian Institution, Ford Motor Company Fund and EMP Museum collaborate with the American Jazz Museum to bring the exhibition to Kansas City from August 1 through October 27. American Sabor: Latinos in U.S. Popular Music - Latino musicians have had a profound influence on traditional genres of music in the United States, including jazz, R&B, rock n roll, and hip-hop. At the same time, their experiences living in the United States triggered the creation of new musical traditions, such as mambo and salsa. American Sabor: Latinos in U.S. Popular Music, a traveling exhibition from the Smithsonian, presents the musical contributions of U.S. Latinos from the 1940s to the present, exploring the social history and individual

creativity that produced stars like Tito Puente, Ritchie Valens, Celia Cruz, Carlos Santana and Selena. The exhibition was created by Experience Music Project (EMP) and organized for travel by the Smithso-nian Institution Traveling Exhibition Service (SITES). American Sabor, its national tour, and related programs are made possible by Ford Motor Company Fund. The exhibition will travel to 13 cities through 2015.

Early Bird Ticketswhat: Jazz and Blues Festival Kansas Citys 18th & Vine Jazz and Blues Festival (formerly Rhythm & Ribs) Early bird ticket prices avail-able through September 3: George Duke, Con Funk Shun, Bettye LaVette, Art Blakey Tribute Band, and Kelley Hunt (October 12).where: American Jazz Museum Early bird ticket prices are $10 for general admission and senior citizens, $65 for VIP tickets, and $80 for a 10-pack of regular tickets! Children 12-under are admitted free of charge! Discounts are available at Ticketmaster or by calling our Box Office. Call (816) 474-6262 to place your order!what: 2013-2014 concert series Jammin at the Gem: Poncho Sanchez & His Latin Jazz Band with James Carter (September 6), Najee (Febru-ary 15), Newport 60th Anniversary Tour - Anat Cohen, Karrin Allyson, Randy Brecker, Mark Whitfield, Larry Grenadier, Peter Martin, Clarence Penn (March 22), Lifetime Achievement Concert - Dr. Nathan Davis, Curtis Fuller, George Cables, Winard Harper (April 19), and Massey hall 50th Anniversary - Bill Charlap, Kenny Washington, Peter Washington, Jon Faddis, Jesse Davis (May 17).where: Gem TheaterRegular season ticket prices are: $250 for future members; $220 for members; $190 for students with ID or seniors (65+). All ticket packages will include additional service fees. Future member pricing is available through Ticket-master, but you may be able to choose better seating by


SUIT UP!The new CD from

drummer Matt Kane

w/Dave Stryker, guitar

Kyle Koehler, organ

Trio performs two special nights at The Blue RoomFriday, October 11th + Saturday, October 12th

Get your tickets early!www.americanjazzmuseum.org 816-474-6262

CD available on Bounce-Step Records atwww.mattkanemusic.com

or pick up your copy at Vinyl RenaissanceOverland Park, Kansas Kansas CIty, Missouri

Matt Kane is a great young drummer who will rightly be viewed as one of jazzs new rising stars.Michael Carvin

calling the Box Office. Call (816) 474-6262 to place your order!

Stellar Blue Room Programming Continues

Harold ONeal TrioSaturday, August 17, 8:30 p.m.The Blue Room, $15

Pianist Harold ONeal, a Kansas Cityraised local equally adept at postbop and hip-hop (to say nothing of his kickboxing and break-dancing skills), first caught our attention with 2011s extraordinary Marvelous Fantasy, a solo disc full of mood pieces too rare and delicate to simply be termed ballads. ONeals hard-driving small-group performances are just as impressive. - Time Out! New York

Matt Otto with JoE-LeSs shOeSaturday, August 31, 8:30 p.m.The Blue Room, $15

From their name to their instrumentation to their imaginative, sonic landscapes, JoE-LeSs shOe brings the unconventional to the Los Angeles jazz scene. Formed in 2002, the trio consists of Matt Otto on sax, Jamie Rosenn on guitar and Jason Harnell on drums. With a focus on original music that ranges from quirky freebop, to lush harmonies to Zen-like drones, these three have forged a distinctly modern and original sound that can be compared to the Dave Douglas Tiny Bell Trio, the Paul Motian trio, Jim Blacks AlasNoAxis and Cuong Vus projects.

Connect With Us Online Visit www.AmericanJazzMuseum.org for more or-ganizational details, venue event schedules and informa-tion.


FoLLy JAZZ neWs

The 2013-2014 Folly Jazz SeriesTickets on sale Monday, August 23 For over 25 years, the historic Folly Theater has brought the best known and most highly acclaimed artists to Kansas City because Jazz is our heritage. This seasons Folly Jazz Series once again brings you a diversity of award-winning artists; we hope you can join us! All concerts start at 8pm, and unless otherwise noted, feature JazzTalk, a pre-concert conversation with the artists at 7 p.m. Single tickets for all 2013-2014 Folly Jazz Series concerts go on sale August 23. Jazz Series Subscriptions are now on sale, and offer special benefits and savings.

Gretchen Parlato QuartetOctober 5 8 p .m .

...the most original jazz singer in a generation. Boston Globe

Vocalist Gretchen Parlato will open the 2013-14 Folly Jazz Series on October 5. She won the prestigious Thelonious Monk Institute vocal competition in 2004, and last year was named Best Female Vocalist by the Jazz Journalists Association. Her 2011 CD The Lost and Found was named best of year by several publications. She will be joining the jazz faculty at the Manhattan School of Music beginning this fall.

Kenny Barron Trio (with Kiyoshi Kitagawa, bass and Lee Pearson, drums)November 22 8 p .m . Nine time Grammy nominee Kenny Bar-rons unmatched ability to mesmerize audiences with his elegant playing, sensitive melodies and infectious rhythms is what inspired the Los Angeles Times to name him one of the top jazz musicians in the world.

Jon Batiste and Stay HumanJanuary 17 8 p .m . (Jon Batiste, piano, Harmonaboard (melodica), vocals; Eddie Barbash, alto sax, vocals; Barry Stephenson, bass; Joseph Saylor, drums, tambourine; Ibanda Ruhumbika, tuba, trombone) Deeply rooted in the musical traditions of his native New Orleans, pianist/harmona-boardist Jon Batiste has developed a uniquely current, uplifting and playful brand of jazz that

integrates his classical Juilliard training with contemporary mainstream sounds.

Tierney Sutton BandMarch 7 8 p .m . A three time Grammy nomi-nee for Best Jazz Vocal Album, Tierney Sutton is often described as a singers singer, but just as often, she is described as a musi-cians singer who uses her voice as an instrument. She fronts the Tierney Sutton Band, which includes stellar partners, pianist Christian Jacob, drummer Ray Brinker and bassist Kevin Axt.

Gretchen Parlato

G a l e T a l l i s

A U G U S T + S E P T E M B E R 2 0 1 3 JAM 13Ellis Marsalis Quartet

Friday February 11, 2011

Arturo Sandoval QuartetFriday March 4, 2011

The Richard J. SternFoundation for the Arts Commerce Bank Trustee

The ArtsKC FundNeighborhood TouristDevelopment FundCity of Kansas City, Missouri

TICKE

TS ON

SALE

AUG 2

3

2013-2014 Folly Jazz Series

Saturday, October 5 GRETCHEN PARLATO QUARTET

Friday, November 22 KENNY BARRON TRIO

Friday, January 17 JON BATISTE AND STAY HUMAN

Friday, March 7 TIERNEY SUTTON BAND

Saturday, April 19 BRAD MEHLDAU TRIO

Saturday, May 10 JOHN SCOFIELD ORGANIC TRIOJazzTalk at 7pm unless otherwise noted

All concerts 8pm

2013-2014 Folly Jazz Series

Saturday, October 5 GRETCHEN PARLATO QUARTET

Friday, November 22 KENNY BARRON TRIO

Friday, January 17 JON BATISTE AND STAY HUMAN

Friday, March 7 TIERNEY SUTTON BAND

Saturday, April 19 BRAD MEHLDAU TRIO

Saturday, May 10 JOHN SCOFIELD ORGANIC TRIOJazzTalk at 7pm unless otherwise noted

All concerts 8pm

12th & Central Kansas City, MO

FOR TICKETS 816-474-4444www.follytheater.org

S U P P O R T

Help provide funeral and burial assistance for career

Kansas City jazz musicians based on financial need.

Send tax-deductible donations to

The CODA Jazz FundP. O. Box 412116

Kansas City, MO 64141-2116

"Whatever you think can't be done,someone will come along and do it."

Thelonius Monk

www.codajazzfund.org

thecodajazzfundthecodajazzfund

Brad Mehldau TrioApril 19 8 p .m .(Jeff Ballard, drums and Larry Grenadier, bass)No JazzTalk, or Intermission One of the most lyrical and intimate voices of con-temporary jazz piano, Brad Mehldau has forged a unique path, which embodies the essence of jazz exploration, classical romanticism and pop allure.

John Scofield Organic TrioMay 10 8 p .m .(Larry Goldings, piano and Greg Hutchinson, drums) John Scofields guitar work has influenced jazz since the late 70s and is still going strong today. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser who has recorded over 30 albums as a leader, and is considered to be one of the big three of jazz guitarists along with Pat Metheny and Bill Frisell. Tickets for all Folly Jazz Series concerts are $35, $27 and $18 and go on sale Monday, August 23. Please call Linda Bowlen for best available seating: 816-474-4444 or www.follytheater.org.

Recent times have not been easy for Kerry Strayer. Hes living with cancer and, with the help of his doctors, is doing all that he can to conserve his energy and do what he loves in music. During the last season of the Kansas City Jazz Orches-tra, Kerry had to step aside, and Clint Ashlock stepped in as Interim Artistic Director. But earlier this year he was doing better, even playing occasionally. But more recently, his strength has decreased. I really cant play much, Kerry told us recently. What I can do is sit and write music on the computer, and make calls. Last year, I requested that Clint be hired as Interim Director. This year I decided to return with Clint retained as assistant, so if I cant do it Clint can step in. I have made concessions, Kerry added. The week of the concert Ill take a transfusion to give me some energy, and hopefully this will help through the rehearsals and the concert. If it goes well, I may be able to do a solo or two. This is part of the treatment now, to look ahead and plan around chemo and with the help of transfusions so I can continue to do these things.

Kerry Strayer + Clint Ashlock Kerry and Clint anticipate a great 2013-2014 season at Helzberg Hall at the Kauffman Center. The opening concert is Deborah Brown Sings the Great American Songbook on September 20. Shes a Kansas City treasure, one of the best vocalists on the planet. Kerry and Clint will have some charts for this concert, but theyll mainly use Deborahs vast library. Kerry will do more writing for the Christmas With Kelley Hunt KCJO concert on December 10. Kelley was on my Christmas record from about six years ago, says Kerry. Clint adds, Kelley Hunt was one of the first CDs I ever got. My dad is a huge Mike Finnegan (who produced that album) fan, and he picked up her first CD, which I promptly stole. I grew up listening to blues and soul music, and she is one of my favorites. Clint will serve as Assistant Artistic Director this season, which means he leads and I follow, although thats more out of my desire to learn from such an outstanding musical professional. Kerry has so much experience as a bandleader - hes really the last commercial big band leader in Kansas City, someone who has multiple libraries of music and assembles bands for various functions - that

GreAt FriendS LeAd KCJO intO new SeASOnby roger Atkinson

Photo: James Albright and Kerry Strayer by Clint Ashlock

Kerry Strayer + Clint Ashlock

Photo: James Albright and Kerry Strayer by Clint Ashlock


its a blessing to watch him and learn from him. There are many little things that he does in an average day, from the way he tapes his parts to the databases he keeps, that are definitely things you dont learn in school but in a career of making things work. That said, he is very engaging and asks for my opinion on matters, and is very open to equal collaboration. I think that aspect of his leadership on non-musical matters is directly tied to his long success as a musician and on-stage bandleader. Their relationship goes back to when Clint was at UMKC. I became aware of Clint at UMKC, shared Kerry. I love his playing, both lead and solo. We have

conservatory

jazz

conservatory.umkc.edu

Oct. 13Jazz & BBQ, 6 p.m. silent auction, dinner, music; 7:30 p.m. concert, UMKC Student Union, Tickets 816-235-6260

Nov. 4 & 11Jazz Combos, 7:30 p.m., Grant Recital Hall, FREE

FOLLOW US!Nov. 19Conservatory Concert Jazz Band and 11 OClock Jazz Band, 7:30 p.m., White Recital Hall. Tickets, 816-235-6222

FALL 2013 CONCERTS

similar interests in writing, arranging, and leading bands, so it was natural that we gravitated to each other. He has played in my bands, and he asked me to play in his New Jazz Order big band, and I found it invigorating to play with the younger guys. They think differently, and I learned a lot from playing with them. And, I became good friends with a lot of the great people in the NJO band. So, Clint and I have become great friends. Hes a baseball fan, too, as I am. (Kerry has always made an annual vacation to see baseball and catch up with friends around the US.) The last two KCJO concerts will be T-Bone Sizzle! with trombonist Wycliffe Gordon on March 21 (Im stoked for Wycliffe Gordon, who is absolutely incredible, says Ashlock), and the finale on May 9, Tribute to Duke Ellington. This will be the second year in Helzberg Hall. It has been great! says Strayer. Im kind of old fashioned when it comes to sound; the least amplified, the better. This hall was built for the Symphony and needs minimal amplification. We have a microphone on the piano, for vocals and for a solo horn, thats it. This forces the band to play with more awareness for dynamics. I think it improves musicianship. There were some issues early on with vocals, it just was not built with that in mind. This was an issue, but they have worked on it and it is much better now. Clint agrees. Helzberg is definitely a world-class room. Ive been lucky enough to hear concerts in many of the worlds premier halls, and the sound for acoustic, and especially orchestral and chamber music, is as wonderful as Ive experienced. A big, partially amplified jazz band in such a room can be a challenge as far as the sound is concerned, but the actual experience of seeing this music in such a grand venue surpasses any of the growing pains we might have. Looking out into a packed house of Kansas Citians is pretty amazing.

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Photo: Kerry Strayer by todd Zimmer


AUGUST2 Chris Hazelton Trio3 Megan Birdsall9 Gerald Spaits Quartet10 Mistura Fina w/Shay Estes16 Allie Burik Quintet17 Bryan Hicks23 Parallax24 Micah Herman/Young Lions of

Jazz 25 Bowman/Embrey 7pm29 Joe Less Shoe feat Ma Oo 7pm 30 Eddie Moore & The Outer Circle31 Everee DeVan

SEPTEMBER13 Roger Wilder Trio14 Grisha Alexiev & Diana

Herold20 Trumpet Summit (Metheny,

Mehari, Kessler) CD Release 21 Rich Wheeler & Ma Oo27 Brandon Mezzelo Quartet 28 Stan Kessler/Joe Cartwright Beer, Wine, Cocktails + Coee!

Old Blue Note recordings playing daily & Jazz Greats adorning the walls!

5336 W. 151st, Leawood 913.948.5550www.takevecoeebar.com

Sun.-Thurs.:7am to 10pm, Fri.-Sat.: 7am to 11pmAll times 8pm unless otherwise stated,

cover charge $5 for all shows.

2013-2014 SeasonKansas City Jazz Orchestra September 20, 8 p.m. Deborah Brown Sings the

Great American SongbookDecember 10, 7 p.m. Christmas with Kelley

HuntMarch 21, 8 p.m. T-Bone Sizzle!May 9, 8 p.m. Tribute to Duke Ellington

All concerts are at Helzberg Hall. For more informa-tion, call the Kauffman Center Box Office 816-994-7222, or see the KJCO Web site www.kcjazzorchestra.org.

In addition to his work in the KCJO, Clint contin-ues to lead the New Jazz Order on Tuesdays from 9 to midnight at Harlings on Main Street, although it can be sketchy during the summer with many traveling. Starting in September, on the first Tuesday of each month the NJO will move to the Green Lady Lounge. And thats not all: I always have too many irons in the fire, it seems! But

there is so much that inspires me, especially lately. Im working on my doctoral degree in classical trumpet at KU, studying with the excellent Steve Leisring, but also getting to work with Dan Gailey, which has been a real blessing. Hes the most well-listened musician I know, and the way he rehearses a band is pretty amazing. He gets a lot out of his students through his very effective rehearsal techniques as well as his raw musicianship. I also started a new quintet called Forward, with Michael Shults, Ryan Lee, Karl McComas-Reichl and Andrew Ouellette. We had our first gig last month and are looking ahead to more. All original music, and I have to say, some pretty great Photo: Clint Ashlock by Janis Porietis


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stuff already. Other than that, Ive been playing with Gerald Dunns group, Bobby Watsons big band, Tim Dohertys 9+1, and whatever else I can find. Strayer also sees the musical momentum in Kansas City recently. I see so many things around town that Id love to participate in, like the recent Kent Rausch Vine Street Rumble orchestra. Then there is the 9+1, and the Green Lady. Theres so many things that I cant do. Its frustrating that I cant play much. But the scene seems to be turning around, you can really feel it, with some talented young guys. There are real positive developments. Its really turning around.


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I first encountered saxophonist Brad Gregory while playing with the New Vintage Big Band at BBs Lawnside Barbecue several summers ago. I had heard good things about Brads playing, and when he finally got up to play a solo I immediately understood the hype. He has a tremen-dous sound on both alto and tenor saxophone throughout the range of the horns, constructs logical lines with expert phrasing, and always plays with an acute sense of the aes-thetic of the music at hand. In my opinion, Brad is one of the pacesetters in the Kansas City saxophone community. In addition to his supreme musical prowess, Brad is among the most genuinely nice people on the scene. A native of Edmonton, Canada, Gregory started play-ing the saxophone at age 13. My older brother was taking band at school. He played the tenor and he let me mess

around with his horn. I loved it, he recalled. My dad was always playing his trumpet around the home when I was a kid. I think he secretly wished he could have played for a living but with five kids and a mortgage to pay he stuck to the day job! Brads thirst for music eventually led him to study music at the renowned North Texas State University (now the University of North Texas) in the late 1970s, where he studied with a number of notable jazz pedagogues including Mark Taylor and Jim Riggs. He made a meteoric rise through the ranks of the jazz studies department, rising to a spot in the famed One OClock Lab Band by his sophomore yearan ac-complishment something akin to playing a starting role for the Kansas Jayhawks basketball team as a freshman. Many of Gregorys contemporaries at NTSU went on to

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G r e g o r yb y M i c h a e l S h u l t s P H O T O s c o u r t e s y o f b r a d g r e g o r y

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significant careers in jazz, including Bob Belden, Clay Jenkins, Conrad Herwig, Jim Snidero, John Riley, famed Los Angeles studio saxophonist Dan Higgins, and Kansas Citys own Bob Bowman. Higgins in particular left a last-ing impression on the youthful Gregory: He was my lead alto when I was in the One OClock band. He nicknamed me The Glove because I was so focused on matching his phrasing exactly. Dan was the consummate professional even back then. He can really do it all. He left after that year, moved to LA and the rest is history. You cant watch television or see a movie that he isnt playing on! While many of his collegiate cohorts took fairly direct routes to careers in music, Brads route was a little more circuitous. He spent a number of years in New Jersey play-ing his hand at music, but eventually trying to support a family with a musicians salary took its toll. When I left New Jersey in 1986, I went back to the Dallas area as a plant manager for the plastics company I have worked for since 1981. With a young family and 150 people I was responsible for there just was no margin for playing music, he explained. I went for a lot of years not even touching the horns. In the late 90s a friend coaxed me out of retirement and I wound up playing with Naked Lunch,

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one of the top Steely Dan cover bands in the country. It was so great to play with them and it got me back in the game. It is hard to imagine such a gifted player taking so much time off, but Gregory says his musical sabbatical may have changed his outlook on music in a positive way. The biggest change for me, after the time off, was for the first time in my life playing because I love music, he remembered. The pressure of trying to make a career out of being a jazz musician took the enjoyment out of it for me. I was way too concerned about what everyone thought of my playing and of course comparing myself constantly. That is never fun! Now I can appreciate what others do and enjoy playing simply for the beauty of it. Gregory moved to Kansas Citywhere his wife grew upin 2002 and has been making strong contributions to the jazz scene since. These days, Gregory is lending his muscular tenor sound to a number of local big bands, in-cluding the Kansas City Jazz Orchestra. The sax section led by David Chael totally reminds me of my college days, he says about the KCJO. Dave, Bob Long, Doug Talley and Mark Cohick are as good as you will find anywhere. I miss sitting next to Kerry Strayer from the old days when he was in the section and Jim Mair led the band but Kerry is such a great director that I know it is best for the band. Now in its tenth year in existence, the band is in better


shape than ever, Gregory says. One of the best thrills for me is now getting to play at the Kauffman Center. I just feel like the KCJO has gone big time. We are playing better than ever in one of the worlds top venues, getting great guests like Randy Brecker and Ken Peplowski and you can just tell that these guests are stunned at the level of the musicianship here in Kansas City. In addition to the KCJO, Gregory is a regular with Tim Dohertys 9 Plus 1, a so-called little big band fea-turing six horns. We have been together for about five years now and we have a great library of six horn music that we have purchased or arranged ourselves, Gregory explains. The band has some of the best cats in town and I cant think of when I have had more fun playing. We just started playing once a month at the Brooksider and starting September we will be playing once a month at the Green Lady Lounge. As for the future, Brad has a goal to start a band with bassist Bob Bowman: We played together thirty five years ago and by gosh it is time we did it again!

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In 1992, also saxophon-ist and composer John Zorn formed a quartet devoted to performing original mate-rial based on music from the Jewish tradition. The band was called Masada, and Zorn eventually gathered the strength and momentum to compose 200 songs. This assemblage of 200 tunes became what is now known as the first Masada Book. The Masada quartet performed these tunes for ten years, and then Zorn hit a creative burst again and began writing more music, averaging a stunning 100 compositions a monthfor three months straight! Zorn decided that this second large body of workMasada Book Two, would be distributed throughout several other respected performing artists to create a wide and diverse interpretation of his works. These groups, which employed traditional and non-traditional jazz instrumentation, included (among dozens of others) Mark Ribot, Uri Caine, The Cracow Klezmer Band, and Medeski, Martin & Wood. The entire series of albums performed by Zorns appointed groups were collectively entitled The Book of Angels and were num-bered in order of appearance. Each albums individual songs were all titled by the names of angels found in the Bible, which ranged from good angels such as Gabriel to demon or fallen angels like Azazel. The first volume of the collection of Book of Angels songs appeared in 2005 with Astaroth, performed by Jamie Saft, and had ten tunes. In consistent fashion, eighteen more albums appeared over the next eight years, and Vol. 19, Abraxas, perfomed by Middle Eastern hard rock enthusiast Shanir Ezra Blumenkranz, was released just last July in 2012. Enter Pat Metheny. Methenys body of work is extremely well known world-wide, so there is no need to rehash the obvious genius of his contribution here. What is to be totally celebrated, however, is the fact that his latest recording project, Tap, indicates that Metheny has chosen to join the fray, with six specially selected cuts that appealed to Pats unique sense of taste and intuition regarding how

Zorns vision could successfully merge with his own for this unique collaboration. What follows then, is a rare Q/A with Pat that I was fortunate enough to score with him in my efforts to get first-hand take on his latest endeavor and how the meeting of the minds with Zorn came to be. Enjoy!WAYNE: How did the title Tap come about? What is the significance of it?PAT: Every Book of Angels record has a single angel as the titleTap/Gaap is the one John picked for this one. That is the illustration of that angel you see in the artwork. WAYNE: I know your approach on recent past projects is to demo the entire concept at home in your studio, and the liner notes stated that you recorded sporadically when time permitted at home when you got off the road. How many of your original takes made it to the final cut, or were they sketches that became fully realized/evolved over time into the final versions we have here?PAT: I wasnt really thinking of this as a record as I was doing it...it was more for the experience and I thought I would send it to John (who I hadnt met at that point) just as a fun thing. After two or three tracks it emerged as something more significant, but still, I really didnt have a plan. I was just trying to make it sound good for me. There are no out takes, everything I did ended up on what became the record. WAYNE: Was your decision not to use the Group for this particular project a result of your choice to exercise more freedom to explore your own personal/musical ideas vs. extraneous ideas from other group members?PAT: I dont really think much about group or not-groupit is all the same to me...whether it is my record or someone elses, whether it is a big deal or a jam session, I always try to do my best for the music at hand and try to honestly answer the questions that each setting seem to suggest in the best way I can imagine. WAYNE: Having asked that, how much if at all did Sanchez contribute ideas/approaches to the conceptualization of his

Pat Metheny DiscussesTap: John Zorns Book of Angels Vol. 20


by Wayne Goins


cLuB scene

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Piropos Restaurant/Briarcliff4141 N . Mulberry St . . . . . . . . . .816-741-3600Live Jazz: Th. 6-11, Fri. 5-midnight, Sat. 2-5 jam & 6-midnight jazz

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Beautician Blues w / Luscious Lynn . . . . . . . . . . . . . . . . . . . . . .10am - NoonJazz, Blues & Latin Tracksw/ The Jazz Insider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:00 - 3:00 pmMothers Mix w/Lady D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3:00 - 6:00 pmtuesday

Tuesday Midday Medley w/ Barry Jackson . . . .10:00 am - NoonLunch & Brunch w/The Jazz Disciple . . . . . . . . . . . . . . . .1:00 - 3:00 pmRoad Trippin Blues w/ The Voodoo Kittens . . . . . . .3:00 - 6:00 pmWednesday

Afternoon Jazz w/ Jeff Harshbarger . . . . . . . . . . . . . . . . .1:00 - 3:00 pmOld Gs Hangout with Groovy Grant . . . . . . . . . . . . . . . . . . .3:00 - 6:00 pmthursday

My Place w/Larry J . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10:00 am NoonAfternoon Jazz w/KC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:00 - 3:00 pmMain Street Mojo w/ Various DJs . . . . . . . . . . . . . . . . . . . . . . . .3:00 - 6:00 pmFriday

Lunch & Brunch w/The Jazz Geek . . . . . . . . . . . . . . . . . . . .1:00 - 3:00 pmEdged in Blue w/ Wendy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3:00 - 5:00 pmsaturday

Larrys Freak Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5:00 - 6:00 amBeale Street Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:00 - 8:00 amThe Blues Kitchen w/Junebug & Chuck Pisano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:00 - 11:00 am

KCUR-FM 89.3 (816 -235-5775)National Public Radio-University of Missouri/Kansas CityFriday

Friday Night Fish Fry w/Chuck Haddix . . . . . . 8:00 pm - Midnightsaturday

Saturday Night Fish Fry w/Chuck Haddix . . . 8:00 pm - Midnightsunday

12th Street Jump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .midnight - 1:00 amMusic from the Hearts of Space . . . . . . . . . . . . . . . . . . . . . . .7:00 - 8:00 pmNight Tides with Renee Blanche . . . . . . . . . . . . . . . . . 8:00 pm - Midnight

KJHK-FM 90.7 (785-864-4747)Daily

Jazz In The Morning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:00 - 9:00 am

KUDL-FM 98.1 (913-677-8998)sunday

Smooth Sunday Brunch w/Taylor Scott . . . . . . . . . . . . . . .7:00 - 11:00 pm

KMBz BUSINESS CHANNEL 1660 AM

thursday

Music Makes Sense with Jeff ToddWeekly Radio Program that highlights the music industry in Kansas City . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9:00 am to 10:00 amsaturday

Dick Hawks Gaslight Jazz, featuring Lynn Zimmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:00 pm Midnightsunday

Dick Hawks Gaslight Jazz, featuring Lynn Zimmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:00 am - Noon

KCxL 1140 AM/102.9 FMsaturday

Neon Jazz with Joe Dimino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7:00 - 9:00 am

on tHe AIR


news + no t e s con t i n u ed f r om page 9

Lonnie McFaddenPhoto by Michael Mitchell 2012

A patron of the bar who obviously was as impressed as we with these proceedings overheard my mention of Kansas City and JAM to another entranced couple from San Luis Obispo who were seated with us. He turned out to be Doug Peet, a Kansas City business person just into town from Switzerland, and from one of his regular guitar lessons in KC from the aforementioned Danny Embrey!

Todd Strait Plays KC Kevin Rabas shared this with us after hearing Todd at Take Five: Todd Strait returned to KC for a brief performance on July 12, performing with Stan Kessler (flugelhorn), Danny Embrey (guitar) and Bob Bowman (bass.) The house was packed. About 60 earlybirds found seats, and as many stood. Highlights included Straits solos on Car-mell Joness Dance of the Night Child, Horace Silvers Barbara, Victor Lewiss Hey, Its Me Youre Talking to, and Bronislaw Kapers Invitation. It was an evening of swift, intricate, sophisticated, democratic musical inter-play. During one of Bowmans bass solos that verged on a bass/drums duet, Bowman reaching for swifter and swifter, lower notes, I thought: Can anyone play quieter and faster than Todd? Invitation capped the nights performance, ending with a stunning solo by Strait, filled with melodic, athletic runs, shifting and tessellating from straight ahead swing to an African hemiola patternthe polyrhythmic patterns at once duples, next triples and beyond. A night made for drummers, a cadre of KCs finest were in attendance, including Doug Auwarter and Arny Young. Kevin also has a new book of poetry called Sonny Kenners Red Guitar. We will review it in a future JAM.

Music Makes Sense with Jeff Todd on KMBZ Business Channel AM 1660 Every Thursday 9 a .m . KCs only weekly radio broadcast highlighting the music industry, Music Makes Sense, is a radio program that highlights the music industry in Kansas City. Seg-ments include music by local, regional and national artists, artist of the week, live in-studio performances, weekly features including free and non-profit music events, CD releases, venue of the week, a local entertainment calen-dar, live interviews with artist and industry experts and entertainment news.


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Correction The photo accompanying the 12th Street Jump article in the June/July JAM was taken by Stephen Butler. We apologize for the omission.

Dan DeLuca, 70 Pianist Dan DeLuca passed away on May 25. I share these words from his friend Jum Mair: Dan DeLuca lost his battle with leukemia on Sat-urday, May 25. Dan had an encyclopedic knowledge of the American Popular Songbook. He knew the original changes of all the tunes, but at the same time played very logical and inventive substitution chords which always kept things fresh. He could play in any key and transpose in a split second. He could carve any tempo with virtuos-ity and clarity. His bass lines rivaled the best bass players. In five years of playing with him every weekend I was never able to anticipate how he would end a song. Every tune became a lesson in harmony and melodic lines. He personally increased my repertoire by at at least 150 tunes. We would often segue tunes together for over an hour using hand gestures to signal the key we were moving to. Three fingers down meant three flats or the key Eb. Five fingers up meant five sharps or the key B etc. He loved Bill Evans and one of his most favorite compositions was The Bad and the Beautiful by David Raksin. He was a quiet giant of the piano. Dan was house pianist for 17 years at Remingtons at the Adams Mark Hotel, after his years in the San Fran-cisco. JAM featured Dan in the August/September 2012 issue.

John Elliott, 87 Pianist, arranger and educator John Elliott passed away on June 24. Many will remember him as a pianist on the Kansas City scene for many years. He will remembered as a master teacher of the theory of harmony; among his students were guitarists Pat Metheny, Danny Embrey, Rod Fleeman, Steve Cardenas and Jay EuDaly, plus Stan Kessler, Larry Williams, Karrin Allyson, Carol Comer, Greg Meise and Bobby Watson. Many of these students shared their words of praise in the October/November 2001 JAM. John had a degree in Composition from the Kansas City Conservatory of Music, where he met life-long friend Bob Brookmeyer who said that John was my honest opinion. I have two or three in the world who will tell me what they think, and thats gold.


specific drum parts, and/or did he offer other ideas with regard to the larger scope of the album?PAT: Originally I had done the whole record with orches-trionic drums...but I felt like it would be more slamming rhythmically with Antonio... he came in at the very end and in a very short timeone sessionwe got what we needed. He always brings a lot of great ideas to everything he does. WAYNE: How much did you correlate your musical con-cept/sonic approach to each individual track with the his-tory of the specific angels that were chosen, i.e., Mastema as the fiery angel of hostility/disaster (the music on this opening track certainly has a fiery approach to it, with shades of Derek Bailey?), Albim as Angel of the North Wind (reminds me of material from One Quiet Night), or Tharsis as angelic governor of water?PAT: I really dont go outside of music much when I am working on musicthe notes and in this case what was written on the page was way more than enough for me. By the same token, I dont really refer to previous reference points much either, although I am aware of my general palette of possibilities in each project given the context and restrictions that come with anything. Again, I just try to answer to the music at hand and do the best job I can to get it to the point where it sounds pretty much right to me. WAYNE: I know how much you have closely followed with interest the arc of Zorns musical career, but how much, if at all, does your own personal concept/philosophy of angels/demons play into your interest of Zorns extensive project and was that an attractive feature for you joining the frayor was it just based on the beautiful lyricism that was found in the original melodies as they were presented to you in raw form?PAT: No, I dont have a whole lot of interest in mythology or religions. But, I do have a lot of interest in the fact that other people are interested in things like that. But in this case, and with John in general, what I really respond to is the fact that he is a guy with a very strong point of view that he is able to really describe in notes written on a page. He really is able to transmit a lot of valuable information in that form. If you look at just the Book of Angels series alone, he has been able to inspire a very wide range of people to discover things that are personal to them, but also answer the call that he has laid down in the notation that gives the whole thing an identity. WAYNE: This may be pushing it a bit, but is there any way I might be able to hear the Zorn raw form melodies, in

order to get a greater appreciation for the degree of your manipulation for each tune?PAT: I think you can buy the whole book from Johns Web site...(although I am not sure about that...). he gives each musician a group of tunes that have not been recorded before....however I made a mistake in reading his list and did a tune that had been done before...you can hear an-other version of Mastema on one of the other records...that will give you an idea of how far I took things away from just what was on the pagean aspect of Tap that I think John really appreciated. WAYNE: Which tune proved to be most challenging? In what way?PAT: They were all pretty challengingand also really fun to play. His tunes are a little like Monk tunes in that respect. WAYNE: How many angels did you consider capturing musically before you settled on the six that were chosen? Or were these the only ones Zorn offered? Were the ones you picked selected for the variety of melodic harmonic contour or was there a more deliberate, overarching con-ception that was aimed for, as the six pieces began to hang together so to speak?PAT: He gave me an original list of about 11, I picked the 6 that I did because I pretty quickly had a response to them and could imagine a way of doing them. WAYNE: In Sariel, the hypnotic, galloping, medium-tempo groove you settle into and solo over with dueling lines stands out like no other place on the album, and the Hendrixian, organized chaos toward the end is quite effec-tive; any insights you can offer me about the symbolism regarding those aspects of this particular tune as it relates to the Angel, or did that play into it at all?PAT: I always let the tape run at the end (and sometimes the beginnings) of each thing I recorded...and wound up using a lot of that material as codas and intros to things...that seemed to fit into the spirit of the whole thing...but it wasnt really literally connected to any aspect of the specific angel stuff. WAYNE: Anything of significance that I could have or should have asked but didnt (!) that you think would help give readers the best insight to this bold and ambi-tious project?PAT: These were good questions! Thanks, Wayne!

me t heny con t i n u ed f r om page 25


Matt Kane Trio

Suit Up!Personnel: Matt Kane, drums; Dave Stryker, guitar; Kyle Koehler, organ.

Tracks: John McKee, Who Can I Turn To, Shadowboxing, As You Left, Minor Mutiny, Mr. Rogers, Big Six, 21st Century Ragg, Thats the Way of the World.

Produced by Dave Stryker. Mixed and mastered by Chris Sulit and Trading 8s Studio. Recorded 13 Jan. 2013 at Tedesco Studios for the Bounce-Step Records label.

Characteristically and of interest to KC listeners, Matt Kane Trio captures the KC Stamp in the two Alaadeen tunes on the album, Big Six and 21st Century Ragg. Koehlers understated, soulful organ chords echo the style of KC staple organ greats, like Everette DeVan. Kane said Stryker and Koehler share Alaadeens modern blues concept, and the group car-ries forward Alaadeens legacy with these great Kansas City swing tempos that kind of saunter and bounce. In them, Kane shows how to hold back, but groove hard in the pocket. With his hard-four 6/8 rim clicks and sparse comping and fills, Kane makes much with little in these heritage tunes, drawing upon compressed, well-placed drum and cymbal hits. Kane never stutters or falters or pauses to catch a quick breath, but instead holds to the groove as if a bluesy electrical current runs through him. Alaadeen, Kanes former bandleader and mentor, would be proud of this big clean sound. Sparse, but never simple, that warm blues groove sings KC. But beyond his clean sound, Kane is as complex as ever, bringing out a full vivid palette of sounds from his small kit. His brushwork is strong, but sensitive, with the strength of Tony Williams or Don Mumford and the grace of Todd Strait. As with Strait, whether running through a flurry of rolled notes between adjacent drums or a series of taps from one periphery of the set to the other, each hit is distinct, full of dynamics and range, calculated, but also in the moment, full of both fire and control. Powerful, but clean; intricate, but soulfully nuanced; Kanes style is now truly distinct.

Kane wrote two of the tunes on the album, As You Left (a mournful love ballad) and Mr. Rogers (in 3, which switches between Latin and swing.) Besides being a talented drummer, Kane also plays guitar and composes compelling, contemporary melodies. Kane explained their influences and genesis: My tuneswere written when I was taking guitar lessons at the guitar study center at the New School. I was way into Milton Nascimento and Toninho Horta and Stevie Wonder, and I just started singing into a mic as I played chords I liked. Thats what came out. As I Left was inspired by Cinema Paradisio, that kind of movie theme feeling, and Mr. Rogers was inspired by a Bill Evans kind of vibe. Kanes album opens with a Pat Metheny tune. Kane spoke at length about Methenys influence on his com-posing, playing, and overall aesthetic: Pat Metheny is not only my favorite guitarist, but his compositions and musical aesthetic always inspire me. Hes big on drum-mers Wertico, Haynes, Higgins, DeJohnette, Gottlieb, Stewart, Blade, Moses, Nana Vasconcelos. His rhythmic sensehis articulation of lines and also broken rhythmsbeing equally adept with the up beats gives his feel added feeling. Combine that to his vast harmonic and melodic sense and compositional awareness as an improviser, and thats just a part of why Im such a huge fan. At the session, when we got into the first tune, Pat Methenys John McKee, I just started grinning because maybe for the first time in the studio I felt I could relax and enjoy myself because, man, it sounded like an album as we played, and that made me feel like I didnt have to press anything. I could dance, be inspired and free. That sense of freedom, infused with a sense of democrat-ic interplay, is a hallmark of this album. This album grooves hard. It has a bright, lasting sound. KC listeners should love it. Kansas Citians can hear the Matt Kane Trio as part of the 18th & Vine Jazz and Blues Festival on October 11 and 12. Each night includes a two-set show. Sets on October 11 start at 8:30 and 10 p.m. and at 8 and 9 p.m. on October 12. Kane said the October 11 show includes a special guest and will feature three Alaadeen tunes, including Big Six and 21st Century Ragg, also found on Suit Up! Suit Up! is available in KC at Vinyl Renaissance at 1415 West 39th Street, and is also available on Amazon, CD Baby and iTunes, and at mattkanemusic.com.

Kevin Rabas

FoR tHe RecoRD

Tooting Our HornTooting Our Horn

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