[Dixielandjazz] (no subject)
TCASHWIGG at aol.com
TCASHWIGG at aol.com
Mon Dec 6 22:59:42 PST 2004
In a message dated 12/6/04 9:54:13 PM Pacific Standard Time,
ALSINGERPRESENTS at aol.com writes:
> TOM....putting good jazz on the same bill as Disney's Mickey Mouse would
> been quite a different matter than coupling good jazz with Sammy Kaye or Guy
> Lombardo etc. ,even though THAT Mickey Mouse music was far more honest than
> the electronic stuff that dis-honors the word "smooth" today. Fact is the
> Dixieland I heard in cartoons during my almost every weekend visit to the
> combined with the Western Swing I heard in the Westerns during the 1930's
> up my ears for Louis,Sidney, Johnny Dodds et al to begin my life-long love
> affair with America's ever evolving art form through N.O.
> ,Dixie,Chicago,Swing/K.C. ,Be Bop, Straight Ahead ,Free and the rest of the
> REAL THING!!
> al singer
Al I could not agree with your personal viewpoint any more, but I have been
in the business side of it for so many years and seen the audiences change at
the whim of the music that was fed to them. My Mother in law is 86 years old
and a classic example of the evolution and or demise of what we musicians and
promoters of what we believe to be the True Jazz and good music to be.
Her record collection and taste in music reflects it all as a non musical
consumer and music fan. Guy Lombardo, Lawrence Welk, Benny Goodman, Jimmy &
Tommy Dorsey, Sammy Kaye, Danny Kaye, Ray Conniff, Tony Bennett, Frank Sinatra,
Dinah Shore, Pete Fountain, Artie Shaw, Les Brown, Woody Herman, Eddie
Peabody, Al Hirt, Eddie Fischer, Steve & Edie Gorme, Rosemary Clooney, Peggy Lee,
Jerry Vale, Perry Como, Andy Williams ( her favorite) and Pat Boone, ( who was
what I would call the Smooth Jazz of her Day as well as mine). Notice there
are NO BLACK Jazz artists in her collection until much later when she
discovered The Mills Brothers, and The Ink Spots, and The Platters and the Drifters
who were primarily Black acts smoothed out to appeal to White Audiences. But
not embraced by many until the mid sixties.
The big difference today is the electronic simulated sounds which I too find
atrocious and unbearable to listen to. However we must remember that we are
living now in an electronic age and the kids and music lovers have only had
exposure to this kind of music from the general media looking to sell and service
their created marketplace.
We certainly do not have to condone it or like it personally, but to ignore
it and not look for a way to change it would be sinful in my opinion and simply
giving up and letting those that do embrace it even if only fleetingly force
us and our idea of Real Music further back into the closet and or extinction.
You and I and many others are fighting the same war, simply on different
battlefields and with different weapons I suppose.
As I mentioned earlier in a post I booked a Smooth Jazz artist who's music I
hate because it made economical sense for him and for me. Now if I am wrong
and should not have supplied the act to my client who sold out the venue and
made about 50% profit on the concert from an adoring crowd of musically
uneducated or properly exposed to real music audience, I am terribly sorry but I made
more money doing so than I have ever made promoting any OKOM event.
I also play OKOM music for very substantial amounts in many markets around
the world on non OKOM events and festivals and some folks in other genres of
music are not only shocked because we are on the show but because we were also
well compensated for being there for them. Not to mention how many of them are
blown away when we get a better reaction than they do from the folks who paid
to come and see and hear them.
I just love to go on a show with a big name Jazz legend and play our
arrangements of one or more of his long forgotten and discarded Hit recordings done
with a Fresh and totally new Music Sound to them and his audience in New Orleans
Second Line Brass Band style.
I do not know if your ideas lean totally toward being a purist or not, I try
to speak generically about the industry and the options we have at our
disposal to accomplish our respective goals.
Guys like Steve Barbone do the same, which is why he keeps posting stories
and reviews from the New York Times and advising us to insert OKOM in the place
of the context of the story for professional comparison in the hopes that more
of us might see the light and find useful information and ideas about how to
change with the times to increase our ever decreasing audience.
We may be preaching a seemingly new musical religion but we all have the same
goal in mind the salvation of OKOM in all of it's various forms.
What worked forty or fifty years ago still works to what is left of that
audience, but it does not work to attract the new audiences that came into the
game under a totally different set of rules and music genres.
When we try to shove Louis and Buddy and Bix , etc., down their throats or
ears full force it is categorically rejected for the most part, we have to be
more subtle with our approach to educate and expose them.
College kids go off to College with nothing in their brains but whatever form
of Rock and Roll they have been exposed to, but something magical seems to
happen in their sophomore or junior year. They discover Blues, then Louis and
Jazz and Big Band and the fact that we do indeed have a lot more music than
rock and roll or rap and hip hop, whose following eventually will also mature and
discover real music as we know and love it.
It has worked for classical music for centuries, and since Jazz is America's
Only Contribution to World Culture, and I travel world wide with music I see
no real chance of it becoming truly extinct no matter how hard we try to keep
it in the closet and pure.
The English have their interpretation of it doing very well, the Aussies are
enjoying it greatly down under and I see it all over Europe and Scandinavia as
well. It is only here at home we seem to be waging a war to destroy and or
restrict it's natural growth rather than expand it.
Those major Jazz artist that long ago abandoned it for other styles did so
because they could not continue to support themselves in a restricted
environment which appeared to be limiting their musical expressions of freedom and
improvisation as they chose to interpret it.
Well, that's the way I see it this week anyway.
And certainly do not stop doing what you do your way.
Everything helps in it's own way.
More information about the Dixielandjazz