[Dixielandjazz] Why musicians don't talk to fans - and/or listen toother bands

Arnold Day arnieday at optonline.net
Tue Dec 14 07:44:57 PST 2004

I recognise all those good point, Steve, but there is no excuse for the downright rude behaviour of a handful of top OKOM players, "Good morning Mr, X, thanks for the great music. Do you mind if I ask you a question? You made an LP with Y and Z sometime in the 1960s but there is no recording date on the cover. Do you happen to remember when that was recorded?" Answer...."Go find a good discography"....walks off without a smile!

Now, one the greatest communicators was Jimmy McPartland. He would work the room like a comedian, usually with an armful of LPs of him or his then ex-wife, hawking them like a street newspaper seller.  He would sit and chat with anyone during the breaks or after the show. He loved his audiences. Not the greatest jazz trumpeter of all time, but a wonderful, warm gentleman.

Original Message ----- 
  From: Steve barbone 
  To: DJML 
  Sent: Monday, December 13, 2004 10:06 PM
  Subject: [Dixielandjazz] Why musicians don't talk to fans - and/or listen toother bands

  Arnie and others have noticed that some musicians are very accessible to
  fans, while others are not. Here is one musician's view.

  Some of us, like Sutton, Hedges, and in my NYC days, Parker, Krupa, and a
  whole bunch of others are extroverted, or just plain enjoy talking to
  others. And some of us are painfully shy, or introverted and do not enjoy
  talking to anybody we don't know very well. And on gigs, we are "into" the
  music and ordinary conversation may be a bit difficult. When I was a kid in
  NYC playing, all the joints had band rooms where we went to chill out
  between sets. That's a hard habit to break.

  And sometimes, we get bored to tears by fans who wish to impress us with
  their knowledge of jazz. Heck, we live and breathe it every day and might
  very well enjoy talking about something else instead, once the gig is over.

  And as we age, we get physically worn out from gigs, especially if we're on
  the second half of a double. So we get cranky, our feet hurt (which is why
  we wear comfortable shoes that may not be sartorially splendid) and we just
  want to chill out for 20 minutes before we have to be "on" again.

  We mean no disrespect to fans, groupies or just plain folks who hear what we
  have to say when we play. We are all different, but not too different from a
  group of regular people in similar circumstance.

  On my gigs, I try to be accommodating, schmooze with the audience. Visit
  each table for a short time etc. But that also means I have to cut some
  people short too. And I always want at least 5 minutes alone between sets to
  gather my musical thoughts.


  Why do many of us not listen to other bands at festivals or gigs? Well,
  we've just finished listening to each other. And if the other bands are not
  what we perceive as "extra" special, we may just rather chill out. Kinda
  like as a clarinet player, I'd jump at the chance to see Tony Scott, Buddy
  DeFranco or Kenny Davern. But, I am not going to extend myself to hear too
  many others. 

  If we are playing 10 sets at a festival in two days, or in a club, we'd
  rather hear silence, except for what we personally think are extraordinary
  players, and or musicians/bands doing something that is unique.

  We all listen in different ways. As we see on the DJML, some musos still
  spend a lot of time listening to Baby Dodds, or King Oliver, or even Louis.
  While others (like me) would rather explore the Goldberg Variations by Glenn
  Gould one more time or listen to "Monksieland"

  March 30-April 3 MONKSIELAND  - At The IRIDIUM in NYC
  Featuring Roswell Rudd, Don Byron, Dave Douglas

  What is that? Roswell Rudd's sense of humor describing "his" music, a cross
  between Nicksieland (NYC Dixieland) of the 50s, and Thelonious Monk.

  Rudd went from Dixieland Trombone circa 1954 in Prep School, then to Yale,
  with Eli's Chosen Six, then in NYC with Jack Fine and I at the Cinderella
  Club and then to Free Jazz Trombone with Cecil Taylor et al and then to very
  far out. He has played some very modern jazz, and other esoteric music
  recently, but still with the slides and smears of Kid Ory. This, and an old
  friendship is something I will drive 250 miles round trip and brave NYC
  traffic to hear.

  Steve Barbone 

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