Mar 4, 2025 1:29 PM
Changing of the Guard at Lincoln Center Jazz Orchestra
On October 23, Ted Nash – having toured the world playing alto, soprano and tenor saxophone, clarinet and bass…
UK-based saxophonist Nubya Garcia calls the notion of Brexit “completely xenophobic.”
(Photo: Adama Jalloh)
The Roundhouse hosts events, like the Love Supreme Jazz Festival and the London Jazz Festival, that feature performers from outside of the UK.
(Photo: Emile Holba)“It’s just a very different process—proving why you should be allowed to work there, to prove why you’re exceptional and why you should be allowed to earn money there,” she said.
The U.S. State Department, though, foresees no changes in its policies following Brexit.
“The U.S. government considers visa reciprocity to be a bilateral matter. U.S. law requires the Department of State to set nonimmigrant visa fees and validity to match the fees and validity offered to U.S. citizens by a foreign government,” a department official wrote in an email to DownBeat. “The U.K. is a participant in the Visa Waiver Program, which enables nationals of certain designated countries to travel to the United States for tourism or business (visitor B visa purposes only) for stays of 90 days or less without obtaining a visa.”
But artists based in the UK, whose music is rooted in sundry international cultures, will suffer in the wake of Brexit, On The Corner’s Beckenham said.
“Both Penya and Collocutor have roots in so many countries—their formation wouldn’t have been possible without London’s diversity,” he said, adding that both acts are at critical stages of development, when playing more gigs in Europe is an essential part of their growth. “A border with the EU could cripple their future and waste years of patient work, time and investment. ... There’s simply not enough opportunities in the UK to keep these artistic endeavors and passions moving as an enterprise.”
There is hope, however, for British and European musicians. In a July report published by the House of Lords, the EU Committee said that there is potential for a pan-European visa, allowing culture workers to make multi-nation, multi-entry, short-term visits between the UK and EU.
Tougher restrictions on artists travel could, in the long run, spell bad news for the UK’s economy. About $126 billion (£92 billion) was generated by Britain’s creative industries in 2016 alone, according to the British government’s Department for Digital, Culture, Media and Sport.
A pan-European visa makes sense for musicians—even if they’ll take home less money from dates after Visa costs. But the final decision on travel permissions won’t lie with the creative class.
For centuries, London has supported one of the most bountiful music scenes in Europe, if not the world. Buckenham plans to relocate On The Corner to the European continent—and he’s not alone. And London’s loss could be Europe’s gain. With an expanded network spreading across the continent, a potential dispersal could be good news for for the future of jazz; fresh collaborations, ideas and investments could blossom. But we’ll have to wait until March 2019 to begin understanding what impact Brexit will have on UK and European music scenes. DB
As Ted Nash, left, departs the alto saxophone chair for LCJO, Alexa Tarantino steps in as the band’s first female full-time member.
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