[Dixielandjazz] FOKOM ANSWERS & EXPLANATION
Tom Wood
zenith at ans.com.au
Sat Dec 13 12:17:30 PST 2003
Hi List mates,
Here are the explanations for answer points allocation IMHO.
Tom Wood
zenith at ans.com.au
www.ans.com.au/~zenith (25 sound clips + 1 track to download)
www.euroclubdejazz.com/zenith (12 souind clips)
QUIZ ANSWERS & EXPLANATIONS
Q1 When playing at an audience free (lunchtime pub/concert) event or
at a passing public type venue (such as Shopping Malls) what
kind of audience does your band usually manage to attract,
entertain and hold if any?
A We do not play much at audience free venues
B The general public/tourists/mixed age groups.
C Mature jazz enthusiasts.
Points & Explanation
A1 A = 0 B = 2
C = 1
Most OKOM fans are mature group jazz enthusiasts aged 50 to 70 +
normally paying an entry fee. To keep the music alive we must
freely attract a more general and mixed audience type. If the
public can be attracted or held without making them pay to hear
you play, then you are indeed working hard at milking the crowd
and promoting OKOM.
Q2 When playing at free venues and/or in areas with a passing public
do you usually manage to sell your band to an audience that
tends to build up as you continue to play?
A No
B Sometimes
C Usually yes
Points & Explanation
A2 A = 0 B = 1
C = 2
The music should be infectious and the band should interact with
the audience. A passing public will stop if they like what they
hear and if the audience builds up then that is an attraction in
itself for people to "come look see" and stay if they feel they
are being entertained. If your audience builds up as you
continue to play then you have the right recipe and impact for
selling OKOM.
Q3 When playing outside jazz settings or at Christmas parties where
young children (say aged from 2 to 6) are present, what usually
happens?
A We do not play these types of gigs or nothing much
different happens.
B The children start to jig along with the band.
C The children often distract the band talking loudly
over the music.
Points & Explanation
A3 A = 1 B = 2
C = 0
Children are a good people monitor and generally have a good
sense of rhythm. They will often spontaneously jig along with
the band as normally young children have no preconceived ideas
about music. Also as evidenced with 'Down Syndrome'
audiences, they will simply enjoy themselves if they like what
they hear. It's emotional and danceable. This may be a happy
OKOM or if it sounds dreary, they may become quickly bored
and inatentive.
Q4 Assuming band CDs are displayed at most venues where you are
permitted to sell.
A You sell many CDs at some gigs
B You do not have any CDs or tapes to sell.
C At gigs, more often than not you rarely make any
real effort to sell CDs.
Points & Explanation
A4 A = 2 B = 0
C = 0
CD sales (cassette tapes are now dated) are a vital bread and
butter expenses income for travelling bands. If you do not have
anything to sell or maybe have only one to sell which you often
forget to bring along to the gig with you, it makes promotion of
your group and OKOM difficult. Becoming known in the industry
is important. Maybe you do not travel and do not care so you
cannot possibly assist in spreading and promoting OKOM.
Perhaps you are only threatening fun and/or not playing with
enough passion.
Q5 Assuming your group has CDs to sell, have sales ever reached or
exceeded any of the following amounts during any session in the
last 1 to 3 years? Circle each answer if more than one
applies.
A CD sales of one per minute (average) over a 3-hour
concert. (i.e. 180+)
B CD sales of two to three per minute over a 1-hour
session. (i.e. 120 to 180+ CD sales range)
C Neither of above
Points & Explanation
A5 A = 2 B = 2
C = 0
Impulse buying is a good indicator of your bands popularity.
Again, if people see a queue buying your CDs then they often
say to themselves, what I hear is good or I want a memento
of my visit here then decide to buy. The Sydney-Zenith band
have achieved these selling rates with vastly different
audiences including tourists in Darling Harbour, jazz fans at
festivals and mixed audiences at overseas tourist/jazz type
locations chalking up a total of 4 points alone in this
question with their infectious New Orleans inspired music.
Q6 Assuming the playing venue has a dance floor or dancing area.
A The dance floor is fairly full for most numbers
B Mature dancers get up to dance on slower numbers
C Younger (18 - 30 age groups) are dancing fast
numbers
Points & Explanation
A6 A = 2 B = 1
C = 2
Dancers are another good indicator that the band's solid beat
performance is appealing. They would soon move on if the
music falters or does not complement their dancing styles.
Good music usually finds a market but if you can get people up
(young or older) playing OKOM then it deserves some marks.
It is worthwhile mentioning that the Zenith band sometimes
offers a free CD to the first couple up dancing as this usually
triggers off a dancing audience.
Q7 Does the band take audience requests from anyone, (serious
drunks excepted) including children?
A Always, assuming the number can be adapted to your
style.
B Not usually.
C Sometimes.
Points & Explanation
A7 A = 2 B = 0
C = 1
Taking audience requests helps to let people know you are a
versatile group catering for younger and older tastes. This
interacting with your audience also keeps the requester happy
if you can play the number. Although played at a different tempo
even Twinkle Twinkle Little Star starts with a similar
chord sequence to that of Wonderful World. Requests also create
spontaneity and variety that is essential to traditional jazz.
Q8 Does your band produce running orders (or sets to play) or do
you select numbers from the stand as you gauge the venue, mood
and style of audience.
A For a concert or playing session you usually have a
running order outlined beforehand.
B You tend to select numbers as you gauge the venue,
mood and type of audience.
C Depending on the importance of the gig you will do
either A or B.
Points & Explanation
A8 A = 1 B = 2
C = 1
If you have a fair sized general repertoire say at least 1000
standard numbers in the band chord book to call upon then
perhaps a running order is not required. If your group feels
confident enough and the regular musicians are playing the
gig then it is sometimes good for the leader to gauge the venue
and mood of the audience in the selection of numbers. A
parallel here would be a disc jockey gig selecting
slow/fast or different numbers to suit the audience mood and/or
dance floor requirements. For important gigs, such as live
recordings or similar, a suggested running order may be
necessary as a guide to final selection of numbers. Therefore
equal marks are given for A and C with a bit extra for audience
participation and 'off the cuff' MC/disc jockey approach.
Q9 Does your group rehearse/read music/use charts?
A Occasionally we rehearse/read from charts
B The band rarely rehearses but may use fake books
for improvisation using the basic chords.
C Usually most numbers are arranged and rehearsed
Points & Explanation
A9 A = 1 B = 2
C = 0
Charts require rehearsal and prearranged music without
improvisation. This destroys the impromptu atmosphere created
by spontaneous (unstructured) jazz music. In the play 'Jelly's
Last Jam' the young Jelly is in a sporting house where Buddy
Bolden tells him that he looks like he's got music in him.
Jelly then lists some of the classical music he can play. Buddy
responds, "That ain't no music. The notes are written out
tellin' you what's goin' to come next. That's like waking up in
the
morning knowin' you goin' to be alive at the end of the day".
Perhaps you are professional musicians playing some jazz rather
than OKOM jazz musicians?
Q10 Does your group allow sit-in musicians? If so, for how long do they
usually play?
A Yes for a couple of numbers
B No
C Sometimes
Points & Explanation
A10 A = 2 for up to a couple of numbers or A = 1 for whole set
B = 0 C = 1
If limited to a couple of numbers regardless of how good/bad or
how young/old the person is, your audience will normally
appreciate the band's kind gesture especially if you allow them
to select their own (within reason) tunes. Professional
musicians looking for a sit-in usually realise that it is
ethically bad to 'hog the stand' even if they are excellent/
well-known players.
Q11 Does your group get invited back to the same
functions/venues/festivals?
A Rarely
B Often
C Sometimes
Points & Explanation
A11 A = 0 B = 2
C = 1
This is usually a good monitor of what the organisers think of
your group. If they invite you again, it is usually a good
"bums on seats" recommendation for your group and OKOM.
However, having said that, the issue of return favours in the
case of some bands/leaders who also run their own festivals
sometimes looms heavily here. If this applies to your group
then halve your B score to 1 point for negotiating and "contra"
marketing skills rather than invitations on merit.
Q12 Do you consider yourselves "hot and driving" or a "high energy"
group? Are you a "bums on seats" and "entertaining" band
for both the audience and promoters?
A Basically yes
B Not really
Points & Explanation
A12 A = 2 B = 0
Admitting to a "no" answer is probably truthful and correct.
Saying "yes" perhaps is incorrect or you may simply believe you
are. However, as saying "yes" may require some proof this
usually means some agent or critic must think you are.
Answering "A" will at least be a step in promoting the band and
OKOM.
Q13 Are the band and usual audience in similar age groups?
A Usually no
B Mainly yes
C Varies with each gig
Points & Explanation
A13 A = 2 B = 0
C = 1
Although most of us are in the now statistically large retiree
group we should still try to reach for the wider platform
audience. This includes tourists and all age groups.
Q14 Do you think OKOM is dying and/or struggling to survive?
A Yes
B Undecided
C No, the pendulum is slowly swinging back
Points & Explanation
A14 A = 0 B = 1
C = 2
Even if it's true, to think it and/or talk it down is bad news.
A positive "no" infers information that things may improve and
there is some hope for Good Time Jazz.
Q15 What type(s) of music and entertainers do you think jazz festivals
should best include?
A OKOM only
B A 50-50 mix of contemporary jazz and OKOM
C A mixture of Pop Music Artists/Swing/Barber Shop
and OKOM
Points & Explanation
A15 A = 0 B = 1
C = 2
OKOM must become more involved in the entertainment industry.
Even at the expense of diluting OKOM if it helps to expand your
audience. Make the platform wider to encompass programmes not
only devoted to jazz. Modern so-called "cutting edge" jazz has
tried to "educate" the public into liking them using massive
doses of arts funding. This has failed because it is too
serious, subtle and complicated for your average listener.
People are more affluent and lazy now with their leisure time.
Most
people want to be entertained, have fun, dinner dance and relax
after work without becoming involved in anything too highbrow
or serious.
Q16 Does your group carry out any of the following acts during a
playing set? Please circle each act covered during a playing
session. This assumes that presentation varies for future
sessions.
A A solo instrument feature number
B A tribute number
C A novelty number
D Audience participation number
E Band members singing
F Band members playing other instruments
G Band Medley of numbers
H Ensemble numbers with some light and shade
I Impromptu parades through the audience
J Trading fours
K Jump n' Jive or Boogie number
Points & Explanation
A16 A to K = 1 point each if greater than 2 types of acts but if only a
maximum of two answers are selected then your 2 point score is
counted = 0 There is an opportunity to score points here.
However, if you select only one or two maximum activities then
reduce your score to zero for this question. Circling only one
or two of the above in a normal playing session would be an
activity overkill requiring more variety. This may perhaps
indicate that the leader sings practically every number e.g. E &
I or the band plays continuous tribute numbers and/or medleys.
Q17 In your opinion does the band usually "swing" and "light up the
room" when you play for (say) listening only concerts. If your
answer is yes or sometimes, why do you think this is so?
A No
B Yes
C Sometimes
Points & Explanation
A17 A = 0 B = 2 because of the accolades
C = 1 because of the accolades
If you have a sea of intent faces watching the band play and
receive a roar of applause at the end of most numbers then your
answer would probably be "yes we knock em dead". If some of
the audience are fidgeting, looking bored or starting to fall
asleep then your answer should be "no". If you have flashes of
audience repour on some occasions then your answer should be
"C". Some bands have lost touch with the drive and soul of the
music.
Q18 In your opinion what instruments, if any, would sound best to play
(say) a couple of numbers with your group.
A Piano Accordion
B Violin
C Harmonica
D Bagpipes
Points & Explanation
A18 A = 0 B = 1 C = 2 D = 0
Consider bagpipes the missing link between noise and music and
the piano accordion being more suited to Munich Beer Festival
halls. The violin sound results in a very narrow specialist
type of jazz feel so we have allocated one point against the
instrument. The harmonica identifies with youth music, blues,
reggae, Country and Western music and now even impacts on
OKOM. We have noticed that most audience like to hear a
little harmonica/vocal work as it provides variation for the
average listener. This year at the Dumfries Jazz Club at the
Scottish borders, the Zenith played Wooden Heart (in F) with
two pipers that were interesting as a novelty number and good
politics for the locals but we would not suggest it under normal
circumstances.
Q19 Do you think your band's musical inspirations are expanding and
developing into an identifiable integrated sound reflecting the
individual musical qualities of each musican? Are you putting
your own stamp on the music?
A Yes
B No
C I don't know
Points & Explanation
A19 A = 2 B = 0
C = 0
For OKOM it could be good news if your answer is "A" and bad
news if you don't know or answer "B".
Q20 Do you have a regular residency and/or band following ?
A No
B Yes
Points & Explanation
A20 A = 0 B = 2
A band with a hard-core fan following and/or regular residency
means the band is popular and you are in the game of promoting
OKOM for the next upswing.
Q21 Do you think stripped shirts and boaters are the things for OKOM?
A People still identify with the image
B Change the image but it is OK for a show band
situation
C That's what Dixieland style is
Points & Explanation
A21 A = 0 B = 2
C = 1
Unless its for a show boat or vaudeville act this image is
usually only identified by older more mature musicians with fans
probably in their 70s or 80s using Zimmer frames with little or
no future for OKOM. Only a change attitude will help the future
of OKOM.
Q22 How many musicians are in your group and are any of them
under 30 years of age ?
A A standard seven piece (all aged over 50) but still
securing gigs
B A six or seven piece with at least one member under
30
C 5 piece or less for monetary reasons
Points & Explanation
A22 A = 1 B = 2
C = 0
Generally speaking smaller groups are more often hired because
they cost organisers less money and sometimes they have good
soloists players.
However, they do not project a full solid "big band sound"
ensemble image required for promotion of OKOM. Obviously
if you have managed to snare a younger musician which in turn
could perhaps draw a younger audience it could help with
continuity of the OKOM style.
Q23 How many CDs has your group released?
A none or 1
B 2 to 10
C over 10
Points & Explanation
A23 A = 0 B = 1
C = 2
The name of the game is to spread the OKOM word. Apart from
good marketing your group would not produce more CDs
unless they were selling well. Most groups realise that they
have to at least produce a "DEMO" disk to obtain gigs or be
accepted for jazz concerts or festivals.
Q24 When listening to JAZZ what do you consider more important.
A The ensemble band or big band sound
B The front line solos
C A solid rhythm section
Points & Explanation
A24 A = 2 B = 1
C = 2
The attention seeking big band sound and/or solid rhythm section
is important. Although most front line players will never
agree, they are only the icing on the cake. Sometimes you play
numbers like Tuxedo Junction and/or Christopher Columbus with
a big band sound on larger venues.
Q25 During a normal gig do the members of the band look as if they are
enjoying themselves on the stand and develop a good repour with
the audience? Assuming the bandleader usually controls this.
A No
B Yes
Points & Explanation
A25 A = 0 B = 2
This is a simple question to answer honestly. If your answer is
"no" it will probably mean your audience is small (perhaps more
people on the stand than there is in the audience) and you are
wondering if you will be asked back again. Perhaps it means
your heart is not really in it. The audience will sense this
attitude and you will be on another downhill run. The answer
is "yes" for OKOM.
Q26 Does your group promote itself in any way?
A Occasionally
B Shamelessly
C Rarely
Points & Explanation
A26 A = 1 B = 2
C = 0
Promoting the band is a key factor in marketing OKOM and the
group. You must do it shamelessly. You will score no points
for "C".
Q27 Has your group ever provided workshops for new/young players?
A No
B Yes
Points & Explanation
A27 A = 1 B = 2
If the opportunity arises workshops must be offered for younger
players who have taken up an instrument to get a basic feel for
OKOM. The Zenith used to have a workshop 30/45 minutes
before each Uniting Church Concert series getting young players
to learn a standard blues sequence with the basic chords.
Towards the end of the concert program they would all be asked
up together to "jam" the blues with proud parents usually
applauding their efforts.
Q28 If you had a free (financial) choice do you prefer to be playing
most of the time or do you prefer to listen to good jazz
recordings?
A Yes, I prefer to be playing
B No, I prefer to be listening to good jazz
Points & Explanation
A28 A = 2 B = 0
Audiophiles sometimes spend too much time talking and listening
to the past masters than playing themselves.
Q29 Is your band currently doing any of the following as listed below ?
Circle each answer if more than one applies.
A Expanding its horizons to match a growing reputation
and creating enjoyment for both players and
spectators
B Playing for your own enjoyment and striving for
perfection
C Playing acoustically where possible in smaller
venues and using amplification for larger venues,
singing and announcements
Points & Explanation
A29 A = 2 B = 0
C = 2
As far as promoting OKOM is concerned you must expand your
horizons and reputation. However, creating enjoyment for
players and spectators also promotes the music. Playing for
your own enjoyment may be OK for you but not necessarily for
OKOM. The English drummer and record producer Barry
Martyn, a long-time resident of New Orleans, once said that 'If
you play for the people, you will always get a kick from it and
their response. Play for the man in the street or you will be
standing next to him!' Have some communication with your
audience who paid to see and hear you.
Q30 If your group bought a lottery ticket and won $5 million what would
you do.
A Forget the music, take your share and run.
B Start up your own jazz festival/club and/or try to
make a greater impact on the jazz scene.
C Invest the money for retirement income and
continue playing as usual.
Points & Explanation
A30 A = 0 B = 2
C = 1
If you want to give something back to the music you love and
have the money to do it, great, but most would simply continue
to play as usual. If you just grab the money and run then your
heart was never really in it.
FINISH
With a more personal approach, expand your audience, become a jazz
entrpreneur perhaps targeting a wider spectator group. For you JAZZ
lives as popular music and as recently outlined by another lister.
"Merry Christmas to all, and lots of good cheer."
"May Our Kind Of Music be top ten next year."
A big voice is needed instead of being a fragmented splinter
group each doing their own thing. Why not have "RETROJAM" or "LIVE
DISCOJAZZ" (for dancers) or "HOGS & RODEOJAZZ" (Harley owners
group) or "VINTAGE CAR JAZZ" or FASHIONSHOW JAZZ or
"CAJUN CAPERS" or JAZZ MUSICALS/CABARET and say hold a
"JAZZ BAZZAR" instead of always calling it a Jazz festival (Sacramneto
Jubilee excepted) in 2004 and beyond!?
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