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October 2009.Pmd “The Rest of the Story” by Ahmad Alaadeen, offers music instruction and jazz history. New book tells "The Rest of the Story" ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Grace Sankey-Berman ○○○○○○○○○○○○○○○○○○○○○○○○○ KANSAS CITY, Mo.—Ahmad Photo by Grace Sankey-Berman Alaadeen has written a jazz instruction October 2009 manual called “The Rest of The Story,” Vol. 14, Number 4 which the Berman Music Foundation helped to publish. It is a collection of music and lessons the Kansas City saxophonist compiled over many years, with fascinating stories about his music In this issue career. On Aug. 2, I attended a book- Ahmad Alaadeen and Fanny at book- signing event at the Musician Mutual signing in Kansas City BMF history documented...................3 Institute. Lincoln Center Jazz review.................4 It was also a celebration of sic from an early age, but said that he Alaadeen’s 75th birthday. A cross sec- could not have published this book with- John Kay & Steppenwolf review.............5 tion of the Kansas City arts community out the persistence of his long-time part- Andrea Marcovicci review......................6 was in attendance, including Stan ner and manager, Fanny. His face lit up Wycliffe Gordon review......................7 Kessler of the Sons of Brasil and when he spoke of Fanny, whom he re- Mulgrew Miller Trio review................8 Sharon Valleau of Kansas City fers to in his book as “the heartbeat Barbeque and All That Jazz, which pro- next to mine.” Mark Eisenman Quintet review............9 vides hospitality services for visitors He also credits her for saving his Les Paul memorial.............................10 who want to combine the food and the life. He had met Fanny after a gig when Johnny Smith birthday tribute............11 music that have made this city famous. she asked him if he could introduce her Tomfoolery: Trip to Toronto.............12 As I walked into the room, to someone who could teach her how Alaadeen was sitting at the back of the to play the saxophone. He volunteered Jazz on Disc reviews.......................14 music room with his saxophone sitting to be her teacher and they’ve been to- Jazz Essentials, Part 1..........................17 on a stand next to him. He was dressed gether ever since. At that time he was Feedback: Letters to the Editor............19 to the nines—black suit, gold tie and sick and wouldn’t go to the doctor, but handkerchief and a fedora hat. His ap- Fanny insisted that he go. The news From the Photo Archives....................20 pearance was very distinguished and was not good. When he finally got to the whole atmosphere of the room re- the doctor, he found out he had bladder minded me an old jazz club. cancer. She helped to nurse him back Alaadeen credits his family for pushing him to write and practice mu- Book-signing continued on page 2 Page 2 Berman Music Foundation Jazz ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Book-signing continued from page 1 His earlier influences include McShann in Kansas City. Over the Charlie “Bird” Parker, John Coltrane years he played in Chicago, Houston, to health. and Miles Davis. He first met Bird in New York, Denver and San Antonio. His goal for writing a jazz manual 1951 at a night club in Kansas City. He While living in Chicago he became a is to encourage upcoming jazz musi- said the alto saxophone master was a Muslim, which he credits for changing cians to play from the heart and to be big guy who could play any song with his life. He even had a chance to play more creative. Most of them train at any band without practice. That night with Miles but turned it down because “jazz factories” where they learn to play Bird played with Woody Herman and of his new-found religion. technically well but, he asked, “Where when Woody asked Bird about what A great band consisting of some is the beef?” The music usually lacks songs they should play he replied, of Alaadeen’s students and Roger feeling, he said. Yet, he remains excited “Whatever you want to play.” And they Wilder on piano played throughout the about the future of jazz because of the went on to play great music. evening. Alaadeen sat in with the band many young musicians—like former Alaadeen plays tenor and soprano and played two songs from his 2005 Alaadeen apprentice Logan Richard, a saxophones, but alto mastered the flute, “New Africa Suite” CD. The band con- senior at the Paseo Academy of Visual clarinet and oboe. He was overjoyed tinued to play with various KC musi- and performing Arts—who are produc- to play with old-timers like Ella cians sitting in while Alaadeen ing great jazz. Fitzgerald, Billy Holiday, Rufus, and Jay autographed books. Alaadeen book combines instruction and jazz history ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Ahmad Alaadeen’s skill as an edu- 1950s. Like his lectures, it includes per- Musicians Union Local 627, the Orchid cator has been acknowledged by the sonal philosophy and an insider’s glimpse Room, and Miles Davis. Berman Music Foundation at least since of some of the greats. He modestly As fellow Kansas City saxophon- December 1998, when the BMF claims to be a “street musician or one ist and educator Bobby Watson writes brought the renowned saxophonist from who learned from the oral tradition by in his testimonial blurb: “With this book, his home in Kansas City to conduct a listening to the musicians on the street, Alaadeen has opened the door to the series of workshops at the University asking questions, going to jam sessions, complex mind of the jazz musician. The of Nebraska-Lincoln School of Music. and experimenting through trial and er- information inside this book is extremely You can read my account of that ror,” but he also received formal train- personal and informative at the same appearance in the January 1999 issue ing at R.T. Coles High School, where time. It is very specific but still leaves of the BMF newsletter. It was part per- he studied music four hours a day. room for the user to discover for them- sonal jazz history and part demonstra- Alaadeen stresses the importance selves their own paths to self expres- tion of jazz style, with pianist Tom of an individual sound, a sound that is sion using the information provided.” Larson and bassist Rusty White accom- impossible to achieve by acquiring aca- For more information or to obtain panying Alaadeen, who also proved a demic technique alone. The book of- a copy of “The Rest of the Story,” con- witty storyteller. fers many tips on how to reach that tact Fandeen Publishing Company at Noting that “jazz has been el- unique sound, that personal identity. 6610 W. 67th St., Overland Park, KS evated to America’s classical music,” “I’m a firm believer in the rule of 66202 or visit www.alaadeen.com. he related his own less dignified intro- discovery,” he writes. “I never give my Recommended listening: duction to the music. He said his par- serious students a complete outline of • “And the Beauty of It All: Bal- ents and their generation thought you what they should be playing as a solo- lads,” Alaadeen, ASR Records (2007) would go to hell if you listened to jazz. ist. I only give examples of what I was • “New Africa Suite,” Alaadeen, “Well, welcome to hell,” Alaadeen taught or other harmonies or chord for- ASR Records (2005) deadpanned. mations that I discovered by extending • “Time Through the Ages,” His new book, “The Rest of the my mind past what was given to me.” Ahmad Alaadeen, ASR Records (1997) Story: Jazz Improvisation and History,” The book ends with a series of • “Plays Blues for R.C. and vignettes and historic photographs fea- combines instruction for advanced stu- Josephine, Too” Alaadeen and the turing Jay McShann, Miss Brown’s af- dents and a fascinating view of Kan- Deans of Swing (1995) sas City jazz in the 1930s, 1940s and ter-hours club, R.T. Coles High School, October 2009 Page 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ BMF history documented online “No negative thinking can be allowed, if our jazz garden is going to continue to bloom. If everyone is aware of how cool this really can be, it will be a gasser.” -- Butch Berman, BMF newsletter, November 1995 The BMF Newsletter is published online at: By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ www.bermanmusicfoundation.org The offices and museum of The Berman Music Foundation Thus wrote Butch Berman in his are in the Skylight Gallery, The first contribution to the BMF newslet- Burkholder Project, 719 P St., ter. He was addressing the need for Lincoln, NE 68508. community support of live music, espe- cially jazz, but he also was expressing Editor and Designer: Tom Ineck the hope that this publication would make a difference. With the latest develop- Contributing writerswriters: Dan ments, we are trying to ensure that his Demuth, Tom Ineck and Grace vision for the BMF remains alive. Sankey-Berman All available issues of the BMF Photographers: Dan newsletter—65, at last count—are BMF newsletters from October 1995 Demuth, Tom Ineck, Grace now online in PDF format. For the first (left) and July 2009 Sankey-Berman, Claus Weidner time since the foundation was formed and others (Courtesy Photos in the spring of 1995, website visitors listing of upcoming local performances, and File Photos) can peruse its entire documented his- brief CD reviews and editorial columns. For inclusion of any jazz or tory. Artist interviews, features on re- The design became more attractive, blues related events, letters to cording sessions, concert and CD re- going from two columns to three and the editor or suggested articles, views, travel stories, original photo- adding more original photos, eventually mail them to the office, phone graphs and commentary of every sort in full color.
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