THE END OF JAZZ ?

"Among college-educated adults,

the audience for live jazz has shrunk significantly,

to 14.9% in 2008 from 19.4% in 1982."

(from the National Endowment for the Arts’ latest Survey of Public Participation in the Arts,

the fourth to be conducted by the NEA

in participation with the U.S. Census Bureau since 1982.)

THE OLD FOLKS AT A JAZZ CONCERT.

A few weeks ago we went to hear songwriter, producer and keyboardist Dave Grusin (75) and his brother Don (68), also a superb piano player, in a Santa Fe jazz concert.

Dave created the original score and provided the piano music for one of the finest jazz films available, "The Fabulous Baker Boys." The soundtrack DVD is a big disappointment. It does not contain any of the brilliant improvisational piano playing that makes the movie so wonderful. What you liked about the movie isn't on the soundtrack! To "hear" what I'm saying, rent the film or buy it ASAP. It's that good. The reason I bring this up is that Dave and Don got to "noodling" on their twin pianos at this concert, late at night, just like in the film score, at the magnificent Lensic Theatre in SFe. And the audience would have remained with them as long as the two brothers kept playing.

Everybody in that rapt gray and white audience was listening. Unfortunately the theatre was only 3/4 full. Not enough people are listening to jazz.

The Wall Street Journal has always had excellent jazz coverage and in a recent posting, Terry Teachout writes that,"it’s no longer possible for head-in-the-sand types to pretend that the great American art form (jazz) is economically healthy or that its future looks anything other than bleak."

CAN JAZZ BE SAVED?

Terry Teachout is The Wall Street Journal's drama critic.

The versatile critic also wrote the libretto for the Santa Fe Opera's original production/adaptation of "The Letter". Remember the movie with Betty Davis.

Teachout is a big jazz fan and was interviewed on KSFR, the public radio jazz station in Santa Fe (FM101.1). His taste in jazz is very much main stream and classic but he observes in the August 9 edition of The Wall Street Journal:

"THE AUDIENCE FOR AMERICA'S GREAT ART FORM IS WITHERING AWAY"

By TERRY TEACHOUT

New York

"In 1987, Congress passed a joint resolution declaring jazz to be “a rare and valuable national treasure.” Nowadays the music of Louis Armstrong, Duke Ellington, Charlie Parker and Miles Davis is taught in public schools, heard on TV commercials and performed at prestigious venues such as New York’s Lincoln Center, which even runs its own nightclub, Dizzy’s Club Coca-Cola.

Here’s the catch: Nobody’s listening.

No, it’s not quite that bad—but it’s no longer possible for head-in-the-sand types to pretend that the great American art form is economically healthy or that its future looks anything other than bleak.

The bad news came from the National Endowment for the Arts’ latest Survey of Public Participation in the Arts, the fourth to be conducted by the NEA (in participation with the U.S. Census Bureau) since 1982. These are the findings that made jazz musicians sit up and take notice:

• In 2002, the year of the last survey, 10.8% of adult Americans attended at least one jazz performance. In 2008, that figure fell to 7.8%.

• Not only is the audience for jazz shrinking, but it’s growing older—fast. The median age of adults in America who attended a live jazz performance in 2008 was 46. In 1982 it was 29.

• Older people are also much less likely to attend jazz performances today than they were a few years ago. The percentage of Americans between the ages of 45 and 54 who attended a live jazz performance in 2008 was 9.8%. In 2002, it was 13.9%. That’s a 30% drop in attendance.

• Even among college-educated adults, the audience for live jazz has shrunk significantly, to 14.9% in 2008 from 19.4% in 1982.

These numbers indicate that the audience for jazz in America is both aging and shrinking at an alarming rate. What I find no less revealing, though, is that the median age of the jazz audience is now comparable to the ages for attendees of live performances of classical music (49 in 2008 vs. 40 in 1982), opera (48 in 2008 vs. 43 in 1982), nonmusical plays (47 in 2008 vs. 39 in 1982) and ballet (46 in 2008 vs. 37 in 1982). In 1982, by contrast, jazz fans were much younger than their high-culture counterparts.

What does this tell us? I suspect it means, among other things, that the average American now sees jazz as a form of high art. Nor should this come as a surprise to anyone, since most of the jazz musicians that I know feel pretty much the same way. They regard themselves as artists, not entertainers, masters of a musical language that is comparable in seriousness to classical music—and just as off-putting to pop-loving listeners who have no more use for Wynton Marsalis than they do for Felix Mendelssohn.

Jazz has changed greatly since the ’30s, when Louis Armstrong, one of the supreme musical geniuses of the 20th century, was also a pop star, a gravel-voiced crooner who made movies with Bing Crosby and Mae West and whose records sold by the truckload to fans who knew nothing about jazz except that Satchmo played and sang it. As late as the early ’50s, jazz was still for the most part a genuinely popular music, a utilitarian, song-based idiom to which ordinary people could dance if they felt like it. But by the ’60s, it had evolved into a challenging concert music whose complexities repelled many of the same youngsters who were falling hard for rock and soul. Yes, John Coltrane’s “A Love Supreme” sold very well for a jazz album in 1965—but most kids preferred “California Girls” and “The Tracks of My Tears,” and still do now that they have kids of their own.

Even if I could, I wouldn’t want to undo the transformation of jazz into a sophisticated art music. But there’s no sense in pretending that it didn’t happen, or that contemporary jazz is capable of appealing to the same kind of mass audience that thrilled to the big bands of the swing era. And it is precisely because jazz is now widely viewed as a high-culture art form that its makers must start to grapple with the same problems of presentation, marketing and audience development as do symphony orchestras, drama companies and art museums—a task that will be made all the more daunting by the fact that jazz is made for the most part by individuals, not established institutions with deep pockets.

No, I don’t know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they should like Schubert and Stravinsky has already lost the battle. If you’re marketing Schubert and Stravinsky to those listeners, you have no choice but to start from scratch and make the case for the beauty of their music to otherwise intelligent people who simply don’t take it for granted. By the same token, jazz musicians who want to keep their own equally beautiful music alive and well have got to start thinking hard about how to pitch it to young listeners—not next month, not next week, but right now."

JULIA CHILD DISCOVERS DOVER SOLE

"the most exciting meal of my life"

JULIA CHILD AND DOVER SOLE

We have written about this "best fish story of them all" earlier this year. Apparently Julia Child discovered Dover Sole meuniere long before we did and her reaction is recorded in a mouth-watering scene in the new Nora Ephron movie, "Julie & Julia"

"Julia Child’s first lunch in France centered on Dover sole sputtering in butter sauce. It was, she wrote in her memoir, “the most exciting meal of my life.”

For that scene, Ms. Ephron — an accomplished cook who wrote the screenplay, directed the film and personally tested every recipe in the movie except the aspic — would accept nothing short of perfection.

“I wanted that sole to look to the audience the way it had looked to Julia when it caused her famous epiphany,” she said.

But hey, no pressure.

Susan Spungen, the movie’s food stylist, had spent a dozen years as Martha Stewart’s food editor. She had been a caterer before that. She understood pressure. But she knew she was in the weeds the moment she arrived at a Manhattan restaurant to shoot the scene.

For starters, the chef that Ms. Ephron had recruited to cook the sole was instead pressed into service as the scene’s waiter. That left Ms. Spungen uncharacteristically unprepared. The restaurant didn’t have a nonstick pan, and the chef forgot to tell her that the secret to the dish was a light coat of Wondra flour.

Worse, she had only about 10 of the expensive fillets to work with. That wouldn’t allow for many mistakes. And even if she cooked one perfectly, how was she going to make sure the big fillet sizzled enough so the camera would pick it up?"

LUNCH WITH JULIA CHILD, JAMES BEARD AND CECILIA CHIANG.

Lunch with Julia Child, James Beard and Cecilia Chiang.

WHO IS CECILIA CHIANG?

Alice Waters, of Chez Panisse fame, says what Julia Child did for French cooking in the United States, Cecilia Chiang did for Chinese cuisine in America. In 1968 she founded the Mandarin Restaurant in San Francisco's Ghirardelli Square. For almost 40 years, Cecilia presided over an elegant restaurant that achieved a national reputation. Visitors from all over the country came to seek authentic and fine Chinese dining. She held cooking classes that saw students the likes of Julia Child, James Beard, and Alice Waters. The restaurant closed in December 2005.

Cecilia's son Philip hooked up with a friend to open up a successful chain of restaurants that are doing well in these rough economic times - P.F. Chang’s Bistro.

FOOD MAVEN'S AT THE MANDARIN

About 10 years after the Mandarin opened, four of us, on a business trip to the west coast, walked into the restaurant for lunch. As I recall, Madam Chiang, herself, seated us. Since we were all "foodies" and had picked the Mandarin for its excellent menu, it took no time at all to spot the huge figure of James Beard at the next table. He was really big with a dome-shaped bald head. Seated next to him was Julia and there was no mistaking that voice. Next to her, according to our waitress, was Julia's sister, Dorothy. Everybody at the table was supersize. Later I found out that Dorothy McWilliams was 6' 4" and Julia was 6'2'' (size 12 shoes). The two other normal size women at the table, we guessed, were either food editors or (as we learned later) sales reps. for Rice-A-Roni.

A nice looking young woman asked if we would like to participate in a consumer food test and we, of course, said yes. Each of us was given a small portion of rice and a separate container of Chinese sauce - which we ladled on the rice. Then we answered a questionnaire about that special sauce with a (throwaway) question, at the end, about the rice. Now they served another portion of rice, another different sauce, another questionnaire. We learned later - after 4 different sauces - that each portion of rice was prepared differently. That was the real test. We didn't know that Rice-A-Roni was doing a food test at the Manderin that day.

Now it was time to order lunch. When the waitress asked for our order we pointed to the Beard, Child table, where Madame Chiang was hovering in the background and said cleverly, "we'll have what they're having". "Sorry", the waitress replied, "they're having a special lunch menu." Expletive!!!

HIDDEN COMMENTS FROM BEARD AND CHILD

It's taken me 30 years to find the autographs I got from James Beard and Julia Child. After our long-g-g-g lunch I approached M. Chiang and got a copy of her book, "The Mandarin Way", which she autographed to my wife, Shirley. I walked over to the Beard/Child table where lunch was still in progress with many, many bottles of wine on the table. Cecelia Chiang was right behind me. "Of course", bubbled James and Julia, they would be delighted to sign Madam Chiang's recent book. Since the title page was already filled, they flipped to the back of the book, the recipe index page and - assuming I was a member of staff - signed the book as you see above. Those comments have been hidden in the back of the book until the recent blast of publicity for Nora Ephron's Movie, "Julie & Julia" motivated me to find them.