WARREN DURRETT

© 1996 Mike Metheny


JAM talks with the veteran Kansas City bandleader about four decades in the big band biz, noted alumni, and a productive post-retirement.

Warren Durrett

JAM: You led one of Kansas City's most popular big bands from 1945 to 1986. What have you been up to since retiring in '86?

WD: The first year and a half was spent writing a book on the 41 year history of the band -- 13 chapters and 314 pages, including pictures. I started it at the suggestion of a friend in the printing business named Willie Burtt who played in the band in the '40s and '50s. 250 copies of the book were distributed to band alumni and friends. By the time that project was finished, a committee of band members and their wives -- Jim and Nadine Hammer, Sherman and Virginia Gibson, Richard and Nancy Wilson, Arch and Polly Martin -- began working on a band alumni reunion party. It was held at the Brookridge Country Club on November 1, 1988 and featured the Woody Herman Band. Over 200 people attended, including many band alumni living in other cities.

JAM: In recent years, some of Kansas City's finest jazz musicians have had the opportunity to record their own albums as a result of your encouragement. Talk a little about the albums you've helped produce.

WD: In 1990, (saxophonist) Bill Caldwell and I began talking about different recording ideas. Bill had played in my band the last year before I retired. This conversation led to a series of albums called "Warren Durrett Presents." So far there's been: Bill Caldwell and Friends (1991) with Bill, Bob Bowman (bass), Todd Strait (drums), Danny Embrey (guitar) and Ken Kehner (piano); The Real Thing (1992) with Bill, Everette DeVan (organ), Arch Martin (trombone), Todd Strait, Danny Embrey and Brian Harman (guitar); The Arch Martin 6-Trombone Band + Five: Jazz In Good Taste (1993-94) with Arch Martin, Jim Cann, Steve Wiest, Dan Strom, Rich Coble, Bob Koester and Bill Hartman, (trombones), Bill Caldwell (flute), Danny Embrey, Bob Bowman and Gerald Spaits (bass) and Ken Kehner, with arrangements by me; The Bill Caldwell Quintet (1996) with Bill, Jay Daversa (trumpet), Ken Kehner, Bob Bowman and Todd Strait; and an album that's not yet completed featuring (singer) Pat Wilson backed by the Russ Long Trio and the Kerry Strayer Septet.

JAM: Let's go back a little. How did your first band begin?

WD: In early 1945 a booking agent named Johnny Coon called and asked me to put together a ten piece band to open for Saturday night dinner-dances at the Sky-Hy Roof on the 14th floor of the Continental Hotel, 11th & Baltimore. At the time it had the best view available of downtown Kansas City. It later became the Playboy Club.

JAM: Ironically, that period of time is generally thought of as the end of the big band era. How were you able to keep a band going for the next 41 years?

WD: When I started the band in 1945, at age 26, I remember having a long-term goal as a bandleader of ten years. But the next thing you know, I'm lost in the excitement and challenge of building a ten piece library into one for a 23 piece band... and 41 years goes by! Fortunately, the book was commercial enough to keep us going and to attract many long-term key players.

JAM: Do you keep up with current big bands here in Kansas City?

WD: Very much. (My wife) Jan and I always attend the big band concerts at UMKC, KU, the Folly Theater and the Kansas City Jazz Workshop series. We've also spent many evenings in recent years listening to the Trilogy and Boulevard big bands.

JAM: Over the years, your band produced some very talented alumni. Let's do a little name association. What do you remember about Bob Brookmeyer?

WD: Bob played with my 12 piece band in the summer of 1946 when he was 16 years old, and then from 1947 through 1950 while he was attending the Conservatory of Music in Kansas City. He was still playing slide rather than valve trombone at the time. He has long since become an international jazz star, and more recently has been working at UMKC once a year as part of the Visiting Artists Program.

Warren Durrett & his Orchestra

JAM: Marilyn Maye?

WD: Marilyn Maye is one of the country's great singing talents. And she has a remarkable set of albums arranged and produced by some of New York City's best. I was delighted to have her on the band for several years during the time she was raising her daughter Christy (Tucker). Marilyn also worked a number of years with Durrett Productions in the jingle business. Her intonation, enunciation and great patience made her ideal for vocal quintet leads as well as solo work.

JAM: Pat Metheny?

WD: Pat played about ten jobs with my big band while he was still in high school in the early '70s. I especially remember one hair-raising experience -- on February 20, 1972 -- when the band was playing a concert at the Landing in the old Union Station. ...Actually, it was more of a tingling and prickling sensation in the back of my scalp... like my hair was literally standing on end. Dave Zoller had sent us a new rock arrangement which we had run down in a short rehearsal just before the concert. At the concert, the excitement of nine brass blowing this new chart, propelled by a young rhythm section of Neal Stone on drums and Pat Metheny soloing on guitar just about did me in!

JAM: As we all know, your longtime lead trumpet player, Jack Gibson, passed away earlier this year. Any thoughts you'd like to share about him?

WD: In the fall of 1947, Sherman "Jack" Gibson walked into my annual fall band rehearsal at the old Musicians Union, 1017 Washington, to try out on trumpet. He stayed on the band for the next 39 years, until I retired in 1986. Jack was the essence of stability, not only in the lead-trumpet chair, but in all of his personal life and law practice. He quickly established himself as the lead trumpet player, a reputation which continued for more than four decades.

JAM: Some would say that big bands are a remnant from another time, while others feel it's a timeless part of Americana. What can be done to preserve this art form for future generations?

WD: Make more recordings. And take more pictures.

JAM: We have to ask you the "desert island" question. If stranded on that island, what albums from your collection would you want to have with you?

WD: Jack Sheldon Sings from 1994 on Butterfly Records. With his vocals and trumpet, Jack is the Louis Armstrong of the '90s. Shirley Horn's Here's To Life -- gorgeous charts, tunes and vocals. And Mike Metheny's Street Of Dreams -- good tunes, tasty charts... the best all-ballad album ever made with horn, keyboards, drums and multi-tracking.


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