Confirmation: Weekly News & Notes

*Logan Richardson is a member of the Next Collective, a new group that includes other prominent young musicians like Gerald Clayton and Ben Williams.  Jazz Times reports on the group's recording plans. 

*Glenn North takes KMBZ's Joel Nichols on a tour of the American Jazz Museum.  (Via KC Stage Blog.)

*Chris Hazelton chats with Neon Jazz' Joe Dimino.

*An interview with Chuck Haddix is featured in UMKC's student newspaper.

*Jazz-inflected bassist Thundercat opened for the Red Hot Chili Peppers at the Sprint Center last Saturday.  At least one rock fan was displeased.

*Not surprisingly, the previous Plastic Sax post elicited a few strong reactions. 

*Tweet o' the Week: americanjazzkc- EMPLOYMENT VACANCY ANNOUNCMENT: Director of Finance & HR -... PDF.

*Comment o' the Week: Phonologotron- whas all dis jibber jabber?  architecture stands the test of time, but only if its materials are quality. too bad you can't make people to the same standards and tolerances.  we are damn lucky to privileged enough to get to hem and haw on and on about this "important cultural artifact" or that "syncretic historical dialogue." not only are we privileged in ways no one 100 years ago could fathom, we are also much much weaker in the head for it.  people's memories used to be much better, but then some idiot priest in the hinterlands had to go and write shit down. its been all downhill ever since for things like oral tradition. which is, when you get down to it, what everyone wants J@$$ to still be when it is most obviously not. And neither is it an exclusive refuge or destination anymore. The redcoats are coming!!! the redcoats are coming!!  so ultimately it becomes a question of, can you get your sh*t together enough to sound like something nothing everything anything?  Costanza, you and your reducto ad absurdum can go blow some V7/ii - ii7 - V7 - I .

*From a press release: Tim Whitmer’s Annual Birthday Bash featuring the Birthday Boy Himself, TIM WHITMER with Special Guests ROD FLEEMAN, CHICO BATTAGLIA & MONIQUE DANIELLE.  TIM WHITMER has been the gracious host and resident pianist since the inception of the Spirituality & All That Jazz program in 1994…  Wednesday, November 7, 2012.  Unity Temple on the Plaza. Tickets at the door only - $7.00.  Children under 16 free.

(Original image by Plastic Sax.)

Reaching Out with Shades of Jade and Vijay Iyer

The credulous questions posed by prominent Kansas City-based jazz artists dripped with skepticism last Thursday at the Mutual Musicians Foundation.   Shades of Jade was hosting an event billed as a "Youth Education Program to expose people of ages (15-28) of the relevance of Jazz music in our mainstream society and in their local community." 

A bassist questioned Shades of Jade's decision to stray from the conventional Kansas City sound.   A saxophonist wondered why Shades of Jade favored odd meters.  A vocalist rephrased his question this way- "He wants to know why you don't swing."  I was simply delighted by the opportunity to interact with the members of one of the region's most exciting bands at one of the world's most significant jazz institutions.  About two dozen people attended the event. 

Bandleader and trumpeter Josh Williams professed his admiration for Sean Jones while keyboardist Eddie Moore spoke highly of Robert Glasper.  No surprises there.  But I was thrown by bassist Dominique Sanders' shout-out to Modest Mussorgsky and drummer Julian Goff's reference to Terry Bozzio.  The members of the quartet aren't just exceedingly bright.  Their unorthodox perspectives- free from the limitations that the conservative jazz orthodoxy would impose on them- represent refreshing new artistic and commercial possibilities for the music. 

The program was particularly interesting in light of the dustup surrounding a controversial essay in the Seattle Weekly titled "Vijay Iyer and the Outreachification of Jazz."  Chris Kornelis suggests that Iyer's frequent outreach programs are futile inasmuch as "jazz lacks broad appreciation outside academia because of artists like Iyer and albums like Accelerando.  The album is fascinating, richly textured, adventurous, and full of ideas.  But it's completely inaccessible to listeners not predisposed to appreciate jazz." 

Kornelis has a point.  I witnessed the Vijay Iyer Trio's mind-bending performance at the Folly Theater on October 19.  Given the enormous (and entirely deserved) acclaim accorded the artist, all 1,050 seats should have been filled for Iyer's Kansas City debut.  Yet only 300 people attended.  A few disgruntled patrons left at intermission. 

What the hell is going on?  I think I know.

The jazz being made in 2012 can be placed in one of three categories.  The mainstream, swing-based jazz exemplified by Wynton Marsalis at the international level and in Kansas City by the Kansas City Jazz Orchestra is becoming incrementally less popular.  Once everyone born before 1960 dies, the ongoing attrition of support for the sound will finally cease.  Swing-based jazz will never die, but I expect it to take a permanent seat next to Dixieland on the cultural sidelines by 2042.

The progressive art-jazz played by Iyer, Matthew Shipp, Dave Douglas and The People's Liberation Big Band of Greater Kansas City will continue apace.  It seems incapable of attracting large crowds in the United States, but the creative explorations of adventurous musicians will never be silenced.

The final category is the groove-based jazz that incorporates funk, R&B and hip hop.  Glasper, Shades of Jade and even the entirety of the smooth jazz realm represent this grouping. The strain is jazz's best hope to regain a sizable audience.  Anyone who can get their head around the idea of Erykah Badu as a jazz vocalist and J Dilla as the Max Roach of his generation will agree.  The Next Collective, featuring the likes of Christian Scott and Kansas City's Logan Richardson, just issued a cover of "No Church in the Wild."  That's change I can believe in.

Of course, most artists can't be neatly pigeonholed.  Esperanza Spalding and Kansas City's Diverse, for instance, freely jump between my somewhat arbitrary classifications. 

I hope Iyer, Shades of Jade and jazz artists at every level continue to engage in "outreachification."  Perhaps such efforts will disprove my bleak prognosis.   In the meantime, I'll forward this missive to a person with skin in the game who asked me why Iyer failed to attract a larger audience in Kansas City.  Plastic Sax, after all, is yet another form of "outreachification." 

(Original image captured at an institution of higher learning by Plastic Sax.)

Now's the Time: Marilyn Maye

Marilyn Maye begins a nine-day residency at Quality Hill Playhouse on Friday, October 26.  At 84, the indefatigable cabaret artist is arguably better than ever.  The lively humor Maye displays in the embedded clip will startle anyone who hasn't had the pleasure of seeing Maye perform.  Everyone else will smile knowingly. 

Confirmation: Weekly News & Notes

*Susan B. Wilson of KCUR's KC Currents interviewed Deborah Brown.

*Shunzo Ohno is interviewed by Joe Klopus.

*KCUR notes the 100th anniversary of the Gem Theater.

*KCJazzLark commends the promotional efforts of the Blue Room, the Majestic and Take Five Coffee + Bar.

*Ed Ward recounts Joe Turner's career for NPR's Fresh Air.  (Tip via KCJazzLark.)

*A reviewer for The Kansas City Star seemed to enjoy Vijay Iyer's concert Friday at the Folly Theater.  Phonologotronic also raves about the show.

*The Joplin Globe provides an update on Ken Rosberg's Jazz For Joplin project.

*"Ballad For an Optimist" is among the new compositions Chris Burnett will perform November 3 at Take Five Coffee + Bar.

*Chuck Haddix received an award from the Johnson County Library Foundation.

*A YouTube user named Leo Grass uploaded a batch of scratchy videos that ostensibly contain footage shot at the Kansas City Women's Jazz Festival in 1979.

*Multi-instrumentalist Mike Stover has assured me that Lauren Krum's debut at Take Five Coffee + Bar on Saturday, October 27, will be a jazz-oriented performance.  Krum is the vocalist for alt-country act The Grisly Hand.

*Plastic Sax received a shout-out from a "veteran celebrity journalist" at the 4:30 mark in a jazz blogging webinar produced by the Jazz Journalists Association.

*Tweet o' the Week: vijayiyer- the show already happened, but this 15-second promo video is fire. Vimeo video.

*Comment o' the Week: Anonymous- Pointless anachronism??? Stop trying to be cute. IMO the world could use more Jim Hall and less rap. I'm all over this one!

*From Stan Kessler: Passport CD Release Party.  Stan Kessler/Beau Bledsoe.  Music From Everywhere.  October 26.  Take Five Coffee Bar.  8-10.  Free.  CDs $15.

*From Jim Mair: Swing jazz at its best is on tap for the second in the “Jazz by the Lake” series at Kansas City Kansas Community College Thursday, Nov. 1.  Featuring the Bram Wijnands Trio, the free concert will be held from noon-1 p.m. in the Conference Center adjacent to the Campus Lake at the State Avenue end of the College campus at 7250 State Avenue...  He will be joined by two other KCKCC adjunct instructors, guitarist Rod Fleeman, a three-time Grammy nominee, and percussionist Jurgen Welge, a native of Germany who came to the U.S. more than 20 years ago…    The “Jazz by the Lake” series is held the first Thursday of each month. The Everette DeVan Quartet featuring Eboni Fondren drew a standing room only crowd in the opening performance. Still ahead in the series is the Joe Cartwright Trio Dec. 6, Diverse Feb. 5, Chris Hazelton and Friends March 7 and Tim Whitmer April 4.

(Original image by Plastic Sax.)

Review: The Brian Baggett Trio- 2012

2012?  More like 1962.  That was my inital reaction upon downloading the new release by the Brian Baggett Trio.  A mainstream guitar trio in the Jim Hall tradition with standards like "God Bless the Child," "Angel Eyes" and "Stella By Starlight" seemed like a pointless anachronism.  Even so, I found myself repeatedly turning to the project as I worked at my computer. 

At first blush, 2012 seemed like little more than sedate background music.  Then I began noticing hip details.  Baggett's introductory passage to "The Days of Wine and Roses" alludes to his searing fusion and jazz-rock work.  He also threatens to break into a Pat Metheny-style jam on "Angel Eyes."

The album really opened up to me when I began listening to it on headphones.  It's beautifully recorded.   While Baggett isn't attempting to break any new ground, careful listening uncovers plenty of advanced concepts.  Perhaps most significantly, bassist Bill McKemy is incapable of being boring.  Drummer Tom Morgan, an Associate Professor of Music and the Director of Percussion Studies at Washburn University, swings with admirable subtlety.

The 45-minute album is available as a free download at Bandcamp through October.  It's also available at CD Baby, iTunes and Spotify.

(Original image by Plastic Sax.)

Now's the Time: The Vijay Iyer Trio

In his excellent preview of the Vijay Iyer Trio's concert Friday, October 19, at the Folly Theater, Joe Klopus characterizes Iyer as the "leading light among the younger jazz generations."  The embedded clip substantiates Iyer's exemplary reputation. 

Confirmation: Weekly News & Notes

*The Kansas City Star reviewed the Rhythm & Ribs Jazz and Blues Festival.  KCJazzLark provides an account.  UMKC's University News reported on Saturday's event.

*The Pitch named Hermon Mehari "Best Collaborator".  (The publication didn't have any categories dedicated to jazz in its popular annual "Best of" edition.)

*Here's a 15-second video promoting Vijay Iyer's upcoming concert at the Folly Theater.

*Sue Vicory made an appearance on Fox 4 News to promote her Kansas City jazz and blues documentary.  Vicory was also interviewed by Steve Kraske.

*Esperanza Spalding's concert at Helzberg Hall was reviewed by Kristin Shafel Omiccioli.  Mark Edelman also offers an appreciation.

*A nice profile of Marlin Cooper was published by the Wyandotte Daily News.

*The Kansas City Star reviewed Norah Jones' concert at the Midland Theatre.

*Ben Ratliff of The New York Times reviewed a concert by Pat Metheny's Unity Band.

*Tweet o' the Week: Chris HazeltonB3- Hey @MayorSlyJames, we need to start advertising #KCJazz on a national level. Seriously, we've got something special going on in this city.

*Comment o' the Week: Matt Leifer- Anon, I'm not trying to undermine the importance of subtlety of phrasing and dynamics but not everything taught in school is relevant all the time. Maybe part of the reason younger generations don't listen to jazz is because it's too academic too much of the time. 

High artistic standards are a must, and there's a time and place for everything, but I feel that sometimes "piss and vinegar," volume and balls are more called for than the alternative. Especially at a bar marketing toward a younger demographic. Nobody at Kill Devil is listening for subtlety of phrasing, they're looking for a kickass, swinging good time and loud is par for the course in a situation like that. 

That's just my take on things.

*From Bad Cox: Composer and pianist Brad Cox will present a night of music written for his nine-piece ensemble on Sunday, October 21 at 8:00 p.m. at the RecordBar as part of Jeff Harshbarger’s twice-monthly jazz series.  The Brad Cox Nonet consists of a "double trio" configuration (two drum sets, two basses, and two tenor saxophones) augmented by three additional musicians playing percussion and keyboards… The musicians involved include saxophonists Rich Wheeler and Matt Otto, bassists Jeff Harshbarger and Ben Leifer, drummers Scotty McBee and Kent Burnham, percussionists Sam Wisman and Patrick Alonzo Conway, and Brad Cox on Rhodes electric piano.  Much of the music to be performed on the October 21 RecordBar date was written for Owen/Cox Dance Group’s upcoming fall performance, which will take place on October 26, 27 & 28 at the H&R Block City Stage Theater.

*From Take Five Coffee + Bar: Thursday, October 18, 7pm. Rob Scheps with special guest Shunzo Ohno. SPECIAL ENGAGEMENT: New York sax-man Rob Scheps has played at Take Five several times to outrageously big crowds and great reviews. This could be the best yet, as with him will be trumpeter Shunzo Ohno. Shunzo, a luminary in his own right, has played with Art Blakey, Gil Evans, Herbie Hancock and Wayne Shorter. And if you aren't a jazz historian, he's also played with Sting, Dave Matthews and David Byrne. If that wasn't enough, this man has overcome serious adversity to stay one of the best in the business. Go read his story at www.shunzoohno.com, then make absolutely sure you get to Take Five early to get a seat for this performance. Roger Wilder on piano, Bob Bowman on bass, Ryan Lee (back in town for a visit) on drums. No reservations accepted.

Friday, October 19, 8pm. Matt Otto Trio.  Saxophonist Matt Otto’s intensity and command as an improviser, composer and leader will keep us rolling into the weekend in the company of Ben Leifer, bass, and Mike Warren, drums.

Saturday, October 20, 8pm.  Jerry Hahn and Friends.  Renowned jazz guitarist Jerry Hahn will grace Take Five with his trio, featuring Everette DeVan on the organ and Mike Warren on drums. If you haven't seen him yet, do so. You’ll hear stories spun on guitar strings in a way few others can do.

*From Fanny Dunfee: Alaadeen Enterprises Inc. announces two recipients of this year's annual Alaadeen Awards of Excellence. The outstanding achievements of these individuals were acknowledged at the Kauffman Center for the Performing Arts in Kansas City, Missouri on September 14, 2012. Kerry Strayer, artistic director for the Kansas City Jazz Orchestra, presented the awards during the band's Tribute to the Count Basie Orchestra. The Alaadeen Awards Of Excellence include Jazz awards in two categories: The Alaadeen Achievement of Excellence Award and The Alaadeen Educator of Excellence Award. The recipients are recognized for their creative approach, originality and their ability to reach beyond technical excellence in Jazz music. 

The Alaadeen Achievement of Excellence Award recognizing artistic excellence in Jazz performance was presented to Dennis Winslett. Winslett began his study of the saxophone at the age of 9 in the historic jazz town of Kansas City. Upon moving to Chicago, his full intense sound and high energy free swinging style of improvisation quickly earned him a reputation as an exciting young player to watch. Returning to Kansas City he served as director of education at the American Jazz Museum. Alaadeen and Dennis spent many hours together in which Alaadeen passed on an enormous amount of information to Dennis; passing the torch, so to speak to the next generation. Alaadeen writes about Dennis in his autobiography "Dysfunctional/life journeys of a second generation jazz musician:" "I first taught him when he was in Junior High in Olathe, Kansas and now he's become an excellent saxophonist. One time he played a solo for me. He thought he really killed it. And he did, too, but I told him, 'Yeah, that's Cannonball…now I want to hear Dennis.'

The Alaadeen Educator of Excellence Award recognizing excellence in Jazz education was presented to Kevin Mahogany for his role as a teacher in developing each student's uniqueness. Mahogany began his study of music as a child with piano and later learned to play the clarinet and baritone saxophone, performing with jazz bands and teaching music while still in high school.

A former student of Alaadeen's at The Charlie Parker Foundation, Mahogany exemplifies Alaadeen's belief that the role of the teacher should help the student gain the ability, technique and knowledge to put together a convincing story to tell. With eleven CD's as a leader, and quite a few as a sideman, he has proved to be the quintessential jazz vocalist. Newsweek describes him as " the standout jazz vocalist of his generation." New Yorker magazine writer Whitney Balliet writes, "There is little Mahogany cannot do." Says the LA TIMES, " Mahogany is one of the first truly gifted male vocalists to emerge in years." As a jazz educator, Mahogany has taught at the Berklee College of Music in Boston and the University of Miami.

On presenting the awards, Kerry Strayer the Artistic Director for the Kansas City Jazz Orchestra, commented: “The Kansas City Jazz Orchestra was honored to present the Alaadeen Awards of Excellence at our concert. Alaadeen was a vital part of the Kansas City jazz scene for many decades. His legacy will live on in the works and deeds of his many students and colleagues as they follow his example of passing this music on by sharing it freely with others. Congratulations to Kevin and Dennis.”

(Original image by Plastic Sax.)

We're Just Lucky So and Sos

"I love this place," a friend told me Friday at Lucky Brewgrille.  "They don't have to have jazz- but they do."

It's true.  The popular establishment in Mission, Kansas, is an unlikely venue for live jazz.  Yet the televisions are muted in the suburban bar and grill most every Friday evening as guitarist Ron Carlson leads a jam session.  The superb Rob Scheps was Carlson's featured guest artist on October 12.

Scheps didn't play his signature tenor saxophone while I was at Lucky Brewgrille, but his distinctive sound was evident as he performed with a flute and a soprano sax.   His forceful personality was also in full effect.  Every "suggestion" he made to his band mates led to a marked improvement.

A few people were obvlivious to the exceptional mainstream jazz, but a couple dozen patrons hung on every note.  (Note to managers of other establishments- these jazz fans represent found revenue.)  My tasty nine dollar barbecue chicken salad was so large that I could barely finish it. 

Scheps and Shunzo Ohno will join Carlson's band at Lucky Brewgrille again on Friday, October 19.  Details on Scheps' additional area engagements are listed here.

(Original image of Clint Ashlock and Rob Scheps by Plastic Sax.)

Now's the Time: Gerald Wilson

As Joe Klopus' preview indicates, this week's biggest event is the American Jazz Museum's Rhythm & Ribs Jazz & Blues Festival.  In his roundup of other noteworthy jazz-related items, Klopus mentions that Gerald Wilson will receive a lifetime achievement award at UMKC this weekend.  Here's a related press release from UMKC.  It's unclear if Wilson, 94, will attend the function on Sunday, October 14, but Wilson is certainly worthy of the distinction.

Confirmation: Weekly News & Notes

*Lucas Homer lists the Top 5 KC Jazz Acts.  His KC Jazz Connection program on KJHK is profiled by Lawrence.com.

*Megan Birdsall is admired by KCJazzLark.

*Several jazz musicians make cameo appearances in the video of Making Movies' "Hangover Blues".

*The program for Saturday's Rhythm & Ribs Jazz & Blues Festival is available as a download here.

*The University of Missouri Concert Jazz Band has released a new album.  (Via KC Stage Blog.)

*Esperanza Spalding's concert at Helzberg Hall was reviewed by The Kansas City Star.

*Kristin Shafel Omiccioli reviewed the recent concert by Gary Burton, Chick Corea and the Harlem String Quartet at the Gem Theater.

*Here's footage of former Kansas Citian Lee Ingalls crooning "Come Dance With Me."

*Tweet o' the Week: Kassie Sands- The lovely Esperanza Spalding and her big ol' bass.  Can't believe I'd never heard her music until today. Instagram.

*Comment o' the Week: Anonymous- "The first thing that impressed me... was the volume."  Yes, because that's exactly what jazz needs. Something to cover up the subtlety of our dynamics and phrasing. Nothing like having your whole career limited to how loud, fast and high you can play!

*Via Facebook: Performing at the Mutual Musician's Foundation in conjunction with their Youth Education Program to expose people of ages (15-28) of the relevance of Jazz music in our mainstream society and in their local community. Concert Series will Kickoff with: Shades of Jade!…Question and answer session during one of the set breaks…  This will be one of the highlights of Kansas City's Jazz Scene this year. Tickets are $5.

(Original image by Plastic Sax.)

Groovin' High: First Impressions of the Kill Devil Club

The first thing that impressed me on my initial visit to the Kill Devil Club, a new venue featuring live jazz at the southeast corner of 14th & Main last week, was the volume.  Diverse, the evening's featured entertainment, was loud.  Really loud. I've seen Hermon Mehari's band perform at least two dozen times, but only the Riot Room has amplified the band to such an extreme level.  I loved it.

Even so, most of the fifty young and notably attractive people in the room shouted over Diverse's groove-oriented covers of hits by Herbie Hancock and Stevie Wonder.  Only Diverse's rendition of "*****'* In Paris" put a halt to the chatter.

The second thing that made a big impression on me were the substantial ice cubes that chilled my delicious fresh-squeezed orange juice.  So manly!  The extensive drink menu is pricey, but the Kill Devil Club's friendly service, swanky decor and dim lighting make alcohol seem like a wise investment.  The opportunity to enjoy jazz while contemplating an expansive view of the Power & Light District and the iconic H&R Block building adds to the club's allure.

The venue isn't perfect.  The small stage is in the central corner of the L-shaped space. Most of the seating, consequently, offers obstructed views of the stage.  And the Kill Devil Club's growing pains include an unclear cover charge policy and woefully inadequate advance notification of bookings.

The Kill Devil Club has been open for less than a month.  A recent string of failed jazz ventures has given advocates of the music numerous reasons to be skeptical.  For now, however, the Kill Devil Club serves as a very welcome addition to Kansas City's jazz scene.

(Original image by Plastic Sax.)

Now's the Time: Hal Melia

Former Kansas City resident Hal Melia has returned to his old stomping grounds for a series of gigs.  Melia joins Bram Wijnands at the Majestic on Friday, October 5, and Saturday, October 6.   On Sunday, October 7, Melia, Wijnands and Phil Wakefield perform at Take Five Coffee + Bar.   The saxophonist tears through "Flight of the Bumblebee" in the embedded clip.

Confirmation: Weekly News & Notes

*The Orchestrion Project, a documentary about Pat Metheny's ambitious automated concept, hits movie theaters in fifteen states on Thursday, October 3.  No showings are scheduled in Kansas or Missouri.  Metheny is also interviewed by USA Today.

*Joe Klopus offers a survey of October's jazz events.

*The ongoing success of the Kansas City Jazz Orchestra is admired by KCJazzLark.

*Diverse will be among the performers at the opening reception for Prairie Logic on Friday, October 5.  The band is scheduled to perform at 7 p.m. at "Kansas City's newest public art project and performance venue."

*Phonologotronic offers an irritable examination of the Prairie Village Jazz Festival.

*The RecordBar promotes Sunday's show by the People's Liberation Big Band.

*Our Path to This Moment: the Rob Scheps Big Band Plays the Music of Ezra Weiss with Special Guest Greg Gisbert was released last month.  Scheps performs frequently in the Kansas City area.

*The Phoenix was a jazz club for much of its 22-year existence.  The 2012 Phoenix Fest on Saturday, October 6, features four rock bands, one blues band, an R&B act and two jazz-oriented acts that perform material by the likes of Gloria Gaynor and Bill Withers.

*The opening reception for the American Jazz Museum's Beyond Words: A Fusion of Poetry, Visual Art & Jazz is Friday, October 5, 2012, from 6-9 pm.

*I wish an animated video I made in 2010 was no longer applicable.

*Saturday's concert by Gary Burton, Chick Corea and the Harlem String Quartet was reviewed by The Kansas City Star.

*A blogger reviewed Nellie McKay's concert at Polsky Theatre.

*Mr. the Toad recently played "free form jazz" on his "plastic toy sax".

*Tweet o' the Week: ChrisHazeltonB3- The concert I saw last Friday was amazing! I think @BenFolds Five should hire me to play B-3 for the rest of the tour. #PipeDreams

*Comment o' the Week: Saul- So much of it is marketing and perception.  The Folly's marketing is antiquated. Even the free billboards they get don't help much.  Delfeayo and Sean Jones just were not advertised well. I found out about it too late.  Burton and Chick are an easy sell... even at the Gem Theater with its horrendous sound system operator.  If I were a Kansas City jazz presenter I would spend a couple of days with Jon Poses (We always Swing)in Columbia. I would visit with Tim Whitmer and the KCJO on how to market things. Go to the source! Model the masters.  In my opinion, a large part of the population that lives on Facebook doesn't have the dough to attend events. People with money are working one or two jobs, saving and have a time management plan in their daily lives and not killing time on Facebook. They paln things well in advance becauese their schedules are so full of commitments.  The JCCC stuff is not well publicized and the Winterlude dates are the Carlsen Center "left over" dates....possibly the least desirable dates of the year. Sure there are a few ads but you need a PR MACHINE.God bless Doreen Morande at JCCC. She does good work but she is retired for goodness sake. How can you expect Doreen to be responsible for getting people in the seats....she is just one person.  The Carlsen Center and Blue Room have minimal accountability because they are well funded by the government or an endowment. The KCJO, Jon Poses and Tim Whitmer have major accountability. If their programs don't draw the series' end.

(Original image by Plastic Sax.)