The London Jazz Festival began in 1993, the guide to the new event a pull-out section of the magazine Jazz and a free supplement to The Observer rather than a brochure per se. London in the 1990s was a city only just starting to come out of a fifty year post-war population decline, but by 2014, as a result of the highly successful Olympic Games in 2012 and its pre-eminence on the global financial stage, Forbes magazine had designated London the ‘most influential city in the world’. As the Festival has changed over the years, so too has the look and feel of the brochure, and it is also interesting to note that the way in which the Festival has used London imagery over the years, sometimes placing the city front and centre and other times focusing on jazz. Continue reading The changing aesthetic of the London Jazz Festival brochure
For Christmas this year, I was given some new CDs. So what, you may ask? The difference this year is that it’s usually my husband asking for new CDs while I stick to what’s already on my iPod (not that surprising considering that musical listening habits change throughout adulthood). This year, however, I had asked for CDs from artists I’d heard at the EFG London Jazz Festival 2015 and have been listening to them on repeat ever since. Today’s blog, then, is about festivals as sites for sharing and sharing new music with family and friends, both on- and off-site. Continue reading Festivals as sites for discovering (and sharing) new music – Emma Webster
The Streets is a project devised by EFG London Jazz Festival (LJF) producer, Serious, to ‘showcase the local streetscape and unlock the potential of high streets’ with the aims of spectacle, discovery, and participation. The first phase of the project started in July 2015 and consisted of a series of events across seven boroughs (Waltham Forest, Redbridge, Greenwich, Croydon, Wandsworth, Richmond upon Thames and Kingston upon Thames). As Serious co-Director Claire Whitaker said to a group of students about the event: ‘The sun came out, people spent money in shops; the project was a success’. The second phase coincided with the LJF in November 2015, a deliberate ploy which allowed the organisers to take advantage of the increased number of touring musicians in the city and increased opportunities for the musicians to earn money and build an audience. Continue reading The Streets – unexpected musical happenings on Leyton High Street – Emma Webster
Walking to the Barbican Centre – one of the main EFG London Jazz Festival venues – I keep a keen eye out for signs of festival.
Outside the venue, a stone’s throw from the theatre stage door, is a grey BBC outside broadcast van. Whilst perhaps not an obvious sign of festival, it nevertheless indicates that something out of the ordinary is happening inside (the Jazz Voices concert later on will be broadcast live on Radio 3).
Continue reading The Signs of Festival (cont) – Emma Webster
Leafing through the EFG London Jazz Festival programme, I’m thinking about how I went about choosing what to see. A person obviously only has limited temporal and economic resources and the Festival only lasts for ten days with a number of performances happening at the same time and in different locations across the city. Fretting over my decisions also taps into the great 21st-century fear of FOMO (fear of missing out). What if one of the great jazz performances happens and I’m not there to witness it?! If only I had chosen X instead of Y! What if Keith Jarrett does another Cologne Concert and I miss it?! This is even more of a(n admittedly pleasurable) problem when – in the lucky position I find myself in – I can get free access to many of the shows.
In the end, my decisions were made as follows: a small number of gigs were highly recommended by Serious staff, such as Seriously Talented, so they were concrete fixtures in my calendar. There were also a couple of academic events, including a talk by this project’s Principal Investigator, Professor George McKay, so they were also concrete. There were a few artists I’d really like to see so they also got added to the list (Ice-T, Submotion Orchestra and Gilles Peterson for starters). I also wanted to check out some of the educational activities, both those aimed at children and the more ‘academic’ style lectures and talks. Certain venues were also on my wishlist (the famous jazz venue, Ronnie Scott’s, for example), but I also wanted to get out and about in London to see what it was like to attend events outside the centre. Therefore my choices were based on the following primary and secondary considerations:-
1. Artist – who do I want to see and who should I see?
2. Genre – what kinds of jazz do I want to hear and what kinds of jazz should I hear?
3. Venue – where do I want to go and where should I go?
4. Educational – whose learning – mine or someone else’s?
5. Special projects such as The Streets in order to see the full extent of festival activities
Once the basics were mapped out on a spreadsheet, then logistics come into play – if I am at the Barbican on Saturday evening for 7pm, can I realistically get to Dalston, or Enfield for that matter, for a show starting at 10pm?
Thinking about my decisions helps me to understand more about an ‘ordinary’ punter may make their own decisions about who to see – those they actively choose, those which are more of an obligation, all of which limited and influenced by geographical, temporal and economic factors.