PH

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Manny Laureano

I hope this doesn't become a politically motivated thread regarding government funding because it's not my intent for it to move in that direction.

I don't believe the future of American jazz or classical music performance will be dependent on government funding. When I look at the downsizing of pit orchestras, when I look at the fact that there are no touring big bands that are household names anymore (Maynard's was the last one to come close), when I watch "American Idol" and hear that every single contestant was accompanied by synthesized keyboard sounds it makes me believe that no amount of government funding is going to save jazz performance.

That's not to say that it CAN'T be saved, I'm just saying that it's a deeply rooted problem that will take a tremendous effort on the part of people like Wynton and others to break their collective neck keeping jazz in front of audiences. It's not going to be an easy road but it is possible.

It's going to take some world-wide known figure to set a positive example and then become a media darling to inspire others to seek jazz out as an enjoyable as well as intellectual experience. It's going to take those of us who love jazz to go out and go to more shows. Yes, I know it's expensive but what can we do? Well, we can support the private foundations and corporate supporters of jazz festivals and encourage them to please keep doing so. We can buy CD's. We can try to get people that don't know jack about jazz interested in it.

Pollyanish? I don't know, maybe. All I know is that music needs to feed a need not create one. Some folks don't know how hungry they are until you show them the food. They get used to eating fast food and don't remember what it's like to sit down to a four or five course meal.

It's a fight but what can we do but win or lay down and lose.

Here's a challenge: by the end of next month see if you have find a friend who's never been to a good jazz concert and take him or her to one in your area. See what happens. They'll like it, love it, be indifferent, hate it... who knows? Unless they're indigent, don't pay for them. Let them have a stake in it, that's the first step. Let them own it.

We are responsible for the fate of our music.

ML

Tootsall

Bingo! I've always said that: a) 90% of what I learned while at University was NOT learned in the classroom and that b) University does not give you the answers... it teaches you how to find the answers on your own. This is true for ANY degree, not just music, and is what I've taught my kids (one graduated and two about to start...in VERY diverse fields).

There is an ad on the radio out here right now for something.... and they quote Albert Einstein as saying "I never both memorizing anything I can look up".

Manny, watch (and listen to) "Dancing With The Stars". A real orchestra, real singers, in real time, with a wicked variety of music to play (in fact I caught a glimpse of our own Clarence in that band one night). I just wish the show would feature the players a bit more often but I suppose it's difficult because they are always coming and going.

Manny Laureano

Yes, you're right, Toots! I enjoyed watching that with my daughter and I guess I only notice when there AREN'T live musicians. I take it for granted, otherwise.

In looking back at my post, I hope it didn't come off as pessimistic because I'm not. I believe in the survival of good music. I just think it takes work once you get that degree in your hand if you go the route of the performance degree, jazz or classical. Maybe an e-mail to the shows that use live musicians is one way?

ML

TrentAustin

Clark Terry told me this line when I had initial doubts of being a "pro"


"Trent, there's an ass for every seat".

Shed hard, establish connections, play every gig/reheasal you can, network with fellow musicians, and practice enough to be the best in your area.

Simple enough, right?

retiredoc

hmm. new here and don't want to get overly diadactic. but when i taught no amount of jazz majors helped the facilities look well.

really need to follow your bliss in this life. if someone accepts you into a program, well, you at least have a home, other players to learn from, teachers that hopefully play well and will support you.

look at me, i've retired early and am taking a chance at the other end of life. don't stop someone during the most sensitive time in life.

youth: a fleeting ephemeral thing.

(small caps are good!)

JunkyT

Now this is some serious wisdom, and I didn't want it to go by unnoticed.

I hear many young musicians bemoan all the hardships we face, but very few are willing to step up and realize that we have to take some personal responsibility for our lives and our art.

Furthermore, what I respect most about folks like Ingrid, Manny, PH and most of the pro's I have spoken to is that they have made the conscious choice to be true to themselves and their art first. You can't expect to create a new level of passion for Jazz in the larger community by shouting about it. You have to just play your passion and find ways to touch people.

I recently read a quote from Blakey that goes something like this:

"If you're doing something right, at some point, people are going to acknowledge it.* So just keep doing what you do."

This is a long-haul approach, but in the world of Jazz, what isn't?

Thanks for being here, Ingrid. Hope to see you while you're in Seattle this month.

Jason

Siegtrmpt

I'm not so negative about all these "hardships" musicians face. Most of these "hardships" are self imposed. You know the type....."I only do this" or "I don't like to teach" or "I only play here and there" etc etc etc.......I opened up the Washington Post "Weekend" section to get an idea of how much music is going on around town and the answer is that there's a ton of live performances going on each weekend here. Over thirty listings for jazz clubs and over 20 listed under piano rooms as well. There's also a ton of rock and other live band venues and a lot of Irish bars (a personal favorite!) too. I'm sure that most of the players in these groups earn their full time living elsewhere. Very few musical performers in any field earn their full time living performing. I don't think that's any different than 50-100 years ago. In that time frame even the best symphony jobs were part time endeavors. Frankly, there are a lot of one dimensional trumpet operators out there that have very little interest in other aspects of music where a full time living can easily be made. It's too bad because doing some of this other stuff is fun and would help them support themselves while trying to build up their main area of interest. Going hungry and living poor isn't the way to get there.

Manny Laureano

Here's an addendum to my earlier post:

I have been given to understand that the Baltimore Symphony has announced that next year they'll be reducing ticket prices for subsribers so that the prices per concert wind up to be about $25. This was not made possible through a government grant. Rather, it was made possible through a private corporation that wanted to help out and make concerts affordable to those that wished to commit to shows week after week, ie. by subscription.

It's just what I was talking about. That's feeding a need rather than creating one. Jazz needs similar types to make going to shows affordable or to help with advertising so more people know what's going on. You see, there is hope... good music will always win. I have to believe that.

The other good news is that the sales of rap CD's have reduced by 21%. People are getting tired of negativity, endless repetition, etc.... Could it be that with careful placement an audience for good jazz is waiting to put its collective butt in the seat and give it a try? What will be your part in making it happen?

ML

Dave

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