The State of Jazz Today
There has been a lot written about the health (or lack thereof) jazz in this country and around the world. This concern was heightened because of the news out of New York that The JVC New York Jazz Festival was canceled this year for the first time in 37 years. Coupled with the recent demise of the International Association of Jazz Educators (IAJE), the cause for concern among jazz fans was understandably heightened.
http://www.nytimes.com/2009/05/20/arts/music/20jazz.html?_r=1&s...
Yes, the health of jazz should be questioned.
But...is it really a bad thing that the major festival in New York was canceled?
It is clear the current approach for jazz marketing/ promotion has caused the demise of the music. Unfortunately artists, critics, and promoters became very comfortable with the state of affairs; they were very comfortable with the idea that the "big names" could go to one or two major festivals a year either here or in Europe and be paid handsomely. They no longer needed to take road trips through all the smaller cities here in this country. The problem is that once the musicians stopped visiting all the smaller towns, interest overall in the music waned.
Radio stations started to change with the lack of exposure to live jazz locally; and there was no inherent fan base to protest. The festivals had become the major way for the "name" artists to disseminate their music. The problem with all festivals (and as was stated previously), is that it gave the artists and audience a false sense of security. The artists were paid exorbitant fees, and the fans saw the artists at reduced prices or free because of sponsorships. Well lo and behold, the sponsors controlled the music.
NYC just found out about that when the major sponsors pulled out of the JVC festival in NY; the first time NY will be without a major festival in 37 years. The fans will not pay the actual ticket price needed to pay the artist's fees. So the music cannot be supported in its current form and structure. The ticket fees paid must be able to support the artist. If 200 people are willing to pay $50 per ticket for a certain artist, then a $10,000 fee is justified. Unfortunately, with the lack of radio airplay, and lack of local media interest (for example, the Los Angeles Times recently dropped any coverage of jazz music or jazz musicians), there is a huge educational curve for the public in regards to the jazz artists that marketing techniques cannot overcome. Finding 200 people in a small market to pay $50 for an artist, no matter how heralded, is not feasible with the current state of the music.
The jazz musicians will state that the market in Europe is strong, and indeed there appears to be larger groups of fans in Europe. But let's examine the reason for this. It is clear that the arts in general and jazz in particular benefit from governmental subsidies; much more so than can be depended on in the US. If there were no subsidies, then the opportunities found in Europe would be much less. Concurrently, the opportunities to hear the music would be less, and the music there would be in the same shape as here. The same economic factors playing out here in this country are operating all over Europe and the world.
I submit there are still great numbers of jazz fans, only an increasingly smaller number willing to pay for the privilege to listen. What is the solution? Exposure. If this music is exposed to the young people, they will listen and appreciate it. It is a misnomer to think that the music is too complicated for the young people to understand; there is essentially no difference between the youth of the early 30's and today. (or of the 50's for that matter). Kids will listen if they are exposed to it. Bottom line, we have to develop a new market for the music.
Kids that most of America wrote off in this last election cycle propelled Obama to victory. The same thing can and must happen in jazz. Now before you consider me naive and out of touch with "the real jazz world", it is quite clear the current approach is not working. No one is too big to fail; not General Motors, Chrysler, Wynton Marsalis, Herbie Hancock, David Sanborn on anyone else. There must be a fundamental restructuring of how jazz is funded; the days of $40,000 artists and festival money is over. The artists might still be able to command those fees individually, but if they are really about the music surviving, they would realize how important it is to perform in smaller venues for lesser fees. This will insure the music begins to become popular again. There is no overnight fix for this. But unless we continue to reach out to the youth, and show them that this music is vibrant, not ancient, we will lose this battle for good. Then you will have the proverbial "greatest solo never heard".
There is also a movement among some to provide alternative forms of Jazz in order to boost the popularity. There is inherently nothing wrong with that approach, as long as the music maintains the essential elements of jazz. Improvisation is a must, and the energy levels and "soul" must be preserved. The contemporary efforts of artists such as Herbie Hancock, Chick Corea, Kirk Whalum, Gerald Albright, and others have maintained the essential elements of jazz. Unfortunately so-called "Smooth Jazz", depending on the artist, fails in this fundamental test of the music.
In my opinion, jazz music in all of its valid forms can and will be embraced by new fans around the world.
Bottom line: the "stars" and other representatives of the music must make their music more accessible to fans around the country. Yes, this will result in smaller performance fees initially, but as the audiences rebuild for jazz in general, all of jazz will benefit from the increasing exposure and popularity.
The $40,000 question is:
Will the current "stars" of the music be willing to contribute to the overall health of the music by touring in venues that fans can afford?
http://www.nytimes.com/2009/05/20/arts/music/20jazz.html?_r=1&s...
Yes, the health of jazz should be questioned.
But...is it really a bad thing that the major festival in New York was canceled?
It is clear the current approach for jazz marketing/ promotion has caused the demise of the music. Unfortunately artists, critics, and promoters became very comfortable with the state of affairs; they were very comfortable with the idea that the "big names" could go to one or two major festivals a year either here or in Europe and be paid handsomely. They no longer needed to take road trips through all the smaller cities here in this country. The problem is that once the musicians stopped visiting all the smaller towns, interest overall in the music waned.
Radio stations started to change with the lack of exposure to live jazz locally; and there was no inherent fan base to protest. The festivals had become the major way for the "name" artists to disseminate their music. The problem with all festivals (and as was stated previously), is that it gave the artists and audience a false sense of security. The artists were paid exorbitant fees, and the fans saw the artists at reduced prices or free because of sponsorships. Well lo and behold, the sponsors controlled the music.
NYC just found out about that when the major sponsors pulled out of the JVC festival in NY; the first time NY will be without a major festival in 37 years. The fans will not pay the actual ticket price needed to pay the artist's fees. So the music cannot be supported in its current form and structure. The ticket fees paid must be able to support the artist. If 200 people are willing to pay $50 per ticket for a certain artist, then a $10,000 fee is justified. Unfortunately, with the lack of radio airplay, and lack of local media interest (for example, the Los Angeles Times recently dropped any coverage of jazz music or jazz musicians), there is a huge educational curve for the public in regards to the jazz artists that marketing techniques cannot overcome. Finding 200 people in a small market to pay $50 for an artist, no matter how heralded, is not feasible with the current state of the music.
The jazz musicians will state that the market in Europe is strong, and indeed there appears to be larger groups of fans in Europe. But let's examine the reason for this. It is clear that the arts in general and jazz in particular benefit from governmental subsidies; much more so than can be depended on in the US. If there were no subsidies, then the opportunities found in Europe would be much less. Concurrently, the opportunities to hear the music would be less, and the music there would be in the same shape as here. The same economic factors playing out here in this country are operating all over Europe and the world.
I submit there are still great numbers of jazz fans, only an increasingly smaller number willing to pay for the privilege to listen. What is the solution? Exposure. If this music is exposed to the young people, they will listen and appreciate it. It is a misnomer to think that the music is too complicated for the young people to understand; there is essentially no difference between the youth of the early 30's and today. (or of the 50's for that matter). Kids will listen if they are exposed to it. Bottom line, we have to develop a new market for the music.
Kids that most of America wrote off in this last election cycle propelled Obama to victory. The same thing can and must happen in jazz. Now before you consider me naive and out of touch with "the real jazz world", it is quite clear the current approach is not working. No one is too big to fail; not General Motors, Chrysler, Wynton Marsalis, Herbie Hancock, David Sanborn on anyone else. There must be a fundamental restructuring of how jazz is funded; the days of $40,000 artists and festival money is over. The artists might still be able to command those fees individually, but if they are really about the music surviving, they would realize how important it is to perform in smaller venues for lesser fees. This will insure the music begins to become popular again. There is no overnight fix for this. But unless we continue to reach out to the youth, and show them that this music is vibrant, not ancient, we will lose this battle for good. Then you will have the proverbial "greatest solo never heard".
There is also a movement among some to provide alternative forms of Jazz in order to boost the popularity. There is inherently nothing wrong with that approach, as long as the music maintains the essential elements of jazz. Improvisation is a must, and the energy levels and "soul" must be preserved. The contemporary efforts of artists such as Herbie Hancock, Chick Corea, Kirk Whalum, Gerald Albright, and others have maintained the essential elements of jazz. Unfortunately so-called "Smooth Jazz", depending on the artist, fails in this fundamental test of the music.
In my opinion, jazz music in all of its valid forms can and will be embraced by new fans around the world.
Bottom line: the "stars" and other representatives of the music must make their music more accessible to fans around the country. Yes, this will result in smaller performance fees initially, but as the audiences rebuild for jazz in general, all of jazz will benefit from the increasing exposure and popularity.
The $40,000 question is:
Will the current "stars" of the music be willing to contribute to the overall health of the music by touring in venues that fans can afford?
Comment
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Comment by Frank Petricca on December 30, 2011 at 11:37am -
New Eddie Gomez record is out...Very cool!
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Comment by Walt B on June 18, 2009 at 3:01pm -
Wow. I just read Chico Hamilton's comments. I surely hope he was taken out of context; "I don't see no people, I just get on stage to make music". Great that he is touring 48 weeks a year, but he's never been to Cincinnati, Columbus or Dayton. Way to care for the music, Chico.
He comes across in that comment as having a "crabs in a barrel" mentality. I sincerely hope I am misinterpreting his attitude.
Is there any question why jazz is in the state that it is in?
I do agree with his point about new artists; but in these large festivals, how does a new artist get recognized? I personally know of one New York based pianist, who has many CD's out, had played, recorded, and toured with many big names, and still couldn't get booked at the JVC festival.
The answer is not the festival system. The answer is a grassroots movement; and for those artists like Hamilton who are fortunate enough to tour 48 weeks a year to open doors for the new artists, (and established artists) who are not quite as fortunate. The music must return to the people.
We have to keep the music in front of the people.
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Comment by JazzPlayer.com on June 18, 2009 at 2:38pm -
What's shakin' Walt B?
Walt, I saw an article about Jazz artists having less summer tours this year. Go to the Jazz News tab on this JazzPlayer.com website and read what Chico Hamilton has to say regarding the demise of the JVC New York Jazz Festival.
Once again, sponsors from big business under estimate the needs of the American Jazz fan by not giving the people want they want, which is new music. This is the same reason why commercial radio could just about be ready to be flushed down the terrestrial tubes.
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Comment by Walt B on June 4, 2009 at 7:37am
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I agree we must effectively use all the marketing avenues we have at our disposal; with the internet being the leading avenue. But it will take a collective effort from everyone, including the artists, to keep this music alive and prospering!
Thanks for your comments!
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Comment by SAN: Starving Artist Network on June 2, 2009 at 6:17pm
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You hit it right on the head.
There must be a fundamental restructuring of how jazz is funded.
This is what SAN is all about and hoping in 2011-12 we will bring change, and the big band back.
Also, one must say that even among smooth Jazz the music is not the most creative, and to some it doesn't merit purchase.We also believe that the all over price for everything should be re-evaluated, and as you well know it is Political in nature.
SANFEST International 2011 is slated to bring about a vew diverse festival that never has seen.Also to insure through creative outpost that an artist both ART & MUSIC will never be faced with this situation again, and creativity will leave this charge.We are awaiting our many patent's to execute this notion.
SAN
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