In an earlier post, "What's With the Links. 1" from 12/15/06, I described the journey to an honest advocacy in a trying, often indifferent, if not hostile city.
In the interest of providing something useful to the jazz constituents of this
cyber screed site, I'll now attempt to provide a guide to making this happen.
Don't expect to make a living at it, this is not France or the EU, it's money grubbing America. If it can't figure out an honest sound
health care system or avoid the election of corporate shill criminals, you can't very well expect it to handle these more subtle, nuanced things.
That aside, there is still a residue of public funding support for the idiom that is a shadow of controversial Great Society projects from the Lyndon Johnson era.
Having gained some skill at putting the music on airwaves at Harvard, Tufts and Brandeis, the next step involved presenting the artists. The Euro Jazz things I did involving
Breuker and Globe Unity were easy as the artists were paid by their nations and I just had to find a place to park them.
The real challenge began with finding a way to put actual money into artists hands without iffy and sketchy door gigs.
Enter
Chimpy or Marc
Leibowitz. He is an excitable fellow who is a musician, ace downhill ski
instructor, potential biochemist but for disgust with grad school politics, a great bush recording engineer and one of the best friends jazz people had in the Boston area.
WMFO at Tufts began an exchange with
WBRS at Brandeis of show hosts and
Chimpy was an early participant. We chatted about the deplorable Boston Jazz scene and he hit upon a novel use of radio station student activity money as an answer.
College radio stations get budgets from their student senates and these can be tens of thousands of dollars allocated from student activity fees.
Marc's idea was to promote
WBRS through it's free live music radio show, 'the Joint' by adding a monthly series he called 'World Class Jazz' at the Joint. My nominal role involved helping him find musicians beginning with
Jemeel Moondoc and the late Denis Charles. The next show involved Gunter
Hampel, Jeanne Lee and Thomas
Keyserling.
I met these folks and many others at the first Vision Fest in New York and invented mainly by Patricia and William Parker and colleagues and held at a community center in East Village.
They are a real community and take care of each other. Before long, word spread and Marc had a complete network of artists to present.
He made sure they got payment, housing, would often drive them up from New York and food. He also made high quality board tapes and gave them the masters.
The events were held in the cavernous foyer of the radio station, the
Winer Wing of the
Usdan Student Center. The space had room for more than a hundred people.
Marc ran it beautifully for nearly a decade for most of the 1980s and he resisted the urge to be star struck and seek 'big names'. He helped the lesser known but equally amazing artists have a place to play for free.
Frank Lowe, Joe Morris, Roy Campbell, William Parker, Dave Holland, Vincent Herring and many others had their first reasonably good
appearances in the area and press scribblers began to attend and write about the shows.
It was the first element of 'scene craft'. To really make stuff happen in an indifferent backwater, the key thing is having many events in diverse locations to seed a basis for an audience
constituency. I learned this from the Amherst days.
The other tasks are finding budgets and promotion. The major public media entities in Boston were near worthless so much of the work in promotion was through the array of other college radio stations with help from two writers, Bob
Blumenthal and Ed
Hazell, both with the Boston Phoenix, a provincial weekly counterpart to the Village Voice.
The two bigger dailies, the Globe and the Herald were near useless.
The budget part was more interesting.
Enter Lewis Porter. Professor Porter was then part of the Tufts Music Faculty and
beginning a significant overhaul of Jazz
Scholarship, a rather ragged and inept thing prior to his participation.
He had various other duties at Tufts including an annual Jazz Festival and graciously asked me to help him produce it, voila, a budget!
We were able to make a two day event, well funded and presented many people who never had a chance to play in a
prestigious university venue in the area. These included the late Jimmy Lyons,
Jemeel Moondoc's full Octet, Joe Morris, a Butch Morris unit, which Lewis joined on alto sax, (he now performs on piano around NYC), and others. It was well attended and was in an actual space designed for music.
That is another important point. While I later ended up coaching jazz nightclub owners who jumped on the bandwagon, gin mill gigs do little to enhance the idioms prestige.
A progressive approach to advocacy presupposes venues of a higher caliber than a tavern despite all the romance associated with this venue type.
I daresay this little festival was far more adventurous and thoughtful than the lazy, pitiful Globe Jazz fest usually concocted by George
Wein. It didn't have to worry about selling tickets.
After that, Lewis suggested we look into securing grants for projects so we looked into options from what was then called the Massachusetts Council on the Arts and Humanities. It was at its very best then, well funded by the
Dukakis administration and run by an exceptional director, Ann
Hawley.
She firmly believed in merit and was determined to bring the most adventurous work to staid provincial Massachusetts. This brought the wrath of lazy dowager entities like the
BSO upon her and the Globe made a point under the direction of the Art features editor, Lincoln
Millstein, of doing everything possible to undermine
Hawley's work.
He is now a senior VP at Hearst and used to write about insurance and aerospace for the Hartford
Courant, go figure.
Another problem was the
provinciality of various local entities who figured they should get funds for dull pet projects through legislators in the Commonwealths nepotistic and graft ridden State House.
Ann stuck to her guns about this merit thing and ignored the Boston Symphony Orchestra's ridiculous notion of entitlement. The
BSO stopped being a leader in its field after Serge
Koussevitsky passed from the scene in 1949.
So Lewis and I got to work on a composer commission for
Ornette Coleman and the budgets then were princely, up to 40+ thousand dollars as an average and we easily obtained 20+ thousand for Mr. Coleman to craft a work integrating his original Quartet with his electric band, Prime Time.
The Tufts Auditorium was being remodeled at the time and I stupidly let myself be talked into a union with a mob run club called The Channel by a couple of forgettable art
grifters now long gone.
The event worked out but the club reneged on paying for things even after we filled the place with an upscale well heeled crowd that had never visited the seedy pit. Call it a major tactical blunder on my part and be very wary of any linkages between precious public funding and
skeezy private businesses.
The world of grants is an
interesting thing of forms and
time lines and strings designed to solve some problem that money grubbing normal entities won't touch. Of course it is fraught with controversy and art fashion gaffes, but by and large it works to the better.
The key to a successful grant proposal is fathoming the intent of the initiative and proving that your proposal accomplishes this. You also need good submission material for the panel of peer reviewers.
In Massachusetts, this is further complicated by a wary legislature that requires presenters to spend the allocation first and apply for
reimbursal. Fortunately, Tufts has large pockets.
However, when working with a complex entity like a university, it is essential to meet with all parties in the administration who process the paperwork and build the plan around their needs.
This became another vital lesson on quality advocacy. Your ego is useless. You have to work carefully with every person who has some
contribution to a projects fruition, no matter how seemingly minor and be sure they are well briefed and supported.
You build with the given rather than imposing the imagined.
After this
commission project, I went on to do another, simpler series of concerts with a small community art center in a former church in Newton, now called the New Arts Center.
This also went well and it was there that I discovered the big lie foisted by Baby Boomer critics of the idiom, that it wasn't '
Accessible' and too obtuse for the average Joe or Jane.
We just ran the series for the community without Boomer Critic meddling and the audience included many elderly and local people with little prior exposure to so called 'Free Jazz'.
They took a Leroy Jenkins Solo in stride and genuinely liked the series. It included
Hamiet Bluiett,
Quartette Indigo and another successful experiment, a Joseph
Jarman Nonet where Mr.
Jarman agreed to work with local artists to integrate communities.
Jon
Voigt and Tom
Plsek where among the local participants and once again, it proved to be a valuable lesson in bucking convention, in this case local media disdain for local artists due to some inability to establish a merit context.
Now, nearly 2 decades later, the Commonwealth has been half wrecked by a run of
Neo Con MBA governors, thankfully deposed by the son of a Sun Ra sideman and I look to resuming this work under far more challenging conditions.
It should be interesting.