Amid Kansas City's failure to preserve and redevelop 18th Street and Vine — a historic business district that flourished during segregation and a cradle of the jazz that put Kansas City on world maps — the Mutual Musicians Foundation has kept the beat.
Nearby, the American Jazz Museum requires a $550,000 annual subsidy from the City of Kansas City, Missouri. Ideas about the proper recognition of Buck O'Neil divide the leadership of the Negro Leagues Baseball Museum. The district's main redevelopment agency can't seem to fill storefronts or rehab the fragile, old homes in its care.
But the foundation is different.
In a former union hall for black musicians, the foundation endures as a social club, after-school program for young music students, performance space and speakeasy. At late-night jam sessions, which begin after 1 a.m. on weekends, musicians cut loose before an audience of jazz lovers, hipsters and dipsomaniacs in a tradition that dates back to 1930. "The history is very, very thick," says Brad Williams, a percussionist who sometimes performs there.
On most blocks within the 18th and Vine District, vibrancy feels either lost or manufactured. That gives an even warmer glow to the neon treble clef above the foundation's front door.
But in the past year, the pink stucco building at 1823 Highland has been visited by tribulations from which it seemed immune.
In December, the foundation's 100-odd members installed a new board of directors. Many of those members were new to the cause. In the weeks leading up to the election, a local singer suggested that the old board had allowed the foundation's legacy to be "pimped." The singer, Lisa Henry, branded Betty Crow, the foundation's secretary and driving force, a racist.
Crow is 80 years old and twice widowed. Her supporters say she is anything but prejudiced. "My God, if she were, I don't think she'd spend the considerable amount of time and money to do what's going on down there," says Mike White, a lawyer and member of the volunteer Kansas City Jazz Ambassadors. Ron McMillan, a community activist, says Crow is "heartbroken" by recent events.
McMillan, who is black, calls Crow a "godsend" and an "angel." Crow made some mistakes, McMillan says. But he's upset that she came to be cast as a villain. "I respect what Miss Betty was doing," McMillan says, "because a lot of our own folk weren't doing it."
Grace Temple, a stone church off 18th and Vine, empties its worshippers into the street. A few doors down, a different sanctuary begins to swell.
It's a Sunday afternoon in late November. Musicians and jazz supporters are gathering at the Mutual Musicians Foundation to affirm their memberships. Just a few months earlier, the number of foundation members in good standing (annual dues: $65) could fit in a small room. But in the course of the afternoon, dozens of performers and music aficionados, as well as those with only a loose connection to Kansas City jazz, will pass under the treble clef.
Wearing a fedora, black suit and polka-dot tie, Ray Reed moves between the lobby and the lounge, a room on the first floor with honey-colored wood paneling. He retrieves a copy of the foundation's bylaws for a man with a question about the proceedings. "This is the bible," Reed says. "Just like at church."
Reed was the doorman at the foundation until Betty Crow fired him in October. Though he's no longer collecting $8 cover charges late at night, Reed remains active in foundation affairs. He's part of a nominating committee that has selected candidates to run for positions on the foundation's board.
Showing 1-15 of 15
Lisa Henry is perfectly credible: http://encyclopediadramatica.com/Curtis_Got_Slapped_By_A_White_Teacher!
Even though musicians perform well together I have learned that doesn't mean they like and get along with one another. The same goes for their appreciative audiences. Racism has nothing to do with it. I have always enjoyed listening to jazz at the Foundation because that is a place that racism does not play a role. If you can play jazz well, you are welcome on stage. If not, you are asked not to join in on the jams. No hard feelings - this desired level of skill is well understood. Many of the professional musicians do teach younger musicians and when they are ready, they continue learning through the jam sessions. Betty Crow's passion is only that the jazz tradition be kept alive. She has helped many a musician without even the slightest thought about race. She had the help of others, most of whom she paid, to get the place running and supporting itself. She didn't like the emphasis on after-hours drinking but realized that the tradition of the place was music plus the nightclub atmosphere. That is why she worked so hard with the help of others to continue after hours as it always had. Her efforts here remind me of the often quoted words "No good deed goes unpunished." In spite of the disagreements, let's hope the new Board can keep the jazz alive and preserve the history of the Foundation.
Even though musicians perform well together I have learned that doesn't mean they like and get along with one another. The same goes for their appreciative audiences. Racism has nothing to do with it. I have always enjoyed listening to jazz at the Foundation because that is a place that racism does not play a role. If you can play jazz well, you are welcome on stage. If not, you are asked not to join in on the jams. No hard feelings - this desired level of skill is well understood. Many of the professional musicians do teach younger musicians and when they are ready, they continue learning through the jam sessions. Betty Crow's passion is only that the jazz tradition be kept alive. She has helped many a musician without even the slightest thought about race. She had the help of others, most of whom she paid, to get the place running and supporting itself. She didn't like the emphasis on after-hours drinking but realized that the tradition of the place was music plus the nightclub atmosphere. That is why she worked so hard with the help of others to continue after hours as it always had. Her efforts here remind me of the often quoted words "No good deed goes unpunished." In spite of the disagreements, let's hope the new Board can keep the jazz alive and preserve the history of the Foundation.
I hope they're not serious about "reassessing" 12 O'Clock Jump - its a wonderful radio show on NPR, and a credit to our city. I'd love to visit MMF on the weekends more often, but its simply not possible for health reasons. The radio show brings those of us who can't be there into that world for an hour before we wander off to sleep or back into our own lives. Just because there's trouble in slumberland isn't a reason to deprive others of enjoying the gifts it brings.
I hope they're not serious about "reassessing" 12 O'Clock Jump - its a wonderful radio show on NPR, and a credit to our city. I'd love to visit MMF on the weekends more often, but its simply not possible for health reasons. The radio show brings those of us who can't be there into that world for an hour before we wander off to sleep or back into our own lives. Just because there's trouble in slumberland isn't a reason to deprive others of enjoying the gifts it brings.
P.S. - the Anonymous comment above is mine as well. After consideration, I decided to write my entire thoughts and sign them here, rather than just leave the above as a post on this topic... If it is possible to delete, please do, if not, that's cool too... lesson learned.
This is a well written piece and fairly objective given the fact that the MMF had literally been taken from the membership by the old board of directors. I don't think that the fact that the board ignored the by-laws and took over the MMF illegally was emphasized very well here. But, that's not "high drama" enough. Personal differences (drama) between the principles in this Saga aside, there was no membership because the members were summarily and purposely excluded over a period of time by attrition. I don't think that any of the new board members have anything against any of the old board members, they just wanted the membership to be a part of the organization and it was not under the old MMF board. Lisa Henry simply stated/wrote what many MMF members were thinking and signed her name to it, rather than remain politically correct. Betty Crow did what she had to in order to keep the MMF going in some desperate times for the organization, regardless if her methods were not above board - most people don't buy into painting Betty as a villain, just someone who wanted to sidestep procedure to reach what was in her mind a positive end for the organization. There are no sides to take in this issue. The MMF belongs to everyone. Period.
P.S. - the Anonymous comment above is mine as well. After consideration, I decided to write my entire thoughts and sign them here, rather than just leave the above as a post on this topic... If it is possible to delete, please do, if not, that's cool too... lesson learned.
@HIB - Regarding your post and link to the Pitch article about the MMF: This is a well written piece and fairly objective given the fact that the MMF had literally been taken from the membership by the old board of directors. However, I don't think that the fact that the board ignored the by-laws and essentially took over the MMF illegally was emphasized very well here. But, I guess that's not "high drama" enough. I think there is a bias toward highlighting controversy here. Just my $0.02 though... Anyway... Personal differences (drama) between the principles in this Saga aside, there was no MMF membership because the members were summarily and purposely excluded over a period of time by attrition. I don't think that any of the new board members have anything against any of the old board members, we just wanted the membership to be a part of the organization and it was not under the old MMF board. I know and respect all of the old board members. They are great people and have done a lot of great work for the MMF, the music, and KC jazz. To be fair toward her, Lisa Henry simply stated/wrote what many MMF members were thinking and signed her name to it, rather than remain politically correct. And, Betty Crow simply did what she had to do in order to keep the MMF going in some desperate times for the organization, regardless if those methods were subsequently found to not be in keeping with the organization's bylaws. With that said, most people don't buy into painting Betty as a villain, just someone who perhaps thought it necessary to sidestep procedure/red tape/drama in order to reach what was in her mind a positive end for the organization. As far as the "racism" issue, I've never seen it as a platform of anyone I've interacted with on the KC scene, including Betty Crow... but, I associate with cool people. There are no sides to take in this issue. The MMF belongs to everyone. Period. I didn't even know any of that other irrelevant crap was going on and don't think all of the personal stuff is significant to the mission of the organization. That's just the way I think though... Peace, Cb Chris Burnett Musician, Composer, Proud MMF member since returning home to KC in 2001 - also a newly elected "at-large" board member of the MMF
This is a well written piece and fairly objective given the fact that the MMF had literally been taken from the membership by the old board of directors. I don't think that the fact that the board ignored the by-laws and took over the MMF illegally was emphasized very well here. But, that's not "high drama" enough. Personal differences (drama) between the principles in this Saga aside, there was no membership because the members were summarily and purposely excluded over a period of time by attrition. I don't think that any of the new board members have anything against any of the old board members, they just wanted the membership to be a part of the organization and it was not under the old MMF board. Lisa Henry simply stated/wrote what many MMF members were thinking and signed her name to it, rather than remain politically correct. Betty Crow did what she had to in order to keep the MMF going in some desperate times for the organization, regardless if her methods were not above board - most people don't buy into painting Betty as a villain, just someone who wanted to sidestep procedure to reach what was in her mind a positive end for the organization. There are no sides to take in this issue. The MMF belongs to everyone. Period.
Sounds like Lisa henry and company are interested because there is money sitting there. Only Betty Crow was interested in creating a Musical Venue with her own funds. She probably would retain her job if she would just sign over the check to lisa henry. THERE. PROBLEM SOLVED.
Sounds like Lisa henry and company are interested because there is money sitting there. Only Betty Crow was interested in creating a Musical Venue with her own funds. She probably would retain her job if she would just sign over the check to lisa henry. THERE. PROBLEM SOLVED.
like
dislike
