The Fox

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The number of reasons for today's dilemma are quite extensive. As a professional in the business of Jazz for more than 40 years, I've often tried to call attention to the growing problem for more than half of them. Rather than go into all of it here, I can suggest reading a 3-part piece I posted at allaboutjazz.com entitled: Hello....I Must Be Going Prelude to a Kiss-off With Friends Like These... And these were written a few years ago. They discuss where we are, what was on the table - and lost - back about 25 years ago, and why it happened. I'm not hawking anything here, just looking to provide some clarity from the inside. On the bright side, I am really amazed by how many young people I run into here in Tucson who are profoundly into Jazz. But they aren't paying any attention to the current scene, nor are they wasting their time and money attending any of these artificial and uninspiring "all-star" aggregations that are being rammed down the throats of the high-level arts presenters by a couple of big-time and greedy surviving agencies. They are listening to Trane, Miles, Mingus and the eternally compelling legends of Jazz. Is there an opportunity here? Undoubtedly.

Good discussion on both sides. It is clear the current approach for jazz marketing/ promotion has caused the demise of the music. Unfortunately artists, critics, and promoters became very comfortable with the state of affairs; they were very comfortable with the idea that the "big names" could go to one or two major festivals a year either here or in Europe and be paid handsomely. They no longer needed to take roadtrips through all the smaller cities here in this country. The problem is that once the musicians stopped visiting all the smaller towns, interest overall in the music waned. Radio stations started to change; and there was no inherent fan base to protest. The festivals had become the major way for the "name" artists to disseminate their music. The problem with all festivals (and as was stated previously), is that it gave the artists and audience a false sense of security. The artists were paid exorbitant fees, and the fans saw the artists at reduced prices or free because of sponsorships. Well lo and behold, the sponsors controlled the music.

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