Bread.

I struggled a great deal about what I could write about this week, until I saw this blog discussion over at Ian Carey's blog on the topic of funding of jazz music, the decline in playing venues and the general ability to make a living as a jazz musician. Or as many of us like to say, earning our "Bread." The topic as also spilled over to Patrick Jarenwattananon's A Blog Supreme at NPR. Highlighted were two major donations at both Drake University and an anonymous donation of $20 million towards Bay Area presenter SFJazz's new concert hall.

This brought up the question from both blogs; Would that kind of money be more beneficial spread out into smaller venues for the average jazz musician, than put into one large facility for the larger name touring artists? It's a tough question to ask, because as others have pointed out, getting any funding at all is a blessing. However, it is extremely important for any musician, let alone a jazzer, to work in front of an audience. It builds confidence, and it's a great way to practice one's art.

I think the idea is great, but I don't see it catching on anytime soon. Donors, I imagine, like to see their money in action, and large scale institutes provide that for them. More importantly, I think musicians need to work on the marketing side of their craft. I believe that at least 75% of a musician's success financially is presenting yourself in a business sense. So much of what I've learned and continue to learn to this day about playing music still leads back to the basic business practices; showing up on time, dressed for the gig, and knowing ones part. And for bandleaders, it's about presenting a product to the audience. Having a 'dress' code, looking active and involved in your music, and having a sustained relationship with the audience. They are there for us, and we should reward them for showing up and listening. A good time spreads quickly, and if you seem to be having one, I bet your audience will too. If you talk to your audience, if you get them involved mentally while the music is off, they will be more likely to stay engaged when the music is playing.

I guess what I mean to say through all of this is that the jazz community, and really the music community in general, shouldn't be waiting for the day when the funding and money start rolling in. We should be actively seeking it, looking for ways to fill the seats and tables and keep folks coming back for more. I don't think it's going to be given to us. I think we need to earn it.

Feel free to post your thoughts, and check out the links I posted, as much better writers than I put far better than I can.

-Slide Funk

Encouraging Signs

Through a rather odd misunderstanding, I found myself at the Lily Wilde show at Duff's Garage last night to watch the first set. I'm a bit embarrassed to admit that I hadn't seen them before and I was extremely surprised and pleased with what I saw and heard.

Having been texted by an old UO buddy, I arrived at the location ready to sit in and read the lead book for the first set. I was told (to my relief as I had spaced on my music stand) that the regular (my teacher Ben Medler) was indeed going to play. There was apparently some confusion on my friends part, who had subbed the last two shows and had assumed a sub would be needed for this one. Thus, a bit of an embarrassing arrival on my part. Confusing indeed, but it was yet another great lesson on how to be a professional.

Better yet, I got in for free, received a free drink ticket and saw a fully loaded, professional big band. I wasn't sure what to expect when I arrived, but upon seeing the swarm of some of Portland's best professional jazz cats the expectation level went skyrocketing. I was not to be disappointed.

Let's step back a moment and take a look at the current goings on in the big band world. Europe features many fine radio big bands. The most famous big band out of New York in my mind would probably be Lincoln Center. Wynton likely has a lot to do with that status, but they are an exceedingly good group regardless. The Village Vanguard Orchestra has been around in one form or another since about 1965. The Mingus Band is around. Out west we have the ever popular Gordon Goodwin Big Phat Band. Bob Mintzer is currently in L.A.

These are the big names. Unless you are in their respective cities, hearing such bands live tends to come with travel expenses, though usually you can see some groups on tour. Dave Holland has been through Oregon with his big band a few times in the last decade. These groups are rare though, much of that stemming from the cost to run such a large ensemble, let alone send them on tour or pay for a recording session.

Portland has a few of its own Big Bands. Art Abrams has lead a band for some time now, and has produced a couple CD's. The band has always sounded great, and is filled with great players. The Portland Jazz Orchestra is also a great group. Carlton Jackson and Dave Mills lead another large ensemble. And of course, the Lily Wilde Orchestra.

Now, it has been some time since the big band era of the 30's and 40's. For the last few years I've been stuck playing and listening to college ensembles. I certainly enjoyed my time in such groups, but nothing beats a true professional ensemble with musicians who understand the genres and styles and who are able to, with very little rehearsal time, play so well together.

Indeed, the woodwind section was easily the finest I've heard in some time. Overall the band played extremely well in tune, and for a group that doesn't rehearse often they ended phrases very well and moved together dynamically. Everything laid well for the talented Lily Wilde, who has a wonderful voice and didn't miss a note the whole night.

I went home that night very happy despite the earlier confusion. It's nights like that that I find myself inspired to learn and practice my craft. I think that's why it's so critical to always be hearing as much live music as one can. To hear it played that well inspires me every time.


-Slide Funk