Earlier this year, NPR named Richardson's album Shift one of the 50 best albums of the year - not just among jazz albums, but all albums (a list that included David Bowie, Beyonce and Sturgill Simpson). She was thinking about programming more blues acts, for example.Īnd scheduling the festival's third day -headlined by Kansas City native Oleta Adams - in direct competition with the beloved tradition of a free Kansas City Symphony performance with fireworks at Union Station, may need to be re-thought, given what had to have been disappointing attendance on Sunday night.Įarlier that day, rising saxophonist Logan Richardson and his band played an astounding set for perhaps a couple hundred people. In an informal conversation with reporters early Saturday evening as the day's worrisome thunderstorms gave way to gorgeous evening, Kositany-Buckner said she expected the festival to break even this year, and that organizers would debrief afterwards. Kositany-Buckner knew there would be lessons learned from this first, ambitious effort, one that had a rocky rollout. So it was disappointing to see the talented artists playing for non-existent crowds in front of the KC Showcase Stage stage at 18th and Highland (especially on Sunday afternoon, when 18th Street was inexplicably empty of all the arts, crafts and snack vendors who'd filled the space between the American Jazz Museum and the Gem Theater on Friday and Saturday). Throughout the weekend, however, it was those national acts who drew the most lawn chairs. KCUR 89.3 Carlitos Del Puerto, bass player for pianist Chick Corea, appeared to be enjoying their headlining set on Friday evening. Kositany-Buckner was also adamant about giving Kansas City talent equal billing to national acts like Chick Corea, Lalah Hathaway, and Brandy. Putting the main stages on Paseo was the idea of Cheptoo Kositany-Buckner, who took over as director of the American Jazz Museum last year. Watching Bobby Watson's brilliant improvisations with his band Horizon while the sun set behind the colonnaded brick Guadalupe Center's High School, it was easy to have a renewed sense of the neighborhood's promise (especially with Major League Baseball's new Urban Youth Academy under construction on the other side of the street). Vendors sold adult beverages out of another tent, while (most of the) food trucks parked on Paseo did a steady business. Tall trees made picturesque backdrops, and the grassy lawn more than accommodated everyone's folding chairs and blankets, along with tents for the sound guys. The genius of this festival was to put its two main stages outside at both ends of a large median in Paseo Boulevard just north of 18th Street. Those using these images and texts assume all responsibility for questions of copyright and privacy that may arise.KCUR 89.3 Kansas City jazz singer Queen Bey thanked people for coming out to hear music she said was 'almost dead.' All images must be properly credited to: "Missouri Valley Special Collections, Kansas City Public Library, Kansas City, Missouri." Images and texts may be reproduced without prior permission only for purposes of temporary, private study, scholarship, or research. Please order prints or digital files and pay use fees through this website. Reproduction (printing, downloading, or copying) of images from Kansas City Public Library requires permission and payment for the following uses, whether digital or print: publication reproduction of multiple copies personal, non-educational purposes and advertising or commercial purposes. You may come to the Missouri Valley Room to view it or request a photocopy from the Library's Document Delivery service. The inaugural event was held April 26, 1964, at Municipal Auditorium. This installment describes the 1960s festivals, including the organizers, musicians and other participants. Part one of a series of articles documenting the history of the Kansas City Jazz Festival. Remembering the Kansas City Jazz Festival, Part One: The 1960s
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