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Market- Everway a Specialised Market Fiveshillings.Aridicideusly It's Accepted by the Public As Whichshouldbecompared Low Price Good Ithink

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Market- Everway a Specialised Market Fiveshillings.Aridicideusly It's Accepted by the Public As Whichshouldbecompared Low Price Good Ithink Page 11-MELODY MAKER.Februaryto,tdeitf Will1968bea yearofimprovement? ASwe creep through out, and it Isn'teasy. Be- radio jazzrecordbusiness thesecond or politics, but from the 1 had expected. Probably What else? Well, month tween the optimisticview conflictingmass of facts,they can't make much of earned a vote oflimited operateoutsidethelays of 1968there isa not- oftheyoungguitarist of supply and demand. who believes figures and points ofview alivingoutorjazz,if gratitude for its coverage. iceable nipin theeco- thescene is I've ,collected thesepast they expect to playex- television's head-in- Another snarl raising nomic air. "quitegoodforyoung few weeks certainlines of clusively the kind of jazz thesand policy was de- subject, I'm .rry tosay. musicians" - Thisis and the well thoughtemerge . was American musicians. going tobea establishedmodernist and theyprefer, unlessthey plored by all who men- hardyear, peoplesuspect, who a few truths. aretraditionalists. But tioned it, "There's neverJazz Expo came infor andall answered my question jazz some criticism for -neg. theintimations ith: "What One hard line, agreedthen they never could. been a really adult pointtoit. Andwhen scene? by mostcluband pub Neverthelessthemat- programme on'IV," was lecting British musicians.. You're joking,"a gulf ex- money getstight, enter- Isis. owners or managers I've orlty (as readerscan see an opinionvoiced by more My own point of view tainment spokento,isthat is feels thepinch. Anotherseparates busi- from thecross-section than one critic. that jazz has always So howwill theBrit- the ness generally is fairto quotedinthesepages) Andanotherfamous had a minority appeal. It ish jazz traditionalandmodern good,a little better than still has, but that minority scene be affec- musicianand,perhaps, express at least qualified musiciansaid:" sup- ted? Whatshape isit in the itwas a year or twoago. satisfaction with the situ- pose theradio thing helps is growing. now? Are the jazzmanandclub Onbalance,feelings Itis impossible Jeremiahs manager whostudy their ation as it is. us, butI don't thing C12 to go whocomplain thatjazz audienceand those are optimistic. "Thisyear And almost allthe a year is enough,do you? round the jazz pubs and is moribundtalkingsense don't. who should showan Improve- musicians questioned The mention of record- jazz clubs, most of them orrubbish?Can ment"isthe sentiment some b d r a wing substantial a jazz Opinionsdifferfrom volunteered re- ing opportunitiesbrought musicianmakeareas- whichsums up their marks about the present alaugh or a snarl to even crowdsonedaya week onable living? man to man,as they tend viewpoint. to do inmattersconnec- artistic potency ofBrit- the blandest faces, though to every day, and sustain I've beentryingto find tedwith work Musicians, too,are op- ish jazz and itshopeful few musicians admitted theviewthatjazzhas orsport timistic- more so than future. they couldn't expect the audience. JAZZSCENESPECIALBY MAXJONES JOHNJACK;Managerof HOW HEALTHYIS THE BRITISHJAZZ SCENE TODAY London's OldPlace: Since BLAIN, Secretary of the beginningof theyear busi- BRIANthe MU's Campaign For ness has startedto climbout Live Music: We are unearthmg of the winterdoldrums, which experience has a tremendous "underground" been valuable network of rehearsal bandsin to me becauseittaughtme quitea .lot. The all parts if the country'. They new are crying out for scores to Thereisstillahard-core generation playwhichthepublishers jazz audiencein existenceif hardly touch, and youpayattentiontotheir ale gbd wants. to say the Union is committed There'sgot to be give totryingtodosomething and take betwenthe musician about it. and audience.The audience But as for outlets forElie will acceptprogressInjazz professional musicians,chat'a providedit is done intelligently a really tough one. withsomeregardfortheir Itseemsto me thatnot entertainment. ofjazzmenis enough mature jar;tansput Musicians need the to work out their talents touse in organis- aformulawhichprovides ing the kind of networkwhich quality,a sense of adventure exists,forinstance,inthe Jazz isa and communication withthe chamberusicm field- any. audience. body who doesso at all wants The Old Place is,in a way, to make a little breadout of the experimental end ofthe the music. specialised ScottClub andit'snotex- I'm not knockingthe clubs pected to makemoney. We and pubs whichkeepitall tickoverwiththehelp of bestwe'veeverhad going, but I think something the musicians involved. morethanthathisbeen market But considering where we're needed fora long time. situated, public response JOHN DANKWORTH It's no goodwhining about should bebetter. Still,I'm thelack of ArtsCouncil sure we'll survive.I feel that grantsifthereare no non- this year will be better. Gregor record should go well RONNIE ROSS: Ithink the AS the indications profit -making bodies which when itcomes out. situation is healthier are that aren't typical.Jazz fansvisit- togive than "Dusk Fire," byDon Benda ing Londonfrom the them to. The modern jazz scene has it was two yearsago.There's and Ian Carr,willcome in the provinces HUMPHREY LYTTELTON: become more specialistthan a or abroad automaticallycome Itis impossible to assess wider permutation of same category. to usor Ronnie's. KEN LINDSAY,of Hatfield, Stwas ten years ago.it's a musicians, more mixingup in- Iwouldsay the, situation Hltchin andBerkhamp- the situation in general terms, shame more people don't sup- steadofallsetgroups, and should be not only because one band's so far ascotemporary Brit- RONNIESCOTT:Artistic- steadChubs:I'mresremsible port it.They buy records but thisis good becauseyou get ishjazzisconcernedlooks for three clubsin fortunes vary from another's younever see theminthe ally,Ithinkit'sokay. Berkshire but also because jazz,as a staleplaying with thesame healthy- healthier than the Thereseems to he which eachpresent jazzone club. I onlyseea,few group all the time. Dixieland boom more going night,e minorityentertainmentfield, ofmy customers in the clubs was because onthantwoorthreeyears awweeeki.ny compared the froman Thenthe workshop bands thatwas,ina sense,a pop ago, especially were affected feels draught yet when thereisaconcert ere a very good thing. boom of its day. the experimen- by breath economic crisis quicker than, of American performers they Take tal kind ofgroups andocca- tests for a time but say,football or rock music. Tubby Hayes'big band,for I thinkwe'reproducing sional bigbands. thingsare backso normal Sr are all there. A better recordsnow. Ifyou hadasked anyone Records of the new modern- instance. lotofyoung None of These thingsget reviewed in far asour clubsgo. at in the business the same clues - musicianswho arebrilliant those I've mentionedmade any all are bettershun with the ists sell a lot better than the concessions the papers, and the at any equivalent modernists of five tothecommer- time for threeor tour years or ten years ago. cial market. past. Sales? Well,peoplesay jazz A pointI'd liketo make is doesn'tsell but they should thatwe no longer "run clubs" classical ACRER BILK: Speaking for considerthefactthatonly We'vedoneaway with mem- my own band, the situa- about threeper cent ofpop bershipcards and all that;in tion has never been healthier. singlesevereacheventhe steadwe put on a public mare l've gotsd tbhye beatband Top 30. sessionfor and Jazz is which the,pay market- everway a specialised market fiveshillings.aridicideusly it's accepted by the public as whichshouldbecompared low price good Ithink. good entertainment and with the classicalmarket,and Anybodycan corn, in We jazz, not only in Britainbut inthisfielditis holdingits own cater for peoplesilting around and inthis overmuch of the world. - well, my recordsare. tables.drinkingand listening Thisyearthere'sbeena HUMPH: draught DON ALDRIDGE, Agentfor ROGER HORTON,Manager slightbuild-up Ken Colyer, MontySun- of London's inbusiness. 100 Club: concerts and theencouraging thingis field,it's shine and the RedOnions Jazz gate chancein this and it'sSo farasthis clubiscon- are pretty well theage group that'scoining in tion late last Yearthey'd have I'd say that sincethe marvellous. cerned attended. things weren't toobad. Band. we are doingvery good Well,age groups realls-at said New Year I'vehad more en- As for the financial side.I business indeed. I'msure thestudent Hatfieldthe range Today,they may be plunged bandsthanany suppose amusician could just ence isgrowing; audi- patrons Nobody's certain quiriesfor Of course, withonly Ronnie we geta lot from 20to 50 years of age into gloom. time since theboom days. existbytakingfunnygigs Scott'sand of enquiriesfromuniversities WhatI'm hapm holding about thefuture becauseit's is, here and therefor ourselvesdoing wanting nOt $0 I don't knowwhy this peanuts, but Jazzon a full-time professional to puton jazzcon- aboutisthetheabsenceof new tiedupsocloselywiththe but certainlybusiness islook- he cannot make a real hying- certs, andthis is hands basis in theWest EndIsup- important.A in rfield.I've Pres- economic situation. ingup. For instance,Ican not inthis country. I don't fewyearsago, ented pose it would behardnot to wanted theyonly some modern grog.- All the same, myband plays quote Ken Coiyer's date blame the jazz clubs because do business, toknowabout not profitably itsown 300 eight businessisn'ttoo good.It's groups. pop I'm afraid, hot many clubsnowadays to shsheet:the has Only ' I believe thejazzscene we generallywr usethemore and the pay is inthefirst quarter nothing todo with peoplenot Financially, or400 people, free days are concernedwithat
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