By Luke Willson
Bob Koester has been releasing jazz and blues with his label, Delmark Records, since 1955. Still, he identifies with the younger generation.
“I remember, in my case, it was very difficult to get into clubs,” said Koester. “I didn’t particularly want to drink… I guess, to make sure people don’t drink, they prohibit kids from going in.”
It’s understandable that bars keep young people out. One underage drinker and their liquor license is gone. But in Chicago, where jazz is mostly heard in clubs, there aren’t too many avenues for young jazz fans to enjoy their favorite music.
The City of Chicago’s Department of Cultural Affairs (DCA) produces a number of concerts open to all ages for free. Though their programming is not specifically geared to young people, it is one of the few forums for young jazz listeners.
During the winter months, nearly all of the DCA’s programming is heard downtown at the Chicago Cultural Center. But in the summer, Millenium Park becomes the venue for scores of musical acts.
“The way we see it, the Cultural Center turns inside out in the summer,” said Kennon Brown, the DCA’s Media Relations Manager. “What happens in Millenium Park is what happens in the Cultural Center year round. Of course, in the summer there’s a lot more people able to see it.”
According to Brown, jazz is alive and well in Chicago. But in the summer, when tourists flock to the city, the DCA’s line up is the most extensive.
The Jazz Institute of Chicago (JIC) works with the DCA in many of its jazz programs. Formed in 1968 to counter the idea that jazz was dying out, the Institute strives to restore its cultural vitality.
“I see no problem with it’s musical vitality,” said Daniel Melnick, Operations Manager for the JIC. “Sure, the presence of jazz in popular culture has declined. I think that’s because there’s just not enough exposure”
The JIC’s Jazz Links program is unique in its goal to create the next generation of jazz musicians. Pooling the music programs from public schools around Chicagoland, Jam Sessions are held monthly at the Cultural Center.
Professionals are also recruited by the JIC to be resident musicians at some schools.
“I go in and attempt to get kids to understand and discover jazz is an important musical form,” said Ernie Adams, a resident musician at Dunbar High School. From African drumming to BeBop and Hip Hop, he strives to teach his students that “it’s all connected.”
At the Feb. 4 Jam Session, Adams’ students were among the next generation of jazz musicians on the stage.
“It was very inspiring to see young people not only listening, but trying to create jazz,” he said. “It reminded me of when I was a young man, when jazz was hip and cool for younger people. When it had some significance.”
Just over a year ago, WBEZ 91.5 Chicago Public Radio was Chicago’s source for jazz. But last January, the station cut programming, going with an all news format. These days, an hour of Dick Buckley on Sunday and the occasional feature on 848 are all that remains for Chicago jazz fans.
“A lot of people jump to the conclusion that we changed because people weren’t tuning in, which was not the case,” said Dan Bindert, former host of jazz programming and occasional producer of jazz features on WBEZ. “Pledge drives during our programming produced a lot of money... Management wanted to go in a different direction for a change in philosophy. They felt that people could get music through other delivery systems.”
Bob Koester, who also owns the Jazz Record Mart, says that the change at WBEZ has sharply curtailed exposure for straight-ahead jazz. But, Chicago’s most vibrant scene, the Avante Garde, hasn’t been hurt because it wasn’t played much on the radio in the first place.
While Koester believes that jazz “needs all the outlets it can get,” he is adamant that one of the new delivery systems, illegal downloading from the internet, is severely hurting musicians and vendors.
“It’s mass theft,” said Koester. “If an artist gets 15% of a $15 record he gets a dollar. If he gets a hundred percent of nothing, he gets nothing.”
Koester has been a mainstay of the Chicago jazz and blues scene for many years. His suggestion to underage jazz listeners:
“Come to the Jazz Record Mart. You can listen to jazz all day.”
Bob Koester has been releasing jazz and blues with his label, Delmark Records, since 1955. Still, he identifies with the younger generation.
“I remember, in my case, it was very difficult to get into clubs,” said Koester. “I didn’t particularly want to drink… I guess, to make sure people don’t drink, they prohibit kids from going in.”
It’s understandable that bars keep young people out. One underage drinker and their liquor license is gone. But in Chicago, where jazz is mostly heard in clubs, there aren’t too many avenues for young jazz fans to enjoy their favorite music.
The City of Chicago’s Department of Cultural Affairs (DCA) produces a number of concerts open to all ages for free. Though their programming is not specifically geared to young people, it is one of the few forums for young jazz listeners.
During the winter months, nearly all of the DCA’s programming is heard downtown at the Chicago Cultural Center. But in the summer, Millenium Park becomes the venue for scores of musical acts.
“The way we see it, the Cultural Center turns inside out in the summer,” said Kennon Brown, the DCA’s Media Relations Manager. “What happens in Millenium Park is what happens in the Cultural Center year round. Of course, in the summer there’s a lot more people able to see it.”
According to Brown, jazz is alive and well in Chicago. But in the summer, when tourists flock to the city, the DCA’s line up is the most extensive.
The Jazz Institute of Chicago (JIC) works with the DCA in many of its jazz programs. Formed in 1968 to counter the idea that jazz was dying out, the Institute strives to restore its cultural vitality.
“I see no problem with it’s musical vitality,” said Daniel Melnick, Operations Manager for the JIC. “Sure, the presence of jazz in popular culture has declined. I think that’s because there’s just not enough exposure”
The JIC’s Jazz Links program is unique in its goal to create the next generation of jazz musicians. Pooling the music programs from public schools around Chicagoland, Jam Sessions are held monthly at the Cultural Center.
Professionals are also recruited by the JIC to be resident musicians at some schools.
“I go in and attempt to get kids to understand and discover jazz is an important musical form,” said Ernie Adams, a resident musician at Dunbar High School. From African drumming to BeBop and Hip Hop, he strives to teach his students that “it’s all connected.”
At the Feb. 4 Jam Session, Adams’ students were among the next generation of jazz musicians on the stage.
“It was very inspiring to see young people not only listening, but trying to create jazz,” he said. “It reminded me of when I was a young man, when jazz was hip and cool for younger people. When it had some significance.”
Just over a year ago, WBEZ 91.5 Chicago Public Radio was Chicago’s source for jazz. But last January, the station cut programming, going with an all news format. These days, an hour of Dick Buckley on Sunday and the occasional feature on 848 are all that remains for Chicago jazz fans.
“A lot of people jump to the conclusion that we changed because people weren’t tuning in, which was not the case,” said Dan Bindert, former host of jazz programming and occasional producer of jazz features on WBEZ. “Pledge drives during our programming produced a lot of money... Management wanted to go in a different direction for a change in philosophy. They felt that people could get music through other delivery systems.”
Bob Koester, who also owns the Jazz Record Mart, says that the change at WBEZ has sharply curtailed exposure for straight-ahead jazz. But, Chicago’s most vibrant scene, the Avante Garde, hasn’t been hurt because it wasn’t played much on the radio in the first place.
While Koester believes that jazz “needs all the outlets it can get,” he is adamant that one of the new delivery systems, illegal downloading from the internet, is severely hurting musicians and vendors.
“It’s mass theft,” said Koester. “If an artist gets 15% of a $15 record he gets a dollar. If he gets a hundred percent of nothing, he gets nothing.”
Koester has been a mainstay of the Chicago jazz and blues scene for many years. His suggestion to underage jazz listeners:
“Come to the Jazz Record Mart. You can listen to jazz all day.”
