Plastic Sax Is a Winner

Even Kim Sivils and Steve Rigazzi don't completely get it.

They've been savvy enough to invite me to their gigs and ask me about the booking policies of area clubs. But when I spoke to Kim at Jardine's last Friday, I discovered that she was confused about the intent behind Plastic Sax. (I write about Kim and Steve's music today at There Stands the Glass.)

Allow me to use the occasion of Plastic Sax winning the Pitch's Best Music Blog Award clear up misconceptions and answer commonly asked questions.

*I don't make a dime from this site. I'm beginning to suspect, however, that demanding advertising support and applying for grants might be the only way to be taken seriously by many key players in Kansas City's arts community.

*I do not believe that jazz is an inherently superior genre. Furthermore, I'm not slumming when I attend hip hop, punk rock, country and heavy metal concerts. I love all forms of music.

*I desperately want Kansas City's jazz scene to thrive. I don't hesitate, however, to report negative news. This approach regularly confuses musicians, clubowners and promoters accustomed to mindless cheerleading.

*My friend and colleague Joe Klopus at the Star isn't afraid to tell the truth. I initiated Plastic Sax only because the weekly appearance of his Jazz Town column left me wanting more. And while JAM has the best of intentions, its static online presence and rosy tone doesn't always appeal to me.

*I was so flabbergasted by the absence of a comprehensive list of area jazz links that I dedicated a weekend in July 2007 to creating the guide posted in the right column.

*I haven't picked up a saxophone since I was sixteen. The "Plastic Sax" title is intended as a peevishly disrespectful reference to the American Jazz Museum's famous relic.

*Since February, every image posted at Plastic Sax is an original photo.

*I'm accessible; email me at happyinbag(at)gmail.com.

*I recognize that Plastic Sax is far from perfect. Even so, I'm confident that it's the single most useful and comprehensive source for information and opinion about today's Kansas City jazz scene.






















(Original images of Kim Sivils (top) and Steve Rigazzi (bottom) by Plastic Sax.)

Now's the Time: Dave Brubeck

It would be terribly unfair to both Dave Brubeck and ticketholders to tonight's concert at the Folly Theater to suggest that the show will in any way resemble this classic performance with Paul Desmond. The 87-year-old pianist and composer shouldn't be expected to rehash hits from 1959. A blogger's summary of a recent appearance gives a sense of Brubeck's current approach.

Confirmation: Weekly News & Notes

*Plastic Sax is astounded by the contributions printed in the program for last week's Kansas City Jazz Orchestra concerts featuring Steve March Torme. "Gifts... received between October 1, 2007 and September 1, 2008" are listed. Assuming each contribution did not exceed the minimum donation at each sponsorship level, the group received more than $162,000. That's extremely impressive.

*Pete Dulin of Present magazine interviews Jeff Harshbarger.

*Plastic Sax pal Corky Carrel shot Kirk Whalum's recent concert at the Gem for Present.

*A member of the Basie Orchestra shares his candid thoughts on the plight of today's jazz musicians in the comments to the previous post.

*Reading the excellent St. Louis Jazz Notes blog depresses me. The jazz scene across the state seems relatively vibrant. It's not just that artists like Jason Moran, Cedar Walton and Vinnie Golia performed there last week or will be there this week. It's the more modest efforts by St. Louis jazz fans and institutions that make me most jealous. A "jazz CD listening club" was just initiated. What a fun idea!

(Original image taken last week by Plastic Sax. Most readers will be able to identify the musicians, but you'll receive bonus points if you know where they're performing.)

Who Are You?

The majority of jazz fans here in Kansas City can be grouped into one of two categories. There's the aging white audience for whom Glenn Miller is still the king. These people can actually recall a time when jazz was popular music.

Then there are the primarily black fans in their 40s, 50s and 60s who came of age to Ramsey Lewis' The In Crowd and Grover Washington, Jr.'s Mr. Magic.

The first group's communal vigilance has been the bedrock of the local jazz scene. Area jazz clubs are vanishing as their numbers dwindle.

The second crowd's conception of jazz is far less rigid. Norman Brown, Earth, Wind & Fire, Najee and Mary J. Blige all have equal merit in this more liberal world view. While I applaud this perspective, it's not going to sell many tickets to a Cecil Taylor concert.

To be certain, there are at least a couple hundred misfits like me, relatively young jazz fans who support the music in spite of the indifference of our peers. Kansas City is also home to an astonishing number of jazz educators and students.

If the economy continues its downturn, the federal funds and the charitable grants that have propped up area jazz series and institutions might disappear. Toss in a rapidly aging fan base, and you have to wonder what's to become of jazz in this town.

Who's going to pay money to see the Count Basie and Tommy Dorsey ghost bands? What will happen to the careers of musicians like Alaadeen, Will Matthews, Loren Pickford and Tommy Ruskin?

I know there's no shortage of local musicians willing to step up. But will there be an audience to support them?

(Original image by Plastic Sax.)

Sandomirsky & Wijnands

KANU recently spoiled my afternoon.

Even though I knew that the station diligently publishes its playlists online, I simply couldn't leave my sedan until I discovered who was responsible for the magical duet being broadcast. When the selection was finally back-announced twenty minutes later, I discovered that I'd been listening to a recording of a February 18 performance by Bram Wijnands and Gregory Sandomirsky from the Ruel Joyce series at Johnson County Community College.

The duo performed again this week at Community Christian Church. Luckily for fans of innovative music, the performance was filmed. Eleven selections are up at YouTube.

What the radio broadcast failed to reveal is the amusing physical interplay between Kansas City pianist Wijnands and Sandomirsky, the Associate Concertmaster with the Kansas City Symphony. Their playful antics don't disguise the revealing connections the men make between the worlds of jazz and classical music.

Confirmation: Weekly News & Notes

*John Kreicbergs cites "modest attendance" in his review of Tuesday's David Sanborn concert at the Uptown Theater. Hey, John- was the number over or under 500?

*A consultant who had previously advised Kansas City, Missouri, on development at 18th and Vine is receiving additional money from the city.

*Sue Vicory reports that her documentary film about Kansas City jazz and blues will premiere April 18th 2009. Here's her project's site.

*Joe Klopus interviews Pat Coil.

*A blogger fondly recalls an exhibit at the American Jazz Museum.

*Via There Stands the Glass: I hate the New York Yankees organization just a little less today. I practically fell off my couch last night when I heard Yankee Stadium's organist play a swinging version of Charlie Parker's "Yardbird Suite" during ESPN's broadcast of the final home game at the landmark. Hey, Kansas City Royals- I'm reluctant to suggest that you copy the Yankees, but how about replacing John Denver with Bird next season?

*Jazz Wax reports that Mary Lou Williams' Black Christ of the Andes is now available at iTunes.

*Pat Metheny appears on Charlie Haden's new Americana-oriented album.

(Original image by Plastic Sax.)

Temporarily Suspended

I was quite annoyed Friday evening. Three days later, my aggravation has been replaced with concern.

I've been extolling the merits of the Mutual Musicians Foundation's Friday "Rush Hour" sessions since the program's inception. Offering a free Friday matinee jazz session in the historic building is a great idea that I've doggedly supported. Last Friday I dragged another potential convert to 1823 Highland.

We were met with a placard indicating that Rush Hour is "temporarily suspended." The Foundation's online event calendar indicated that Al Pearson and Heat Index would be performing. It also lists a September 26 program titled "Remembering the Ink Spots with Luqman & Lucky Wesley." I'd like to confirm this date at the artists' web sites, but um, neither man has one...

Do any Plastic Sax readers know what's going on?