09/29/2026
Meet the Filmmakers: Music producer Steven Bernstein and tenor saxophone player Craig Handy (playing Coleman Hawkins), who have both taken classic jazz and reimagined it for modern times, will join producer Matthew Seig for a discussion about the music in this rarely seen film.
Featuring twenty of the best jazz musicians of the 1990s:
Craig Handy, Don Byron, Ron Carter, Christian McBride, Tyrone Clarke, Olu Dara, Nicholas Payton, James Zollar, James Carter, David Murray, Joshua Redman, Victor Lewis, Curtis Fowlkes, Clark Gayton, Jesse Davis, David “Fathead” Newman, Geri Allen, Cyrus Chestnut, Russell Malone, Mark Whitfield, and Kevin Mahogany.
In Kansas City, at Rivertown Film on September 30., iconic director Robert Altman pays tribute to his hometown in 1934, its raucous musicians, and its legendary political corruption in one of his most underrated and idiosyncratic films. USA, 1996, 116 minutes.
* Cannes Film Festival nominee: Palm d’Or
* LA Film Critics Association: Best Music
* NY Film Critics Circle: Harry Belafonte, Best Supporting Actor
* Texas Film Critics: Miranda Richardson, Best Supporting Actress
* Chicago Tribune: 10 best films of 1996
“The story is not really what “Kansas City” is about. As counterpoint, Altman gathered some of the best living jazz musicians, put them on a set representing the Hey Hey Club, and asked them to play period material in the style of the Kansas City jazz giants (Count Basie, Coleman Hawkins, Jay McShann, Lester Young, etc.). … What he asks of the actors (those who are “soloists,” anyway) is not realism but the same kind of playful show-off performances he’s getting from the musicians. And to understand the acting, it’s helpful to begin with the music. – Roger Ebert, Chicago Sun-Times
“Jazz lovers, rejoice. Robert Altman‘s hypnotic riff on his hell-raising, whoremongering, crime-ridden Missouri hometown during the Depression is brimming over with vibrant, vital music.”– Peter Travers, Rolling Stone
“The most personal film of Altman's career is less a conventional story than a jazz rhapsody for director and cast”. – Michael Wilmington, Chicago Tribune
"Played by an all-star contemporary band in the Hey Hey Club, a jazz saloon and gambling den that the film imagines as the city's spiritual hub, the music blares with a snarling exuberance that suggests American free enterprise gleefully running amok in a 20th-century frontier town. - Stephen Holden, The New York Times