[Dixielandjazz] Negative peer pressure

[Stephen G Barbone]

As Jim and Marek pointed out, the European scene is very different.

I am not so sure about "negative peer pressure" as a reason for a  
supposed lack of young audiences appreciating jazz in the USA. In  
fact, I am not sure that peer pressure has much affect at all.

What I believe is that most USA bands do not see young audiences  
because they do not play where the young audiences are. The club scene  
in the Philadelphia area is swarming with young people. And there are  
clubs that feature 1920s - 1930s music. The kids go there from 9 PM to  
2 AM.

I sub in 2 different clubs that hire YOUNG Dixieland musicians. And  
the audiences, mostly under 40 years old, love the bands and the  
music. The Farmer's Cabinet in Philly is one such venue. The Bookstore  
in Bethlehem (PA) is another. Both operate with OKOM 3 nights a week,  
4 hours per night.

Reason I don't go after these venues on a regular basis with my band  
is that they do not pay as much as the musicians in my band normally  
make in other venues. Since they depend upon music for their living,  
they follow the money. Who can blame them?

But, the market is there for the YOUNG bands willing to work for less  
money and if I am available at the  last minute as a sub, I am happy  
to do the gigs. Naturally, the other ":Young People" venues are swing  
dances and those kids are very appreciative, clapping and cheering  
loudly after each number.

What is more difficult, is to get the kids to come to an "Old  
People's" venue. The usual Jazz Society concerts are a prime example.  
We have a jazz society concert coming up in April. I am doing my best  
to get kids from the local Colleges who are taking "Jazz" courses to  
attend. By offering them some insight as to what jazz was like in the  
40s 50s and 60s. Via the personal experiences of guys in my band who  
were on the scene with many of the jazz legends during those years. I  
invited the kids to come talk with us on breaks, or after the program.  
Collectively, we know quite a bit about Monk, Miles, Dizzy, Armstrong,  
Bechet, et al. Perhaps more than their professors. I've also invited  
swing dancers to attend in costume which will get them in free. Will  
it work? Who knows, but nothing ventured, nothing gained.

But the main point is that if we cannot attract young audiences to  
"Old OKOM Venues", then we might play where the kids are in "Young  
OKOM Venues" and see what happens.

Cheers
Steve Barbone
www.myspace.com/barbonestreetjazzband