Following news that Creative Scotland is to deliver swingeing cuts in funding to a range of Scottish cultural organisations it’s deeply ironic that one of these, the Scottish National Jazz Orchestra, is currently experiencing more recognition than ever before in its relatively short lifespan. With Tommy Smith reportedly on the point of quitting, according to The Scotsman, if the orchestra is forced to “go commercial”, and SNJO chairman Michael Connarty MP seeking an urgent meeting with the Scottish culture minister, a controversial and concerning situation exists. The SNJO was named ensemble of the year at the Parliamentary Jazz Awards just last week, made its debut for ECM records featuring Norwegian bass legend Arild Andersen, and is a major touring band abroad, meaning that the orchestra is one of the few from these islands to actually have a reputation beyond these shores and into Europe. Imagine the situation if a leading Scottish classical orchestra was stripped of its funding and its conductor quit. Heads would roll.

Tommy Smith, whether as a soloist, bandleader, educator, academic with a full professorship, and motivator of a burgeoning new generation of jazz talent, not to mention founder of youth and senior jazz orchestras, is Scotland’s Wynton Marsalis, a figure who is able to draw people to jazz and its culture like no other in his home country.

This Scottish jazz funding drama follows quickly on from the parlous situation in the north east of England when on a smaller scale local promoters lost their funding, and comes ahead of the big shake up in the north of England with a new organisation set to launch in September with reduced means and a bigger geographical area to cover on more limited resources.

The news of the Creative Scotland SNJO cuts – the orchestra receives some £170,000 according to The Scotsman – is a hammer blow to a scene which despite its many successes needs cultural backing from the government. To act otherwise could have long term repercussions for the health of jazz in Scotland and mean that the jazz musician community, and the audiences that they play to, are cut loose to possibly calamitous results.

– Stephen Graham

SNJO (pictured, above)

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