More jazz to find or miss

Following on my previous blog about finding jazz hidden away all over the place in London, I return frustrated to have missed a performance of Sonos E Memoria, with Sardinian musicians led by trumpeter Paolo Fresu of which here is Part 1

Misha Alperin is in town soon on 18 February at Kings Place (overlapping with Uri Caine in Greenwich). There's also an interview with Mikhail Rudy who's doing the show with him.
Also watch out for Chris Dave at Charlie Wright's on Wednesday next week. Though I'll be enjoying Liam Noble at the Vortex launching his divine Brubeck album (And of course selling it at my shop!)
Here's some of Chris Dave with his trio.

Progrock and jazz

Progrock seems to where many of the musicians ended in the late 60s and early 70s ended up who didn't want to go into pure rock and didn't feel at ease in the jazz world. Intriguingly, musicians such as Robert Wyatt and Bill Bruford have hooked up more with the younger jazzers in recent years (e.g. Earthworks).
The influence of the classical and intellectual has permeated jazz more and more in recent years, especially as young musicians are able to study in the conservatoires. It also has a common feature with much of jazz today (as pointed out in an article by Laura Barnett in the Guardian) that it has been a male dominated world -even if changing. Though she did forget to mention that the Vortex has an all-female big band (The Vortex Foundation Big Band) with a Babel release!

How to run a jazz club?

Through Seb Scotney, of the LondonJazz blog, pointed out an article about Ronnie Scott's and its present general manager Simon Cooke in the Times recently. Certainly it shows that there is a different mentality that has to run a jazz club in the West End, with high rents and overheads, in contrast with Dalston. Whether it is true to the "spirit" of the music over there is another matter. But perhaps there is no choice? Running a jazz club is a balance between creativity, the musicians and the audiences. They have to feel at home, because that, in my view, generates the buzz that makes a jazz gig special. Given the "looseness" that much jazz has live, it is essential that the ambiance is right. If the club is too prim and proper, then this is lost. "Scruffy", a word used insultingly by Simon Cooke, is not necessarily a negative. As long as it is controlled scruffiness.
The Vortex is having a great period in terms of music and audiences. Over 300 people through the door on Friday, Saturday and Sunday. And not with an "easy" range of music - Buffalo Collision (Tim Berne, Hank Roberts, Ethan Iverson, Dave King), Carol Grimes (returning to live performance after a lay-off through injury after 6 months), London Jazz Orchestra doing the music of Pete Hurt and our Vocals@Vortex night. Tonight, weather willing, it's Yaron Herman and Curios.
It's been, and always will be, very much a case of evolution not revolution. A lot of patience, such as a late night celebration with Carol after the gig, meaning that I got home at close to 3 a.m. A lovely crowd of volunteers who believe in the club. The continued involvement of David Mossman, as founder and everything else.
It was so flattering that Rod Youngs, playing for the singers' night, was so thrilled by the night that he gave me a warm embrace on departure, insisting that we get an extension built asap!
By getting this right - and having a patient landlord to ensure that this occurs - the club is ready to survive the slings and arrows of the recession that we are now in.
So is there a correct way to start and run a jazz club? I don't think so. There is certainly no Jazz Club 101 course at business schools. Long may that be the case. Adaptability, flexibility, creativity.

How many shops?

By the end of this year, I reckon that there may be just 25 shops left seriously selling jazz in this country. That's not based on any actual scientific calculation but just a sign of where things are. Zavvi has now gone, and I think that HMV will just sell jazz at 150 Oxford Street. Elsewhere, who knows?
Remember, that this collapse is not due to the digital revolution, though it was hastening its demise, but rather the recession. Especially the collapse of Woolworths and EUK. Digital is still not well enough developed to pick up the slack - certainly financially - leaving music to be sold at gigs, or by venues. We'll be back to grass roots where jazz will be sold by a few knowledgable people. Hurray! For example, Tim Berne, at the Vortex tonight with Buffalo Collision, has stopped selling CDs via distributors, concentrating on gigs and mail order. So has Barry Green. One of the best sellers at my shop is a new album by Liane Carroll with John Etheridge. Again, not available in stores. So, I'll have more and more fun as a retailer, but I'll be frustratedly continuing to release some great albums which no-one will be able to find. (What's new?) Amazon will of course thrive, but the personal touch will have been lost!
Blame the lazy majors who lost track of real music years ago and lost track of their audience.

Where's the jazz in London?

It's all too easy to get despondent about how much (or rather how little) jazz there is to be heard in London. Rather it's how hard to find out about all the jazz in London before it's happened. Indeed, there's Ronnie Scott's, the Pizza Express, 606, Bull's Head and the Vortex. But the real excitement is what's bubbling underneath - all too often unfindable, or only to be found too late. Seb Scotney is getting his teeth into this part of the scene on his LondonJazz blog.
For example, the chance to hear Uri Caine in Greenwich on 18 February, courtesy of Trinity College of Music. Or the work that Richard Turner puts in at Cons Cellar Bar in Camden. Or Troubletune at Concrete Bar run by Zed-U, which I went to yesterday. (A mesmerising collaboration with Jason Yarde using looping and electronics as well as beautiful saxophony.)
The shame is perhaps that the musicians themselves are so committed that very little money comes back to them. And the opportunities to "cash in". Dependent on door money, if any at all, and the long-term passion for playing and performing. They know how to improvise their lives to adapt to these passions.
By the way, Zed-U's next Troubletune is on 18 February, with Seb Rochford as guest.