A hotel ballroom running an artist series since 2010, counted on the same terms as every other series here. Across 14 counted seasons and 115 artist-slots, 4 slots — 3.5% — went to an artist on one of the four rosters that supply 22.1% of the artist-run events in this study.
14 counted seasons, 115 artist-slots, 90 distinct artists, 2010 to 2027. Founded in 2010 by Marshall Glickman, a former president of the Portland Trail Blazers; booked since the 2015–16 season by the commissioning promoter, after Glickman left rather than accept the hotel cutting the season from six weekends to four. 81.1% of everyone ever booked here played a single season and never returned. The four-desk share is 3.5% — 4 slots out of 115. By this study’s taxonomy a series booked by an artist’s production company is an artist-run event, the same category as the seven Apaulo series, and that bucket sits at 22.1% — the only like-for-like comparison, and the one to read. This is a ballroom of roughly eight bookings a season, a different business from a festival weekend and carrying none of the same risks. The commissioning promoter plays it in 5 of 14 seasons, which makes him the most-booked artist on the bill; that is counted in full here rather than netted out, as it is for every other series.
Rule 2 says every figure in this study is a floor. The two performance totals below are estimates from an assumed grid, not counted performances.
Both totals assume five artist weekends of three performances each. The grid has varied: Glickman’s seasons ran six weekends (Bend Bulletin, 20 March 2015), the hotel planned four for 2015–16, and the Bulletin (29 January 2025) describes five or six. The figures are therefore approximate. Two other bodies of work sit outside the counted dataset and are stated as unverified for the same reason Gulf Coast’s 2017 bill is: they cannot be reconstructed to the standard the rest of this page meets. The commissioning promoter claims one hundred and more shows at Jimmy Mak’s in Portland over the club’s roughly twenty years of operation, which ended when it closed at the end of 2016; the recoverable ticketing archive documents 36 of those nights across 55 listings, 2009–2016 — a floor, not a total. It also claims eight years of the Governor’s Ball at The Sentinel; five are documented. Neither figure is counted anywhere in this study, and neither should be cited from this page as though it were.
The same rotation chart drawn for every series in this study, applied here. Brass is a name that had never played this room; dark is a returning one.
Across every season after the first, 25 of 110 slots — 22.7% — went to a returning artist. The two spikes are 2019, a deliberately nostalgic season that brought back Diane Schuur and the Brubeck Brothers, and 2014, the largest bill in the run at 22 slots.
Every series with at least twenty-five counted slots, ordered by the share of each edition’s bill held by someone who had already played it. Same function for all of them. Where several artists tie for most-booked the count of others tied is shown — an earlier draft printed one name and hid the rest, and every tie it resolved happened to favour a name this study is arguing about.
| Series | Eds | Slots | Repeat rate | Most booked |
|---|---|---|---|---|
| Apaulo: Live From La Costa | 5 | 30 | 20.0% | Tris Imboden (3) |
| Jazz at the Oxford — the control | 14 | 115 | 22.7% | The commissioning promoter (5) |
| Clearwater Smooth Jazz Jam | 4 | 32 | 32.0% | Brian Culbertson (3) |
| Apaulo: Asian Heritage Jazz Festival | 3 | 48 | 33.3% | Rene Paulo (3) +1 tied |
| Rick Braun’s New Year’s Eve | 4 | 32 | 36.0% | Peter White (4) +1 tied |
| Apaulo: Grooves In The Grove | 3 | 28 | 38.5% | Gregg Karukas (3) |
| San Diego Smooth Jazz Festival | 8 | 125 | 38.5% | Eric Darius (8) |
| Apaulo: Pacific Rim Jazz Festival | 4 | 52 | 38.9% | Al Waterson (4) +1 tied |
| Newport Beach Jazz Festival | 13 | 223 | 41.5% | Derek Bordeaux (9) |
| Apaulo: Rhythm On The Vine | 7 | 89 | 49.4% | Brian Simpson (5) +2 tied |
| Apaulo: Temecula Wine & Music Festival | 14 | 198 | 50.8% | Kanzaki (13) |
| Gulf Coast Summer Fest Jazz Edition | 9 | 126 | 51.3% | Jeff Lorber (5) +1 tied |
| Apaulo: Grooves At The Westin | 10 | 110 | 51.5% | Peter White (8) |
| BMG Concerts | 34 | 568 | 52.9% | Acoustic Alchemy (14) |
| Yosemite Jazz Train | 6 | 54 | 54.0% | Peter White (5) +2 tied |
| Daytona Jazz Weekend | 7 | 79 | 56.2% | Keiko Matsui (7) +2 tied |
| Florida Smooth Jazz Weekend | 12 | 133 | 59.4% | Peter White (11) +1 tied |
| Catalina Island JazzTrax | 38 | 915 | 66.5% | Peter White (23) |
The table is printed so this room can be checked against the same function as everything else, not to rank it. The position is largely an artefact of bill size, which the table does not show: this room books 8.2 artists a season where a festival weekend books twenty-four or more. Small bills close more slowly, so a low repeat rate here is substantially arithmetic rather than judgement, and it should not be read as a comparative claim about anyone else’s programming. Exhibit C is the measure that does not depend on bill size at all.
Slots going to an artist on the roster of Reliant Talent, Chapman & Co. (an artist-management company rather than a booking agency), Mighty Music or Major Scale. Representation recorded only where the desk’s own roster page says so, never inferred from a shared billing. Every series with 25+ slots is shown — an earlier draft showed only the ten promoter-run ones, which removed the closest comparators and flattered this page.
Four artists in 14 counted seasons: Lee Ritenour, Paul Taylor and Lindsey Webster from Reliant, Eric Darius from Mighty Music. Webster is claimed by both Reliant and Chapman and counted for both, so per-desk lines sum to more than 3.5%; the combined figure counts 4 distinct slots, never the sum. Widening to every desk in the roster file adds one — Steve Cole, at Paster — for 4.3%. The nearest comparators are the artist-run series — Asian Heritage at 6.2% and Temecula at 8.1% over its own fourteen editions — and those are the figures this one sits beside. The promoter-run numbers at the top of the chart are a different kind of business and are not the comparison being drawn.
The page argues this room is not agency-supplied. That is not a claim that it never uses agents. It does — here is every desk it has transacted with and every artist who came through one.
| Desk | Slots | One of the four? | Artists |
|---|---|---|---|
| RELIANT | 3 | yes | Lee Ritenour; Lindsey Webster; Paul Taylor |
| MIGHTY | 1 | yes | Eric Darius |
| CHAPMAN | 1 | yes | Lindsey Webster |
| PASTER | 1 | no | Steve Cole |
4 desks of the 16 mapped in this study, accounting for 5 of 115 slots. 12 mapped desks have never supplied this room. The point is not purity, and it is certainly not virtue: it is that booking direct is the default here and the agency the exception. A room this size can work that way. A festival weekend carrying a payroll and a hotel block has reasons to prefer a known supplier that this series simply does not face, and nothing here is offered as a criticism of the buyers who do.
These are the names the rest of this study is about.
| Artist | Circuit slots | Series | At the Oxford |
|---|---|---|---|
| Peter White | 86 | 13 | 0 |
| Rick Braun | 68 | 14 | 0 |
| Mindi Abair | 58 | 13 | 0 |
| Eric Darius | 47 | 10 | 1 |
| Brian Simpson | 46 | 15 | 0 |
| Vincent Ingala | 45 | 10 | 0 |
| Steve Oliver | 39 | 11 | 0 |
| Richard Elliot | 39 | 11 | 0 |
| Keiko Matsui | 38 | 12 | 0 |
| Gerald Albright | 36 | 11 | 0 |
Nine of the ten have never appeared here; Eric Darius played one season, in 2022. That is a fact about this room’s size, budget and market — a Bend ballroom is not competing for the artists a festival weekend books — and it is recorded to complete the control, not to suggest anything about the artists themselves or about the promoters who do book them.
Not a top ten: every artist with two or more seasons, 17 of 90. An earlier draft cut this at ten and silently dropped seven artists tied at two.
The commissioning promoter appears in 5 of 14 seasons: as a headliner of one weekend (18–20 February 2011) in the opening season under Glickman, then in 2019, 2024, 2025 and 2026 under his own company — two of those December holiday shows sold outside the series pass. On this bill it is the largest single concentration there is, and it is counted in full.
All 90, 2010 to 2027. Bold with a multiplier means more than one season. 81.1% of this list appears exactly once.
Same room, same town, two buyers — and a much smaller difference than this page first claimed.
What this is not. An earlier draft reported 11.7% for the second era and called it “less than half as often”. That came from resetting the repeat counter at the handover, so an artist first booked under Glickman who returned under the commissioning promoter did not count as a repeat. Seven artists cross the handover — Bruce Forman; Dan Balmer; Darrell Grant; Diane Schuur; Karen Briggs; Lao Tizer; the commissioning promoter — and on the global-memory basis used everywhere else here the figure is 20.9% against 25.6%. That is under five points, not a halving. It is also confounded: Glickman averaged 12.0 slots a season against 6.7, and bigger bills close faster. The honest reading is that the handover changed this room very little, and that most of what separates a room this size from a festival weekend is size rather than virtue.
Every counted season, as billed. The 2012–13 season is excluded: only three of its six weekends survive in the archive, and rule 2 omits incomplete editions rather than estimating them. The 2020–21 and 2021–22 seasons did not happen.
Counting basis. This series enters the dataset on identical terms to every other,
is measured by the same functions, and the commissioning promoter’s 5 appearances are counted in
full and printed first in Exhibit F. Reproduce any figure with
Scripts/oxford-tally.py against
the published lineup file and appearance CSV.
Three corrections, named. This page was audited against its own sources before
publication, and three choices were found, each moving the headline in this series’
favour. (1) It compared 3.5% against 39.3% and called that
“the circuit”: 39.3% is the promoter-run bucket, the circuit is
36.2%, and the bucket this series belongs to is 22.1%. (2) It reported an
era split computed on a resetting counter. (3) Exhibit C showed only the ten promoter-run
series, omitting the seven artist-run ones that are the closest comparators. All three are
corrected above and recorded here rather than quietly fixed, because a page arguing that
other people’s numbers deserve scrutiny has no standing to hide its own.
Fourth correction. The first-season bill omitted the Ron Steen Band (27–29 May
2011, per the series announcement). Adding it changes slots from 114 to 115, distinct artists
from 89 to 90, single-season artists from 80.9% to 81.1%, the top-ten share from 24.6% to
24.3%, the all-desk share from 4.4% to 4.3% and Glickman’s average bill from 11.8 to 12.0.
The four-desk share (3.5%), the repeat rate (22.7%) and both era repeat rates are unchanged.
The lineup file and appearance CSV do not yet include this row.
Counting. One appearance = one artist on one season’s bill. Package billings
open into the individuals named; standing groups count as one. Seasons straddle two calendar
years and are keyed to the opening year. Unrecovered seasons are omitted, never estimated.
Representation. An artist counts for a desk only where that desk’s own roster
page or the artist’s own booking page says so. Artists claimed by two desks are counted
for both and flagged; desk shares overlap and are never summed.
What would weaken this page further. Recovering the 2012–13 bill would add about
six slots and probably raise the repeat rate, since Mel Brown recurs. The ten most-booked
artists here hold 24.3% of slots, which is
4th-lowest and not lowest — Catalina Island JazzTrax and BMG Concerts and Newport Beach Jazz Festival are below it,
and an earlier draft compared only against the two highest. Venue capacity comes from the
venue’s own material and is not independently sourced, so it is not used as a
load-bearing figure. “No agency of record” is a negative, supported by absence
from a roster file rather than proved. The claim that survives all of it is Exhibit C, which
does not depend on bill size: 4 slots in 115.
This volume is the exception in the study — the one room that did not close. Everything it is measured against is here.