[Dixielandjazz] Randy Reinhart CD review

[Gary Kiser]

Steve Barbone wrote:

>Thank you for that review. It is a good illustration of your point that jazz
>reviews are subjective. Perhaps it also illustrates a difference in how some
>Europeans and some Americans "listen" to the music.
>
>Examples: 
>
>1) Many of Americans prefer "semi-organized" jam sessions, or even jam
>   sessions with excellent musicians, as opposed to highly arranged
>   renditions, because the sessions are usually a lot more exciting.
>
>2) Many Americans prefer soloist oriented music. That automatic pilot sound
>   to us is a rhythm section that does its job perfectly. It is exactly what
>   is supposed to happen behind the soloist so that he can create freely.
>   e.g. Davern's solo and the back-up in Yellow Dog Blues.
>
><snip>
>
>If I was mean spirited, I would say that the reviewer you quote is a damn
>fool regarding creative OKOM jazz. But since I am not, I can only opine that
>there is a difference in both the way some Americans play and listen to jazz
>as opposed to how some Europeans play and hear it.
>  
>
Steve et al,

I'm glad you used the word 'some' before the words 'Americans' and 
'Europeans' in you comments.  Alas, I still feel a hint of 
generalizing.  I am not going to say you are wrong with anything you 
wrote, but only that I disagree with the underlying ambiance of 
stereotyping that I may have detect in error.

First, I may not be the greatest authority on any subject, but I do have 
a wee bit of experience on the subject of 'tastes' in jazz.  I was on 
the Steering Committee for the LA Classic back in the 80s and I 
processed all the 'opinion/suggestion' sheets.  I produced a trad jazz 
radio show on KCRW for 11 years and we had a lot of call-in comments.  I 
have played tuba in 19 countries.  I have had my hands on the production 
of three jazz festivals in France.  Sure, most of you probably have 
stronger credentials than I.  All I am saying is that I'm not just a 
snotty-nosed kid on the subject.

Now, in the States, there is a HUGE division between what I used to call 
the 'band fans' and the 'all-star fans.'  At the LA Classic, this rift 
was often very hot in meetings.  Members have even stomped out of 
meetings.  At many of the larger festival, where there are both 'bands' 
and 'all-star groups,' I have noticed that many in the audience for one 
style won't go near the other.

Also, look at the difference between 'Jazz Festivals' and 'Jazz 
Parties.'  Jazz festivals mostly offer bands that are poorly paid and 
sell badges at reasonable prices (some will argue here).  Jazz Parties 
hire headliners, pay well and sell admission tickets at several times 
the price for an all-weekend-pass at a jazz festival.  Which is 
better??  Who knows and who cares?  They both -- mostly -- do very well 
and offer the event the following year.

Question: How many on this list go to BOTH jazz festivals AND jazz parties?

As for europe, I see the same thing.  Tastes, or better, differences in 
tastes are pretty much the same.  At our annual Sancy Snow Jazz festival 
we have a varied array of jazz styles (NO Trad, Hot Five influenced, 
Gypsy, Big Band, blues, pre-bop swing, among others).  I see here much 
as I see in the States; there our fans that flock to the loud, fast and 
brash and others will see groups that sound like their man Django.  
Others only come to the big band gala.

True, here in France there are A LOT of bands that are HEAVILY 
influenced by Bechet's Parisian years.  But, to say ALL French bands try 
to copy Bechet would be absurd.  In England, I thought they only had Ken 
Coyler copy bands until our tour in 1998.  No, they pretty well cover 
the jazz spectrum.  There are very fine Waters/Murphy bands in every 
country in Europe.  Hey, lets not forget about Japan and other corners 
of the world.  There is a quite young Australian bass player, Sebastian 
Girardot, in Paris that is VERY hot on the scene and, IMHO, almost any 
band in the States would love to have him in their line-up.

[For those fans of English revival, check out this compilation CD on 
eBay 
<http://cgi.ebay.com/58-DIXIELAND-JAZZ-SONGS-4-CD-NEW-Hot-Shots-Lightfoot_W0QQitemZ230019373436QQihZ013QQcategoryZ307QQcmdZViewItem>.]

The world is getting smaller.  The US has lost its edge on technologies 
to other countries; we buy more than we sell right now.  Our army is 
about the only thing that is stronger than anyone else's.  I can name a 
good number of European jazz musicians that can stand with any all-star 
line-up at any American jazz party (this to be revealed in my upcoming 
earth-shattering post that will bring down the information highway).  
Note, I DO NOT say they are better than the Americans in those line-up; 
only that they deserve to be there.  Many Americans WILL say the 
Europeans are better, but many will not.  You know, that taste thing 
comes into play here.

I send you to YouTube now.  http://www.youtube.com/watch?v=nKKpoCy0a5Y
Here is a clip -- that I personally find exquisite -- with one Canadian, 
one American and one Dane in an interesting trio.  Who is the best 
musician??  I don't want your answers because I feel to reply to this 
question would be ludicrous. [I too enjoy watching the pianist wipe his 
brow with his left hand while still cooking with the right.]

Sac à Pulses has played the States six times and I am working on tour 
number seven for November 2007.  At festivals, we get people that follow 
us around insisting that they enjoy our musicality; that they don't like 
the loud and brash bands.  At the end of the festival, I always bump 
into people saying; "Oh, we didn't go to see you because we like 
such-and-such band so well."  Fine.  Everyone do what they want.  I find 
it a shame that these folks don't try different spices in their stew, 
but I would never call them names or accuse them of mental illness.

You know what?!?  I find some of same thing at festivals here.  There 
are a lot of folk that only go see what they already know; what they are 
comfortable with.  However, I will say that I observe more people in 
Europe with open minds than in the States.  Just look at the audiences.  
There so many young folk that buy our CDs and put them next to the Rock, 
Hip-Hop and Reggae CDs in their collections.  Are we their favorite 
band?  I doubt it, but they will listen to our CDs from time to time.  
There is a dance school here in Clermont-Ferrand with an average age of 
25 years and they are at all of our concerts and all jazz festivals in 
the area.  But, they are at rock and reggae and hip hop concerts as well.

And, look at the major jazz festivals over here -- Marciac, Vienne, 
Ascona, North Sea, etc.  They hire bands and musicians from all over the 
globe -- including Florida.  Oops, I'm in a bit of a hurry and forgot 
what I was going to say about European jazz festivals.

Hey, I wasn't going to write too much because I have a lot of kettles on 
the fire and I have had a flurry of gigs lately.  At one, La Roquebrou 
Boogie Woogie festival, I saw (and was graced by playing with) Bria 
Skonberg.  She was in an international feminine group (no, I didn't play 
with them; she sat in with us).  Was she better than everyone else in 
the girl-group?  No, because she is Canadian.  No, no, that was a joke.  
I did prefer her to the other trumpet player, a Scotswomen 
(Scotsperson?).  But the Swedish trombonist -- who also plays fine 
trumpet -- was probably the hottest muso on stage (she would go over 
well with the American fast & brash crowd).  Hey, but the rhythm section 
(France, Austria and Sweden) did their job with ovation.

Jeez, I gotta go.  I'm late for a meeting.  I think I had more things to 
say here.  I'm not sure if what I wanted to say was said.  If I find 
more thoughts lying around my office floor, I'll put them into the 
imminent astounding super post that I'll get around to . . . soon.

All the best to everyone, even the Australians, Gary