Around Hear

Lee's Summit-born guitar hero Pat Metheny, touring with a trio for the first time in seven years (he's on the road in support of his 26th album, Trio '99-'00), might not recognize the Folly Theatre when he enters the venerable building on Tuesday, October 10. After closing for the summer to undergo a $2 million renovation, the Folly reopened in style on September 23 -- its 100th birthday -- with a performance by tap-dancing legend Gregory Hines. The venue's carpeting and upholstery now sport warm colors instead of dingy green, and the intricate decorative sculptures on the walls, which had been done a disservice by the previous single-color scheme, now stand out in all their glorious detail after having been highlighted in gold trim. In addition to its redone roof, the Folly also boasts a new spacious lobby, new curtains, and a new stage floor.

The turn-of-the-century building had nearly become a parking lot. Executive director Douglas Tatum notes that it was slated for demolition in the late '30s and mid-'70s. But downtown commuters' loss was classical- and jazz-music-lovers' gain; the onetime burlesque joint kept the dynamite at bay on both occasions to remain what Tatum describes as "one of Kansas City's great success stories." However, it needed more than cosmetic changes to remain a relevant entity and not merely a monument to persistence and past glory, and the Folly received some sorely needed behind-the-scenes assistance with state-of-the-art lighting and sound systems. Metheny, bassist Larry Grenadier, and drummer Bill Stewart will be the first to benefit, but their show, a coproduction between Grand Emporium guru Roger Naber and Avalanche Productions, doesn't mark the true start to the Folly's jazz series. In keeping with the centennial theme, the Folly plans to present a yearlong educational overview of various styles of jazz, ranging from ragtime to jelly roll to the hot jazz of the roaring '20s to a nod to Kansas City's swing scene (starring Jay McShann) to be-bop, post-bop, and contemporary sounds.

Booty Calls
Nelly's "Country Grammar" might have surpassed Juvenile's "Back That Azz Up" as the jam that sets clubgoers in motion, but that doesn't mean pairing bouncy beats with lyrical odes to the rump has gone out of style. Cuts such as the Players Association's "Booty's Off Da Wall" are guaranteed to hype up any party, and for visual proof, look no further than the single's video, which was filmed at the Lawrence club Tremors. While amazingly endowed dancers shake their groove thangs, rappers ATL (the Money Maker), LOC, and Scole'on urge Girls/strip down to your panties and bras. It's a bit racy, but ATL, president of Kansas City, Kansas-based label Money Making Records, takes pride in the fact that the Players' songs are profanity-free and radio-friendly. He's also justifiably pleased with the tune's inescapable keyboard-laced beat, which he crafted in his 24-track all-digital studio.

"I did the beat late at night," he says. "Sometimes they just come like that. You can sit back and try to put a song together, but when they come to you, that's when you know they're hot. We haven't had any problems with this song not being hot." Houston, Memphis, and Atlanta have been warming up to "Booty's," with Dirty South hip-hop heads feeling the track's laid-back flavor as well as the lyricists' drawls. Records have also been moving at a steady pace in St. Louis and both Kansas Cities, but don't look for booties to be bouncing off the wall of local venues while the group stands on stage. The Players Association still feels skittish about local shows after having participated in the May Day Beach Concert, which was canceled (partly because of a bottle-throwing incident) before headliners, such as Nelly, took the stage. However, those willing to travel to see the Players play can catch them at the Expo Center in Rock Island, Illinois, October 14 on a bill with southern hip-hop heavyweights J.T. Money, Three-Six Mafia, and Miracle.

Swing Dance with the Devil by the Pale Moon Light
While the groups that scored 15 minutes of fame during swing's most recent brush with mainstream slink back into sweaty clubs to play for their faithful, life goes on as usual for the vintage acts that weren't called into the spotlight. "We used to do a lot of swing-night things, but now they don't do those anymore," says Robert Wood, soprano/alto clarinet player for Jeffrey Lee and the Pale Moon Kings. "That just means we have to be a bit more assertive on our end to get the gigs. You can't just let a fad control your booking."

Besides, as the Kings' debut CD, Ghees, Muzzlers, and Copperhearted Rats, proves, straightforward swing is just one part of the group's arsenal. In fact, its best tunes are slow, smoldering blues numbers and high-powered jump-blues ditties.

Wood, who handles the band's booking, says having to account for eight members has caused him some anxiety. However, all the Kings' men likely have cleared their schedules for the crew's CD release party at the Replay Lounge on Thursday, October 5, and for its next gig at the Jazzhaus on Friday, October 13.