Concert Review: The Kansas City Jazz Orchestra at Helzberg Hall

A wondrous rendition of Carla Bley’s “Who Will Rescue You?” at Helzberg Hall on Friday was a pivotal step in the evolution of The Kansas City Jazz Orchestra.  Bley’s 1990 composition can hardly be considered cutting-edge, but the inclusion of the subversive blues in the ensemble’s “Lady Be Good: Celebrating Women in Jazz” program signals the willingness of Clint Ashlock, the organization’s Artistic Director and Conductor, to advance the group’s repertoire.

Women were partly or wholly responsible for each of the evening’s selections.  The commendable theme led to a vibrant reading of Mary Lou Williams’ “Roll ‘Em,” Brad Gregory’s thrilling tenor saxophone solo on Melba Liston’s arrangement of “Let’s Get Down” and a rhapsodic flugelhorn feature by Ashlock on Maria Schneider’s chart for “My Ideal.”  No one near me in the least expensive $25.25 seats amid the audience of about 900 flinched at the concert’s edgiest moments.

Guest artist Jo Ann Daugherty contributed to several selections.  It’s not a slight to the orchestra to suggest that the pianist's absorbing playing on the original composition “Elsewhen” featuring only the pianist, bassist James Albright and drummer Sam Wisman was a highlight.  Given the program’s theme, it would be negligent to fail to note that every member of the orchestra is male.  The strength of the program reinforced the injustice of the discrepancy.

The Kansas City Jazz Orchestra has had three distinct phases since its debut in 2003.  The big band began as a hard-charging swing ensemble in the tradition of the Count Basie Orchestra under the direction of co-founder Jim Mair.  The sound of the group shifted when Kerry Strayer, an acolyte of Gerry Mulligan and Bob Brookmeyer, succeeded Mair.  Friday’s impressive concert indicates that Ashlock is committed to fulfilling the Kansas City Jazz Orchestra’s mission statement of “celebrating the past (and) embracing the future.”

(Original image by Plastic Sax.)

Concert Review: Bukeka Shoals at Unity Temple on the Plaza

The last thing the members of Wednesday's audience of about 125 at Unity Temple on the Plaza expected to hear was hip-hop.  Yet Bukeka Shoals began her appearance at Spirituality and All That Jazz with a funky song that featured a rap segment.

The vocalist, flautist, songwriter, actor and motivational speaker also performed pop, gospel, R&B and contemporary jazz.  Assisted by keyboardist Angela Ward (and Ward’s 13-year-old son on drums for a selection or two), Shoals was full of surprises.

The senior citizens in the audience forgave Shoals for her foray into hip-hop during lovely readings of “My Funny Valentine” and “Do Nothing till You Hear From Me” and cheerfully clapped along to a lively version of “Respect.”  Saxophonist Jim Mair unleashed his inner King Curtis while bassist James Albright evoked Duck Dunn on the R&B standard.

A rendition of Shoals’ original composition ”Be Happy” was pleasing, but the evening’s most memorable selection was an emotional a cappella interpretation of a gospel song.

The concert began with a rendition of bandleader Tim Whitmer’s “Player Piano.”  The opening tune exemplified the primary appeal of the monthly series- toe-tapping, smile-inducing jazz accentuated by melodic solos.

The core group of Whitmer, Mair, Albright and drummer Jürgen Welge has entertained at the monthly Spirituality and All That Jazz concerts for more than 22 years.  Shoals rightfully commended the series' “amazing tradition” and suggested that “we ought to be proud that we have something that brings people together from all walks of life.”

(Original image by Plastic Sax.)

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.)