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 2001 in KC: THE JAZZ ODYSSEY CONTINUES Here are three good reasons jazz lives on in the Heartland Eldar Djangirov: Jazz Prodigy by Kim Park Guest contributor Kim Park is one of KC's most highly regarded jazz saxophonists as well as Eldar Djangirov's teacher/mentor. He has appeared with Stan Kenton, Frank Mantooth and Karrin Allyson, and has recorded numerous CDs as a sideman and leader.
Young Eldar blossomed quickly as a pianist and began making concert appearances, including the Novosibirsk, Russia Jazz Festival in 1996. A New York jazz enthusiast, Charles McWhorter, heard the lad play and was able to get a scholarship for him at the prestigious Interlochen Center for the Arts in Michigan. The Djangirov family seized the opportunity for an extended visit in the United States. Because of its international reputation as "hometown" to many jazz masters, they chose Kansas City as a base, and still consider it "not too big, not too small, just right." By the time the Djangirovs arrived in Kansas City in January of 1998, Eldar's gifts at the piano were nothing short of amazing. He had the ability to play -- note-for-note, touch-for-touch -- entire solos of the great jazz pianists, especially those of Bill Evans and Oscar Peterson. Yet, remarkably enough at that time, Eldar couldn't play chords or improvise. But, when he began his jazz studies that spring, this quickly changed. Eldar now improvises everything. And he has become a competent and clever composer as well. Fortunately, Eldar also gets to be a regular American kid these days, a privilege many child prodigies never know simply because all too often, the art is gained at the sacrifice of the artist. All of Eldar's experiences go into his music, he attends St. Elizabeth's School, and he enjoys his studies, sports and games with the other kids. At 13, Eldar has his own unique mastery of the jazz piano, so it is important that none of his curiosity, creativity or explorations be curtailed. He has played Bach and Chopin, as well as all the jazz styles from Ragtime to Renegade, and he practices three hours a day (despite the complaints of a grumpy neighbor). Eldar's notoriety has spread quickly with appearances on Marian McPartland's National Public Radio show, "Piano Jazz," CBS-TV's "Sunday Morning," and a televised appearance on the 42nd Annual Grammy Awards presentation. I asked Eldar the following questions at one of our recent lessons. KP: What can you tell kids your age about jazz? Eldar: To like it and to listen to it, that's how the future of jazz will be. If kids listen, they might understand it. When I play for kids, they sometimes like it, but grown-ups usually like it better. KP: What is your favorite subject in school, and why? Eldar: Math and computers. I find stuff for school projects on the Internet, and I have some music software. KP: What are your interests outside of music? Eldar: I like to play chess and ride my bicycle. Sometimes I play basketball, and I'm trying to learn golf; but it's not so easy! KP: What things do you like about Interlochen? Eldar: Music! All the time music! And the other students love it, too. I also get to play in the big band. KP: What do you need to do to get better in your music? Eldar: Practice, practice, practice. And listen to jazz. You can't compare some jazz musicians; they're good because they have their own style. All of them are good in their own way. Or... "In Their Own Sweet Way." KP: How do you compose a song? Eldar: Sometimes it just comes up in my head, or something happens that's sad or happy, and I write a song about it. KP: What will the future of jazz be like? Eldar: I don't really know yet. Jazz will change in some ways. I think jazz styles are constantly all the time changing with new things and new people. For my future, I have no idea. I try to do it all right now. KP: Finally, Eldar, do you have anything to say to JAM readers? Eldar: Thank you for listening to jazz! KP: And thank you for playing jazz, Eldar. Since jazz is a journey and not a destination, have a happy, long and scenic ride. Note: Eldar Djangirov is scheduled to appear as guest soloist at Unity's "Spirituality and All That Jazz," Wednesday, January 3, at 7:00 p.m. The Unity Temple is located at 707 W. 47th in the Country Club Plaza. Gerald Dunn: Jazz Saxophonist by Wayne Goins Dr. Wayne Goins is the Director of Jazz Studies at Kansas State University in Manhattan, KS, a professional guitarist, and a frequent JAM contributor. He sat down recently with Gerald Dunn, one of the most active, diverse and involved members of the KC jazz community, for a mini-"Q&A." The interview took place at the American Jazz Museum. WG: You are the host of a weekly jazz radio show on KKFI called "Lunch and Brunch." How did you get the name "The Jazz Disciple?"
historian, and I used to call in to the station asking questions about the music. He started saying, "Man, you're turning into a little jazz disciple!" Eventually, he got sick and wanted me to take one of his days at the station. He wanted me to use my own name, but I thought I needed a "stage" name. He suggested the title. He said, "You've always been a student of the music, like a disciple." On the show, he began to say, "I have my co-host here: the Jazz Disciple." So the name just stuck. WG: Tell us about the show. GD: The show's purpose is to play good music while educating the public about jazz. I play a wide range of music, including modern swing, bebop, cool, post-bop and avant-garde. I have found the organ sound to be very popular in KC, so I play a lot of good organ players like Jack McDuff, Jimmy McGriff, and Joey DeFrancesco. WG: You also manage the Blue Room at 18th and Vine and are an active jazz saxophonist around town. It is challenging to be a radio host, club manager and musician all at the same time? GD: Yes, because it takes time to be prepared. Sometimes I sacrifice my practice time. But when I play my music, I'm treating me good. WG: Which of the three are you best known for now? GD: Since the Blue Room opened, people do see me as more than a musician; but I hope they see me as a musician who works in a jazz museum. I'm very fortunate that I can work with this music on so many levels. I love this job. Dr. Rowena Stewart deserves the credit for giving me this opportunity to grow. WG: When did you begin playing the saxophone? GD: I didn't start playing the sax until the sixth grade. My teacher actually wanted me to play trombone. But my aunt had a gospel sax album by Vernard Johnson, I fell in love with it, and asked if I could take the record home. I wore the grooves out of it, and never brought it back. I've been playing the sax ever since. WG: Who were your early influences? GD: In my junior year in high school, I listened a lot to Sonny Stitt. After that, Cannonball Adderley. WG: Who are your favorite local musicians? GD: I admire a number of the older guys, but of course there are my band members: Everett Freeman, piano, Tyrone Clark, bass, and Mike Warren, drums. There are also several younger guys coming along who are extremely dedicated, and I have to admire that. WG: What kind of impact has the American Jazz Museum and the Blue Room had on Kansas City? GD: They have helped the city remember itself as a place with a great jazz past and a good, exciting jazz future. The Blue Room provides work for musicians on a regular basis and it pays decent money. It's helping to redefine things, helping to recreate that renaissance period where there were lots of places to play and where musicians could express themselves musically. You don't have to be afraid to be a musician at the Blue Room. It's a place of fellowship. There are some places where the waitresses get paid more than the band members. The Blue Room is different. WG: What's your criteria for booking acts at the club? GD: I look for musicians who play well, have a sense of the music, and actively support jazz in the community. And I look to book people who pay their dues to the music. The Blue Room isn't just any club or bar; the history that room represents is amazing. Anyone who plays the Blue Room must support and respect that history. WG: Who has most influenced your playing? GD: Actually, an old girlfriend, who really believed in me and always told me I'd make it as a musician. Musically speaking, Kenny Garrett. And I was stuck on Cannonball for a long time. Eddie Saunders and Ahmad Alaadeen are definitely local influences. WG: What do you think the influence of Bobby Watson will be on the music scene here in Kansas City? GD: I think it's still too early to know his full impact, but I think he's bringing a lot of supporters back to the music. He loves the music and has a great time playing it. And he makes the audience love the music, because they can see that it makes him feel so good. Who doesn't want to feel good?! What he does is great for all of us. WG: One more question. Besides the Blue Room, where are your other favorite places to play in town? GD: The Mutual Musicians Foundation for its jazz jam sessions, the Grand Emporium for their blues jam sessions, and the Club at Plaza III, because they gave me my first job when I moved to town. "Lunch & Brunch" with the Jazz Disciple airs every Monday and Tuesday, noon until 2:00 p.m. on KKFI-FM, 90.1 on the dial. Geneva Price: Jazz Singer by Mike Metheny If you've had the opportunity to experience "After Hours," the long-running jazz-based musical revue still playing at the Science City/Union Station H&R Block City Stage, you've also had a chance to sample the delectable gifts of singer Geneva Price, a 1999 Elder Statesmen of Kansas City Jazz inductee, featured vocalist with the Scamps, and a current member of the popular "Wild Women of Kansas City" vocal group. Ms. Price has had an unusually diverse career, with jazz being but one of the many bright colors on her artistic palette. Here, in her own words, she talks about "After Hours," the importance of music in her life, and early education for young children. In the '60s, when my children were at St. Vincent's School on Flora, I was a stay-at-home parent, and I became involved in the PTA and all of those kinds of things. As a result of my involvement, our parish priest said, "We're going to have a kindergarten and you are going to be our kindergarten teacher." And I was like, "Whoooah!" I had not completed my degree at that time, and most of my course work had been in the field of science. But I did have some education courses. So I accepted the position, with the support of both the parish and diocese school system. I also went back to school (at Avila College) and completed my degree in elementary education.
One of the ways I directed the children was to sing. We sang all the time for everything, and told stories and made up poetry for everything, too. It was a way for the children to connect what was happening in their lives to our songs and our stories. And it was fun! There were never any disciplinary concerns. Never! Even the children who were not actively involved in a performance were learning how to be part of an audience! I think a good early education is important because those are the years when children are opening their eyes and ears and beginning to discover. Everything has an impact then, because it's "input time." Later on, they have those years and that basic information to refer back to. It's also a time when they are not judgmental, they have no preconceptions, they're curious, and they're just begging for information. My house was filled with music when I was growing up. As a matter of fact, I learned as an adult that my dad had a band out in Parsons, Kansas that is pictured in Buck Clayton's book, "Jazz World." As a singer I am definitely a late bloomer. But that doesn't mean I wasn't always singing. Singing has always been a part of my life. Whatever the music was at the shows we'd see -- the theater, the opera, the ballet -- my sister and I would come home and perform it. There was also the exposure we had to music in the church. There were the anthems, so you had the classics there, the hymns, the spirituals... and you had gospel. And there was the popular music of the day that you'd hear on the radio or from records people had... and the music we heard when we walked past the clubs on the way to the movies down on 18th & Lydia. I heard every kind of music that was possible to hear. My favorite musicians back then? It's such a cross-section. Mary Lou Williams; she was my mom's favorite. And, of course, Ella Fitzgerald. I loved Alberta Hunter's story before I ever heard any of her music. Josephine Baker! Ethel Waters. And Billie Holiday... I had a hard time understanding what was happening to her life. And why people were saying so many things and why it all seemed to be such a tragedy. So, I listened to her music then, but it didn't have the impact on me at that time like the others did. And, of course, there was Marian Anderson. And Mahalia Jackson. And Anita O'Day. And June Christy. And Carmen McRae. And... I just loved music; it was like I couldn't hear enough of it. I first got to work with George Salisbury at a benefit for the March of Dimes. I did "Spring Can Really Hang You Up" and "The Nearness of You." Another time I took my mom to hear the Kansas City Jazz Quintet, and George said, "Geneva, why don't you come up and sing a tune?" Well, I was reluctant, but my mom kept saying, "Go ahead, go ahead!" So I walked up and George asked, "What's your key?" "I don't know!" I said. And Carmell Jones said, "Anybody who sings oughta know their keys." And I said, "Well, if I were studying with somebody, I'd know!" And George said, "Geneva, call me at the Conservatory; I'll work with you." I almost dropped my eye teeth. I started going down to Harry T's and the Signboard at Crown Center, and my friends really had to push me up there to sing. But people kept asking me to perform -- at church and other places -- and, based on the situation, I'd call up George and ask, "what about" and "how do I" and tell him the tunes. He'd take it from there. So, I ended up doing some more things with the Kansas City Jazz Quintet. They were all so neat. And so supportive. But I still wasn't comfortable back then about the fact that: I could sing! I was so intimidated by all the other singers I really admired. Then, about ten years ago, I started singing with the Scamps. And five years ago I stepped into the professional spotlight when I started singing with them regularly. And now I feel totally different! Now I really love to sing! And I've realized that's what I want to do! I don't care if I end up sitting on a curb and singing to the bugs and worms (laughs); I am going to SING MY SONG! And last April, another door opened for me when the Science City ("After Hours") show came along. There is so much fantastic music in "After Hours." It's music that I love; it's music that my family enjoyed when I was growing up. It's my heritage and my life. But it's also an opportunity to show the public another facet of this music, and of jazz musicians and their lives. Many times in stories and in movies you get just one picture of what jazz musicians of that era were like and the kinds of places they worked in. But there were also clubs that were beautiful clubs like (the "After Hours" set), yet the rest of the world didn't know about that because those clubs were locked into the black community. They were places people didn't go because they'd hear it wasn't "safe." And so, those people missed all the places that were as beautiful as the "After Hours" set. Those clubs were also where all the musicians and their friends went after they got off their other jobs -- places where they could let their hair down and just have fun. "After Hours" is a tribute to those clubs, and it is our chance to honor all the musicians who composed and performed this music before we came along. That's what means the most to me, personally. I'd like to say one more thing. When I look back on my life, what I've been able to do is share the gifts I've been given. And every song I sing now contains two prayers. One is "thank you for the gift," and the second is "thank you for the chance to use it." There was once a time when I didn't think I could sing! At least not well enough to try it outside of the house. Now, I really love doing it. And I can't wait to share this wonderful music with everyone else. RETURN TO DECEMBER/JANUARY 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved. |
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