Let the games begin

Okay, so, I feel like the first thing I need to address is "the post." The one that's getting all the attention right now: Nicholas Payton's post suggestion that jazz isn't cool, and that jazz is dead. But, to be perfectly frank, I don't want to, for two main reasons: first, lots of people are already saying lots of things about it, and I'm not convinced that I have anything interesting to contribute. Second, I'm not completely sure I understand his post - a post that says things like "Jazz died when cool stopped being hip", refers to the story of Sodom and Gomorrah (and later, necrophiliacs), claims "America is a lie" and ends with "Silence is cool." I think there might be some good points about how we shouldn't limit the definition of jazz, and how musicians shouldn't be satisfied with getting paid less than they're worth, but I'm truly honestly not sure. Read it for yourself and let me know what you think: "On why jazz isn't cool anymore."

As for the title of this post, I'm referring to the throes of planning in which I now find myself. We're full on here - offers are starting to go out and some negotiations are in full swing (ha!). No, I won't tell you who we're considering. That wouldn't be cool. (Or hip.) The flip side, of course, is that I've already had to send out a number of rejection emails...which is definitely not cool. I've already heard a ton of good music, and since our resources aren't bottomless (how I wish), only a fraction will be featured during the 10 days of the 2012 TD Toronto Jazz Festival. I'm through about 124 submissions and feel as though I've barely made a dent. I'm trying to go in a linear fashion, but I maybe I should think more concentric...(okay, I'll stop now...)

Some of the fun at this time of year is dealing with agents. The range of personalities possessed by agents, as is the case in any profession, is pretty wide. Some are very straightforward, and some are completely out in left field. It's always funny to speak with agents who apparently know more about the Toronto market (and what it can support) than we do. At the same time, I've had some really refreshing conversations with agents through this process - there is a realization among some that the fees they can ask in certain markets just aren't going to fly here, and as a result there has been a much more collaborative spirit to some of the negotiations. That actually is fun - I recognize that they have a job to do, and they want to get the best deal for their clients, but it's nice to hear a recognition of the realities of varying markets and varying economic challenges.

This part of the process can be exhilarating (when hearing or discovering some outstanding music) and frustrating (when listening to a submission that is clearly not up to snuff), and is always challenging: how to fit in all of the music I like, how to say "no" to the stuff I don't, and how to say "not this year" when there's just not a fit. Plus balancing out venue availability, figuring out ticket pricing and concert start times...as I said to my colleague in Ottawa, it's all a bit of a jigsaw puzzle. But I know at the end of it, when the brochures are printed and the lineup is done, I'll miss being in the middle of 500+ submissions, spending most of my days listening to music from all over the world.

And, for what it's worth, I think jazz is very much alive, and still very cool.

You dig?

Josh

P.S. - I couldn't resist. Here's Blossom Dearie singing Bob Dorough and Dave Frishberg's tune "I'm Hip".