National Jazz Writing Competition

[alimcg]

I find it quite easy to hate myspace. Like the rest of the internet it will soon be taken over by wannabe porn stars.

[aj]

Jeez Miriam, see what you've started ??!

[Miriam Zolin]

Glen, I have to agree with Mark here. As someone who chooses her contribution to be (and really enjoys) interviews with jazz musicians and feature articles about them as well, I make a conscious choice not to critique the music. I do report what a musician says about their own music but I offer no commentary. This decision (for me, anyway) is about coming from a place of humility and respect where (no matter what aj may very kindly say about my knowledge or lack of it) I can honestly say I don't feel confident to critique the music, because I lack knowledge about the craft that goes with this particular artform. I am a writer, and some people have dared to call me a jazz writer, though I would probably deny it if pressed. My response to improvised music has always been at an emotional and generally uninformed level (in terms of historical reference points, contemporary reference points, musicology or anything vaguely factual) i.e. More subjective than a review *should* be, in my opinion. I expect reviews to be informed and to come from a place of knowledge.

I write poetry to improvised music and jazz (Allan Browne, Andrea Keller and Tamara Murphy making music together can make my pen do amazing things on paper). I can write short stories and other prose that revolve around the music and what it does to a character, and i can go home from a gig elated (or frustrated) about what's happened in my brain as a result of the aural stimulation that comes from the stage. But that's not a critique. That's just a gut response. And a great review has a bit of that in it, but is also informed by a body of knowledge and a range of reference points that are about knowledge.

Sure, there are some features that contain 'content about the quality and the validity of the music' but not all do, and it is the choice of the writer whether to include this or not. In a review, these aspects are not optional. And a bad review provides these as uninformed opinions, whereas a good review provides them as informed ones.

'Good reviews' and 'bad reviews' -- now there's a topic for dicussion. Talk about a red rag in a paddock full of bulls. Any takers? Let's start with "Who are reviews really written for, and why?"

[Miriam Zolin]

Pee ess. Have just been to wonderful friend's house and had wonderful dinner with sommelier who brought wonderful wine. So I'll just be speaking my mind, if nobody has any problems with that.

Next post please ...

[Miriam Zolin]

Judges

My reasons for not putting the judges' names up in neon lights on tall buildings all over the country? It's not secret; there's nothing to hide; but why would I want to make their job more difficult. I've been a judge in writing comps before. I know what it's like to be approached by hopeful entrants. It sucks. Why would I want to put them through that?

But the judges have very kindly agreed to let me divulge their identities, so here they are.

And remember this is not a matter for negotiation. (that's the excellent pinot speaking)

This year they are Mr Allan Browne (he has agreed to be an ongoing member of the panel, to provide some continuity.) I asked Allan to do this because he understands the artform of jazz, he understands the beauty of the written word, he's been around long enough to know what a good review looks like and he's a thoroughly good egg.

Also judging this year: John Shand (known to youse all) and Lynette Irwin (probably ditto)

[Miriam Zolin]

Do the judges know who the entrants are?

No, they do not!!! All names are stripped from the entries. In fact the submission guidelines say that the entrant's name should only appear on the cover sheet, along with a whole swag of other information that is also mentioned in the submission guidelines, which btw can be found here > www.jazz-planet.com/njwc

Cheers
Me

[Miriam Zolin]

What qualifies as jazz for the purposes of the competition?

Uggh. I suspected this would come up one day. Our judges will figure that one out, if you submit something that they reckon crosses some sort of line into another realm. I'm fairly certain (though I can't speak for them) that the category is as broad as it needs to be (vague enough for ya?) But if it's been released on a jazz CD and someone's advertised a gig as jazz, are they going to argue with you about it? Not convinced they will.

If you're worried, send me an email with the details of the music you're not sure about. I'll give you a good and useful answer, quickly. I promise. [e-mail]

[glean]

miriamz said:

Glen, I have to agree with Mark here. I write poetry to improvised music and jazz





quot;

You didn't really say that did you? You are joking, PLEASE TELL ME YOU ARE JOKING?

by the way why are musicians judging a writing contest why not get someone who actually knows about good writing like Romana Koval for example?

Mind you writers often judge Jazz contests and awards so I guess that is fair.

But Miriam...

Please tell me you don't write poetry to improvised music PLEASE!

John Shand another totally unbiased drummer whoops writer whoops Sydney person whoops bloke

[Miriam Zolin]

Glen - Not sure why what I said was so shocking... ? I don't for example, publish anything written in this way. Heaven forbid. But yes, this is one of many sources of inspiration for production of strings of words. The words come out differently when I am in the same room as certain types of sounds...

[mim]

Miriam, I'm fairly certain he was just being a git....

If music can inspire other music, it stands to reason it would inspire other kinds of art also. What a weird thing to be horrified by.

[glean]

not so

[ladylex]

Thanks Ms Miriam. Very helpful there! I wanted to ask you so I could forward this to other aspiring writers/reviewers

And I must say, I love Lynette to death!

I just love the idea. Even if I dont enter it this year, its a very good competition. Because.. how else can we encourage people to go see Jazz musos without words to back it up? Thats my thoughts anyway. Kudos to whomever came up with the idea!

[aj]

That would be Miriam.....came up with the idea, the effort and the money !

[ladylex]

What a very fine lady indeed

[andrewh]

I think the level of comment on this particular topic shows how valuable this competition is, and even those who scorn it or refuse to enter underline its value and even necessity. Highlighting the poor standard of jazz journalism as an argument against such a comp is plainly backward: full credit to Miriam for doing something practical to raise the bar. And yes, you do run the risk of the stocks if you name the judges - Wang has always had incredibly distinguished judging panels whom no-one liked, but who sometimes managed to recognise complete quality - but it is simply churlish to cast aspersions at the likes of Browne, Irwin and Shand (or Clare and Pochee) even if you don't like the individual colour of their prose or politics. More power to them. I am sure that most of us look around us and see nothing approaching good jazz writing happening locally: so how to go about changing it? This is a valuable incentive, for which full marks.