As a long-time resident and avid supporter of the Los Angeles jazz scene, I’ve witnessed the ebb and flow of this vibrant community over the years. From my perspective, the recent surge in interest and recognition for local jazz artists is both heartening and challenging.
The debut album from the L.A. jazz supergroup SML is a thrilling elegy for a dead nightclub.
Last year at the cozy Highland Park jazz club ETA, which can only accommodate about 100 people and has less than ideal viewing angles, the quintet spent two intense nights recording extended improvisations. Despite its imperfections as a jazz venue, remarkable jazz performances continually took place there.
At ETA, Anna Butterss, bassist of SML, shared that the environment was particularly conducive to exploration. The freedom we felt there allowed us to effortlessly form our band without any undue influence or pressure other than our own desires.
As a movie critic, I’d put it this way: The Small Medium Large LP by the band, released in June after seven years of existence, is a unique creation that could only have been born at ETA. It’s a one-of-a-kind masterpiece that will never be replicated. Sadly, ETA closed its doors in December, marking the end of an era.
It’s significant that this vibrant new jazz album emerged at the Blue Whale club in Los Angeles as it enters its twilight years. Regrettably, the beloved Little Tokyo venue closed during the pandemic, and similar establishments have found it difficult to maintain consistent attendance.
In L.A., the city is teeming with jazz musicians producing exceptional albums and performing daringly on stage. However, is the high cost and detachment of this city threatening to eliminate such vibrant musical spaces?
As a movie critic reflecting on the past, I can’t help but marvel at how formative those times were for me. It feels like going back to school, where you make friends that last a lifetime. I’m confident there will be more memorable experiences ahead, but none will compare to that unique space we once occupied.
× Recently, the SML group held a meeting at the Philosophical Research Society in Los Feliz, an intriguing art deco hideaway. In attendance were Butterss, Uhlmann, jazz saxophonist Josh Johnson, and synthesist Jeremiah Chiu. Unfortunately, the band’s percussionist, Booker Stardrum, was traveling at the time.
Among this circle of friends, their impressive resumes extend beyond jazz music. They’ve collaborated and performed with artists such as Phoebe Bridgers, Jason Isbell, Perfume Genius, M83, Meshell Ndegeocello, and Leon Bridges, in addition to numerous others.
As a seasoned music enthusiast and avid listener, I’ve had the pleasure of exploring various genres throughout my life, from classic jazz to experimental electronic music. This band’s unique sound instantly captured my attention with its intriguing blend of hard post-bop, witchy electronics, and meditative krautrock.
That project was truly galvanizing, bringing musicians together like never before. According to Chiu, “We formed strong bonds playing shows there. Our sounds melded and our approaches complemented each other.” Over time, an impressive community of talented musicians emerged.
“Saxophonist Johnson found it intriguing to ponder the idea that the actual place no longer exists,” he mused. “Yet, the music produced within and inspired by it will continue to resonate strongly for years to come.”
For Ryan Julio, the closure of ETA where he arranged music felt as devastating as a death. He received numerous messages of condolence from people, but there was an inner voice in him saying, “If only you had attended regularly, perhaps we could have avoided this closure.”
Julio explained the reasons behind the struggle: a decrease in alcohol sales, slim profit margins, and the difficulty of charging admission for local bands. He added, “People worry about Taylor Swift’s ticket prices, but we’re losing out on mid-level shows in L.A. It’s more challenging than ever. If you truly care, you need to attend.”
I’ve had the pleasure of witnessing L.A.’s rich jazz history that dates back to iconic venues like Club Alabam, Billy Berg’s, and the Dunbar Hotel. The Lighthouse Cafe in Hermosa Beach even inspired the hit movie “La La Land.” Dinner House M was once a hub for jazz lovers who loved to party. And let me tell you, the legacy of these venues continues with esteemed supper clubs such as Catalina Bar & Grill, The Baked Potato, and Vibrato. These classic spots draw in older crowds with their refined atmospheres and high-end dining experiences.
As a devoted cinephile and jazz enthusiast, I must admit that this is a challenging time for the smaller, local cinemas and performance halls. These beloved establishments are where innovative jazz acts thrive and push boundaries in music. However, with the ongoing restrictions and uncertainties, they face an uphill battle to keep their doors open and continue nurturing the evolution of this captivating art form.
Jeff Parker, a guitarist and jazz instructor at California Institute of the Arts (where he had his own residency at ETA), emphasized the significance of having a consistent gathering place for the thriving creative music scene in L.A. He pointed out that some of the world’s best musicians reside in Los Angeles currently. However, he noted the challenge of finding a suitable venue in this sprawling city. “LA has a reputation for being tough to draw crowds to shows,” Jeff added.
“Emily Rose Epstein, a talent buyer at PRS and Zebulon in Frogtown, shared, ‘This is an unusual period.’ The film industry strikes have brought about a decrease in work for many, resulting in fewer patrons and increased business expenses for the venue. Despite these challenges, Zebulon remains one of the few independent venues in L.A., making it understandable that people are being more cautious with their spending.”
“I recently had the privilege of witnessing Ethiopian jazz icon Hailu Mergia perform in our small space, and it felt enchanting,” Epstein shared. “The crowd that gathers for such experiences is always eager to mingle with fellow music enthusiasts and bear witness to something extraordinary. However, I can’t help but ponder if financial constraints or prior commitments prevent others from joining us.”
As a devoted cinephile and jazz enthusiast, I’m always on the lookout for unique experiences that showcase the best of this genre. And let me tell you, the Lodge Room in Highland Park is one such experience. The Jazz Is Dead label consistently brings together exceptional talent at this venue, making each performance a “special moment” not just for the L.A. jazz scene, but for me as well.
As a movie buff and small venue supporter, I believe our local government could learn from the pandemic-era Shuttered Venue Operators Grant program. This initiative was a significant stride towards reviving struggling venues, allowing them to keep their doors open. While cities like London and São Paolo have robust cultural and institutional backing for music, Los Angeles has the potential to lead the way. With jazz music deeply entrenched in our history, providing artists with spaces is essential to nurturing creativity and innovation.
As a devoted fan and supporter of the vibrant jazz scene at Sam First, owned by Paul Solomon, I can’t help but acknowledge the strength of our community. However, it’s no secret that we’ve been grappling with a persistent challenge in Los Angeles – the scarcity of suitable venues. We’re up against the allure of staying home and being entertained by streaming services like Netflix. But let me tell you, cultural attractions are the essential threads that weave the rich tapestry of a neighborhood. They’re what make a city truly great.
As a devoted film enthusiast, I host two movie screenings every evening, five days a week. Lately, I’ve established my own label to distribute unique pressings of our live performances. However, Solomon and I can’t ignore the challenges that jazz clubs – the precious few still standing – are currently facing.
“He mentioned that our goal is to be a small, nurturing venue for artists to perform their own compositions. However, the financial aspect can be challenging. Musicians may be prepared to play in such an environment, but the expense of hiring live music and the amount spectators are willing to pay to attend doesn’t always match up.”
At The Sun Rose, a jazz-themed venue in the Pendry Hotel on the Sunset Strip that caters to crowds of two-year-olds, there are frequent performances by actor-musician Jeff Goldblum and music director Adam Blackshire for Rihanna. Notable guests like John Legend and Robert Glasper also make appearances.
Sharyn Goldyn, the person in charge of booking events for a 100-seater venue, shared that making a profit is quite a challenge due to its small capacity. Yet, she expressed gratitude for being connected to a stunning hotel. Surprisingly, there’s an abundance of curiosity towards our venue. People often discover us while searching for top-notch jazz clubs in Los Angeles. As an independent establishment, we have the freedom to be choosy and aren’t bound by larger promoters’ agendas.
Ryan Porter, a renowned trombonist who frequently performs with Kamasi Washington’s band The West Coast Get Down, advocates for the importance of intimate venues like Leimert Park’s World Stage in Los Angeles. This non-profit education and performance space relies on modest contributions to thrive. It was at this very location where they developed one of the most impactful jazz ensembles in contemporary L.A. music scene.
I had the pleasure of attending Porter’s recent performance at the Hollywood Bowl and was excited to learn about his new documentary titled “Resilience.” In this film, Porter sheds light on the vibrant jazz scene in Leimert Park and pays tribute to the late Reggie Andrews. Reggie was an esteemed music educator at South L.A. high schools, where he nurtured the talents of notable figures like Washington, Terrace Martin, Syd, Thundercat, as well as musical veterans such as Earth, Wind & Fire, Patrice Rushen, and Tyrese Gibson. Through his passionate teaching, Reggie played a significant role in shaping the music landscape of South L.A., and Porter’s documentary beautifully captures this legacy.
In the heart of the city, it’s possible to live a life of gang affiliation or drug dealing. But the majority of children aspire to make the most of their potential. I was fortunate to have friends and music mentors who modeled dedication through their work. They provided us with a platform to showcase our talents, allowing us to benefit from their knowledge. It’s now our responsibility to pass on this legacy to future generations.
He is hopeful that places such as the Miracle Theater and Lavender Blue in Inglewood will be able to endure despite the significant investments being made in nearby sports stadiums.
As a movie critic, I’ve come across many films that pay homage to the rich jazz heritage in Los Angeles. And let me tell you, there have been some truly dedicated individuals who went above and beyond to preserve this legacy. In my younger days, I couldn’t fathom why they were so invested in our community’s musical future. But now, looking back, I realize that they saw something special in each of us – potential that was just waiting to be uncovered. They believed in nurturing and supporting young talent, allowing us to witness the magic for ourselves.
Due to rapidly increasing rents, both musicians and the establishments that house them face significant challenges. In response, some artists have broadened their perspective on what constitutes a jazz club.
Carlos Niño, an enigmatic figure in L.A. jazz scene, can be described as a versatile musician, producer, and creative innovator. He has made significant contributions to music, most notably collaborating with André 3000 on his unexpectedly successful flute album “New Blue Sun.” During live performances by André, Niño showcases his unique talents, which range from drumming to waving palm fronds. His latest release, titled “Placenta,” is an intriguing jazz-inspired album that conveys the raw, introspective feelings of pregnancy and childbirth. This project stems from his newfound experience as a parent in his late 40s.
Nino strongly believes that organizations such as ETA, Blue Whale, and Venice’s Townhouse offer significant benefits. However, his interest has recently shifted towards events held in natural settings. For instance, he is fond of the Living Earth collective’s park shows, which combine music performances with hiking trails. Additionally, Nino enjoys the musical showcases organized by Leaving Records in Elysian Park.
During the lockdown, Niño reached out to all his contacts who owned properties, proposing they collaborate on organizing concerts. “We needed to be inventive,” he explained, “but there was no way we were going to halt our creative process.”
They mentioned house parties that moved around and DIY shows, specifically those reminiscent of SoCal’s Minaret Records, as blending the ethos of the underground electronic music community with the coziness of jazz clubs.
Niño suggested that perhaps the current system should be adjusted. He explained, “It’s not just about going to a bar to listen to music and drink, it’s more about nurturing the art itself.” He continued, “We don’t have to be confined by the idea that we can only present music if we have permits and sell drinks. I’ve approached it with as much variety as possible to keep the art true to itself.” Niño concluded, “Letting go of certain things can be beneficial. Music will always find a way to thrive.”
Preparing for their initial performances since penning ETA’s farewell on their album, SML members eagerly anticipate if audiences in L.A. will continue to support clubs like theirs.
At the last moment, it seemed as if everyone was making an effort to join ETA, Chiu remarked. There are indeed similar places in the town. However, it ultimately depends on who is prepared to assume the role of benefactor.
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2024-07-18 20:51