JAM Magazine: April/May 1999 Issue: Hampton's Hot Licks

by Dean Hampton

Saluting Charlie Parker
(Or: The Road to March 27, 1999)
The Charlie "Bird" Parker memorial dedication, symposiums, concerts, jam sessions and related events of March 25-27 at 18th & Vine in Kansas City mark the end of a 17-month journey for me and fellow KC Jazz Ambassador, Verne Christensen.

In some ways, though, our journey is not quite over.

This project actually began long before our October 1997 proposal was submitted to Mayor Cleaver's office on behalf of the Kansas City Jazz Ambassadors. There was a Saturday meeting in October of 1993 at the downtown Marriott -- my first as a member of the Board of Directors of the American Federation of Jazz Societies (AFJS). Our main topic that day was to make plans for the annual AFJS Convention to be held in March 1994, and our Jazz Ambassador delegation was there to (successfully) lock-down the convention for Kansas City. We had prepared a list of activities for the convention and a grand list it was.

Invited to participate at that meeting was Doug Alpert of the now-defunct Kansas City Jazz Commission. Alpert spoke of several events that were to happen the same week as the convention, most of which were also in the planning stages. Among them was a revival of the Women's Jazz Festival, another was the replacement of Charlie Parker's stolen gravestone at Lincoln Cemetery. Alpert promised that a new stone would be unveiled on the final day of the convention, Sunday, March 6, 1994.

A couple of weeks before the start of the convention, it became clear that the Women's Jazz Festival would not happen as our promotional material had suggested. But, the Jazz Ambassadors are good improvisers, so we quickly put together a special "Ladies Sing the Blues" event to be held at the Club at Plaza III the Friday night of the convention. It was a great evening and the conventioneers were pleased with the substitute programming.

We also knew that the Commission had gone ahead with the new stone, even though none of us had actually seen it. On that Sunday morning, March 6, we filled our vans with AFJS board members plus a few other visiting jazz society members and headed to Lincoln Cemetery.

With the local press well represented at the gravesite, and with many Charlie Parker fans on hand, too, the AFJS members surrounded the grave and the stone was unveiled. Tenor saxophone and all.

There were some oooh's and some aaah's at first... Then jaws began to drop and the whispering began.

"It's a tenor," someone was heard to mutter. "It's a (insert your favorite expletive) tenor!"

In a not-so-quiet voice a certain distance from the grave, there was also one irate Charlie Parker fan who was having a few choice words with commission members at the scene. But I was too preoccupied with the AFJS board to see who it was or what the problem was. By the fall of '97, I'd completely forgotten about that exchange when I began working on the current project -- and I realized that the unhappy Parker fan I remembered from '94 was my new partner, Verne Christensen.

It turns out that while the Commission was working on the idea of a new marker, Verne had approached the Charlie Parker Foundation about working on the same thing. His vision: a beautiful marker featuring Bird playing an alto saxophone.

"In January of 1993," Verne now recalls, "I contacted the Charlie Parker Foundation to offer gratis my services as an architect and illustrator to help replace the stolen marker on the grave. In mid-February of '93, I made the required measurements and also contacted the owner of Lincoln Cemetery to inquire about any applicable design or deed restrictions. Two alternative proposals were discussed with Eddie Baker of the Charlie Parker Foundation and a local monument company, and the options were presented to members of the Parker family who then selected a preferred configuration."

Verne's plan was for the grave to be covered by one solid slab of polished black African granite into which was to be incised a beautiful gold-leafed line drawing of Bird playing the alto. "It was a concept developed with the kind cooperation of Polygram/Verve Records," says Verne. "They donated original artwork used on 'The Complete Charlie Parker on Verve 10 CD boxed set."
So, the ball was rolling, both for the Charlie Parker Foundation as well as Verne Christensen's design and coordination.

Unfortunately, on March 29, 1993, a letter was written to Charlie Parker's son, Leon, on the letterhead of the Kansas City Jazz Commission stating that "another organization" (The Charlie Parker Foundation) had essentially dropped the ball on replacing the stolen grave marker. Believing them, Leon gave permission for the Commission to take over the project. Verne Christensen spoke to him the day he authorized the change and he said that because he, Leon, had been lied to, he would rescind the Commission's authority. Unfortunately that never happened. Overtures of cooperation made directly to the Jazz Commission to share this work were unsuccessful. And the results are still carved on the marker at Lincoln.

But, that's the bad news. The good news is that the memory of Charlie Parker is now being honored by Kansas City with a memorial at 18th & Vine -- right where it should be. And, as it's already been reported in the press, efforts to have Parker's grave moved to the Vine did not meet with family approval. So Bird's remains will stay at Lincoln Cemetery.

Along with the tenor sax on the marker. At least for now.

I have mixed feelings about Bird's bones not being moved, but I lean toward the decision of the family -- mostly because it was and is a family decision. The new memorial at the Vine is strictly about honoring Bird, regardless. When I visit Bird's grave at Lincoln Cemetery, it's a spiritual experience. I don't think it would be the same if the grave were on the Vine.

A personal message to my partner, Verne Christensen: Hang in there! We'll get that stone up at Lincoln the way it should be.

The job isn't done yet.

It's time for us to get back to work!

Our New Cover...
With this, our first four-color glossy cover, JAM has reached a milestone, and a graduation of sorts. It allows us to look as good on the outside as the content we try to provide on the inside. Let us know what you think.

...and Our New Ad Rep
One element JAM has always lacked is a solid advertising base to cover the cost of producing the publication. The result has been an almost certain deficit with each issue. In the last two months we have taken some important steps to better serve our advertisers -- and to plug the revenue leak -- so that we can continue to produce a quality magazine for jazz fans, venues and musicians everywhere.

First, we are happy to welcome to the staff Patti Wilkinson, JAM's new advertising representative. Patti brings much needed talent and enthusiasm to the job. During the past two months alone, it has been a real pleasure to work with her. She is a results-oriented producer -- as you can see as you look through this issue -- and I predict that she will challenge the editorial staff to keep an acceptable mix between content and advertising.

Next is another bad news-good news story. The bad news is that we have had to modestly increase our advertising rates. The good news is that our new rates are not only competitive, they are the best value in town for reaching a target audience. Even if your business is trying to attract customers outside that target audience, we are still the best value for local advertising rates. We will get results for you as an advertiser!

Finally, I would like to thank all advertisers past, present and future for your support. It is very much appreciated. You have helped us spread the word of Kansas City jazz and you have helped to make the Kansas City jazz scene what it is today.

Spring and Summer Festival Update
The jazz festival season is just around the corner! And it's time to do some planning. Here is a list on the upcoming regional events we are aware of as we go to press.

KU Jazz Festival (Lawrence), April 15-17
Wichita Jazz Festival, April 18-25 (Showcase, April 24)
Topeka Jazz Festival, May 29-31
Corporate Woods Jazz Festival June 11-13
Coleman Hawkins Festival (Topeka), June 13
Parkville Jazz & Fine Arts River Jam, June 18-19
Kansas City Jazz Lovers Pub Crawl(sm), June 24
Kansas City International Jazz Festival, June 25-27
Kansas City Blues & Jazz Festival, July 16-18






	Search our site:		by Dean Hampton Saluting Charlie Parker (Or: The Road to March 27, 1999) The Charlie "Bird" Parker memorial dedication, symposiums, concerts, jam sessions and related events of March 25-27 at 18th & Vine in Kansas City mark the end of a 17-month journey for me and fellow KC Jazz Ambassador, Verne Christensen. In some ways, though, our journey is not quite over. This project actually began long before our October 1997 proposal was submitted to Mayor Cleaver's office on behalf of the Kansas City Jazz Ambassadors. There was a Saturday meeting in October of 1993 at the downtown Marriott -- my first as a member of the Board of Directors of the American Federation of Jazz Societies (AFJS). Our main topic that day was to make plans for the annual AFJS Convention to be held in March 1994, and our Jazz Ambassador delegation was there to (successfully) lock-down the convention for Kansas City. We had prepared a list of activities for the convention and a grand list it was. Invited to participate at that meeting was Doug Alpert of the now-defunct Kansas City Jazz Commission. Alpert spoke of several events that were to happen the same week as the convention, most of which were also in the planning stages. Among them was a revival of the Women's Jazz Festival, another was the replacement of Charlie Parker's stolen gravestone at Lincoln Cemetery. Alpert promised that a new stone would be unveiled on the final day of the convention, Sunday, March 6, 1994. A couple of weeks before the start of the convention, it became clear that the Women's Jazz Festival would not happen as our promotional material had suggested. But, the Jazz Ambassadors are good improvisers, so we quickly put together a special "Ladies Sing the Blues" event to be held at the Club at Plaza III the Friday night of the convention. It was a great evening and the conventioneers were pleased with the substitute programming. We also knew that the Commission had gone ahead with the new stone, even though none of us had actually seen it. On that Sunday morning, March 6, we filled our vans with AFJS board members plus a few other visiting jazz society members and headed to Lincoln Cemetery. With the local press well represented at the gravesite, and with many Charlie Parker fans on hand, too, the AFJS members surrounded the grave and the stone was unveiled. Tenor saxophone and all. There were some oooh's and some aaah's at first... Then jaws began to drop and the whispering began. "It's a tenor," someone was heard to mutter. "It's a (insert your favorite expletive) tenor!" In a not-so-quiet voice a certain distance from the grave, there was also one irate Charlie Parker fan who was having a few choice words with commission members at the scene. But I was too preoccupied with the AFJS board to see who it was or what the problem was. By the fall of '97, I'd completely forgotten about that exchange when I began working on the current project -- and I realized that the unhappy Parker fan I remembered from '94 was my new partner, Verne Christensen. It turns out that while the Commission was working on the idea of a new marker, Verne had approached the Charlie Parker Foundation about working on the same thing. His vision: a beautiful marker featuring Bird playing an alto saxophone. "In January of 1993," Verne now recalls, "I contacted the Charlie Parker Foundation to offer gratis my services as an architect and illustrator to help replace the stolen marker on the grave. In mid-February of '93, I made the required measurements and also contacted the owner of Lincoln Cemetery to inquire about any applicable design or deed restrictions. Two alternative proposals were discussed with Eddie Baker of the Charlie Parker Foundation and a local monument company, and the options were presented to members of the Parker family who then selected a preferred configuration." Verne's plan was for the grave to be covered by one solid slab of polished black African granite into which was to be incised a beautiful gold-leafed line drawing of Bird playing the alto. "It was a concept developed with the kind cooperation of Polygram/Verve Records," says Verne. "They donated original artwork used on 'The Complete Charlie Parker on Verve 10 CD boxed set." So, the ball was rolling, both for the Charlie Parker Foundation as well as Verne Christensen's design and coordination. Unfortunately, on March 29, 1993, a letter was written to Charlie Parker's son, Leon, on the letterhead of the Kansas City Jazz Commission stating that "another organization" (The Charlie Parker Foundation) had essentially dropped the ball on replacing the stolen grave marker. Believing them, Leon gave permission for the Commission to take over the project. Verne Christensen spoke to him the day he authorized the change and he said that because he, Leon, had been lied to, he would rescind the Commission's authority. Unfortunately that never happened. Overtures of cooperation made directly to the Jazz Commission to share this work were unsuccessful. And the results are still carved on the marker at Lincoln. But, that's the bad news. The good news is that the memory of Charlie Parker is now being honored by Kansas City with a memorial at 18th & Vine -- right where it should be. And, as it's already been reported in the press, efforts to have Parker's grave moved to the Vine did not meet with family approval. So Bird's remains will stay at Lincoln Cemetery. Along with the tenor sax on the marker. At least for now. I have mixed feelings about Bird's bones not being moved, but I lean toward the decision of the family -- mostly because it was and is a family decision. The new memorial at the Vine is strictly about honoring Bird, regardless. When I visit Bird's grave at Lincoln Cemetery, it's a spiritual experience. I don't think it would be the same if the grave were on the Vine. A personal message to my partner, Verne Christensen: Hang in there! We'll get that stone up at Lincoln the way it should be. The job isn't done yet. It's time for us to get back to work! Our New Cover... With this, our first four-color glossy cover, JAM has reached a milestone, and a graduation of sorts. It allows us to look as good on the outside as the content we try to provide on the inside. Let us know what you think. ...and Our New Ad Rep One element JAM has always lacked is a solid advertising base to cover the cost of producing the publication. The result has been an almost certain deficit with each issue. In the last two months we have taken some important steps to better serve our advertisers -- and to plug the revenue leak -- so that we can continue to produce a quality magazine for jazz fans, venues and musicians everywhere. First, we are happy to welcome to the staff Patti Wilkinson, JAM's new advertising representative. Patti brings much needed talent and enthusiasm to the job. During the past two months alone, it has been a real pleasure to work with her. She is a results-oriented producer -- as you can see as you look through this issue -- and I predict that she will challenge the editorial staff to keep an acceptable mix between content and advertising. Next is another bad news-good news story. The bad news is that we have had to modestly increase our advertising rates. The good news is that our new rates are not only competitive, they are the best value in town for reaching a target audience. Even if your business is trying to attract customers outside that target audience, we are still the best value for local advertising rates. We will get results for you as an advertiser! Finally, I would like to thank all advertisers past, present and future for your support. It is very much appreciated. You have helped us spread the word of Kansas City jazz and you have helped to make the Kansas City jazz scene what it is today. Spring and Summer Festival Update The jazz festival season is just around the corner! And it's time to do some planning. Here is a list on the upcoming regional events we are aware of as we go to press. KU Jazz Festival (Lawrence), April 15-17 Wichita Jazz Festival, April 18-25 (Showcase, April 24) Topeka Jazz Festival, May 29-31 Corporate Woods Jazz Festival June 11-13 Coleman Hawkins Festival (Topeka), June 13 Parkville Jazz & Fine Arts River Jam, June 18-19 Kansas City Jazz Lovers Pub Crawl(sm), June 24 Kansas City International Jazz Festival, June 25-27 Kansas City Blues & Jazz Festival, July 16-18 RETURN TO APRIL/MAY 1999 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.