Why don’t jazz journalists care about the biggest names in jazz? When Awards are given for jazz excellence, why don’t in-the-know critics applaud the popular musicians, top record sellers and radio playlist stars?Â
Two upcoming Awards presentations highlight these questions. The Jazz Journalists Association with a cocktail barbeque buffet on Wednesday June 18 at the Jazz Standard, in Manhattan, hails the jazz aesthetic but risks preaching to the choir. The First International Jazz Awards, advertised as a “two-hour televised extravaganza” hosted by comedian D.L Hughley at the Beverley Hilton in Beverley Hills on June 29, bases its nominations on Soundscan‘s top jazz sellers,” contributing to the tautology “What sells best is best.” Everyone knows that, right?Â
Conflict of interest alert: As president of the Jazz Journalists Association, a non-profit organization whose 400 professional members can vote in the Jazz Awards and as producer of the Jazz Awards parties over the past dozen years I’m chin-deep in our initiative. Kitty Sears — a former associate of Marvin Gaye — of Tamar Scarlet Entertainment is the force behind the Los Angeles-based International Awards, hoping to fulfill her dream of producing a globally broadcast Academy Awards of jazz.
There’s some overlap of nominees but not a lot. At a glance, the Jazz Journalists Association’s heroes echo the polls jazz magazines and other insider publications in print and online produce. As the International Jazz Awards delve into music business favorites, they lend exposure of some artists crits typically overlook: On the basis of Elsa Valle‘s rollicking promo vid alone, I’m eager to see this IJA nominee for Latin & Afro-Cuban Outstanding Performance. At their best, Awards should function just that way, turning a listener to new discoveries.Â
Do the JJA’s Jazz Awards do that? Considering our limited budget (based on modest sponsorship, some program ads and tickets priced for members at $40, non-members at $100) we probably don’t reach out enough. The IJA’s plans are much more glamorous, promising red carpet coverage of Hollywood A-list attendees, two black tie gala events, and “the talents of international jazz stars,” for a $250 ticket. It its event comes off as intended, it could indeed snare the attention of audiences to whom jazz is hopelessly old and irrelevant.
What’s the dif, and what’s the point of such Awards anyway? Jazz fanatics of all stripes are eager to raise the profile of the art form and its artists, even for the moment such celebrations pierce the greater public’s consciousness. Awards are as valuable as the spirit in which they’re given. Recipients are usually pleased to be celebrated. Conferring bodies feel good to have done their part. For some, there’s the excitement of being involved in a competition. We all know there’s no “best,” really — except in a subjective sense, the best being what we like the most. Jazz journalists are specialists, applauding really special music. The International Jazz Awards promote what Soundscan sales charts say the majority of jazz buyers like, maybe to those who never buy jazz. Good luck with that! But I’m still listening for something different. . .Â