Now's the Time: Milton Morris

Twelve entertaining minutes of the salty Kansas City raconteur Milton Morris holding court begin at the 1:25 mark of the embedded video.  KC Jazz Lark wrote a fine overview of the colorful character’s ties to Kansas City’s jazz scene.

Event Review: Chuck Haddix at Unity on the Plaza

I would pay $7 just to hear Chuck Haddix talk about Charlie Parker for 90 minutes.  Throwing down that amount to hear Haddix's thoughts on Bird complemented with performances by several of Kansas City's most notable musicians represents a rare bargain.  An audience of over 300 took advantage of the deal at Unity on the Plaza on Wednesday, October 2.

Haddix was promoting his new biography Bird: The Life and Music of Charlie Parker.  Plastic Sax reviewed the book last month.  The event was part of Tim Whitmer's monthly Spirituality and All That Jazz series.

The evening began with the house band of pianist Whitmer, saxophonist Jim Mair, bassist James Albright and drummer Jurgen Welge playing "Autumn Leaves" and "My Little Suede Shoes."  Mair floored me by making a bold statement with a Grafton saxophone on the latter selection.  Unfortunately, his nod to Parker's infamous plastic sax won't be repeated anytime soon. 

"I just sold it and I'm shipping it out tomorrow," Mair said.

Haddix read from his book and shared personal anecdotes about his relationship with Parker's music.  He recalled initially failing to appreciate Parker's approach after he bought "a $2.99 cutout" album at the UMKC bookstore.

"I didn't get it," Haddix confessed.

He explained that the tall tales of bar owner Milton Morris played an instrumental role in fostering his understanding of Parker's legacy.  Haddix reminded the audience of Parker's affection for "Cherokee" in his introduction to the standard.  The format- Haddix's analysis of the evolution of Parker's career followed by a related performance- would continue for the remainder of the evening. 

Accompanied by Albright and Welge, saxophone giant Bobby Watson, trumpeter Hermon Mehari and pianist Andrew Ouellette tore into "Cherokee."  Watson stormed through the changes as if he was momentarily possessed by Parker.  Watson's bluesy take on "Body and Soul" was brilliant.  Mair returned to the stage for a lively rendition of "Jumpin' the Blues." 

Watson and Mehari played impressive unison lines on "Yardbird Suite."  "Groovin' High" and "Just Friends" were followed by a version of "Now's the Time" that closed the unique and entertaining event on a rapturous note.

(Original image by Plastic Sax.)

Confirmation: Weekly News & Notes

*Here's an excerpt from an email sent by the American Jazz Museum last week: This email is a call to action. Recently the Missouri Senate recommended zero funding for the Missouri Arts Council for FY2011. This is a distressing recommendation as the Missouri Arts Council provides significant funding to arts organizations throughout the state. About a quarter of the American Jazz Museum's philanthropic support comes through the Missouri Arts Council.

*Prior to Christian McBride's concert last Saturday, Doug Tatum announced that Sachal Vasandani and Dave Brubeck have been booked as part of the Folly's 2010-11 jazz series.

*Mark Southerland and Shay Estes received a quick critique.

*"I wanted to see an area thriving with people, shops and things to do," a blogger writes about a visit to the Jazz District, "(A)nd what I saw were a lot of businesses that didn’t make it, closed up storefronts, lifeless streets, and the façade of a neighborhood that just doesn’t exist anymore."

*Michael Pagan posted an enthusiastic review of Mike Metheny's 60.1 at iTunes.

*Milton Morris is evoked by KCJazzLark.

*The Kansas City Kansan recaps the recent "Jazz Cabaret" concert by Kansas City Kansas Community College students.

*Sue Vicory provides additional details about her May 6 film premiere at the Gem Theater.

*Tony Botello posted several jazz-related items during the last week. He catches up on the controversy at the Mutual Musicians Foundation. He opined on the name and venue change of KCUR's 12th Street Jump. He also checked in with Jazzbo and noted that a progressive rock band has taken up residency at Jardine's on Monday nights. Finally, the prolific blogger was on hand for Reach's live album recording with jazz/jam band Mouth at the Record Bar.

*The Star reviewed the Christian McBride concert at the Folly Theater. Here's fan footage from the upper balcony.

*Bobby Watson and Horizon will perform at the Detroit Jazz Fest this summer. The stellar lineup also includes Allen Toussaint, Branford Marsalis and the Maria Schneider Orchestra.

*"To hell with practicality; if it’s something sweet to watch, it’s worth the challenge of creating and executing." A reviewer in San Diego is astounded by Pat Metheny's Orchestrion.

*It looks as if he and Fanny have been at it since last August, but I just discovered Alaadeen's blog.

*Megan Birdsall provides a new installment of her tour vlog. I've made fun of her video blogging, but seriously, similar efforts should be part of every performing artist's weekly routine.

*In a typically excellent post, St. Louis Jazz Notes heralds the May 1 performance of the Count Basie Orchestra in his town.

*Matt Chalk and Tim Whitmer lead groups at a May 7 charitable benefit at the American Jazz Museum.

*A full press release detailing the weekend's activities at the American Jazz Museum concludes this post, but those aren't the only significant jazz events in town this week. Here are a few additional listings:

4/30 The Kansas City Jazz Orchestra perform the complete Kansas City Suite- Folly Theater
5/01 The People's Liberation Big Band perform their original score for Battleship Potemkin- Paul Mesner Puppet studio
5/02 Diverse- Watson Park in Lawrence
5/02 KC Jazz Masters benefit for KC Youth Jazz with Diverse, Stan Kessler, Jim Mair and more- Madrid Theater
5/05 Bob Kindred- Jardine's
5/06 The film premiere of Sue Vicory's Kansas City Jazz & Blues: Past, Present & Future- Gem Theater

Check the Kansas City Jazz Calendar for additional listings.

*Via the American Jazz Museum:

Event Schedule:

Thursday, April 29, 2010, Panel Session: “(Ellington’s 111th Birthday)

10:00 AM Panel Session:

“Inspirations of the Duke”

Panelists: NEA Jazz Master Dan Morgenstern, Barrie Hall, Clark Terry and KC Legend Alaadeen.

Moderator: Steve Kraske, Kansas City Star Columnist & “Up to Date Host” on KCUR American Jazz Museum Blue Room

6:00 PM Duke Ellington Photo Exhibit and Film Exhibit Grand Opening Reception and unveiling of the Ellington bust, created by San Francisco artist, Howard Lazar.

American Jazz Museum, John Baker Collection Exhibit

7:00 Dan Morgenstern - “Celebrating Duke Ellington’s Legacy”.

American Jazz Museum, JBC Exhibit

Friday, April 30, 2010 Jammin’ at the Gem Day

10:00 AM Jazz Museum Tours for students w/ Dennis Winslett Glenn North.

American Jazz Museum – Permanent Exhibits

10:00 AM Jazz Storytelling featuring Lisa Henry & Brother John

American Jazz Museum Atrium

11:00 AM Instrumental Break-out Master Classes, featuring the following Ellington Clinicians:

Everette Freeman on Piano; Jeff Harshbarger on Bass; Brandon Draper on Drums; James Ward on Brass; Chris Burnet on Woodwinds.

1:00-2:15 PM Panel Session:

“The Genius of Duke Ellington: Goin’ to Graduate School – A Players Perspective”

Panelists: NEA Jazz Master Clark Terry, NEA Jazz Master Dan Morgenstern, Barrie Hall, KC Legend Alaadeen.

Moderator: Greg Carroll, American Jazz Museum Chief Executive Officer

6:30 PM Ellington Pre-Concert Reception & Jazz Conversation w/ Dan Morgenstern &

Clark Terry. Gem Theater Large Conference Room.

8:00 PM Ellington Tribute Concert featuring Clark Terry, Barrie Hall, the Ellington All-Star Big Band, the American Jazz Museum Institute Student All-Stars. Clark Terry and Alaadeen will be presented with the American Jazz Museum Lifetime Achievement Award.

(Original image of the Clayton Brothers by Plastic Sax.)

Every Day I Have the Blues

"Every Day I Have the Blues".

The death of Anne Winter is devastating to hundreds, if not thousands, of members of Kansas City's music community.

More than her efforts as proprietor of Dirt Cheap and Recycled Sounds and her many other endeavors, it's Anne's innately warm and generous spirit that will be most sorely missed.

Anne and I occasionally discussed the business of jazz on vinyl. She lamented that more people didn't contact her about unloading their jazz collections. While she might have done brisk business trading in indie rock, Anne knew that rare jazz material commands top dollar.

Although it's normally anathema to me, during difficult days like these I take solace in reminiscing. Please indulge me.

My love affair with jazz was cemented at Milton's. As a teenager, I'd sip whiskey at the bar and dizzily watch the turntable spin jazz albums. That experience contributed far more to my juvenile delinquency than did all the time I spent sitting in my bedroom listening to Led Zeppelin, Bob Marley and the Sex Pistols.

I began buying jazz recordings in earnest in the early '80s. My primary source was Penny Lane Records on Broadway (now the TWEC-owned Streetside). I took advantage of their three-for-$10 "Nice Price" sales to discover music by the likes of Miles Davis and Weather Report. As a bonus, manic clerk Dwight Frizzell would insist that I buy self-released Sun Ra albums.

I also frequented Classical Westport (now the Thai Place). In keeping with their refined aesthetic, they stocked the ECM catalog. I'd also stop at the late James DeRigne's place. I still find it amusing that he'd play prog rock as Buck Clayton's happy visage looked on from a prominently displayed signed album cover. (Before any readers object, I also shopped at Caper's Corner and the little shop that was located near the present location of Jardine's, but I don't recall that I bought any jazz at those stores.)

The mother lode, of course, was Ron Rooks' Music Exchange. There are countless stories to be told about that eccentric institution- oh, how I miss Dan Conn!- but I'll save those for another time.

I love living in an era when savvy musicians like Matt Otto make their music available as free downloads and most everything is just a click or two away. No amount of downloading, however, can ever replace the time I spent with Anne, Dan, James and Ron.

(Original image of a Scamps LP by Plastic Sax.)

Milton's

One of the most crucial components of my jazz education was totally illegal. I discovered that Milton's Tap Room on Main Street would serve me alcohol when I was still a teenager. The fact that Milton's was a jazz-oriented tavern was initially a secondary consideration. But I quickly became fascinated by the impressive collection of jazz albums prominently displayed behind the bar. Hearing scratchy recordings by Grant Green and Jimmy Smith in the smoky, scotch-drenched joint demonstrated to me that jazz was anything but a stiff, academic exercise.

(Image nicked from the internet.)