Author: Jeff Albert

A Simple Reason Why Audiences Are So Small For New Music Concerts « Elissa Milne

This is really good. There is deep insight here into how and why audiences exist, and my experience with the Open Ears Music Series affirms these ideas. Click the link to read the whole thing.

A Simple Reason Why Audiences Are So Small For New Music Concerts « Elissa Milne:

“Live concerts (or any live events) are built on a fan-base, so if you have no fans you have a limited chance of attracting an audience. This holds true for a pub band as much as it does for a purveyor of experimental sound art. Any performer needs to build an audience if they want to have an audience.

Now I do appreciate that there has been an aesthetic of writing with no thought for connection with listeners, but seriously people, if you write with no consideration of how you are building your audience you can hardly be surprised when you don’t have one.

And yeah, it’s your audience. It’s not the audience for ‘new music’ or ‘experimental music’ or ‘art music’. It’s the group of people in your neighbourhood, community, workplace, internet forums, facebook groups and twitterfeed who are interested in what you do. That’s what an audience is: it’s a bunch of people who care about your work so much that they want to participate. By being there. By being close to the action. By giving you money so you’ll keep doing what you do.”

(Via @pbailey.)

Jeb Bishop @ Green Mill

Last night I had the honor to be a guest at Jeb Bishop’s 50th Birthday Blowout at The Green Mill in Chicago. I sat in with the quartet of Jeb, Jeff Parker, Joshua Abrams, and Hamid Drake. We did some material from Hamid’s Bindu-Reggaeology project.

Bishop parker abrams

There were other sets by Jeb’s trio and The Engines.

More fun tonight, when I get to guest with the trio.

Free Jazz on Treme

The third season of the HBO series Treme is airing now. I usually DVR it on Sunday and end up watching it sometime later in the week. In case you haven’t seen it, you should know that the music and musicians of New Orleans feature prominently in the show. There was quite a bit of buzz about it in the broader music/jazz community in the first season. I have always enjoyed watching it, if for nothing else, to see my friends on TV, because the producers do a great job of featuring New Orleans musicians, both prominent and obscure.

People often ask me when I will be on the show, and I usually chuckle and respond that the show doesn’t have “my kind of music.” I say this partly tongue in cheek, but it is true that the show focuses on the aspects of New Orleans music that are generally perceived as specifically representative. My regular musical/professional/social circles are largely tangential to those of the featured musicians in the show. I’m cool with that. I still like watching the show, and a track that I played on was the closing credits for one show in the first season, so I have gotten a little taste of the Treme gravy train.

I guess I should add here, that if I made the show, I wouldn’t have any Open Ears/New Orleans improv community scenes. It does’t fit with the story, and it isn’t very mainstream music. BUT, this past week we did get a little second order mention. The character LaDonna said, “They ain’t gonna shut me down like they did King Bolden’s!” (or something to that effect).

That line acknowledges the genesis of the Open Ears Music Series. King Bolden’s was a club on Rampart St. They only did jazz on Tuesdays (they had DJs and other music on other nights), and it was usually left of center jazz. Mario, the owner, seemed to like me and my band, because he called once a month and asked what night I wanted to play. When that club got shut down, my regular easy gig went away, and I needed a new place to play. That was the catalyst that led to the founding of the Open Ears Music Series, which is now 5 years old and has presented nearly every great New Orleans improviser, and many of the world’s great improvisers. So, you won’t see or hear any of the New Orleans improvised music community on Treme, but there was an inside reference to one of the clubs that features prominently in our history.

The blame game | Mass Comments | Blogs | Loyola University New Orleans

I’ve seen my share of these.

The blame game | Mass Comments | Blogs | Loyola University New Orleans:

“It struck me that, in the many years I’ve been teaching, I’ve heard a thousand things blamed for a student’s lack of success, mostly from students themselves. In fact, some of the reasons for missing class, turning in poor work or no work or some variation on failure to handle responsibilities were so bizarre I’ll never forget them (and these are all true):

‘I got arrested because my roommates were growing pot at our house.’
‘I was trying to decide if I should marry my fiancee…and it took a lot of time.’
‘My girlfriend cut up all my clothes and threw them away. I didn’t have anything to wear to class.’”

Running The Voodoo Down: WRITE A SONG

Running The Voodoo Down: WRITE A SONG:

“Speaking as a consumer and a jazz fan, I gotta say, with all due respect…f–k you guys. You wanna know why jazz albums don’t sell for shit? Because labels release recordings of lazy, entitled old-timers coasting on name recognition, sleepwalking through tunes everyone who’s into jazz has already heard 500 times before. “

Don’t hold back, Phil. Tell us how you really think.

Please, read the whole thing.

Texas Tour Recap

We had a great little tour through Texas with the Log Ladies, and me. I have played with Dave Cappello on a regular basis since about 2004, and with Jesse Morrow since 2009. Chris Alford was a member of a short lived quintet I had a couple of years ago, and also played on one of the Instigation Quartet shows. Given that I have had some history with each member of the Log Ladies, I was honored that they asked me to join them on this tour, in spite of that history.

The first day involved driving from New Orleans to Dallas, and performing that night. Aaron Gonzalez presented our concert at The Oak Cliff Cultural Center, and the trumpet/effects/drums duo Swirve (from Dallas) was also on the show. The Oak Cliff Cultural Center has a very nice, if quite resonant space, in which we performed.

We were hosted by Dennis and Carol Gonzalez (Aaron’s parents) who provided us with a place to sleep, two beautiful home cooked meals, and some wonderful fellowship. Of course Dennis is also a renowned improvising musician himself.

Dennis eggs

Dennis cooking eggs.

Biscuits

Carol’s world famous biscuits.

On Sunday, we drove to Austin, and played Sunday night on the Church of the Friendly Ghost concert at the Salvage Vanguard Theater. We stayed at the home of my friend and colleague John Worthington. Thanks, John.

The show in Austin also included sets from SYSTM, and Lunch Money. It was nice to get to hear and hang with some of Austin’s improvisers, who also offered excellent post gig taco truck suggestions.

Svt

The venue.

Soundcheck cotfg

Sound check/set-up and the COTFG logo.

Monday we drove from Austin to Houston, and played at the fabulous “They, Who Sound” series at The Avant Garden. Dave Dove organizes the series, and they have a very cool scene happening there. Nice venue, great audience, the real thing. Damon Smith opened the show with a solo bass set, that was excellent.

Just to make sure the tour was grueling enough, we drove back to New Orleans after the concert on Monday night. By the time I dropped every one off and got back to my house, it was about 7am on Tuesday. The tour was fun and the music was good, but it was nice to be back in my own bed.

» SIX YEARS OF DEST: OUT Our Beginner’s Guide to Free Jazz

The wonderful blog destination:Out is celebrating its 6th birthday with a great post. Good reading and great listening. Even for those of us who listen to “free jazz” often, it is a good read. If we all approached our friends and potential audience members with this attitude, the world would be a better place.

» SIX YEARS OF DEST: OUT Our Beginner’s Guide to Free Jazz destination: OUT:

“2. I DON’T KNOW HOW TO LISTEN TO FREE JAZZ.
OR: HOW DO YOU TELL THE GOOD STUFF FROM THE BAD?
Relax and trust your instincts. Most people automatically assume that there’s something in Free Jazz they’re not getting. Like you need conservatory training to appreciate what the musicians are doing. Or that there’s some secret content you’re not privy to. Nonsense: It’s just sound. Sometimes complex and abrasive, sometimes funky and buoyant. There’s no code to be broken.”