June 2006 – “Kansas City”

Published in Worthies Magazine, June 2006

—-

Kansas City was fast like. Oklahoma City was conservative-like. Kansas City was screaming, man.  It’s way through Las Vegas. It had all that glamour. They had cathouses lined up. This was cattle center, see, and all that dough would be coming through here…Pendergast had it going. The machine. And they was for where that money was…

I didn’t know what politician meant, really and surely, but I was made to know that the machine was in and that … had a terrific influence on the town, and they had in lit up, they had the town jumpin’. This thing was wide open. That’s all. It was wide open.

-Bernard “Step-Buddy” Anderson, trumpeter and pianist

The Set-Up

Events and trends begin, usually unnoticed and unintentionally. For Kansas City, the era began years before with the establishment of a major political machine created by Tom Pendergast. From 1900 thru the 50’s the organization dominated politics and held nearly absolute power from 1926 – 1936.

Pendergast had no interest in the African-American population or in music, but his power influenced all that touched his domain. Favors began from the bottom upward. When someone new moved in, local precinct captains would approach with getting utilities and other necessities installed, jobs would become available if needed and if poor, clothing, food, etc., would be furnished. All in confirmation to properly register the voters. Welfare would be virtually run via the party. The poor – African American, Italian immigrant, were the basis of his support. Usually getting needed items when most desperate. Always from the bottom up, through the ward.

He knew when to make alliances, where needed.  In 1926, Johnny Lazia gained power by kidnapping members of his opposition’s staff on Election Day.  With a voting block of approximately six thousand, the deal with Tom Pendergast gave Lazia control of the police and free reign with the rackets. Pendergast got a percentage of gambling revenue and promises of a controlled and restricted districts. Greed was Tom’s down fall with a gambling addiction and by over reaching his influence with the use of more and more outward violence. 1939 was the year of final indictment, but the machine held power, even lightly, into the 1960’s.

The Foundation

The undercurrents of a future Jazz center started with the Midwest circuit. To get bookings and to achieve the level of vaudeville or any show, agents were needed.  On this route, the Theatre Owners Booking Association (TOBA) was primary and one of their last stops was Kansas City. As the end of the tour, musicians would look for new jobs here as they were stranded. “Count” Basis was one of them.

The basics for learning depends on such factors as desire, natural talent, discipline etc.

It also depends a lot on your teachers. The times and inspirations of the day should also be taken into account. The 1900’s – 1920’s included the writings and works of Carver, Dubois, Washington and the Harlem Renaissance. In the 1930’s you had the WPA and their funded bands. These were the building blocks, which were built upon the lives of others. In Kansas City the teachers included Major N. Clark Smith, William L. Dawson and Charles Watts.

“There was only one high school for blacks on Kansas City, and one music teacher  “if you didn’t do it, he’d  (Dawson) hit you on the hand…He was a son-of-a-gun but he knew music. He was the only man I ever heard play a duet on the Trombone.” “Dude” Lankford. Drums. Played with Benny Moten 1917-1922

In the ROTC classes there was Sergeant Smith who also hit one on the head for not hitting the right note.

For pre-high school years there was the Charles T. Watts Conservatory of Music, held in his private home. He was also the Supervisor of music for all the African-American students.

The Style

The style/sound Kansas City was most noted for was swing. This was affected by the changes that occurred in the rhythm and riffs. In this style, according to some musicians, the rhythm section was free. The better this section, the better the band. Without amplifiers back then, the piano, guitars and drum had to be loud, but no one should overwhelm the others. While playing dance music for that’s where the money and demand was, instrumentalists were able to develop new ideas and concepts thru the riffs. Played beneath the soloist, the riff had a strong background and a strong rhythm section.

Regarding jam sessions, the best way to understand is to listen to some of the words of the musicians: Mary Lou Williams, “You improvise and I’ve heard arrangements that were sensational; an arranger couldn’t do as good.  There was quite a bit of love (in Kansas city).”

“We didn’t have radio or television to interrupt us.” “There’s a fusion of all those ideas together (from other states) and over a period of years and a period of sessions it became obvious as the Kansas City style.” -William Saunders.

”Kansas City is the only place where the musicians want to battle each other with all guns blazing.” -Gene Ramey 

“I’ve seen Big (Walter) Page… play so log one night…(that) his bass just crumbled, looked like tooth picks” –Herman Walter

The biggest bands to come out of Kansas were The Bennie Motten, Count Basie and Jay McShann Orchestras. Bennie Motten died accidentally during a basic procedure in 1935. The finals records were in Camden, New Jersey two and half years before his death, at the beginning of his most artistic period.

The great innovators of Kansas City form were Buster Smith, Lester Young and Charlie Parker. WWII began the decline of this city’s jazz prominence along with civic reform. Later, musicians went to but didn’t stay while some of the old-timers made it there permanent home. No longer the popular dance music, jazz became the entranced for smaller audiences.

“That left with WWII. Nightclubs in their lavishness left because of World War II…There was a break down in all bands at that time… They were just falling apart, and any excuse is as good as another as to why things like that actually happen.” – Buddy Anderson, trumpet and Piano

HAPPENINGS –

Don’t forget – Mount Vernon’s Simmer Breeze Concerts: from June’s end and till August. Call 665-2420

The Village Vanguard has the Uri Caine trio from June 6th –11th. From June 13th – 18th Guillermo Klien  appears. June 20th to 25th has Lewis Nash Quintet

And the Paul Motian Band from June 27th to July 2nd

The Emelin Theatre (914) 698-0098 in Mamaroneck has variety of film and shows and a casting call.

The Temptations are at The Paramount Center for the Arts in Peekskill (914) 736-9674 on June 24th. Also Tom Jones on June 28th.