BOBBY WATSON sits among the pantheon of present-day jazz greats. Born in Lawrence, Kan., his career now spans more than four decades. A multi-GRAMMY®-nominated saxophonist, composer, bandleader, educator and producer, Watson trained formally at the University of Miami and then, from 1977-1981, earned his “doctorate” as musical director of Art Blakey’s Jazz Messengers. During his four-plus years with the legendary drummer, the saxophonist contributed to 14 Jazz Messengers recordings — more than anyone else in the group’s 35-year (1955-1990) storied history.

Early on, in addition to Blakey, the saxophonist also worked with notable jazz icons and elder statesmen such as Max Roach, Louis Hayes, George Coleman and Sam Rivers, as well as sharing music experiences with innumerable noteworthy peers and colleagues as well as legendary vocalists such as Joe Williams, Lou Rawls, Betty Carter, Dianne Reeves and Carmen Lundy.

An association with bassist Curtis Lundy and drummer Victor Lewis led Watson to launch the first iteration of Horizon, the highly acclaimed acoustic quintet, modeled in many ways after the Jazz Messengers, but produced with its own distinct and more modern twist. Horizon, now considered one of the preeminent small groups of the mid-1980s to mid-1990s, released several now-classic titles for the Blue Note and Columbia record labels.

Virtually simultaneously, Watson also issued several other titles such as Love Remains (Red), the saxophonist’s now-classic 1986 release. The recording, recognized by the Penguin Guide to Jazz (Penguin; 7 th Ed.), received the publication’s highest rating, cited in the edition as a part of its “core collection” joining other entries as a title any jazz aficionado should own. Year of the Rabbit, a musical tribute to Johnny Hodges, followed in 1989; Tailor Made, the Watson-led GRAMMY®-nominated all-star big band in 1993; he also released multiple titles by the four-horn 29th Street Saxophone Quartet and composed music for the Robert De Niro-directed film, A Bronx Tale (1993).

From 2005-2008, Watson issued a trio of recordings on the Palmetto label: Live & Learn (2005), Horizon Reassembled (2006), which brought him back together with Lewis, Terell Stafford, Edward Simon and Essiet Okon Essiet, and From the Heart (2008), on which he unveiled yet another project, again sharing the spotlight with bassist Lundy.

After spending 25 years in New York where Watson was omnipresent on the jazz scene, the saxophonist and his wife, vocalist-composer Pamela Baskin-Watson, returned to Kansas City, invited to do so at the behest of the University of Missouri-Kansas City, where he was named the first William D. and Mary Grant/Missouri, Distinguished Professor in Jazz Studies at the school’s Conservatory of Music & Dance. In May 2020, after 20 years, the saxophonist retired from the post, transitioning into emeritus status while serving as an unofficial ambassador for the university’s Jazz Studies Department. During Watson’s tenure, the UMKC program developed and evolved substantially to the point where it is now considered one of the country’s finer jazz programs.

In 2010, the saxophonist self-produced The Gates BBQ Suite, what he calls “a labor of love.” The recording celebrates his hometown’s most famous food product with the music and track titles referencing the one-time family business. At the time of its release Gates became the perfect vehicle for his University of Missouri-Kansas City jazz students. Noted the All About Jazz review: “Bobby Watson serves up some ‘down to the bone’ goodness in The Gates BBQ Suite. The seven-part suite for large ensemble features the UMKC Conservatory of Music & Dance Concert Jazz Orchestra, and is a heartfelt tribute to Watson’s hometown…, which includes the area’s landmark Gates Barbecue restaurant.”

Watson took the orchestra to Europe and Japan, where it performed at a number of summer festivals. Watson’s self-produced Check Cashing Day followed; released in 2013 it centers on and honor the 50 th anniversary of Martin Luther King Jr.’s “I Have A Dream” speech.

In 2017 Watson began a relationship with Smoke Sessions records, an outgrowth of the Upper West Side venue where he mostly plays when returning to New York City. His initial release for the label, Made in America, another well-conceived project, reflects upon a singular theme; on this occasion Watson turned his attention toward identifying lesser known, but important African Americans; each composition pays homage to a different person.

In November 2019, he participated as one-third of Bird At 100’s front line, sharing the spotlight with fellow altoists Vincent Herring and Gary Bartz. In many ways the recording brought Watson full circle on a number of fronts. Most obviously: August 29, 2020, is the centennial of Charlie Parker’s birth; that Watson hails from the Kansas City metro area, and made his way to New York, serves as a clear reminder of Bird’s path. And, of course, Parker and Watson both play the alto saxophone.

Watson’s latest Smoke Sessions project is the just-released (June 26, 2020) Keepin’ It Real.” The recording’s personnel represent a blend of long-standing and relatively recent musical associations. Joining Watson, who dubbed the group “New Horizon,” is his long-time musical ally, bassist Lundy; also on the session: veteran drummer Victor Jones along with a trio of younger players – trumpeters Josh Evans and Giveton Gelin, who share their duties and pianist Victor Gould. All told, the saxophonist has issued well over 40 recordings under his own name, while appearing on well over 100 other titles. His next, but yet untitled release for the label, is scheduled for Fall 2022 release.

Not surprisingly, Watson has received a number of well-deserved awards that in various ways recognize his musical contributions throughout his career. In 2011 the saxophonist was inducted into the Kansas Music Hall of fame. In 2013 he received the prestigious Benny Golson Jazz Masters Award from Howard University in Washington, D.C. Simultaneously, the Black National Caucus officially recognized his work in the Congressional Record. On August 23, 2014 – serendipitously Watson’s 61 st birthday – he was selected as one of the first inductees into the then-newly established 18th and Vine “Jazz Walk of Fame.” Joining him was Pat Metheny as the only other living selection; four of the city’s jazz cornerstones also received recognition: Count Basie, Jay McShann, Parker and Mary Lou Williams.

The sun may have set on Watson’s formal position as Director of Jazz Studies at UMKC and as a most-respected jazz educator, but for Professor Emeritus Watson, the work continues. As energetic as ever, Watson says he’s looking forward to the post-COVID-19 world, so he can continue his now-life-long journey of performing throughout the United States and internationally.

BILL CRAIN was raised in Concord, California in the San Francisco Bay Area. .While in high school he studied piano and played clarinet in the school band. .Fortunately, Bill’s high school band director was a Jazz fan and frequently took his interested students to San Francisco to hear live Jazz at “Basin Street West” and other clubs that allowed minors. .These special music experiences would greatly influence many of Bill’s future life decisions. .Bill also had a great interest in electronics, took classes for four years, and began to experiment with electronics repair and recording technology.

After graduation, Bill entered California State University, Chico with a major in electronics and a minor in mathematics. .After one year he switched to music as a major and studied saxophone, clarinet, flute, organ, and composition. .While in college Bill played organ, electric piano, and saxophone in Rock and Jazz bands while building p.a. systems and assisting as a recording engineer on the side. .Bill received a B.A. and M.A. in music at CSUC and taught music in California’s public school system for three years.

Relocating to the midwest, Bill began performing full time and spent years touring with various Rock, Jazz, and national Big Band, Pop, and Soul/R&B acts. .After discovering and marrying his “better half” Bill returned to academics at Ball State University in Indiana. .While working on his Docorate of Arts degree in woodwinds/conducting, Bill taught Jazz Studies classes and directed Jazz Ensembles at the University while continuing to lead his own professional Jazz groups and perform/tour with national acts.

After his time at Ball State University, Bill moved to Missouri and taught music at Central Missouri State University (near Kansas City). .During his four years at CMSU, Bill taught Classical and Jazz saxophone, proposed and wrote the curriculum for the Jazz Studies program, led the CMSU Jazz Lab Ensemble to national prominence, became an in-demand Jazz soloist/clinician, and was awarded a lifetime membership in the International Association of Jazz Educators.

While at CMSU, Bill also became involved in the vibrant recording and Jazz scene in nearby K.C., and upon leaving CMSU, Bill moved to his long-time home in Kansas City, Missouri. Settling in K.C., Bill became a regular presence on the local and regional Jazz circuit and simultaneously garnered a prestigious reputation as a “musical” recording engineer at his own BRC Audio Productions recording studio.

Ahmad Alaadeen was an African American and Native American jazz musician. Born Sonny White in Kansas City, on July 24, 1934, he changed his name to Ahmad Alaadeen in 1965 when he joined the Nation of Islam.* Alaadeen grew up around music. He began playing the saxophone when he was in sixth grade, later learning the flute, clarinet and oboe. He studied at R.T. Coles High School under the tutelage of Leo H. Davis, a music instructor reported to have taught Charlie Parker. Alaadeen debuted as a professional with Davis’ concert band playing e-flat horn when he was 14 and his first major job was playing baritone saxophone with the pianist-band leader Jay McShann. In later years he would rejoin McShann on tenor saxophone.

Alaadeen studied flute at the Kansas City Conservatory of Music, oboe at St. Mary’s University, and also at DePaul University. He served in the military from 1957 to 59 as jazz saxophonist and principal oboist with the 4th Army Band. After his discharge, Alaadeen spent time in Chicago, playing in a program led by pianist-composer Richard Abrams that was the beginning of the Association for the Advancement of Creative Musicians (AACM); other members included trumpeter Lester Bowie and bassist Malachi Favors. He picked up experience living and playing in such cities as New York, Chicago, Denver, Houston, San Antonio and St. Louis. In addition to his work with Jay McShann, he played with Miles Davis, Billie Holiday, Ella Fitzgerald, the Count Basie Orchestra, the Glenn Miller ghost band under the direction of Tex Beneke, Della Reese, Eddie “Cleanhead” Vinson, T -Bone Walker, and Claude “Fiddler” Williams as well as with R&B stars, Rufus Thomas, Carla Thomas, Gladys Knight, Smokey Robinson, the Temptations, Four Tops, and Sam Cooke.

After returning to Kansas City, Alaadeen continued to perform locally and began teaching jazz in both the school system and privately. His skills as a teacher were recognized when he was inducted into the R.T. Coles Lincoln High School “Outstanding Alumni Hall of Fame.” During the period of 1990-91, he won songwriting competitions sponsored by Billboard for his songs “Big Six”, “Wayne Himself”, and “Blues For R.C.” He recorded with Jay McShann, Crown Prince Waterford, the City Light Orchestra, and countless others. He led the Deans of Swing in the 1990s, and the ensemble was picked in 1996 as Musician Magazine’s Best Unsigned Band.

To document his music, Alaadeen started the ‘ASR Records label. Each of his CDs, which include Blues For RC and Josephine Too, Time Through The Ages, New Africa Suite and And The Beauty Of It All, features him with some of Kansas City’s top young jazz players. He also prepared many of his original compositions for performance by large jazz ensemble through his publishing company, Fandeen Publishing Company, Inc. In 2009, Alaadeen authored The Rest of the Story: Jazz Improvization and History, a method manual in which he shares the secrets of how he learned the music as handed down to him by the masters.

Alaadeen was recognized in his community and state as the recipient of numerous awards including Kansas City’s Jazz Heritage Award, the Missouri Humanities Council’s Community Heritage Award, the Missouri Arts Award and Kansas City’s Lifetime Achievement Award. In 2000, Congresswoman Karen McCarthy recognized Alaadeen in the United States House of Representatives for the contributions he has made to his community’s understanding of its heritage. In 2002, Missouri Governor Bob Holden honored Alaadeen at an official dinner at the Governor’s Mansion in Jefferson City. In an effort to acknowledge Alaadeen for making a significant impact in the history, development, and performance of jazz, and to applaud Alaadeen for his outstanding achievements in the art form of jazz, Alaadeen was issued a Proclamation from the Office of the Governor, State of Missouri. The American Jazz Museum honored him with a Lifetime Achievement Award in 2010.

Alaadeen died of cancer on August 15, 2010, at the age of 76.

Leon A. Brady dedicated his life to the youth of Kansas City. As a public school and private educator, a business owner, professional percussionist, counselor, church leader and civic leader he has touched the lives of many people. His students can be found all over the world performing professionally in many diversified areas of music. Former students such as Rosalyn Story, Marquita Meeks and Linda Smith are now members of the Houston and Atlanta Symphonies. Vernard Johnson is a gospel saxophonist, and John Cushon is the percussionist with Oleta Adams. Norman Brown and Craig Lindesay are recording artists. The McFadden Brothers, Reginald Watkins, Winfred Manning, William Perkins, Alonzo (Scooter) Powell, Andre Hampton, Lester (Duck) Warner, Horace Washington, Kenneth Heath, Johnny Foster, James Sharp and many others are professional musicians, Many former students such as Leion Dawson, Derrick Hibler and Dale Vandiver are now educators and countless other former students attribute their success in their chosen field to what they learned in Leon Brady’s classes.

A native of New Orleans, Louisiana, Mr. Brady enlisted in the newly formed US Air Force after high school in 1949 and volunteered for the band having never played a musical instrument. After attending the Lackland and Langley Air Force Schools of Music, Mr. Brady performed in bands and combos with several top musicians that later became nationally known artists such as John McHolie, Frank Hitner and John Williams.

After the Service, Mr. Brady attended Tennessee State University, in Nashville. He earned a Bachelor of Science Degree in 1957 and Master of Science Degree in 1961. While in college, he again performed with several musicians who later became nationally known artists, such as Hank Crawford, Jimmy Cleveland, Ray Charles and Les Spann. Mr. Brady performed nights and weekends in and around the Nashville area with several top musicians.

In 1957, Leon Brady was awarded his first public school teaching position at Carver High School in Crestview, Florida. Mr. Brady was responsible for all bands and choirs from grades 1 to 12. It was here that he began to realize his love for teaching and the impact that teachers can have on their students.

In 1959, eager to become involved in the jazz scene in Kansas City, Mr. Brady accepted a position as a band and orchestra director at Dunbar Elementary and Northeast Junior High in Kansas City, Kansas. While at Northeast, he started the first junior high marching band in the area. Under his direction, the band made a record, again being a first for the KC area.

In 1966, Leon Brady became the instrumental music instructor at Sumner High School in Kansas City, Kansas during the 10 years that he taught at Sumner, he and his students enjoyed many unique accomplishments. He brought international recording artists, such as Stan Kenton, Max Roach, Dizzy Gillespie, Clark Terry, Grover Washington, Cannonball Adderly, and Marilyn Maye to Sumner to perform with students.

The Sumner band was the first high school band to participate in the Sugar Bowl, in New Orleans, LA. The band was also the Mineral Bowl winner for 7 years and received many first division ratings in marching festivals throughout the area. The band also performed half-time shows for the Kansas City Chiefs. The Sumner Orchestra, under Mr. Brady’s direction, was one of the first high school orchestras to perform tor the Kansas Music Educator’s Convention.

The Sumner Stage Band earned many honors from 1966 to 1976. The stage band was a 6-year winner (1986-1974) of the KC Jazz Festival, 3 -year winner of the Wichita Jazz Festival, and the 1972 winner of the International Jazz Festival in Paris, France. The Sumner stage band was the first high school band to participate in the instrumental reading session at Jenkins Music Company. Sumner was the guest stage band at the President’s Council in Washington, D.C. In 1972, the Sumner stage band recorded the album, Sumner in Paris.

In 1969, Leon Brady opened Progressive Music Studio on Quindaro in Kansas City, Kansas. In 1976, he moved the Music Studio to 947 Minnesota Avenue, KCK where it became part of Brady & Sons Music Company. While operating the music store, he continued his dedication to music education in Kansas City, Throughout the year He directed the All-Star Stage Band for 700 college and high school students at the KC Stage Band Festival. He organized and directed the All-Women’s Jazz Band to perform at the Women’s Jazz Festival. He was a clinician and Judge for several events and taught special music programs for Kiddie Kollege Nursery School, Turner House and nursing homes.

As an accomplished professional musician, he uses his performing talents to educate students in music history, African-American History and Jazz. As a member of the KC Jazz Quintet with George Salisbury, Milt Abel, Carmel Jones, Herman Bell and later Frank Smith and Tony Swisher, he traveled to many schools throughout the area demonstrating various musical styles. Throughout the years, he has performed with many internationally known artists such as Clark Terry, Dakota Staton, George Duke, John Parks, Grover Washington, Lou Donaldson, Blue Mitchell, Eddie “Clean Head” Vinson, Charles Kenard, Ray Charles and Reginald Buckner just to name a few. He was a tympanist with the KC Civic Symphony and the Medical Arts Symphony. He performed for 2 years at the Colony Steakhouse with Marilyn Maye, and for 9 years with the “Dixieland 7” at the Levee in Kansas City, Missouri.

In 2000, Mr. Brady closed his music store to focus more attention on his 20 private students. He composes for and directs 4 drum set ensembles, teaching not only percussion techniques, but lessons in life. His classes tech respect and responsibility, and give students the confidence to strive for excellence. Current students range from age from 4 to 18 and perform throughout the community.

In the fall of 2001, Leon Brady began a community youth jazz band program, Kansas City Youth Jazz, Inc. with one jazz band and a handful of dedicated students and parents. Rehearsals were held in the old Brady Music building at 947 Minnesota in Kansas City, Kansas. In May 2003, all programs were moved to the location at 1317 Central Avenue, Kansas City, Kansas. The Youth Jazz Program has grown to include 5 jazz bands, 2 combos help serious students make the transition to professional musicians. Mr. Brady serves as Musical Director of Youth Jazz programs.

Mr. Brady performed with the Jazz Machine, a group of professional musicians who are also instructors with Youth Jazz Program, including Chris Burnett, Jason Goudeau, Stan Kessler, Clarence Smith and Greg Richter. The Jazz Machine gave clinics and performances at schools and summer camps.

Mr. Brady earned several awards throughout his years in Kansas City. Some of the more recent awards include: KCK Human Relations Award, Most Distinguished Alumni Award-Sumner High School (1993), KC Jazz Heritage Award (1992), Sons of Thunder Award-First AME Church (1994), 100 Most Influential African-Americans (1995), KC Area Chamber of Commerce Outstanding Small Business (1996), Who’s Who of Executives & Professionals (1996-97), Certificate of Recognition- Sumner High School Alumni (2002), KC Young Audiences Lighton Prize for excellence as a teaching artist (2002), Living Legend Award-First Baptist Church for significant community contributions (2004), Honorary Membership in the UMKC Friends of Jazz for significant contributions to jazz education (2006), the Coda Lifetime Achievement Award (May 20,2006) and the Pinnacle Award for Excellence in the Arts from Johnson County, Kansas Library Association (October 2007). In 2009, Mr. Brady served as the Grand Marshal of the Juneteenth Celebration Parade and the Central Avenue Parade both in Kansas City, Kansas and was recently selected as one of the Kansas City Globe’s top 25 Lifetime Influential Honorees. He is an Elder Statesman of Kansas City Jazz and serves on the Advisory Committee of the Kansas City Jazz Orchestra. Inducted in the Wall of Fame at Kansas City, Kansas Junior College (2019). Mr. Brady received a bronze marker at the Jazz Walk of Fame. His marker is between Harry Belafonte & Quincy Jones.

Mr. Brady has 3 children: Leon III (Trey), Michael, of Chicago, IL, and Sherri. Granddaughter Lauren Messer of Whittier, CA.,

Leon Brady has touched the lives of many people. Former students drop by the studio to thank him, to tell him what a difference he has made in their lives. Many students now bring their children to him to teach or to counsel. Many students are now teachers themselves, continuing the legacy that he has begun. Mr. Brady’s legacy challenges all students to give back to their community, to help the next generation of youth in the greater Kansas City area.