[Dixielandjazz] Alana's Bio

[Stephen Barbone]

"Alana Shapazian" <intern at montereyjazzfestival.org> wrote

I have been lurking on this board for almost two years, and as many do,
I also use it as a source of information. I am a sponge for jazz
history. I grew up in California, but I go to school in the North East.
I am a musician/ arranger and avid promoter of OKOM. My interests
include a wide spectrum of music and musicians, from Jelly Roll to
Quincy Jones and beyond. I enjoy arranging small group to Big Band, but
my roots are traditional and it shows in my writing.
My job as a young musician is to make sure that this art form always
thrives. But as a young musician, it is sometimes quite difficult to get
my voice heard. I love and respect the fans of this music, but I don't
always feel the respect and encouragement in return.
(FRUSTRATED YOUNG MUSICIAN VENTING BELOW, IF UNINTERESTED PLEASE SCROLL
DOWN TO CLOSING REMARKS)

DON'T YOU LIST MATES DARE IGNORE THIS!!!  (Note FROM BARBONE)

It is unfortunate that I have spent most of my message board career as a
middle-aged man named Harold, but if that is what it takes for a
respectable response. so be it. A lot of boys and girls my age get stuck
in this "young musician" rut. After their youth band careers fizzle and
before they are old enough to be respected by their elders. It is tough
time for 17-24 year olds. All sorts of life changing experiences and
decisions to be made. As many of you may remember it was tough, and
quite an emotional time. For those very few (and the numbers are
dwindling) that make it through the "rut" and go on to not resent and
still enjoy OKOM, I give great thanks.

With many young folks listening to loud booming music (and I use the
term "music" loosely) I suppose it would be hard for the jazz fans to
feel comfortable with us. But wouldn't it be nice, if generation after
generation this American art form can be enjoyed as it is today? I know
it will be tough (and some folks have already taken responsibility) but
I think OKOM survival is in the hands of the fans and musicians of
today. It is up to you to ensure the proper encouragement
to the young musicians. Even though he may have blue hair, or she
listens to rap music, doesn't mean they are dismissible. When you all
were young, did you do or wear something that was disagreeable to
society or public opinion? For those of you who can look beyond the
surface of young folks, please continue your support.

CLOSING REMARKS:

Through the various Dixieland and Trad Jazz Societies throughout the
world you can support by donation and through volunteering efforts. Most
of these organizations support youth bands and award scholarship money
in order for them to attend jazz camps and clinics. Most of my fondest
memories playing in youth bands was attending these camps, and making
bonds with other musicians my age. I learned a lot from the clinicians
and instructors, and came to realize that what I was experiencing was
unique and special. I also believe that efforts need to be extended
beyond the Jazz Societies. As some may have heard in the recent news,
many arts programs in public schools are disappearing. Yes, our economy
has fallen on rough times, but help comes in forms other than money. The
arts are imperative to the education of young people. It is said that
students that play music at an early age are more successful adults. I
remember as a junior high school student I enjoyed seeing a Dixieland
band perform for our school. It looked like so much fun, but as an
average clarinetist I would have never thought that I would make this my
life's work.

I would personally like to thank the folks at the Basin Street Regulars
in Pismo Beach, California, for their support of young musicians. They
had sent me to jazz camp a couple years back and I am greatful for their
support. My experiences there encouraged me to pursue a career in music
and drive to not give up.

Best wishes to the preservation,

Hopeful and Persistant


Dear Alana:

It is wonderful to hear your viewpoint and about your love of OKOM.
Hopefully the Basin Street Regulars and others will continue to support
the youth bands and the youth activities that you enjoy so much.

I agree that we need to get the music to the young people, (hereafter
called "kids" for simplicity's sake). And that goes beyond supporting
youth bands. It means that OKOM bands have to perform where the kids
are. We do not need more musicians to play this music, we need more
audience to hear this music. Then, and only then will a career as an
OKOM or a jazz musician
become viable.

And you are right, help, or support for the arts can be gotten easily in
other forms besides money. This music does not need preservation, there
will always be a couple of thousand dedicated people around to preserve
it. What it needs is expansion. And there is no doubt in my mind, and in
the minds of a few other OKOM band leaders, that we can present this
music to kids as well as make it self supporting.

Jazz music, jazz festivals, should be profitable for the musicians and
for the promoters. The only thing that holds us back is ourselves. We
limit our ability to accomplish this by our own mindset. We are not
willing to get out there and go for the kids.

My band plays in many public venues. Public Parks, Band Shells, Beaches,
Street Fairs etc., etc., etc. Where the kids are, We are warmly received
and invited back the following year. We play at Restaurants and clubs
where the college kids are. And we are warmly received and invited back.
Etc., Etc., Etc.

As a result, OKOM is a profitable venture in our little corner of
America. And if you lived here, you could work as a jazz musician much
of the time and as a commercial musician the rest of the time and make a
decent living at it. Sad to say, that is not the case in much of the
USA.

So, I urge you, and our fellow band leaders on the list to concentrate
on the young audience. Get out of the "Old Folks are the only people who
like this music" mindset and go an perform where the kids are. Satisfy
that audience, build it, and then OKOM will become a viable career
option. If that doesn't happen, it will remain a hobby, which is OK, but
a stunning under achievement in the face of what is possible.

In the late 1940s and 1950s in Philadelphia, there was a jazz club for
kids under 21. It was on the third floor of a music store, operated on
weekends and charged a 50 cent admission. The owners got the jazz
musicians to perform there prior to their gigs in the clubs downtown.
(21 was the legal admittance age in those clubs). Like from 6 PM to 8
PM.

Every top name visiting Philadelphia played at that club. Billie
Holiday, Count Basie, Clifford Brown, Muggsy Spanier, Lester Young.,
Charlie Parker, Sidney Bechet, Mel Torme, Ben Webster, etc., etc., etc.

What a thrill for the kids to hear the top jazz players. Best of all?
These stars never charged a dime to play there for the kids.

So bands, how about it? Why not play for the kids prior to your local
gigs? Or play in the High Schools. Develop and audience and folks like
Alana will have a chance to make money at it 10 years from now. Only
when OKOM is self supporting will it truly be successful.

Cheers,
Steve Barbone