[Dixielandjazz] Where are the young people?

Larry Walton Entertainment larrys.bands at charter.net
Fri Oct 28 19:48:40 PDT 2011


I think the reason that they did so well here is the complete novelty of 
their music.  I'm not saying that they were poor musicians because that 
isn't true.  It's not every day that you can see something like that or tune 
in your favorite station and hear it.  Before I took that South American 
tour I had never heard anything like it.

When I was in Frankfort I really wanted to have a five piece group there. 
The people were very receptive to street entertainers.
Larry
StL
----- Original Message ----- 
From: "Dixiejazzdata" <dixiejazzdata at aol.com>
To: "Larry Walton" <larrys.bands at charter.net>
Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Friday, October 28, 2011 6:42 PM
Subject: Re: [Dixielandjazz] Where are the young people?


>
>
> Hi Larry:    Interesting thing about these bands,  they never asked to be 
> paid, and played 200 days a year average,
> at flea markets, community street festivals, and any gathering that had a 
> large audience to play to at street level, they also liked to play at 
> tourist attraction areas like Fishermen's Wharf's where they often took in 
> over $3000.00 in a day not bad for a five piece acoustic band.
>
> They took tips, when offered, but did not solicit them, and sold cassettes 
> and hand made flutes and eventually expanded
> their wares to include Peruvian clothing, as an offshoot business for 
> their wives, at that point they actually started buying
> vendor booth space at the street festivals and paid sales tax on their 
> operations as well.  They also filed and paid their
> USA income taxes every year as well.  They had confidence in their talent 
> and ability to attract an audience and hold them
> long enough to get them to spend money.   And like a former poster said 
> they did indeed expand it all around Europe, showing
> that it is definitely possible to export culture and support it with out 
> government grants and such if the musicians are really good
> and willing to work hard to make it happen.
>
> Of course we don't see much of that in OKOM these days anyway.   Many of 
> The legends of OKOM however, probably did it more like the Peruvian's
> and often for a lot less money too.
>
> Bart,
>
>
>
>
> During a tour of South America we stayed at a resort in Ecuador.  The 
> hired
> help. waiters etc., put on a show that night that just blew me away.  They
> played all the traditional instruments such as pan pipes, ocarinas and
> various string instruments.  Their performance was highly professional.
>
> I wonder how many of us would agree to bus tables for the opportunity to
> play?
>
> You could look at that two ways. A clever resort owner exploiting 
> musicians
> to do double duty or that they are providing employment for talented 
> people.
> Who knows?
>
> This was also at almost 10,000 ft. and one thing I noticed were huge
> diaphragm movements of the flute players.  I probably couldn't have even
> blown a flute at that altitude.
>
> I thought the Indians that were touring here were very good too.  I bought 
> a
> couple of their CD's, so Thanks Tom.
>
> There was an interesting thing that happened at a couple of our concerts.
> Little girls mobbed the women in the band for autographs and just to see
> them.  I guess they had never seen a woman in uniform.  The little girls
> came from girl's schools.
>
> The sad thing was the street girls who sell candy, cigarettes and gum or
> some kind of fruit at the concerts.  There is an incredible gap between 
> rich
> and poor there.
> Larry
> St.L
> ----- Original Message ----- 
> From: "Dixiejazzdata" <dixiejazzdata at aol.com>
> To: "Larry Walton" <larrys.bands at charter.net>
> Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Sent: Thursday, October 27, 2011 11:06 PM
> Subject: Re: [Dixielandjazz] Where are the young people?
>
>
>> Being a good personal friend of Tom Wiggins, I can  say that yes he was
>> influential in launching a very successful Peruvian band on a career
>> building
>> campaign across the USA  and the band leader of that Peruvian Band
>> "Inkari" launched a franchise operation based upon the success of their
>> marketing plan from Tom Wiggins.    which netted them in excess of
>> $200,000.00 a year in income playing only in the daytime,  Just think 
>> what
>> might have happened to OKOM if more of us had even inquired about that
>> plan, paid attention to that plan and done the same with OKOM.    God
>> Forbid OKOM might be popular all over the world as well.  :))   No young
>> people do not want to hear this old timey music.  The Peruvians didn't
>> think the Americans wanted to hear them either at that time.   But they
>> were soon embraced by young and old alike.   How many OKOM bands on this
>> list are making $200,000.00 a year or more just playing music with a five
>> piece band ?    "There will always be a good market for Good Music"
>> ...Tom Wiggins  but somebody has to get off their butt and take it to
>> them.
>>
>> Indeed send the boys around to see if Tom Wiggins might take on OKOM too
>> :))
>>
>> Cheers,
>>
>> Bart,
>>
>>
>>
>> Pat Ladd wrote on 24/10/2011 11:04:38:
>>
>>> inundated by Indian flute groups from Peru and
>>> Ecuador.  >.
>>>
>>> I dont think there can be anyone left in Peru. Those groups are all over
>>
>>> Europe and England. (I know that most Americans think that is the same
>>> thing. It is not!)
>>>
>>
>> I seem to remember Tom Wiggins saying he was responsible for the "Pan
>> Pipe" franchise. Maybe someone should send the boys round :^)
>>
>> Andy Ling
>>
>>
>>
>> -- 
>>
>>
>>
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>
>
>
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