Like many other jazz musicians, I am fortunate enough to travel all over the globe and present this wonderful music. While I haven't been playing professionally for an extremely long timeonly about 15 yearsduring those years I have seen quite a bit of change in the world and on the jazz scene. Not that it compares with New York of the '30s, '40s or '50s, but, compared to 2009, think of how much more work there was in the late '80s and early to mid '90s. What about the wonderful jam sessions all over New York run by people that we, as young musicians, looked up to, not run by jazz students? Think about how much more accountable you had to be back then. If you play too many choruses without saying something, you would probably be politely (and sometime not so politely) encouraged to end your solo and let somebody else play! But enough nostalgia, we are here now in today's jazz scene and it is up to us to define it. Look around, the masters are leaving us and leaving it in our hands. I hope our hands are big enough.
Besides, that's not even the point of this article. The point does have something to do with my earlier reminiscence. When I am traveling now, either domestically or abroad, I always see a disturbing occurrence at most jazz festivals. Not only are the festivals comprised of a dwindling percentage of actual jazz music, but when the cats are there playing, if they are not there as a sideman with an older, established musician, they are always there in tribute to someone.
The true audience that I hope to reach with this article is comprised of the concert and festival promoters and presenters... the network of people that keep jazz musicians like me working. Let me just come out and say it: Enough with the tribute bands! Don't get me wrong, the musicians that are being honored are more than deserving and an occasional tribute here and there is fine, but when that's the only way that today's jazz musicians can get a gig on a large stage, it is damaging to the natural progression of the music. When are the cats on the scene today going to have a chance to present their own directions at the largest stages for the music to which they have dedicated their lives?
One of the reasons that those older masters became as great as they were was that at some point in their careers they were in situations where they could play their own music or that of their contemporaries. Would Wayne Shorter's compositional skills have developed to the depths that they did if Art Blakey's band had to play tributes to Charlie Parker
constantly? Was John Coltrane
ever forced to do tributes to Sidney Bechet
in order to get a gig? What would have been the effect of that on his playing if he was never able to demonstrate the new harmonic concepts he was working on in the late '50s or the expressions of his spirituality in the '60s?
Concert and festival promoters are under a misconception that they have to package music this way in order to make it appealing to the audience. The truth is, people can hear and feel honesty in music and respond to it. I can't tell you how many times that, after talking to someone who attended a tribute concert of which I was a part, they asked me, "Who was that Monk you were talking about on the stage?" My experience has been that usually they don't remember or make a connection with the person we were paying tribute to but always remember a great musical moment of the night, regardless of whose tune it was on. They always say, "That pianist could play," the point being that he could have been playing on a Monk tune or one of his own originals. If the right musicians are allowed to present their music without constraints, audiences will appreciate being able to connect with the musical vision of those jazz musicians as they see it today.