Jazz and COVID-19

Being a jazz musician is not easy.

Although it may be America’s unique contribution to the arts, jazz has not been this country’s popular music since the 1930s. Under the most ideal circumstances, opportunities for employment are limited and economic survival requires hard work, ingenuity and versatility. The recording industry has changed dramatically due to technology and income from music streaming is a tiny fraction of what record sales once generated which for most jazz recordings was not much anyway. Unless a teaching job at a university, public or private elementary or high school can be secured, benefits such as health insurance are out of reach for most musicians.

So since the COVID-19 plague descended upon us full bore in March, the toll on just about everything related to jazz has been staggering. Disproportionately preying on minorities and the elderly, the virus has claimed a number of iconic jazz figures including pianists Ellis Marsalis and Mike Longo, guitarist Bucky Pizzarelli, trumpeter Wallace Roney, bassist Henry Grimes and saxophonists Giuseppi Logan and Lee Konitz.

The economic devastation caused by the virus and shutdowns put in place to slow its spread have led to the closing of restaurants, bars and concert halls, venues for most jazz performances. While some of these have reopened, the restrictions imposed are not conducive to long-term viability. An eating establishment cannot survive at 25% capacity. And easing these restrictions is not an option. Until a vaccine is available, which could be years away, the only proven methods to contain the virus are social distancing, face coverings and hand washing. Efforts in several states to reopen the economies too rapidly have led to spikes in COVID-19 infections.

On a personal note, in recent years I have been involved in producing jazz events in central New Jersey. For 2020, we had several concerts and lectures scheduled featuring some of the most prominent musicians and scholars in the New York Metropolitan Area. These have all been postponed until 2021 and even the first half of next year now seems very uncertain. We are also considering virtual events, but those require technical expertise that we currently lack and would add cost to the productions.

Trying to find a substitute for playing live

Jazz is highly interactive and although technology allows it to be performed when the participants are all in separate locations, there is a great desire to somehow safely assemble and play in a setting that resembles normalcy. Facebook and similar platforms are full of videos of varying quality, of ensembles whose members are masked (when possible – obviously not an option for horn players and singers) and suitably distanced. Often these get-togethers take place outdoors, in parks and other public places which are obviously limited by weather conditions and seasons. This approach may provide publicity and help the musicians remain relevant, but it doesn’t pay the bills.

The creativity that some jazz clubs and festivals have shown in dealing with the current situation is impressive although not guaranteed to insure survival. In New York City, The Blue Note, Dizzy’s Club, Smalls and the Village Vanguard have all instituted virtual performances by live musicians in empty clubs, streamed (for a fee) to an audience watching and listening on their computers and smart phones. The quality of the music is remarkable given the lack of interaction with a live audience, and this could be a model for the future.

Will alternatives sustain the tradition?

In fact, if there is a silver lining emerging from the shutdown it may be the Zoom meeting technology and the opportunities it offers. In response to the confinement, virtual meetings and webinars have proliferated, often hosted by non-profit organizations such as Music on the Inside, The Jazz Arts Project and Flushing Town Hall in which an artist talks and even performs from his or her home. All that’s needed is a moderator and a technical assistant able to troubleshoot if necessary. The attendees can submit questions and comments, which is not an option for live events. And the audience can be located anywhere, even foreign countries. This presents a novel way of getting to know the artist and learning how his or her particular approach developed. When the virus finally relinquishes its grip, it is quite conceivable that events will routinely take place both live and streamed thus reaching a much larger audience.

Can jazz survive the COVID-19 pandemic? In my opinion, the answer is yes, but there are a number of considerations. How many surviving musicians will give up and find another profession? Will audiences return to traditional venues or prefer listening in the comfort and safety of their homes thus saving money and avoiding travel? How many venues will survive? Will musicians be compensated appropriately?

The “new normal” could be a very different and challenging situation for the jazz community.

Noal Cohen is an author, jazz historian, record collector and musician residing in Montclair, N.J. Read more at Jazz From My Perspective.