[Dixielandjazz] Why Americans Don't Like Jazz

[barbonestreet at earthlink.net]

>-----Original Message-----
>From: Fred Spencer <drjz at bealenet.com>

>Steve, 
>Thanks for a delightful viewpoint of "Why Americans Don't  Like Jazz." It reminds me somehow of the remark    >that "The modern musical is designed to present a spectacle not the music, and the audience leaves the theater >humming the scenery." Regards.

Dear Fred & Listmates:

Interesting to read a young person's take on the current state of jazz. Also interesting to consider the "history of jazz" and/or "music" in general.

For example, many jazz historians treat the music, as originally performed, as "artistic" or being chiefly for listening by esthetes, by what would have been a musically "hip" audience. Others, with whom I agree, see it as dance music presented for the mass audience. It was performed by musicians who were making a living. Note well the waltzes of the ODJB. (I'm Forever Blowing Bubbles & Alice Blue Gown) Note well also that the Lincoln Gardens where King Oliver (and Louis) ruled was a dance hall.

Certainly, the OKOM festival scene from the 1970s onward sees it as "listening" music, and now in the 21st century, OKOM is performed by many bands comprised of musicians doing it on a hobby basis. Perhaps because the music deserted the mass audience? Going back to the roots, consider that what ODJB did circa 1917-1925 was quite similar in philosophy to what the Rock & Roll bands did in the 1960s. They provided wild, rebellious, party/dance music. While OKOM evolved into "artistic"? listening music. 

And talk about "showmanship". Just about ALL of the early working jazz/dance bands were entertainers first. Those bands which did not exhibit showmanship fell by the wayside, no matter how good they were. The foremost example being the primary Goldkette unit. (Bix, Trumbauer et al) They could not attract enough of an audience to pay the bills, yet were arguably the hottest band on the scene just before they broke up. So why now, do so many "fans" decree showmanship? Hmmmm.

OKOM did not suddenly burst upon the music scene and become instantly popular. It was the result of a lot of hard work by musicians trying to make a living, and by the music industry itself, the advance men, the media, the contractors like Jack "Pape" Laine, as well as the detractors who gave it publicity as "The Devil's Music".
Nick LaRocca certainly understood the value of both showmanship and promotion. 

Yes, we are now visually oriented. And why not, that's the way our culture is evolving. With TV, mass visual communication has become the preferred sensory channel. Not only in jazz, but classical as well. The Europeans are changing the Opera World by injecting "modern" sex and violence in the older Operas. They draw huge audiences.

I guess basically, I'm for bringing the music back to the dance function. That, plus vocals with a message, is what will turn on the youngsters. Toward that end, I have an article to be published shortly in "The American Rag" which outlines our experiences with young people and OKOM.

No doubt many will disagree, criticize, lament, etc., but that's the way it is.

Cheers,
Steve Barbone