R.I.P. Jazz Radio?

To say that jazz radio stations are few and far between in America is an understatement.  In the past 10 years alone, many large markets have been left without a single station to broadcast America’s original musical art form over the airways.

In fact, cities that have key ties to the development and evolution of the music are left without a single station to tune into for this cultural treasure…. Chicago is one glaring example of this, as its NPR station eliminated its overnight jazz segment 6 years ago.  Now, the Washington, D.C. area is holding its collective breath as its “Jazz and Justice” station undergoes major management and programming changes of its own.

While our nation’s capital regularly presents some of the genre’s most talented and groundbreaking musicians–most notably Thelonious Monk International Jazz Competition–there is no reliable local broadcast medium to share this amazing music to the region.

Will the ‘jazz’ part be the sacrificial musical lamb in favor of something with broader commercial appeal?

That remains to be seen.  Two notable stations that have defied the odds, so far are WBGO-FM in the Newark, N.J./New York City area and KCSM-FM in the San Francisco Bay Area.  While those NPR affiliates allot some time for news and public interest programs geared to their respective local markets, the overwhelming majority of their airtime is allotted to broadcasting jazz music.

For the remainder of the jazzophytes throughout the nation, we are resigned to our computers, tablets, and smartphones.  How exactly did we get to this point?

Jazz artists are certainly still emerging and performing at a high level.  Even the younger generation of music fans dig the music when they hear it.

But how do we reach more of them and turn them into lifelong listeners with the rapid demise of one station after another?

Soul Man

It has been many years since I first learned who tenor saxophone player Gene Ammons was. In fact, I was introduced to his music way before I even knew the man’s name.

As a regular listener to WVON radio’s ‘Cliff Kelley Show’ , based in Chicago, Ammons’ soulful interpretations of standards were (and still are) the interlude between most segments on this politics-based talk show.  In fact, every Friday afternoon, Mr. Kelley opens his show playing Ammons’ ‘Canadian Sunset’.  It was only after hearing Kelley mention  was his favorite tenor player, that I connected the dots.  Needless to say, I have been hooked on those deep, soulful sounds ever since.

Click here to get the full album ‘Boss Tenor’.

Jazz meets Go-Go

Bassist Ben Williams embodies the most beautiful part of music, drawing from the experiences and influences around us to create our own sound.

I was introduced to the Washington, D.C.-native’s music while listening to WBGO-FM’s “The Checkout” back in the Summer of 2011.  As Williams introduced himself through various tracks from his then-new release ‘State of Art‘, it was clear that while New York is his current base, the ‘Go-Go‘ sound that uniquely defines the music scene in and around the Nation’s Capital is part of his musical DNA.

Listening to Ben Williams reminded me of a quote from the drum legend Art Blakey who said, ”A name doesn’t make the music. It’s just called that to differentiate it from other types of music.  The thing that matters most in music (and all art) is that it comes from a genuine place within.

A Word from Kenny Garrett

Kenny Garrett is one fascinating musician and gentleman.  I had a chance to listen to this musical genius this week on WBGO-FM as he introduced his new release, “Seeds From the Underground”.  The album pays tribute to the people who influenced and inspired him, not only musically but personally.

What I appreciated most about listening to Kenny Garrett speak and play is his ability to put context to his music.  He gives reverence to the legends, while engaging with the audience of today.  Past, present, and future are incorporated in such a way that it is both authentic and energetic.

Click here to check out Kenny Garrett’s latest project for yourself.

What the hell is going on?

Arrrgh?

I had a conversation a few weeks ago with my good friend Jason, who candidly acknowledged that he knows very little about jazz music (R&B is his favorite genre).  He recalled being in a setting of jazz listeners where a 15-minute-long John Coltrane track was playing–and that he faked his way through entire composition–pretending to relate to the melodic ideas, movements, and sound of one of jazz’s most notable musicians–all the while not understanding “what the hell” was really going on.

(Appropriately, the composition “My Favorite Things” plays in the background on Newark, New Jersey’s Jazz 88.3 WBGO-FM as I write this post).

Even for jazz musicians during that time, ‘Trane made waves with the direction he took his music during the latter part of his life.  It could be classified as ‘abstract’ at the very least.

To quote my buddy, “I didn’t want to admit that I didn’t know what the hell was going on.  All I heard was some screeching and at one point I even jumped when he played one of the notes”.  That gave me a good laugh, because even as a jazz man I have occasionally experienced a “jolt” of sorts when listening to ‘Trane, Miles Davis’ ‘Bitches Brew‘, Jaco Pastorius, and others from the fusion/avant-garde era.

This conversation began with me talking about my struggle to find places in Atlanta to listen to live jazz other than that classified as the “contemporary” or “smooth” variety, in which he asked me if Kenny G is jazz.  I’ll spare you my thoughts–for now–on how that part of the conversation went.

But I went on to tell him that the confusion and uncertainty of jazz is exactly why I love the music so.  It’s like going to an art gallery and attempting to explain what the artist was trying to convey.  There are no absolutes because everyone interprets something different, and none of it can be classified as “wrong”.  It is what the recipient believes it to be, which may be worlds apart from what the composer intended.

Jazz swings and glides…

Jazz screams at you one minute and serenades you the next…

Jazz can be hip, or cool…

Jazz makes you laugh, cry, dance, and sigh…

Jazz causes you to think and feel…Jazz can heal!

Jazz says everything and nothing at the same time…

The long and short of it…Jazz just IS and that’s why I love it so!  Because, it is much like LIFE itself.  It’s better to experience it than attempt to explain it!

Jazz-less in Atlanta

Guitar by Dino De Luca

I guess I have been spoiled with the easy access to quality and booze-optional live jazz all these years. It is true, they say you never know what you have until it’s gone.

When I relocated to this highly populated metropolitan area in America’s deep South late last year, I figured I would be able to find some semblance of America’s classical music–and I’m not referring to an assortment of popular radio hits that simply replaces the lyrics with an instrument and the label “jazz” is smacked on it to drive sales.

Unfortunately, after 11 months of searching, I am resigned to experiencing my jazz through iTunes, YouTube, and a live stream of the New Jersey-based NPR jazz radio station WBGO-FM.  In metro Atlanta, the music scene is basically E.B.J. (Everything But Jazz).  Ok, well maybe not completely, but outside of smooth jazz, rhythm and blues, country, alternative, and metal, and let’s not forget the South’s version of hip hop, you can pretty much stick a fork in her.  In essence, I feel much like Tom Hanks’ character in the now-classic romantic comedy ‘Sleepless in Seattle’.  I’m in a new city grieving over a lost love.

All I can say is, as far as live jazz is concerned, Atlanta is definitely not Washington, D.C., and absolutely worlds away from Chicago.  These were the last two areas I had the privilege of living prior to Atlanta–the latter being “home” and which, on any given evening, you could stumble upon a live presentation of America’s original musical art form with a blindfold on–and free of the “two-drink minimum” requirement, particularly when you have already shelled out money for a cover charge.  There is one shining star in Atlanta’s jazz scene, as far as the musical presentation is concerned.  Although, this establishment both charges a cover and subjects its patrons to a minimum food/drink policy.

Furthermore, I am not really a drinker, which translates to three or four occasions per year at most.  So, for someone who is looking to experience some rich live jazz at least twice a month, this ‘double-dipping’ by Atlanta-area clubs is a non-starter.  I haven’t experienced that level of gouging by venues in New York–America’s most populous city and the self-proclaimed ‘jazz capital of the world’.  Apparently, these club owners couldn’t care less if I get a DUI either, because getting anywhere in this region is virtually impossible without driving a car.

All I want to do is hear some live jazz music, ATL…and be sober enough to remember what I heard and get home in one piece once it’s over. Is that too much to ask?

Jazz-less in Atlanta,

Kenny

The unique kinship of jazz and House music

Records by J Fry - freedigitalphotos.net

I had a long conversation yesterday with a good friend and former co-worker from Chicago, who has the same level of passion for House music that I have for jazz.  In fact, we talked about the similarities in our respective musical passions.

For fans of popular music, there are no shortage of concerts in virtually every city across the country.   However, since both [true] jazz and House are generally out of the mainstream, we really have to seek it out in order to find quality.  And for those of us who are true followers, we do.  It takes some extra legwork to connect with our musical brethren, but once we do, the options open up quite nicely.

The most awesome part of our respective genres is the ‘feel-good’ aspect of the music.  The ‘House Head’, as my friend refers to himself, talks about the energy of a House party and how it is all about coming together to experience the music from the featured DJ, make new friends, and leave all your cares behind.  He said, “I have never been to a great House party where people have NOT left out feeling good.”  I have a similar perspective about jazz–I come to experience the energy of the musicians, interact with the positive atmosphere and people, and dispose of my stresses from the outside world.

My ‘House Head’ friend is in heaven when he is at a House party, the same way I am on cloud nine at a jazz set.   Although the centerpiece of House music is the DJ, and for jazz it is the musicians or vocalist; for both of us, the music brings us to life.  That is the unique kinship of jazz and ‘House’ music.

Jazz is in the house!

What’s your favorite type of music?  What drives your love for it?

Kenny A.

Follow me on Twitter @LanguageOfJazz