• Submitted by: manso
• Arts and Culture
• 09 / 13 / 2010

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The gulf between pre-revolution Cuba and present day Kansas City, Kan., may seem impossibly wide, but the Kansas City Jazz Orchestra managed to bridge the expanse in a transportive concert Friday at Kansas City Kansas Community College. An audience of approximately 250 was treated to the stirring sounds and sultry ambiance of a bygone time and place.

Billed as Hot Latin Nights, the performance featured big band versions of Latin jazz standards. Only outsiders unfamiliar with the caliber of the orchestra’s musicians would question their ability to effectively interpret material by the likes of Perez Prado and Tito Puente. Several of Kansas City’s premier jazz musicians are members of the orchestra. Most of the ensemble’s 18 members repeatedly demonstrated artistic fluency and distinctive individual voices.

Kerry Strayer set a high standard on the first solo of the night, a burly but eloquent statement on baritone saxophone. Trumpeter Bob Harvey let off steam with a terrific solo on a charging rendition of “Take the ‘A’ Train.” Trombonist Earlie Braggs offered a brief but masterful affirmation during “The Tiger of San Pedro.”

The four-man trumpet section shone as they played in unison during a preposterously speedy introduction to “Cherokee.” Each man’s subsequent solo was no less impressive than the technical achievement represented by their coordinated effort. David Chael and Doug Talley similarly offered a spectacular twin saxophone attack on “A Lo Tristano.” Jim Mair’s daring alto saxophone contribution to “Song for My Father” showed that he’s far more than the genial artistic director and conductor of the orchestra.

Among the evening’s most valuable players were the members of the understated rhythm section. Rod Fleeman is one the world’s most estimable jazz guitarists. His flawless work shimmered. Bassist James Albright made consistently fascinating melodic choices while working in tandem with drummer Tim Cambron.

One of the drawbacks of the big band format is that the listener is inevitably left wanting to hear more from individual members. Pianist Charles Williams seemed especially underutilized. Although the acoustics in the college’s Performing Arts Center are outstanding, Williams’ efforts were too often overwhelmed by his colleagues. His thoughtful work was captivating during the few opportunities he had to stretch out.

The orchestra’s sensitive chemistry was altered by the addition of featured guest artists Miguel DeLeon and Patrick Alonzo Conway on several selections. “Oye Como Va,” the first piece they performed with the orchestra, was a disjointed mess.

And DeLeon seemed intent on completing a checklist of cliches on a desultory reading of the woefully out-of-place “The Girl from Ipanema.” Yet DeLeon’s rambunctious drumming adroitly propelled the band on vigorous readings of “Cubauza” and “Take Five.” The presence of spirited dancers Louis Bar and Laura Cantu also accentuated the evening. They were transformed into a sensual blur of intertwined limbs during “Kiss of Fire.”

Opportunities to experience the thrill of a professional big band is increasingly rare, an unfortunate trend that makes the Kansas City Jazz Orchestra’s performances all the more rewarding.

And while many in attendance could recall a time when big bands were synonymous with popular music, a few of the audience’s most visceral reactions came from younger people startled by the orchestra’s potent punch.

The concert, a fundraiser for the college’s Jazz Student Scholarship Fund, featured light hors d’oeuvres, an engaging question-and-answer session with musicians and dancers, and an enchanting opening performance by Tango Lorca. More than just thoughtful flourishes, these additions reflected the extraordinary effort and attention to detail that’s echoed in every note played by the Kansas City Jazz Orchestra. Posted on Sun, Sep. 12, 2010 10:15 PM

By BILL BROWNLEE
Special to The Star

Source: http://www.kansascity.com/2010/09/12/2218103/kansas-city-jazz-orchestra-...