Some say jazz is one of the few truly unique American art
forms. Whether this is the case or not, this particular genre has impacted music
significantly all over the world. JazzTimes, a magazine dedicated to this
musical style, is perhaps the most widely read jazz publication in the United
States.With a circulation of over 70,000, JazzTimes views —and reviews—the
ongoing scene of this exciting, yet very exclusive world. Within its issues, very few pages escape
advertisement targeted towards jazz connoisseurs, fans, and devoted musicians. Such
is the case of page six of this month’s edition (April 2015). In it, an ad by Drum
Workshop (DW), the most revered drum brands in the planet, announces state of
the art their gear to an avid clientele. The ad sells an authentic bebop feel and environment by skillfully portraying drummer Mike Clark as its main element in the image,
by imprinting colorful text with underlying meanings, and by supplying the texture
and vibe of a real jazz club in the picture.
Mike
Clark
First of all, the ad shows a drummer in the same exact
perspective the reader sees his favorite drummer at his favored jazz club; the
drummer faces the reader, yet slightly elevated. After all, 80% of the readers regularly
attend jazz clubs, concerts and festival. Furthermore, over 60% of JazzTime
purchasers are musicians; therefore, a significant percentage of the readers are
drummers, thus potential buyers. This is exactly the bull’s eye DW wants to tear
through. Research shows in our consumer worlds, an important aspect of the
“worship ritual” in fields people feel passionate about, is craving and
purchasing the “neat stuff” found in in the last copy of their favored mag (Belk,
2001).
Besides the drummer, (who is central to the ad), not many
elements are framed in this picture. To put it more bluntly, neither the audience, the
stage, nor the band are present here. Only the drum kit, two instances of
text, and a spotlight are shown. In other words, there seems to be little
distraction from the groove being masterfully “performed” by the drummer. Nothing
else matters much. This is solely a drummer’s moment; not a pianist’s, bass
player’s, or trumpeter’s. The other musicians are not even in the
picture—literally. It is all about rhythm, and trying to appeal to those who make
it.
The lighting is also very particular. The spotlight shines
on the drummer’s face; however, most of the background is as black as the night
of the performance. The spotlight, however, also lights the contrasting white
kit. It is the kit that is for sale here, and one way or another, it has to be featured.
The light, and the lack thereof, creates a striking drum set; one that can be
noticed right away, and which will be remembered for a while.
Once we find out who is the drummer in the picture, things really
start falling into place. The ultimate goal of a true artist like this one is
to develop his own voice and to evolve into a very unique player. It seems Mike
Clark found unique expression a while back. Famous for playing with Grammy
winner Herbie Hanckock in the mid 1970’s, and for playing in Phil Collins’
fusion band in early 80’s, Walker’s other call to fame relies on the fact he is
“the most sampled drummer” in history. DW draws the attention of drummers who admire
Walker.
In the image, Walker seems to be swinging away in abandon.
His passion for the groove and the instrument is uncanny. Appearing to be in a
daze, but more than likely counting measures in his head, Walker appeals to
drummers who breathe these moments on a regular basis. “A trustworthy,
competent spokesman,” like Walker, “is expected to have a bigger impact on
liking and preference and to be more believable than one who is less
trustworthy and less competent”(Finn, 1980, pp. 2). In other words, DW does a more effective
campaign by having a fierce and knowledgeable drummer in the ad, instead of just
any regular “John Doe.”
In
addition, jazz musicians are all familiar with their particular dress code. Formally
dressed in suits for the gig, jazz musicians have vowed to look more “serious,”
gaining the respect and ovation they deserve. Walker follows this code in the
image, with his tie providing some contrast from the dark outfit. Despite his
fame, the advertisers depict him as part of the drummers syndicate. Walker
identifies with drummers who play in venues like this one to make a living.
There is nothing fake about him.
In the ad’s composition, the drum set is not more important
than the player. Walker is not playing a fancy contraption. The kit is merely a
four piece set, but the kind that most swing and bebop players prefer. The idea
is that a good jazz drummer needs not fancy gear to make amazing music. The
player is supposed to go to the extremes of his ability, making a small set like
this, sound like huge one. It is up to the player to enhance it!
Colorful
Text
Besides the drummer–and the drums–one the component in the
ad most responsible for a good first impression is the text. Subjects in a
study “typically initially made an eye movement to the large print, regardless
of the spatial positions within the ad” (Rayner et.al. 2001). The largest text here
is placed on the upper right hand side, close to Mike Clark’s head, but also
far enough to not smother him. The text
which reads “this is how DW drums does jazz,” has a different color for each of
the four different lines, suggesting that, it is in a colorful manner you will
sound should you purchase a DW drum set.
The logo of DW makes up the third line of this text. That
logo is immediately recognized by the drumming community who “cult follows” all
of their latest products. This has been DW’s logo/ for some time now; therefore,
the use of the DW logo for brand recognition is even more effective than
spelling out the words” Drum Workshop.” Logos like this one, in fact, are made
up of language shortened into minimalistic form, resulting in effortless
recalling on behalf of the reader (Chmielewska 2005, p.353).
Another cluster of text on the bottom left hand side not
only reveals the identity of the drummer, but explicitly announces his
association with the brand: “Mike Clark plays DW Performance Bop.” These first
two white lines against the black background make Mike Clark’s name stand out.
The four lines diminishing in size as they reach the bottom make the “DW
Performance Bop” line the smallest. Once again, the kit does not snatch
importance away from the player, just like in the image. Moreover, one can read
DW’s website address (www.dwdrums.com) in the last line; an indispensable tool
to get especially the younger generations to locate their products on screens at
the tip of their fingers.
An
authentic Jazz Joint Feel
Lastly, the texture of the image speaks volumes. If one were
to touch the ad with grand imagination, many nuances could be felt. For
example, heat is created by the spotlight and the drummer. The spotlight seems to
shine on some second hand smoke; and though cigarette smoke may be politically
incorrect in actuality, it is still, sort to speak, an inextricable evil of a
real jazz club ambiance. Furthermore, even if these clouds cannot be felt, the
reader is very close to sniffing them. The reader also feels the inexplicable urge
to draw out his handkerchief to wipe off his forehead—or that of the drummer’s—
because the breaking of a sweat in the premises is imminent. In these grounds is
where “DW does jazz,” just like the text claims it does; inside a dark, balmy,
and smoky club, featuring great players, and swinging grooves.
It is perhaps through the texture that this authentic
culture of a jazz club is best recreated in the advertisement. The drummer
placed elsewhere like in a studio, a daytime festival, or in a theater, would be
lost in another feel, taking away considerably from the significance of its
content. This bebop jazz kit and its infectious swing belong only in the
darkest corners of this modest, sometimes shady, but unparalleled joint.
Conclusion
To sum
up, DW chooses an effective medium to reach percussionists who are also
potential buyers for their products. The average subscriber lives in homes
which median household incomes amounts to $100,000, while the drums advertised
cost about $1750 (without cymbals). A DW Bebop set is then, certainly within
reach in these homes, and something to consider for the next birthday,
Christmas, or graduation.
Mike Walker is instrumental (no pun intended) and central to
this notion, and persuades drummers much better than any “mortal” would. The
colorful and different sized text with names, web addresses and other
subliminal messages captures immediately the attention of readers and
subscribers. Finally, the impact of the texture makes the drummers want to fantasize
about the Bebop series drum kit amidst the heat, the smoke, and the other tacit
authenticities of a real jazz joint. Someday the reader might be in the spot
light like Walker. Today, nevertheless, he enjoys the improvisation and a
Martini in the company of an attractive and seductive friend.
