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New Orleans Jazz Institute:Jazz Evolution
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- New Orleans Jazz Institute
- New Orleans, Louisiana, United States
- The New Orleans Jazz Institute (NOJI) Mission: The New Orleans Jazz Institute (NOJI) links UNO’s strengths in jazz education with professional practice. It serves to promote creative excellence and best practices in Jazz composition, performance, scholarship, importation, exportation, and education. In April 2009, NOJI hosted 40 jazz industry decision-makers, musicians and music educators for participation in its first “Jazz Evolution” retreat at the Royal Sonesta Hotel. Pianist Ellis Marsalis, the former Coca-Cola Chair in Jazz Studies at UNO and founding faculty member of the UNO Jazz Studies Program, served as honorary chair for the event. The retreat was produced with support from several community partners, including the Arts Council of New Orleans, Shell, the New Orleans Jazz Orchestra and the Royal Sonesta Hotel.Based on the discussions and outcomes of the retreat, NOJI created a report for dissemination to retreat members. This is the jazz industry Web blog where members of the jazz community can continue the dialogue.
Welcome to New Orleans Jazz Institute's Jazz Evolution Blog.....
Meeting Notes: New Orleans Jazz Industry Retreat
April 14th, 2009 at the Royal Sonesta Hotel
Session 1: Inventory of Assets
Marci Schramm-French Quarter Festival
How do we package Jazz to make it more unified? Similar to opera…it’s about destination… We produce 3 festivals-- 2 all Louis Armstrong based…premise was 100 year anniversary of birthday… includes symposium with speakers all over the world…education about festival and funding is a challenge…in Europe government financially supports…here we need to find ways to package raw materials.
Paul Maassen-WWNO Radio
How do people use audio content? How it is accessed? Good news is there are many choices. Bad news too many choices… Advantage is New Orleans is cached…good position to capitalize…How to capture through media (multi-level online and broadcast i-pod etc… Creative excitement…How do we deliver Jazz experience through multi- media?
Jason Patterson-Snug Harbor
Obvious to folks there is an industry on certain level…performance based…lacking additional steps beyond live performance that would expand exposure…result is more influx of people to come see what is going on here. More exposure more people…internationally jazz is cool but not respected by main-stream people in US. Jazz should not be viewed as an historical done deal. It is frozen in time instead of viewed as living breathing moving organism. Need respect of national and international media. Exposure is key.
Evan Christopher-Musician
Bringing this topic closer to home…professional and amateur musicians important to recognize that jazz is service industry. Branding NO jazz experience…divide community into two factions whether you are tourism or not tourism…latter not done here. Greatest assets musicians…must figure out what is their product? What is the responsibility of the musicians? Imagery verses real… Engagement of consumers ... Before how to get music out there need to think about educating, funding…Step away from tourism machine and let musicians decide what they want.
Steve Masakowski-UNO Jazz Studies Chair/Musician
As a musician no one got into it to make money…we got into music because of love for it. To continue one must understand it is a time investment. Energy, time, and devotion…will do it if money or no money because of love for it. In-fluctuation into city of music students…levels are high here compared to my generation’s time. It is more and more difficult to make a living wage. NO amazing place to learn but from business standpoint concerned about how new musicians will make a living. Comes down to bringing money into city…there should be compensation for playing…change playing for free.
Mark Samuels-Basin Street Records
Labels are driven by live performances. Opportunities for gigs and performances are what drive CD sales. Internet allows it to be seen everywhere…you-tube etc. Digital media and distribution will surpass physical sales this year. Creates equal footing… Distribution most efficient with no middle man and internet digital media provides this possibility. Huge watts from radio… Why isn’t it NO music for talk radio? Everywhere you turn there should be jazz. There should be two dozen places (venues) that are solely jazz. They write about sports everyday…why not jazz? Jazz is the reason people come so why not have 30 seconds about what is going on in the arts.
Jan Ramsey- OffBeat Magazine
Need to realize that we are talking about paradigm shifts on how people talk and think about the arts. Realize that it is a long-term process…takes a long time to do. People…music community, media, government and entrepreneurs need to decide what they want to be...What is goal? What is strategy? Not enough venues, however, on Decatur tried jazz Club 300 and it didn’t work. It’s a matter of demand from the market. US market is difficult because jazz not valued. Niche market is small and not valued…arts not valued in US period. Must find out where demand is…OVERSEAS? Education needed from bottom up!?! Audience development… How? Decided what you want to be without brainstorming…Define goal and pathway to achieving goal.
Irvin Mayfield-New Orleans Jazz Orchestra/New Orleans Jazz Institute
One of the most complex things is to get people to define assets. First is musicians, learning (education), people dedicated to teaching, (legacy of it) legend (people come because of word of mouth )the stories behind the places and players (old school people cutting hair, young school people…), value doesn’t need to worry about what market place dictates…jazz is not only music it’s an idea...is for everybody and at the same time individualistic. The power of Jazz is that it transforms things. Jazz is a principal… a way to do things. Asset is not the chocolate but the chocolate brings people to the asset. Where else can one talk to the Mayor about Jazz and have it on the agenda.
Questions/Discussion
Bruce Raeburn from Hogan Jazz Archives,Tulane University: Following Katrina what were the personal losses of personal archives? Is there a way to build bridges of trust between the makers (musicians) and institutions in order to preserve the legend, personal stories, and possessions etc?
Irvin’s response: Sometimes people look at the development of archives as for the dead not for the living. We are not looking for what is lost but for what is here. I am partnered with the local library to discuss what should be archived. Would take major man power to find all that was lost. Let’s concentrate on the new and what can be saved from this point.
Evan Christopher’s response: What are the shared elements that can be pieced together to archive? Cataloging valid but qualifying what are the points of contacts also important. Is it engaging the community and attempting to share a set of values?
Dean Susan Krantz-UNO Liberal Arts: One of the main reasons we’re here with the many different elements and products that Jazz produces, is because we need to establish a community of trust. The more partners you have the easier it is to get the money. If working on grant with several different partners you can be sure there is a better chance of receiving than if going solo.
Ken McCarthy: It is not true that Jazz is valued? Do not think have to turn on people on to Jazz. You would be surprised how many people just do not know what NO has to offer with jazz. There are jazz lovers with money coming out of their pockets who do not know what is going on here. Rather than try to change the world, find the jazz fans of the world and make a project to bring them in.
Marci Schramm’s response: Reid Wick has worked very hard to get traditional jazz in Grammy’s. This translates into sales. There is interviewing during French Quarter Festivals national and internationally. Education of possible consumers about jazz is another opportunity.
Sandy Hinderlie-Loyola University: We are positioned to do what you are talking about. I gave up 15 years ago because conversation was going around in circles. This is a good time and possibly this organization (NOJI) is the one to do it.
Session 2: Challenges the Jazz Community and Industry
Terrance Higgins-Musician, Dirty Dozen Brass Band
There was a time when Jazz was thriving in the early 1990s, it was everywhere. I think we have lost scope of that, and the challenge is to reinvent jazz to people. I find that jazz music is not being heard for lack of venues and musicians do not have a lot of opportunities to play. People are looking at different forms of jazz. There needs to be collaboration with new and old artists. DDBB finds ways to reinvent themselves and this explains part of their longevity. Jazz is what NO is all about. Children need to know more about it.
Larry Sieberth-Musician
People do not become musicians for notoriety or money. Being true to the music and its quality and depth is the real reason for pursuing what we have all pursued on this panel. Challenge 1 often find that by being referred to as NO musician there is a certain expectation on the kind of music they will play. There is a stigma and assets being called NO musician. There is a kinship between musicians. The downside to the culture is that we are not on the same playing field as other cities. We lack infrastructure, and as an artist, I find myself wearing too many hats…booking, production and sales, and all I really want to do is make music.
Harold Battiste-Musician/AFO Records
I think the word jazz has a certain stigma. The history of perception of where jazz music came… it was said nothing good can come out of the community. It began as something fun to play around with “illegitimate” music. Jazz is a part of this culture, and I know I cannot do without it. The downside is that it’s been here for so long that it is taken for granted. They do not think it is valuable. It is hard to value something that you see in your back yard all the time. There is a parade every Sunday. We try to uplift the word jazz and the people who produce it. I used to ask students to describe jazz. I kept the responses and realized that no one knew how to define jazz. The only way you can learn about it is to listen to it…you will find something in it. It works because it is a language. If you stay in the neighborhood long enough you will understand it then the appreciation comes for it. To change from entertainment to commerce…what we are trying to do is play and work. You can hire two or three but two or three more come play because they like to play. If you value it, you just love it. I didn’t think I could make a living playing music.
Donald Harrison--Musician
There was not a particular respect for jazz. You can take a jazz musician and put them in the orchestra, band, and they will play but not vice versa. If you do not think it’s hard to play, try to play it without paying your dues… it cannot be done. You can tell who paid their dues because they are on all the records with all the same bands. Those people who pay dues usually work a lot. Must teach musicians to pay dues and be honest about the music.
David Freedman-WWOZ Radio
Jazz is a foundational experience. Jazz musicians are facing same problems as housing and jobs. Public schools used to be an incubator, now individuals must do what state and local government do not. They pay lip service but response is aimless and clueless. Cities around the country offering housing to musicians…New Orleans’ response is musicians can’t stay away (they will be back). Some did stay away. After the flood some organizations stepped up but only 75% of musicians returned. There is 50% less work and less payment for gigs. Musicians are hanging on by their fingernails. The lack of convention business has adverse effect for gigs. The City is creating a war on street events. What is going on is that the well healed property owners in French Quarter are making a stench about the noise. There are organizations dealing with them and trying to create extra events, and corporations are beginning to step up. The issue is funding for education. There is a mandate for arts here in New Orleans, and it is not enforced. Each charter school is unto themselves and no one trying to cultivate talent in schools. There are few band programs and some are practicing in garages with little to no funding. There is no local talent coming to universities it(the talent)is from out of town and needs to be remedied. Those kids exposed to programs are the future audience. The tradition will be lost without this.
Deacon John Moore—American Federation of Musicians
The importance of music… There are not many musicians here, which is unfortunate. The Greeks said that music and astronomy are related. Helps us find the position of things inside of us. 50% of people who cry at weddings begin just as the music begins. It rearranges our insides and expresses for us when we cannot talk. Music is the relationship between internal and invisible objects. Music is a basic need of human survival. It’s how we make sense out of our lives, using the heart when we cannot speak the mind. We are not here to entertain…it’s not about dispensing a product we are like a therapist to the human soul someone who works on the inside to come to harmony with ourselves. Cutting budget for art…We need more of everything but music according to legislature. Music keeps kids off the street and increases academics. The musicians union…dirty word…right to work state but…the union is not a booking agency. It is not like the Teamsters Union. We are here to help you with pensions. The Union can help you with credit. There is a Credit Union. They myth is a bad guise. Frankly, if you want to be a professional then join a professional organization…join The Union. We can provide rehearsal space. Establish a minimum wage. We want to make a living not live out of a tip jar. We provide lists and referrals and all over the country and international. It’s not absolute to join but to your advantage. “Though shall not play under scale.” It lowers the scale for everyone. A little something better than nothing mentality undercuts decent wage. If all stick together, the minimum wage will rise but not as long as $20 gigs okay. Do not play under minimum scale. This is the only county in world that does not pay musicians residuals. Other countries will not comply until all on same page. Do you want to make progress as musicians or be dog eat dog? They want the musicians to be the entrepreneurs now. The choices are play for part of cash from door or play for tips…this drives musicians into survival mode… a little something better than nothing. There are more musicians than places to play. How can we get over this without adhering to the minimum scale? We don’t want musicians cutting throats to get a job. The union is here to help. There are funds for jazz musicians who were displaced by technology. We need to educate students in school or we will lose the future audience.
Bruce Raeburn-Tulane University
Challenges and community. Music emerged organically in the community-- life meant to express the community. We want them to understand and embrace the complexity of Jazz. Representation and perception of jazz not been written locally but from NY etc. They do not know the story. Chained to categories…we have to market ourselves because it’s capitalist society. People were hurt by this notion. They were frozen out of gigs. Until the emotional bond and connection comes back to the community it cannot be understood. Who controls media definition of jazz…we do not… it’s usually people from afar that do not know the story. Multiple redundancies are the problem. Solution… increase communication and act accordingly. The only way we can educate them is to work together.
Sandy Hinderlie-Loyola University
Value of Jazz is International… Europe and Japan treat jazz as an art form. Here entertainment is one of the terms used for all music. We need to educate more and find more music teachers. The art verses entertainment is important. Funding…this is an opportunity to create an umbrella to receive grants. The love of playing…we all love to play at Loyola we began 10 years ago on how they can monetize themselves. Each musician is their own business. It is important that we have awareness. It is evolving every day. We as a local industry do not have the infrastructure. The sore point is this. If the infrastructure is not treated like they do in NY then there are minimum results. We need an umbrella desperately and it’s hard to work together but we need to keep trying.
Breakout Session: Opportunities
Musicians:
Education: The soul of New Orleans comes from the kids. Nurture the children and let them know what it is all about. There are no programs that really cater to jazz. (Ellis)There is a difference between pre and post Katrina schools. Music supervisor were in touch with all band directors. It was a vertical system. There was a structure where you could communicate with teachers which also helped aid with university recruitment. Post Katrina, there are 42 charter schools not constructed vertically. How do we get to the charter schools? Who would be responsible for creating any kind of music programs in the schools because it is a different environment now? It is no longer vertical. Collaboration: Happens once you are an adult and already established. If all the programs currently worked together under one umbrella and mixed up jazz and funk with R&B …that is NO. The gigs that draw more people are the ones who collaborate. (Ellis)The space in between education and collaboration is learning the craft.
Music Business:
A city mission statement, vision statement, and core values. After this definition, then can more easily define opportunity in NO jazz? There are some loose standards in Jazz and they need tightened up. City of New Orleans needs to say Jazz is… (need to fill in the blank). Intent is first then execution in Jazz (unlike classical). Civic standards first, then a jazz campaign can begin. The music comes from the people. There needs to be a standard. (Ellis: There is a secret standard too that keeps respect) NO has a jazz culture which is not as difficult to wrap your mind around as what is jazz? What does jazz as an art form mean? Culture is a metaphor says Ellis. Through the music we express how we live.
Academia:
Problems in K-12 mammoth… At university level it’s not so bad. Get music education in schools permanent. Music is the main thing that separates man from beast. Intrinsic value…how can music industry be used as vehicle to education. Use afterschool programs to fuel education to parents and students. The capacity of Universities is the ability to organize and educate parents and communities. Capitalize on training. For example, a festival that includes all city universities and invites high schools from all over to promote recruitment. Collaborate: We need a website to organize and distribute information. Universities are a good way to promote and brand jazz.
Tourism/Events:
How is it currently being marketed…blanket approach…whoever can come…there is neglect of the international market. Reposition jazz as the destination hook to bring them in, as well as, come here and eat etc. There is a lack of a mission statement for the city. There is no declarative statement. Marketing jazz is an investment. If the dollars exist, is it investing in jazz? Echo culture… Who makes the food? INVEST in marketing the culture. Finding investors outside state and local government… solicit philanthropic and private individuals. Organize and identify all current assets in city.
Concluding Remarks:
Don Marshall-NOJHF
Marginalizing resources…Educational component is really lacking. Build advocacy and work together to get arts back into schools. We must engage the young people in the community. Interested in idea of university jazz festival and/or Parks Olympics… How do we recognize the good programs that are in the schools? Working on international travel funds for musicians is important. Jazz fest is the showcase. How do we get those coming in to really get engaged in the local artists? There is no other place in US that has all the cultural resources NO has. It is not hard to work together. With everyone’s help great things can happen.
Mary Len Costa—Arts Council
Education... Arts business program: Provides Entertainment law assistance. They provide free legal service for artists. Can helps with copyright etc. Starting webinars that teach online and aid with artists schedules. Artist entrepreneurs programs…classes.
Matt Hampsey-Jazz Historical Park--National Parks
At the Park, there is expansion and wants to hire local musicians. 5M dollar performance center built on third floor. There are upcoming discussions about Armstrong Park. He would like to see less duplication of efforts and more collaboration.
Ernest Collins—City of New Orleans
Start legislation about NO being the live music capital of the world. Maybe one of the keys moving forward is to have a presentation of talent. Brand what we have to the world. It’s about recognition of what we have.
Roger Lewis—Dirty Dozen Brass Band
I usually do not speak at things like this. I speak using my baritone saxophone…that is what I play. If it all works out, it will be great.
April 14th, 2009 at the Royal Sonesta Hotel
Session 1: Inventory of Assets
Marci Schramm-French Quarter Festival
How do we package Jazz to make it more unified? Similar to opera…it’s about destination… We produce 3 festivals-- 2 all Louis Armstrong based…premise was 100 year anniversary of birthday… includes symposium with speakers all over the world…education about festival and funding is a challenge…in Europe government financially supports…here we need to find ways to package raw materials.
Paul Maassen-WWNO Radio
How do people use audio content? How it is accessed? Good news is there are many choices. Bad news too many choices… Advantage is New Orleans is cached…good position to capitalize…How to capture through media (multi-level online and broadcast i-pod etc… Creative excitement…How do we deliver Jazz experience through multi- media?
Jason Patterson-Snug Harbor
Obvious to folks there is an industry on certain level…performance based…lacking additional steps beyond live performance that would expand exposure…result is more influx of people to come see what is going on here. More exposure more people…internationally jazz is cool but not respected by main-stream people in US. Jazz should not be viewed as an historical done deal. It is frozen in time instead of viewed as living breathing moving organism. Need respect of national and international media. Exposure is key.
Evan Christopher-Musician
Bringing this topic closer to home…professional and amateur musicians important to recognize that jazz is service industry. Branding NO jazz experience…divide community into two factions whether you are tourism or not tourism…latter not done here. Greatest assets musicians…must figure out what is their product? What is the responsibility of the musicians? Imagery verses real… Engagement of consumers ... Before how to get music out there need to think about educating, funding…Step away from tourism machine and let musicians decide what they want.
Steve Masakowski-UNO Jazz Studies Chair/Musician
As a musician no one got into it to make money…we got into music because of love for it. To continue one must understand it is a time investment. Energy, time, and devotion…will do it if money or no money because of love for it. In-fluctuation into city of music students…levels are high here compared to my generation’s time. It is more and more difficult to make a living wage. NO amazing place to learn but from business standpoint concerned about how new musicians will make a living. Comes down to bringing money into city…there should be compensation for playing…change playing for free.
Mark Samuels-Basin Street Records
Labels are driven by live performances. Opportunities for gigs and performances are what drive CD sales. Internet allows it to be seen everywhere…you-tube etc. Digital media and distribution will surpass physical sales this year. Creates equal footing… Distribution most efficient with no middle man and internet digital media provides this possibility. Huge watts from radio… Why isn’t it NO music for talk radio? Everywhere you turn there should be jazz. There should be two dozen places (venues) that are solely jazz. They write about sports everyday…why not jazz? Jazz is the reason people come so why not have 30 seconds about what is going on in the arts.
Jan Ramsey- OffBeat Magazine
Need to realize that we are talking about paradigm shifts on how people talk and think about the arts. Realize that it is a long-term process…takes a long time to do. People…music community, media, government and entrepreneurs need to decide what they want to be...What is goal? What is strategy? Not enough venues, however, on Decatur tried jazz Club 300 and it didn’t work. It’s a matter of demand from the market. US market is difficult because jazz not valued. Niche market is small and not valued…arts not valued in US period. Must find out where demand is…OVERSEAS? Education needed from bottom up!?! Audience development… How? Decided what you want to be without brainstorming…Define goal and pathway to achieving goal.
Irvin Mayfield-New Orleans Jazz Orchestra/New Orleans Jazz Institute
One of the most complex things is to get people to define assets. First is musicians, learning (education), people dedicated to teaching, (legacy of it) legend (people come because of word of mouth )the stories behind the places and players (old school people cutting hair, young school people…), value doesn’t need to worry about what market place dictates…jazz is not only music it’s an idea...is for everybody and at the same time individualistic. The power of Jazz is that it transforms things. Jazz is a principal… a way to do things. Asset is not the chocolate but the chocolate brings people to the asset. Where else can one talk to the Mayor about Jazz and have it on the agenda.
Questions/Discussion
Bruce Raeburn from Hogan Jazz Archives,Tulane University: Following Katrina what were the personal losses of personal archives? Is there a way to build bridges of trust between the makers (musicians) and institutions in order to preserve the legend, personal stories, and possessions etc?
Irvin’s response: Sometimes people look at the development of archives as for the dead not for the living. We are not looking for what is lost but for what is here. I am partnered with the local library to discuss what should be archived. Would take major man power to find all that was lost. Let’s concentrate on the new and what can be saved from this point.
Evan Christopher’s response: What are the shared elements that can be pieced together to archive? Cataloging valid but qualifying what are the points of contacts also important. Is it engaging the community and attempting to share a set of values?
Dean Susan Krantz-UNO Liberal Arts: One of the main reasons we’re here with the many different elements and products that Jazz produces, is because we need to establish a community of trust. The more partners you have the easier it is to get the money. If working on grant with several different partners you can be sure there is a better chance of receiving than if going solo.
Ken McCarthy: It is not true that Jazz is valued? Do not think have to turn on people on to Jazz. You would be surprised how many people just do not know what NO has to offer with jazz. There are jazz lovers with money coming out of their pockets who do not know what is going on here. Rather than try to change the world, find the jazz fans of the world and make a project to bring them in.
Marci Schramm’s response: Reid Wick has worked very hard to get traditional jazz in Grammy’s. This translates into sales. There is interviewing during French Quarter Festivals national and internationally. Education of possible consumers about jazz is another opportunity.
Sandy Hinderlie-Loyola University: We are positioned to do what you are talking about. I gave up 15 years ago because conversation was going around in circles. This is a good time and possibly this organization (NOJI) is the one to do it.
Session 2: Challenges the Jazz Community and Industry
Terrance Higgins-Musician, Dirty Dozen Brass Band
There was a time when Jazz was thriving in the early 1990s, it was everywhere. I think we have lost scope of that, and the challenge is to reinvent jazz to people. I find that jazz music is not being heard for lack of venues and musicians do not have a lot of opportunities to play. People are looking at different forms of jazz. There needs to be collaboration with new and old artists. DDBB finds ways to reinvent themselves and this explains part of their longevity. Jazz is what NO is all about. Children need to know more about it.
Larry Sieberth-Musician
People do not become musicians for notoriety or money. Being true to the music and its quality and depth is the real reason for pursuing what we have all pursued on this panel. Challenge 1 often find that by being referred to as NO musician there is a certain expectation on the kind of music they will play. There is a stigma and assets being called NO musician. There is a kinship between musicians. The downside to the culture is that we are not on the same playing field as other cities. We lack infrastructure, and as an artist, I find myself wearing too many hats…booking, production and sales, and all I really want to do is make music.
Harold Battiste-Musician/AFO Records
I think the word jazz has a certain stigma. The history of perception of where jazz music came… it was said nothing good can come out of the community. It began as something fun to play around with “illegitimate” music. Jazz is a part of this culture, and I know I cannot do without it. The downside is that it’s been here for so long that it is taken for granted. They do not think it is valuable. It is hard to value something that you see in your back yard all the time. There is a parade every Sunday. We try to uplift the word jazz and the people who produce it. I used to ask students to describe jazz. I kept the responses and realized that no one knew how to define jazz. The only way you can learn about it is to listen to it…you will find something in it. It works because it is a language. If you stay in the neighborhood long enough you will understand it then the appreciation comes for it. To change from entertainment to commerce…what we are trying to do is play and work. You can hire two or three but two or three more come play because they like to play. If you value it, you just love it. I didn’t think I could make a living playing music.
Donald Harrison--Musician
There was not a particular respect for jazz. You can take a jazz musician and put them in the orchestra, band, and they will play but not vice versa. If you do not think it’s hard to play, try to play it without paying your dues… it cannot be done. You can tell who paid their dues because they are on all the records with all the same bands. Those people who pay dues usually work a lot. Must teach musicians to pay dues and be honest about the music.
David Freedman-WWOZ Radio
Jazz is a foundational experience. Jazz musicians are facing same problems as housing and jobs. Public schools used to be an incubator, now individuals must do what state and local government do not. They pay lip service but response is aimless and clueless. Cities around the country offering housing to musicians…New Orleans’ response is musicians can’t stay away (they will be back). Some did stay away. After the flood some organizations stepped up but only 75% of musicians returned. There is 50% less work and less payment for gigs. Musicians are hanging on by their fingernails. The lack of convention business has adverse effect for gigs. The City is creating a war on street events. What is going on is that the well healed property owners in French Quarter are making a stench about the noise. There are organizations dealing with them and trying to create extra events, and corporations are beginning to step up. The issue is funding for education. There is a mandate for arts here in New Orleans, and it is not enforced. Each charter school is unto themselves and no one trying to cultivate talent in schools. There are few band programs and some are practicing in garages with little to no funding. There is no local talent coming to universities it(the talent)is from out of town and needs to be remedied. Those kids exposed to programs are the future audience. The tradition will be lost without this.
Deacon John Moore—American Federation of Musicians
The importance of music… There are not many musicians here, which is unfortunate. The Greeks said that music and astronomy are related. Helps us find the position of things inside of us. 50% of people who cry at weddings begin just as the music begins. It rearranges our insides and expresses for us when we cannot talk. Music is the relationship between internal and invisible objects. Music is a basic need of human survival. It’s how we make sense out of our lives, using the heart when we cannot speak the mind. We are not here to entertain…it’s not about dispensing a product we are like a therapist to the human soul someone who works on the inside to come to harmony with ourselves. Cutting budget for art…We need more of everything but music according to legislature. Music keeps kids off the street and increases academics. The musicians union…dirty word…right to work state but…the union is not a booking agency. It is not like the Teamsters Union. We are here to help you with pensions. The Union can help you with credit. There is a Credit Union. They myth is a bad guise. Frankly, if you want to be a professional then join a professional organization…join The Union. We can provide rehearsal space. Establish a minimum wage. We want to make a living not live out of a tip jar. We provide lists and referrals and all over the country and international. It’s not absolute to join but to your advantage. “Though shall not play under scale.” It lowers the scale for everyone. A little something better than nothing mentality undercuts decent wage. If all stick together, the minimum wage will rise but not as long as $20 gigs okay. Do not play under minimum scale. This is the only county in world that does not pay musicians residuals. Other countries will not comply until all on same page. Do you want to make progress as musicians or be dog eat dog? They want the musicians to be the entrepreneurs now. The choices are play for part of cash from door or play for tips…this drives musicians into survival mode… a little something better than nothing. There are more musicians than places to play. How can we get over this without adhering to the minimum scale? We don’t want musicians cutting throats to get a job. The union is here to help. There are funds for jazz musicians who were displaced by technology. We need to educate students in school or we will lose the future audience.
Bruce Raeburn-Tulane University
Challenges and community. Music emerged organically in the community-- life meant to express the community. We want them to understand and embrace the complexity of Jazz. Representation and perception of jazz not been written locally but from NY etc. They do not know the story. Chained to categories…we have to market ourselves because it’s capitalist society. People were hurt by this notion. They were frozen out of gigs. Until the emotional bond and connection comes back to the community it cannot be understood. Who controls media definition of jazz…we do not… it’s usually people from afar that do not know the story. Multiple redundancies are the problem. Solution… increase communication and act accordingly. The only way we can educate them is to work together.
Sandy Hinderlie-Loyola University
Value of Jazz is International… Europe and Japan treat jazz as an art form. Here entertainment is one of the terms used for all music. We need to educate more and find more music teachers. The art verses entertainment is important. Funding…this is an opportunity to create an umbrella to receive grants. The love of playing…we all love to play at Loyola we began 10 years ago on how they can monetize themselves. Each musician is their own business. It is important that we have awareness. It is evolving every day. We as a local industry do not have the infrastructure. The sore point is this. If the infrastructure is not treated like they do in NY then there are minimum results. We need an umbrella desperately and it’s hard to work together but we need to keep trying.
Breakout Session: Opportunities
Musicians:
Education: The soul of New Orleans comes from the kids. Nurture the children and let them know what it is all about. There are no programs that really cater to jazz. (Ellis)There is a difference between pre and post Katrina schools. Music supervisor were in touch with all band directors. It was a vertical system. There was a structure where you could communicate with teachers which also helped aid with university recruitment. Post Katrina, there are 42 charter schools not constructed vertically. How do we get to the charter schools? Who would be responsible for creating any kind of music programs in the schools because it is a different environment now? It is no longer vertical. Collaboration: Happens once you are an adult and already established. If all the programs currently worked together under one umbrella and mixed up jazz and funk with R&B …that is NO. The gigs that draw more people are the ones who collaborate. (Ellis)The space in between education and collaboration is learning the craft.
Music Business:
A city mission statement, vision statement, and core values. After this definition, then can more easily define opportunity in NO jazz? There are some loose standards in Jazz and they need tightened up. City of New Orleans needs to say Jazz is… (need to fill in the blank). Intent is first then execution in Jazz (unlike classical). Civic standards first, then a jazz campaign can begin. The music comes from the people. There needs to be a standard. (Ellis: There is a secret standard too that keeps respect) NO has a jazz culture which is not as difficult to wrap your mind around as what is jazz? What does jazz as an art form mean? Culture is a metaphor says Ellis. Through the music we express how we live.
Academia:
Problems in K-12 mammoth… At university level it’s not so bad. Get music education in schools permanent. Music is the main thing that separates man from beast. Intrinsic value…how can music industry be used as vehicle to education. Use afterschool programs to fuel education to parents and students. The capacity of Universities is the ability to organize and educate parents and communities. Capitalize on training. For example, a festival that includes all city universities and invites high schools from all over to promote recruitment. Collaborate: We need a website to organize and distribute information. Universities are a good way to promote and brand jazz.
Tourism/Events:
How is it currently being marketed…blanket approach…whoever can come…there is neglect of the international market. Reposition jazz as the destination hook to bring them in, as well as, come here and eat etc. There is a lack of a mission statement for the city. There is no declarative statement. Marketing jazz is an investment. If the dollars exist, is it investing in jazz? Echo culture… Who makes the food? INVEST in marketing the culture. Finding investors outside state and local government… solicit philanthropic and private individuals. Organize and identify all current assets in city.
Concluding Remarks:
Don Marshall-NOJHF
Marginalizing resources…Educational component is really lacking. Build advocacy and work together to get arts back into schools. We must engage the young people in the community. Interested in idea of university jazz festival and/or Parks Olympics… How do we recognize the good programs that are in the schools? Working on international travel funds for musicians is important. Jazz fest is the showcase. How do we get those coming in to really get engaged in the local artists? There is no other place in US that has all the cultural resources NO has. It is not hard to work together. With everyone’s help great things can happen.
Mary Len Costa—Arts Council
Education... Arts business program: Provides Entertainment law assistance. They provide free legal service for artists. Can helps with copyright etc. Starting webinars that teach online and aid with artists schedules. Artist entrepreneurs programs…classes.
Matt Hampsey-Jazz Historical Park--National Parks
At the Park, there is expansion and wants to hire local musicians. 5M dollar performance center built on third floor. There are upcoming discussions about Armstrong Park. He would like to see less duplication of efforts and more collaboration.
Ernest Collins—City of New Orleans
Start legislation about NO being the live music capital of the world. Maybe one of the keys moving forward is to have a presentation of talent. Brand what we have to the world. It’s about recognition of what we have.
Roger Lewis—Dirty Dozen Brass Band
I usually do not speak at things like this. I speak using my baritone saxophone…that is what I play. If it all works out, it will be great.