Horn Section

In a stunning conflagration of mellow jazz and bright bebop energy, Kansas City's finest musical talent dazzled a nearly packed house at the historic Gem Theater at 18th and Vine on Sunday evening, April 22. Many audience members - who may have entered the theater considering themselves cool and in control - were eventually overwhelmed by the radiant heat of the performances, and could barely quit clapping rhythm and dancing in their seats even between songs.

"Kansas City Jazz: From Ragtime to Bebop," a benefit for the Bridge Home for Children (http://www.bhfc.org/), was the sixth annual presentation of the Jazz Cabaret by the Plaza Rotary Foundation, a branch of the Kansas City Plaza Rotary Club (http://kcplazarotary.org/index.html). President Will Hodgkinson, who also teaches English at MCC - PV, introduced the event.

"The Plaza Rotary club does an outstanding job providing funds for mom and pop organizations, like the Bridge Home for Children, operated by Beverly and Jessie Watson," said Hodgkinson.

"It is terrific that the we can produce a quality event like the Jazz Cabaret and put the proceeds from the event in the hands of the people who need it most."

Beth Paulson and Whitney Merriweather from the Bridge thanked corporate and individual sponsors, then Master of Ceremonies Tim Whitmer, Kansas City's "maestro for all seasons," showcased the performers, all-stars of rich local jazz tradition.

"We're all happy to be here, because this is right where most of us were brought up making music, right here around 18th and Vine," said Whitmer. "We've all spent many, many hours here; this is where it all began."

Tim Whitmer

Vintage photos of Kansas City jazz venues and performers alternated continuously on a large screen at the back of the stage, and Chuck Haddix, local music historian, provided interesting details of the times during breaks. He said that while jazz actually began in New Orleans, it migrated north by railroad and came of age during the 1930s and '40s in New York and Kansas City.

"In the days of public segregation, 18th and Vine was a self-contained community, the heart and soul of the African community," said Haddix. "This is where Kansas City's distinctive jazz style evolved." He said that on the way from ragtime to bebop, Kansas City spawned swing, and a style of blues that ultimately led to the more contemporary devil's music known as rock 'n' roll.

Incredible as it may seem now, at that time, our town was referred to as "the Paris of the Plains." One entertainment critic urged readers to forget the real Paris anyway, writing, "if you want to see some sin, go to Kansas City...[home of] the greatest sin industry in the world." Haddix said he often thinks of Kansas City as an old woman of ill-repute who'd prefer not to talk about her past.

Chuck Haddix

Kansas City's red light district began appropriately at 14th Street, just across from City Hall. The all-night, wide-open entertainment made Kansas City a national attraction, and Haddix said that many of the same people who flourished on 12th Street in Kansas City later went west to start up a bigger idea called Las Vegas.

With Whitmer at the piano, the Cabaret ensemble fired up promptly with "Moten Swing." Jurgen Welge beat on things, James Albright plucked bass, and Rod Fleeman tripped on the guitar, while Carl Bender and Nick Rowland blew saxophones.

Trumpeter Stan Kessler was master arranger, and though there had only been time for one rehearsal, there was never a dull improvisation. When the vocal pickup went dead for bassist Lucky Wesley during "St. James Infirmary," Kessler adroitly managed to hold a live mic for the crooning Wesley with one hand, simultaneously using the other to fashion superb horn breaks on his own.

Wesley is still leader of Kansas City's oldest jazz band, The Scamps, which he started in 1932.

During a commercial break on an old radio show, an announcer once asked Count Basie the title of the song he and his band were about to play, and Basie replied "Blueballs." The announcer couldn't bring himself to say that, so Basie looked at the clock and told him to call the song "One O'Clock Jump," which is still what nice people call it today.

Myra Taylor

Suave pianist Bram Wijnands took over the keys for a few numbers, and outstanding vocalist Millie Edwards signed in with "Won't You Come Over to My House," before sticking around for some brilliant accompaniment to the incomparable Myra Taylor.

Taylor, a true veteran of Kansas City blues and jazz, was brought out in a wheelchair and lost no time stealing the show. She belted out "I Don't Want to Set the World on Fire," and "Spider and the Fly," more like she was barely being contained by the chair than confined to it. Proving she still has plenty of vocal and comedic chops, Taylor added a dead-on imitation of her old friend Louis Armstrong, complete with a hanky facial wipe and big smile.

Taylor even did some in-chair foot-shaking with Lonnie McFadden, who followed with an elegant tap routine to the tune of "I've Got Rhythm," much like his father, Kansas City dance legend Smilin' Jimmy McFadden, might have done.

McFadden and Taylor

The Most Sartorial Splendor Award unquestionably should have gone to Lester "Duck" Warner on trombone, who also vocalized for a couple numbers. "Ducked" out in a magnificent suit of white with tails, the very tall Warner stood up and stood out for a vigorous "Shake Rattle & Roll," and "Every Day I Have the Blues."

Everyone joined in a rousing "Goin' to Kansas City" finale, there was a resounding standing ovation, and then it was over, too soon. Friendly young residents of the Bridge Home stood in the aisles during the bittersweet exodus, sincerely thanking and chatting with donors passing by.

MCC - PV jazz teacher Clarence Smith attended, along with several of his students. "I thought it was representative of the true Kansas City sound of the '30s and '40s," said Smith. "Myra Taylor was outstanding and Chuck Haddix's brief comments provided the perfect glue between performances."

He said his students were "very impressed with the entire venue, show and atmosphere. They certainly were able to relate to the music because we are currently studying about jazz history in Music Appreciation."

The donation for admission this year was merely $60, well worth that and more, not only for the tasty slice of Kansas City's past, but for helping build Kansas City's future at the Bridge Home for Children.

Start saving for next year, and once in a while think about walking on the sunny side of the street, Pete.

Copyright 2007 Metropolitan Community College