[JPL] Yoshi's S.F. changes its repertoire

Fredejazz at aol.com Fredejazz at aol.com
Sun Jan 11 02:15:04 EST 2009


spot on Jae, save the few exceptions like Diana Krall, Brad Meldhau or  
Esperanza,... however, I find it encouraging to see many talented new young  
players still coming along, attempting to break out.  Perhaps
awareness of the need to groom these developing artists by the biz side  
might help.  We used to have a forum for this @ the IAJE conferences (c'est  
domage) ! It remains to be seen how the transition from
records, ie CDs, to downloads, artist collectives etc might affect this  
also.  Kudos to all you jazz programmers for keeping the flame going  !  FJ  
 
 
In a message dated 1/10/2009 4:39:55 P.M. Eastern Standard Time,  
jaejazz at yahoo.com writes:

Yes Fred  and I'm sure you know that their management usually determines  
fees...particularly in festival situations... based on seating capacity and  
ticket price. So as an example if you have 2500 seats their fee will be based  on 
that and the amount of the ticket. If it's a free event they more then  likely 
will ask for a higher fee because they know there is sponsorship or  it's 
underwritten. It's crazy man for real. This is a "potential" gross  situation in 
my view but many act as though it's fact...as premature as it is.  It's like 
putting the cart before the horse.  

I've seen too often  that many of these same artists come into small 
venues...with much less  seating capacity and try to make it up with ridiculous cover 
charges...usually  for one set. It seems to me in that situation the artist 
could care less about  the venue. They just want to make their cut. Also, in 
festivals many of these  high profile artists fees are so high that there is 
little left to bring in  other lesser known artists to give them a shot at 
exposure and this is ONE of  the reasons why so many great jazz artists aren't 
getting the exposure they  deserve on these festivals.

Very few jazz artists today have the  avenues in front of them to develop 
into a marquee name. Have you noticed over  the past...say 20 years that you can 
probably count on one hand the number of  marquee names jazz has produce? I'm 
not talking about great players because  there are many but just the market 
value of the name. Doesn't seem to be  anyway out of this situation. Pretty soon 
all of the remaining jazz "stars"  will be gone or not performing anymore and 
then what? 

The artists  aren't the only ones responsible for this. It's across the 
board. Presenters,  media, etc... This is why more and more "jazz"  fests are 
turning towards  non jazz artists because the jazz artists they've focused on for 
years are  just about gone now. Now there is a generation and a half in place 
underneath  them that few know much about. It's only going to get worse  
unfortunately.

Jae Sinnett   


--- On Sat, 1/10/09,  Fredejazz at aol.com <Fredejazz at aol.com> wrote:

> From:  Fredejazz at aol.com <Fredejazz at aol.com>
> Subject: Re: [JPL] Yoshi's  S.F. changes its repertoire
> To: jazzproglist at jazzweek.com
>  Date: Saturday, January 10, 2009, 3:57 PM
> Jae, I think you're right,  but this started back when
> high profile artists  
> started  getting higher fees at big festivals, (a good
> thing), but priced   
> themselves out of the small clubs, ... F Jacobs
>   
>  
> In a message dated 1/10/2009 2:47:56 P.M. Eastern  Standard
> Time,  
> jaejazz at yahoo.com writes:
>  
> "Last  year, jazz stars like Chick Corea and Wayne
>  Shorter played both rooms
> over  the course of a week, sometimes  featuring different
> bands. It was  a
> promising plan, but  the audience wasn't big
> enough."
> 
> My first   thought to this statement was that if these guys
> don't draw enough  
> folks for a  club then the rest of us are toast. Jeez.  Then
> I thought perhaps 
> the artists  fee's were too much  for the venue. Or the
> cover charge not high 
> enough but   that falls into the too high fee thing. 
> 
> I've performed at  clubs all  over the place for years
> and one of the things  
> that has happened too often in  jazz are artists...with
>  marquee 
> value...charging a fee that in reality is too  high for  the
> venue to pay. Then you have to 
> look at the presenter that  is  willing to pay that fee.
> Most in jazz 
> unfortunately  don't make the return that  is necessary
> in this situation and  what happens 
> is the downward spiral of the  venue losing  money...then
> claiming that jazz 
> doesn't cut it. I don't hear  many  folks talking
> about this. I truly believe 
> that  many established artists are  hurting live jazz
> opportunities and  for other 
> artists trying to establish  themselves by  charging
> ridiculous fees...ending 
> up in many cases with  the  promoters or presenters losing
> money then not 
>  wanting to book jazz again.  There is a level of greed in
> jazz  believe or not that 
> is hurting this  music.  
>  
> One thing I learned from Charlie Byrd...I worked with 
>  Charlie for 
> years...was that he NEVER over charged to play and  the
> venue he  played in ALWAYS made 
> money and brought  him back...time after time again. 
> Charlie knew this and 
>  consequently worked as much as he wanted and made good 
> money. It's a  theory 
> like...well I'll ask for $3000 instead of $7000. Then 
>  $6000 comes in. Enough to 
> pay the artists and the venue makes some  money. Then  they
> bring you back for 
> $5000. I haven't  seem many venues that bring artists 
> and in many cases jazz 
>  back...when they lose money. 
> 
> Jae  Sinnett    
> 
> 
> 
> --- On Sat, 1/10/09, Jazz Promo Services  
> <jazzpromo at earthlink.net> wrote:
> 
> > From:  Jazz Promo Services 
> <jazzpromo at earthlink.net>
> >  Subject: [JPL] Yoshi's S.F. changes  its
> repertoire
> >  To: "jazzproglist at jazzweek.com" 
>  <jazzproglist at jazzweek.com>
> > Date: Saturday, January 10,  2009,  1:42 PM
> > 
>  http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/01/09/DDK9155U1B.DTL
>  >  
> > Yoshi's S.F. changes its repertoire
> >  Jesse Hamlin, Chronicle  Staff Writer
> > Saturday, January 10,  2009
> > 
> > Like  everybody else, Yoshi's has been  roughed up
> by the
> > recession and  credit
> >  freeze.
> > 
> > The Bay Area's premier jazz club,   which opened an
> > elegant San Francisco
> > venue in late  2007 to  complement its longtime Oakland
> > operation, has  seen
> > its music  and restaurant business drop 20  percent
> over the
> > past year. In
> >   addition to losing several hundred thousand dollars,
> it
> >  couldn't get  private
> > funding to pay off the huge cost  overruns on the
> >  construction of its
> > Fillmore  Street project.
> > 
> > Things  looked pretty bleak  until last month, when the
> San
> > Francisco
>  >  Redevelopment Agency gave Yoshi's - a centerpiece
>  of
> > the city's  ambitious
> > plan to revive the  once-swinging Fillmore District - a
>  $1.5
> >  million
> > emergency loan. It came on top of a $1.3 million   loan
> the
> > agency gave the
> > club in September,  and the original  $4.4 million
> long-term
> > loan it  provided
> > to Yoshi's to develop  the  28,000-square-foot
> space on
> > the ground floor of
>  > the  Fillmore Heritage Center, a 12-story condo tower
>  that
> > also houses  the
> > 1300 on Fillmore  restaurant and a small jazz museum.
> >  
> > "We're  hanging on, and we're going to
> hang
> > on," said  Yoshi's  owner Kaz
> > Kajimura. Getting the new loan "was a  tremendous
> >  relief." He admits that the
> > thought  of closing one of the locations  had crossed
> his
> >  mind, but he was
> > encouraged that big crowds  turned out last  month at
> both
> > clubs. Kajimura
> > expects to  pay  off creditors - including some who
> have
> > filed  lawsuits
> > against  the club - as soon as the city cuts him  a
> check.
> > And to bring in  a
> > wider  audience, Yoshi's is diversifying its
> musical
> >  program;  rather than
> > showcasing jazz at both clubs, Yoshi's  San 
> Francisco
> > will feature a broader
> > mix of  contemporary and  traditional music from around
> the
> >  world, regional
> > American  roots music and genre-crossing  artists who
> draw on
> > rock, soul  and
> >  other sounds.
> > 
> > Last year, jazz stars like  Chick  Corea and Wayne
> Shorter
> > played both  rooms
> > over the course of a  week, sometimes  featuring
> different
> > bands. It was a
> >  promising  plan, but the audience wasn't big
> enough.
> >  
> > "It wasn't working.  Yoshi's San
> Francisco  was
> > cannibalizing Yoshi's in
> > Oakland,"  said  Kajimura, who has hired Bill
> Kubeczko
> > from  Minneapolis'  Cedar
> > Cultural Center to program the San  Francisco club.
> Peter
> >  Williams will
> >  continue booking jazz at the Oakland venue.
> >  
> >  Kubeczko, who programmed a wide range of music and
> dance in
>  >  nightlife-rich
> > Minneapolis, had been hearing musicians  like guitarist
>  Bill
> > Frisell rave
> > about  Yoshi's for years. "It's got  an
> > international reputation,"  said
> > Kubeczko, a 53-year-old  from Chicago who knows  his
> blues
> > and jazz but also
> > grew up on   the San Francisco sounds of the Dead,
> > Quicksilver  Messenger
> >  Service and Mother Earth. Since moving here a  few
> weeks
> > ago, he's  plunged
> > into the  local music scene, ears open to fresh talent.
> >  
> >  Kubeczko, who wants to shift the programming
> gradually, has
>  >  booked the
> > Portland-based Irish musician Kevin Burke  for Tuesday 
> and
> > the French
> > Gypsy-klezmer  band Les Yeux Noirs the next  night.
> Next
> > month he's  bringing
> > in Morocco's Master Musicians  of Jajouka, led  by
> Bachir
> > Attar, and Nation
> > Beat, a  Brooklyn  band that mixes up Brazilian
> grooves, New
> >  Orleans funk,
> >  Nashville fiddling and whatever else strikes  it.
> Other
> > artists he'd  like to
> > book  for multinight runs include Bruce Hornsby, Doc 
> Watson,
> >  the dancing
> > Senegalese singer Baaba Maal and the  Langston  Hughes
> > Project.
> > 
> > "We're still going to  be  doing jazz at
> Yoshi's
> > San Francisco, but it  won't
> > be the main  focus," said Kubeczko, who aims  to
> widen
> > the musical scope but
> >   "respect the jazz history of Yoshi's and
> this
> >  neighborhood." He wants  to get
> > to know the people who run  Slim's, the Fillmore,
> Cafe
> >  Du Nord and  other
> > local venues and work "in the spirit of 
>  cooperation
> > rather than competition.
> > My hope is that  given the  economy, we can all survive
> and
> >  flourish."
> > 
> > E-mail  Jesse Hamlin at  jhamlin at sfchronicle.com.
> > 
> > 
>  http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/01/10/DDK9155U1B.DTL
>  >  
> > This article appeared on page E - 1 of the  San
> Francisco
> >  Chronicle
> > --
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