Who Killed jazz?

benmakinen.com - WHO KILLED JAZZ - Ben Makinen

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WHO KILLED JAZZ

A film review by Scott Yanow

Who Killed Jazz is a 22-minute documentary by Ben Makinen. Despite its provocative title, jazz is very much alive but that question is used as a point of departure that leads to other relevant comments and conversations. Makinen, whose previous film, the two-hour Jazztown, has a similar format, asked questions to a variety of jazz artists based in Denver during the past few years. Through expert editing, he alternates brief musical excerpts from the musicians with their comments. The statement of “who killed jazz” becomes “who killed the jazz business” and evolves into such queries as “why do musicians have to live in poverty while others profit from their life’s work,” “have jazz musicians lost touch with their audience,” and “why do you play jazz?” A couple dozen jazz musicians are heard from. While Dianne Reeves (who appears briefly), guitarist Charlie Hunter, and trumpeter Ron Miles are national names, most are local players who are not that well known outside of their home city. Miles talks about the exploitation of musicians by club owners. Hunter says (not completely seriously) that the only people who can afford to play jazz are wealthy. Pianist Purnell Steen worries that jazz schools are eliminating the blues from the music and gives an example how some musicians are their own worst enemy. Bassist Charles Burrell (who is now 102) recalls how jazz musicians used to be able to play six nights a week and now are lucky to play a few times a month. Singer Teresa Carroll sometimes steals the show with her animated responses. A surprise is that Colorado governor John Hickenlooper is not only a jazz fan but seems quite knowledgeable about the music. While none of the questions are definitively answered, this brief and colorful film is thought-provoking and well worth seeing. Scott Yanow, jazz journalist/historian and author of 11 books including Jazz On Film

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Is jazz for rich people?

Poorer, less-educated people tended to like country, disco, easy listening, golden oldies, heavy metal and rap. Their wealthier and better-educated counterparts preferred genres such as classical, blues, jazz, opera, choral, pop, reggae, rock, world and musical theatre, researchers found.

economictimes.indiatimes.com - Musical taste differs between rich and poor - The Economic Times

TORONTO: Poorer, less-educated people like musical genres such as disco heavy metal and rap while their wealthier and better-educated peers prefer classical pop and rock, scientists have found.Social class continues to inform our cultural attitudes and the way we listen to music , researchers said."Breadth of taste is not linked to class. But class filters into specific likes and dislikes," said Gerry Veenstra, study author and professor at University of British Columbia (UBC)'s Department of Sociology.The study involved nearly 1,600 telephone interviews with adults in Vancouver and Toronto, who were asked about their likes and dislikes of 21 musical genres.Poorer, less-educated people tended to like country, disco, easy listening, golden oldies, heavy metal and rap.Their wealthier and better-educated counterparts preferred genres such as classical, blues, jazz, opera, choral, pop, reggae, rock, world and musical theatre, researchers found.The research touches on a hotly debated topic in cultural sociology: whether one's class is accompanied by specific cultural tastes, or whether "elites" are defined by a broad palette of preferences that sets them apart.What people do not want to listen to also plays a key role in creating class boundaries, researchers said."What upper class people like is disliked by the lower class, and vice versa," said Veenstra.For example, the least-educated people in the study were over eight times more likely to dislike classical music compared to the best-educated respondents.Meanwhile, lowbrow genres such as country, easy listening and golden oldies were disliked by higher-class listeners.The study was published in the journal Canadian Review of Sociology.

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