Anyway, I “agreed” to go to KC . . . but only if our visit would
include a pilgrimage to the grave of Charlie “Bird” Parker, arguably the
greatest jazzman of them all. A
native of Kansas City, he is buried in a cemetery in the vicinity of
Independence, MO—apparently because he proclaimed before his untimely death
that he did not want to be buried in KC itself, where the jazz community did
not really embrace his innovative bebop style until after his death.
As it turns out, Kansas City overall was a fine place to
visit. We had great barbecue at
Jack Stack’s, we visited the Nelson-Atkins Museum of Art, we had a decent pint
of Guinness at O’Dowd’s Little Dublin Irish Ale House and Pub—even the wedding
was fun!
But our weekend there ended up being centered around jazz in general and Charlie
Parker in particular, thanks in large part to the remarkable
restoration of the historic neighborhood of 18th and Vine . . . as in the
classic blues song “Goin’ to Kansas City”: Standin’ on the corner, 18th and
Vine . . . That is now the
location of a very pleasing museum dedicated to the history of jazz in KC—we spent
a happy hour or so there. (The
building that houses the Jazz Museum also houses the Negro Baseball League
Museum, but we didn’t have time to tour that . . . unfortunately, as we
understand that there is some fascinating historical crossover between jazz
history and baseball history right in that once-segregated neighborhood. We actually got a short version of that
history from the janitor at the Jazz Museum, who shared with us some engaging
stories about growing up in that neighborhood in the 1950s.)
As the couple of photos below suggest, the area around 18th and
Vine has been nicely rehabbed:
But for us, Charlie Parker was the centerpiece of our jazz tour. We were in awe of the sculpture of his head—the lips pursed as if he were blowing on a saxophone mouthpiece—that stands about a block away from the Jazz Museum:
Our feeling after visiting his grave was another story altogether. The graveyard itself was basically unmaintained—the grass had not been cut and there was not a single standing headstone: every stone was of the sort that lies flat . . . and thus most were buried in the overgrown grass. We found it sad—depressing, scandalous even—that the final resting place of arguably the most important figure in American music should be not just so nondescript but also so decrepit. We paid our respects to “Bird” (who is buried next to his mother) and left with heavy hearts.