Dean – The audiences ARE the crucuial third leg of this stool. They have a responsibility too. Demand creates supply, right? If the audiences demand art and not cocktail music, those players in town that truly create art will thrive and the clubs will have to book ‘em to feed (and take advantage of) that demand.

KC still has one of the nation’s best pools of super good hard core jazz musicians. They are out there playing all over the place. Most of them are making more at KC clubs than they would be playing in clubs in NYC – about the worst paying jazz town in America.

I’ve always said that there is nothing wrong with jazz in KC or KC jazz. We just need more of it. Yet, KC jazz fans are very spoiled. When you can go here Carol Comer and PBT Trio and not pay a cover, you are spoiled. When you can walk in and listen to Joe Cartwright or the Sons of Brasil for a few hours and not pay a cover or minimum, you are spoiled!

Go to just about any of the major jazz spots in NYC tonight and expect to pay about $40 per set plus pay a minimum at your table. As I write this, Karrin Allyson is taking the stage at the Blue Note in Tokyo for a set price of $85! And it’s sold out!

The Phoenix went under because the owner drove it that way a piece at a time: musicians, then audience, then employees. The longer it was open, the less of a jazz club it was. Where is Ron Schoonover when we need him!

I really hope PIII will reconsider. They probably will in time. They seem to cycle that way a bit. In the meantime, if you get Ed Fenner’s Jazz Calendar, try taking in all of a week’s jazz that he lists. If you can do it, you will be exhausted by the week’s end and broke.

Go here some live KC jazz tonight!!