



It's no surprise that Estes and Lowrey are both Leos. By their ownadmissions, they're dramatic and showy sorts. Before teaming up withLowrey, Estes spent time in a rock band (the Silver Shore), aWestern-surf band (the Von Hodads) and a burlesque troupe (the Burly-QGirly Crew)
"With other bands, I was always playing a character," Estes says. "Ifelt like I had more room to be myself in jazz. Jazz musicians havedirty minds, and they're really snarky and cutting. My sense of humorfit in better."
United by dirty jokes and a love for all things jazz, the duo beganarranging standards by composers such as George and Ira Gershwin, ColePorter and Johnny Mercer and doing their own versions of songs fromrecent decades by the likes of Radiohead, Tom Waits and the Beatles.
"Most of the songs we do, no one else in town does," Estes says, "or even know about in some cases."
When Estes and Lowrey secured commitments from bassist Jeff Harshbarger and drummer Zack Albetta,their incubating project hatched into a dedicated band. A slate of gigsat Jardine's introduced audiences to Estes' torch-song delivery and thegroup's unorthodox arrangements, which often incorporate Afro-Cuban,Brazilian and Latin flavors.
"We'll do things to put people in that comfort zone so we can get toa place later in the evening where we can be more aggressive," Estessays. "People who have been going to Jardine's for 30 years mightinitially seem a bit perplexed, but eventually they get on board."
Just as Charlie Parker treated Tin Pan Alley tunes as fertile groundfor improvisation, Estes' group reworks the Church's "Under the MilkyWay," the Beatles' "Across the Universe," Radiohead's "Talk Show Host"and Tom Waits' "Little Drop of Poison." (Harshbarger also coordinates alocal Tom Waits tribute band.)
"Kansas City is a singer town," says Albetta, who also has drummedfor local jazz vocalists Angela Hagenbach and Megan Birdsall. "Peoplewant to hear songs they know, and they love to hear new versions of oldsongs."
Albetta says the Kansas City jazz scene — particularly at Jardine's— has taken a turn toward younger players and audiences in the pastcouple of years.

