Friday Night at Jazz Winterlude

I remember the first one. I was working the box office as a volunteer, and thanks to a snowstorm people were calling to see if there was still a festival. There was.

That was five years ago. Last month, performance halls were largely filled – in some cases, crammed and overflowing – for Johnson County Community College’s 2014 Jazz Winterlude.

Saturday started with four hours of free local acts in the Carlsen Center’s Polsky Theatre (jazz) and Recital Hall (world music). Organizers will need to find a bigger auditorium for world music next year. Ever see sixty-somethings fight over seats to a concert? I did.

Saturday night concluded with Book of Gaia then Arturo Sandoval packing Yardley Hall. I’ll offer photos from Saturday next week.

Friday night, January 24th, opened in Polsky Theatre with the Doug Talley Quintet playing the music of Wayne Shorter and concluded with headliner Terri Lynne Carrington playing music from her CD tribute to “Money Jungle”. Two nights later, she would win a Grammy award for the album.

Photos from Friday are below. As always, clicking on a photo should open a larger version.

Doug Talley Quintet

David Aaberg on trumpet and Doug Talley on sax

Keith Kavanaugh on drums and David Aaberg

Wayne Hawkins on piano

Tim Brewer on bass

David Aaberg on trumpet

Doug Talley and Tim Brewer

Terri Lynne Carrington

Terri Lynne Carrington

Gerald Clayton on piano

Tia Fuller on saxophone and Gerald Clayton

Terri Lynne Carrington on drums

Nir Felder on guitar

Terri Lynne Carrington drums

Zach Brown on bass

Tia Fuller and Terri Lynne Carrington

Gerald Clayton

Terri Lynne Carrington in Polsky Theatre

This 'n That 'n Chuck 'n Stanley

Imagine two highly respected writers simultaneously publish new, finely researched yet easily readable books offering fresh details and the most accurate histories yet on Kansas City’s famous jazz son, Charlie Parker. Imagine both books are honored by a broad swath of positive reviews and are quickly accepted as definitive Parker biographies. Now imagine that these authors are scheduled to appear together on a stage in Kansas City to discuss their books, their research, and Charlie Parker.

Nothing in that last paragraph is imaginary.

The books, of course, are Chuck Haddix’s Bird: The Life and Music of Charlie Parker and Stanley Crouch’s Kansas City Lightning: The Rise and Times of Charlie Parker. Haddix oversees UMKC’s Marr Sound Archives – one of Kansas City’s most under-recognized treasures – and stands alone as KC’s premiere jazz historian. Crouch is an internationally-recognized jazz author and critic.

They have agreed to share the stage at the Bruce R. Watkins Cultural Center on the evening of June 19th to talk about Charlie “Yardbird” Parker. This should be a fascinating discussion between two men who have established themselves as the contemporary “Yardbird” experts.

It’s being arranged by Anita Dixon, Vice President of the Mutual Musicians Foundation (MMF) as part of a June Kansas City Jazz Blogger Summit. This summit is organized by Dixon and MMF with Brand USA, which describes itself as “a public private partnership with the mission of promoting international travel to the US.”

Jazz bloggers from throughout the country, many invited from a list supplied by Crouch, will descend on Kansas City to be immersed in our jazz history and culture. For instance, the morning of June 19th, they will tour the areas where Kansas City jazz thrived, in order to walk away understanding why and how a unique voice in jazz grew here.

(Then, hopefully, they go write about it. Plastic Sax, next summer, we have colleagues.)

Some blogger events will be open to the public. Especially the joint talk by Chuck Haddix and Stanley Crouch. Any chance we might see some professional jealousy there? Don’t count on it. On the contrary, Dixon tells me both authors were excited about appearing together. Crouch’s reaction to seeing Haddix: “I have questions for him.”

*****

This weekend, Johnson County Community College celebrates its fifth annual Jazz Winterlude. This year, jazz shares the Carlsen Center stages with world music. From 1 to 5 p.m. next Saturday, each hour a different jazz ensemble fills Polsky Theatre while a different world music group fills the Recital Hall. That’s free.

But the headliners are pure Grammy-winning jazz. This Friday night, percussionist Terri Lynne Carrington plays Polsky Theatre with selections from her CD honoring the 50th anniversary of the classic Duke Ellington / Charles Mingus / Max Roach album, Money Jungle. Her band includes pianist Gerald Clayton. Saturday night, trumpet legend Arturo Sandoval promises to do some roof-raising in Yardley Hall.

The full schedule is here.

Tickets to Carrington are $20, and to Sandoval are $25. Or, they’re just $5 with any valid and current student ID. Tickets are available here for Carrington and here for Sandoval.

Festival organizer Doreen Maronde has been making Kansas City area jazz festivals a reality since the 1980s, when she worked for Kansas City Parks and Rec and I was a volunteer on the Kansas City Jazz Festival (which was staged in a Kansas City park with Parks and Rec as our invaluable partner). I salute a force – there are many in this city – who has long labored behind the scenes to see jazz in Kansas City thrive.

*****

I came to jazz through swing. And while music doesn’t necessarily need to swing for me to appreciate it, there needs to be an accessible element to draw me in, whether it’s the whimsey of The People’s Liberation Big Band or an inviting musical hook or phrase.

I don’t find that personal invitation often enough in jazz fusion, so that’s a style I generally avoid. As such, after reading Plastic Sax’s review of the new album by Dojo, Road Trip, I was a bit apprehensive before listening to the CD. He called it jazz fusion. He compared it to names who, except for Billy Cobham, I’ve never heard. He compared it to music jazz purists detest. I’m not a purist, but my sympathies lie more closely there than to fusion.

I needn’t have worried. Each of the original compositions filling Road Trip offers that musical invitation. Each draws me in with a musical phrase or hook, an invite to grab onto repeated like a riff, that even ol’ more-purist-than-fusionist me can enjoy. Most often, these lead to Brian Baggett’s guitar exploding in imaginative directions. I lack the musical vocabulary to know to whom Baggett’s style can be properly compared (this ain’t Charlie Christian), but listening closely carries you along intriguing and original, but rarely subtle, lines. Jeff Harshbarger’s and Chris Handley’s bass, and Luke Stone’s drums, provide the base along which Baggett travels.

Road Trip can be purchased on CD Baby, here, or downloaded from iTunes, here.

In Lieu of 1000 Words: Saturday at Jazz Winterlude

I wasn’t sure what to expect. Sure, it was free. But it was indoors on an unexpectedly pleasant Saturday afternoon. It was jazz in suburban Johnson County starting at 1 p.m. And basketball was on TV. Two jazz fans told me they would love to come but they couldn’t because they’d be watching basketball.

So I was surprised to see probably a hundred fans start to fill Johnson County Community College’s Polsky Theatre when Megan Birdsall took the stage to open Saturday’s Jazz Winterlude. The crowd was easily up to 150 by the time her set ended. And it continued growing throughout the day.

Audiences rambunctiously cheered Everett Devan and Chris Hazelton’s dual Hammond B3s, sat thrilled by Diverse Quartet’s set of classic Ellington, and took to their feet for the New Red Onion Jazz Babies.

Meanwhile, the next door Recital Hall, a more intimate setting, needed more seats each time I looked in. In there, I caught some of Candace Evan’s wonderful trio and the Turkish jazz of Alaturka. Micheal O’Shiver and Alice Jenkins also packed the room.

At night, hundreds filled Yardley Hall for an opening set by Killer Strayhorn then the incredible piano of Eldar, who grew up in Prairie Village and who we in Kansas City will always consider to be one of our own.

Congratulations to the Winterlude staff for a magnificent weekend of jazz. Those of you who stayed home watching basketball have no clue about the magnificent music you missed. So let me show you a little of it. As always, clicking on a photo should open a larger version.

Saturday opened in Polsky Theatre with Megan Birdsall's quartet. Left to right: Wayne Hawkins on piano, Megan Bridsall, vocals, Bob Bowman on bass, Tim Cambron on drums.

Wayne Hawkins and Megan Birdsall

Next up in Polsky was the Everette DeVan / Chris Hazelton Group with a pair of Hammond B3 organs. Left to right: Everette DeVan on Hammond B3, Matt Hopper on guitar, Danny Rojas on drums, Chris Hazelton on Hammond B3.

Everett DeVan and Matt Hopper

Everett, Matt, Danny and Chris

I've photographed Diverse before. This day they performed as Diverse Quartet with, left to right, Andrew Ouellette on piano, Ben Leifer on bass, Ryan Lee on drums, and Hermon Mehari on trumpet.

Evening performances in Yardley Hall opened with Killer Strayhorn. Left to right: A hidden Chris Lewis on piano, James Isaac on saxophone, Greg Clinkingbeard on bass, Pablo Sanhueza on percussion, and Mike Shanks on drums.

Chris Lewis, Greg Clinkingbeard, Pablo Sanhueza and Mike Shanks

Headlining the night was pianist Eldar Djangirov, better known these days just as Eldar.

Eldar with his trio

Eldar on piano, leading his trio

Eldar in Yardley Hall

This 'n That 'n Free Winterlude

The first year, it snowed the day before. I worked the box office at the event, as a volunteer. People called to see if the festival was still on, before venturing out of their home. That was not a good way to build an audience.

Johnson County Community College (JCCC) staged its first Jazz Winterlude in January, 2010. While the schedules have been filled with some of the best local jazz, tickets priced at $25 and up, more than snow, may have kept interested audiences from growing into jazz crowds.

Not next January.

All concerts at Jazz Winterlude 2013, set for January 18 and 19, are free to everyone. And this is a schedule Kansas City jazz fans will find exceptional. Take a look:

Friday, January 18
7:00 − 7:50 p.m.:  David Basse Orchestra, in Yardley Hall
8:00 − 9:00 p.m.:  Julian Lage Duo, in Yardley Hall
9:15 − 10-15 p.m.:  Deborah Brown, in Yardley Hall

Saturday, January 19
1:00 − 1:15 p.m.:  Megan Birdsall Quartet, in Polsky Theatre
                              Michael O’Shiver (harp), in Recital Hall
2:00 − 2:50 p.m.:  Everett DeVan/Chris Hazelton Group (B3 organs),
                              in Polsky Theatre
                              Alice Jenkins (vocal/piano), in Recital Hall
3:00 − 3:50 p.m.:  Diverse Quartet, in Polsky Theatre
                              Candace Evans Trio, in Recital Hall
4:00 − 4:50 p.m.:  New Red Onion Jazz Babies, in Polsky Theatre
                              Alaturka, in Recital Hall
7:00 − 7:50 p.m.:  Killer Strayhorn, in Yardley Hall
8:00 − 10:00 p.m.:  Eldar Djangirov, in Yardley Hall

JCCC’s Yardley Hall is one of this region’s most acoustically magnificent spaces. The opportunity to hear Deborah Brown’s vocals and Eldar’s piano in there is an exciting one. These are dates to set aside now.

Even if it snows.

(Jazz Winterlude’s web site is here.)

*****

Is gliding the word I’m looking for? Maybe soaring? In some songs, it’s both. Tangos Flamenco for example. Stan glides over Beau’s intricate rhythms before taking off and soaring with excitement. Here’s two masters of their instruments playing world music with intricacy and exhilaration. And fun.

I've photographed guitarist Beau Bledsoe with his extraordinary Turkish jazz group Alaturka (here). They play Saturday’s Winterlude date. Trumpeter Stan Kessler performs with more groups than I can count, the best known being Sons of Brazil. I photographed them here. Together, Beau and Stan have formed the group duo Passport, playing music with a world bent. Is it Latin? Cuban? Spanish? South American? I suppose all of the above.

Passport has released its first, self-titled CD.

Beau lays down rhythms on guitar and oud mesmerizing yet complex. Some tunes are familiar, such as Ave Maria, where Stan’s perfect tone overlays feelings of beautiful melancholy. Meanwhile, Que Nadie Sepa Mi Sufrir bounces with playfulness. The interaction between the two musicians on Choro Por Ze draws you in with a broad smile.

Is it jazz? Is it world music? Yes. But mostly – no, entirely – it’s wonderful music.

Passport can be purchased here.

*****

I first heard T.J. Martley in 2009, filling in for Mark Lowrey with Shay Estes’ group. I photographed the evening here. Shay turned to the audience at one point and, pointing at T.J., said, “Isn’t he great?”

Yes. Yes, he is.

And he’s now released an album of jazz meditations titled, not surprisingly, Meditations, Vol. 1.

This CD of piano solos is an album of trains of thought, musical impressions of the moment. Sometimes obtuse like Monk, consistently engaging, a close listen pulls you into the music’s appealing twists and complexity.

Meditations, Vol. 1 can be downloaded from iTunes here or purchased on CD here.

The Rest of Winterlude…Well, Much of It

Not everything, but I did capture more than one group.

The last post showcased photos of Matt Otto’s remarkable group. But Johnson County Community College’s Jazz Winterlude, on January 20th and 21st, offered plenty more jazz than that. I didn’t catch it all, but I had the chance to photograph many of the exceptional acts over the weekend.

For instance, Sam Wiseman’s Crosscurrent, playing music by and inspired by Lennie Tristano, was a Friday night favorite, with Sam on drums, Matt Otto and Steve Lambert on tenor sax, T.J. Martley on piano and Ben Leifer on bass.

The Jazz Disciples opened Saturday with Gerald Dunn on tenor sax, guest Jason Goudeau on trombone, Everett Freeman on piano, Bill McKemy on bass and Michael Warren on drums.

The Brandon Draper World Jazz Quartet followed with Brandon on drums, Peter Sclamb on vibraphone, Rich Wheeler on tenor sax, and Jeff Harshbarger on bass.

Later on Saturday, the Will Matthews Quartet featured Will on guitar, Charles Williams on piano, James Ward on bass, and Ryan Lee on drums.

Photos of all are below. As always, clicking on a shot should open a larger version of it.

Jazz Disciples. Left to right: Jason Goudeau, Gerald Dunn, Everett Freeman, Bill McKemy, Michael Warren

Count Basie Orchestra guitarist, former president of the Mutual Musicians Foundation and leader of the Will Matthews Quartet: Will Matthews

Crosscurrent. Left to right: Steve Lambert, T.J. Martley, Matt Otto, Ben Leifer, Sam Wiseman

Leader of the Brandon Draper World Jazz Quartet: Drummer Brandon Draper

Jazz Disciples bassist Bill McKemy

Brandon Draper World Jazz Quartet. Left to right: Jeff Harshbarger, Rich Wheeler, Brandon Draper, Peter Schlamb

Jazz Disciples pianist Everett Freeman

Brandon Draper World Jazz Quartet saxophonist Rich Wheeler

Jazz Disciples rhythm section: Everett Freeman, Bill McKemy and Michael Warren

Crosscurrent saxophonist Steve Lambert

Charles Williams, pianist with the Will Matthews Quartet

Brandon Draper World Jazz Quartet vibraphonist Peter Schlamb

Crosscurrent: T.J. Martley on piano and Ben Leifer on bass

Matt Otto Quartet at Jazz Winterlude

I came to an infatuation with jazz through Basie. And I’ll be the first to admit I was dragged to contemporary jazz by the nose hairs. Some of it remains too extreme for my tastes, and I’m convinced some is transitory. But some of the best jazz being produced today is, indeed, contemporary. And none is better than the music of the Matt Otto Quartet supplemented by voice and piano.

I spent most of a couple weekends back at Johnson County Community College’s Jazz Winterlude. Club-sized crowds enjoyed some of the best jazz in Kansas City today, a mix of traditional and modern music. But of every group I heard, Matt’s stood out as the most extraordinary.

Matt Otto and Gerald Dunn, either of whom could play sax for anyone (Matt on tenor, Gerald on alto), here are at once complementary and competitive, each clearly admiring the other’s solos. Backed by Jeff Harshbarger on bass and Michael Warren’s drums, the base quartet presents Matt’s complex compositions as both supremely engaging and completely accessible. Now add T.J. Martley’s smart and inventive piano. Then layer on Shay Estes’ remarkable vocals. She isn’t singing songs. This is the voice as an instrument, but unlike any instrument played by manipulating keys.

I’m groping for words to explain the wonder which filled the theater. Simply, I have not heard another group like this.

I wrote about and photographed the Matt Otto Quartet last year, here. But I’m so taken by their music, here they are again, from their Jazz Winterlude performance on January 21st. As always. clicking on a photo should open a larger version of it.

The Matt Otto Quartet. Left to right: Gerald Dunn, Matt Otto, Jeff Harshbarger, and Michael Warren

Matt Otto on tenor sax

Gerald Dunn on alto sax

The front line with Gerald Dunn on alto, Matt Otto on tenor and Shay Estes vocalizing

Michael Warren on drums

Jeff Harshbarger on bass

The Matt Otto Quartet plus two. Left to right: T.J. Martley, Gerald Dunn, Matt Otto, Shay Estes, Jeff Harshbarger, Michael Warren

Shay Estes, vocals

T.J. Martley on piano

Jeff solos as Shay admires

The saxes: Gerald and Matt

Shay Estes vocalizing. Behind her, Jeff Harshbarger.