By Eric Olson in the NYT – Reporting from Seattle (thanks to Sandy J.)
The nonprofit Seattle Jazz Fellowship has carved out a performance space in the historic Globe Building — for now — and is putting its economic model to the test.
The Pacific Northwest might be synonymous with grunge rock, but Seattle’s music scene has historically maintained a rich undercurrent of jazz. Even in the 1990s, with plaid-clad darlings riding high on barre chords, the trumpeter Thomas Marriott recalls an ideal downtown scene for budding improvisers to “pay dues,” a sort of low-cost, low-pressure musician’s utopia where rent could be made in a single weekend’s worth of gigs, and “you could just take your horn, walk up and down the street and see people you knew.”
Marriott, 48, is a longtime fixture in the area’s jazz community and knows better than most what makes an operable scene. “Bandstands and elders and youngsters,” he said. “The whole cycle.” Soft-spoken but fiercely opinionated, often wearing his signature orange-tinted glasses, Marriott won the prestigious Carmine Caruso Trumpet Competition in 1999 and used the prize money to move to New York. After several years, he returned to Washington State to build a livable career.
But two decades later, art is barely sustainable in Seattle. Small and midsize jazz venues are floundering. Marriott calls the city’s musical pay scale “abysmal.” “The whole crux of the problem,” he said, “is that economically, local jazz is not really much of a commercial enterprise.” Rent is too high. Tables don’t turn over enough. Tastes have shifted. ( continued)