[JPL] Phat Band/Bruce Hornsby
ftapache1 at sbcglobal.net
Sat Jul 29 11:19:52 EDT 2006
As much as I've enjoyed this recent banter on musical values and aesthetics,
( I too was tempted to contribute to this string to ask questions about the
Bad Plus and where they fit into this but I won't. It doesn't
matter........ ), but after awhile of reading the various posts on this
subject, I'm left feeling a lot like perhaps many listeners that DON'T
listen to jazz. Many find jazz exclusionary, passe, mystifying and above
all, they really DON'T care. We don't matter to "97%" of listeners to radio.
Our music of choice is the smallest in terms of audience on todays current
music menu in the United States and perhaps across the world. This banter
may be good for those diehard aficionados. It is interesting to me, an
insider who loves jazz but, my question is this......
How does this information translate into growing more audience? What good
is it if we continue this line with no payoff that translates into more
listeners? I've not heard one comment that addresses this critical
point.How many people in our audience pays attention to these nuances that
inspire those of us who are "deep in the woods" intellectually and
technically about the music? I've spoken to tons of musicians over the
years that will tell you technical brilliance, adhering to A440 and other
such "insider" gibberish is only a part of what jazz or music of any kind
for that matter is all about.
Can we get back to sharing, talking about and figuring out how to attract
more audience to our transmitters? We just lost 30 hours of programming at
'CPN, we've lost WBEZ/Chicago jazz programming completely, KKJZ/Los Angeles
is in dire straits, others will fall sooner or later. I sometimes feel like
we are like fish in a barrel where someone who has a pistol is looking in
that barrel and fires a shot into the barrel. One of us gets hit, maimed or
killed and the others will pause to say, "Wow! That's too bad." Then we
keep swimming until someone else gets shot. All the while, we are all in
the same barrel. You may not have gotten hit but we are all affected.
There has been a recent study about NPR stations that characterizes each
station as a soarer, treader or sinker. My station is a treader. My
management is looking for help to become a soarer. If I'm not mistaken our
beloved KUVO in Denver is a treader as well. Our flagship jazz station WBGO
in Newark is considered a sinker. These are not good signs.
What are you doing in your market that you can share that will help us get
better? It's interesting that Maggie Pelleya got read the riot act by Askia
about sending information about WDNA's 10th annual jazz film festival. It
was the post as of recent that had the most meaning for me. I am in the
process of finding out more about how we can do that in Cleveland.
Cleveland has two great annual film festivals and they are supported greatly
by our community. Does anyone else do or sponsor their own jazz film
festivals? Can you share more information that may be helpful to WCPN?
Events such as this certainly has the potential to attract more audience in
an excellent out-of-the-box thinking way.
Yours in A440,
----- Original Message -----
From: "Lazaro Vega" <wblv.wblu.fm at gmail.com>
To: "Jazz Programmers Mailing List" <jazzproglist at jazzweek.com>
Sent: Saturday, July 29, 2006 1:20 AM
Subject: Re: [JPL] Phat Band/Bruce Hornsby
> This week's sponsor: Christian Jacob Trio CONTRADICTIONS
> The Jazz Programmers Mailing List is a free service provided by JazzWeek.
> For more information visit us at http://www.jazzweek.com/jpl
> To become a sponsor contact Ed Trefzger at ed.trefzger at jazzweek.com or
> Jae: "Intonation. Your word choice is interesting...."different."
> Funny. Come on Rick...you either play in tune or you don't. You know
> it and I know it. We're not in Asia or India. Our cultural tuning
> system is based on A-440 period - mainly because of the piano. Why do
> so many play out of tune? A lack of fundamentals. Plain and simple.
> I'm reminded of Max Roach........ When you listen to him with Clifford
> just about every time he played a four or eight bar break or better
> yet...a solo.... the tempo picked up - at times dramatically. But when
> the band came back in he brought the tempo back to where they started.
> His purpose for this was effectual - and intentional for emotional
> impact. Same with intonation. If you want to play sharp or flat and
> stretch tonalities do so as an "effect" and not have that as the
> So we say Jackie McLean and Von Freeman lacked/lack fundementals? Or
> that Pee Wee Russel should have left the clarinet at home?
> Braxton's fundementals start with Ornette, Brubeck and Tristano and go
> from there into experimentalist classical composers who are redefining
> music basics on their own terms. That's why the music is called
> "outside." They're outside of expecations or familiarity, and
> fundementals are open to as much "fuckery" as contour, dymanics,
> collective improvisations and ensemble organization and
> disorganization, all the while soloing in a style starting, not with
> Johnny Hodges, but with the strange and improbable intersection of
> Paul Desmond and Albert Ayler.
> I mean, look at Steve Lacy who recorded all kinds of extreme sonic
> music with electronics, with Evan Parker and Derek Bailey, but who
> also wrote "Esteem" for Johnny Hodges and led an ensemble who's
> instrumentation was inspired by the Jimmie Noone Apex Club Orchestra
> with Earl Hines (clarinet and alto for Noone, soprano and alto for
> Lacy). Now there's a jazz musician: Steve Lacy. He was able to flow
> with the one constant in jazz. No not the blues. Change. And he fused
> music with his interest in literary and painterly masterpieces from
> his generation, the art song tradition famliar to his wife -- an
> amazing fusion of influences.
> To say out pieces or bands don't work because they don't work with
> inside principals is not meeting the music on it's own terms. Velocity
> happens -- Braxton's bands during the Arista period played that hard
> driving angular post-bop that had a strange, accordian like sense of
> rhythmic tension and release. Mark Helias swung his ass off under
> Braxton -- Anthony's on top of or ahead of the beat phrasing recalls
> Stitt, or Earl Bostic - it comes out of the black musical tradition,
> and then goes very much it's own weird way.
> And there are many examples of Cecil playing the blues.
> The blues are all Ornette is about.
> To tweeze this influence out of them is to deny, or avoid, the effect
> of the entire melange.
> If you don't like it, fine by me. If you don't play it, let's hear
> what you are doing on your terms. But before putting down the out cats
> please consider Ornette and Albert Ayler were powerful enough
> musically to turn the head of no less a musician than John Coltrane.
> This week's sponsor: Christian Jacob Trio CONTRADICTIONS
> Going for adds July 25th
> The new release by the Christian Jacob Trio
> ''Contradictions''. A look at the music of Michel Petrucciani.
> Piano: Christian Jacob - Bass: Trey Henry - Drums: Ray Brinker
> Released on label ''Wilderjazz''
> ''Contradictions'' focuses on the original composition of the late pianist
> and composer Michel Petrucciani.
> Not only does this project bring our attention back to Michel's great
> melodies, but it allows Christian to use them as a creative platform for
> his trio.
> For more information or to request an on air copy please contact:
> GROOV Marketing and Consulting
> mark at groovmarketing.com or josh at groovmarketing.com
> Also feel free to email Christian with any comments or questions:
> christian at christianjacob.com
> Please visit www.wilderjazz.com
> Send jazzproglist mailing list submissions to
> jazzproglist at jazzweek.com
> To subscribe or unsubscribe via the World Wide Web, visit
> or, via email, send a message with subject or body 'help' to
> jazzproglist-request at jazzweek.com
> You can reach the person managing the list at
> jazzproglist-owner at jazzweek.com
More information about the jazzproglist