If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
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AAJ: Can you talk about where you see the future of music journalism as a whole?
AP: The action has definitely shifted online. As far as extended length online interviews go, check out Tokafi, run by Tobias Fischer or The Quietus, both of which are doing excellent work. All About Jazz is another beacon for deep content. I think it's great that there is that level of detail out there and that there are so many people doing it. I think it's just like music. I think probably the best music journalism is being created by people who don't do this full-time for a living. It's really about the journalist promoting the music that they believe in. Ultimately that is the best music journalism, in my opinion: when the writer is writing about something they care about that they feel is worth letting the world know exists. There's definitely value in the critical side of the house too. It's fun when writers trash albums by bloated, self-important rock stars, rappers, or those reality show entertainers. But that's not going to be lasting. You're unlikely to go back to that stuff years later. It's pretty ephemeral. I think there's a lot of really high quality writing with lasting value available these days. You have to know where to go find it. If you know where to look, you will be richly rewarded.
I was first exposed to jazz through a high school friend who played Keith Jarrett's The Koln Concert for me. Therefore, that was the first jazz record I bought. From Jarrett to Chick to Oscar and Herbie and then came my first hearing of A Love Supreme. I was never the same...
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