EARLY & SMOKE FREE
I took particular interest in Jim Markway’s letter to the editor in March’s issue discussing the lack of venues in the city and the low pay musicians receive playing at many of them. Jim is a fine bassist and his example of he and three other excellent musicians splitting $72 for four hours work surely is a sad example of their plight in New Orleans. And while Jim does a good job citing several factors that would improve the situation, I’d like to mention a couple of others he doesn’t include. Two quick ones: Gigs starting too late and venues that allow smoking. Club owners and musicians: Don’t take my word for it—go ask Tom, Dick and Harry on the street, not at your gig that starts at 11 p.m. in a smoke-filled club. Also, The Times-Picayune has stopped publishing club listings a couple days every week. Although everyone knows newspapers everywhere are losing money and cutting back in many ways, I think this cutback is particularly harmful here. New Orleans is a tourist destination. How are tourists supposed to discover easily where the clubs are and who is playing at them? The answer most certainly is not what The Times-Picayune would suggest—that is, their Web site. I challenge you to go to your computer now and find the listings on their site. Besides, not many tourists bring their computers with them.
—Dusk Lipton, New Orleans, LA
RISKY BUSINESS
In response to the letter from Jim Markway, I was left speechless. Are you kidding me? While some of the problems written about are unfortunately a reality, to call many musicians working in town today “poseurs, incompetents, and beginning students,” is a ridiculous statement, not to mention classless. The same goes for his comments about the Old Point Bar. Why use the name of the venue? I’m sure that for every slow night over there they have 10 busy ones. Bad nights are going to happen, and sometimes musicians (and bartenders, and club owners) don’t make the money they want, I don’t care what city you’re in. Let’s talk about something that never seems to get mentioned in these rants about the poor state of affairs of the live music industry. Firstly, most letters and articles I read come from a point of view which assumes that everyone out there wants to hear live music and that we need more venues. Guess what, it just ain’t so. People who want live music comprise a small part of that already small segment of the population. A smaller part of that small part wants to hear original music, or as many refer to it “music I don’t know.” More music venues? That’s just splitting up the pie even further. The only way musicians can get paid what they’re worth and the club can actually stay in business is for there to be a cover charge, the dirty word of the music business. I can only speak about my place when I say that there’s no way I could afford the substantial upkeep and upgrading of PA and bar equipment among other things if I didn’t cover or at least defray the cost of bands at the door. And yes, sometimes people walk away and that’s tough to see, but at the end of the day, we come out ahead. I guess somewhere along the line people figured that the drinks they buy generate enough money to cover the entertainment. I don’t think people realize that the money at the door goes to the band, and I don’t think it’s the money per se. I’ve seen people who balked at a $5 cover spend $100 at the bar. Perhaps if they were better informed about where their money is going they would be more willing to pay. With that said, I reiterate, musicians cannot get paid what they’re worth unless clubs charge at least a small cover. Operating a music venue is just as risky as playing in one. I wish us all the best.
—Eric Orlando, Owner, Carrollton Station, New Orleans, LA
RAG HAS VIBE
Great clear-headed reality check from Jim Markway. The journeyman phases of our careers have changed a lot and the music has been affected profoundly and not always for the better. When I moved to town I saw a list of tunes one should know to play Preservation Hall. It contained 500 plus titles. I dare say that number is smaller now. The hotels don’t really have many bands; the clubs are less influenced by the cost of living or union rates in determining pay. The good news is the blossoming of an entrepreneurial spirit in our community, and a slow but steady realization in the larger sphere of the importance of tourism and therefore music. Great editorial Jan Ramsey! So refreshing to see those twin elephants in the room mentioned in print. Keep saying it! This has been so obvious to many of us for many years. This ain’t Peoria. In any art, sport, business, or life it is very important to know one’s strengths and exploit them. Alex’s writing is stellar throughout. I especially dug the peripheral comments about Fest programming (or should I say strange lack thereof) and the new new scene. Hey, it’s a start. Now we need more coverage of the exploding visual art and theater scenes as well. The cross-genre inspiration is palpable from here. It’s soothing to see these things in print from time to time, clears the palate from the steady stream of fawning tributes to the time-tested. The cover is great. Irvin is intense. I think it is so cool that he is bringing it back to the street. Believe me when I say that “the trickle down effect” has a lot more meaning in the arts scene than it seems to in the general economy. Wynton’s converts have been showing up at gigs for 20 years now. He and Irvin are living proof that as the art trickles up, the dough begins to flow. They seem to have a great knack for positioning themselves to make a difference. Truly from front to back your rag had a bit of a vibe this month.
—James Singleton, New Orleans, LA
THRILLED WITH IRVIN
We have had the good fortune to know and work with Irvin [Mayfield]. What a passionate man. Sure wish all the 31-year-old men in the City of New Orleans did just 1/10th of the “good” he does. We are thrilled with all he has done and will continue to do for the city, and especially the library system. All the best on your new club!
—Raymond and MaryEllin Santiago, Miami, FL
MORE THAN JAZZ
I like Irvin Mayfield and his music. I also appreciate the historical influence of jazz on the City of New Orleans. However, our “city’s” music is not limited to one genre. Whether it’s the zany genius of the Self-Righteous Brothers, the soulful renditions of R&B covers by street musician Stoney B, or the rockabilly/pop creations of Johnny J., New Orleans music runs the gamut. One of the great things about the New Orleans Jazz & Heritage Festival (which isn’t a festival of jazz) is that audience members can hear a gospel group this hour, a zydeco band from Lafayette the next, and the intimacy of a singer/songwriter after that. Speaking of which, why hasn’t Britney Spears headlined the Jazz Fest? After all, isn’t she one of Louisiana’s most popular music artists worldwide? It doesn’t make sense. Anyway, I hope as a Cultural Ambassador of the City of New Orleans, Irvin doesn’t forget that our city has many cultures with various musical genres that all make the city special.
—Lenny Jorns, Amite, LA
Published April 2009, OffBeat Louisiana Music & Culture Magazine, Volume 22, No. 4.
