by Doug Tatum


A '99-2000 Finale
The 1999-2000 Folly Jazz Series will draw to a close with the Tommy Flanagan Trio on Saturday, April 29.

Tommy Flanagan

Tommy Flanagan made his professional debut in1945 at age 15, joining forces with fellow Detroit budding heavyweights Milt Jackson, Thad Jones, Elvin Jones and Kenny Burrell. Flanagan arrived in New York in 1956 where his first gig was as a sub at Birdland for Bud Powell, whom Tommy credits as a major influence, along with Art Tatum and Nat Cole. Flanagan's own gifts were so readily apparent, that in short order he was tapped for recording dates with such jazz icons as Sonny Rollins, John Coltrane, J.J. Johnson, Charles Mingus and Miles Davis. Among many others, he also worked with Charlie Parker, Coleman Hawkins, Oscar Pettiford, Benny Golson, Roland Kirk, Wes Montgomery and Tony Bennett.

Tommy Flanagan made more than 100 recordings between 1956 and 1968, many of which are now regarded as essential jazz classics that are the foundation of any serious jazz record library. Among this elite list is Sonny Rollins' Saxophone Colossus and John Coltrane's Giant Steps.

From 1968 to 1978, Tommy served as Ella Fitzgerald's pianist. It was during this time with Ella that Flanagan became regarded as jazz's supreme accompanist, a designation widely acknowledged throughout the jazz industry. In 1978, in a momentous departure, Flanagan formed his own trio and has since performed almost exclusively in that format. His recording career has since flowered with over 15 universally admired albums. In addition, he has continued to be in great demand in the recording studios, appearing as a sideman on countless albums. He has received four Grammy nominations, two for Best Jazz Performance (Group) and two for Best Jazz Performance (Soloist). Flanagan has been voted "Top Jazz Pianist" in Down Beat magazine's Readers Poll, and has also been the winner the JazzTimes Critics and Readers Polls.

Tommy's lyrical style, at once tough, tender and bouncing with jaunty humor, expresses a beautifully polished and melodic side of jazz. His playing has steadily grown in distinction and maturity, and through it all, it swings. In describing Tommy's style, Ben Ratliff wrote in the New York Times, "Mr. Flanagan's group, in its controlled, elegant way, is one of the more extraordinarily coordinated piano trios in jazz's history... Mr. Flanagan doesn't play percussively; it's all delicate, brightly lighted harmonies in the left hand and a fast but smooth right hand that almost refutes the notion that bebop was an aggressive music." The Greenwich Times stated, "Flanagan treats the piano with tenderness and taste. The glow from the trio's encounters is almost overwhelming to behold. Go and be enraptured!"

That sounds like good advice to me!

A "Jazz Talk" pre-concert discussion will take place at 7:00 p.m. More information is available by calling the Folly Theater during regular business hours at 816-474-4444.


Some Curious Survey Results
At this time I would like to share some thoughts related to my work as a jazz presenter. At the last Folly Jazz concert, a survey form was distributed to our audience. One section of the survey provided an opportunity for people to circle names from a list of artists under consideration, thereby allowing individuals to "vote" for their personal picks, along with "write-in" votes as well.

One particular gentleman who responded indicated that he was between the ages of 66 and 74 and had been attending Folly Jazz concerts for over 10 years. (I don't know his identity, as it was an anonymous survey.) He picked three names from my prepared list: Dick Hyman, Hank Jones and Ruby Braff, all excellent choices.

This same person, however, also placed question marks by each of the following names on my list: Butch Thompson, Randy Weston, Roy Hargrove, Johnny Griffin, Joe Lovano, James Moody, Dave Holland, Regina Carter, Ray Barretto, Dianne Reeves, Cassandra Wilson and Billy Higgins. Also included on my prepared list were Jim Hall, Phil Woods, Herbie Mann and Tito Puente, among others. Next to Elvin Jones' name this same patron wrote, "No Good," and below that in the comments section was the following note: "I never heard of most of these and have no desire to hear them! You must not be serious about this list!"

Now, I would be the first to admit that no one individual can be familiar with everyone in jazz. That quality is one of the things that makes jazz the great art form that it is; there is always someone new to discover, no matter how much you know or how long you've been listening.
But, I wonder if this same patron might acknowledge, upon further reflection, that the list of artists he might have preferred to see perhaps does not exist anymore? Certainly, even just a few years ago, a list of living jazz masters would have looked quite different from any list of today.

What bothers me about this individual's comment more than anything else was his stated unwillingness to hear any of the artists who were unfamiliar to him. I imagine he simply assumed that none of these artists could possibly be swinging, mainstream artists. So, as a result of our survey, here is a jazz fan telling me, in so many words, that he is not interested in hearing someone like James Moody!

Jazz, as one of its fundamental and defining qualities, has always been a music that has continued to develop. It is true that the jazz spectrum is now very broad. (Believe it or not, there are some traditional jazz old-timers who will state in all sincerity that they think the true jazz age came to a close in the 1930s as the "hot jazz" style of Chicago gave way to the swing era!) But if each person who professes to be a jazz fan was willing to listen only to what has been heard before, this would indeed quickly transform jazz into a type of "museum music."

Trust me, I love the older jazz masters and styles as much as anyone. In fact, the more I have listened to the earlier styles, the more I have developed an appreciation and context for the entire evolution and development of jazz.

In programming the Folly Jazz Series, I always strive for a balance of tradition and innovation each season. Granted, some seasons may be more successful than others. I just hope that if I do program James Moody on the Folly Jazz Series in the future, this particular patron will trust me enough to come check him out. My guess is that he might like what he would hear at that concert (not to mention what he might discover at other concerts).

If this gentleman should happen to read this commentary and wishes to give me a call, I would welcome an opportunity to visit; I think we might have a very interesting conversation. I should also mention that there were a number of other survey respondents who voiced similar sentiments. In any case, I suppose this gives us all something to think about. It certainly keeps my job interesting.

Doug Tatum is the Executive Director of the Folly Theater.


RETURN TO APRIL 2000 MAIN INDEX

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