A Jerk Judges the Jazzy Jamdemic

I’ve long believed the only people who use the word “jazzy” without irony are either dullards or sardonic jazz-haters.  So I cringed when I learned of Jazzy Jamdemic just a few hours before the first concert in the series transpired at the Gem Theater on Sunday, May 24.  (Why bother informing a Kansas City music journalist and dedicated jazz blogger about the initiative?)

At a reported cost of $75,000, Jazzy Jamdemic consists of free one-hour streams of live concerts on Facebook at 5 p.m. C.S.T. six nights a week through July 3.  The verbiage at American Jazz Walk of Fame’s site notwithstanding, the events stream only at Facebook.

The unfortunate name of Jazzy Jamdemic belies the high quality of the first six episodes. The sound and lighting of the performances are invariably outstanding.  In spite of the off-putting absence of live audiences and the unsettling but welcome use of face masks by musicians, the concerts are excellent showcases for Kansas City artists.  My notes on the first week’s episodes follow.

Bobby Watson- Sunday, May 24
Congressman Emanuel Cleaver, the apparent driving force behind Jazzy Jamdemic, introduced the first concert by suggesting the series will act as a “painkiller.”  The setlist rendered by saxophonist Bobby Watson, pianist Roger Wilder, bassist James Ward and drummer Mike Warren- “Confirmation,” “E.T.A.,” “A Wheel Within a Wheel,” “Soul Eyes,” “Up to the Minute Blues” and “In Case You Missed It”- was indeed a familiar balm for admirers of Kansas City’s most notable jazz practitioner.  Peak viewership: 114.

Molly Hammer- Monday, May 25
A woman suggested “who needs NYC jazz when we have Molly and the ‘guys’!” during Molly Hammer’s triumphant return to the stage.  If by “NYC jazz” the commenter meant “adventurous,” she was right.  Pianist Joe Cartright, bassist Steve Rigazzi and drummer Brian Steever supported the vocalist with appropriately conventional swing.  A hushed cabaret-style rendition of “Listen Here” was easily the best selection.  Peak viewership: 226.

James Ward Band- Tuesday, May 26
The extreme dynamics created by fiery saxophonist Ernest Melton and the harmonious smooth jazz and sublime fusion played by bassist James Ward, keyboardist Angela Ward and drummer Jaylen Ward caused the week’s only sound problems.  Melton’s compulsion to test the textural limits of standards by Chick Corea, Herbie Hancock and Wayne Shorter as his bandmates played it straight was thrilling.  Peak viewership: 58.

Millage Gilbert- Wednesday, May 27
The Kansas City bluesman led a quartet in desultory renditions of blues and soul standards associated with the likes of Bobby “Blue” Bland, Tyrone Davis and Albert King.  Peak viewership: 48.

Pablo Sanhueza and the Kansas City Latin Jazz Orchestra- Thursday, May 28
The nine-piece band played the vibrant form of salsa associated with Eddie Palmieri with infectious enthusiasm and spontaneity.  Peak viewership: 77.

Lisa Henry- Friday, May 29
Lisa Henry reflected the fraught tenor of the times with a set highlighted by a searing reading of “Strange Fruit” and a powerful recitation of Natasha Ria El-Scari’s poem “The Secret Life of Black Mothers.”  Flugelhornist Chalis O’Neal, pianist Everett Freeman, bassist DeAndre Manning and drummer Mike Warren backed the vocalist with exquisite sensitivity.  Peak viewership: 55.

Based on comments and "likes" during the Facebook broadcasts, the majority of the paltry viewership of each stream consisted of the same people every night.  The well-intentioned Cleaver has miscalculated the intrinsic support for jazz in Kansas City for decades.  From historical and artistic perspectives, however, Jazzy Jamdemic is an entirely vital and necessary endeavor.  It’s a shame about the name.

(Original image by Plastic Sax.)

Concert Review: Mike Herrera, Ernest Melton and Houston Smith at the Blue Room

I often cringe when I hear the opening strains of “In a Sentimental Mood.”  The chestnut is played far too often.

Houston Smith’s statement on the Duke Ellington standard at the Blue Room last Monday, however, transcended cliché.  With accompaniment by pianist Everett Freeman, bassist James Ward and drummer John Kizilarmut, the 18-year-old dazzled on the familiar tune.

Smith is attending the Berklee College of Music.  He was featured alongside the teenage Ernest Melton and the relative veteran Mike Herrera at the “Sax Showcase.”  An audience of about 50 attended the first set.

Melton chose “Ruby, My Dear” as his feature ballad.  His slightly sour and willfully course tenor playing recalled John Coltrane's work on his seminal 1957 collaboration with Thelonious Monk.  Herrera opted for a rendition of “All the Things You Are” to highlight his more refined approach. 

The marked contrasts between the three intriguing saxophonists served as yet another persuasive example of the artistic vitality of the Kansas City jazz scene.

(Original image of Herrera, Ward, Melton, Houston and Kizilarmut, left to right, by Plastic Sax.)

Now's the Time: The James Ward Band

The James Ward Band, also known as JWB, returns to the Blue Room on Saturday, November 16.  As depicted in the embedded slide show, the smooth jazz ensemble frequently includes musicians who are familiar to mainstream jazz audiences.

Now's the Time: Charles Williams

Who's in the mood for some grown and sexy music?  Pianist Charles Williams, a mainstay of Kansas City's jazz scene, performs the Stylistics hit "Betcha By Golly, Wow" in the embedded video.  He's accompanied by guitarist Rod Fleeman, bassist James Ward and drummer Mike Warren.  Williams and Fleeman will appear at Helzberg Hall on Friday, May 3, as members of the Kansas City Jazz Orchestra.

Rhythm & Ribs Listening Party

I prefer to listen to music in the dark lest people witness my visceral reaction to sound. Bobby Watson didn't enjoy that luxury last Tuesday at the Blue Room during the "Rhythm & Ribs Festival 'Blues, Bop & Nothing but the Funk' Listening Party" hosted by the American Jazz Museum.

About thirty people watched panelists Dennis Winslett, Watson and James Ward discuss music and music history in an effort to promote the October 8 event featuring War, Bobby "Blue" Bland and Christian McBride. When selections by James Brown were played, Watson so deeply immersed himself in the listening experience that I was compelled to avert my eyes. His unselfconscious and intimate responses made me feel as if I was intruding on a private moment. I get it.

Inspired by the music, the corresponding conversation was stimulating. When Winslett lauded the fusion of hip hop and jazz on Maurice Brown's "Time Tick Tock", Watson insisted that it be followed by Eddie Harris' funky "Freedom Jazz Dance." "Ain't nothing new!" Watson exclaimed upon hearing Brown.

Also noteworthy: Watson dismissed the word "jazz." He suggested that the genre would be better served if it was called folk music. And Glenn North recited his "Prodigal Poem" as Watson artfully comped on a piano.

Good times. I wish I could attend a similar event at least once a month.

(Original image of Dennis Winslett, Bobby Watson and James Ward by Plastic Sax.)

Now's the Time: The James Ward Band

The James Ward Band is filling in for Ida McBeth at Jardine's this Saturday night. While the group's version of jazz isn't my favorite, they play precisely the kind of accessible, upbeat music that regularly fills area nightclubs with happy revelers. Matt Hopper and Gerald Dunn are among the band's members.

Chris Burnett at the Drum Room

Here's fine saxophonist Chris Burnett leading a band at the Drum Room earlier this year. Don't miss Will Matthews' always-tasteful guitar work. And that's James Ward on bass. Fun fact: Burnett has a better Wikipedia entry than Fletcher Henderson.