JAM: October/November 2004 Hear and There

Veteran California sax man Bud Shank and bassist David Frieson were the featured artists at the Kanssa City Jazz Workshop series on October 12. Shank proved that he still had the ability to swing, as he did a Paul Desmond-like solo on “Softly As In A Morning Sunrise.” With only the two players on stage, each song was like an extended solo, and while it made for interesting interplay between the two, certain songs such as “Dance of the Little Ones” and the theme from “Black Orpheous” showed the need for a drummer. While the concert showcased the talents of the two players, a few more musicians would have lifted it to a higher level.

Piano player Billy Stritch highlighted an evening at Jardine's with a mixture of standards and Brazilian music. Backed by bassist Gerald Spaits and drummer Ray DeMarchi , the group sizzled through a set that included a medley of “Night and Day” and “One Note Samba.” Spaits and DeMarchi got to solo on “Days of Wine and Roses,” while the trio went at high speed on “Mountain Greenery.” On “The Best Is Yet to Come,” Broadway veteran Stritch “out Conicked” Harry as he closed the set with a bang. This is a major talent who should not be missed the next time around.

Marilyn Maye presided over a love fest at a sold-out show at Jardine's . For many, it was the 60s again at the old Colony Steakhouse on Broadway. The only things missing were leisure suits and beehive hairdos. Johnny Carson's favorite singer didn't disappoint, with a long set that concluded with Cole Porters's “Love For Sale” in which Billy Stritch and Gerald Spaits stood out. Backed by an all-star cast that included her long-time drummer Jim Ekloff , she sang a medley of bar songs such as “Angel Eyes,” and “Teach Me Tonight,” in which Rod Fleeman excelled. She got the crowd going with “Cabaret” in which Broadway veteran Stritch stood out. After about an hour and a half, Maye exited to a standing ovation. Who says you can't go home again.

Grammy-award winner Gary Burton wowed the audience at the Folly Theatre with a high-energy concert that ranged between traditional to fusion jazz. He surrounded himself with a quartet of musicians who are probably not even old enough to vote. Included were 17-year-old guitarist Julian Lage and Ukranian-born pianist Vadim Naselovskyi . They rocked on “Bags Groove” and “Gorgeous,” and showcased bassist Luques Curtis and drummer James Williams on “My Funny Valentine” and “I heard a Rhapsdy.” The audience gave them a deserved standing ovation and started counting the days unti the release of their CD in the spring.

--Don Merker

The Chris Burnett Quartet led the Blue Monday Jam at the Blue Room recently. Burnett is a fine alto player, with a somewhat more aggressive approach to his music than many in town. Burnett's support this evening was by Roger Wilder on piano, Seth Lee on bass and Donivan Bailey on drums. It was apparent that the band greatly enjoyed Burnett's music.

All was fairly typical for a Blue Monday. Duck Warner came in and sang nice ballad. Then lightening struck, this time in the form of trombonist Tim Perryman . Perryman's energy and enthusiasm seemed to take over the room. Then, as happens often on Monday's, some most talented students from UMKC strolled in, maintaining the level for the rest of the evening. But it as Perryman's presence that stayed with me this evening.

The Kansas City Jazz Orchestra , under Jim Mair's direction, had their second concert of the year at Unity Temple on the Plaza on Friday, November 12. This was a 100th birthday tribute to Count Basie, featuring former Basie drummer Harold Jones and the inimitable Clark Terry . The band played a slew of Basie hits, such as "Moten Swing", "One O'Clock Jump" (with Doug Talley taking the tenor solo), "April In Paris,” "Shiny Stockings,” featuring Stan Kessler on trumpet, "Corner Pocket,” "Vine Street Rumble" from Benny Carter's "Kansas City Suite", and "Lil' Darlin'.” Drummer Jones was the perfect addition, reminding us how important the drummer has been to the Basie sound. His solo on "Cute" was a highlight. Terry, at 84, has lost none of his perfect tone or his humor. He needed assistance to get to the high director's chair in front of the band, and when he was seated announced "the golden years suck!" which was perfect comic relief. Of course, he did his hilarious "Mumbles" routine, which he reprised later while scatting with Lisa Henry . Terry's presence may account for the inspired performance from the outstanding trumpet section of Jay Sollenberger , Bob Harvey , Steve Molloy , and Kessler; they each soloed magnificently. Talley had several fine solos, and baritone stalwart Kerry Strayer provided a "bottom" that gave the band some "umfph". Pianist Charles Williams , bassist Theo Wilson , and the guitar of Rod Fleeman completed a "Basie proud" rhythm section. This was the second KCJO concert I have attended, and both have been successes. Mark your calendar for the next KCJO concert, scheduled for April 29.

--Roger Atkinson






	Search our site:		Veteran California sax man Bud Shank and bassist David Frieson were the featured artists at the Kanssa City Jazz Workshop series on October 12. Shank proved that he still had the ability to swing, as he did a Paul Desmond-like solo on “Softly As In A Morning Sunrise.” With only the two players on stage, each song was like an extended solo, and while it made for interesting interplay between the two, certain songs such as “Dance of the Little Ones” and the theme from “Black Orpheous” showed the need for a drummer. While the concert showcased the talents of the two players, a few more musicians would have lifted it to a higher level. Piano player Billy Stritch highlighted an evening at Jardine's with a mixture of standards and Brazilian music. Backed by bassist Gerald Spaits and drummer Ray DeMarchi , the group sizzled through a set that included a medley of “Night and Day” and “One Note Samba.” Spaits and DeMarchi got to solo on “Days of Wine and Roses,” while the trio went at high speed on “Mountain Greenery.” On “The Best Is Yet to Come,” Broadway veteran Stritch “out Conicked” Harry as he closed the set with a bang. This is a major talent who should not be missed the next time around. Marilyn Maye presided over a love fest at a sold-out show at Jardine's . For many, it was the 60s again at the old Colony Steakhouse on Broadway. The only things missing were leisure suits and beehive hairdos. Johnny Carson's favorite singer didn't disappoint, with a long set that concluded with Cole Porters's “Love For Sale” in which Billy Stritch and Gerald Spaits stood out. Backed by an all-star cast that included her long-time drummer Jim Ekloff , she sang a medley of bar songs such as “Angel Eyes,” and “Teach Me Tonight,” in which Rod Fleeman excelled. She got the crowd going with “Cabaret” in which Broadway veteran Stritch stood out. After about an hour and a half, Maye exited to a standing ovation. Who says you can't go home again. Grammy-award winner Gary Burton wowed the audience at the Folly Theatre with a high-energy concert that ranged between traditional to fusion jazz. He surrounded himself with a quartet of musicians who are probably not even old enough to vote. Included were 17-year-old guitarist Julian Lage and Ukranian-born pianist Vadim Naselovskyi . They rocked on “Bags Groove” and “Gorgeous,” and showcased bassist Luques Curtis and drummer James Williams on “My Funny Valentine” and “I heard a Rhapsdy.” The audience gave them a deserved standing ovation and started counting the days unti the release of their CD in the spring. --Don Merker The Chris Burnett Quartet led the Blue Monday Jam at the Blue Room recently. Burnett is a fine alto player, with a somewhat more aggressive approach to his music than many in town. Burnett's support this evening was by Roger Wilder on piano, Seth Lee on bass and Donivan Bailey on drums. It was apparent that the band greatly enjoyed Burnett's music. All was fairly typical for a Blue Monday. Duck Warner came in and sang nice ballad. Then lightening struck, this time in the form of trombonist Tim Perryman . Perryman's energy and enthusiasm seemed to take over the room. Then, as happens often on Monday's, some most talented students from UMKC strolled in, maintaining the level for the rest of the evening. But it as Perryman's presence that stayed with me this evening. The Kansas City Jazz Orchestra , under Jim Mair's direction, had their second concert of the year at Unity Temple on the Plaza on Friday, November 12. This was a 100th birthday tribute to Count Basie, featuring former Basie drummer Harold Jones and the inimitable Clark Terry . The band played a slew of Basie hits, such as "Moten Swing", "One O'Clock Jump" (with Doug Talley taking the tenor solo), "April In Paris,” "Shiny Stockings,” featuring Stan Kessler on trumpet, "Corner Pocket,” "Vine Street Rumble" from Benny Carter's "Kansas City Suite", and "Lil' Darlin'.” Drummer Jones was the perfect addition, reminding us how important the drummer has been to the Basie sound. His solo on "Cute" was a highlight. Terry, at 84, has lost none of his perfect tone or his humor. He needed assistance to get to the high director's chair in front of the band, and when he was seated announced "the golden years suck!" which was perfect comic relief. Of course, he did his hilarious "Mumbles" routine, which he reprised later while scatting with Lisa Henry . Terry's presence may account for the inspired performance from the outstanding trumpet section of Jay Sollenberger , Bob Harvey , Steve Molloy , and Kessler; they each soloed magnificently. Talley had several fine solos, and baritone stalwart Kerry Strayer provided a "bottom" that gave the band some "umfph". Pianist Charles Williams , bassist Theo Wilson , and the guitar of Rod Fleeman completed a "Basie proud" rhythm section. This was the second KCJO concert I have attended, and both have been successes. Mark your calendar for the next KCJO concert, scheduled for April 29. --Roger Atkinson RETURN TO DECEMBER 2004/JANUARY 2005MAIN INDEX © Kansas City Jazz Ambassadors 1996-2005. All rights reserved.