[Dixielandjazz] Top 10 Reasons--decline of Dixieland Jazz

[jazzfact]

Here's one reason why Classic Jazz Lives,

This gig is but one of our regular weekly performances, there are 190 =
meals
served every Wednesday and that's a full house!=20



"Where did they come from ??

by Jim Mills

It=92s a Miracle!

Have you ever noticed how small events can often trigger large changes? =
A
bomb is thrown at an insignificant Arch Duke in Sarajevo and WW1 =
results.
Then there was the case of Aunty Charleen. Unwed at 27, with a face that
would sadly never launch a thousand ships, Aunty Charleen had settled in =
for
another quiet Saturday night with Jack Davy on the =93wireless=94, when =
in walks
her friend Rayleen, who says, =94Aa! What about we go to the 50/50 (Jazz =
&
Old-Time dancing) down at the Masonic Hall?=94 Those fateful words set =
into
motion the wheel of fate, for Aunt Charleen met Uncle Dick in the
Progressive Barn-Dance, they married and eight months later the first of
their lovely seven children was born. The result? Aunt Charleen is still
convinced that had she stayed at home that night, she would have become =
a
famous Prima Ballerina!


Not so dramatic or poignant, but equally earth-moving in its result were
recent events at the Tewantin-Noosa Bowls Club. For some time the Club =
has
not enjoyed the patronage it deserves. Perhaps their many bowlers do not
linger long enough to fill the coffers or it might have been the real
estates agent=92s favourite, =93position, position=94, who knows? Fact =
was, on
Wednesday nights in the past the venue was not well attended.


Enter stage left, the fickle finger of fate, in the guise of Richard
Stevens. Then ensued, a conference with management, which a reliable =
source
reports resulted in an offer by Richard to fill their Dining/Dance area
within four weeks and if he did, they were to offer the Jazz Factory a =
gig,
every Wednesday night, 6.30 to 9.00 pm. into the foreseeable future.


As G.B.Shaw said,=94By George, He=92s done it !!! And dun he did! Val & =
I
attended night four, the end of the trial period. We arrived about =
6.15pm.
for dinner and had a friend not held us seats, we would have dined off =
the
mantle-piece; such was the crowd! By 6.30pm, when the band struck-up, it =
was
standing room only. There were Jazz Club members and people I had never =
seen
before, and they just adored The Factory, who all played like men =
inspired.
Peter was shaking his little Egg cum maraca so vigorously I thought he =
may
fall off the stand; and his beaming smile lit up the room. The =
=93Boys=94 had
created a modern miracle. This crowd didn=92t just clap, they roared; =
and that
with full tummies.


True to their word, the Club engaged the Factory for every Wednesday =
night
and as a sign of their approval, have put the band=92s name up in lights
out-side the Club. Well, I don=92t know about New York, but if you can =
make it
in Tewantin-Noosa, you can make it anywhere; and better still, the
black-board menu is headed =93Jazz Factory Special=92s=94; it=92ll be a =
cook-book
next, =93Fine Dining with the Jazz Factory=94. Well, the crunch was that =
the
Club not only booked the Factory, but agreed to the inclusion of =93Big =
John=94
Murray, the greatest Trombone/Vocalist around. John sat-in on the night, =
and
having heard him, the management decided they must have him; an =
eminently
wise decision!

Sitting in at times were Petra on Banjo and Dick Barnes on Double Bass, =
who
was outstanding for his fast, eight note rhythm in =93Undecided Now=94, =
which
seemed to change the whole character of the band. Because of its =
sustained
ring, it=92s virtually impossible to handle that speed on a Sousaphone; =
but
then the Sousi=92 can do things the bass could never do; but then, most =
Susies
can do that! I am convinced Ian Denovan still has his own teeth because =
in
=93Undecided Now=94, he was handling such a mouthful of words at such a =
rate,
they would have fallen out (the teeth that is). Once again, diction,
diction, we understood every word Ian sang. You=92d make a lousy =
rock-star
mate.


So here=92s the deal. Every Wednesday, 6.30 to 9.00pm. Admission is in =
itself
free, but, as this is a Jazz Dinner Dance, admission is strictly with =
the
understanding that you will purchase Dinner. Hate to see anyone =
embarrassed.
The meals are truly Hastings St. class, but at soup-kitchen prices; and =
the
staff - =93Even the Staff are beautiful=94. Come and see for yourself, =
but
please, be there at 6pm.or even earlier for pre-dinner drinks. That way
you=92ll be below .05 by the time you drive home. They have an excellent =
Wine
List at mate=92s rates. I know it=92s early, but you=92ll be tucked up =
with your
Teddy (or who-ever) by ten O=92clock. See you there next Wednesday, =
early!"

regards,
Richard Stevens
www.thejazzfactory.net

-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Charles =
Suhor
Sent: Sunday, 27 July 2003 6:04 AM
To: dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz] Top 10 Reasons--decline of Dixieland Jazz

Top 10 Reasons for the Decline of Dixieland Jazz

Here's are ten guesses, disguised as strong opinions, as to why =
Dixieland
jazz has been in long decline in popularity and lacking in appeal to =
most
young musicians. They're in no particular order.

1. Major-circulation jazz magazines ignore Dixieand jazz almost =
completely.
CD re-issues of better known artists might be reviewed but coverage of
current bands, let alone exposure of new talent, is slim to none (and as
they say, Slim just left town).

2. Smaller mags are usually too narrow in scope (e.g., JazzBeat mainly
writes of artists on their label) or they can't cover the great breadth =
of
the territory (e.g., New Orleans Music). Wait--I might not know what I'm
talking about here, because I don't subscribe to them all. Does any mag =
you
know of make a credible stab at covering the ground of pre-swing jazz
styles and active bands?

3. Jazz radio is overwhelmingly modern jazz and "smooth jazz." I love
modern jazz, but what a kick it would be to hear some stompin' and blue
earlier-style jazz in the mix. As for "smooth jazz," don't get me =
started.
Broadcasters will say they're just playing to the audience tht likes =
modern
& smooth, but does it ever occur to them to CULTIVATE an audience =
instead
of following formulas? Sounds too much like work and creativity, I =
suppose.

4. The radical Moldy Figs' heritage lives on. They've won the popular
imagination, in this sense--folks seem to think that the only true jazz =
in
early styles is played by black guys who are very, very old. The figs =
and
others long ago labeled Dixieland jazz (from the ODJB to NORK to Condon =
and
forward) as "white Dixieland" and saw it as a corruption rather than a
development of jazz.

5. The very term "Dixieland" carries tremendous negative baggage. It =
woud
have saved us a lot of grief if the ODJB had called themselves the =
Original
Riverside Jazz Band. The "Dixieland" stigma isn't just a matter of
political correctness. Understandably, young blacks don't respond
positively to a tag that calls to mind de land ob cotton and Confederate
stars and bars. It's true but not very consoling that black artists from
Jelly to Edmond Hall to Thomas Jefferson to Kermit Ruffin have played in
bands that have been called, stylistically, "Dixieland." All names are
arbitrary and all categories leak, but the inherited name sucks. And it
seems that we're stuck with it.

6. There are too many amateur Dixielanders who play badly. As you know, =
the
style isn't easy to play well. Even an amateur has to have a great ear =
in
order to learn the tunes and jam skillfully. But like early New Orleans
style, Dixieland is easy to play badly. The general public doesn't know =
the
difference, so poor players get delusions of adequacy. Even =
well-organized
Dixieland bands often have only a couple of players who can really hold
your attention and make the listening worth while. Good Dixieland calls =
for
adept amateurs (a great tradition in jazz) and good professionals, and
sometimes they're not on stage.

7. The opposite problem, at another level. The baddies being recognized,
there's still too much genuine talent for the market. There are more =
good
producers of Dixieland jazz than there are appreciative/spending =
consumers.
Even if larger audience were developed, all the deserving musicians
wouldn't likely get enough of a hearing. But that's true also of =
deserving
modern jazz artists, classical musicians, dancers, painters, writers, =
etc.,
in America. I'm always amazed the staggering among of unknown talent in
this country. I can't speak of other places that might be equally
productive, but everywhere you turn here there are people with fine
artitisic talent. The best sometimes rise to the top but it's often =
pretty
much of a crap shoot as to who wins fame, who remains a struggling =
artist,
and who keeps their talent as a sideline. I could knee-jerk blame this =
lack
of support and other down-sides of American life on capitalism, the =
media,
or whatnot, but first and always, I've got to marvel at the creativity
that's afoot in our culture.

8. Then there are the schools. Starting around the fifties, they taught
"jazz" mainly as section playing in big bands, moving gradually toward
teaching improvisation. But it's almost exclusively modern jazz solo =
work
in the context of modern jazz charts, and it's often a highly technical
method--chords, scales, range, etc. That's great, really. But the joy of
contrapuntal Dixieland ensemble playing, the uncluttered soloing, and =
the
historical perspective are special experiences that are to my knowledge
offered in few schools.

9. The cultural settings and opportunities for "learning in the =
trenches"
aren't as abundant today. In earlier times, spot jobs for a kid often =
meant
showing up for a neighborhood dance or tavern with your horn and a
willingness both to show your stuff and learn-as-you-go. Gigs like that,
plus frequent jam sessions and sitting in with more experienced players,
were a major way that youngsters got ear training and became good
general-purpose combo musicians with a command of the Dixieland =
repertoire
and style. Today the music at teen dances and neighborhood bars is =
largely
blues or  pop-rock, tightly arranged bands "covering" top tunes, etc. =
Maybe
they do it well, but you won't learn jazz of any kind in that =
environment.

10. Your call. I'm flat out of speculations...

Charles Suhor







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