BERMAN NEWSLETTER MARCH 2006

 JOE CARTWRIGHT

The Best of Kansas City Jazz Vol. 1
Lafayette Music
 
By Tom Ineck
 
After years of leading the Best of Kansas City Jazz Series in the Oak Bar at the Fairmont Kansas City, pianist Joe Cartwright had compiled some 24 hours of live, recorded music. With “The Best of Kansas City Jazz, Vol. 1,” he begins to share some of those memorable moments with those of us who were unable to attend.
 
Recorded between February and July 2004, each of the 10 tracks features a prominent KC jazz artist, with Cartwright himself confidently fronting the rhythm section with his impeccable keyboard work on all but one. For David Basse’s showcase, Lionel Hampton’s “Red Top,” the singer brought along his own outfit—pianist Oscar Williams, bassist Bryan Hicks and drummer Bill Goodwin.
 
Guitarist Rod Fleeman brings his ebullient style to “East of the Sun,” and virtuosic alto saxophonist Bobby Watson turns Charlie Parker’s “Little Suede Shoes” every which way but loose. With his soulful, urbane vocal style, Duck Warner turns Memphis Slim’s “Every Day I Have the Blues” into a sophisticated blues number. Trumpeter Stan Kessler expertly navigates Horace Silver’s difficult “Nutville” with brassy flair, taste and imagination.
 
Trombonist Paul McKee shows his warm tone and considerable technique on Bill Evans’ “Time Remembered.” Singer Sharon Thompson testifies with gospel-tinged soulfulness on “Teach Me Tonight,” which also features a bluesy solo by Cartwright. Kim Park caresses the wistful changes of “We’ll Be Together Again” with his fluent alto saxophone, and trumpeter Mike Metheny interprets Jobim’s “One Note Samba” on the EVI (electronic valve instrument). 
 
Cartwright’s authoritative presence is felt throughout this recording, but he really gets a chance to shine on John Lewis’ classic “Django,” with bassist Gerald Spaits and drummer Ray DeMarchi. A veteran of late-night KC jam sessions, he can comp and lend harmonic and rhythmic support to any occasion, but his prodigious playing talents are often understated in his role as accompanist. The alternating tempos and moods of “Django” perfectly illustrate his technical accomplishment, sensitivity, and improvisational skills.
 
When the spotlight is on the featured soloists, it’s easy to overlook the essential rhythm players who make them sound so good. Spaits provides the bass foundation on five tracks, Bob Bowman on two and Tyrone Clark on two. DeMarchi’s solid and sensitive support on drums can be heard on nine tracks.