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Now that we have a growing pool of musicians of mature and growing capabilities in North America, we should start looking to the future, to see what kinds of contributions we can make. We shouldn’t be thinking about copying the Euros. Just as the Dutch, the Germans and the French did, we also have something to offer this style. What that might be is anyone’s guess right now. If the strong interest continues, it’ll happen, because that’s just how things work.
I chose the Bluegrass analogy because in a general sense it's a similar niche genre. I'll have to disagree with Scot, I think Gypsy jazz has the same ethnic connections that Bluegrass does. In a general sense Gypsy jazz is an identity music for Gypsies in the same way the Bluegrass is an identity music for Southerners. Also, Bluegrass is widely played by non-Southerners. Scot, since you live in the South you probably don't see it as much, but there are Bluegrass fanatics all around the world. Seattle has a HUGE bluegrass and old timey scene. They're all college educated professionals and hippies from non-Southern origins. Marc O'Conner is from here!
Yet it’s clear that many people here still look down their noses at home-grown talent.
The thing is, bluegrass and old timey music don't need hippies and professionals to stay alive.
Gypsy jazz doesn't have any of this home culture in North America, though it certainly does have it both in Paris and among gypsies in Europe
Something our community could learn from the bluegrassers is the ready acceptance of people from outside the home culture. Bluegrass and old-timey are pretty international and that’s not a new thing. It’s music that can be played well by anyone, and everyone knows it. Yet it’s clear that many people here still look down their noses at home-grown talent. I sold three times as many Musette Guitars CDs overseas as I did here.