THE SPIRIT OF JAZZ
Article by Sammy Stein
As we transit from May into June 2020, we mark 10 weeks of lockdown in the UK. We also mark the start of the long journey towards the lifting of restrictions. Other countries are in different stages of lockdown. It is hoped we will all see a gradual but safe return to some kind of normal. Once this is over, things may be different; there will be good times again and there will inevitably be some very difficult ones. You may look back one day and find yourself asking, "What did we achieve during lockdown?" There will be occasions when you feel low and it is all too much. When that happens, read this for inspiration, positivity and demonstrations of indomitable spirit shown by jazz people.
Lockdown has had an effect on the music industry. For many - not just musicians but venues, managers, PR agencies and more, their income fell off a cliff in an instant. It was unexpected, unseen and felt like an ambush. In the blink of an eye, where there had been a steady stream of gigs, festivals, tours and recording events, the diary pages turned blank. Not for just a week or a month even but for how long, who knew? How did musicians and venues plan ahead? How did they stay in touch with the people who would be their lifelines in the future?
Jazz music is a source of income for many people but more than that, it provides purpose, fulfils creative needs and unites people. Never was the need to re-think music so important. Jazz musicians, just like those from other genres , had to come up with inventive ideas, new directions and instigate ways of doing things to prevent a long hiatus - too long for many to survive in the business without some rapid re-thinking. Venues too had to re-imagine ways of staying afloat and keeping people engaged to keep a chance of re-opening once the lockdown was over.
Some venues were awarded grants ; some musicians found ways of tapping into government help financially, but this did not resolve their need to be making music, progressing in their art and connecting with people. The uncertainly about the length of time the lockdown might take and for how long distancing measures would to be in place made the future an unknown landscape with no clear path. What was the answer? What would that landscape even look like? How to get through this and would things ever be the same?
Initially there was despair, a sense of shock but, as realisation dawned that there were options jazz musicians came up with ideas. These spawned a wealth of projects, on line events, even new releases. It seemed nothing - not even a lockdown - could destroy the creativity which beats at the heart of jazz. Of course, nothing could recreate the atmosphere of live performances and the interactions between musicians and audiences. There is nothing quite as satisfying for venues as having a club full of people enjoying themselves, buying food and drink and being part of something bigger.
So, given the incentives of drive, the need to earn, passion, necessity and imagination as well as the on-line tools and innovations which have until now been used to keep in touch, jazz people got creative. Technology proved key - and this was a learning curve to be negotiated for many. The technology was not always easy nor connections reliable but all in all, 10 weeks of lockdown resulted in a coming together of ideas.
From on-line lessons to podcasts created in makeshift studios under duvets; from talks on how music can lift the mood, to recordings done in home studios and on line concerts - some with 20 or 30 musicians taking part- or single solo gigs, the ingenuity of some of the musicians and venue people was jaw dropping. Some had to learn new technical skills; how to put multi - tracks together, how to use internet conference facilities , how to deal with that infamous single beat gap between the note being played and heard, which can make multi instrumental recordings online so difficult. Some had to face marketing themselves for the first time because venues had no concerts to promote, PR companies were not promoting on-line events so it was down to the musicians and they were in a different media than before. Some fared better than others with the technology but there was also an outpouring of generosity of musicians as they advised and helped each other navigate the on-line setting. Social media proved a source of information, support and connections being made. Advice was swapped on the best recorders, speakers, mics and programmes.
Events have taken place all over the world , from New Orleans to Canada, Mozambique to Doha. Some musicians have teamed up on line when they might never have worked together otherwise and the results have - mostly - been amazing. I have seen call-outs from musicians with an idea, and the responses of others to this . Some ideas have worked whilst others have proved difficult due to different ways of working things out or technical problems. Even a failed project resulted in one musician telling me she enjoyed the process and was looking forward to working with the same people once face to face meetings were possible again.
In the Lockdown Lowdown articles Jazz Views looked at some of the ideas which were coming together and now this is to be something to remind us at a later date, when perhaps things are not going so good, that we did this. We encouraged, supported, worked together and made creative projects out of the dreadful situation we found ourselves in.
Of course, it goes without saying too that many people in jazz were touched by the virus directly. I know musicians who lost people close to them, others who have been unable to travel to offer help and support their families. Some have been ill themselves and we lost a good number of jazz musicians to this virus, which is indiscriminate and insidious.
For music lovers the collaborations meant they could see musicians from all over the world without the need to travel. They could see new collaborations and many people watched musicians perform who they would not have had the chance to before.
Without the lockdowns, isolations, the losses, the social distancing and lack of contact, things would have continued as before and that was good. Jazz was getting to a good place so the sudden changes caused some to despair because this growth in jazz seemed endangered. Yet several found different ways to continue to be creative and I know of several collaborations which will continue after we get back to some kind of normal.
As I write, progress is being made in controlling Covid-19 but there will not be a return to live performances as we knew them before this microscopic virus made social distancing paramount, for some time. But we can get an understanding of just how wonderfully inventive jazz people are. The Spirit of Jazz is a strong thing and it moves people to go to extraordinary lengths.
With all live events, there is that tricky thing where musicians need to make money so the question is, do they ask for it or do they provide concerts for free , hoping that once things go back to some kind of normal, they will have engaged new fans who might come to gigs and pay? Most have found a solution is to suggest viewers can watch for free but they are invited to 'tip the band' with payment methods displayed in the gig information. This has worked for many and viewers ( aka the audience) understand that musicians need to earn a living and they are getting great music for a fraction of the costs of attending a gig. One pianist told me he got more for an online 'gig' than he did for a live booking at one of his venues and he did not have transport or food costs either - and he was home by 10.00pm.
Some bands are even putting on gigs in on line 'meetings' where you purchase a ticket, just like for a normal gig. You then are given a code to access the concert via an on-line meeting platform . You even get to have a drink with others during the interval - virtually of course - and chat with the performers. A few people I know are even dressing for the occasion and switching off their phones for the gig - just like usual - to replicate the scenario of a great night out. And of course, they are willing to pay.
As we transit from May into June 2020, we mark 10 weeks of lockdown in the UK. We also mark the start of the long journey towards the lifting of restrictions. Other countries are in different stages of lockdown. It is hoped we will all see a gradual but safe return to some kind of normal. Once this is over, things may be different; there will be good times again and there will inevitably be some very difficult ones. You may look back one day and find yourself asking, "What did we achieve during lockdown?" There will be occasions when you feel low and it is all too much. When that happens, read this for inspiration, positivity and demonstrations of indomitable spirit shown by jazz people.
Lockdown has had an effect on the music industry. For many - not just musicians but venues, managers, PR agencies and more, their income fell off a cliff in an instant. It was unexpected, unseen and felt like an ambush. In the blink of an eye, where there had been a steady stream of gigs, festivals, tours and recording events, the diary pages turned blank. Not for just a week or a month even but for how long, who knew? How did musicians and venues plan ahead? How did they stay in touch with the people who would be their lifelines in the future?
Jazz music is a source of income for many people but more than that, it provides purpose, fulfils creative needs and unites people. Never was the need to re-think music so important. Jazz musicians, just like those from other genres , had to come up with inventive ideas, new directions and instigate ways of doing things to prevent a long hiatus - too long for many to survive in the business without some rapid re-thinking. Venues too had to re-imagine ways of staying afloat and keeping people engaged to keep a chance of re-opening once the lockdown was over.
Some venues were awarded grants ; some musicians found ways of tapping into government help financially, but this did not resolve their need to be making music, progressing in their art and connecting with people. The uncertainly about the length of time the lockdown might take and for how long distancing measures would to be in place made the future an unknown landscape with no clear path. What was the answer? What would that landscape even look like? How to get through this and would things ever be the same?
Initially there was despair, a sense of shock but, as realisation dawned that there were options jazz musicians came up with ideas. These spawned a wealth of projects, on line events, even new releases. It seemed nothing - not even a lockdown - could destroy the creativity which beats at the heart of jazz. Of course, nothing could recreate the atmosphere of live performances and the interactions between musicians and audiences. There is nothing quite as satisfying for venues as having a club full of people enjoying themselves, buying food and drink and being part of something bigger.
So, given the incentives of drive, the need to earn, passion, necessity and imagination as well as the on-line tools and innovations which have until now been used to keep in touch, jazz people got creative. Technology proved key - and this was a learning curve to be negotiated for many. The technology was not always easy nor connections reliable but all in all, 10 weeks of lockdown resulted in a coming together of ideas.
From on-line lessons to podcasts created in makeshift studios under duvets; from talks on how music can lift the mood, to recordings done in home studios and on line concerts - some with 20 or 30 musicians taking part- or single solo gigs, the ingenuity of some of the musicians and venue people was jaw dropping. Some had to learn new technical skills; how to put multi - tracks together, how to use internet conference facilities , how to deal with that infamous single beat gap between the note being played and heard, which can make multi instrumental recordings online so difficult. Some had to face marketing themselves for the first time because venues had no concerts to promote, PR companies were not promoting on-line events so it was down to the musicians and they were in a different media than before. Some fared better than others with the technology but there was also an outpouring of generosity of musicians as they advised and helped each other navigate the on-line setting. Social media proved a source of information, support and connections being made. Advice was swapped on the best recorders, speakers, mics and programmes.
Events have taken place all over the world , from New Orleans to Canada, Mozambique to Doha. Some musicians have teamed up on line when they might never have worked together otherwise and the results have - mostly - been amazing. I have seen call-outs from musicians with an idea, and the responses of others to this . Some ideas have worked whilst others have proved difficult due to different ways of working things out or technical problems. Even a failed project resulted in one musician telling me she enjoyed the process and was looking forward to working with the same people once face to face meetings were possible again.
In the Lockdown Lowdown articles Jazz Views looked at some of the ideas which were coming together and now this is to be something to remind us at a later date, when perhaps things are not going so good, that we did this. We encouraged, supported, worked together and made creative projects out of the dreadful situation we found ourselves in.
Of course, it goes without saying too that many people in jazz were touched by the virus directly. I know musicians who lost people close to them, others who have been unable to travel to offer help and support their families. Some have been ill themselves and we lost a good number of jazz musicians to this virus, which is indiscriminate and insidious.
For music lovers the collaborations meant they could see musicians from all over the world without the need to travel. They could see new collaborations and many people watched musicians perform who they would not have had the chance to before.
Without the lockdowns, isolations, the losses, the social distancing and lack of contact, things would have continued as before and that was good. Jazz was getting to a good place so the sudden changes caused some to despair because this growth in jazz seemed endangered. Yet several found different ways to continue to be creative and I know of several collaborations which will continue after we get back to some kind of normal.
As I write, progress is being made in controlling Covid-19 but there will not be a return to live performances as we knew them before this microscopic virus made social distancing paramount, for some time. But we can get an understanding of just how wonderfully inventive jazz people are. The Spirit of Jazz is a strong thing and it moves people to go to extraordinary lengths.
With all live events, there is that tricky thing where musicians need to make money so the question is, do they ask for it or do they provide concerts for free , hoping that once things go back to some kind of normal, they will have engaged new fans who might come to gigs and pay? Most have found a solution is to suggest viewers can watch for free but they are invited to 'tip the band' with payment methods displayed in the gig information. This has worked for many and viewers ( aka the audience) understand that musicians need to earn a living and they are getting great music for a fraction of the costs of attending a gig. One pianist told me he got more for an online 'gig' than he did for a live booking at one of his venues and he did not have transport or food costs either - and he was home by 10.00pm.
Some bands are even putting on gigs in on line 'meetings' where you purchase a ticket, just like for a normal gig. You then are given a code to access the concert via an on-line meeting platform . You even get to have a drink with others during the interval - virtually of course - and chat with the performers. A few people I know are even dressing for the occasion and switching off their phones for the gig - just like usual - to replicate the scenario of a great night out. And of course, they are willing to pay.
That podcast mentioned earlier is, 'What Goes Around', the new series of podcasts produced by the wonderful Anne Frankenstein of Jazz FM and Eamon Murtagh. Eamon explained to me, " 'What Goes Around' is a weekly podcast more about music lovers than music makers. It takes a fresh and entertaining look at the world of music from a fan's point of view. We want to move away from nerdy facts and geeky idol worship to talk more generally about how the music has touched your life, made you laugh, made you cry, changed your world."
On how the shows are made without going to the studio, Eamon explained, " The shows are recorded online from each other's houses using Skype or Cleanfeed to chat to guests. Sadly Anne and I haven't been in the same room for 2 months! It's been pretty good results-wise but I have to record under a duvet fort which is incredibly hot - but I figure you have to suffer for your pod." (I have seen pictures of the 'Podcast Fort' - an impressive creation of pillows, sheets attached to desks and a duvet). The pair discuss topics including beef, music that makes people angry, jazz and the end of 'nice', and world events. Each show is accompanied by a playlist which has relevance to the topics discussed. Past guests include nature writer Melissa Harrison and writer, actor and director Tim Plester.
On how the shows are made without going to the studio, Eamon explained, " The shows are recorded online from each other's houses using Skype or Cleanfeed to chat to guests. Sadly Anne and I haven't been in the same room for 2 months! It's been pretty good results-wise but I have to record under a duvet fort which is incredibly hot - but I figure you have to suffer for your pod." (I have seen pictures of the 'Podcast Fort' - an impressive creation of pillows, sheets attached to desks and a duvet). The pair discuss topics including beef, music that makes people angry, jazz and the end of 'nice', and world events. Each show is accompanied by a playlist which has relevance to the topics discussed. Past guests include nature writer Melissa Harrison and writer, actor and director Tim Plester.
Kim Cypher and her husband Mike put on regular, almost daily events playing music and combining this with chats with people who are watching. The only gap was when Kim herself became ill. Events like this provide a platform for the performers but they also provide much needed contact and a positive thing for people who are missing talking to others. Kim also released ' Water From An Ancient Well', a track she recorded with South African pianist and composer Abdullah Ibrahim ( it is fabulous). She also introduced us to the 'Potato People' - baking potatoes decorated with lippy, make-up, jewellery and a hint of dress sense. Comedian Matt Lucas - he of Mr Baked Potato and the 'Thank you Baked Potato' song, spotted these interlopers and fully engaged with them, tweeting his approval and joking with Kim.
The 8th of May saw BV.E Day in the UK - a day when planned street parties had to be far less fancy affairs, muted by social distancing but in Ilkley, North England singer Beverley Beirne gave a performance from her balcony , to lift the local spirits. It drew media attention from the local and national papers and proved a major event for locals who sent flowers and cards to thank her afterwards.
In Somerset, UK, Marvin Mouneke began presenting jazz and swing music twice a week ( Fridays and Saturdays 7pm) . Viewers are invited to donate in return for first rate music and these are popular weekend dates.
In Somerset, UK, Marvin Mouneke began presenting jazz and swing music twice a week ( Fridays and Saturdays 7pm) . Viewers are invited to donate in return for first rate music and these are popular weekend dates.
Just before lockdown a concert at The Vortex in London saw a meeting between reedsman and record label executive Paul Jolly and music art duo Sothiac. With Paul as guest on bass clarinet they decided on a project together. Something like lockdown wasn't going to get in their way and the first I knew of it was when Paul contacted me saying, "I am going to send you over a project I have been working on during lockdown." As we had been talking about trees in his garden, I expected a picture of a flower bed or horticultural project but no, what I got was a beautiful 2 track CD release .
Paul explained to me, "Pat and Lucky ( Sothiac) asked me if I would like to record with them and at first I thought we would wait until we could get into a studio but it became apparent that we could create the music from home. Sothiac prepared some recordings at home and sent them to me as files and I freely improvised over them and used my (rather basic) recording equipment to capture the sound. Pat and Lucky then mixed and the material was sent to Todd in the States for a bit of magic dust (Todd is Todd Tobias, renowned multi instrumentalist, mixer and producer). For me, it was a real learning curve and I am particularly happy with how well the tracks have been received." (I can vouch for the quality of this recording as I had the pleasure of reviewing it for the Free Jazz Collective). Paul continued, " I am really looking forward to working with Sothiac again in a live setting - especially if we can perhaps work alongside projected film and perhaps even a dancer." So collaborations which came about during lockdown also sparked ideas for continuation after it too.
Paul explained to me, "Pat and Lucky ( Sothiac) asked me if I would like to record with them and at first I thought we would wait until we could get into a studio but it became apparent that we could create the music from home. Sothiac prepared some recordings at home and sent them to me as files and I freely improvised over them and used my (rather basic) recording equipment to capture the sound. Pat and Lucky then mixed and the material was sent to Todd in the States for a bit of magic dust (Todd is Todd Tobias, renowned multi instrumentalist, mixer and producer). For me, it was a real learning curve and I am particularly happy with how well the tracks have been received." (I can vouch for the quality of this recording as I had the pleasure of reviewing it for the Free Jazz Collective). Paul continued, " I am really looking forward to working with Sothiac again in a live setting - especially if we can perhaps work alongside projected film and perhaps even a dancer." So collaborations which came about during lockdown also sparked ideas for continuation after it too.
In New York, multi instrumentalist Daniel Bennett has provided his students with constant encouraging tweets, emails and video lessons. He has also written articles, been incorrigible with his positivity and provided instructional videos in techniques and practice. His daily short 'One Minute Tip' minute lessons have proved a popular incentive to people picking up a saxophone or clarinet for the first time or re-engaging with their instruments as well as people wanting to hone their skills. As well as all that, Daniel has encouraged and supported other musicians, writers and curators of live events to keep going, continue to produce material and get people engaged. He worked on a piece with me and we got it published. Of course, being Daniel there are also videos of him playing kid's tunes on his New York rooftop, responding to requests from neighbours, imitating his son's dishevelled hair and general commentary on what is happening but this has proved an engaging formula with many comments and great feedback.
In New Orleans we have Lady Nola - Carmela Rappazzo holding live performances in her house. She and husband Mark Carroll - also a well known jazz musician - record gigs in their home. They are usually to be found in places like Chicki Wah Wah's or New Orlean's Jazz Museum but these home gigs allow viewers to watch without having to travel and for free if they cannot afford to pay. Special guests join the gigs - all socially distanced of course - the rule there is 6 feet . Guests have included pianist/ composer Oscar Rossignoli, and bassist/ composer Amina Scott. Carmela has also taken part in socially distanced gigs at The Column Hotel with musicians including singer/story teller Paul Sanchez , guitarist/composer John Rankin and guitarist Jenna Guidry. You can view the gigs for free but there are also opportunities to 'tip the band' via different payment methods and these are advertised along with the gig information. Being an inventive musician, Carmela has also taken the opportunity provided on social sites to advertise events to support her community such as free food for New Orleans musicians and artisans provided by the Marsalis Center in the city (Ellis, the Marsalis elder, died of C-19 related pneumonia on April 1st).
In New Orleans and other places, arranging events and getting people performing whilst maintaining social distancing is a feat in itself but musicians are utilising spaces and making arrangements to keep the music going and support each other.
In New Orleans we have Lady Nola - Carmela Rappazzo holding live performances in her house. She and husband Mark Carroll - also a well known jazz musician - record gigs in their home. They are usually to be found in places like Chicki Wah Wah's or New Orlean's Jazz Museum but these home gigs allow viewers to watch without having to travel and for free if they cannot afford to pay. Special guests join the gigs - all socially distanced of course - the rule there is 6 feet . Guests have included pianist/ composer Oscar Rossignoli, and bassist/ composer Amina Scott. Carmela has also taken part in socially distanced gigs at The Column Hotel with musicians including singer/story teller Paul Sanchez , guitarist/composer John Rankin and guitarist Jenna Guidry. You can view the gigs for free but there are also opportunities to 'tip the band' via different payment methods and these are advertised along with the gig information. Being an inventive musician, Carmela has also taken the opportunity provided on social sites to advertise events to support her community such as free food for New Orleans musicians and artisans provided by the Marsalis Center in the city (Ellis, the Marsalis elder, died of C-19 related pneumonia on April 1st).
In New Orleans and other places, arranging events and getting people performing whilst maintaining social distancing is a feat in itself but musicians are utilising spaces and making arrangements to keep the music going and support each other.
Some musicians have kept their creative flow going by establishing a challenge for themselves. Neil C. Young created the 'Cactus Sessions' where he played arrangements of requests from viewers who send them to him through Twitter or email. These have proved popular and have sparked ideas which will continue after lockdown. Neil shows pictures of the list of requests received and those he has done so people can go and check out past gigs if they want.
New York based bass player Mark Wade even released a 6 part 'Blues In Isolation' composition, recording himself playing 6 different parts on upright double bass - a treat for Mark's growing army of fans. This was not without its challenges however. Mark told me that in order to create the video and recording, he had to learn how to work the equipment and overlap recordings and navigate using a video recorder well. One viewer messaged, 'is your jumper red or blue Mark?' (it was the same jumper but the colour took on interesting tones). Navigating the tech was probably the most difficult part for Mark, as the music making came easier. The result was a very popular blues recording - albeit with those 'interesting' visuals.
New York based bass player Mark Wade even released a 6 part 'Blues In Isolation' composition, recording himself playing 6 different parts on upright double bass - a treat for Mark's growing army of fans. This was not without its challenges however. Mark told me that in order to create the video and recording, he had to learn how to work the equipment and overlap recordings and navigate using a video recorder well. One viewer messaged, 'is your jumper red or blue Mark?' (it was the same jumper but the colour took on interesting tones). Navigating the tech was probably the most difficult part for Mark, as the music making came easier. The result was a very popular blues recording - albeit with those 'interesting' visuals.
Some people have been especially busy - they include 1201 alarm leader Steve Thompson who gave me a brief rundown of the past 10 weeks. He gave me this list- just the music things mind you.
- Music and Sound design for 'The User's Guide To Now' - a podcast about being in lockdown, including interviews with astronauts, Polar explorers and more. Steve did the music, sound design and mix.Theme for the Greenwich Royal Museums 'Ships, Sea and Stars' podcast.
- Trombone on a largely improvised piece called 'Fluorescence' for Sea Shambles/Royal Albert Hall 'Sea Shambles' gig last Sunday
- aser harp on the BBC Lockdown Orchestra on 'You Got The Love'. It's as cheesey as hell, but in its own way, quite moving. Classical Trombone and Sackbut album 'Lore'. Visually the most interesting piece is 'I Was Like Wow', an avant garde piece about the Iraq War. The video link below isn't Steve's version but intrinsic to the track.
- Theese are just the musical projects. Steve has also been involved in writing a theatrical version of Beowulf, under the expert guidance of playwright Emma Whipday and building his full size working R2D2 ( the Star Wars robot).
- Theese are just the musical projects. Steve has also been involved in writing a theatrical version of Beowulf, under the expert guidance of playwright Emma Whipday and building his full size working R2D2 ( the Star Wars robot).
Equally busy is saxophones and flute player Mats Gustafsson who has found remaining at home both a joy because he spends more time with family but also frustrating because he is a musician, needs to perform and play. There is a sense of pent up energy which Mats needs to direct some place positive. He has proved a whirlwind of activity and ideas. He told me, " Yeah, a lot of activities this time, outside of great family time. I am re-organising my trade lists and soon will be able to offer great records for trade and sale." (Mats is a self-confessed discaholic - to the extent that a house move involved a separate operation for his huge vinyl collection. When you get to know him a bit one of the things he asks is for your list of vinyls. He has his own trading site and it is this he has given a much needed overhaul) . He carries on, "I have a lot of duplicates (because he buys new ones everywhere) and now they will be available for other people."
Mats has also been, he says, "re-organising the discaholic archive, writing the complete Bird notes and discography, writing texts on free jazz records and collecting them together with Thurston Moore and Byron Coley on a huge new book project." ( Bryon Coley is a music critic and Thurston Moore an American guitarist.) Mats continues, " I have also been practicing like a maniac, finding new techniques and sounds that are quite surprising, streaming concerts with a new vibe, a new feel. It is a good thing when there is nothing else but IRL rocks! ( IRL = In real Life). For sure we need to use this time, there is loads to do , new music to find, new records to find - even at home when I finally have time to put everything in order."
As well as all this, Mats and I engaged for a few days in a discussion about reviews which, to cut a long story short, ended up with me writing a piece and him putting it up on his website and then the same piece being published on the Swedish jazz site Salt Peanuts.
Mats has also been, he says, "re-organising the discaholic archive, writing the complete Bird notes and discography, writing texts on free jazz records and collecting them together with Thurston Moore and Byron Coley on a huge new book project." ( Bryon Coley is a music critic and Thurston Moore an American guitarist.) Mats continues, " I have also been practicing like a maniac, finding new techniques and sounds that are quite surprising, streaming concerts with a new vibe, a new feel. It is a good thing when there is nothing else but IRL rocks! ( IRL = In real Life). For sure we need to use this time, there is loads to do , new music to find, new records to find - even at home when I finally have time to put everything in order."
As well as all this, Mats and I engaged for a few days in a discussion about reviews which, to cut a long story short, ended up with me writing a piece and him putting it up on his website and then the same piece being published on the Swedish jazz site Salt Peanuts.
Saxophone player Gilad Atzmon has not been simply enjoying the scenery of his surroundings either. Recently moved to Europe, he still found time to share both his music and introduced on-line lessons, mini-lessons introducing techniques, longer sessions where he concentrated on particular techniques and some where he unravelled topics like pentatonic, blues, and his take on Middle Eastern sound ( which is interesting in itself). In addition Gilad has provided one or two stellar performances just for the sake of connecting with listeners.
Saxophonist Ray Gelato has been producing more of his insanely engaging podcasts proving himself a natural-born storyteller and on Monday, Wednesday and Fridays, Ray sits down with around 250 people for his 'Ray Mornings' for coffee and chat. He has also written 3 songs including, ' We'll Be Back To See You' which he and the band have just recorded virtually and they will release a video. Ray is also collaborating with several musicians on sax jazz projects and a female vocalist from Bulgaria on a vocal duet project. Oh, and there is also a Bandcamp album of sax ballad recordings called 'Twilight in Soho' which Ray compiled.
Italian super pianist Marco Marconi has been keeping audiences entertained and a little money coming in with his Lockdown Sessions which are streamed live every Saturday at 8pm UK time. Marco covers his own compositions as well as pieces by composers like Irving Berlin and Gershwin. He has also teamed up with other musicians from their homes including his trumpet player brother, Francesco Marconi.
Saxophonist Ray Gelato has been producing more of his insanely engaging podcasts proving himself a natural-born storyteller and on Monday, Wednesday and Fridays, Ray sits down with around 250 people for his 'Ray Mornings' for coffee and chat. He has also written 3 songs including, ' We'll Be Back To See You' which he and the band have just recorded virtually and they will release a video. Ray is also collaborating with several musicians on sax jazz projects and a female vocalist from Bulgaria on a vocal duet project. Oh, and there is also a Bandcamp album of sax ballad recordings called 'Twilight in Soho' which Ray compiled.
Italian super pianist Marco Marconi has been keeping audiences entertained and a little money coming in with his Lockdown Sessions which are streamed live every Saturday at 8pm UK time. Marco covers his own compositions as well as pieces by composers like Irving Berlin and Gershwin. He has also teamed up with other musicians from their homes including his trumpet player brother, Francesco Marconi.
Venues, with one eye on keeping customers interested and the other on ticking over financially, have been holding auctions and on line events both of past gigs and special recordings. They have also proved incredibly supportive for musicians, offering technical support for recordings, on line help with putting videos up and advice. They have proved key too in providing outlets for musicians' work including new releases. Many venues proved themselves to be valuable community assets.
A cynical eye might say this is with a view to keeping people engaged and wanting to come when their doors once again re-open to paying customers but hey, why not? We need venues for musicians to be able to play and if the venues put their name to supporting musicians in the meantime, they deserve the support they are banking on in the future. There have also been ways to donate to the venues themselves through just giving sites and online banking. I myself made a few small donations because I was enjoying some great music and had I been going to the gigs I watched it would have cost me a lot more than my small donations. I want the venues to be there when we return to something akin to normality and many others clearly agree.
A cynical eye might say this is with a view to keeping people engaged and wanting to come when their doors once again re-open to paying customers but hey, why not? We need venues for musicians to be able to play and if the venues put their name to supporting musicians in the meantime, they deserve the support they are banking on in the future. There have also been ways to donate to the venues themselves through just giving sites and online banking. I myself made a few small donations because I was enjoying some great music and had I been going to the gigs I watched it would have cost me a lot more than my small donations. I want the venues to be there when we return to something akin to normality and many others clearly agree.
Kathianne of the Vortex told me, " While lockdown stifles so much of social and cultural life it's been great for creative projects and getting folks to think outside of the box! Yet, it's not just the live music or the musicians but the network of volunteers we had built up over the years whose commitment and dedication kept the club functioning. We struggled but were simultaneously blessed." As one of the Vortex's fairly regular audience members I am glad there has been such support for this special place during the lockdown. The Vortex have been communicating regularly with people through on-line events and social media and they have also invited people to curate and explain playlists. These have proved interesting and peoples' taste are often quite a revelation. They have put on a few on-line discussions in Zoom meetings, which people can join. Topics have so far included 'women in jazz, and the effect on gigs and live events post Covid-19.
An example of a gig at the Vortex during lockdown is: "This Thursday 21st May from 7PM BST, we are thrilled to broadcast a live stream performance from the home of Tom Ollendorff (guitar), Andrew Lisle (drums), Tom Riviere (bass), and Will Barry (piano). Lucky for us, these musicians are all housemates based in London, and they'll be performing a mix of original compositions and improvised music. So tune in, grab a drink and join the Vortex community for an amazing evening of music!"
Just around the corner and over the road from the Vortex is another special club and this is Cafe Oto. A cafe by day and jazz club by night, they also have projects and places set up for performing arts in the community - like their cold, airy barn close to the venue where I once interviewed the People Band for BBC3 virtually clad in ice and later, in summer thankfully, saw drummer Terry Day's art exhibition. They too have been keeping news coming out to their patrons in the form of on line events, discussions, auctions and releasing albums on their TakuRoku label - a new digital imprint of works created in response to the current lockdown. The releases give 50 percent to the artists and 50 percent to Oto. A great idea and a win-win for the venue and artists during these incredibly challenging times. Releases so far include Steve Gunn's 'Spring In Brooklyn', Ashley Paul's 'Window Flower', Harrga's 'Femmes D'Interieur' and Malvern Brume's 'Gaps In The Persistent Hiss'. Many of the recordings have lock down themes. There are more to come. Oto also host a range of live events on social media and kick started the lock down season with an online auction.
An example of a gig at the Vortex during lockdown is: "This Thursday 21st May from 7PM BST, we are thrilled to broadcast a live stream performance from the home of Tom Ollendorff (guitar), Andrew Lisle (drums), Tom Riviere (bass), and Will Barry (piano). Lucky for us, these musicians are all housemates based in London, and they'll be performing a mix of original compositions and improvised music. So tune in, grab a drink and join the Vortex community for an amazing evening of music!"
Just around the corner and over the road from the Vortex is another special club and this is Cafe Oto. A cafe by day and jazz club by night, they also have projects and places set up for performing arts in the community - like their cold, airy barn close to the venue where I once interviewed the People Band for BBC3 virtually clad in ice and later, in summer thankfully, saw drummer Terry Day's art exhibition. They too have been keeping news coming out to their patrons in the form of on line events, discussions, auctions and releasing albums on their TakuRoku label - a new digital imprint of works created in response to the current lockdown. The releases give 50 percent to the artists and 50 percent to Oto. A great idea and a win-win for the venue and artists during these incredibly challenging times. Releases so far include Steve Gunn's 'Spring In Brooklyn', Ashley Paul's 'Window Flower', Harrga's 'Femmes D'Interieur' and Malvern Brume's 'Gaps In The Persistent Hiss'. Many of the recordings have lock down themes. There are more to come. Oto also host a range of live events on social media and kick started the lock down season with an online auction.
Other venues are also thinking outside the box. 606 Club have an online portal which, for an annual small fee, you join and then have access to paid online gigs - all the profits go direct to the musicians meaning they are supported too. Someone said to me recently that we will all remember how places acted during lockdown and how they supported not just themselves but others and venues are proving their worth in this.
Wendy Kirkland and husband Pat Sprakes have kept their now famous 'Latin Lockdown' sessions going with live feeds on Facebook - coming up to number 54 as I write. These are minutes long but high impact performances of popular and band-composed numbers. Recently, the edges might be fraying because the pair have been joined by a chimp called MO. Where he comes from is unclear but he has been seen reading music, wearing shades, playing the keyboards and even started introducing some of the sessions at around number 50. One or two of the sessions went up on YouTube. Donations can be made to support the musicians and each performance is seen by 2000 plus viewers.
Wendy Kirkland and husband Pat Sprakes have kept their now famous 'Latin Lockdown' sessions going with live feeds on Facebook - coming up to number 54 as I write. These are minutes long but high impact performances of popular and band-composed numbers. Recently, the edges might be fraying because the pair have been joined by a chimp called MO. Where he comes from is unclear but he has been seen reading music, wearing shades, playing the keyboards and even started introducing some of the sessions at around number 50. One or two of the sessions went up on YouTube. Donations can be made to support the musicians and each performance is seen by 2000 plus viewers.
And, familiar to many visitors to London venues and beyond as both a solo performer and part of ensembles, including the ridiculously talented group Dinosaur, Elliot Galvin has been busy with experimental music on piano and keyboard. Many musicians have been keeping in touch by small but exceptional musical contributions like this and experimentation is always welcome from musicians like Elliot Galvin (though I suggested on one piece where he worked with music form a brass band that it was lovely when he stopped. Luckily he laughed and agreed).
Many jazz musicians who teach have switched lessons to on-line- with, it has to be said, varying degrees of success. One musician told me that all she saw of her tutor during her lesson was the end of his clarinet and she couldn't hear anything apart from strange buzzing noises - for which she had pre-paid £30 for 30 minutes. Another told me her teacher spent a lot of the lesson up close to the screen searching for various buttons and controls for volume. In the end he simply shouted at the screen whenever he needed to give instructions because he had no idea where the volume control was. It is a learning curve. One musician explained to me that he realised after giving 2 online lessons - something completely new to him- he had no idea how to set up payment and also had spent most of the second lesson displaying an enormous booger. Simple things like backgrounds, space and tidiness can become issues if you are not used to on-line working.
Many jazz musicians who teach have switched lessons to on-line- with, it has to be said, varying degrees of success. One musician told me that all she saw of her tutor during her lesson was the end of his clarinet and she couldn't hear anything apart from strange buzzing noises - for which she had pre-paid £30 for 30 minutes. Another told me her teacher spent a lot of the lesson up close to the screen searching for various buttons and controls for volume. In the end he simply shouted at the screen whenever he needed to give instructions because he had no idea where the volume control was. It is a learning curve. One musician explained to me that he realised after giving 2 online lessons - something completely new to him- he had no idea how to set up payment and also had spent most of the second lesson displaying an enormous booger. Simple things like backgrounds, space and tidiness can become issues if you are not used to on-line working.
In the wider field there are initiatives supporting jazz musicians like the Jazz Coalition formed by jazz industry veterans Brice Rosenbloom (NYC Winter Jazzfest),Gail Boyd (Gail Boyd Artist Management) and Danny Melnick (Absolutely Live Productions) where people can donate minimum USD100 which is used to give grants of around USD 1000 to composers who write for ensembles or other work . Over 100 luminaries are already on board and they are encouraged to give as much as they are able. Members are asked to encourage others to support and awards are granted to composers to support their work. It is hoped 50 grants will be awarded initially with more to come. In addition there will also be a pubic fundraising arm of the initiative. Members are the people who vote for recipients so immediately have an impact on the future of jazz composers.
In Holland and Belgium where restrictions have gone into the second phase you can now hire a socially distanced jazz band to come and play outside your home, your garage or your garden so those celebratory events need not be without your beloved jazz . There are on-line groups for particular instruments where musicians swap techniques and ideas. Of course, there are also many places to read about jazz, write letters to editors; you can comment, leave a review or join a discussion.
New releases, recorded before lockdown , polished during it and produced in the last few weeks, are coming out on a regular basis and some of the new collaborations have produced Bandcamp and digital releases too. It is just a question of thinking what and how. Of course, podcasts and interviews continue as before and radio shows keep us engaged with many genres of jazz - including free jazz which now has its rightful place as a big part of Jazzbites radio where they will feature over 50 percent free jazz on their channel 2. All these ideas and changes came about during lockdown and have been organised in this strange period. as a writer, I have been busy too, covering some lockdown events but also finding, at last, time to do research projects, including one for the Library of Congress in the US - a huge honour , researching about a particular recording by Emma Barrett ( Sweet Emma Barrett) which was inaugurated into the library and recorded in 1964. Because the route to knowledge was convoluted and involved labels, doctors , sleeve note writers and the Preservation Hall in New Orleans, l needed time to do it - and now I had this. Of course, I have enjoyed reviewing some of the music which came out too and writing radio show scripts. Editors too have been busy as the number of great reviews on sites like Jazz Views, Something Else and Free Jazz Collective will attest.
We can never celebrate lockdown - it was unnatural, horrible and strange. However, we can celebrate the good things which came out of it. Just a very few are mentioned here and this is just the very tip of an iceberg of jazz inventions which came about from lockdown. How will this make us feel when this is over? Who knows but I think the inventiveness and tenacity of people in the jazz world has proved beyond doubt that this music has people engaged, involved and so ready for real life. The answer to how we get through this is proving to be 'we are not sure but we will' and as to whether things will ever be the same only time will tell. Some things will change but many things will surely be even better than they were before.
Maybe the answer to ,"what did we do during lockdown?" is probably more than we ever thought possible.
LINKS:
Neil C Young's Cactus sessions https://www.youtube.com/playlist?list=PLtEy2iF45ptgp5WcXA_8UeZU9UNHrfpOF
Review of Superluna https://www.freejazzblog.org/2020/05/sothiac-feat-paul-jolly-superluna.html
Mat's discaholic project/online store: http://matsgus.com/discaholic_corner/?category_name=trades
Steve Thompson's projects:
https://www.rmg.co.uk/discover/museum-from-home-live
https://www.listennotes.com/podcasts/users-guide-to-now-pillowfort-productions-h0B5L9wUV4p/
https://www.youtube.com/watch?v=qa2F0h_T1Fo
https://www.youtube.com/watch?v=qXnLOFSQovs
https://www.youtube.com/watch?v=Qs3HAAjTDp8
Article on reviews:
http://matsgus.com/archives/3540
Cafe Oto: www.cafeoto.co.uk/takuroku
Jazz Coalition: http://www.jazzcoalition.org
What goes around podcast:
https://podcasts.apple.com/gb/podcast/what-goes-around/id1508554549#episodeGuid=b7a93d75-5d90-4225-8e5c-f86b0bc8ccdd
Other links can be found by going to platforms like Facebook and typing in the names of the artist e.g. Wendy Kirkland, Marco Marconi, Kim Cypher.
In Holland and Belgium where restrictions have gone into the second phase you can now hire a socially distanced jazz band to come and play outside your home, your garage or your garden so those celebratory events need not be without your beloved jazz . There are on-line groups for particular instruments where musicians swap techniques and ideas. Of course, there are also many places to read about jazz, write letters to editors; you can comment, leave a review or join a discussion.
New releases, recorded before lockdown , polished during it and produced in the last few weeks, are coming out on a regular basis and some of the new collaborations have produced Bandcamp and digital releases too. It is just a question of thinking what and how. Of course, podcasts and interviews continue as before and radio shows keep us engaged with many genres of jazz - including free jazz which now has its rightful place as a big part of Jazzbites radio where they will feature over 50 percent free jazz on their channel 2. All these ideas and changes came about during lockdown and have been organised in this strange period. as a writer, I have been busy too, covering some lockdown events but also finding, at last, time to do research projects, including one for the Library of Congress in the US - a huge honour , researching about a particular recording by Emma Barrett ( Sweet Emma Barrett) which was inaugurated into the library and recorded in 1964. Because the route to knowledge was convoluted and involved labels, doctors , sleeve note writers and the Preservation Hall in New Orleans, l needed time to do it - and now I had this. Of course, I have enjoyed reviewing some of the music which came out too and writing radio show scripts. Editors too have been busy as the number of great reviews on sites like Jazz Views, Something Else and Free Jazz Collective will attest.
We can never celebrate lockdown - it was unnatural, horrible and strange. However, we can celebrate the good things which came out of it. Just a very few are mentioned here and this is just the very tip of an iceberg of jazz inventions which came about from lockdown. How will this make us feel when this is over? Who knows but I think the inventiveness and tenacity of people in the jazz world has proved beyond doubt that this music has people engaged, involved and so ready for real life. The answer to how we get through this is proving to be 'we are not sure but we will' and as to whether things will ever be the same only time will tell. Some things will change but many things will surely be even better than they were before.
Maybe the answer to ,"what did we do during lockdown?" is probably more than we ever thought possible.
LINKS:
Neil C Young's Cactus sessions https://www.youtube.com/playlist?list=PLtEy2iF45ptgp5WcXA_8UeZU9UNHrfpOF
Review of Superluna https://www.freejazzblog.org/2020/05/sothiac-feat-paul-jolly-superluna.html
Mat's discaholic project/online store: http://matsgus.com/discaholic_corner/?category_name=trades
Steve Thompson's projects:
https://www.rmg.co.uk/discover/museum-from-home-live
https://www.listennotes.com/podcasts/users-guide-to-now-pillowfort-productions-h0B5L9wUV4p/
https://www.youtube.com/watch?v=qa2F0h_T1Fo
https://www.youtube.com/watch?v=qXnLOFSQovs
https://www.youtube.com/watch?v=Qs3HAAjTDp8
Article on reviews:
http://matsgus.com/archives/3540
Cafe Oto: www.cafeoto.co.uk/takuroku
Jazz Coalition: http://www.jazzcoalition.org
What goes around podcast:
https://podcasts.apple.com/gb/podcast/what-goes-around/id1508554549#episodeGuid=b7a93d75-5d90-4225-8e5c-f86b0bc8ccdd
Other links can be found by going to platforms like Facebook and typing in the names of the artist e.g. Wendy Kirkland, Marco Marconi, Kim Cypher.
