JAM Magazine: December/January 2000 Issue: Q&A with Kevin Mahogany

Mike Bennett
KANSAS CITY MEMORIES

Personnel: Mike Bennett, trumpet, flugelhorn, vocal; Mike Ning, piano; Gerald Spaits, bass; Tommy Ruskin, drums; Julie Turner, vocals.

Tracks: Lady Be Good, Nancy, As Long as I Live, Georgia, The Days of Wine and Roses, In the Wee Small Hours, Perdido, You've Changed, Coquette, Tangerine, Memories of You, Blues Walk, Mean to Me, In a Mellow Tone, In My Solitude

Recorded May 17-21, 1999 at BRC Studios, Kansas City, MO; Bill Crain, engineer.

This review offers the chance to hold forth on the subject of chops. "Chops players," by my understanding, are musicians who can do just about anything on their chosen instrument. They can play a zillion notes (or strokes) a second, they can knock the roof loose with volume, and can they leave an audience gasping.

Yes, every musician should strive to develop his or her chops. But there can be a downside to such prowess when a player uses it as a gimmick, or a mask to cover thinness of soul. It's even sadder when a musician has a true expressive talent but forsakes it for the flash that sometimes brings popular success. There is a distraction from the conveyance of truth; and truth is what jazz is supposedly all about.

A milestone on the way to becoming a jazz musician of substance, it would seem, is to develop outstanding chops, then worry less about showing them off and more about true expression of feelings. Dizzy Gillespie may have been one of the greatest chops trumpeters of them all, but one of his most meaningful comments about his own playing went something like this: "It took me 30 years to learn what NOT to play."

Now to the business at hand. I know Mike Bennett to be a trumpeter of substantial chops. I've watched him sit in many times with the Tommy Ruskin trio at Fedora's Saturday afternoon jams and I've seen him toss off hints of power and mastery. But he understands the value of restraint, and there is a strong sense of that on his first CD, Kansas City Memories. (Mike now lives in Tulsa, but was born, raised and educated in K.C.)

Bennett plays with a very relaxed style, which enables his audience to relax, as well. On Kansas City Memories he takes us through 15 standards, any of which could be a vehicle for a demonstration of physical prowess; but he never falters from his aim and never yields to wretched excess. In fact, some of his best work is done behind singer Julie Turner on "Mean to Me" and "You've Changed."

There's another thing Bennett does that a lot of other trumpeters don't: he growls! Shades of Cootie, shades of Buck, shades of Snookie. And with him it's no gimmick; it's a way of expressing feeling. You can sample some of his plunger work on "In a Mellow Tone," "Georgia" and "Mean to Me."

Bennett is fortunate to be backed on this album by some of Kansas City's steadiest players, and he uses each of them well. (Listen for some thoughtful bass solos from Gerald Spaits on "Coquette," "Perdido" and "Wine and Roses.") Kansas City Memories is altogether a relaxing hour for the listener and a proper showcase for the talents of someone who knows how to put the music first.

Anything negative to mention? It's not really a putdown to suggest that with Julie present, Mike really doesn't need to sing... although he is better at it than most instrumentalists. But that's not really saying much.

-- Bill Fogarty

Laura Caviani
ANGELS WE HAVEN'T HEARD
Caviani Music

Personnel: Laura Caviani, piano; Tom Lewis, bass; Phil Hey, drums; Pete Whitman, saxes/flute; Joe Cosgrove, trumpet; Lucia Newell, vocals

Tracks: O Christmas Tree, Toyland, Silent Night, Sugarplum a la Mode, Arabian Waltz, Russian Strut, In the Bleak Midwinter, Little Drummer Boy, If I Were a Bell, Angels We Haven't Heard, Lo How a Rose E'er Blooming

Recorded at Creation Audio, Minneapolis, MN; Steve Wiese, engineer.

Laura Caviani and her crew have created one of the finest jazz Christmas albums in recent memory. Not only are the arrangements of traditional Christmas tunes tasteful and catchy, but the album displays a surprising variety of styles.

For instance, "Russian Strut" features a New Orleans street beat, "Sugar Plum a la Mode" successfully combines 3/4 and 4/4 meters, "O Christmas Tree" borders on hip-hop, "Toyland" is double-time swing, and "Arabian Waltz" is a haunting 3/4 with distant tom toms in the background and cymbals played like temple gongs.

Vocalist Lucia Newell is allowed to soar on many of the tracks, her voice full-bodied and lyrical. She is particularly striking on the ballad "In the Bleak Midwinter," singing solemn and low, repeating the sentiment, "What can I give Him?...Give my heart." Caviani plays a beautiful piano introduction, fittingly exacting notes as high and cold as icicle droplets.

In contrast, "Toyland," arranged by Pete Whitman, cooks. It includes solos by all of the band members, minus bass and vocals, and contains a beautiful melodic drum solo by Phil Hey. The rest of the tunes were arranged by Caviani, except for "Little Drummer Boy," arranged by Joe Cosgrove.

"Silent Night" begins with a piano/bass line reminiscent of that on "Equinox," and trumpeter Cosgrove serenades during the bridge.

"Sugar Plum a la Mode," from The Nutcracker’s "Dance of the Sugarplum Fairies," is one of the catchiest tunes on the album -- played in 4, while the melody is set in 3.

The title track begins with a bass riff also featured in "O Christmas Tree." The melody is led by Cosgrove on trumpet, who fills his lines with poetic pauses, or caesuras. Thereafter, Caviani, Whitman and Lewis give driving, moving solos over this "Angels We Have Heard on High" arrangement.

This album would make an excellent stocking stuffer, as well as an excellent lyrical addition to your jazz collection. It is not available in stores, but can be ordered by calling 1-888-567-2201, or by visiting Ms. Caviani's web site at: www.lauracaviani.com.

-- Kevin Rabas

Hope House
HEATIN' UP THE HOLIDAYS

Personnel: Camp Harlow (Greg Camp, Jimmy Harlow, vocals; Becky Berry, keyboards; Bruce Sidener, guitar; Rick Yord, bass; Mike Harvey, drums), Diane "Mama" Ray & the Rich Van Sant Band (Diane "Mama" Ray, vocals; Rich Van Sant, Hammond B-3 organ, bass; Jay Eudaly, guitar; Ian Sikora, drums), Boko Maru (Todd Wilkinson, vocals, saxophone, composer; Joe Miquelon, piano; Terry Swope, guitar; James Albright, bass; Keith Mallory, drums), Tom "Trashmouth" Baker (Tom "Trashmouth" Baker, vocal, composer; Jim Beisman, piano; Dan Bliss, guitar), Carl Bender Quartet (Carl Bender, tenor saxophone; Paul Roberts, piano; Micah Herman, bass; Doug Hitchcock, drums), Sharon James (Sharon James, vocals; Everette DeVan, organ, bass; Rick Hendricks, guitar; Marvin L. Jones, drums; Mike Harvey, sleigh bells), Tim Whitmer & the KC Express (Tim Whitmer, piano; Rusty Tucker, drums, vocals; Lucky Wesley, bass), Roma Firmin (Roma Firmin, vocals; Everette DeVan, organ, bass; Rick Hendricks, guitar; Carl Bender, tenor saxophone; Marvin L. Jones, drums), Cindy Fee (Cindy Fee, vocals; Johnny Neel, piano), Larry Van Loon (Larry Van Loon, vocals, keyboards, bass, strings, co-composer; Marty Ojeda, saxophone), Lisa Henry (Lisa Henry, vocals; Rod Fleeman, guitar; James Albright, bass; Jurgen Welge, drums), Johnny Neel (Johnny Neel, vocals, piano), Millie Edwards (Millie Edwards, vocals; Everette DeVan, organ, bass; Rick Hendricks, guitar; Marvin L. Jones, drums), Pat Morrissey (Pat Morrissey, trumpet; Carmen Meret, flute; Tom DeMasters, guitar; Micah Herman, bass; Jim Eriksen, drums), Tom Hall (Tom Hall, vocals, guitar; Max Berry, lead guitar; Rick Yord, bass, percussion), John Jessup (a "Hope House thank you")

Tracks: Santa Claus Is Coming To Town, I'll Be Home For Christmas, Christmas Time, I'm Too Broke For Christmas, We Three Kings, Winter Wonderland, The Christmas Song, Merry Christmas Baby, Have Yourself a Merry Little Christmas, Gettin' the Blues for Christmas, (Charlie Brown's) Christmas Time Is Here, I'm Dreaming of a White Christmas, Silent Night, Angels We Have Heard On High, Satisfied Mind

Recorded at West End Recording, Kansas City, KS; Berry Music Group, Olathe, KS; Straight Up Sound, Nashville, TN.

Since 1983 Hope House has been doing good work. And literally saving lives. Originally (and still) an emergency shelter for adult and child victims of domestic violence, Hope House has since expanded its capabilities to include a 24-hour crisis line, individual and group therapy, substance abuse therapy, court advocacy, outreach services, emergency assistance, community referrals, and even daycare. Simply put, and as the organization's credo states, "Hope House is dedicated to breaking the cycle of domestic violence."

This special holiday CD is the result of the donated time and talents of a cross section of the local Kansas City jazz and blues community, all in support of an organization that provides services to literally thousands of women and children each year. As with any compilation, there is something for everyone here, and both the local jazz and blues scenes are well represented.
Truth be told, the featured blues artists frequently outshine their jazz counterparts. Tom "Trashmouth" Baker's "I'm Too Broke for Christmas" is a pleasure, as are Cindy Fee's tender vocal on "Have Yourself a Merry Little Christmas," Larry Van Loon's soulful original, "Gettin' the Blues for Christmas," Johnny Neel's bluesy "I'm Dreaming of a White Christmas" and Tom Hall's rendition of "Satisfied Mind." But Boko Maru (led by Todd Wilkinson's lyrical sax) is solid on "Christmas Time," as is tenor saxophonist Carl Bender ("We Three Kings") and singer Lisa Henry ("Christmas Time Is Here"). And anything organist Everette DeVan plays is guaranteed to bring on a smile.

This CD should be easy to find during the holiday season. Check local retail outlets (like Music Exchange at 4200 Broadway) and/or the gig sites of the many contributing artists listed above. But better yet, give Hope House a call at 816-461-4188 for the specifics, not only about how best to acquire Heatin' Up the Holidays, but anything else you'd like to know about their many important and beneficial programs.

-- Mike Metheny

Bill Laursen
THE RIGHT TIME

Personnel: Bill Laursen, piano/keyboards/vocals; Gerald Spaits, Rick Huyett, Greg Whitfield, bass; Todd Strait, Doug Auwarter, Ray DiMarchi, Tommy Ruskin, drums; Bill Crain, alto and tenor saxes/vocals; Stan Kessler, trumpet/flugelhorn; Carl Bender, baritone sax; Gary Helm, percussion; Toni Gates, Rosetta Robinson, vocals; Danny Embrey, acoustic guitar; Rod Fleeman, electric guitar; Sarah Tannehill, classical soprano; Rev. Bob Hill, spoken word

Tracks: It's a Secret, I Will Be Here, Just One Heart, I Love You So, Look Away, Ancestral Voices, Kansas City's Got Heart, Bye Bye Blackbird, Stand Together, People Get Ready, Flip Flop & Fly

Recorded March-June 1999 at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer.
Take good tunes, put them together with good players, and you have already won half the battle.

Veteran KC keyboardman Bill Laursen has utilized this fundamental truth to its fullest extent. His new CD The Right Time contains a virtual who's who of current Kansas City jazz musicians, each of whom help to create a menagerie of sounds capable of satisfying nearly any pallet.

The disk opens with Laursen's "It's a Secret." Swinging hard, Bill and the boys offer a new slant on deeply rooted Kansas City grooves. They swing KC-style, but add new life to a tried and true sound.

Other tracks that also swing hard include "Bye Bye Blackbird" and "Flip, Flop & Fly." And Laursen shows a solid grasp of Latin styles with his "I Will Be Here" and "Stand Together," as well as an affinity for introspection on "Look Away."

Bill Laursen is a player and composer with a wide array of tools at his grasp. And this new album offers a variety of tracks to fit many moods.

If you're in the market for an eclectic set featuring many of KC's finest, then this is the right time to pick up The Right Time.

-- Joe Christopher Athon

River City Jazz Orchestra
Directed by Dean Stringer
YOUNG LIONS & OLD CATS

Personnel: Dean Stringer, director; Randy Woy, Coker Thomas, Bob Ousley, Jim Barker, Tony DiBenedetto, saxophones/flutes; Dave Simes, Al Pearson, Jay Sollenberger, Gary Richmond, Bob Harvey, Brian McDonald, trumpets/flugelhorns; Jeff Hamer, Arch Martin, Steve Dekker, Ken Clond, Lee Finch, Chuck Elliott, trombones; Dave Baker, piano; Ed Billings, bass; Kelly White, drums

Tracks: Back to Basieques, Don't Get Around Much Anymore, Never Will I Marry, Some of These Days, Georgia on My Mind, A New Blues, Soul Fish, A Pretty Little Thing, The Bluest Blues, Whispology, St. Louis Blues

Recorded May 1999 at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer.

This CD cleverly combines old standards with new visions. Clocking in at just under an hour in duration, these eleven tunes are served up hot and fresh. For openers, Matt Catingub's arrangement of "Back to Basieques" shows that lead trumpeter Jay Sollenberger deserves every bit of the reputation he's earned as a top-notch brass player. The capable rhythm section of Dave Baker, Ed Billings and Kelly White keep the band in the pocket on this tune and throughout the entire album.

Some of the most captivating arrangements on the CD emerge from the Lion King himself, Dean Stringer. Stringer's writing style is always on the mark (check out his refreshing approach to "Never Will I Marry"), and his use of the flatted fifth in the angular melody of "Soul Fish," combined with his textural landscape on "A New Blues," conjure up sweet images of Oliver Nelson's timeless album, Blues and the Abstract Truth.

The tandem of Bob Ousley and Arch Martin proves to be quite an effective pairing. "Whispology" showcases the veteran Ousley's warm-toned soprano solo along with Martin's no-nonsense approach to lead trombone. Check out more of Martin's articulate ideas when he's featured on Ellington's "Don't Get Around Much Anymore," and "Some of these Days" allows Ousley the opportunity to serve up a red beans-and-rice-flavored clarinet solo a la Pete Fountain. Ousley then demonstrates his versatility by picking up his alto for a smoldering rendition of Sammy Nestico's arrangement of "Georgia on My Mind."

The smooth bossa, "A Pretty Little Thing," features the dark, round tones of Al Pearson's flugelhorn, whose solo readily evokes memories of the recent passing of the great Art Farmer.

We get to hear two of the younger lions roar during a quartet of Tom Kubis arrangements which close the final set. Jeff Hamer's trombone solo on "The Bluest Blues" is definitely happening, and dig the fancy footwork of drummer Kelly White. His drum break during the beginning of the sax solo in "Soul Fish" is downright funky, and he also grooves hard on "Some of These Days."
"A Pretty Little Thing" again features the flugelhorn of Al Pearson who delivers cool, thoughtful solo lines against Sollenberger's hot toppings. And the album closes with a medium tempo arrangement of "St. Louis Blues," which features Dave Simes, Pearson and Sollenberger, a trio of trumpets that really delivers the goods.

All in all, this is a fine showcase of talent from Kansas City's own, and Dean Stringer deserves a hearty round of applause for once again combining the right balance of musicians and arrangements.

Young Lions & Old Cats will keep your fingers snapping from start to finish.

-- Wayne Goins

Bram Wijnands
FASCINATIN' RHYTHM

Personnel: Bram Wijnands, piano, rhythm section; Jay Sollenberger, trumpet; Steve Patke, tenor sax, bass clarinet; Marvin Hart, trombone; Hal Melia, tenor sax, Tommy Ruskin, drums
Tracks: Fascinatin' Rhythm, It Don't Mean a Thing If It Ain't Got That Swing, Wave, Feed Bag, Northeast, Dinah, Learnin' the Blues, Is You Is Or Is You Ain't My Baby, Up In The Blues, Sweet Lorraine, Otchi Tchor-ni-ya, Down For Double, Groovin' High, I Remember You, Back to Basie, Rosetta.

Recorded at Soundtrek Studios, Kansas City, MO: Ron Ubel, engineer.

When the well-known jazz writer Stanley Dance asked Count Basie for his definition of swing, Basie said, "Why, it's music you can pat your foot to!" Bram Wijnands' new CD, Fascinatin' Rhythm, will make you pat both feet at once.

Four of the 16 tracks feature Wijnands on solo piano, opening with a romping, up-tempo version of the title track. A tasty original, "Northeast," is delivered with a clear Erroll Garner influence.

"Otchi Tchor-ni-ya" (also known as "Russian Romance" or, with lyrics, "Dark Eyes") begins in a classical vein, then segues smoothly into a jazzy bounce. And Earl Hines' "Rosetta" is the solo closer. (If "Fatha" could hear this, he too would be patting both feet.)

Seven other tracks feature Hal Melia on tenor, Tommy Ruskin on drums, and Bram again on piano. This combination really wails on "It Don't Mean A Thing..." with Melia's many inventive choruses taken at a breakneck pace. This cut alone is worth the price of the entire album.

Jobim's "Wave" follows, with Melia supplying a boppish tenor, and Ruskin and Wijnands adding the Latin touch.

"Is You Is Or Is You Ain't My Baby" may be a bit tamer than Louis Jordan's rendition, but the counterpoint between Wijnands and Melia on the out chorus is great fun. "Dinah" has Bram laying down a little stride and also vocalizing, and Melia blows four loping choruses reminiscent of Bud Freeman.

The group stretches on the 6-plus minute version of Dizzy's "Groovin' High." "I Remember You," the Johnny Mercer classic, again features Bram's Garner-like sound, more great improvising by Hal Melia, and a lovely drum solo by Tommy Ruskin. Nat Cole's "Sweet Lorraine" is appropriately romantic. And it also jumps!

The five remaining cuts feature the gorgeous blends and harmonies of Jay Sollenberger's trumpet, Marvin Hart's trombone and Steve Patke's tenor sax (and the seldom-heard bass clarinet). The rhythm "section" of piano, bass, guitar and drums is supplied by the multi-talented Mr. Wijnands himself, who also did the cover art. "Learnin' The Blues" has a danceable beat, and on the Wijnands (pronounced Vay-nands) original, "Back to Basie," everyone is clearly having a great time.

Again, each track on Fascinatin' Rhythm is a foot-tapper, and it's hard to choose a favorite. (Three tunes -- "Feed Bag," "Down For Double" and "Up In The Blues" -- were penned by long-time Basie guitarist Freddie Green.) But one thing is certain: we in Kansas City are very fortunate to have musicians of this caliber. Each would be an asset to any group, anywhere.

Fascinatin' Rhythm is highly recommended, and is now available in area retail outlets.

-- Carole Heizman

IN THE FEBRUARY/MARCH 2000 JAM:
Reviews of new music from Bob Brookmeyer, Pete Eye, Ed Pharr, Paul Hofmann, Stan Kessler, Pat Morrissey, Interstring and many more of your favorite KC-connected jazz artists.

RETURN TO DEC/JAN. 2000 MAIN INDEX

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	Search our site:		Mike Bennett KANSAS CITY MEMORIES Personnel: Mike Bennett, trumpet, flugelhorn, vocal; Mike Ning, piano; Gerald Spaits, bass; Tommy Ruskin, drums; Julie Turner, vocals. Tracks: Lady Be Good, Nancy, As Long as I Live, Georgia, The Days of Wine and Roses, In the Wee Small Hours, Perdido, You've Changed, Coquette, Tangerine, Memories of You, Blues Walk, Mean to Me, In a Mellow Tone, In My Solitude Recorded May 17-21, 1999 at BRC Studios, Kansas City, MO; Bill Crain, engineer. This review offers the chance to hold forth on the subject of chops. "Chops players," by my understanding, are musicians who can do just about anything on their chosen instrument. They can play a zillion notes (or strokes) a second, they can knock the roof loose with volume, and can they leave an audience gasping. Yes, every musician should strive to develop his or her chops. But there can be a downside to such prowess when a player uses it as a gimmick, or a mask to cover thinness of soul. It's even sadder when a musician has a true expressive talent but forsakes it for the flash that sometimes brings popular success. There is a distraction from the conveyance of truth; and truth is what jazz is supposedly all about. A milestone on the way to becoming a jazz musician of substance, it would seem, is to develop outstanding chops, then worry less about showing them off and more about true expression of feelings. Dizzy Gillespie may have been one of the greatest chops trumpeters of them all, but one of his most meaningful comments about his own playing went something like this: "It took me 30 years to learn what NOT to play." Now to the business at hand. I know Mike Bennett to be a trumpeter of substantial chops. I've watched him sit in many times with the Tommy Ruskin trio at Fedora's Saturday afternoon jams and I've seen him toss off hints of power and mastery. But he understands the value of restraint, and there is a strong sense of that on his first CD, Kansas City Memories. (Mike now lives in Tulsa, but was born, raised and educated in K.C.) Bennett plays with a very relaxed style, which enables his audience to relax, as well. On Kansas City Memories he takes us through 15 standards, any of which could be a vehicle for a demonstration of physical prowess; but he never falters from his aim and never yields to wretched excess. In fact, some of his best work is done behind singer Julie Turner on "Mean to Me" and "You've Changed." There's another thing Bennett does that a lot of other trumpeters don't: he growls! Shades of Cootie, shades of Buck, shades of Snookie. And with him it's no gimmick; it's a way of expressing feeling. You can sample some of his plunger work on "In a Mellow Tone," "Georgia" and "Mean to Me." Bennett is fortunate to be backed on this album by some of Kansas City's steadiest players, and he uses each of them well. (Listen for some thoughtful bass solos from Gerald Spaits on "Coquette," "Perdido" and "Wine and Roses.") Kansas City Memories is altogether a relaxing hour for the listener and a proper showcase for the talents of someone who knows how to put the music first. Anything negative to mention? It's not really a putdown to suggest that with Julie present, Mike really doesn't need to sing... although he is better at it than most instrumentalists. But that's not really saying much. -- Bill Fogarty Laura Caviani ANGELS WE HAVEN'T HEARD Caviani Music Personnel: Laura Caviani, piano; Tom Lewis, bass; Phil Hey, drums; Pete Whitman, saxes/flute; Joe Cosgrove, trumpet; Lucia Newell, vocals Tracks: O Christmas Tree, Toyland, Silent Night, Sugarplum a la Mode, Arabian Waltz, Russian Strut, In the Bleak Midwinter, Little Drummer Boy, If I Were a Bell, Angels We Haven't Heard, Lo How a Rose E'er Blooming Recorded at Creation Audio, Minneapolis, MN; Steve Wiese, engineer. Laura Caviani and her crew have created one of the finest jazz Christmas albums in recent memory. Not only are the arrangements of traditional Christmas tunes tasteful and catchy, but the album displays a surprising variety of styles. For instance, "Russian Strut" features a New Orleans street beat, "Sugar Plum a la Mode" successfully combines 3/4 and 4/4 meters, "O Christmas Tree" borders on hip-hop, "Toyland" is double-time swing, and "Arabian Waltz" is a haunting 3/4 with distant tom toms in the background and cymbals played like temple gongs. Vocalist Lucia Newell is allowed to soar on many of the tracks, her voice full-bodied and lyrical. She is particularly striking on the ballad "In the Bleak Midwinter," singing solemn and low, repeating the sentiment, "What can I give Him?...Give my heart." Caviani plays a beautiful piano introduction, fittingly exacting notes as high and cold as icicle droplets. In contrast, "Toyland," arranged by Pete Whitman, cooks. It includes solos by all of the band members, minus bass and vocals, and contains a beautiful melodic drum solo by Phil Hey. The rest of the tunes were arranged by Caviani, except for "Little Drummer Boy," arranged by Joe Cosgrove. "Silent Night" begins with a piano/bass line reminiscent of that on "Equinox," and trumpeter Cosgrove serenades during the bridge. "Sugar Plum a la Mode," from The Nutcracker’s "Dance of the Sugarplum Fairies," is one of the catchiest tunes on the album -- played in 4, while the melody is set in 3. The title track begins with a bass riff also featured in "O Christmas Tree." The melody is led by Cosgrove on trumpet, who fills his lines with poetic pauses, or caesuras. Thereafter, Caviani, Whitman and Lewis give driving, moving solos over this "Angels We Have Heard on High" arrangement. This album would make an excellent stocking stuffer, as well as an excellent lyrical addition to your jazz collection. It is not available in stores, but can be ordered by calling 1-888-567-2201, or by visiting Ms. Caviani's web site at: www.lauracaviani.com. -- Kevin Rabas Hope House HEATIN' UP THE HOLIDAYS Personnel: Camp Harlow (Greg Camp, Jimmy Harlow, vocals; Becky Berry, keyboards; Bruce Sidener, guitar; Rick Yord, bass; Mike Harvey, drums), Diane "Mama" Ray & the Rich Van Sant Band (Diane "Mama" Ray, vocals; Rich Van Sant, Hammond B-3 organ, bass; Jay Eudaly, guitar; Ian Sikora, drums), Boko Maru (Todd Wilkinson, vocals, saxophone, composer; Joe Miquelon, piano; Terry Swope, guitar; James Albright, bass; Keith Mallory, drums), Tom "Trashmouth" Baker (Tom "Trashmouth" Baker, vocal, composer; Jim Beisman, piano; Dan Bliss, guitar), Carl Bender Quartet (Carl Bender, tenor saxophone; Paul Roberts, piano; Micah Herman, bass; Doug Hitchcock, drums), Sharon James (Sharon James, vocals; Everette DeVan, organ, bass; Rick Hendricks, guitar; Marvin L. Jones, drums; Mike Harvey, sleigh bells), Tim Whitmer & the KC Express (Tim Whitmer, piano; Rusty Tucker, drums, vocals; Lucky Wesley, bass), Roma Firmin (Roma Firmin, vocals; Everette DeVan, organ, bass; Rick Hendricks, guitar; Carl Bender, tenor saxophone; Marvin L. Jones, drums), Cindy Fee (Cindy Fee, vocals; Johnny Neel, piano), Larry Van Loon (Larry Van Loon, vocals, keyboards, bass, strings, co-composer; Marty Ojeda, saxophone), Lisa Henry (Lisa Henry, vocals; Rod Fleeman, guitar; James Albright, bass; Jurgen Welge, drums), Johnny Neel (Johnny Neel, vocals, piano), Millie Edwards (Millie Edwards, vocals; Everette DeVan, organ, bass; Rick Hendricks, guitar; Marvin L. Jones, drums), Pat Morrissey (Pat Morrissey, trumpet; Carmen Meret, flute; Tom DeMasters, guitar; Micah Herman, bass; Jim Eriksen, drums), Tom Hall (Tom Hall, vocals, guitar; Max Berry, lead guitar; Rick Yord, bass, percussion), John Jessup (a "Hope House thank you") Tracks: Santa Claus Is Coming To Town, I'll Be Home For Christmas, Christmas Time, I'm Too Broke For Christmas, We Three Kings, Winter Wonderland, The Christmas Song, Merry Christmas Baby, Have Yourself a Merry Little Christmas, Gettin' the Blues for Christmas, (Charlie Brown's) Christmas Time Is Here, I'm Dreaming of a White Christmas, Silent Night, Angels We Have Heard On High, Satisfied Mind Recorded at West End Recording, Kansas City, KS; Berry Music Group, Olathe, KS; Straight Up Sound, Nashville, TN. Since 1983 Hope House has been doing good work. And literally saving lives. Originally (and still) an emergency shelter for adult and child victims of domestic violence, Hope House has since expanded its capabilities to include a 24-hour crisis line, individual and group therapy, substance abuse therapy, court advocacy, outreach services, emergency assistance, community referrals, and even daycare. Simply put, and as the organization's credo states, "Hope House is dedicated to breaking the cycle of domestic violence." This special holiday CD is the result of the donated time and talents of a cross section of the local Kansas City jazz and blues community, all in support of an organization that provides services to literally thousands of women and children each year. As with any compilation, there is something for everyone here, and both the local jazz and blues scenes are well represented. Truth be told, the featured blues artists frequently outshine their jazz counterparts. Tom "Trashmouth" Baker's "I'm Too Broke for Christmas" is a pleasure, as are Cindy Fee's tender vocal on "Have Yourself a Merry Little Christmas," Larry Van Loon's soulful original, "Gettin' the Blues for Christmas," Johnny Neel's bluesy "I'm Dreaming of a White Christmas" and Tom Hall's rendition of "Satisfied Mind." But Boko Maru (led by Todd Wilkinson's lyrical sax) is solid on "Christmas Time," as is tenor saxophonist Carl Bender ("We Three Kings") and singer Lisa Henry ("Christmas Time Is Here"). And anything organist Everette DeVan plays is guaranteed to bring on a smile. This CD should be easy to find during the holiday season. Check local retail outlets (like Music Exchange at 4200 Broadway) and/or the gig sites of the many contributing artists listed above. But better yet, give Hope House a call at 816-461-4188 for the specifics, not only about how best to acquire Heatin' Up the Holidays, but anything else you'd like to know about their many important and beneficial programs. -- Mike Metheny Bill Laursen THE RIGHT TIME Personnel: Bill Laursen, piano/keyboards/vocals; Gerald Spaits, Rick Huyett, Greg Whitfield, bass; Todd Strait, Doug Auwarter, Ray DiMarchi, Tommy Ruskin, drums; Bill Crain, alto and tenor saxes/vocals; Stan Kessler, trumpet/flugelhorn; Carl Bender, baritone sax; Gary Helm, percussion; Toni Gates, Rosetta Robinson, vocals; Danny Embrey, acoustic guitar; Rod Fleeman, electric guitar; Sarah Tannehill, classical soprano; Rev. Bob Hill, spoken word Tracks: It's a Secret, I Will Be Here, Just One Heart, I Love You So, Look Away, Ancestral Voices, Kansas City's Got Heart, Bye Bye Blackbird, Stand Together, People Get Ready, Flip Flop & Fly Recorded March-June 1999 at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer. Take good tunes, put them together with good players, and you have already won half the battle. Veteran KC keyboardman Bill Laursen has utilized this fundamental truth to its fullest extent. His new CD The Right Time contains a virtual who's who of current Kansas City jazz musicians, each of whom help to create a menagerie of sounds capable of satisfying nearly any pallet. The disk opens with Laursen's "It's a Secret." Swinging hard, Bill and the boys offer a new slant on deeply rooted Kansas City grooves. They swing KC-style, but add new life to a tried and true sound. Other tracks that also swing hard include "Bye Bye Blackbird" and "Flip, Flop & Fly." And Laursen shows a solid grasp of Latin styles with his "I Will Be Here" and "Stand Together," as well as an affinity for introspection on "Look Away." Bill Laursen is a player and composer with a wide array of tools at his grasp. And this new album offers a variety of tracks to fit many moods. If you're in the market for an eclectic set featuring many of KC's finest, then this is the right time to pick up The Right Time. -- Joe Christopher Athon River City Jazz Orchestra Directed by Dean Stringer YOUNG LIONS & OLD CATS Personnel: Dean Stringer, director; Randy Woy, Coker Thomas, Bob Ousley, Jim Barker, Tony DiBenedetto, saxophones/flutes; Dave Simes, Al Pearson, Jay Sollenberger, Gary Richmond, Bob Harvey, Brian McDonald, trumpets/flugelhorns; Jeff Hamer, Arch Martin, Steve Dekker, Ken Clond, Lee Finch, Chuck Elliott, trombones; Dave Baker, piano; Ed Billings, bass; Kelly White, drums Tracks: Back to Basieques, Don't Get Around Much Anymore, Never Will I Marry, Some of These Days, Georgia on My Mind, A New Blues, Soul Fish, A Pretty Little Thing, The Bluest Blues, Whispology, St. Louis Blues Recorded May 1999 at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer. This CD cleverly combines old standards with new visions. Clocking in at just under an hour in duration, these eleven tunes are served up hot and fresh. For openers, Matt Catingub's arrangement of "Back to Basieques" shows that lead trumpeter Jay Sollenberger deserves every bit of the reputation he's earned as a top-notch brass player. The capable rhythm section of Dave Baker, Ed Billings and Kelly White keep the band in the pocket on this tune and throughout the entire album. Some of the most captivating arrangements on the CD emerge from the Lion King himself, Dean Stringer. Stringer's writing style is always on the mark (check out his refreshing approach to "Never Will I Marry"), and his use of the flatted fifth in the angular melody of "Soul Fish," combined with his textural landscape on "A New Blues," conjure up sweet images of Oliver Nelson's timeless album, Blues and the Abstract Truth. The tandem of Bob Ousley and Arch Martin proves to be quite an effective pairing. "Whispology" showcases the veteran Ousley's warm-toned soprano solo along with Martin's no-nonsense approach to lead trombone. Check out more of Martin's articulate ideas when he's featured on Ellington's "Don't Get Around Much Anymore," and "Some of these Days" allows Ousley the opportunity to serve up a red beans-and-rice-flavored clarinet solo a la Pete Fountain. Ousley then demonstrates his versatility by picking up his alto for a smoldering rendition of Sammy Nestico's arrangement of "Georgia on My Mind." The smooth bossa, "A Pretty Little Thing," features the dark, round tones of Al Pearson's flugelhorn, whose solo readily evokes memories of the recent passing of the great Art Farmer. We get to hear two of the younger lions roar during a quartet of Tom Kubis arrangements which close the final set. Jeff Hamer's trombone solo on "The Bluest Blues" is definitely happening, and dig the fancy footwork of drummer Kelly White. His drum break during the beginning of the sax solo in "Soul Fish" is downright funky, and he also grooves hard on "Some of These Days." "A Pretty Little Thing" again features the flugelhorn of Al Pearson who delivers cool, thoughtful solo lines against Sollenberger's hot toppings. And the album closes with a medium tempo arrangement of "St. Louis Blues," which features Dave Simes, Pearson and Sollenberger, a trio of trumpets that really delivers the goods. All in all, this is a fine showcase of talent from Kansas City's own, and Dean Stringer deserves a hearty round of applause for once again combining the right balance of musicians and arrangements. Young Lions & Old Cats will keep your fingers snapping from start to finish. -- Wayne Goins Bram Wijnands FASCINATIN' RHYTHM Personnel: Bram Wijnands, piano, rhythm section; Jay Sollenberger, trumpet; Steve Patke, tenor sax, bass clarinet; Marvin Hart, trombone; Hal Melia, tenor sax, Tommy Ruskin, drums Tracks: Fascinatin' Rhythm, It Don't Mean a Thing If It Ain't Got That Swing, Wave, Feed Bag, Northeast, Dinah, Learnin' the Blues, Is You Is Or Is You Ain't My Baby, Up In The Blues, Sweet Lorraine, Otchi Tchor-ni-ya, Down For Double, Groovin' High, I Remember You, Back to Basie, Rosetta. Recorded at Soundtrek Studios, Kansas City, MO: Ron Ubel, engineer. When the well-known jazz writer Stanley Dance asked Count Basie for his definition of swing, Basie said, "Why, it's music you can pat your foot to!" Bram Wijnands' new CD, Fascinatin' Rhythm, will make you pat both feet at once. Four of the 16 tracks feature Wijnands on solo piano, opening with a romping, up-tempo version of the title track. A tasty original, "Northeast," is delivered with a clear Erroll Garner influence. "Otchi Tchor-ni-ya" (also known as "Russian Romance" or, with lyrics, "Dark Eyes") begins in a classical vein, then segues smoothly into a jazzy bounce. And Earl Hines' "Rosetta" is the solo closer. (If "Fatha" could hear this, he too would be patting both feet.) Seven other tracks feature Hal Melia on tenor, Tommy Ruskin on drums, and Bram again on piano. This combination really wails on "It Don't Mean A Thing..." with Melia's many inventive choruses taken at a breakneck pace. This cut alone is worth the price of the entire album. Jobim's "Wave" follows, with Melia supplying a boppish tenor, and Ruskin and Wijnands adding the Latin touch. "Is You Is Or Is You Ain't My Baby" may be a bit tamer than Louis Jordan's rendition, but the counterpoint between Wijnands and Melia on the out chorus is great fun. "Dinah" has Bram laying down a little stride and also vocalizing, and Melia blows four loping choruses reminiscent of Bud Freeman. The group stretches on the 6-plus minute version of Dizzy's "Groovin' High." "I Remember You," the Johnny Mercer classic, again features Bram's Garner-like sound, more great improvising by Hal Melia, and a lovely drum solo by Tommy Ruskin. Nat Cole's "Sweet Lorraine" is appropriately romantic. And it also jumps! The five remaining cuts feature the gorgeous blends and harmonies of Jay Sollenberger's trumpet, Marvin Hart's trombone and Steve Patke's tenor sax (and the seldom-heard bass clarinet). The rhythm "section" of piano, bass, guitar and drums is supplied by the multi-talented Mr. Wijnands himself, who also did the cover art. "Learnin' The Blues" has a danceable beat, and on the Wijnands (pronounced Vay-nands) original, "Back to Basie," everyone is clearly having a great time. Again, each track on Fascinatin' Rhythm is a foot-tapper, and it's hard to choose a favorite. (Three tunes -- "Feed Bag," "Down For Double" and "Up In The Blues" -- were penned by long-time Basie guitarist Freddie Green.) But one thing is certain: we in Kansas City are very fortunate to have musicians of this caliber. Each would be an asset to any group, anywhere. Fascinatin' Rhythm is highly recommended, and is now available in area retail outlets. -- Carole Heizman IN THE FEBRUARY/MARCH 2000 JAM: Reviews of new music from Bob Brookmeyer, Pete Eye, Ed Pharr, Paul Hofmann, Stan Kessler, Pat Morrissey, Interstring and many more of your favorite KC-connected jazz artists. RETURN TO DEC/JAN. 2000 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. 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