Welcome to the debut of a provocative new column called "The Big Question," a regular feature that is designed to get you engaged and talking about the important issues facing jazz today. And we begin with a topic that has weighed on my mind for as long as this website has been in existence: "Can jazz become culturally relevant again? If so, how?"
Please voice your personal thoughts on the subject by posting your comments below. All opinions and prejudices are welcome. Also, please share the link (http://bit.ly/1q0rQ8C) on your social media pages to help drive traffic back to this page. Thank you, on behalf of jazz aficionados everywhere!
If jazz has become a niche market in the music industry (and it is), a contributing factor for its slide into cultural irrelevance is a failure to promote and support new artists. No matter what sub-genre of jazz you personally love, across the board there is no sustained effort to develop a roster of first-tier talent in jazz. Every so often along comes a Esperanza Spalding who joins the long list of previous "saviors" of jazz such as Wynton Marsalis or Robert Glasper and is saddled with the unasked-for responsibility of reviving interest in the incredibly shrinking jazz field.
Writing in The Root.com, Frank McCoy painted a gloomy picture for the idiom, "It's even harder in jazz today as CD/album sales have plummeted. In 1999 the Recording Industry Association of America (RIAA) said that jazz sales were 3 percent of all recording sales. By 2008 they were 1.1 percent. In 2000 Soundscan reported that 18,416 jazz albums were sold; nine years later, fewer than 12,000 jazz-genre albums were purchased."
For jazz not only to thrive, but survive, it must begin to create its own superstars who can deliver a much-needed shot of adrenalin to the flagging art form, but possess skills in social media and marketing, creating a global brand, and finding new forms beyond record sales, radio play and live gigs in fewer clubs and concert halls to reach the new breed of jazz fans.
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz.
Being a Musician myself, (Lead Guitar/Bass Guitar), I studied at the Dick Grove School of Music with Dick Grove, Jeff Richman and Lee Ritenour. This was around '84-'85. I started playing the Guitar in November 1967. Playing Guitar came quite naturally to me thank goodness. Though I spent hours upon hours practicing while my school buddies were doing Sports.
It was in the early '70s that I really got into Jazz, Jazz Rock, Jazz Fusion and World Music. Seeing Weather Report, Miles Davis, Wayne Shorter, Larry Carlton, Steely Dan, John McLaughlin and the Mahavishnu Orchestra, RTF, Herbie Hancock and the Headhunters, VSOP, Freddie Hubbard and so many, many more amazing artists opened my eyes to the beauty and eloquent nature of Jazz. I really love the brilliant ensemble playing that is in Jazz!!
When I play and write music, it blends so many style together. Many fans ask me why my playing sounds so jazzy. It's because I understand Blue Notes, the phrasing, the tonality, time signatures and more. I can also play Rock, Folk, Soul, R n' B and other styles too. I seem to gravitate more and more as I get older to a jazzier style. Currently I'm 62 years old. I have released 2 CDs world-wide. Working on my 3rd.
I also teach Guitar/Bass/Music Theory to my students. They range from 6 years old to much, much older. (I was hired by the City of Aurora, CO to teach ages 6-13 specifically). Currently I teach 41 children in 5 classes. Additionally another 7 private students.
My wife, Meesh, and I love Jazz dearly. It was one of the things that we share together!
Most of the people that I know today do not get jazz. I try to explain what to listen for, but many times the music of Jazz is a bit much for them. So be it.
In a nutshell, I live, breath and listen to Music 24/7. No TV except the Food Channel and Weather.
I love John Kelman's articles. They are so insightful and well-constructed!
Thank you all for doing what you do.