[Dixielandjazz] Jazz is dead? NAH

[Marek Boym]

Haven't been to Bude since 2004, but, everytime I was there, clubs and
pubsd were among the festival venues.  While many required the
festival pass, some did not.  At lunch, there was music in at least
one restaurant. and it was free,  And at least one other venue was
free.
In Enhuizen, the festival included a "pub crawl;" unfortunately, this
habit has been discontinued in Breda.
Cheers

On 9 January 2011 17:03, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
> Perhaps what we musicians and club/bar owners might do in the USA, is make
> jazz fests at the club level, an event such as this one. Winter jazz fest in
> NYC has grown some big time audience numbers, in two years,  in spite of a
> limited amount of clubs participating. 1000 people last Friday night, to see
> live jazz at 3 clubs?  That's more than many OKOM jazz festivals draw on a
> weekend these days. I suspect Saturday's numbers with 5 clubs were quite a
> bit higher. Better yet, the audience is YOUNG and buys drinks at these
> clubs.
>
> If there is a lesson here, it is that: "If you present it properly, people
> will come." (No nay-sayers need apply)
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
> A Lot of Jazz. Many More People.
>
> NY Times - By BEN RATLIFF - Jan 8, 2011
> I was at Winter Jazzfest Friday night. I’m returning tonight. Got to prepare
> myself for that. I had some good stretches, but spent a lot of time spent
> obstructed.
>
> Since 2009, the festival has run along three contingent blocks in Greenwich
> Village, in various clubs: this year, three clubs on Friday, five on
> Saturday. (Previously, going back to 2005, it was held in one building, at
> the old Knitting Factory in Tribeca.) The one-night passes were sold out by
> 8:15 last night. That’s pretty early, and every time I circled around past
> Le Poisson Rouge, where the box office was, I saw a squad of the
> turned-away, cycling through the Kubler-Ross stages of grief — shock,
> denial, anger, bargaining, depression, acceptance, pizza.
>
> They were ready to spend $25, knowing that they might see ten or fifteen
> bands before it was all over — a spectacular deal. The problem is, last
> night proved that a lot of people are curious about New York Winter
> Jazzfest. More than were planned for. It’s time for the organizers to run
> some new numbers. Usually I’m the last to complain about this kind of thing.
> I love the effect of a full, pressurized room on any live music, anywhere.
>
> And there’s a long trail of jazz entrepreneurs who are too ambitious, shoot
> too high, imagine an audience that isn’t there, and go down in flames: it’s
> a bad look. But there is an audience for this. And we want to get in.
>
> The largest of the three clubs on Friday closed early, after Chico
> Hamilton’s 9:15 set. This meant that for a pretty good stretch of the night,
> more than 1,000 people were trying to get into the Zinc Bar and Kenny’s
> Castaways, two not-very-big clubs with long and skinny dimensions.
>
> Winter Jazzfest is also a networking hive, for those in town over the
> weekend to attend the Association of Performing Arts Presenters conference.
> Last night, I wished I were an arts presenter. Because then I could just
> catch up with people I knew — on the street, in the back of a club, at the
> little place where I ate the worst falafel of my life at around midnight.
>
> What did I hear? At Kenny’s I heard From Bacteria to Boys, led by the
> drummer Mike Pride, a quartet that jams juddering, provocative asides into
> semi-legit, semi-straight-ahead jazz. I heard The Music Band, led by the
> trumpeter Shane Endsley, an excellent new quartet that will have its first
> album out next month. The band played through irregular grooves
> beautifully—Pete Rende on Fender Rhodes, Matt Brewer on bass, Ted Poor on
> drums—and Mr. Endsley constructed clean, logical solos, just on the wet side
> of dry. They were strong and controlled, and so was Bigmouth, led by the
> bassist Chris Lightcap, a group with two tenor saxophone players — a
> favorite format of Mr. Lightcap, and one that’s not done enough.
>
> I heard Jen Shyu, playing her two-string Vietnamese moon lute, storytelling
> and emoting—she is someone you call a vocalist, not a singer—with her killer
> band Jade Tongue, including the saxophonist David Binney, bassist John
> Hebert, and drummer Dan Weiss. I’ve heard Hebert-Weiss rhythm sections
> before and I want to hear more: wow, did they get into it.
>
> At Le Poisson Rouge, Butch Morris [conducted an eleven-piece band of
> improvisers, VISIONFUGITIVE!, with the saxophonist J.D. Allen and his
> regular trio at the center, playing on-the-spot improvisations and some of
> Mr. Allen’s own written music. And in that wide, packed room, it worked
> beautifully, rolling through strange compound melodies made according to Mr.
> Morris’s instructions.
>
> He gave a little tutorial on those instructions — not the standard
> conductor’s vocabulary, but his own system, which he’s been using for 25
> years or so. With the band’s cooperation, he demonstrated the signals for
> sustain, repeat (“a musician can put in anything he wants, but when he gets
> to the end, he has to repeat”), memory (“so, dig, while he’s playing this, I
> designated it ‘memory one’”), develop, panorama.
>
> The drummer Dafnis Prieto brought his Proverb Trio to Zinc Bar, with the
> keyboardist Jason Lindner and the rapper Kokayi; it took all kinds of
> impulsive side-roads, with drums and keyboards bouncing off each other,
> Kokayi musing on electronic media and spoofing an auctioneer. But when it
> was really firing hot, it grew rapid and funky with machinelike syncopated
> rapping against the drums — sort of after the model of “Jigga What, Jigga
> Who” on Jay-Z’s old “Unplugged” record. Later, at the same club, Matana
> Roberts played a short, unaccompanied tenor saxophone set, followed by a
> long wait for Aaron Goldberg’s trio. The band’s drummer, Eric Harland, had
> just worked two sets with Dave Holland’s Overtone Quartet uptown at
> Birdland, and came rushing out of a cab, down the steps, and into the long,
> crowded chute, still taking off his coat as Mr. Goldberg started the first
> number. Amazingly, he sounded fresh, clamping right into it, making his beat
> change in almost every measure.
>
> Saturday night, more clubs to absorb the throng, and the biggest of them, Le
> Poisson Rouge, stays open till 3 or so. Nowhere to go but up.
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