The Jazz.com Blog
June 14, 2009 · 1 comment
Jazz Survival 101
Eugene Marlow, a regular contributor to these virtual pages, looks at how the current economic climate is impacting jazz musicians, and offers some thoughts on how they can adapt and survive. T.G.
As of early June 2009 there are plenty of indications that the American economy, let alone the global economy, is still mired in what many are calling the worst recession since the Great Depression of the 1930s. We see rising unemployment—predicted to top 10% before it’s over—an increasing number of failing banks, bankrupted car manufacturers (once the jewels in the crown of America’s economic prowess), still rising residential foreclosures, lower tax revenues on the federal, state, and local levels, and expanding deficits.
Reports of the commercial and residential real estate market indicate contradicting trends; clearly, though, the commercial market is overbuilt while the residential market might be coming to a plateau and some price stability. Consumers are saving more (a good thing in the long run), but spending less (not good for retailers in the short run). Foreign companies are buying parts of American companies (not necessarily a new trend), and China, in particular, owns a significant portion of this country’s debt. This also is not a new trend. In 1980 right before the start of the first Reagan administration, the United States was the world’s creditor nation. Today, we are the world’s debtor nation. What a difference almost 30 years makes!
All in all, it’s not a pretty economic picture.
On a more local level with respect to the music world, the picture is also spotty. On a recent visit to Swing 46 on New York City’s restaurant row, owner/manager “John” indicated to me they were holding their own. That night George Gee and his nonet were performing. The dance floor was virtually packed. It was noisy and festive. But John also indicated that, appearances to the contrary, financially it was not great, but he was still in business. Birdland, Blue Note, and The Jazz Standard all seem to be on a solvent economic keel, but there are rumors and anecdotal reports that Jazz At Lincoln Center is, to put it diplomatically, “having money problems.” So, too, the Metropolitan Opera. Not surprising really. The fallout from the Bernie Madoff debacle notwithstanding, many corporations and foundations have dramatically reduced their contributions to deserving organizations. Some have ceased funding altogether.
Further, in New York several “venues” have closed, for example, the ill-fated Brazilian-oriented club Cachaça that I wrote about several months ago, and Lola’s, the soul-food club, that hopes to reopen in another location. Sweet Rhythm has reported low audience attendance. And “non-club” venues have closed or are about to: Manny’s on New York City’s 48th Street “music row” shuttered on May 31 because Sam Ash Music stated “it wasn’t carrying its [economic] weight.” And then there’s Patelson’s right across the street from Carnegie Hall’s stage door. While Patelson’s is not a jazz-oriented music shop, it nonetheless represents an important aspect of the music world: printed classical music. It was one of “the” key places to go in New York City to find almost anything printed when it came to classical music. Its fate is representative. All over New York you see “Available For Rent” signs where once were thriving retail outlets of all kinds. Even when retail outlets associated with music and entertainment, such as restaurants, are doing business, they are rarely reaching capacity.
Let’s bring this down to the jazz world, and more specifically, the jazz musician. I recall listening to a talk a few years ago by an executive of Local 802 who was in involved in negotiating film-recording contracts. He reported that at one time New York’s musician local had over 40,000 members. As of a few years ago it had fallen to around 10,000. It’s well documented that CD sales of all genres are down, way down. Today, a CD is more often than not, a musical resume, rather than a product for profit. At the same time, the cost of attending a live jazz concert, regardless of venue, is out of reach for many, especially young people and those of limited economic means—the very same folks who need to hear the music to understand and appreciate its cultural relevance. Meanwhile, academic jazz programs all over the country are turning out highly skilled young musicians with little or no business training and fewer places to play, giving rise to an apparent growing number of non-traditional venues for performance purposes. At the same time the economic value of a musician’s skills seem, for most, to be in decline.
Jazz radio is shrinking. The Boston jazz station just shut down. And all over the country, arts editors, let alone jazz or classical music reviewers, are losing their jobs. Local newspapers, often a source of promotion and support for local arts, are ceasing to exist. There are exceptions, of course, but everyone, everywhere seems to be feeling the economic pinch.
This current, deep recession is exacerbating a much longer trend: the diminution of the social and economic value of the arts, let alone jazz, in the United States. Yes, there is recognition of the arts as a contributor to the economy. In a recent issue of Chamber Music, the official publication of arts organization Chamber Music America, Margaret M. Lioi, reports in her editorial that $50 million for the arts was included in the American Recovery and Reinvestment Bill. These funds went directly to the National Endowment for the Arts.
When the House voted on the final bill, Democratic Congressman David Obey, who sponsored the bill, explained why he thought it was important to retain NEA funding in the stimulus package: “There are five million people who work in the arts industry. And right now they have 12.5% unemployment—or are you suggesting that somehow if you work in that field, it isn’t real when you lose your job, your mortgage or your health insurance? We’re trying to treat people who work in the arts the same way as anybody else.”
This blog entry was posted by Eugene Marlow. Check back soon for part two of this article.
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The Survival of Jazz, an interesting topic of sorts. I am located on the West Coast and I have quite frankly been doing a lot of soul searching in regards to this very topic. With the demise of radio stations that play jazz, whether it's Traditional or Contemporary, the economic boom, and all the other things that you mentioned in your blog. How is Jazz surviving? If one were to look at the recent closures of Jazz Festivals across the country, you would think that jazz fans would be in an uproar. I guess here on the West coast, we're spoiled. We have the Playboy Jazz Festival, Monterey Jazz Festival, West Coast Jazz Party, and so many other local jazz festivals that you wouldn't think that jazz surviving is even an issue here, but I will say I have to agree with the notion that jazz will not continue to survive even on the west coast. I’m a novice in the jazz world, love listening to you it, whether it’s recorded or live, but what has bothered me the most is the rising concern of it’s survival. I’ve started reading all the articles and blogs been posted about the survival of jazz and it has brought me to an awareness that something needs to be done before it gets to the point of death. Herein lies the problem, “At the same time, the cost of attending a live jazz concert, regardless of venue, is out of reach for many, especially young people and those of limited economic means—the very same folks who need to hear the music to understand and appreciate its cultural relevance.” We have cut the very source of survival at the root. The youth of today, have no investment in keeping this music alive. Sure there are several academic jazz programs in select schools across the nations, how many of these are in Inner Cities schools? I attend most Jazz festivals here on the west coast and you don’t see any young children at the festivals, why is that? Most of the festivals will have a High School band or ensemble open up the festival, but that’s the extent of their involvement. The old guard of jazz musicians in my opinion has abandoned the notion that they need to reach back and give this great legacy to others to carry the torch from here. Let’s not even talk about Smooth Jazz versus Straight-Ahead Jazz; you will open up a can of whip ass. (LOL) Here is where change kicks in and new creative ideas are put into practice. SmoothAhead is a concept of sorts. Bridging the old with the new and moving ahead into a new future. The old guard hands the baton to the new guard with an overwhelming amount of responsibility in making sure that the survival of jazz is not even an option. I’m open to comments and suggestions! Posted June 14, 2009