First and foremost, I have to declare that I am a Jazz musician and a Jazz fan. I am coming at this argument from the point of someone who loves Jazz music and wants it to succeed more.
What is the problem with Jazz?
For one respondent on twitter today it is the fact that the label ‘Jazz’ covers many different kinds of music from the ‘traditional’ music of Louis Armstrong and Muggsy Spanier through the Swing era and big bands, Bebop to funk, electric Jazz and world Jazz. The musicians certainly see this rich musical heritage and lineage as a strength. Knowing ones musical history informs ones Jazz performance and composition. It is also the source of great debate, discussion and sometimes outright hatred. When Humphrey Lyttelton appeared at the Birmingham Town Hall having junked the clarinet in favour of a saxophone in his band, an audience member shouted “Go home, dirty bopper”.
This rich musical heritage however does little to attract the occasional Jazz listener though. I try and avoid use of the word Jazz or at least focus on more contemporary and descriptive words in my marketing. When you say Jazz to most people you get references ranging from “hey cool” through “crazy”, “chilled out” to “Mmm, nice”; the last being a reference to the great parody on the British comedy TV programme The Fast Show entitled “Jazz Club”. Why not make it easier for people and describe our music accurately?
Another problem is the snobbery of many of the musicians. Whilst some are natural performers and have a great rapport with audiences, the pseudo-deification of long dead Jazz stars and the hallowed references to their repertoire is something that comes out through their playing. Jazz is technically and harmonically challenging to understand and play and few listeners can follow a performance of ‘Giant Steps’. One promoter I met used to always tap on the off-beat, regardless of whether the tune was in 3, 4 or 5 leading to some interesting patterns and scorn from musicians. It doesn’t matter; most people experience Jazz as a complete sound and different aspects of a performance will move them emotionally.
What are the high points from Jazz history? The Jazz Age is typified by a frenetic hedonist lifestyle amongst the bright young things of the 20′s. This enjoyment of life was a theme running through Sinatra’s comeback years in the 60′s with the Rat Pack; Las Vegas providing a contrived but luxurious backdrop. Both were times after recent conflict with appalling tragedy and a desperate attempt to be jolly. The last ten years haven’t been that great either from 9/11 and tsunami to wars on terrorism and a global economic downturn. Perhaps Jazz can cheer us up again, but only if it is there for fun. As Jazz musicians it is up to us to remember what we are there to do – to entertain. The keeping alive of a music is secondary to that and should never get in the way of a good time.
Do you listen to or perform Jazz? What do you think the problem is? Is there a problem?
Please use the comments to join the debate.
I agree, the snobbery of the musicians can put one off having a go n jamming at a jazz session, it did me for years, but as a musician, one can avoid those types of musicians, and find friendlier sessions. I found Edgar Macias particularly welcoming. But it’s the seriousness of the audience that annoys me. The whole “oh, he played a flattened 9th over a non-dominant chord. (snigger snigger) I won’t come & see him again.” I have actually overheard people in the audience saying “that’s not jazz” in the middle of a solo, & it makes me rather angry…. It’s not your idea of jazz maybe, but some of us like a simpler, more melodic, in tune form of jazz. It doesn’t have to be bathed in “out” notes, thanks.
Like i say, one can avoid playing with the snobby musicians, but you can’t choose who comes to watch you play. All you can do is develop a thick skin & not care if you put peoples backs up if you don’t play their idea of what jazz should be.
I couldn’t agree more. Edgar is a very melodic musician and welcoming too.
I don’t know which is worse, an audience so rarified it can make judgements on what is or isn’t Jazz or someone conducting a loud conversation right in front of me whilst doing a ballad (I’ve had both.)