Day three of the Jazz Education Network convention here in Louisville will include an interview with Motema great Roni Ben-Hur whose latest release Mojave was also featured in my year end "Best Of..." list. Later in the afternoon I hope to be meeting with Suzanne Pitson the Associate Director of Vocal Jazz studies at City College in New York.
Yesterday I had the opportunity to speak with Rufus Reid and while we seem to track really well from our thoughts and perspective on jazz, this critic received some much needed validation. By validation I do not mean a nice pat on the back, the validation of presenting an honest perspective. The critic needs to artistically develop in much the same fashion as the instrumental or vocal artist. Writing is a craft. Vocalist Rhondi Charlston was in agreement that the cold, sterile all most lifeless reviews found most places simply do not have to be the norm and the critic has the responsibility to back up what they write and this includes a negative review is the situation warrants but check your agenda at the door. If a critic runs into a release that gives them a huge problem, simply pass on the release. Granted there are the exceptions to the rule and they are limited in nature but the writer carries a great responsibility of thoughtful promotion for the jazz genre and needs to take this responsibility seriously.
Both Reid and Charleston agree that there are far tno many critics that have simply lost touch with the art of listening and are not making the necessary attempt to even try to "get" where the artist is coming from. While the Jazz Education Network is more an industry related convention, writers play an important role and need to stake their claim in a responsible and positive fashion so that when the casual listener hears the word "jazz" they stop having the same reaction they do when the hear the words "tax time."
Jazz does not have to be sanitized for your protection. The immediate gratification world of the digital download and the smart phone has dramatically changed the playing field. In short, we all must work smarter and not necessarily harder as we continue to promote a very special American art form, recognize the history but perhaps most important - look to the future.
Jazz is far from dead. In some cities it may be in the cultural witness protection program but for jazz to continue to survive and experience reasonable growth then everyone needs to become more involved.
Off to the convention for another jam packed day!
