More quotes from posts this year:
KC Jazz ALIVE describes itself as a jazz catalyst organization, intended to “facilitate dialogue and design methods to help the greater Kansas City jazz community connect and collaborate to meet their collective missions.” Stakeholders include performing and visual jazz artists, club and venue owners, education leaders, jazz patrons, faith based community leaders and civic leaders….
The organization has secured 501(C)3 not-for-profit status in record time. It is developing a web site at www.kcjazzalive.org. It is partnering with Jazz Near You to provide comprehensive local jazz listings (something the Plastic Sax Kansas City Jazz Calendar has done for years, here). They are establishing a speaker’s bureau to reach out into the community.
Long after the Jazz Commission dissolved, there remains a need to bring Kansas City’s disparate jazz organizations together.
Museums and the Gem dominate 18th Street in the district, and the Blue Room, rightly regarded as one of the country’s premier jazz clubs. In those buildings, you can peer at history behind glass. But at the Foundation you feel the space and walk the rooms that Basie and Prez and Mary Lou Williams and Bird and so many other jazz innovators and geniuses worked and enjoyed. It’s integral to the experience of 18th and Vine. And whether you agree with its current leaders or find its direction misguided, this building demands the respect and inclusion of all of Kansas City’s jazz community.
That respect works both ways. The American Jazz Museum is celebrating 16 years on 18th Street. It is an established Kansas City jazz institution with leadership that has shown the wherewithal to raise funds, stage programs, and operate a superb jazz club in good times and in recession. They have kept alive an annual music festival through adversity…. The American Jazz Museum has earned the community’s respect.
The 18th and Vine district is big enough for the Mutual Musicians Foundation and the American Jazz Museum. The Kansas City jazz community is not big enough for the thorns I see hurled at each.
Last week, the Mutual Musicians Foundation introduced, explained, demonstrated and provided rich context for Kansas City’s extraordinary jazz history to a group of writers and bloggers from around the country. Famous authors and writers for publications as prominent as The Wall Street Journal saw our history and heard, in The Blue Room and at the Foundation’s late night jam, some of the young musicians carrying it forward.
Authors Stanley Crouch and Chuck Haddix discussed their books on Charlie Parker on Thursday night at the Bruce R. Watkins Cultural Heritage Center. Next time, someone really needs to test the microphones first. But the intimacy of the conversation forced the audience to concentrate on words being said.
Kansas City’s Charlie Parker Celebration included a few original, generally educational, events. A trolley touring Kansas City sites associated with Parker sold out. The 21-Sax Salute at Parker’s gravesite, a lapsed tradition recognizing his birthday, was revived and welcome. There was a Charlie Parker puppet show at the Gem Theater for kids. But mostly the Celebration threw a unifying theme over already scheduled jazz acts in clubs, restaurants and a shopping center, and declared them two weeks of performances honoring Charlie Parker….
The Celebration was officially sponsored by a new organization, KC Jazz ALIVE. But to its credit, and to the credit of CEO Greg Carroll, the American Jazz Museum threw its full weight and staff behind the effort. Don’t underestimate the value of having paid staff available to smartly and relentlessly promote. This was public relations-style marketing through social media including Facebook, through scheduling appearances on TV and radio talk shows, through preparing schedules and posters. This kind of promotion doesn’t require a huge budget. But it requires a tremendous commitment of time, and that’s a resource few volunteer organizations can muster.
The 2014 Charlie Parker Celebration was a masterful success. In general, events promoted as part of it saw greater attendance than they normally would. The promotion raised the awareness of jazz and where to hear it in Kansas City, raising hopes for a longer term benefit to the jazz community. An article in the Business Journal online declared jazz is not dead. And the marketing built awareness not just locally, but in the online version of national jazz publications Downbeat and Jazz Times as well.
I walked in five, maybe ten minutes after the music started, and nearly every seat was filled. There were a few open ones in the booths by the espresso machine, the area where talking over the music isn't discouraged. I snagged one in the back. Before the end of the set, folding chairs were being set up for the crowd continuing to flow in. That's how it's been since the place opened, I’m told.
The audience was overwhelmingly young. I wasn’t the only gray-haired guest, but I sat largely surrounded by high school students. Most others in the audience looked like twenty- and thirty-somethings. And everybody was listening. The few conversations heard here and there while musicians played were short. These people came for jazz.
135th and Metcalf is as suburban as life on this earth gets. And out here in a glistening new Johnson County club, the current and next generation of jazz's audience is turning out to hear Kansas City’s extraordinary musicians. The next time someone tritely proclaims "jazz is dead," escort them to Take Five on a Friday or Saturday night. Then see if they can still honestly mouth those words.
The Broadway Jazz Club needed to build its own following. This night it appears to be succeeding at exactly that. The crowd is older than the crowd at Take Five. Nobody here is a high school student. This is an audience which wants to hear jazz and which is comfortable in an urban locale that isn’t The Plaza. It includes some of the old Jardine’s audience. But mostly, The Broadway Jazz Club is uncovering its niche.
Not mentioned in posts, but among those lost this year were flutist and saxophonist Horace Washington and trombonist Stephanie Bryan. They are dearly missed.