Full of sound and fury signifying nothing?

I sat and watched the heads of the audience bobbing up and down, snaking to and fro to the sounds of the four dark and white skinned musicians exposing their talents and wares on the brightly lit stage. Each standard that was announced by the well versed pianist and leader of the band was warmly received by the hundred or so patrons that came to share with them their love of America's indigenous music, Jazz.
Scanning the crowd I saw lips moving and pantomiming the horn players melodies. Familiarity with each number was all too evident. The night was magical in so many ways that one had to really stop and contemplate an answer to that nagging question. The question that I was hesitant to ask in mixed company. Why are there so few African Americans attending Jazz Concerts?
But hold on. This night, except for the artists on that stage, does not reflect the diversity that Jazz, more than any other art form, was always proud to claim. Oh no, the separation of the masses, which as of late is all to apparent, is a growing concern for artists and concert goers like myself. What was once the single most important place of refuge that an artist of color could go to and express his or hers craft, free of that tiered system of racism, is now seeing a resurgence of those tired old feelings and racial attitudes. But this time it is wrapped in the guise of economics and marketing.
I asked a promoter friend of mine why are the seats at his venue, that use to present straight ahead Jazz, now mostly filled with white patrons. He looked at me and said, "I was hoping you could tell me that. We try to bring in acts of all persuasions and with different sounds and grooves, but the only time we get a large African American turn out is when we present a Smooth Jazz program. Then it's full".
I have seen what this promoter is talking about and it also baffles me. The sound of drum machines, bell like synthesizers, music programs on computers that are triggered from stage, seem to some how belie the acoustic experience that traditional jazz listeners have come to expect when they go to hear a Jazz performance. Of course I am painting a broad stroke for in the right hands these modern musical devises can add a heightened theme to an artists musical interpretations. Artists such as Herbie Hancock, Chick Corea, The Yellow Jackets, Al Jarreau, Pat Metheny and countless others prove that in the right creative hands it is a wondrous tool of expression. But the over use and abuse of these synthetic instruments has somehow taken the place in the mind of the new comer to this music that this is what jazz is all about. A monotonous groove, build on predictable riffs, layered over numerous tracks of simple melodies, designed to numb and pacify the uneducated into believing that this is really some intricate shit.
Now it seems that concert venues have caved in to the overwhelming hunger of the uninformed to have the name Jazz put in front of any thing that is musically familiar. Festivals that present World and R&B music to Blues and Country, slide these artist into their venues under the guise of the title Jazz festival. Believe me there is nothing wrong with anyone wanting to work, in fact everyone should work, but if the gauge on how a Jazz act is booked and presented is based upon the seats sold at a "Jazz" venue that just held the likes of a Bob Dylan or a Peter Frampton who do you think is going to be hired the next go round, and what percentage of color will that audience attending that festival will be?
If the disparity between White and Black Jazz concert goers is ever to be fully addressed I feel it must first come from the ranks of the African American Jazz lover. Questions like why is their such a dramatic drop in support for Jazz artist's in the African American community. And why, knowing the struggles and in roads that those before us have taken to bring us this music, they are not being championed by legions of African American faces attending their concerts.
Remember there was a time when Louie, Ella, Duke, Nat, Miles and names forgotten in time had no choice but to use the back door in order to reach the performance stage and people of color were designated to balcony's and special area's of seating labeled "Colored Only." Are we that removed from the "Struggle" to deem ourselves comfortable enough to impose self segregation. I hope not.
Let me hear your opinion on this topic that seems to be festering in our wonderful community of Jazz lovers.