What's Wrong With Today's Live Jazz

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What happened to the jazz clubs that would present a band for a week or at least a few consecutive dates?
What's wrong with today's live jazz scene?

There has been a great deal of whining about the climate for live jazz these days. The complaints are sometimes accompanied by speculation about why jazz seems to have slipped off the radar, particularly in many major cities such as Philadelphia. The complaints, however, are often unaccompanied by suggestions about fixing the problems, or any specific theories about why and how things have disintegrated.

Before I go any further in presenting my own analysis of the situation, let me first make several confessions and clarifications. I am a musician—a jazz composer, arranger, educator and bandleader. I am also card-carrying member of AARP and the AFof M. In more youthful days I performed with the likes of Lionel Hampton
Lionel Hampton
Lionel Hampton
1908 - 2002
vibraphone
, Chuck Mangione
Chuck Mangione
Chuck Mangione
b.1940
flugelhorn
, Mel Torme
Mel Torme
Mel Torme
b.1925
vocalist
, Natalie Cole
Natalie Cole
Natalie Cole
b.1950
vocalist
, Ray Charles
Ray Charles
Ray Charles
1930 - 2004
piano
, Diane Schuur
Diane Schuur
Diane Schuur
b.1953
vocalist
, and others. While I was born and raised in suburban Philadelphia, I spent 34 years away from the area before returning a little more than a decade ago. Some may therefore argue that I'm an "outsider" to the local jazz scene, a relative newcomer whose observations aren't well informed.

I am grateful for the few gigs I get with my band, so don't get me wrong, but my observations may be perceived as sour grapes for not getting more gigs. I assure you that is not the case, if for no other reason than as a "senior citizen" who is retired from his day job I don't care to be working in clubs five nights a week (though I wouldn't mind a few more than I currently enjoy).

My observations and concerns are not directed merely at the Philly scene, as I think they are also appropriate to many other cities where one might find jazz including Austin, Texas, the self proclaimed "Live Music Capital of the World." I spent 21 years living and working in that city, so I'm well versed in that music scene up until about 10 years ago. I continue to maintain communications with Austin jazz musicians.

I have set the table framing my opinions with personal background, context, and possible biases. I'm going to tell you one of the specific problems that lies at the core of the jazz malaise, and some possible solutions. It is important to understand that this malaise affects both musicians and audiences for jazz.

My wife and I recently returned from a short visit to NYC, after soaking in some amazing live jazz. What I'm about to identify as a significant problem was reinforced by this trip to the city that continues to be the epicenter of jazz, and the problem I'm about to focus on is not so prevalent there.

What happened to jazz clubs that would present a band for a week or at least a few consecutive dates? In days gone by this was common practice in many, many cities such as Philadelphia. Fans had multiple nights to catch a group's performance, and for that matter, a band had the opportunity to develop a fan base since they could be heard over the course of many nights at a single club or even multiple clubs. Their residencies might even move from one club to another. Consecutive performances are an important factor in helping a band to develop its sound, a musical DNA that over time is what generates a fan base. You can still encounter such opportunities in NYC, but they have disappeared in most other cities.

If a band does not have the opportunity for multiple consecutive performances, how is this important group sound and concept to coalesce? Are musicians supposed to rehearse for hours and hours in someone's basement or garage in order to develop a special musical style? Rehearsing is an important part of the process, of course, but at some point the music must be shared with an audience for feedback, encouragement, or even criticism. After a point, practicing also doesn't pay the bills. Whether for economic reasons, or simply management whims, the opportunities for more regular employment are becoming more scarce, if not obsolete. What bands typically get now is what might be termed showcases—one night a month if they are lucky.

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