[Dixielandjazz] Crossing Over between OKOM and Modern Jazz

[Steve Barbone]

Funny how we get stereotypical about "us" vs. "them". Kind of brings Pogo
into focus.

Funny also how both groups, lets call them the traddies and the faddies
think exactly the same thoughts about each other, and each other's
audiences, and each other's night clubs.

Like the view that only "faddie" night clubs have audiences that are not hip
enough for the room. And so they chat while ultra hip music plays, because
"they" don't understand, or like the music.

Guess what? The same thing happens in traddie night clubs. Always has. Who
besides me, remembers how noisy Nick's was? Damn those waiters carrying
sizzling steaks around the room for the dinner crowd. And the talking and
the laughter etc. And Central Plaza and the Stuyvasent Casino? Bunch of loud
younger squares in those audiences.

And yes, I can also remember shushing Audrey Hepburn and her party at
Birdland when Bud Powell was on the stand.

And sometimes Condon's was noisy. Especially when all those celebs, like
Kirk Douglas et al went there.

Is noise necessarily bad for the music? I'm not so sure. Personally I prefer
some noise in the room, just as long as a party of 4 is not standing and
shouting at each other a foot away from my horn.

Point being I get to go to a lot of faddie clubs and I get to go to a lot of
traddie clubs every year. (Arthurs & Birdland & Cajun before it closed).
There is noise in some of both types, and quiet in some of both types. Who
can say with certainty that audience noise is bad, per se?

What I am certain of is this, there are a lot more faddies making big money
in jazz than traddies. That's probably one of the reasons why traddies like
Nicholas Peyton become faddies. Don't ask about the others.

I am also certain that there is a larger audience for faddies out there,
than for traddies and by and large they enjoy what they hear. Why else would
George Wein have been so successful, and why else would New Orleans Jazz and
Heritage Festival be so successful? And why else would all those Grammys go
the faddies? Why else would the Estates of Miles, Monk and Coltrane be
raking in so much money a half century after their heyday? Why would" Kind
of Blue" by Miles, still be a top jazz record album seller today, 50 years
after he made it?

And, of course, why else would IAJE feel so comfortable about virtually
ignoring the traddies?

Cheers,
Steve Barbone