Jazz notes from the Interior

[cherie]

While it is still a struggle to maintain a physical existence as a jazz musician in the interior of B.C., there are some definite signs of "life." The Kamloops Jazz and Blues Society held their first concert September 20th with the Jazz Trio Just in Time backing Cathy-Ann Wells from Kelowna. That makes three, yes, three jazz and blues societies now operating in the interior. Kamloops joins the Vernon Jazz and Blues Society http://vernonjazz.homestead.com , and the Kelowna Jazz and Blues Society www.silk.net/kelownajazz.. (http://www.silk.net/kelownajazz..) All three will host Michael Occhipinti's tour through the interior. Kelowna will present this 2002 national jazz guitarist award winner on Wednesday, October 30th 7:30 pm at the Kelowna Performance Centre. What does this mean to you out there? First, it means that you don't have to go through jazz withdrawal when you leave the MainWorld. Secondly, it gives touring groups a chance to make money all the way to Edmonton or elsewhere.
If you know of any jazz fans or musicians that want to exchange information about what is/ or could be happening in the interior contact me through the Just in Time site www.hansonward.com. (http://www.hansonward.com.)

Thanks,
Cherie

[Ryga]

Hi Cherie

It'd be nice to see an alignment of energies through the Okanogan region when putting forth Jazz Concerts so that there's a better than average chance that people will actually attend. That's been the one draw back to touring through the area. Seems to be 'satellites' of people at the local level who are in to promoting but there's an absense of cohesion. It'd be great for instance to have you become aligned with Ken Smedley of the George Ryga Centre when he's putting through a Jazz Concert Series. I know that Kirk MacDonald's tour was poorly attended which was a total shame. The Kerouak show I did was not well attended either and it ought to have been. Makes it hard from a musician/leader stand point to go through the whole process of organizing and aligning when people are not coming out. It's not for lack of promotion either. I think it's just a form of apethy which can be remedied at the grass roots level. Even getting the word out amoung local players to make a point of coming out, it always suprizes me how many of the local players I 'don't' see when touring the Okanogan....That's something I don't really understand.

Say Hi to Cameron

Cam.

[cherie]

Thanks Campbell for your response. While I am not on the executive of any of the groups, I am trying to help out. The three groups are in contact with one another and trying valiantly to keep jazz alive up here. The suggestion of aligning with Ken Smedley is another way to build support, and I will email your response on to the three societies. One of the big problems we face up here is that the audience we get for jazz is enthusiastic and knowledgeable, but small. On the same night of the week, with a blues group there will be a much larger representation in the audience.
How do we address the problem: education, persistence, and exposure. People have to hear great players such as you, they have to have a chance to see you next year when they hear what they missed at the last concert. Also, I believe the level of sophistication in the valley is increasing because there are so many people like Ken who don't give up. They keep bringing artistic experiences in so that people can develop an appetite for it.
One thing I have noticed in the Okanagan Valley that strikes me as very strange because I lived up north and drove 8 hours to go anywhere (with snow both ways, uphill) is that people here will not drive 30 minutes to go to anything. So I believe we are addressing that issue by having the three societies. One can only hope.

Cherie

[Ryga]

Hi Cherie

Well, I hope it works out because this is the reason I didn't do a tour through the Okanogan this fall for the first time in many years - in my annual effort to fund raise for the George Ryga Arts Centre. I just couldn't afford to pay everyone yet lose money personally to poor local turn outs. At some point I knew I had to cut the loss - and that wasn't easy for me to do considering that these tours were commerative to the memory of my father.
In any case I wish you lots of luck with this because it would be terrible to have resign one's self to the fact that this music is just not that popular in the Okanogan. It's certainly popular most other places. I still believe though that local players need to be involved at some level, I'm bringing this music and these musicians right to their collective front doors.
I mean I've brought through some great musicians in the past, such as Torben Oxbol - and I didn't see one jazz bass player the whole tour! Where were the piano players when I brought through Bob Murphy? The drummers when I brought up Blaine Wikjord?
There were definately some guys like the great Larry Crawford who'd come out to as many show's as he could, as well as my brother and Scott Gamble, but I think you get my point. The deal is that I always tried to bring through a different group every year, in hopes that the listening public would get into that and anticipate a different concept annually. I hope the means exist to be able to continue doing this in the future in the Okanogan Valley.

[cameronward]

Campbell,

It’s been informative to hear your opinions regarding the Okanagan. I was, however, upset by some of your comments.

You are evidently frustrated with your Okanagan tour not coming together, but I don’t feel that it’s fair for you to take it out on us, the working musicians of the Okanagan. Furthermore, while you did not directly mention my name in your indictment of Okanagan musicians, it’s clear from your statements that you believe that I’m not personally supportive of your tours. This is not the case; I come out to all the shows that I can. When your appearances in Kelowna have conflicted with my need to MAKE A HUMBLE LIVING doing what I do, I have made a point of traveling out of town to see you and the wonderful musicians you bring with you.

I’ve seen Torben with you in the Okanagan. I’ve sat in the audience next to piano players who were enthralled with Bob Murphy’s playing. Blaine Wikjord’s drumming has been the topic of conversation in the drum department of the local music stores.

You speak of apathy which can be remedied at the grass roots level, but you don’t mention what this remedy is, except to dump on local players for not attending your concerts. Lighten up. When was the last time I saw you at one of MY gigs? I’m appearing next at the Coast Capri Hotel on Friday Nov. 8. Come on out; I’ll buy you a beer. Hell, I’ll buy you two.

Realistically, I know that it’s not feasible for you to support Okanagan musicians by attending our gigs, but perhaps you could be a little supportive of us by not blaming us for problems that we didn’t cause. We are, in fact, part of the solution. We’re trying to keep music (all music, not just jazz) alive in a place that isn’t, for whatever reason, a very hospitable place for it. You don’t see a lot of local players precisely because there aren’t a lot of local players. The few that exist are eking out a living as best we can. You were a local player once, cut us some slack.

I realize as I re-read my letter that I, myself, have succumbed to my own frustrations, the very thing I’m taking you to task for. I’m sorry. I shouldn’t really take it out on you. Please let’s be kind, supportive and appreciative of each other’s efforts.

Fraternally,

Cameron

[Ryga]

Hi Cameron, I just returned from a long tour with Slide Hampton and the H.F. Quintet so that's why I haven't addressed this.
But now's the time (in F) I won't sit here and single out anybody and I certainly didn't intend to imply that you weren't supportive personally, I know that you are. As you point out, I was once from that area, albeit long ago and most of the folks I knew then are largely long gone.

But Cam - you must understand that it concerns me when I don't see the many that I'd expect to see, and that's not for each and every year - that's for ANY year I've done this. You also have to appreciate all of the time, energy and resource that it takes to be the leader of an ensemble, tour it and promote it. Unless you've been there and done that on the big stage, then you don't know - and that's not your fault at all.
I've had sidemen who I've worked with in the past who've been on my case about everything you can imagine and perhaps some things you can't, and then I continually have to re-explain how things work. When leaders work for me, I don't have this problem. So as far as 'lightening up' is concerned, you'll understand when I tell you 'sorry, I can't'
We're talking my livelyhood now.
How to get the houses filled. It's not that hard, take the incentive to friends and relatives that a concert shouldn't be missed. Teachers make attending a jazz concert something the students get a credit for. Teachers - attend the jazz concerts! Jazz is 100% listening and attendance makes sure that jazz stays alive. There's no greater lesson than coming out and seeing how it's done. Many of the people you'll hear are on some of the CD's that you (hopefully) own. Promote live jazz teachers and let kids know why it's not cool to be downloading MP3's and copying our CD's. If you don't why, contact me and I'll tell you!!
There Cameron, that's my rant. These are just two areas, there's lots more, but following this line of thought will be sure to enlighten people who perhaps haven't listened to much jazz - and will only help teachers because the kids will want to identify with this artform much more.

I know you work with some teachers, please do me a favour and talk to them about it next time your at the Coast Hotel or where ever. Again Cameron - I want to make it crystal clear that there are a few teachers in the Okanogan already doing this, and I do appreciate that - but the majority don't. I do well respect how busy a music teacher's life can be, as I'm married to one. But it takes minimal effort to credit kids for coming out to experience something brought to them with all due effort while they enjoy it at the very same time. Without the kids, Jazz has no future.

[Nimish]

The moment I became intrested im music was also the first time I saw a live show. Mrs. Pekova's grade 8 band camp. The way Campbell Ryga and Brad Turner (the only two I remember) played was enough to give me and some others a desire to play music. It is too bad that most highschool students never get that chance. Cd's and Mp3's are a resource that most aspiring musicians take for granted. Being able to listen to jazz played by the greats of the past is obviously very important, however, listening to live music is both totally diffrent and equally important. Seeing and hearing how professional musicians interact with each other to create a groove is just as important if not more important that studying your Coltrane licks. It doesn't really mean anything (in Bb) if you have one without the other.

[Ryga]

Way to go Nimish. You're a good guy and I really respect your input.

In my experience the students that go the furthest are the ones who never forget the reasons that they made a decision to persue the dream in the first place. Ms. Pekova gave you an opportunity to explore your own potential by giving you many strong examples to follow. That's just part of what makes her a great teacher.

Not to divert from the purpose of this thread too much but I can personally say that it was my high school teacher in Summerland - a man named Jim Grinder, who inspired me a great deal (and Cameron as well I'm sure, amoung many others native Summerlander's) to persue music.
I wonder Cameron if you'll remember all of the great Jazz groups he was responsible for bringing to our small school, not the least of which was Pacific Salt. And what didn't come through our particular area, he'd arrange a school bus and we'd do a field trip to see. He also asked to give us the opportunity to go backstage after the show's to meet the likes of the Maynard Ferguson Band, Count Basie.

Like Nimish, these are the sorts of opportunities I remember and it all came from one teacher's love for Jazz music and the way that passion manifested itself to the rest of us. Those of us in the ensemble who didn't persue a life in music, still love jazz as a result - I know because those are the people that come out and attend concerts.

Cam

[Ryga]

Way to go Nimish. You're a good guy and I really respect your input.

In my experience the students that go the furthest are the ones who never forget the reasons that they made a decision to persue the dream in the first place. Ms. Pekova gave you an opportunity to explore your own potential by giving you many strong examples to follow. That's just part of what makes her a great teacher.

Not to divert from the purpose of this thread too much but I can personally say that it was my high school teacher in Summerland - a man named Jim Grinder, who inspired me a great deal (and Cameron as well I'm sure, amoung many others native Summerlander's) to persue music.
I wonder Cameron if you'll remember all of the great Jazz groups he was responsible for bringing to our small school, not the least of which was Pacific Salt. And what didn't come through our particular area, he'd arrange a school bus and we'd do a field trip to see. He also asked to give us the opportunity to go backstage after the show's to meet the likes of the Maynard Ferguson Band, Count Basie.

Like Nimish, these are the sorts of opportunities I remember and it all came from one teacher's love for Jazz music and the way that passion manifested itself to the rest of us. Those of us in the ensemble who didn't persue a life in music, still love jazz as a result - I know because those are the people that come out and attend concerts.

Cam

[bverkerk]

Just to reinforce what Campbell Ryga had to say, I'm one of those people who was exposed to jazz in high school and now attends jazz shows.

I played trumpet in high school band in White Rock, but was never into jazz as a teen. I had good band teachers, but I almost never practised; I enjoyed band more for the camaraderie than the actual music.

In my late 20s, a girlfriend introduced me to Pat Metheny (his music, not the musician), and I've enjoyed exploring jazz ever since.

About four years ago, I thought, "Gee, I'd like to be able to play some of this great music I've been listening to." So, at age 38, I took up saxophone as a hobby and have been lovin' every minute of it, even though I'll never make it to the stage of The Cellar.

The purpose of this note isn't to bore you with my insignificant life story, but to support Campbell's point that band teachers do plant seeds. In some cases, like mine, they lie dormant for years. Some never sprout. But I agree that school band teachers play a key role in creating new generations of jazz fans.

I now live in the Okanagan and have been amazed by the strength of the school jazz programs here. Some of these kids are playing at a level way above where our high school band played 25 years ago. That tells me the jazz band teachers here are working hard to inspire their students and keep the genre alive.

[Morgan Childs]

See, MY fondest memories are of watching YOU play, Cam, and all the great summers spent in Penticton with the whole OSSA crew. Those few summers were probably the thing that cemented it inside me that I wanted to do this for the rest of my life. It inspired me to seek out whatever live music was going on around my area (meaning Calgary, the closest city) and go see it. Without you guys fostering whatever interest I had, I don't know where I'd be right now or what I'd be doing. I think the idea of offering credit for going and seeing some live music is a fantastic idea. There should be more oppourtunities like that for rural kids too.

[Ryga]

Thanks for your input guys, this is exactly what I'm talking about. Just so as you understand, when I've done these concert tours through the Okanogan in the past, I've always tried to combine the tour with as many educational situations as I can. I personally try and align in advance, all opportunity for local music educators to have us in for clinics, or have a few of them align together with other music educators in their respective districts, so that we'll do clinics for combined schools. I'll entertain most possibilities - there's always a way that it can work while still being of great value to the students and music teachers.

This, needless to say, is over and above our evening shows and my own personal daily routine in the Okanogan of interviews with various media sources to help promote the tour, remind people that we're there and get people out that evening. But I'll often consider the educational aspect of the tour the most important part at times for philsophical reasons. I've had the odd situation where we had done three clinics in one day and then the concert in the evening, particularly in the Nelson/Kootenay District where music education is particularly strong and teachers there don't miss the opportunity to experience the value of that time with us. My mandate is to reinforce that which I would hope that the kids are learning in the band room, and give creedance and credit to the instruction that the teachers provide on a daily basis while identifying those teachers for having given these young people the opportunity to explore this music and better themselves for it.

I ALWAYS make sure that students get a student discount for each and every evening show that I do. So on these various levels, I make sure that people know that they really should come out and hear the group that night. When we do tours with a lot of educational work during the day, we always get a good turn out. The opposite tends to also be true, sometimes it's hard for me to get the interest from local schools for some bewildering reason, and the turn out tends to be lower for the evening shows in those area's, because I feel the kids aren't being informed - but by and large this is the exception, and certainly not the rule.

So in the end, as I'm piecing together a future regional tours, I'll have to start tempering our appearances and schedual around area's where I have the most interest from local educational programs because I think the chances are that much better that I'll get good houses which I need to make this whole thing run. I'm always truely grateful for all the support I get from people like Paul Grant of the CBC who always plugs these tours in his Arts Report in advance of the tour and while we're on the road. Maybe I'm nuts, but who doesn't listen to the CBC?? Especially true for folks that live in the interior.

Anyhow, thanks for the input from everyone, I hope Cameron that this helps you understand where I'm coming from. If I lived up there Cam, you know I'd come listen to you play, but that's not what we're talking about. This is about taking the chance/risk of touring a jazz group and providing people the opportunity to experience the musicianship of truely world class musicians. I conscious career point of only surrounding myself with the very best. There's a reason for that.

Now that you understand just some of the work involved I'd hope that you can also apprieciate how disheartning it can be to play in a populated area where very few choose to come out - but to those who do - I appreciate it!


Cam.

[lissy_missy]

Originally posted by bverkerk
Just to reinforce what Campbell Ryga had to say, I'm one of those people who was exposed to jazz in high school and now attends jazz shows.

I played trumpet in high school band in White Rock, but was never into jazz as a teen. I had good band teachers, but I almost never practised; I enjoyed band more for the camaraderie than the actual music.

The purpose of this note isn't to bore you with my insignificant life story, but to support Campbell's point that band teachers do plant seeds. In some cases, like mine, they lie dormant for years. Some never sprout. But I agree that school band teachers play a key role in creating new generations of jazz fans.

I now live in the Okanagan and have been amazed by the strength of the school jazz programs here. Some of these kids are playing at a level way above where our high school band played 25 years ago. That tells me the jazz band teachers here are working hard to inspire their students and keep the genre alive.

Let me just start off with, I 1000% AGREE with you! Band teachers are a huge factor in getting students inspired! Last year our high school band (Lord Tweedsmuir) played at the Envision Jazz fest 03', and let me tell you! It was such a rush and a thrill just to be playing in front of people! But later that night, at the bell centre, VEJI played, and blew the socks off everyone. i was hooked! And ever since my band teacher exposed us to jazz, i have been a changed person!!! like i said before, I was hooked. I would practice my piano and flute like crazy (along to my fav. tracks). And this year at the envision jazz fest, we had so much fun (and brought in a few awards;) ). But the point of my rambling is this; Band teachers are such insperation to there students! thanks to my teacher, i have found my passion!