JAM Magazine: April/May 1997 Issue: Correspondence

Greetings From Jim Mair
Enclosed is a check to keep my membership current. It is such a treat receiving the monthly newsletter and bimonthly JAM magazine.

Since I accepted the Jazz/Woodwind position at the College of Southern Idaho in June of 1995, we have implemented many new ideas. One that I am particularly proud of is our annual Blues and Jazz Summit. Our first summit in 1996 featured the Jay McShann Quintet with special guest Richard Ross. They were absolutely phenomenal; people were talking about that event for the rest of the year.

Our second annual summit took place January 31 and February 1, 1997 and featured ten guest artists including Tim Whitmer and the KC Express (with Rusty Tucker, Rod Fleeman, Dr. Tom Morgan, Pat Morrissey and Chico Battaglia). Not only did Tim and his band put on an amazing program, but what totally "blue" us all away was the fact that they were also very motivating and high-energy clinicians. The two evening concerts featured our top jazz ensemble and all of the guest artists, with the KC Express headlining the Saturday night bill. The combined audience total was 2200; total attendance for the summit was in excess of 3000.

Kansas City jazz is exciting, entertaining and accessible, and it is exactly what the people of southern Idaho have been looking for. The response to this most recent Blues and Jazz Summit featuring Kansas City musicians was overwhelming, to put it mildly. And it prompted me to write this letter.

Incidentally, Gary Sivils' latest recording, You Must Believe in Music, can be heard daily on our NPR affiliate. We have a 24 hour jazz station here at CSI that reaches across Idaho, Oregon and northern Nevada. I am hosting a weekly jazz show called "Table Down Front" and would love to promote Kansas City artists. I have purchased many releases by KC musicians and would love to stock our station library with more, especially those that are more current. Any KC jazz artists seeking greater visibility are encouraged to send new releases to me and I will ensure they are put in the hands of the proper people.

Thinking of all of you often!

Keep swingin'
Jim Mair
Director of Jazz Studies
College of Southern Idaho
P.O. Box 1238
Twin Falls, ID 83303-1238

Jazz Is Alive and Well
Super job on the (JAM) web site. I am Dave Powell, author of the "Stan Kenton -- A Tribute" web site at: (http://www.geocities.com/BourbonStreet/5406/).
If you have a chance, check out my site. And I'll be adding a link to yours. It is good to see that jazz is alive and well.

Keep up the great work,
Dave Powell
Bellevue, Nebraska

What is Jazz, Redux
To Paul Hofmann,

I just read your conclusion ("What Is Jazz?") in JAM (February/March '97). Enjoyed the "constitutional" analogy.

I think the one aspect continually overlooked in definitions of jazz is group interaction. Aside from solo settings (of course), group interaction is the one aspect that is always present in jazz music regardless of style or era. To my ears it is what nullifies Kenny G's recordings and reaffirms Weather Report and Herbie Hancock's "Headhunters." Kenny G's rhythm section chugs along impervious to the soloist. Whereas even late-Miles' groups concentrated on intergroup dialog. This is also particularly apparent in early jazz polyphony.

Obviously, this definition implies certain role playing and conversational elements. My impetus when it comes to a definition of jazz is that jazz is a philosophy of performance, not a style of music. (Many of the jazz "fascists" can't seem to get past this one, i.e. "If it don't swing, then it ain't..." "I can't hear the melody!" "Kids these days!" "That's not jazz!"). Any attempt at a definition of an art form so dependent on creation/subtlety/tradition/unity vs. variety/cultural relevance/and so on, needs to be as "inclusive" as possible. The definition needs to be as flexible as the music, or jazz may well be destined for the archives and museums.

This music is about mixing. And about interaction stylistically, socially, artistically and more. The whole New Orleans scene in the late nineteenth century is a perfect example of a sort of "cultural" jazz. I find in my teaching that this aspect allows my students to feel more comfortable with taking their own entry point into jazz. Groups such as Medeski, Martin and Wood, Charlie Hunter and John Scofield don't get hung up on rules and definitions, they just take what they like and create.

Trying to reach the "modern" audience is tough. It seems media and corporate entities, as well as listeners, want to do the pigeon-holing. They have created too many preconceptions.

My point is that "swing" can be optional, and isn't necessarily indicative of jazz. Nor is improvisation, use of a rhythm section, reliance on popular song forms, humanizing instrumental effects, blues spirit, or performer vs. composer esthetic. As techniques they are options for the performers, not mandates. For me, what separates jazz from other musical forms is the persistence of the inner-group communication and connection with the audience, even as the "constitutional" elements are being redefined.

Thanks for the food-for-thought.

May the blessings be,
Todd Wilkinson
Overland Park, KS

A Fan of Karrin's
I am a Kansas City native. I really enjoyed going to see Karrin Allyson perform while I was in college at William Jewell. I am now stationed with the Marines in Southern California. I understand that she performs out here every so often. Could you please inform me of when she will next perform in this region? I'd love to go.

Sincerely,
1st LT Ed Rogers
Camp Pendleton, CA

RETURN TO APRIL/MAY 1997 MAIN INDEX

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Greetings From Jim Mair Enclosed is a check to keep my membership current. It is such a treat receiving the monthly newsletter and bimonthly JAM magazine. Since I accepted the Jazz/Woodwind position at the College of Southern Idaho in June of 1995, we have implemented many new ideas. One that I am particularly proud of is our annual Blues and Jazz Summit. Our first summit in 1996 featured the Jay McShann Quintet with special guest Richard Ross. They were absolutely phenomenal; people were talking about that event for the rest of the year. Our second annual summit took place January 31 and February 1, 1997 and featured ten guest artists including Tim Whitmer and the KC Express (with Rusty Tucker, Rod Fleeman, Dr. Tom Morgan, Pat Morrissey and Chico Battaglia). Not only did Tim and his band put on an amazing program, but what totally "blue" us all away was the fact that they were also very motivating and high-energy clinicians. The two evening concerts featured our top jazz ensemble and all of the guest artists, with the KC Express headlining the Saturday night bill. The combined audience total was 2200; total attendance for the summit was in excess of 3000. Kansas City jazz is exciting, entertaining and accessible, and it is exactly what the people of southern Idaho have been looking for. The response to this most recent Blues and Jazz Summit featuring Kansas City musicians was overwhelming, to put it mildly. And it prompted me to write this letter. Incidentally, Gary Sivils' latest recording, You Must Believe in Music, can be heard daily on our NPR affiliate. We have a 24 hour jazz station here at CSI that reaches across Idaho, Oregon and northern Nevada. I am hosting a weekly jazz show called "Table Down Front" and would love to promote Kansas City artists. I have purchased many releases by KC musicians and would love to stock our station library with more, especially those that are more current. Any KC jazz artists seeking greater visibility are encouraged to send new releases to me and I will ensure they are put in the hands of the proper people. Thinking of all of you often! Keep swingin' Jim Mair Director of Jazz Studies College of Southern Idaho P.O. Box 1238 Twin Falls, ID 83303-1238 Jazz Is Alive and Well Super job on the (JAM) web site. I am Dave Powell, author of the "Stan Kenton -- A Tribute" web site at: (http://www.geocities.com/BourbonStreet/5406/). If you have a chance, check out my site. And I'll be adding a link to yours. It is good to see that jazz is alive and well. Keep up the great work, Dave Powell Bellevue, Nebraska What is Jazz, Redux To Paul Hofmann, I just read your conclusion ("What Is Jazz?") in JAM (February/March '97). Enjoyed the "constitutional" analogy. I think the one aspect continually overlooked in definitions of jazz is group interaction. Aside from solo settings (of course), group interaction is the one aspect that is always present in jazz music regardless of style or era. To my ears it is what nullifies Kenny G's recordings and reaffirms Weather Report and Herbie Hancock's "Headhunters." Kenny G's rhythm section chugs along impervious to the soloist. Whereas even late-Miles' groups concentrated on intergroup dialog. This is also particularly apparent in early jazz polyphony. Obviously, this definition implies certain role playing and conversational elements. My impetus when it comes to a definition of jazz is that jazz is a philosophy of performance, not a style of music. (Many of the jazz "fascists" can't seem to get past this one, i.e. "If it don't swing, then it ain't..." "I can't hear the melody!" "Kids these days!" "That's not jazz!"). Any attempt at a definition of an art form so dependent on creation/subtlety/tradition/unity vs. variety/cultural relevance/and so on, needs to be as "inclusive" as possible. The definition needs to be as flexible as the music, or jazz may well be destined for the archives and museums. This music is about mixing. And about interaction stylistically, socially, artistically and more. The whole New Orleans scene in the late nineteenth century is a perfect example of a sort of "cultural" jazz. I find in my teaching that this aspect allows my students to feel more comfortable with taking their own entry point into jazz. Groups such as Medeski, Martin and Wood, Charlie Hunter and John Scofield don't get hung up on rules and definitions, they just take what they like and create. Trying to reach the "modern" audience is tough. It seems media and corporate entities, as well as listeners, want to do the pigeon-holing. They have created too many preconceptions. My point is that "swing" can be optional, and isn't necessarily indicative of jazz. Nor is improvisation, use of a rhythm section, reliance on popular song forms, humanizing instrumental effects, blues spirit, or performer vs. composer esthetic. As techniques they are options for the performers, not mandates. For me, what separates jazz from other musical forms is the persistence of the inner-group communication and connection with the audience, even as the "constitutional" elements are being redefined. Thanks for the food-for-thought. May the blessings be, Todd Wilkinson Overland Park, KS A Fan of Karrin's I am a Kansas City native. I really enjoyed going to see Karrin Allyson perform while I was in college at William Jewell. I am now stationed with the Marines in Southern California. I understand that she performs out here every so often. Could you please inform me of when she will next perform in this region? I'd love to go. Sincerely, 1st LT Ed Rogers Camp Pendleton, CA RETURN TO APRIL/MAY 1997 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.