[Dixielandjazz] Elkhart Jazz Festival also (also long) (Very long)

[dingle at baldwin-net.com]

Lowell Busching wrote:

> Note: I have mentioned in other emails about how I think the DJML 
> should be used to help promote and improve the festivals that are 
> still going for OKOM, as well as talking about the old music some call 
> "Moldy Fig"., or how to produce it.  That is why I posted about the 
> Elkhart Festival, and like Hal Vickery I am making some lengthy 
> comments on it.  Delete now if you are not interested.  No need to 
> suffer fools.
>
> Hal and I did get together for a couple minutes at the Elkhart 
> Festival this last weekend as he said. I have also attended that 
> festival about as many years as Hal. It is the first time we met. 
> Possibly 13-15 out of the 19 years at least in my case.
>
> There are always surprises at the Elkhart Festival, whether it be the 
> pairings of the musicians, great performances of some songs, or the 
> more negative aspects of festivals that still exist after all those 
> years both in Elkhart and at other long running festivals.
>
> I am a strong supporter of the Elkhart Festival even if I am too cheap 
> to buy a Patrons badge! Therefore, I am reluctant to dwell on the 
> negative things, although I will mention one or two, at least.
>
> Some musicians had 3-4 sets a day or session during the festival. 
> Equally popular musicians, might get only one or two sets.  No reason 
> I could see for that, nor was I offered any. None of my business. If 
> festivals put as much thought into the scheduling as the logistics of 
> putting on the festival, all would be better. Elkhart is RUN well.
>
> I apologize to list mate Ed Metz for not making more of his sets over 
> the weekend. So many venues, so little time! His choice of musicians 
> once again was excellent, as evidenced by the Eddie Miller number his 
> reed players did at my request as Hal mentioned. Frankly Hal, I do not 
> remember if Fidgety Feet got any more applause then my request. Maybe 
> we will have another "cutting contest" next year? I did HAVE "fidgety 
> feet", however.
>
> My own observations on the festival are as follows.
>
> Sound: Considering this festival uses all "professional" sound people 
> and equipment the sound quality and mixing was generally excellent for 
> the audience, and with the varied venues. Not all were equal 
> acoustically. The musicians will have to speak for themselves how it 
> sounded on stage?
>
> The rental on the sound equipment must have been staggering. Most 
> venues could have got by on far less. Too many festivals for OKOM go 
> over the top on the sound systems. Use the KISS method. Check with 
> Kenny Davern.
>
> The professionals tried to mike everything, but accepted it when OKOM 
> musicians removed the mikes or set them aside except for announcing. 
> Not all profession sound teams will accept that. A big plus for this one.
>
> How am I sure they were professional sound people, besides seeing the 
> massive amounts of pre amps, amps, filters, giant consoles, "cable 
> snakes", and large speakers at some venues?
>
> Example:
>
> Prior to the last set on Sunday of the New Reformation Jazz band (with 
> the co-leaders of Mighty Aphrodite and their bass player) in the 
> largest venue, it took a sound crew of at least 6 people, plus a 
> couple of production types with headsets and walkie talkies, about an 
> hour to mike this standard size trad band!  As a sound volunteer I am 
> expected to do that in 15-30 minutes AND start on time! Usually no 
> help, and I am cheap! A free badge. Not even a room! I guess education 
> does pay!
>
> The sound people were also a "fashionable" 7 minutes late in starting 
> a 60 minute set while they got the last 2 mikes working!  Yes, I was 
> timing them. The band was ready on time. The sound was well mixed at 
> the start, however. No complaint there. Any more questions?  SOP
>
> John Allred was the only scheduled musician of those I listed on the 
> DJML prior to the festival that did not make it, due to his commitment 
> in NYC for a recording. This left several sets with no trombone. His 
> father, Bill, did cover a couple of those sets. This is why Hal did 
> not see Bill listed in the program. Last minute substitution. The 
> festival did not replace John officially. The slots were left open!
>
> A couple sets with no trumpet/cornet scheduled also. Music minus one. 
> The musicians did not complain. Will they complain? Naw! They want to 
> come again next year. Don't make waves. You may be left out. Let it 
> ride. It still sounded good.  More clarinet solos this way. What could 
> be better?  Right Steve?
>
> The musicians are treated well in Elkhart, I think those on the list 
> will agree, and thus they seem willing to come back if invited. Other 
> festivals should learn from Elkhart. The musicians are generally not 
> overworked, but sometimes the scheduling can cause problems when they 
> are! More equal scheduling is needed at all festivals.
>
> Additional
>
> At most festivals the top name listed for a set is generally meant to 
> be the leader by the schedulers. Passing the lead to another player 
> can cause problems with the sound people if not with the scheduler. 
> Consistency is needed in listing leaders. The musicians were not told 
> by the festival who would be the leader, so they used convention in 
> most cases. Many were not aware they were to be the leader until set 
> time!
> Some found themselves leader several times. Many none.
>
> This is an Ego issue if nothing else. The chance to call your favorite 
> number that shows you at your best!  Excess pressure on the multiple 
> leader to come up with numbers they all know. Multiple issues.
>
> Does anyone on the list have an opinion on this? Could it be made a 
> "festival law" much like certain beer drinking practices in the 
> commercial are made "man laws"? :-)
>
> Highlights:
>
> Some of the highlights to me were Dan Barrett doing "Stardust" on his 
> trombone, the versatility of Bob Haven's on songs you would not 
> usually associate him with, and Kenny Davern on the blues numbers.  
> There were so many good solos by all of "our" musicians that to try to 
> remember them all would be impossible. As to the more modern players, 
> I will leave that to Hal.  HKOM. Sorry Hal. I missed Berg.  Maybe next 
> time.
>
> Over the years at Elkhart, like Hal, I have been amazed at what some 
> of the musicians from other styles of jazz can do when by scheduling 
> quirks they are "forced" to adapt. Professionals are professional. In 
> the early years of Elkhart, it was mostly intentional by the music 
> director at that time. I have always hoped they would go back to that 
> format.  But for now I thoroughly enjoyed hearing so many of "our" top 
> players.
>
> Lowell aka Mad Dawg
>
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>
Yes -- the musicians are well treated here. I played it with the JAzz 
Ltd. Reunin Band about '90 or '91. On the mix and match we had Jack 
Lesberg on bass on one set, and Ralph sutton on another.  Both gone now, 
but I have the sets on tape at least.
We have done a few Jazz Ltd. Reunion gatheringat clubs or festival -- 
for the Illiana Club, the Vintage Jazz Club in Michigan and always have 
a great time. A few of us were members ofthe odlhouse band at Chicago''s 
Jazz Ltd. -- I put in nerly five year ont rumpet. Barrett Deems was on 
for a few years with me as was Jim Beebe -- and egad, both gone now. 
(Morel of this is do not work a steady gig with me or your will die!!)
Elkhart was on my list to catch, but wife was shceduled for eye surgery 
and so we could not make it. Thanks for the good review of the Elkhart 
doings. We will take in the Bix Fest at Devenport this July. I played 
that on seven occasionsand always had a good -- not sweteringly sweaty time.
Regards,
Don Ingle