Weekend Wax Bits

We already know that jazz is increasingly considered passe by young American audiences. But did you know that the very word "jazz" is becoming a scarlet letter? I recently received an email from a smart acquaintance who is promoting a lounge-chill web-based radio show. When I clicked on the link to listen to the show's SoundCloud demo, the on-air announcer said he would be playing a wide range of chill recordings, including tracks by Miles Davis and Stan Getz. [Pictured above: Untitled (Coit Tower), by Arthur Tress, 1964]

Shut the door! When I emailed my pal to say that calling Davis and Getz "chill" was probably a first, his answer was rather startling: "Funny, but we have been told not to use the word jazz. It's a shame the current point of view sees 'jazz' as a dirty word. That said, we are playing jazz and are calling it lounge."

So the word "jazz" has finally become the kiss of death—code for "you're going to hate this music." Wow, what a mind-blower. Then again, I suppose it's not too surprising. Jazz in the U.S. has been promoting itself as "not jazz" for some time—from festival lineups to "after midnight" album compilations. And when the word jazz is used in the media—as it was last week in a New York Times headline—the story once again was about an artist who "overcame heroin and prison." I guess jazz musicians who raised four kids, paid their taxes and were kind to others just don't fit the stereotype. [Pictured above: Masked Children 110th Street, New York, Arthur Tress, 1969]

I'm not sure what the solution is for our beloved music, but jazz certainly needs an image change. The tired drugs-and-jail storyline, though dramatic, isn't helping, nor is the arrogant position held by many fans that jazz and jazz musicians are superior to everything and everyone else in the room. (You wouldn't believe the vitriolic emails I receive when I write about rock, R&B, soul, pop or disco.) [Cover photo above by Herb Snitzer]

For jazz to survive—both the word and the music—someone had better teach young people how to listen to it, and fast. We also need to do more to educate people on why jazz history is American history, and why it's an enormously exciting story. I attempt to do this in my forthcoming book, Why Jazz Happened (University of California Press).

Once kids are introduced to the dramatic and courageous story of jazz, the music should be able to sell itself. Otherwise, it won't be long before Louis Armstrong, Charlie Parker, Dave Brubeck and Duke Ellington become known as Legends of Lounge.

Shirley Scott radio. On Sunday (June 10), my boy "Symphony Sid" Gribetz will host a five-hour radio broadcast celebrating the career of jazz organist Shirley Scott as part of WKCR's Jazz Profiles series. Sid's winning, spinning show will air from 2 to 7 p.m. Again, that's five hours of Shirley Scott at the organ. You can access the show from anywhere in the world on your computer by going here.

Marty Napoleon, live on Sunday. The 91-year-old piano legend Marty Napoleon [pictured] will be sitting in at New York's Feinstein's on Sunday (June 10) at 7 p.m. Harry Allen's quartet consisting of Rossano Sportiello, Joel Forbes and Chuck Riggs will be there along with guest Joe Temperley. For more information, go here.

Bill Kirchner, live. Saxophonist Bill Kirchner will be appearing at Saint Peter's Church on 54th St. and Lexington Ave. in New York on June 27 at 1 p.m. He'll be playing soprano and will be joined by singer Holli Ross and accordionist Eddie Monteiro. Donation admission is $10. The event will be hosted by Ronny Whyte. For more information, go here.

Toni Arden (1924-2012), a pure pop singer with solid intonation whose solo career began in 1946 and lasted until the late 1950s, died on June 3. She was 88. Born Antoinette Ardizzone, Arden had a string of hits for Columbia in the pre-rock era, including I Can Dream, Can't I?; Too Young; Kiss of Fire and I'm Yours. Her biggest hit, Padre, was recorded for Decca in 1958. She also sang frequently at New York's Copacabana (for more information on the famed club, go here).

Here's Arden with Frankie Laine in the early '50s (move the time bar to 4:55) singing I Think You're Wonderful...

 

Glenn Miller. Trumpeter Ron LoPinto sent along the photo above of Miller and Army Air Force Band trumpeter Bernie Privin, whom Ron knew.

As for World War II reality v. the movies, Uwe Zänisch sent along links to footage of servicemen dancing to a big band in Paris near the end of the war in Europe. Interesting to note how much older these soldiers look compared to those we often see in film. A time of shared sacrifice. Go here and here.

Now that you've seen Paris, how about London—Julie London, and the Hi-Lo's. I found this one while scouring YouTube last week. Priceless! What a shame they didn't record a full album together...

 

Handful of stars. Dig this video from 1977 that Dick LaPalm sent along illustrating the history of jazz. Joe Williams and Dionne Warwick, Count Basie, Dizzy Gillespie, Stan Getz, Gerry Mulligan Max Roach and on and on...

 

Ellington in the house. Fuze The Mc sent along his hip-hop video that samples Duke Ellington's In a Sentimental Mood...

 

Oddball album cover of the week. Hey, I love a good movie-song album as much as the next guy or gal. And while I'm not a huge Enoch Light fan, I suppose the Light Brigade should do as good a job as any on such fare. But why use Mr. and Mrs. Naked on the cover? And what's with the naked kid? He must still be in analysis. More important, however, what film could our bare family possibly be watching—and illustrating?

Comments

[Michael J. West]

Is it really hearing the history that will turn kids onto jazz? It seems to me we've got to make its *present* relevant to young people; regaling them with the music's past glories, no matter how exciting, just says that the music's best days are behind it.

[Mitch E.]

I make it short:

"Jazz is not dead, it just smells funny."
(Zappa)

[claiborne ray]

Hi, it will not surprise you to learn that Joe Temperley is one of my favorites.

[Alex W. Rodriguez]

Marc, your evidence strikes me as a little thin. One stuck-in-the-mud radio producer does not speak for a generation of listeners. Relevant to the conversation: this piece for NPR Music on six jazz presenters reaching out to new (and, for the most part, younger) audiences: http://www.npr.org/blogs/ablogsupreme/2012/06/09/154628698/six-creative-presenters-finding-new-audiences-for-jazz

[JW]

I'm an amateur performer, still south of 30, and play jazz because it's fun and, more importantly, challenging. People come out and listen to jazz, even young people, and there are a lot of young amateurs that I've met.

I meet very, very few young singers of jazz. Almost no "jazz" concerts I go to feature a singer. The jazz programs I've been in colleges with might have a singer for only their top band for one concert a year, and never with a combo.

This is a shame; people's ears tend to flock to the singers. I'd love to hear more jazz singers - they should be actively recruited early on. Jazz is not and has never been limited to instruments.

http://www.youtube.com/watch?v=nyIKmyplAHA

I mean, is this lady only relevant to claim the jazz badge because she plays a mean bass as well? I've heard a lot of talk amongst jazz people about how singers are somehow lesser musicians, or karaoke artists, etc. Hell, I was guilty of it once upon a time. That's sin number one, I could go on, but that's number one.

[Kent England]

Do you think jazz is a dirty word with young people because what they think is jazz is actually "smooth jazz"?

All the young people I've ever played jazz for appreciate it, even if they don't like it much. If you really want to stun a young person, play them some stride piano. "Who were those piano players?" "Piano player." "You mean that was ONE GUY!??"

[Fredseibert]

Well Marc, there is plenty of evidence that jazz has become less popular, and that it's primary audience is currently over 50. So, it would stand to reason that people in media are scared of the name, they're probably scared of the audience abandoning them. I can't really blame them. If lots of people liked "jazz" Jazzwax could be your primary activity.

I must say those of us who loved jazz in during our lives, and those who played it, probably had more to do with de-valuing the word than we'd care to admit. I can't count the number of jazz musicians who denied they even played "jazz" --"I just call it 'music.' And then there were the deniers; are you listening Wynton. Miles Davis stopped playing jazz in the late 60s, they said. Herbie Hancock, Chick Corea, Freddie Hubbard, George Benson, the list was long, they said.

We reap what we sowed, I say.

[Charles]

I think you're making a few shaky assumptions. First, that the mass media associates jazz with drugs and jail. Maybe 50 years ago that was true. But hip-hop, which is very popular and in no need of additional appreciation, is inseparable from drugs, gun violence, and sexism. That doesn't keep it from being popular. What's happened to jazz in general is what happened to swing, dixieland, and everything else - it became old people's music.

As for teaching jazz history, it will have about as much effect as any other kind of history teaching does - almost nil. My only suggestion: good music - orchestras and bands - in schools turn kids into music appreciators.

[T.K. Tortch]

Kent England asked "Do you think jazz is a dirty word with young people because what they think is jazz is actually "smooth jazz"?"

I think that's a real phenomena. I'll never forget - and this was back in the '90's - having a Mingus record on; a girl only a few years younger than I asked me, not who it was, but what kind of music it was. Because she liked it. When I told her it was "Jazz", she was floored. "Jazz" meant Kenny G to her.

In hindsight the history of Jazz may look like a sensible progression, but if you pluck out different performers playing in different styles, the music can differ radically. If audiences have identified Jazz with one or two styles they don't like, no surprise it isn't popular.

[Willard Jenkins]

Hey Marc,
We have an interesting jazz scene in development here in DC that is under the banner of CapitalBop. CB is two young guys - one a musician and jazz radio host, the other an aspiring jazz writer, both 20-something - who have been hosting a series of very successful loft space performances specifically geared to a young audience; and many of those performances have been on the edge as opposed to in the tradition, though they've combined the in & out on some bills. Check them out at www.capitalbop.com, and we'll be posting an interview with them in The Independent Ear later this week at http://www.openskyjazz.com/blog.

There is a sense that one element we must explore in terms of successfully presenting jazz to younger audiences is the whole aspect of presenting in non-traditional venues, with non-traditional staging & programming.
Peace,
Willard Jenkins
www.openskyjazz.com
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