Warren L. Oree
December 2001

The Jazz Messenger
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By Warren L. Oree

As a jazz musician, you become aware of certain words and phrases directed your way that denote you will be the recipient of particular types of treatment, such as your pay being in a specific range, the amenities you can expect at a gig, or, even more striking, that the media will either choose to ignore you or act like you are the hippest thing since digital tuning devices (you can tune with your eyes man, you don’t even need an ear)!

For instance, if you hear the words "animated and uncompromising," it is almost a certainty that you are regarded in a positive way for your energy and tenacity. The word "repetitive" means they think you are at a loss for ideas and are close to boring the daylights out of the reviewer; but, another critic might call the same thing "exploratory" and become excited to be on this "journey" (another good word to hear) with you. But, some of the best phrases to be connected to though are (drum roll please),.."and now joining us from..." or, ..."it is our pleasure to have with us as part of their tour...," or one of my favorites, "...visiting our city (state, country, kingdom, or maybe even planet) for the first time...".

Now you may ask why these phrases or introductions are so positive, well, it’s because they infer that wherever you are, you are there from another place; that you don't live there and are basically from out of town. And why is that such a good thing? Because, the worst word for a jazz musician to be connected to is 'LOCAL,' as in "I am from the same place I am playing." Local is described in the dictionary as "not broad...restricted...narrow;" another description is "a resident of a particular place." I must admit, I have a problem with the first definition because I know quite a few musicians from out of town who are "restricted" and "narrow." The second definition sounds right, so, what’s wrong with being a resident of the place you perform? Why does it mean less money, less respect, even diminished credibility? Some might argue that if you are local then your music is not strong enough to reach beyond the boundaries of your locale. There are plenty of home-based musicians who play all over the world, but they have to live someplace, right?? Why is it that the place they live is the least hospitable. It brings to mind that old saying,"you'll never be a prophet in your own home town." A friend of mine once said it’s like a family thing; all the fine silverware and china comes out for the guests, but the immediate family gets the plastic forks and paper plates.

When my third CD came out in 1999 I was doing the local (there's that word again) distribution here in Philadelphia, and I had a distributor handling national and international placement. Well, one of the stores that was willing to do the consignment thing placed the CD in a special section they called "Local Acts." That triggered an alarm in me, but I decided to check it out. As I suspected, it was an exercise in bad taste and totally disrespectful to all the artists in that section. First of all, the "Local Acts" bin was located in the rear of the store, in some obscure space that required a tracking guide and scout to get to. Unless you knew where to go, you would never "stumble" across this section. It seemed more likely that this retailer was giving the "Local Acts" the "Local AX."

On another occasion, I was performing at a very popular jazz club in my hometown of Philadelphia with some artists who had come in from out of town. During intermission we were asked to select anything we wanted from the menu (I got the rack of lamb... mmmm... so good!!). Now, understand that this is a club that I had performed at with my group for years and never got a free meal; although in all fairness they have treated me personally very well and have made me feel special on many occasions. But, as far as the band was concerned, I was told we weren't afforded certain amenities because we were ...LOCAL!! So, when I worked with the "out of town" band it did not matter where I lived (maybe that would be a good name for a group, that way you'll never be local,"and now ladies and gentleman presenting the OUT OF TOWN BAND from..you guessed it - OUT OF TOWN.."), my address hadn't changed, but the band leader was not "local...whatever... it's getting complicated and I'm getting confused. Why can't jazz musicians be treated uniformly based on their talent, skills or popularity - not judged because of their address.

After a while it's going to be like people do when it comes to their auto insurance; to get the best rates they have to "create" another address. I can see it now, the club owner or promoter from Philly ask, "So, where are you from?", and the band leader says "Phil.." but catches himself and says instead, "...Philippines, yeah..the Philippines." Now, perhaps I'm exaggerating a little, but there has to be better treatment of the "local" bands. The only deviation of this policy is when that local group makes it to mega-stardom (and in jazz that's sometimes a long, arduous, and challenging road) then the stigma changes from "local" to "hometown." As Charlie "Bird" Parker so adroitly put it, "Now Is The Time." For what? ...for the hometowns to start supporting their jazz musicians and help them reach the visibility and popularity they deserve. After all, if nobody lived at home, you'd have a cold, empty house.

Warren Oree is a bassist/composer/producer and leader of the Arpeggio Jazz Ensemble. He is a "working musician" who tours throughout the world performing original compositions which have been recorded on several CDs. As the founder of Philadelphia’s Po/Jazz Connection, he has spurred the careers of some of today’s most popular spoken word poets.