Don’t it always seem to go
Submitted by Secret Society
Back before IAJE’s untimely demise (the real story of which has yet to be told and probably never will), their annual conference was kind of like the jazz version of SXSW. Except way smaller, geekier, and more insular. The “deal makers and gatekeepers” (such as they are in our little corner of the music world) were there, of course, creating an atmosphere thick with schmoozing and self-promotion. (I know I certainly contributed my share of that when we played the last-ever IAJE last year.) But despite all this, there was often a lot of great music to be heard — it’s just too bad that it was always confined to hotel ballrooms and reserved for IAJE passholders exclusively. It meant that jazz’s biggest annual party had no engagement with the host city, no reach beyond the conference center walls.
The contrast to SXSW, which completely takes over Austin for a week and change, could not be more extreme. There’s so much genuine excitement there — huge numbers of people actually getting caught up in the thrill of discovering new music.
SXSW also garners a truly insane amount of coverage, from new media and old. I’ve been enjoying the experience vicariously through my buddy Amanda Marcotte’s posts, which give an Austinite’s perspective on the madness:
Day One: The Day Of The Bear, Panda And Otherwise
Day Two: You Need A Girl In Your Band
Day Three: Devolution Is Real
Day Four: Spring Break For The Cool Kids
Through Amanda, I discovered The Octopus Project and I’m really loving their stuff right now. Check out this video:
For a more exhaustive take, you could do worse than the All Songs Considered podcasts, which I’ve been listening to over the weekend:
SXSW Preview (Carrie Brownstein’s first pick, from The Entrance Band, is killing).
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