JAM Magazine: October/November 1997 Issue: First Take

by Mike Metheny
JAM Editor

The Lone Whiner Whines Again!
In recent months, the Kansas City Star's Classical Music Editor, Scott Cantrell, has resumed his role as Biased Whiner Célèbre. We mention this here because Kansas City Symphony Music Director William McGlaughlin -- the object of Cantrell's vendetta ad nauseam, now in its 85th year -- has not only been a major asset to the city's classical music scene since 1986, but a staunch advocate of local jazz artists as well. With McGlaughlin's announced departure from the Symphony at the end of 1997-98 a matter of public record, we're wondering what the purpose of this continued carping could possibly be. (Ah!... a paycheck!). He's leaving, Scott. Con sordino, per piacere.

A Pub Crawl Moment
Should a nationally known jazz writer who also promotes himself as a player have enough respect for the music he critiques to not perform in public if unable to do justice to said music? That's the question that came to mind after checking out one of the bandleaders at the annual Jazz Lover's Pub Crawl last June. Outside of seeing an "action photo" next to a byline or two over the years (imaginary caption: "hey cats and chicks, I'm a musician, too!"), I had no first-hand knowledge of the musical prowess (or lack thereof) of the critic/player in question. So, I was curious, especially in the wake of a mixed review in Jazz Times of an obscure '96 release of mine that came and went in a heartbeat. Long story short: of all the world's jazz critics who are sometimes compelled to sacrifice credibility by revealing themselves as stiff and corny saxophonists, one of the best honks and hobnobs right here in the heartland. Bravo!

In this issue...
What do (deep breath): Lester Bowie, the Tonight Show All-Stars, Bobby Watson, Kenny Barron, Eddie Daniels, James Williams, Harold Mabern, Mulgrew Miller, Geoff Keezer, Charlie Haden, J.J. Johnson, the Count Basie Orchestra, Abbey Lincoln, Buster Williams, Poncho Sanchez, the Newport Festival All-Stars, Slide Hampton, Clark Terry, Joshua Redman, Louie Bellson, Ray Brown, Steve Turre, the Smithsonian Jazz Masterworks Orchestra, the Dirty Dozen, George Shearing, Terence Blanchard, the Yellowjackets, Kenny Burrell, Sonny Rollins and the Vanguard Jazz Orchestra have in common? The same thing (another deep breath) Chick Corea, Gary Burton, Roy Haynes, Don Byron, Jay McShann, Claude "Fiddler" Williams, Harry "Sweets" Edison, Harold Ashby, Joe Henderson, Marian McPartland and the Preservation Hall Jazz Band will have in common following the 1997-98 "12th Street Series" at the Folly Theater. All will have appeared on the Folly stage by virtue of the initiative of the theater's Executive Director, Doug Tatum. Doug is a regular JAM contributor, but this time we thought it timely and fitting to feature him in a cover-story "Q&A." No doubt about it, when it comes to bringing great jazz to Kansas City, Doug Tatum has been a saint.

This plus an introduction to Joseph Hall, host of KKFI's Tuesday "Jazz Workshop," a "Club Profile" of 210 at Fedora, reviews of new CDs by Interstring and Kevin Mahogany, and all the latest "News & Notes" about jazz in and around Kansas City.

THOUGHT FOR THE DAY
"I have found through my experiences that critics know what you're thinking or trying to portray as much as a baby in Afghanistan would understand when you speak English." -- Dizzy Gillespie

RETURN TO OCTOBER/NOVEMBER 1997 MAIN INDEX

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






	Search our site:		by Mike Metheny JAM Editor The Lone Whiner Whines Again! In recent months, the Kansas City Star's Classical Music Editor, Scott Cantrell, has resumed his role as Biased Whiner Célèbre. We mention this here because Kansas City Symphony Music Director William McGlaughlin -- the object of Cantrell's vendetta ad nauseam, now in its 85th year -- has not only been a major asset to the city's classical music scene since 1986, but a staunch advocate of local jazz artists as well. With McGlaughlin's announced departure from the Symphony at the end of 1997-98 a matter of public record, we're wondering what the purpose of this continued carping could possibly be. (Ah!... a paycheck!). He's leaving, Scott. Con sordino, per piacere. A Pub Crawl Moment Should a nationally known jazz writer who also promotes himself as a player have enough respect for the music he critiques to not perform in public if unable to do justice to said music? That's the question that came to mind after checking out one of the bandleaders at the annual Jazz Lover's Pub Crawl last June. Outside of seeing an "action photo" next to a byline or two over the years (imaginary caption: "hey cats and chicks, I'm a musician, too!"), I had no first-hand knowledge of the musical prowess (or lack thereof) of the critic/player in question. So, I was curious, especially in the wake of a mixed review in Jazz Times of an obscure '96 release of mine that came and went in a heartbeat. Long story short: of all the world's jazz critics who are sometimes compelled to sacrifice credibility by revealing themselves as stiff and corny saxophonists, one of the best honks and hobnobs right here in the heartland. Bravo! In this issue... What do (deep breath): Lester Bowie, the Tonight Show All-Stars, Bobby Watson, Kenny Barron, Eddie Daniels, James Williams, Harold Mabern, Mulgrew Miller, Geoff Keezer, Charlie Haden, J.J. Johnson, the Count Basie Orchestra, Abbey Lincoln, Buster Williams, Poncho Sanchez, the Newport Festival All-Stars, Slide Hampton, Clark Terry, Joshua Redman, Louie Bellson, Ray Brown, Steve Turre, the Smithsonian Jazz Masterworks Orchestra, the Dirty Dozen, George Shearing, Terence Blanchard, the Yellowjackets, Kenny Burrell, Sonny Rollins and the Vanguard Jazz Orchestra have in common? The same thing (another deep breath) Chick Corea, Gary Burton, Roy Haynes, Don Byron, Jay McShann, Claude "Fiddler" Williams, Harry "Sweets" Edison, Harold Ashby, Joe Henderson, Marian McPartland and the Preservation Hall Jazz Band will have in common following the 1997-98 "12th Street Series" at the Folly Theater. All will have appeared on the Folly stage by virtue of the initiative of the theater's Executive Director, Doug Tatum. Doug is a regular JAM contributor, but this time we thought it timely and fitting to feature him in a cover-story "Q&A." No doubt about it, when it comes to bringing great jazz to Kansas City, Doug Tatum has been a saint. This plus an introduction to Joseph Hall, host of KKFI's Tuesday "Jazz Workshop," a "Club Profile" of 210 at Fedora, reviews of new CDs by Interstring and Kevin Mahogany, and all the latest "News & Notes" about jazz in and around Kansas City. THOUGHT FOR THE DAY "I have found through my experiences that critics know what you're thinking or trying to portray as much as a baby in Afghanistan would understand when you speak English." -- Dizzy Gillespie RETURN TO OCTOBER/NOVEMBER 1997 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.