YOUR SOURCE OF JAZZ AND MORE IN WASHINGTON DC AND THE WORLD
You have asked two separate questions, both of which are very tricky to answer. Regarding your first question, "How do we preserve the value of jazz?" That is impossible to answer objectively, because each individual will come to it from a different pespective, based upon their own experience of life and of music, and upon their own social/political/cultural values.
For example, if one asked the question, how do we preserve the value of family relationships, or the value of integrity in public life, or the value of the natural environment, one could make references to the role of government, voluntary groups, religion. the education system etc. etc. to help form a coherent viewpoint which is capable of being discussed, codified, and appropriate conclusions reached, - or disputed. But in the case of your question you have posed regarding the value of jazz, it does not readily lend itself to those areas of thinking. - The "value of jazz" is a very subjective value, which is individual to how each person sees it, and how each person views jazz and views the world.
Regarding your second question, what role do musicians, especially black play?
Again, it is very difficult to provide an objective answer to that. Everyone will come at it from their own individual perspective.
For example, in my own case my efforts to express myself through jazz improvisation involve such things as making what I consider to be pleasing connections between notes and groups of notes, incorporating melody, lyricism, rythme, effective key changes harmonic relationships, tonal quality, expressiveness, half remembered perfomances from from old records - not just of "jazz" but of gypsy music, french chanson, folksong operetta etc. consciously wishing to connect to the listeners. It starts with my own intellectual processes and actual time spent studying and practising, and the intention is to end with some sort of uplifting experience both to the listener and to myself and my fellow musicians in the actual performance, in which the listener is not aware of all the effort I have put into the music. It is the nature of thing that, of course, this ideal never quite happens. The struggle to produce lovely sounds goes on endlessly, at some performances I nearly reach what I intended, for maybe one nice phrase, or even on a whole chorus.
In that context I can't get my head around the concept that there is a greater role in preserving the value of jazz for musicians of one skin colour than for musicians of another skin colour. But, as I said everyone comes at it from a different perspective.
Over 1,694 members and only 4 responses. Mmmmmm...You can lead a horse to water but you can't make it Drink.....
I love jazz ? Well I was fortunate in remembering my parents like jazz artists or music played by them. In the 60s I heard my Dad talking about Jimmy Smith, Ahmad Jamal,Benson, etc. coming thru town. Turns out most music he liked was played by jazz artists but he rarely played records or went to concerts other than in bars(chitlin circuit).. I thought I'd play jazz when I got older and the truth is all the jazz greats/legends/artists played jazz when they were young as did blues greats. My opinion is jazz should be played to folks when they are young and by adolescence. There are more young folks into jazz today than 40 or 50 years ago. I started playing jazz to make money in high school but more seriously listened and studied in college and afterwards while working a city job. My dad went to NYC to see Freddie Hubbard (80s)and that was entertainment to him but in our family environment he never played his 'Lockjaw' records.My mom likes Dinah Washington, Jonah Jones and Nancy Wilson and more a variety and her brother was a prominent local jazz favorite and played actively till he was 69 yrs old.Part of being educated to me is knowing the evolution of the music and everyone has seen the rise of Motown, the black prominence in basketball and football. So it is the Black media's fault that jazz is not really given the space or the props it deserves because it precedes Johnson publications etc. Jake Feinberg a Jewish guy born in 1978 says how come the black media did not promote the Black jazz label in the 70s? Jake is doing phone interviews with jazz greats and says the 70s were a period of experimentation where artists used technology to merge jazz, funk, rock etc. today gospel and other music benefit from the secular sound of jazz which always had a 'sanctified ' component just as it has blues. I went to sit in at a 'jam session ' and the star of the show waved me off after the 'god' of the city played a searing solo on 'All The Things You are'. Why do they invite and even call them 'jam sessions'? I think the big boys do not know what is going on sometimes!