Kayley and I were checking out one of Noah’s choices this morning. I didn’t realize I even had this record. For reason Petrucianni is someone I have never checked out. Thi record is phenomenal. It’s from 1987. The bass sound is hilarious. ALL DIRECT. Roy Haynes, Al Foster, John Abercrombie,Gary Peacock and Eddie Gimez all make appearances.
THIS ARTICLE has started to create a bit of a buzz on Facebook.
For the most part I thought it was well thought out and as far the grand scope of the article I agree totally with the writer. I also recognize that the article was most likely targeted at venues that don’t have jazz music on a regular basis or live music for that matter on a regular basis, not at clubs such as The Cellar that are dedicated full time jazz clubs. The article was written 100% from a musicians point of view.
Before I go on about a few of the points that I have issues with let me say that I don’t believe for one second that I am perfect or have never made mistakes, misjudgements or bad calls. I have and will continue to do so. There are many challenges that I face everyday that require a lot of thought etc. and mistakes is how I have learned. I think my 11 year track record speaks for itself but it doesn’t make me perfect. I, unlike most musicians absolutely see things from BOTH sides. A lot of times I wish I could see things from only one side as it would make my life much much easier but it would more than likely make me bitter and angry at the world.
So here are a few points:
a) first off the whole ‘respect’ issue. To me it’s old. Lack of respect for musicians didn’t start yesterday. It has been in existence ever since live music existed. Read any book on jazz music and we’ve all been fighting for respect for many many many years. It doesn’t mean we shouldn’t fight for it, get behind one another and support each other but it’s just old. If you want instant respect then become a lawyer or a doctor. I have way more fun things to do like playing music, getting gigs, writing this blog, recording CDS etc. to worry about respect. It’s an old argument and one that will exist forever. Don’t let some dumb ass club owner determine what respect is and isn’t. Respect yourself and what you do. That’s it.
b) To quote the article “you hire a great band and should expect great music.That should be the end of your expectations for the musicians.” I couldn’t disagree with this statement more. It’s a new age and I’m not for it necessarily or against it but its the reality we’re in. There is more responsibility on the musician than ever before and if you want to have a successful career in music it’s imperative that the musicians and the club owner work together to promote, cross promote in every fashion. Now, there are some musicians who are good at it and that embrace it and there are some that don’t. I don’t judge either one but I do know that its generally a better outcome financially for all parties involved when I work with musicians who have emails lists, do the twitter and Facebook things etc. Sometimes I depend SOLELY on an artists ability to get people out to their shows because for one reason or another I know that I can’t depend on my regulars or passers by to come in. Does that make me a bad club owner? I think it makes me a smart club owner personally.
There are a ton of bands that would say NO if I said I’ll pay you $125 or even $150 per person on a Wednesday night. They know that they can get 70 people at $15 and do much better than my garentee. I love it because I know they’re gonna promote the hell out of it which is good for everyone involved. Unfortunately for most of us just being a wonderful player isn’t enough these days to garner a crowd and attention. I didn’t make the reality, I just embrace the reality and if I want to continue to create music and eeek out a living doing what I’m doing then I HAVE to embrace it. As I said earlier I don’t judge people that don’t have that same view.
I haven’t done the exact math but I think I would actually make a profit if I garenteed every band $100 per man, everyday of the week and did no more door deals.
c) There some references made to if a club owner hires a bad band that fills the room with people then it cheapens or lessens the reputation of that club. First of all, thats bullshit straight up. I have sat in some of the worlds most famous jazz clubs and heard sub par music. I’ve heard sub par music performed by people that have no business being on a stage and I have heard sub par music performed by musicians that grace the covers of magazines. I certainly had opinions about that music but it did NOT affect my feeling about the venue.
There has been plenty of sub par talent that has graced The Cellar stage and when that talent is there and I look around and see 60 people eating, drinking and enjoying themselves I really don’t care. I’m secure enough in what I do and what The Cellar books that its not going to lessen my venues reputation. If I see 10 people then we have a real problem. Does it make me a sell out that I do this? Not sure but all I know is that we’ve been around 11 years. I have a business to run and from time to time if I have somebody that can fill my room and provide good entertainment to a bunch of his or her friends on a weeknight than great. At times thats what allows me to do what I do on all the other days.
I make all the information available on our website for our customers to hear and sometimes see before they make their decision to come down and take a chance.
I have received emails from time to time from people who took a chance on something and were clearly disappointed with the music and were surprised that music at that level would appear at a now World Renowned jazz club. It happens and I apologize and tell them honestly that we do our best to keep the quality of music extremely high but don’t always succeed.
Anyways, I don’t usually respond to these types of thing mainly because it’s the same old crap all the time. I don’t mean to sound passive but no matter what is said and what we do it’s not really going to change so I choose to focus my efforts on my own career and what’s good about it and what I can do to make sure it continues.
This is the JAZZ WEEK TOP 100 for 2011.
Very exciting that both NIGHT CRAWLERS – DOWN IN THE BOTTOM and ONE FOR ALL – INVADES VANCOUVER made the list. Very cool!
I have been openly critical of Downbeat in this blog in the past and for good reason. I mean how many times do I need to read about Vijay Iyer, Brad Mehldau, Rudresh Mahanthappa, Jason Moran etc etc. I don’t have anything against these musicians, I mean their music does nothing for me but I recognize their ability and musicianship. Because they are perceived as boundary pushers the jazz world is a buzz following their every move and every note and DB is as guilty as any.
Having said that DB deserves some credit. In their last two and in an upcoming issue they have written articles on some straight ahead musicians who have been on the scene and contributing great music before anyone knew the musicians I mentioned earlier even existed. I speak of December’s article on Jim Snidero, January’s issue featuring Gary Smulyan and an upcoming issue featuring Mike LeDonne. All three of these musicians among MANY others deserve cover stories but I realize that will never happen.
Anyways, I continue to subscribe and continue to read and am happy to finally read articles on people that I love, have influenced me and have contributed and continue to contribute to this music.
Thanks DB.
Over the past few days Noah has shown a real interest in the turn table. It started when I went and put on some Hank Mobley. Some funky number came on and he got really excited and started dancing. Ever since he runs back and forth pulling out random records to check out. We usually only get through one side but there have been some gems. Here is what my boy picked:
Ella & Oscar on Pablo
Hank Mobley – Second Message
Don Wilkerson – Shoutin’
Charlie Parker & Orchestra in Washington DC
Rob McConnell and The Boss Brass
Some nice choices!!!
Have been so freaking busy and will get back to regular posting. In the meantime enjoy some Milt Jackson with The Ray Brown Big Band Uh-Huh.
This is very greasy!
I’m not going to wax poetic about the year that was and the year that may be. There were some huge victories and some colossal losses all of which add up to this thing called life. I have my family, my health and really in the end that’s all that matters. I know many people close to me who have had tough years and to you I say ‘I love you, and it will get better.’ A new year brings lots of new possibilities, opportunities also surprises so hang in there, be kind, caring and compassionate and seize every moment.
Some great things o
n the iPod this week: Brian Lynch’s Unsung Heroes project is wonderful on all levels. Special mention to the great Vincent Herring on alto saxophone. So beautiful! He has THAT sound and is so rooted in the tradition yet he’s playing some super modern shit. I love it! Also the young Alex Hoffman on tenor saxophone sound beautiful. I think he’s only like 21 years old. Sounds much older than that when he plays and that’s a compliment! Lynch as usual sounds great as does the rest of the band. Its worth checking out.
This album I came across by fluke but with this band how could you go wrong. Great playing , great writing and arranging. It’s always mind boggling to hear how Seamus negotiates the upper register of the tenor saxophone with so much ease!
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Check it out!
http://ejazznews.com/2011/12/20/ejazznews-com-best-canadian-jazz-2011/
I’m flattered and honored to be mentioned in the same group as these people!
Thank you!
Haven’t had a while lot of time lately to just put some sides on and sit and listen! I did manage a few quality minutes yesterday however and I’m glad I did.
Checked out a couple of great albums: Jimmy Witherspoon At The Renaissance with Mel Lewis-drums, Leroy Vinnegar-bass, Jimmy Rowles-piano and Gerry Muhligan and Ben Webster on saxes. Greasy Blues!
The second side was Feelings by Milt Jackson with Strings. Some really beautiful music!!
