1. The mass media's lack of interest in jazz has marginalised it. Because of the disregard for
jazz in the mainstream media, fewer people than ever get to hear jazz, and many venues that have supported
jazz in the past no longer do so. The mass media needs to be tackled about this. You can help by
writing to newspapers and to broadcasting companies.
2. Does your local record shop stock jazz releases? Maybe they have a few token items, such as
swing era big bands or popular vocalists. But the message this sends out to customers is that
jazz is dead and nothing new is happening. Order some of your CD's from local record shops and
make enquiries about new releases, particularly those recorded by musicians in your own country.
3. Governments meddle with things they don't understand. That also applies to jazz. Complain to them
about legislation which goes against the best interests of jazz.
4. Does your local jazz club (if you have one) support local musicians? If not, get together with other
local musicians and pester them until they do. And if they do put on a local act, try and rustle
up some loyal fans to come along.
5. Organise your own concerts/gigs. It needs a bit of planning, especially the publicity,
but it's worth it. Musicians would often opt to play for a small amount if it results in better-paid
or more plentiful gigs in the long-term. Remember you have to build up an audience base which takes some time.
The 2003 Licensing Law has affected musicians a great deal since it was introduced. Some people think it has improved matters, but the majority of musicians I am in contact with think it has damaged the jazz scene. Here is an email I received recently which you should read and act on, if you are in agreement.
An online live music petition was started some time ago on the Number 10 website by folk musician Dominic Cronin:
http://petitions.pm.gov.uk/licensing/#detail
"We the undersigned petition the Prime Minister to recognise that music and dance should not be restricted by burdensome licensing regulations. The recently introduced changes in licensing law have produced an environment where music and dance, activities which should be valued and promoted in a civilised society, are instead damaged by inappropriate regulation. We call on the Prime Minister to recognise this situation and take steps to correct it".
Hamish Birchall, indefatigable lobbyist on the issue, writes:
The government may respond "licensing is not burdensome, and research shows no damage to live music and dance". This is spin. Ministers said the new Act would be "much better for live music". But about 40% of bars have lost their previous automatic entitlement to one or two musicians, and yet are free to continue providing recorded music or broadcast entertainment with unlimited amplification.
Despite the banter in Parliament, the government is extremely concerned about public opinion on this issue. It must be damaging that in so many circumstances, organising live music could be a crime. The Act defines premises as "any place" - it can apply almost anywhere, not just in pubs or bars. The maximum penalty for providing unlicensed live music, where a licence is required, is a £20,000 fine and six months in prison. This is a greater penalty than is available for:
Violent disorder, affray, harassment, bomb hoax, stirring up racial hatred;
Various assaults, including wounding, actual bodily harm, and assaulting a police officer in the execution of his duty;
Burglary, theft, handling stolen goods, deception, forgery, taking and driving away;
Arson, criminal damage;
Intimidation of witnesses, wasting police time;
Possessing a controlled drug, supplying a controlled drug and intent;
Dangerous driving, driving with excess alcohol in the blood, breath or urine;
Carrying a loaded firearm in a public place;
Bigamy;
and Official Secrets Act offences.
UPDATE (8th December 2008)
The 696 Form compels licensees who wish to hold live music events in 21 London Boroughs to report to the police the names, addresses, aliases and telephone numbers of performers, and most worryingly, the likely ethnicity of their audience. Failure to comply could result in fines or imprisonment. We believe this places unnecessary and frankly Orwellian powers in the hands of the Metropolitan Police, an institution which does not have the best record of racial fairness. The 696 form can only serve to deter the staging of live musical events - a positive form of activity in London and all cities - stifle free expression and quite possibly penalise certain genres of music and ethnic audiences. It is an intrusion too far."
Click here to download Form 696.
Do you have a question or query that others might be able to answer? Do you want to find the present whereabouts of a certain player, or have a helping hand in sorting out a technical problem? Or is there anything in general you want to find out about in relation to jazz? Maybe you have the answer to someone else's query, or want to pass on a handy tip? Here's your chance. All correspondence will be printed unless otherwise requested. I reserve the right not to print racist or libellous emails.
OVER TO YOU
Are there any jazz gigs in China? If so, where can I find them and who are the country's best jazz musicians? - Tom Sanderford, London.
There's lots of Jazz in China - type it in in Google. There's also been a lot of music downloads from this website.
Mike Whitaker from the Weston-Super-Mare U3A jazz group has a query:
There's a clip on Youtube of Nat King Cole and Billy Eckstine, playing Rosetta Click to hear it
Cole solos, then Eckstine scats one chorus, takes another on trumpet and takes a third on a bizarre horn that I have never seen before. It sounds like a trombones, has valves yet the overall look of the thing is a saxophone. What is it?
Michael Cousins has got in touch to say:
Simply a Tenor Sax with a larger 'bone mouthpiece á-la SUB MOSELY, late American Jazz Performer.
Currently Free Jazz tenor player Joe McPhee from Chicago, who also doubles on valve-trombone does a similar act.
In the latest Diz book, "Groovin' High" (Alyn Shipton) mention is made of the band (read Diz) teaching Eckstine to play a "blowing" instrument.