Why the majority of people don't like Jazz.

I can understand why average punters do not like jazz. Often the music and performance can be boring.  Jazz in many ways has become academic. You know what I'm talking about - people with great chops and knowledge but no musicality, who just run scales and don't have anything to say. Don't get me wrong, I am not referring to every jazz musician - just some. Here are a few things I think the general music audience don't like about jazz:

1. Walking Bass Lines - some in the audience simply can not hear the harmony when bass players walk so get bored.
2. Ride Cymbal Swing Beat - some in the audience can't feel the beat and lose interest.
3. The Tunes - jazz musicians often play tunes they like rather than what the audience wants to hear. Some tunes called standards are anything but standard.
4. The complexity of the music - Some jazz musicians are more interested in playing clever than music that feels good.
5. Chord Scale Relationship - jazz has been too much about playing scales over chords in my opinion. Jazz education is to blame for this, but thats a different topic beyond the scope of this blog.
6. Poor Presentation - Many jazz musicians put little or no effort into their presentation. I saw a gig recently at a club and the guitar player (who was leading the band) did not say one word to the audience all night. He set up, played, the packed up. What is up with that!
7. Out There Soloists - some soloists are incredibly difficult to follow. Some play all kinds of out lines that do not relate to the melody (which the audience wasn't familiar with in the first place) and wonder why the audience is not digging the gig.

This is just the beginning of what could be a long list ...

For these reasons and more - I hate the term jazz. Many people have had bad experiences of jazz music and I do not want my music to be included in that. The term 'jazz' implies music that my grandfather was listening to - music of a foregone era if you will. One time I even had a students father say that to me 'my son listens to music his grandfather would have loved'. Ha, awesome!

I really believe jazz music can be fresh again. I believe that jazz music at it's best in incredibly exciting, uplifting and relevant. Sadly, the vast majority of people will never hear jazz at it's best and have already made up their mind about what the music is going to be, long before we start. Therefore, it is our responsibility as jazz (for lack of a better term) musicians to win people over and to win the audiences back to the music.

What I think is missing:

1. Fun! Music and jazz was never meant to be super serious. I am not suggesting for one second that people get up and 'take the piss' or don't play well in performances. Rather, I'm saying you have to take care of business, but have fun in doing so, and the audience will like it. They want to see you having fun.

2. Play tunes that people understand and know. The tunes that are now considered jazz standards were once the pop tunes of the day. Some standards have become museum pieces. Play the new stuff - please! However, there is nothing worse that people playing the most recent stuff in a way that is so obscure that no one will recognise the source. This achieves nothing. Some musicians think, I will play this MJ tune, reharmonise it, play it in 7/8 and modulate into a new key for the bridge - then people will love my music and think I am clever. Wrong! Those who like MJ, won't get it, and will hate it. Those who like jazz will think you are doing silly stuff for not playing something they can understand. No one wins.


3. The dance element. Jazz is not an academic sport. It was conceived as dance music. Make the music feel good and you stand a chance - 'it don't mean a thing, if it ain't got that swing'. Right?

I think The Bad Plus has it right in so many ways. What a great concept they have hit upon. I would love to see this happen more often. Oz Noy has a great saying when describing his music - 'It's jazz. It just doesn't sound like it'.

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If you have an opinion about this let me know? I am curious to know what people think of jazz and what can we all do to lift our game as jazz musicians.

The best gigs / concerts I have attended and what I learnt from them.

Matt Penman, Joe Lovano, Matt Wilson, me and John Scofield

As a professional musician I am often asked by punters about concerts I have enjoyed. People assume I get to attend many concerts and gigs; unfortunately I do not - I am often too busy doing my own. This has lead me to do a lot of thinking lately (yes, I know it must have hurt, right) about what it is that makes certain musical performances special and others not so much. The same band from night to night can fire one night and fizzle the next; for any number of reasons. How do we as musicians make it so we fire on all cylinders every time we play?

The best gig I have ever seen was the John Scofield & Joe Lovano Quartet at Skycity Casino in Auckland, New Zealand. I was fortunate to get on this tour as the person who looked after the band and I got to see both the Auckland and Wellington concerts; and I would have seen the Christchurch concert if it had gone ahead, but unfortunately it was cancelled due to lack of ticket sales - come on people, go to the gigs or it is likely the artists won't come back!

For some reason the Auckland concert was on fire. Maybe it was because bassist Matt Penman is originally from Auckland (now residing in New York) and felt a bit of pride about playing with these heavy players in front of a home crowd? Maybe these guys came with the approach to play their hearts out? Maybe the sound was amazing on stage (it was!) and they were responding to a nice acoustic space? It is highly plausible it it was a combination of all the elements and more.

Don't get me wrong, the Wellington concert was good, amazingly in fact, but it lacked the same spark that the Auckland gig had the night prior. Maybe it was me! Maybe by the second night I had made up my mind about the gig, and was not as open minded going into the performance?

I can not help but think the attitude and general willingness of the musicians has a lot to do with why some gigs are great and other not so much. One of the best concerts I have been to was Chucho Valdes and the Afro-Cuban Messengers at the Wellington Jazz Festival. Chucho had a young band who were clearly 'amped' about playing. That energy made this performance special - you could feel it in the air. These guys had decided to smash it out of the park that night and thats exactly what they did.

Two other performances that have stood out for me over the years were the Pat Metheny Trio and the Esbjörn Svensson Trio (EST). Pat is one of my heroes and it was awesome to see and hear him play. I would have traveled a long way to attend this gig. Christian McBride was the bass player and Antonio Sanchez the drummer. Antonio blew my mind. He is the complete drummer - great groove, chops, knowledge, tone etc.

Roger Waters, The Wall. Photo shows an example of the
projected images on the wall. Incredible. 

I think the reason EST stands out for me is that it was totally unexpected. I was given free tickets for their gig as Ben Monder (New York based jazz guitarist) was opening for EST and he was using my Mesa Boogie amp. I heard EST and was completely blown away. They are one of the most original concept groups I have ever heard. Also the sound guy absolutely nailed the gig; incredible.

The best 'show' I have seen is undoubtedly Roger Waters The Wall at Vector Arena, Auckland. The sound was amazing (surround sound), the band 'nailed it' and the visuals can only be described at epic. Stunning concert.

I am convinced what makes a great performance is partly attitude of the performers, partly the acoustics, partly audience participation and open-mindess, the visuals and partly some kind of X factor -  that something just happens. When all these things combine, magic happens and it sure did at these performances I have mentioned. I keep all these points in mind when I am putting together my own shows.

The interesting thing is, in the case of most of these concerts, I wasn't supposed to have gone to the performances, but for a number of reasons things lined up or people made it happen for me. These days try to attend as many gigs and concerts as I can, because one never knows what might end up being a life changing experience.

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Los Angeles: Alive and Vibrant Music Scene or Dead?

Recently I took a trip to Los Angeles to have a look around the music scene, catch up with friends and generally soak up some musical inspiration. I spend two weeks in LA with a few days in San Francisco. I often hear people say there are few gigs in LA these days. While I am not familiar with the LA scene of the past what I experienced was a healthy scene with lots of great music, much of which was free or a reasonable price (usually $20 at the most).

During my time in LA I heard the Oz Noy Trio at Catalina's (feat. James Genus and Dave Weckl for $20!), Bruce Forman's group Cowbop at Viva Cantina and at the Santa Clarita Cowboy Festival, Ben Shepherd's group upstairs at Vitello's, the Pete Myers Big Band at Jazz at the Cap, Katisse at the Baked Potato, the Kenny Burrell Big Band at UCLA, Poncho Sanchez at Spaghettini's and Tech Support at the Blue Whale. In addition to these performances I attended jam nights at The Falls in Downtown LA, the Cafe Cordial Pro Jam Session and the Baked Potato Monday Night Jam.

I was very fortunate as my friend Jon Papenbrook, who I stayed with for the first week, plays in lots of groups and I was invited to come listen to these groups rehearse. The two groups I heard were at the Burbank Music Academy and the Steve Sleagle (spelling?) Big Band rehearsing at the union building. The Burbank group I subbed for the guitar player who was away on tour with Natalie Cole. Both bands played well and were made up of well known players, with the Jon playing lead trumpet on the both bands. On the Burbank band the second trumpet player is in Earth, Wind and Fire and the trombone player played with MJ; so lots of very good players in these bands.

One highlight of this trip in addition to the music / hang was meeting guitarist Lee Ritenour at Vitello's. I have listened to Lee extensively and he is definitely one the big time Los Angeles studio players. He was super nice to me and we chatted about music mostly and New Zealand a little.

Also, a highlight was jamming with my friend Ben Shepherd and his flatmate Eric Valentine at their place. Eric is a well known drummer in LA, and he informed me that he had been to NZ to play with Steve Luthather and Steve Vai on the G3 tour!! It was awesome to play with these great musicians partly because after hearing all this great music I was hanging out to play, but also because I felt these guys played so well together and we would make a great trio if we did some gigs round LA.

I had always wanted to drive the coast from San Francisco to LA via the pacific coast highway so on this trip I decided to make the most of this opportunity. I drove up to San Francisco via the freeways then returned to LA via the pacific coast highway. This coast is some of the most beautiful scenery in the world. I absolutely loved Big Sur. Stunning, to say the least. I hope to go back there soon to have a holiday. It's a long drive (it took me 11 hours but was worth it). It was a little foggy the day the I did this trip but that added to the excitement!

In San Francisco I heard the Tommy Igoe Big Band at Yoshi's (what a terrific venue!), and the Jose Simione Blues Band at the Saloon (not so terrific venue, but cool gig nonetheless) and an unknown band at the Tonga Room. All of which were high quality and only a 6 hours drive from LA to San Francisco (via the freeways). I have to say, San Francisco is a beautiful city. Busy, scenic and exciting.

I couldn't fit in Vegas on this trip but that is even closer to LA than San Francisco is.

All in all, I would say LA is alive and vibrant as a music city. There are some amazing musicians (as good or better than you will hear anywhere). I have many friends in this town who are awesome people. I hope to make it back there soon and I plan to book some gigs.

(many thanks to Bruce Forman and Jon Papenbrook for accommodating me and taking me to gigs)

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