JAM: October/November 2000 Issue: Correspondence

An Open Letter To the Kansas City Jazz Community

I wish to discuss two of the major loves in my life: the University of Missouri-Kansas City and twentieth century American art music. I am very proud of both loves, have done numerous things over the years to promote each, and now have serious concerns over the treatment of one by the other.

As you are undoubtedly aware, KCUR-FM, housed on the UMKC campus and administered by them, has essentially dropped all of its jazz programming, replacing it in great measure with a syndicated classical music feed from Minnesota Public Radio. In doing so, it has turned its back on the art music of America in favor of 100 to 400 year old Western European art music. This is, in my view, a grave error. I am therefore, with heavy heart, publicly announcing that I will withdraw my financial support from KCUR-FM, support totaling hundreds of dollars annually for the past twenty years and more. Furthermore, I am writing to implore all reading my words to do the same.

My concerns involve the fact that jazz music is arguably one of the very few indigenous American art forms. It is not popular, hasn't been since the 1930s, and will not be in the future. European art music is perhaps equally unpopular, but is supported by rather massive subsidies. The Kansas City Symphony, Lyric Opera, Ballet, etc. could not and would not exist without government and philanthropic support.

American art music has little such subsidy. KCUR-FM, as I stated in a recent memo to its general manager Ms. Patricia Cahill, has been doing wonderful work in featuring and supporting American art music of the twentieth century. And it should be. It is a public radio station, and is thus responsible, in my view, for the promotion and presentation of a great many things which are not necessarily popular, fund-generating, or in any way mainstream.

It is bad enough to turn the station's back on jazz. To replace it with a canned national feed of classical music is an insult to both genres. At best such venues will not feature the wonderful new music being created for symphonies and chamber groups (works by UMKC's world renowned composers Chen Yi and James Mobberley, for example). At worst they will provide Kansas City's classical music lovers with a steady diet of the usual pabulum for the masses which is becoming standard fare in many such formats. But then, I understand that KCUR-FM doesn't own a classical music library.

My recent memo to Ms. Cahill also stressed my views on dollar generation for KCUR-FM. If this decision has been made as a result of a belief that more dollars will be generated for the station, I find the premise highly questionable. Classical music lovers, as opposed to jazz music lovers, are perhaps older and richer, but, even in the light of recent dust-ups re: the demise of KXTR-FM, they will, I believe, be no more willing to support classical music programming in the long run than jazz music lovers. This mistake in judgment at this volatile time puts the joys and wonders of American music at peril. As I stated to Ms. Cahill, if the decisions regarding public radio programming are made solely upon the weight of presumed dollar generation, then it is no longer public radio, but radio firmly entrenched in the brothel of commercial radio.

As regards my love of UMKC, I can and do state that I have noted many items over the past several years which seem to indicate that numerous struggles of the recent and not so recent past have begun to be very satisfactorily resolved. I have seen much of the external criticism, both justified and grossly unfair, begin to subside. As regards my love of American art music, I have rejoiced at our hire of international jazz luminary Mr. Bobby Watson, and know that a new and very positive era is beginning at UMKC and in Kansas City. It is therefore most disheartening to see, especially at this time, what appears to be a mighty step backwards in the University's involvement with jazz. All the more so when considering my suspicion that we quite likely have been influenced in some measure by pressure from outside both KCUR-FM and the University as a result of the change in format at KXTR-FM.

I am not angry. I understand the costs of the totality of the programming of KCUR-FM. I am not the program director or the general manager of the station. If I were, I am sure that I would spend money far differently, perhaps bankrupting the station in the process. I have contributed what for me was a good deal of support dollars over the years because I enjoy many of the offerings of this fine station. I am, however, very disappointed with my University and its decisions. I feel that there are likely far better solutions to what I assume to be financial problems associated with said programming. This is especially so when considering the fact that the linchpin of American art -- that mix of all things Euro-centric and Afro-centric which is the finest example of the soul of this great gumbo of a nation -- has been essentially lost.

Questions abound. 1) If the station is determined to provide a classical music format, why not alternate nights with jazz? 2) Do classical music lovers really listen to music from nine to midnight, or do they prefer earlier hours before bedtime? 3) If money is the issue, then why is the station paying to replay many programs already broadcast, like "Car Talk," "This American Life," Morning Edition" and "All Things Considered?" 4) Why pay Minnesota Public Radio a fee when surely among the recently enraged classical music lovers there could be found a volunteer who would be qualified and happy to host a show or shows using their own extensive record collection and costing the station much less? Bill Shapiro does that. Ginny and Ruth do that.

I know of no answers to these questions. Perhaps you all would care to contact the station and ask them. Ask some of your own as well.

So I am finished, and I urge you to keep your KCUR-FM money in your pocket. I also urge you to protest this decision loudly and for a very long time. Write the general manager, Ms. Patricia Cahill. Her boss in the university is Mr. William French, vice chancellor for University advancement (see addresses below). That's right. KCUR-FM answers to the office that is responsible for finding and attracting all private money donations to the university. And there's lots of money in the classical music audience.

Let us stay the course in hopes that by focusing on dollars, those who made these decisions will, in spite of the dollars and all that the dollars imply, see what I consider to be the folly of their thinking. It is, after all, about the music.

Ms. Patricia Cahill
General Manager
KCUR-FM
4825 Troost (# 202)
Kansas City, MO 64110
email: CahillP@umkc.edu

Mr. William French
Vice Chancellor for University Development
Academic Center (# 306)
University of Missouri-Kansas City
Kansas City, MO 64110
email: FrenchW@umkc.edu

Thanks for listening,
Dr. John Leisenring
Professor Emeritus of Music
Conservatory of Music
UMKC

Heartfelt Thanks

Dear KC Jazz Ambassadors,

As former Congresswoman Shirley Chisholm said, the best hope for America's future rested in bringing together the wonderfully diverse elements of her people. If that could happen, the whole would clearly be greater than its parts, and extend the greatness of the American Experiment.

As we prepared the jazz exhibit and then gathered on July 27, 2000 to listen to the stories of happiness and sorrow experienced by our impressive speakers, this hope was realized. Because of you and your effort, coupled with the work of others, we came together for a common purpose.

On behalf of the University Libraries and their staff, our heartfelt thanks for your part in this fine display and remarkable opening night.

Sincerely,
Ted. P. Sheldon
Director of Libraries
University of Missouri-Kansas City

Ed. Note -- Now that the "Jazz Age in Paris: 1914-1940" exhibit has concluded its Miller Nichols Library run at UMKC, a new jazz-related exhibit is set to open on October 26. Check "News & Notes" for the details.

A Premier Bill Evans Tribute

Last summer, friend and special events coordinator for Downbeat, Tom Alexios, arranged for vocalist Karen Gallinger to debut part of her new CD, Remembering Bill Evans, at the KC Blues and Jazz Festival.

When Karen and I met by chance in Laguna Beach at a Nancy Marano concert, Karen was introduced to me by the club manager, Merle Kriebach. She asked Karen, "Do you know who you're sitting next to?" Karen had just been researching her next CD project that very day, she told me. A possible Bill Evans tribute. I replied, "Sure you and everyone else."

Gallinger, a Southern California-based singer, said she was frustrated by the dearth of lyrics available to singers and then gave me one of her CDs. I played it in my car, and by the time I was home, I knew this singer, then completely unknown to me, was more than capable of delivering up a Bill Evans tribute.

I called her the next morning and told her we were going to breakfast, and that I was bringing with me a bag of research materials.

This calls to mind the question: Why have so many lyricists skipped over Bill Evans' music? Answer: the sheer, mind-bending challenge.

Gallinger's handling of the material assures that Bill Evans is well on his way to becoming a household word. This CD is comprised of almost all Evans' original works, to which Gallinger has added a fair share of lyrics. Evans' tune, "Funkallero," coupled with Gallinger's witty lyrics, is destined to become an instant jazz classic. "Catch the Wind," an untitled piece discovered posthumously by music editor Judy Bell and never recorded before, sends people crying from the audience. The lyrics deal with Bill's death in 1980 and the loss experienced by our five year old son. Her pianist, Tom Zink captures the pathos of the sad event.

Rich, elegant and sumptuous are a few words which come to mind when describing bassist Larry Steen's contribution to the CD. And drummer Chris Wabich lends subtlety, restraint and intuition to Bill's compositions.

There have been innumerable Bill Evans tributes over the years. This is one of the premier all-vocal tributes to Bill, who himself was a closet lyricist. These jewels are not just in the category of "art songs," they are that and more. Alex Dutilh, editor of the French Jazzman magazine named it a tour de force in the September all-Bill Evans issue.

Many thanks to our gracious hosts in July, Mike and Sheri Ning, Mayor Kaye Barnes, Alaadeen, Ramonda Doakes, Japanese consul Mr. Fujiwara, and Tom Alexios for making our stay a real blessing.

Nenette Evans
Widow of Bill Evans
Laguna Niguel, CA

High Praise

Thanks to Mike Rollf I found the magazine JAM the best since I gave up Down Beat and Billboard. This is the reason I am enclosing a check (for a subscription). It will inform me of what is happening in the middle of the country and at the same time inform my listeners.

I have always wondered what happened to Marilyn Maye, and now I know from your issue of June/July. She has always been and is still welcome on my jazz shows (KNRY/KIEZ). Her recording of "Misty" from "Play Misty For Me," based on my life, is a treasure. I would love to make contact with her for an interview and possibly other recordings she may have.

Any time I can offer an article, call on me. In the meantime I will talk about JAM on my shows.

Sincerely,
Johnny Adams
Pacific Coast Productions
Carmel Highlands, CA

Ed. note: Veteran jazz broadcaster Johnny Adams has been a DJ in California since 1952. He taught Clint Eastwood how to be a disc jockey for the film "Play Misty For Me," and was also an advisor for and actor in Eastwood's film, "Bird." These days Johnny Adams can be heard on Bay Area radio station KNRY/KIEZ Sundays at 10:00 a.m. where he spins selections from his collection of over 30,000 recordings.

A Most Excellent Festival

To Dean Hampton,

It was good to meet and talk with you and the others at the Jazz Ambassadors' tent at the KC Blues & Jazz Festival last summer. The two copies of JAM that you gave me were interesting to me in two ways: First, JAM shows the broad scope of the jazz and blues scene in KC. Secondly, JAM is an impressive publication both in the quality of its reporting and in the fact that it is largely a volunteer production. I knew before I arrived that KC was a music town; I just didn't know how big a music town it was!

The festival was excellent. Whoever chose the artists and bands outdid themselves. It was a greatly varied lineup of jazz and blues styles. I am sure the producers were pleased with the turnout.

Then there were the people. Talk about friendly; I didn't sit down anywhere that I didn't end up in a conversation. My friends and I are planning to come back next year. Just arrange to have the same good weather, OK?!

Enclosed are some Alabama Jazz & Blues Federation (ABJF) materials including a brochure, a sponsor information sheet and a couple of recent newsletters. The Montgomery area is about 350,000 so there is a lot less in the way of jazz and blues going on here. But for an area this size we accomplish a lot.

Also, check out our web site at www.ajbf.com.

Best,
Jack Mazzanovich
President
Alabama Jazz & Blues Federation
Montgomery, AL

Northwest KC Jazz

Dimitreau's Jazz Alley in Seattle is, like Blues Alley in Washington, D.C., a restaurant/listening club that caters to nationally known performers. So, it was a real treat to hear Ray Brown and Kevin Mahogany perform there earlier this year. (Ray shared a story of his early childhood where, as a boy of eight years, he managed to sneak into where Count Basie was performing in 1932. That got him hooked on jazz. Do the math!)

I also was privileged to once again hear and see Karrin Allyson, along with KC's Paul Smith (piano) Danny Embrey (guitar), Jeff Johnson (bass) and Mark Ivestor (drums). Karrin filled the house both nights I attended and the audiences were very appreciative; they seemed to know her music and recognize cuts from her CDs as readily as KC fans and friends do. A little girl brought Karrin a beautiful bouquet of flowers (that brought tears to her eyes) and it turned out to be Karrin's birthday. The beautiful Pacific Northwest was even more so during that four-day gig!

If you get to Seattle, I also recommend a couple of evenings at Tula's jazz club. Tula's has live jazz six nights a week and features mostly local musicians. Some of the local musicians have put together a CD ("The Piano") and have raised $30,000 to purchase a new Yamaha piano for Tula's. It's an easy, comfortable, and sometimes very full place to hear jazz.

Regards,
Steve Pate
Kansas City, MO

Steve Pate is a KC Jazz Ambassador whose travels sometimes enable him to be in the right place at the right time when touring KC jazz artists come through town. -- Ed.

A New Music Event

To the Editor,

My name is Sandra Irle and I am the founder of the "Blind" Boone Park Renovation Group. Our group is renovating a park in Warrensburg (MO) that was originally built during segregation for the black community and named after Mr. Boone. Mr. Boone was a resident of Warrensburg, a member of the black community, a world famous concert pianist and a "pioneer" of ragtime music.

We have plans for a music festival in June of each year (starting in 2001) encompassing all varieties of music. Warrensburg has a huge jazz following and we hope to attract interested musicians to this event. We have a fundraiser coming up on November 4th, from 7-11 p.m. at the Hidden Pines Country Club that might be of interest to your readers. It is a formal event featuring live music, hors d'oeuvres (we have a chef coming in from Jefferson City), and both silent and live auctions. Tickets are $5 and all monies go directly to the park fund. We are a fully volunteer group.

Anyone wishing to contribute items for the auction, or wishing further information, can contact me: Sandra Irle 131 S.W. 300, Warrensburg, MO 64093; e-mail: teehaus@iland.net. Or phone 660-429-1525 (The Teehaus) between 2 and 4 p.m.

Thank you for your consideration.
Sincerely,
Sandra Irle
Warrensburg, MO

A Generous Gift

To the KC Jazz Ambassadors,
First I want to express my deepest apologies for not being present on September 21 to receive your generous gift to our jazz program. I have high hopes for the program and its interaction with the jazz community in the coming years.

Certainly, the Jazz Ambassadors are the leaders in maintaining the Kansas City jazz scene. And I am extremely grateful for the coverage I have received in JAM (August/September '00) concerning by appointment at UMKC and my homecoming. I shall never forget that.

It is my hope that your gift will serve as a wake up call to others in the community who share a passion for our original art form -- in particular, Kansas City's contribution to the legacy, and the education of our young people about this art form.

Peace and blessings to all of the Jazz Ambassadors, and as Billy Strayhorn always said, "Onward and upward."

Many thanks again to you for your support of our efforts.

Sincerely,
Bobby Watson
Director of Jazz Studies
UMKC Conservatory of Music

RETURN TO OCTOBER/NOVEMBER 2000 MAIN INDEX

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






	Search our site:		An Open Letter To the Kansas City Jazz Community I wish to discuss two of the major loves in my life: the University of Missouri-Kansas City and twentieth century American art music. I am very proud of both loves, have done numerous things over the years to promote each, and now have serious concerns over the treatment of one by the other. As you are undoubtedly aware, KCUR-FM, housed on the UMKC campus and administered by them, has essentially dropped all of its jazz programming, replacing it in great measure with a syndicated classical music feed from Minnesota Public Radio. In doing so, it has turned its back on the art music of America in favor of 100 to 400 year old Western European art music. This is, in my view, a grave error. I am therefore, with heavy heart, publicly announcing that I will withdraw my financial support from KCUR-FM, support totaling hundreds of dollars annually for the past twenty years and more. Furthermore, I am writing to implore all reading my words to do the same. My concerns involve the fact that jazz music is arguably one of the very few indigenous American art forms. It is not popular, hasn't been since the 1930s, and will not be in the future. European art music is perhaps equally unpopular, but is supported by rather massive subsidies. The Kansas City Symphony, Lyric Opera, Ballet, etc. could not and would not exist without government and philanthropic support. American art music has little such subsidy. KCUR-FM, as I stated in a recent memo to its general manager Ms. Patricia Cahill, has been doing wonderful work in featuring and supporting American art music of the twentieth century. And it should be. It is a public radio station, and is thus responsible, in my view, for the promotion and presentation of a great many things which are not necessarily popular, fund-generating, or in any way mainstream. It is bad enough to turn the station's back on jazz. To replace it with a canned national feed of classical music is an insult to both genres. At best such venues will not feature the wonderful new music being created for symphonies and chamber groups (works by UMKC's world renowned composers Chen Yi and James Mobberley, for example). At worst they will provide Kansas City's classical music lovers with a steady diet of the usual pabulum for the masses which is becoming standard fare in many such formats. But then, I understand that KCUR-FM doesn't own a classical music library. My recent memo to Ms. Cahill also stressed my views on dollar generation for KCUR-FM. If this decision has been made as a result of a belief that more dollars will be generated for the station, I find the premise highly questionable. Classical music lovers, as opposed to jazz music lovers, are perhaps older and richer, but, even in the light of recent dust-ups re: the demise of KXTR-FM, they will, I believe, be no more willing to support classical music programming in the long run than jazz music lovers. This mistake in judgment at this volatile time puts the joys and wonders of American music at peril. As I stated to Ms. Cahill, if the decisions regarding public radio programming are made solely upon the weight of presumed dollar generation, then it is no longer public radio, but radio firmly entrenched in the brothel of commercial radio. As regards my love of UMKC, I can and do state that I have noted many items over the past several years which seem to indicate that numerous struggles of the recent and not so recent past have begun to be very satisfactorily resolved. I have seen much of the external criticism, both justified and grossly unfair, begin to subside. As regards my love of American art music, I have rejoiced at our hire of international jazz luminary Mr. Bobby Watson, and know that a new and very positive era is beginning at UMKC and in Kansas City. It is therefore most disheartening to see, especially at this time, what appears to be a mighty step backwards in the University's involvement with jazz. All the more so when considering my suspicion that we quite likely have been influenced in some measure by pressure from outside both KCUR-FM and the University as a result of the change in format at KXTR-FM. I am not angry. I understand the costs of the totality of the programming of KCUR-FM. I am not the program director or the general manager of the station. If I were, I am sure that I would spend money far differently, perhaps bankrupting the station in the process. I have contributed what for me was a good deal of support dollars over the years because I enjoy many of the offerings of this fine station. I am, however, very disappointed with my University and its decisions. I feel that there are likely far better solutions to what I assume to be financial problems associated with said programming. This is especially so when considering the fact that the linchpin of American art -- that mix of all things Euro-centric and Afro-centric which is the finest example of the soul of this great gumbo of a nation -- has been essentially lost. Questions abound. 1) If the station is determined to provide a classical music format, why not alternate nights with jazz? 2) Do classical music lovers really listen to music from nine to midnight, or do they prefer earlier hours before bedtime? 3) If money is the issue, then why is the station paying to replay many programs already broadcast, like "Car Talk," "This American Life," Morning Edition" and "All Things Considered?" 4) Why pay Minnesota Public Radio a fee when surely among the recently enraged classical music lovers there could be found a volunteer who would be qualified and happy to host a show or shows using their own extensive record collection and costing the station much less? Bill Shapiro does that. Ginny and Ruth do that. I know of no answers to these questions. Perhaps you all would care to contact the station and ask them. Ask some of your own as well. So I am finished, and I urge you to keep your KCUR-FM money in your pocket. I also urge you to protest this decision loudly and for a very long time. Write the general manager, Ms. Patricia Cahill. Her boss in the university is Mr. William French, vice chancellor for University advancement (see addresses below). That's right. KCUR-FM answers to the office that is responsible for finding and attracting all private money donations to the university. And there's lots of money in the classical music audience. Let us stay the course in hopes that by focusing on dollars, those who made these decisions will, in spite of the dollars and all that the dollars imply, see what I consider to be the folly of their thinking. It is, after all, about the music. Ms. Patricia Cahill General Manager KCUR-FM 4825 Troost (# 202) Kansas City, MO 64110 email: CahillP@umkc.edu Mr. William French Vice Chancellor for University Development Academic Center (# 306) University of Missouri-Kansas City Kansas City, MO 64110 email: FrenchW@umkc.edu Thanks for listening, Dr. John Leisenring Professor Emeritus of Music Conservatory of Music UMKC Heartfelt Thanks Dear KC Jazz Ambassadors, As former Congresswoman Shirley Chisholm said, the best hope for America's future rested in bringing together the wonderfully diverse elements of her people. If that could happen, the whole would clearly be greater than its parts, and extend the greatness of the American Experiment. As we prepared the jazz exhibit and then gathered on July 27, 2000 to listen to the stories of happiness and sorrow experienced by our impressive speakers, this hope was realized. Because of you and your effort, coupled with the work of others, we came together for a common purpose. On behalf of the University Libraries and their staff, our heartfelt thanks for your part in this fine display and remarkable opening night. Sincerely, Ted. P. Sheldon Director of Libraries University of Missouri-Kansas City Ed. Note -- Now that the "Jazz Age in Paris: 1914-1940" exhibit has concluded its Miller Nichols Library run at UMKC, a new jazz-related exhibit is set to open on October 26. Check "News & Notes" for the details. A Premier Bill Evans Tribute Last summer, friend and special events coordinator for Downbeat, Tom Alexios, arranged for vocalist Karen Gallinger to debut part of her new CD, Remembering Bill Evans, at the KC Blues and Jazz Festival. When Karen and I met by chance in Laguna Beach at a Nancy Marano concert, Karen was introduced to me by the club manager, Merle Kriebach. She asked Karen, "Do you know who you're sitting next to?" Karen had just been researching her next CD project that very day, she told me. A possible Bill Evans tribute. I replied, "Sure you and everyone else." Gallinger, a Southern California-based singer, said she was frustrated by the dearth of lyrics available to singers and then gave me one of her CDs. I played it in my car, and by the time I was home, I knew this singer, then completely unknown to me, was more than capable of delivering up a Bill Evans tribute. I called her the next morning and told her we were going to breakfast, and that I was bringing with me a bag of research materials. This calls to mind the question: Why have so many lyricists skipped over Bill Evans' music? Answer: the sheer, mind-bending challenge. Gallinger's handling of the material assures that Bill Evans is well on his way to becoming a household word. This CD is comprised of almost all Evans' original works, to which Gallinger has added a fair share of lyrics. Evans' tune, "Funkallero," coupled with Gallinger's witty lyrics, is destined to become an instant jazz classic. "Catch the Wind," an untitled piece discovered posthumously by music editor Judy Bell and never recorded before, sends people crying from the audience. The lyrics deal with Bill's death in 1980 and the loss experienced by our five year old son. Her pianist, Tom Zink captures the pathos of the sad event. Rich, elegant and sumptuous are a few words which come to mind when describing bassist Larry Steen's contribution to the CD. And drummer Chris Wabich lends subtlety, restraint and intuition to Bill's compositions. There have been innumerable Bill Evans tributes over the years. This is one of the premier all-vocal tributes to Bill, who himself was a closet lyricist. These jewels are not just in the category of "art songs," they are that and more. Alex Dutilh, editor of the French Jazzman magazine named it a tour de force in the September all-Bill Evans issue. Many thanks to our gracious hosts in July, Mike and Sheri Ning, Mayor Kaye Barnes, Alaadeen, Ramonda Doakes, Japanese consul Mr. Fujiwara, and Tom Alexios for making our stay a real blessing. Nenette Evans Widow of Bill Evans Laguna Niguel, CA High Praise Thanks to Mike Rollf I found the magazine JAM the best since I gave up Down Beat and Billboard. This is the reason I am enclosing a check (for a subscription). It will inform me of what is happening in the middle of the country and at the same time inform my listeners. I have always wondered what happened to Marilyn Maye, and now I know from your issue of June/July. She has always been and is still welcome on my jazz shows (KNRY/KIEZ). Her recording of "Misty" from "Play Misty For Me," based on my life, is a treasure. I would love to make contact with her for an interview and possibly other recordings she may have. Any time I can offer an article, call on me. In the meantime I will talk about JAM on my shows. Sincerely, Johnny Adams Pacific Coast Productions Carmel Highlands, CA Ed. note: Veteran jazz broadcaster Johnny Adams has been a DJ in California since 1952. He taught Clint Eastwood how to be a disc jockey for the film "Play Misty For Me," and was also an advisor for and actor in Eastwood's film, "Bird." These days Johnny Adams can be heard on Bay Area radio station KNRY/KIEZ Sundays at 10:00 a.m. where he spins selections from his collection of over 30,000 recordings. A Most Excellent Festival To Dean Hampton, It was good to meet and talk with you and the others at the Jazz Ambassadors' tent at the KC Blues & Jazz Festival last summer. The two copies of JAM that you gave me were interesting to me in two ways: First, JAM shows the broad scope of the jazz and blues scene in KC. Secondly, JAM is an impressive publication both in the quality of its reporting and in the fact that it is largely a volunteer production. I knew before I arrived that KC was a music town; I just didn't know how big a music town it was! The festival was excellent. Whoever chose the artists and bands outdid themselves. It was a greatly varied lineup of jazz and blues styles. I am sure the producers were pleased with the turnout. Then there were the people. Talk about friendly; I didn't sit down anywhere that I didn't end up in a conversation. My friends and I are planning to come back next year. Just arrange to have the same good weather, OK?! Enclosed are some Alabama Jazz & Blues Federation (ABJF) materials including a brochure, a sponsor information sheet and a couple of recent newsletters. The Montgomery area is about 350,000 so there is a lot less in the way of jazz and blues going on here. But for an area this size we accomplish a lot. Also, check out our web site at www.ajbf.com. Best, Jack Mazzanovich President Alabama Jazz & Blues Federation Montgomery, AL Northwest KC Jazz Dimitreau's Jazz Alley in Seattle is, like Blues Alley in Washington, D.C., a restaurant/listening club that caters to nationally known performers. So, it was a real treat to hear Ray Brown and Kevin Mahogany perform there earlier this year. (Ray shared a story of his early childhood where, as a boy of eight years, he managed to sneak into where Count Basie was performing in 1932. That got him hooked on jazz. Do the math!) I also was privileged to once again hear and see Karrin Allyson, along with KC's Paul Smith (piano) Danny Embrey (guitar), Jeff Johnson (bass) and Mark Ivestor (drums). Karrin filled the house both nights I attended and the audiences were very appreciative; they seemed to know her music and recognize cuts from her CDs as readily as KC fans and friends do. A little girl brought Karrin a beautiful bouquet of flowers (that brought tears to her eyes) and it turned out to be Karrin's birthday. The beautiful Pacific Northwest was even more so during that four-day gig! If you get to Seattle, I also recommend a couple of evenings at Tula's jazz club. Tula's has live jazz six nights a week and features mostly local musicians. Some of the local musicians have put together a CD ("The Piano") and have raised $30,000 to purchase a new Yamaha piano for Tula's. It's an easy, comfortable, and sometimes very full place to hear jazz. Regards, Steve Pate Kansas City, MO Steve Pate is a KC Jazz Ambassador whose travels sometimes enable him to be in the right place at the right time when touring KC jazz artists come through town. -- Ed. A New Music Event To the Editor, My name is Sandra Irle and I am the founder of the "Blind" Boone Park Renovation Group. Our group is renovating a park in Warrensburg (MO) that was originally built during segregation for the black community and named after Mr. Boone. Mr. Boone was a resident of Warrensburg, a member of the black community, a world famous concert pianist and a "pioneer" of ragtime music. We have plans for a music festival in June of each year (starting in 2001) encompassing all varieties of music. Warrensburg has a huge jazz following and we hope to attract interested musicians to this event. We have a fundraiser coming up on November 4th, from 7-11 p.m. at the Hidden Pines Country Club that might be of interest to your readers. It is a formal event featuring live music, hors d'oeuvres (we have a chef coming in from Jefferson City), and both silent and live auctions. Tickets are $5 and all monies go directly to the park fund. We are a fully volunteer group. Anyone wishing to contribute items for the auction, or wishing further information, can contact me: Sandra Irle 131 S.W. 300, Warrensburg, MO 64093; e-mail: teehaus@iland.net. Or phone 660-429-1525 (The Teehaus) between 2 and 4 p.m. Thank you for your consideration. Sincerely, Sandra Irle Warrensburg, MO A Generous Gift To the KC Jazz Ambassadors, First I want to express my deepest apologies for not being present on September 21 to receive your generous gift to our jazz program. I have high hopes for the program and its interaction with the jazz community in the coming years. Certainly, the Jazz Ambassadors are the leaders in maintaining the Kansas City jazz scene. And I am extremely grateful for the coverage I have received in JAM (August/September '00) concerning by appointment at UMKC and my homecoming. I shall never forget that. It is my hope that your gift will serve as a wake up call to others in the community who share a passion for our original art form -- in particular, Kansas City's contribution to the legacy, and the education of our young people about this art form. Peace and blessings to all of the Jazz Ambassadors, and as Billy Strayhorn always said, "Onward and upward." Many thanks again to you for your support of our efforts. Sincerely, Bobby Watson Director of Jazz Studies UMKC Conservatory of Music RETURN TO OCTOBER/NOVEMBER 2000 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.