[Dixielandjazz] Dixxieland Jazz in the USA

[Steve barbone]

Arnold Day <arnieday at optonline.net> wrote: (polite snip)
 
> But the Lincoln Center Jazz Orchestra you say? Well, here is their mission
> statement: etc. 
(snip)

I am referring to the New Orleans Jazz version of Lincoln Center Jazz Band,
not the orchestra which has a different mission.

The N.O. Jazz version plays early form N.O. Jazz. Includes Nicholas Payton,
Wycliff Gordon, Wynton, Herlin Riley, Michael White et al. EXCELLENT group
of players.

The TOTAL Lincoln Center Jazz Offering is much broader than most folks on
the DJML realize. Basically because (once again IMO) we are not hip to
what's happening now. We are still looking/listening backwards in time
instead of towards the future.

> Ahem.....jolly good!!  Just my opinion, but if Wynton and his associates
> were not the beneficieries of huge private and public subsidies, they would
> all be driving taxis (am I allowed to say that in America??). Seriously, I
> have no objection to their music but it sure ain't what I would call "Trad".

The New Orleans Jazz version I speak of above is the very essence of "Trad".
It's sound is the precursor of "British Trad" if you know what I mean. Once
again, IMO, most of us "Dixieland" experts have never heard it because we
are not paying attention to the "black roots" of jazz, or those black jazz
bands which play in the ORIGINAL style.

LCJB also teaches New Orleans jazz with various programs aimed at the young
kids. A fact of which most of us are ignorant.

Certainly, LCJB would not have the exposure without either the contributions
of patrons, or the vision of Wynton. But then so what? Same is true of
Preservation Hall, Jim Cullum, The Metropolitan Opera, Philadelphia
Orchestra etc.

> Now, Nick Payton, he can really play the stuff when he wants and is allowed
> to. Have you heard his recording with the late Doc Cheatham?...fabulous!
> (Verve, 1997).

As you say, Payton is a giant among New Orleans Jazz trumpeters. A while
back, we took an informal poll on the DJML about who knew him, or had heard
him play New Orleans Jazz. The results were dismal. Most never heard of him.
Unfortunately, it appears he has left the OKOM fold for more modern jazz
forms. He is currently on a brand new Terry Gibbs CD, reprising the bebop of
52nd Street with Monk and Parker tunes. He excels there also. I suspect he
went modern because: (a) there is more money there for him: (b) it presents
more of a musical challenge.

> But I see they (the LCJO) have made four recordings in their
> 16 years existence. WOW! The relatively humble Lightfoot band I mentioned
> has made 47!

Yes, but LCJO, and LCJB, have MUCH MORE exposure to listeners via packed
houses worldwide, radio broadcasts and television programs.

> Still, I sure hope you can pass a dose of your optimism and commercial
> know-how onto a few other musicians on this message board. I think you are
> right; it's just a matter of getting the message out, putting on a fun show
> with a bit "slick", and not compromisising on the basic style of music you
> play. Perhaps the regional small theaters are one way to go, as seems to
> have happened in the UK. Not too many years since   Johnson "Fat Cat" McRee
> put on those great concerts at the Hayloft Theater in Manassas, VA

Thank you, I too hope that others will get this music going to the
"jazz-oblivious" audience. There are millions of kids out there who want
good music, presented in an entertaining way. What works for us is not the
playing of old arrangements, or reprising the past, but adding to it. No
doubt there are other ways to get to the kids, if others would only try.

Our band mission statement, formally written down and frequently discussed
with the sidemen is simply:

"Barbone Street's Mission is to expand the audience for Dixieland."

Everything we do is aimed at accomplishing that. On one hand it is: a)
altruistic and on the other: b) selfish because the more total audience
there is, the more we will play and the more money we will make.

Cheers,
Steve Barbone