Showing posts with label Kansas Ciy. Show all posts
Showing posts with label Kansas Ciy. Show all posts

Monday, April 25, 2016

27.6 Mil for 18th and Vine

Probably the earliest efforts to build a jazz hall of fame in Kansas City date to 1969. That group envisioned it near 12th and The Paseo. In 1997, following decades of fits and starts, feints and fights, the jazz museum opened, along with the Negro Leagues museum, the Black Archives and a rebuilt Gem Theater, at a cost of $32 million. The city has contributed ongoing support in the decades since, and rightly so. The Kansas City Museum and Liberty Memorial receive annual budget dollars, so why shouldn’t museums honoring this city’s greatest contributions to the world?

Last week, the city announced plans to consider, from their official press release (here), a “bond-funding commitment of $27,637,162” for the district. Never mind that the figure originally quoted last year for the district was $7 million, then leapt to $18 million in January, and is now hovering at 27.6 (skyrocketing numbers with each public pronouncement is a questionable strategy). Instead consider that the city shovels $12 to $15 million into the Power and Light district every year. By comparison, a one time shot-in-the-arm of $27.6 million to 18th and Vine sounds fair.

The proposal. It can be viewed or downloaded as a PDF here.
Importantly, the list of projects paves some major historic district holes. Three in particular stand out.

New, refurbished and nicely faked facades (towards Woodland) have lined most of 18th Street for two decades. More recently, refurbished homes and apartments have made Highland Street surrounding the Mutual Musicians Foundation wonderfully more enticing. But Vine between 18th and 19th streets has remained the jazz district’s ghost town. That block, boasting the remains of the Cherry Blossom night club and the first black-owned auto dealership in the United States, is arguably one the most significant to 20th century culture. Yet discussion when the new district proposal was first announced was to tear down history in favor of building something deemed more useful, maybe a parking garage.

The original $7 million proposal included $160,000 for demolition. The $18 million version included, per a Kansas City Star article, “$5.3 million to replace dangerous buildings on Vine Street with mixed-use development.” Sanity appears to have prevailed. The new plan, according to the official document, includes $4,960,461 for “stabilization of facades of historic buildings in the 1800 block of Vine Street to prepare the area for construction of new infill development. The facades of historic buildings at 1814, 1816, 1820 and 1822 Vine St. are projected to be preserved and incorporated into this project.” The Cherry Blossom facade stands at 1822 Vine.

The proposal also includes $4,200,000 in public money (up from $1 million in the first two proposals), to be matched with $4 million in private funding and in-kind services, for the Buck O'Neil Education and Research Center, more commonly recognized as the Paseo YMCA. Specifically, the money is to “construct a north entrance including a lobby, elevator, stair tower, and renovation of the Education and Center.”

The charter creating the Negro Baseball Leagues was signed there on February 20th, 1920. This building is a Kansas City historical monument. Completing its renovation and reopening it to the public are key priorities of any historic district funding. This city needs to be celebrating in there on February 20th, 2020.

This map illustrating the projects can be downloaded here.
A new parking lot is in the proposal, between Lydia and Grove streets (Grove is between Lydia and The Paseo) on the south side of 18th Street. But, more importantly, the proposal includes $3,043,350 to “enhance street and pedestrian lighting and bump outs on 18th Street from Lydia parking lot to Attucks School. Provide connection between Bruce R. Watkins overpass and the historic 18th and Vine district.”

The 18th and Vine district will never thrive as an oasis surrounded by an urban moat. It must connect in a welcoming way to the Crossroads area. People who know the area and who are comfortable in the city recognize there’s nothing to fear. But that excludes a substantial number of area residents. The surrounding corridor looks more inviting than it did twenty years ago but it’s not inviting enough. Few improvements will boost 18th and Vine more than extending its welcome mat at least to the Bruce R. Watkins overpass.

Those are the most critical projects. Also in the proposal:

$1,743,194 for the American Jazz Museum for “design and construction of Blue Room expansion and new cafĂ©, construction of exhibit and lobby improvements, and equipment upgrades for the Gem Theater.”

$432,109 for “repurposing of the existing structure located at the north side of the American Jazz Museum to allow for a new fully equipped stage for summer music events.” This one also includes $7 million in private funding. Its title calls this an outdoor amphitheater.

$747,241 to “move Horace Peterson 18th and Vine Visitor’s Center from 18th Street museums building into north space of Archives facility.”

$140,000 to the Mutual Musicians Foundation to “install a wheelchair lift and new masonry walls along the historic building.”

$1,832,016 in city funds plus $1,150,000 in private funding for a “public-private partnership for the design and construction of the KC Friends of Alvin Ailey facility, a multipurpose space with class space and offices” at 1714 E. 18th St. That’s between the Kansas City Call building and the Boone Theater.

$1,229,781 for “rehabilitation of Kansas City’s Historic Boone Theatre.”

$405,000 for “replacement of building systems” in the Lincoln Building.

$5,651,587 for a “public-private partnership for the design and construction of a new retail building with upper-floor market rate housing and office space.” The map accompanying the proposal shows this development fronting the south side of 18th Street between The Paseo and Vine Street, then wrapping around the corner and a bit up Vine.

$105,000 for “construction of a west doorway with enclosed patio for existing restaurant space” at 18th and The Paseo, outside the building where a couple of restaurants have come and gone.

$1,028,821 to “design and construct fountain on City property at the southeast and southwest intersections of 18th Street and The Paseo.”

$1,182,602 for “construction of lighted, landscaped lot on 19th Street between Lydia and Grove Streets.” The project map actually shows this lot extending from 19th to 18th streets.

Finally, management and administration is broken into multiple buckets such as planning, historic preservation, marketing, project management, and maintenance. But it boils down to $2,962,000 for management and administration.

Monday, August 17, 2015

Five Taken

Is it coincidence that on Friday, the second to the last night of Take Five Coffee + Bar, the Jeff Harshbarger Quartet opened with Bye, Bye Blackbird and I Killed Kenny, two titles about people or beloved things going away?

A club beloved by Kansas City’s jazz community went away – for now – on Saturday night, celebrating with a jam session lasting past 1 a.m. The night started with Mark Lowrey and the La Fonda All Stars playing to some 150 well-wishers and inspiring dancing in the aisles.

But more than that, the two nights were a showcase for Kansas City jazz and proved, again, that the talent in this area in 2015 is astounding.

If you missed it, below is a sampling of how it looked. As always, clicking on a photo should open a larger version of it.

The Jeff Harshbarger Quartet on Friday night. Left to right: Roger Wilder on piano, Jeff Harshbarger on bass, Rich Wheeler on tenor sax, Brandon Draper on drums.

Jeff Harshbarger

Brandon Draper

Roger Wilder

Jeff Harshbarger and Rich Wheeler

Mark Lowrey and the La Fonda All Stars in a packed Take Five on Saturday night. Left to right on stage: Mark Lowrey on piano, Dominique Sanders on bass, Ryan Mullin on congas, John Kizilarmut on drums.

Mark Lowrey

Dancing to the La Fonda All Stars

The jam session begins with Kelley Gant

Molly Hammer joins the jam

Jeff Harshbarger, Megan Birdsall and Sam Wisman enjoy Clint Ashlock's solo

Mark Lowrey, Jeff Harshbarger, Ryan Heinlein and Sam Wisman

Michael Pagan, Gerald Spaits, Ryan Mullin and John Kizilarmut

On stage for the last two songs were Mark Lowrey on piano, Ben Leifer on bass, John Kizilarmut (not pictured ) on drums and Shay Estes and Jeff Harshbarger on vocals.

Owners Lori and Doug Chandler enjoy the last number performed in this incarnation of Take Five Coffee + Bar.

Monday, December 27, 2010

Hootie You Haven't Heard

What better way for a jazz blog to end the year than with some music? And what better way for a blog on Kansas City jazz to end the year than with some Jay McShann you’ve probably never heard?

Earlier this year, I digitized for a friend a video tape she could no longer play. I’ve previously posted other videos from that tape, and here’s one more: 28 and a half minutes from Nebraska Public Television of Jay McShann’s trio. I don’t have a date on this one, but I’m guessing for various reasons – including the dates of what surrounds it on the tape – it’s from about 1980, give or take. Jay is accompanied by longtime drummer Paul Gunther and a bassist with whom I’m not familiar. A stereotypical 1980s-PBS-style talking head doesn’t exactly build excitement. But nothing can take away from hearing a Jay McShann performance which probably hasn’t been seen in about three decades, and by most of us never.

The program is divided into two parts, due to YouTube restrictions. Unless someone objects, those two videos are embedded below.

Happy New Year, everyone!


Part 1


Part 2

Friday, August 13, 2010

Rhythm & Ribs 2010

I want to comment more, and in coming weeks, I will. But for now, let’s get out this much.

Talent for the 2010 Rhythm and Ribs Festival was announced at a press conference this morning. The national acts include:

• Trumpeter Nicholas Payton, also coming in as an artist in residence

• A tribute to Donny Hathaway featuring saxophonist Kirk Whalum and singer Lahla Hathaway (Donny’s daughter)

• Sugarfoot and the Ohio Players

(Local acts are still being booked.)

This year’s fest is a one day event, on Saturday, October 9th, running from 11 to 11. The new festival map extends from Vine to Highland and from the back doors of the 18th and Vine museum complex to the Gregg-Klice Community Center grounds. The main stage will fill the community center’s curved drive. Live music will also fill The Blue Room stage and the museum lobby throughout the day. Vendors fill adjacent lots. And crowds – that’s us – will fill the grassy grounds.

Tickets are $18 until 10 p.m. the night before the event, and $25 at the gate. More ticket info is on the American Jazz Museum’s web site (here).

*****

And here’s why I’m so anxious to get out this much.

Do a web search for Rhythm and Ribs Kansas City. Know what the third link listed in a Google search, and the top link in a Yahoo search will be? It’ll be for www.kcrhythmandribs.com. Seems a likely source for festival news to me. Now click on it and you’ll find:

In case you can’t see it, that screen grab reads, “The 2009 Kansas City Rhythm and Ribs Festival has been cancelled, but will be back in 2010. Refunds are available at the American Jazz Museum Box Office or at Ticketmaster.”

Hey, that ought to drive advance sales.

Can somebody kill that web site? Or have it redirect to the current site? Or at least replace the copy with a current site link?

Please?

Then make sure the latest news is on the latest site.

People are looking for festival info. I know. I see hits coming into this blog through the search term Rhythm and Ribs Kansas City.

So to anyone doing that search who wound up here: I can’t wait to party with you October 9th!

(Just doing a community service here.)

Thursday, April 8, 2010

This 'n That 'n New Metheny (Not That One)

1987, and we were looking for headliners for the Kansas City Jazz Festival. We needed at least two, one to cap each night of the event. I was an organizer back then. I don’t remember who we signed first, but we found a pair of outstanding trumpet players were available: Wynton Marsalis and Mike Metheny.

I do remember we were thrilled to grab both. Wynton’s celebrated group included pianist Marcus Roberts. And Mike hadn’t lived in the KC area for over a decade, had released a new CD the year prior, and around here was plenty well known.

On the festival stage, Wynton’s performance was clinical. A friend later told me that his wife turned to him during the show and asked, “When does this get fun?”

Nobody asked that during Mike’s performance. His EVI (Electronic Valve Instrument) was new to us, the first time most at the fest had heard it live. We were enthralled. And trumpet and flugelhorn kept the crowd equally captivated.

I’m remembering this now because now we have the delight of a new Mike Metheny CD, the just-released 60.1.

Some of the album’s music trends a bit more electronic than my personal old-fashioned taste. But there’s variety here. Old-fashioned me gravitates first towards the lively blues, C.C. and Water. Then Mike’s haunting EVI draws me into and leads me through the film-noire-ish Blue Smoke. And I’m entranced by both piano and horn on the lyrical ballad Laurie.

Besides, with sidemen like pianists Roger Wilder and Paul Smith, bassist Bob Bowman, guitarist Danny Embry and drummer Brandon Draper, this is a collection of KC talent I treasure.

I understand Mike’s little brother has a new CD out, too. I hear it’s some fancy thing that he’s doing shows all over the world to support. Mike’s CD, on the other hand, was recorded right here with some of Kansas City’s best musicians.

If I could only afford one, I know which I’d choose.

60.1 can be ordered from Mike’s web site, here.

*****

At last, a way to find out who’s playing at The Majestic each night! And the lineup is better than I thought.

Their apparently abandoned Twitter account is again active with tweets, including a few each day announcing that night’s talent. On my one weekend visit, several months back, the jazz club music was a rather sorry lounge sound. But the tweets are listing combos well worth a new look (Bram Wijnands and Steve Lambert last week, for instance, I’m sorry I missed).

Sadly, their web site as yet offers no calendar, so there’s little way to plan in advance. If you added one, Majestic, I’d gladly link to it. Because your tweets show that many nights you’re featuring more legit jazz than is sometimes found in a certain other downtown jazz spot.

The Majestic’s tweets can be found here.

*****

Speaking of online calendars, why, when I go to R Bar’s, do I first find reviews from 2009? Am I the only one looking at an entertainment calendar for a current listing of entertainment? Why make us scroll past praise and last week’s schedule for the info we seek? Why not put it front and center on the page where it’s promised?

And maybe the listing could be complete? This week I can see who’s playing Thursday and Saturday but not Friday. Why?

R Bar doesn't feature jazz every night, but often enough that it's worth checking who's there. I know I’d enjoy drinks and a meal while hearing David Basse, then Millie Edwards (next week) or Shay Estes (the week after). In fact, I see on Shay’s web site she’s booked there each month through July. It’d be nice to be able to find that out on the venue’s site, too.

I feel another post ranting about marketing coming on.

*****

For a couple of our sterling young jazz musicians, a scraggly look seems to be in vogue. That doesn’t work for me, guys. I don’t expect coat or tie, but a respectable appearance is merely showing respect for the audience. I’m not naming names – I have no desire to embarrass anyone – but I’ll bet they know who they are.

If I left a bigger tip, would you guys consider a haircut?

*****

So how do I remember who played the jazz festival 23 years ago? Well, there may not be many other jazz fans with a fest poster autographed by both Wynton Marsalis and Mike Metheny on their wall.

(Mike’s new CD, 60.1…it's at his web site, here.)