You are currently browsing the monthly archive for July 2009.

One thing I’ve learned from my first two months as a Jazz Blogger is that it’s better to let people know BEFORE you take a week off from posting, like James Hale just did over at Jazz Chronicles.

Unfortunately, I wasn’t prescient enough to realize that buying a new car, fixing my dysfunctional internet connection, starting an internship with Josh Jackson at WBGO and spending the weekends in Western Massachusetts was going to be enough (on top of the writing) to keep me away from the blog for awhile.  Oops.

I’ve got a couple of things in the hopper, but it will be a few more days before Lubricity is up and running again.  In the meantime, go read A Blog Supreme’s rundown of the NPR Music Party last Tuesday, where I met Mr. Jarenwattananon for the first time in a non-internet setting.  He is tall.  And the music was good — although I only saw the first set with Fight the Big Bull and Sexmob.  Watch that space for Patrick’s take on the second set, too.

Or you can follow me on Twitter — I promise I’ll tweet you when the next post hits the Interwebs.

The Encyclopedia of Jazz Musicians has been updated with six new trombone profiles.  Slowly but surely, we’re catching up with the rest of the instruments represented there …

More on the six new entries after the jump: Read the rest of this entry »

Since every other jazz blog is abuzz with the recent news of the Jazz Times return from the dead, I figure now is a good time for me to make a confession:

I have never read Jazz Times.

Yes, I’ve managed to become a decent jazz trombonist and a devoted and somewhat knowledgeable jazz fan willing to borrow tens of thousands of dollars to learn how to study its history, all without picking up the lauded magazine that is the paragon of jazz journalism.  This wasn’t on purpose — I just never had the occasion to check it out with the wealth of information available to me through the internet, my friends and fellow musicians.

Why does that matter?  Because, as the video in my last post explains: the Times, they are a-changin’ … Read the rest of this entry »

Just watched this fascinating presentation by Mike Masnick of Floor 64 about the future of the music business model (via Jason Parker.)  It’s worth taking a half hour of your time to watch if you care about what’s at stake for how to make money with music.  Masnick’s theory is an interesting one: that the “music” itself is not the commodity that will best make money.  He describes music as a “loss leader” or “low-margin leader” that can be used to sell other things.  He gives a number of examples where this is working very well for a lot of musicians.  His formula, the title of my post, means “Connect with Fans, give them a Reason to Buy, and you make a lot of money.”

Now, is this applicable for jazz musicians, whose music garners a smaller audience than pop acts?  OF COURSE!  This formula gives a much more targeted, nuanced way to reach fans and market the experience and relationships associated with the music.  Maria Schneider, one of the biggest names in jazz today, is using the model to great effect.

Also, one thing about jazz is that it’s had a long time to diffuse itself all over the world.  There are potential jazz fans across the globe, and the technology is now able to deliver.  I’d say that despite all the doom and gloom surrounding recent declines in the American jazz audience, there is a lot of room for optimism in the emerging music ecosystem.  Just watch the clip and you’ll see what I mean.

I’ve been meaning to discuss the recent brochure published by the National Endowment for the Arts for awhile now; finally, Ted Gioia’s thoughtful post at has provided me with the inspiration to chime in.

I disagreed somewhat with Mr. Gioia’s Chicken Little take on the state of jazz today, but this time I can’t argue with the fact that the NEA findings are indeed ugly news for the jazz community.

The report lists 11 key findings, nine of which have something specific to say about the state of the jazz audience (findings 3 and 4 are somewhat tangential to jazz specifically.)  After the jump, I’ll take a look at what each one means for the (un)changing demographics of the jazz audience. Read the rest of this entry »

In the week since my last post, I’ve come across two especially interesting links in jazzblogosphereland that I’d like you to see:

The first is from Jazz Lives.  It highlights the excellent — and almost entirely forgotten — jazz trombonist Abram “Abe” Lincoln.  I have a particular affinity for those who have their life’s work obscured by someone with a much more famous name; however, Lincoln’s parents should have known better.  Mike Pittsley, a Sacramento-area trombonist and protege of Lincoln, also has an excellent site dedicated to Lincoln’s music.  More on Lincoln soon to come … Read the rest of this entry »

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