Radio and Press Promotion – How to Follow-up

So you just sent off a couple hundred CDs to radio programmers and another fifty to one hundred CDs to press contacts (with only one-sheets) and now what do you do… TKBlueonesheet

Recently there was a thread on the Jazz Programmers Google Group that was generally another long rag on Kenny G as he has done what seems like the obligatory “standards” recording for pop or crossover artists.  His record company has sent out to all of the jazz radio and press the CD.  What I got from the thread was that most thought that there was no promoter following up and that because of his history they were just supposed to play it and add it to rotation.  Well it turns out that they did hire a promoter who is doing the appropriate follow-up.  So one of the main complaints was that when programmers get CDs there needs to be follow-up  at all levels and traditionally artists hire one of the pro jazz CD promoters who kind of like that tradition since that is how they make a living :)

After addressing the new paradigm of DIY (Do It Yourself) promoting by artists with several programmers and print/blog  professionals associated with tracking systems I got a good feeling that even though they have long-term relationships with many of the professional promoters (like myself) that they were very open to artists promoting themselves IF they did the appropriate follow-up.  So what is the appropriate followup?


Folks, this is not “rocket science”.   I have complete  discussions in past posts for the whole promotion process but for you DIYers this is specific to you.LindaYohn_JazzWeek_award_2012

For radio programmers, you have their phone numbers and their email addresses that they prefer for tracking (part of the data package you can buy from us if you want or gather yourself –  JSG Promotion and Gig Contacts ). Most radio programmers allow a few hours per week to talk to promoters or artists promoting their CDs. Start the conversation by introducing yourself,  the name of your CD, and a very brief description of the what the CD is about.  If you feel shy about calling then do emails only.  Many programmers now prefer emails. If you have a “ringer on it” feel free to mention but make it mostly about yourself.    In the email put a shortened version of the text with a quote and a jpg of your CD cover.

Definitely tell them that you understand that they are getting more than 100 CDs a week but you would really appreciate if they would review and consider adding to their playlists.  You will get as many different responses as the number of people you call and email but generally they will appreciate that you are taking the effort and that you understand the amount of submissions that they get.  Always do an email follow-up also.  There are many that only do email interactions these days.  In the email it is best not to send attachments unless requested as firewalls may kick them out.  It is better to insert a pic image of the CD, a quote or two, who is on the CD and a very short paragraph about it.   With radio if there is an initial phone call interaction I would suggest to just fall back to emails WEEKLY for about six weeks.  If there are some stations that you really feel you really need it played on then do more phone calling but remember my mantra “be the gentle pest”.


For press we are looking at the same approach but some major caveats.   With the trades, only call the associate editors who are in charge of reviews, not the publisher.  Realize that you are definitely going to get the “we get hundreds of CDs”  attitude.  And they do but dBagain be a “be a gentle pest”   The same goes for the critics/writers, blogs, etc.  The KEY here is to get on their “radars” even if you don’t get any print this time around. If you don’t let people know you exist then no one knows who you are. That simple.  You HAVE to get on their radars.  These are generally pretty smart people and they will remember that some one has sent something and reached to them about it.  They just might listen and still not get back to you.  They may really like but if they are a trade or blog they just may not have the space to add and if it is a critic most are approached by the trades to write or if they really like something they will solicit the trades to write about it.  Probably with the trades, critics, and blogs emails are going to be your best bet.  The last thing is that it can take a long time to get to print.  Between the amount of CDs they are getting and that most of the trades publications are organized about 3 months in advance it can take a long time before it can show up.  The exception to this is the growth of blogs started by jazz critics/writers or jazz blogs that take submissions from critics/writers.

Tracking Systems:

  • Jazz Week – This is the main national jazz charting and tracking system composed of about 80 to 90 .  It’s major concentration is National Public Radio NPR and Public Radio PR with many satellite and syndicated programs and some community and college radio stations who report their weekly playlists to it.   For serious detailed tracking there is a $125 fee per month charged. But you can look at what is available to the public and see the charts and top adds details.
  • College Music Journal – This charting and tracking system can be expensive but is truly a place that you will get airplay and some traction.  About $400 per year and you have to buy a years subscription

So I wish you the best and please know that I started doing this 20 years ago and am still going through the same experiences with every new release.  Please feel free to contact me if you have any questions or if you need the contact data check out the contact data package we have.

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Question From Post I Received: Classic Latin Jazz/Classic Salsa Band Need Ideas on promoting my music world wide on radio and all digital downloading sites.

This is a question I received from the last post I sent.  I answered the email but thought itLatin would be a good intro into a bigger question:

How do I promote to non-commercial press and radio if I am in a niche market like Latin Jazz or Blues.  Both are strong parts of the overall Jazz genre.  If you know how to promote to jazz ( check some of the other posts )  then it is very easy to move those concepts and utilize much of the jazz contact data to the other niche markets.  The first part covers the US and Canada and some International. Let’s start:

  • Radio
    • Almost all of the radio stations, NPR/Public Radio, College Music Radio, most Jazz Digital Radio (XM Sirius, JazzRadio, Music Choice, and more) have Latin Jazz and Blues programming.  Find those stations and learn how to send and follow up on your submission and you WILL get results.  Many of these stations will send you their play lists if you subscribe to got their sites to check play lists.
    • There are also programs on AM and commercial stations that will have some accessible programming that might pick up your music.  Always worth a try.
  • Press
    • Also, there are websites, magazines, and blogs either  dedicated to these sub genres. or have sections that cover  Latin Jazz and Blues have soooo many.  hits on Google. Just do a Google search for these sites and you find many that do reviews and might have some sort area to post about your music.  Remember Down Beat Magazine’s moniker is Jazz, Blues, and Beyond.  The major trades all dedicate some time these genres. Send a CD with a one sheet and label it Latin or Blues.
  • Communities
    • Again, the internet!  Google the internet for Latin or Blues societies, clubs, fan groups. AND most of all Facebook, LinkedIn, Twitter, and the others all have Latin and Blues pages, groups, etc.  The more networking you do the more information you will find that can help you grow your music brand.
  • Distro
    • With out being on a major or minor independent label it is a little harder to get your CD physically distributed in a traditional manner.  And yes we still do that internationally. BUT the good news is that CD Baby or Tune Core sells to the same US and International wholesellers that most of these labels use, Alliance.  They will put you in the  database and you will sell CDs if you create action.
  • International
    • The international world of promoting to jazz and it’s many sub genres has more opportunities due to the develop of the internet than ever before.  It is truly an exciting time for artists if you are willing to “dig in”.  There are no short cuts, it is there, but you gotta start Google-ing.   Most of the US major trades , blogs, and websites are well read through out the world in print and online. All of the major online radio stations are global as well as most NPR/PR stations have internet broadcasting.

Lastly, remember that for $200 you can have 7 quality databases that can be a starting point for you promoting.  CONTACT DATABASES

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New Price for Promotion and Gig Data!

I recently surveyed a small subset of jazz artists and asked what they thought of the contact data offer of 7 databases at $250.  While all felt the data was probably worth

Jerry Vivino with Bruce Springsteen

Jerry Vivino with Bruce Springsteen

more  than that price many were just plain stretched financially.  They wanted the data but just couldn’t quite make themselves go for it even though they know that a radio promoter alone will charge between $2,000 to $3,000 to promote their CDs.  A publicist will charge the same, and to get the fest, concert, and club data…well you get the idea. But as a person who has struggled off and on in life to pay the bills, try to stretch dollars to record, press, and promote a cd, on a young jazz artist’s cash flow I truly understand.

SO, I am dropping the price to $200, yes $200  

Buy Now

It’s ok.  My promoter friends, the ones that will talk to me :),  say  “you are crazy, you need to be charging a lot more”.  But I do pretty good with artists that are looking for someone who has a wide range of services like Blujazz Label and Promotions and has a solid set of relationships with radio and press professionals.  So I’m not worried and I do love to help jazz artists who I believe need  to have as many tools as they can get their music out to the world. Yes, this is a niche market but there are billions of people in the world so there is room you to be heard and to make a living playing jazz.  Wordy I know so:

Seven databases including radio, press, festivals, concert, and club contacts for $200.  The same data that I use.  And if  you follow my advice on how to put it out there and followup it is guaranteed and proven to get results so why not save money get yourself out to the world of jazz.

Buy Now

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Online Music Distribution and Marketing

Hi, I’m back from NYC APAP, Jazz Connect Conference, Winterfest, and two APAP Showcases. Getting a little caught up with promotions, advertisements, bookings, and filling distribution POs.  The latter got me thinking about the current debates about physical distro and online distro.  Recently I got an email from the wonderful podcaster, Mark Stevens and his Piano and All That Jazz Podcast.  In it he shared an overview by Steven Cravis, an experienced musician and very knowledgeable expert on online distribution and marketing.  I don’t think I could have written it any better myself so I would like to share his message with you.  Hope you enjoy!

Steven Cravis has been at the forefront of online music distribution and marketing for twenty years and is more knowledgeable on the subject than anyone I know. Here is a StevenCravis1recent correspondence from him to me and, if you are an independent music professional, you will find his message of great value.

Mark Stevens


Hi Mark,

Someone asked about the differences of music services for selling music online, so I wrote the following, thought I’d pass it on to you in case you want to share it with your network of musicians who might be interested:


cdbaby-music-store-logoIn the following info I’m going to describe, keep in mind there are two main parts of the
business that some of these companies offer: 1. Digital Distribution, like getting your music files and album art to a wide variety of stores including iTunes, Google Play, Amazonmp3, Spotify, etc.. and 2. The option to have the company administer your publishing, which involves registering your song titles for you as songwriter/composer AND publisher (with either your own publishing name, via BMI, ASCAP or SESAC etc..) and collecting the publishing half of directly from those companies and then giving you about 85 – 90% (I can’t remember the latest percentages that CD Baby publishing ‘Pro’ or Tunecore publishing adm in take).  So in addition to receiving sales (download and stream) income for songs, you could also potentially collect extra income from publishing related royalties. Keep in mind, if you already register, or want to register your own song titles directly with one of the PRO (Performing Rights Organizations) you can start or keep doing that.  CD Baby and Tunecore may be collecting extra beyond what you could collect on your own through a PRO, because they know how to capture payments for international mechanical interactive streaming royalties. NOTE: With CD Baby’s ‘Pro’ service ( )  you can have them administer your publishing, while you don’t have to be opted into their ‘sync’ licensing with Rumblefish.  With Tunecore’s publishing admin, I’m pretty sure you still HAVE to be locked into their exclusive licensing, if your songs are in their publishing administration services.
My recommendation is, whatever you choose for distribution of your songs, for selling music online, WAIT regarding decisions to agree to any publishing contracts.
I’d also recommend you weigh your options regarding distribution: They’re all quite good. For CD Baby or Tunecore, I don’t recommend using their publishing administration options (this is totally separate from the distribution – itunes, spotify, amazonmp3, google play etc..- services they offer). CD Baby’s publishing is over priced, and while their sync licensing option, working with Rumblefish, is non-exclusive, I don’t think Rumblefish really cares about individuals. Tunecore’s publishing admin team, especially Jamie Purpora the president of Tunecore publishing, is very well versed in the industry, and knowing what they’re doing, but I believe they still lock you into ‘exclusive’ licensing, meaning, you can’t license (for film, tv, etc..) through both them, and some other entity. If you are willing to commit to this for the duration of a publishing contract, then you might be okay with Tunecore’s publishing service. I don’t like the limitation. For example, while I was in mid term of my publishing agreement, Tunecore changed the licensing terms to exclusive, and I, out of loyalty at the time, canceled my agreements with GettyImages music, and others. Now that I’ve ended my Tunecore publishing contract, it’s taking forever to re-establish my works with GettyImages and others, because there’s just a long processing time, and that was a bit damaging for me, in terms of wasted, lost time.

DISTRIBUTION OPTIONS – Choose one of the following for each, or all albums:
1. is excellent and they take 9% of all your store/download or stream sales. They will charge you (about $20 I think) extra for a barcode if you don’t have one for each CD or single title. CD Baby doesn’t charge anything additional after your initial distribution fees are paid, ever. So even if they add future stores, you’ll automatically be sent to the new stores that become available. Support is extensive.
2. does a good job on music distribution, and is the best on sales reporting display (fast/efficient), doesn’t take ANY percent of your sales, but will charge you yearly renewal fees for every single or album you release. Make sure, on each album you distribute with Tunecore that you opt into their $10 every-future-store option. This will make sure that if they add additional stores in the future, you’ll automatically be sent. Support is extensive.
3. is very good, but doesn’t have as many stores yet. I recommend the $79 per year option, so that you can include your Label name (and if you ever have a variety of artist names, I think you can include more (like if you collaborated and listed both names, or had a special band project). If you don’t want to show a label name on music sale sites (like itunes, google play etc..) then you can pay the $20 per year option.  Things I love about Distrokid: I can release unlimited singles, albums, all for the one low yearly fee, I’ll be paid in full 100%, but minus the small Paypal transaction fee. While Distrokid has the fewest stores right now, they have some of the most important ones, and every time they add new ones, you can have your music sent, but you have to manually go in and click to add whatever new stores are available, only takes a few seconds, per album. Distrokid is VERY fast. I released this for January 1, 2015, last night, and within minutes, I got an email saying that it’s already (pre-order view, 30 second clip) showing on !  Their support is minimal, but usually helpful and gets right to the point of any question or issue.


Youtube is a really important component of monetizing your music now. There are two aspects to understand:

1. You can monetize your music if people play it in their own YouTube videos, like they edited it in as background music, through either Tunecore’s ‘YouTube Money’ option, CD Baby’s ‘Sync Licensing’ option, or external companies (as long as you don’t sign up for publishing admin already through CD Baby or Tunecore or anyone for those songs) such as , , etc..

2. Separately, YouTube has just launched something called YouTube Music Key, and it functions like Spotify, a streaming service where you can make your own playlists or listen to any song of your choice, but it’s based on still ‘art track’ videos, where there’s an image of the album art, and the services (such as Tunecore, Distrokid or CDbaby deliver your album art and your .wav files to YouTube. Then a topic page appears, for the artist, kind of like this:

IMPORTANT: If you’re going to want CD Baby to deliver your files to Music Key, you must also be in CD Baby’s sync licensing option.

If you are going to want Tunecore to deliver to Music Key, you can opt into it as part of their regular store digital distribution.

What I personally love about YouTube Music Key is that now, even if someone is only on their smart phone, or has no music software installed on their computer, almost everyone these days has access to YouTube, so I can text or email to them, for example, ‘hey listen to this new Reggae song I wrote:  ‘  and in the long run, I’ll be being paid for every stream play of that song.

Make sure you sign up for Soundexchange This organization collects for, and pays you as a ‘featured artist’ and ‘label (or Repertoire Owner/Sound Recording owner) for non-interactive royalties that occur on services like Sirius XM, iHeart Radio etc.. Non-interactive refers to when a broadcast playlist is playing and the listener cannot choose what song is next, or go back and play the last song, etc.. So to clarify; your distribution service you choose (such as Distrokid, or CD Baby or Tunecore) gets your music to some, but not all, of the services that Soundexchange receives payments from, for you. Some services, like you’d have to submit your music on your own, after you already have the music available online for sale, for example by submitting here:

Good luck.

Pianist | Composer | Producer | Online Web Marketing

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The Secret of professional jazz radio promoters!

There isn’t a secret!  It’s about Knowledge and Work… There is a proven processthat will guarantee results.  I have taught young and old this process.  A few have
jazz_20140804actually turned the process into a business. So here is the process that I use and if you cannot afford the $2,000 to $3,000 professional jazz promoters charge the just Do It Your Self – DIY.

  • Get the radio lists and prepare the mailing –
    • You can simply buy the lists from someone, find some one to give them to you, You can also subscribe to the two major tracking systems, Jazz
      Week ( and The College Music Journal ( There isJazz #1348 a price for subscribing for tracking like I do but to get the lists you can create them by adding them to your contact database one by one.  Tracking is an important element but generally you can find out a lot by googling results or hacking around the websites. Less detail but good stuff.
    • Take these contacts and merge them onto mailing labels.
    • Buy mailiers. DO NOT BUY from retail stores.  There are a lot of websites that will sell them wholesale for 17 to 23 cents.  I use self adhesive bubble CD mailers. You will need about 200 or more for core radio.
  • Create the one-sheet – 
    • Do not send radio more than one-sheet of information along with the CD. A oneTKBlueonesheet-sheet should have one or two pics including the CD cover, title of CD and who is on
      it, maybe where recorded if relevant, a short bio and description of the the CD, possibly the tune list with times, release date, contact info, catalog number and UPC number. Thats it.  When you do emails to the stations you can put a pdf of this doc as an attachment in your first press release.  Remember the stations are getting about 100 plus per week so thats a lot of paper that winds up in the round file. Also you can print in color but I quit doing that with the advent of PDF attachments.  I email color version and print in black and white.  About a third of the cost.
  • Buy Postage – 
    • THIS IS THE KILLER!  It keeps going up.  I have talked to many promoters and many have different methods and material that they use to try and keep this cost down.  For me I find that if I do 2 or 3 CDs and put on $2.25 I get the fewest of returns for more postage.  The US postal system has about as many answers for what the correct postage as who you ask.  IF you take a mailier like this to the post office they will definitely weigh it and charge you $2.85 to $3.25.  If you just buy stamps or use like I do you can get away with $2.25 for more than one and $1.85 for one CD.  This is from my experience only.  So do the addition and you can see why many promoters charge a pretty good fee for their work if they do the mailing.  Some promoters will actually send you the labels one time and have you do the mailing and then discount their labor.
  • Stuff and mail – 
    • I used to do all of this myself, eek!  Now I hire interns but it can make a nice movie and pizza  night.  MY ADVICE – do not take all of these packages into the front door of a post office.  They may make you weigh each one and charge more.  In Chicago I have a couple of POs that are  used to bulk mail and I take to the back door and load them into a cart for the workers.  I have also been known to just take a couple of days and hit several street drops till they are gone.  It works!
  • Email Press Release – 
    • Now, cut and paste from your one-sheet into an email the cd cover jp, artist description/bio text, release date, and contact info. Put some intro text saying some nice stuff. Attach the one-sheet and do a mass email to all of the radio stations. BE SURE AND BLIND CARBON (BCC) the stations.  I can not believe the number of mass email blasts that artists send me that have 50 to 100 names in the CC column showing me everyone they are sending to.
  • Follow up –
    • Wait a week, then do a follow up email without the one-sheet attached. Do this every week for about 4 or 6 weeks and then access where you are, what responses you have recieved, etc.  Start Googling daily the artist’s name, CD name in quotes, and the word radio.  You should start seeing some playlists by station or program.
    • Phone calls.  If you have the will power then you can go to every stations website if you only got the basic contact list and look up the jazz programmers call times. If you subscribed to hacked the sites and got all of the info then you are set.  Do you want to call…  That is up to the amount of effort that you want to put in to it.  You will find many jazz programmers who are very open and generally very dedicated to jazz and like to help artists.  They may not play your CD. When I started I would call Gary Walker at WBGO NYC/Newark NJ and get his voice mail. He would actually call me back even though he did not know me and would talk for 10 or 15 minutes. He didn’t add my CDs to rotation but he got to know me.  Eventually I had some artists that he dug and he started adding some to airplay.

So this is a long post but I think it gives you enough info to get into the game.  I wish you the best and as  you know my door is open, email is on.  Let me know what you think or if you have any questions.

PS – If you want to try this I have the the vetted best data for all of radio avail along with other very important data bases.  Go to the BARGAIN MENU button at the top of the blog and take a look :)  I am serious, it is a really great deal!

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The ultimate package for you! Get Airplay, Press, Club Gigs, Festivals, and Concerts!

So, many of you know that besides being a guitarist and vocalist, I own a record label and2014-01-12 16.32.16 promotion company, Blujazz Label and Promotions. BUT did you know that I also do all of the radio and press promotion for Blujazz and for a small subset of the roster I do management and booking. Over the last 15 years I have definitely made my mistakes and had my failures but overall I have had incredible experiences and reached remarkable highs.  This is not an easy business.  Recently I have met and watched so many young artists coming out of school who want to rush to put out that first CD and who are struggling find out the best way to “get my music out there”.  They check around with other artists as to who to go to and where to spend the hard-earned money that they have. I am one of the people who take their money.  Hopefully I am able to help them take a step up the ladder and impart some knowledge as to the realities of the business.

Please don’t get me wrong. There some really hard-working talented promotion people out there that generally deserve the dollars that they charge.  Most have developed relationships as I have over the years with radio and press professionals and are able to help an artist crack open some doors. I remember after gaining some experience and relationships over the years a wonderful radio programmer in Cleveland,at WCPN, Bobby Jackson, who passed recently, told me “Greg, we are getting 100 CDs per week. We trust you because you understand how we curate our airplay”.   So for those that can afford these great promoters and want to just let go and go back to playing their music then they should go for it.

BUT!  I have thought long and hard on this. What about those just out of school who have about enough money through Kick Starter or Indigogo projects to record a CD and get 1000 pressed. What about the college jazz director at the hundreds of colleges in the country, or the “war veteran artist” who has spent a ton of money putting out CDs but wants to do more and just doesn’t have the money.  I believe that the changing jazz industry is pushing more of us in to the DIY (Do it yourself) movement.

So yes I am still taking on artists and I generally charge between $2,000 to $3,500 for a radio/press package (what many promoters charge for only one area).  So why am I telling you this???

I have now designed a package for the DIY (Do It Yourself) artist that will give them the same contacts that I promote to or solicit for bookings.  This is data that I not only pay monthly and yearly subscription  fees for but that I am constantly massaging as it tends to be very voliatile. Some say I am crazy for selling it so cheaply but I say two things. To keep jazz alive we need to enable those that are trying to keep it alive. And I know that I have the experience and relationships to do great work for those that do not want to do it on their own.

So buy now

if you are interested.  I am selling in excel files 6 databases of radio, press, jazz clubs, festivals, and concert contacts for the LOW PRICE of $200.  I am also offering free consulting to anyone that asks and there questions are reasonable.

I truly look forward to talking to you,



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“I have heard that Europe would really like my music…” Part 2

In this post I want to show and explain the 2 major European jazz conferences that have
Jazzaheadzaunerattendance of over 3000 bookers, managers, jazz artists, presenters, with expo hall booths, showcases, networking meetings, etc.

If you want to understand what is going on in jazz in Europe and truly want to make Europe happen for you and you can afford it then you should attend one.  I will explain and present the two most important ones for US artists in two separate posts and then a summary of other important possibilities in a 3rd post.

First – The Jazzahead Conference – Bremen Germany  – April 2015

I will start with the Jazz Ahead Conference in Bremen Germany because I have attended, in fact we were one of the first label/artists/promoters who attended, set up a booth, and showcased. Our Blujazz Label and Promotions artist, jazz violinist, Diane Delin, showcased and booked the Guinness Cork Ireland Jazz Fest as the dir of the fest attended. This was 6 years ago and we plan to go back this year. We couldn’t afford it until again until now because of the loss of our Jazz Club.  Ah cest la vie.

So Jazz Ahead’s own words:

About us

jazzahead! is the most important international jazz trade show, incl. its integrated showcase festival. For the past eight years, the
trade fair has been steadily growing.

The showcase festival features top-class jazz from Germany, Europe and beyond and has established itself as one of the most important international networking spaces for jazz musicians. Bands that perform here have previously submitted an application and have been selected by a jury of experts.

jazzahead! 2014 facts and figures:

  • more than 700 exhibiting companies from 38 countries
  • more than 2,500 registered delegates from 50 countries
  • (business activities of participants included: artists, bookers, labels, agencies, publishers, distributors, production companies, instrument manufacturers, press,institutions, associations, and more)
  • over 100 concerts and showcases on more than 30 stages all throughout the city
  • over 12,500 visitors to the concerts and showcases
  • more than 230 registered media and press representatives

But jazzahead! is not just a „must-go event“ for the international jazz industry – it is a cultural festival for any jazz lover. While the jazz scene meets, exchanges ideas and does business, the public is right there amidst the action.

In addition to the trade events, jazzahead! features a broad range of musical and cultural events that are organized in cooperation with numerous arts & culture institutions in Bremen:

the Partner Country Program: gala concerts, film screenings, exhibtions, theater, literature, dance and lots more present jazzahead!‘s partner country‘s culture and art scene over a span of a few weeks. Following this year‘s partner country Denmark, in 2015 France will present itself at jazzahead!

SO, So at this point many US major booking agencies, managers, and artists showcase or attend as well as 38 other countries of the same people.  It is a place to exhibit and showcase that is a process and costs lots of money but it is also an event that you can just attend and the networking possibilities are enormous.


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The Bullet List Repeat

I weekly answer about 5 to 8 queries asking what my Blujazz Label and Promotionjazzlabels
s business is about, how do we do we work with artists,  how do we compare with other independents, what our costs are, how does our booking arm work, etc.  I look at each artist’s questions and I can generally get a feel for what their experience is in the jazz business world.  I  try to give them a quick paragraph on what we are currently working on, a bullet list overview of how we work (we are definitely a different label and promotion paradigm) and lastly tell them if they are still interested I will send them our Basic Blujazz Proposal, and from there we can add or subtract ingredients to make a project for them.

Now, I’m not trying to sell Blujazz here because there are actually 4 or 6 other labels that are doing paradigms that are, like us, different than the traditional labels.  And there is a strong movement into DIY (I will sell here as we do sell all of the needed databases).  But I do find that my bullet list always lists the basics that any artist needs, whether someone capitalizes the project, DIY’s the project, works with a new paradigm label, or some combination of these areas. Let me list the bullets for you and see what you think:

  • Record a CD
  • Create CD packaging design and manufacturing
  • Do National Radio Promotion
  • Do National Press/Publicity Promotion
  • Create distribution whether it be physical or digital or both
  • Do Advertising
  • Book Gigs
  • Do it again

One could write a book about each of these areas but basically an artist needs to do something in each category at varying levels.  And this all costs MONEY!  I see musicians that are close pooling their $$s, many crowd funding projects are run, grandma and grandpa, friends and family donating, working wives or husbands assisting (oh boy).  Artists will find a way and I truly salute these artists who love what they do and want to “get it out there”.  You know….I am a believer and still believe there is always a way.

So WHEW!  A “friggin lot of work”  and I still do it all for 12 to 14 artists per year plus go through the pain of trying help some artists get gigs.   One has to truly  LOVE the music to even want to go through this as a promoter and as an artist.  One caveat is I also do it for my wife, Jazz Violinist Diane Delin and for my self as an artist. So I truly feel the pain!

So why is my business growing??  One of the main reasons is the jazz education system has grown tremendously. Because of the advancement of University based jazz programs, private jazz schools, organizations like The Jazz Education Network, The Jazz Journalist Association, the many large and small jazz supporting non-for profits like The Chicago Jazz Institute, Chamber Music America,  Doris Duke Grants, or the many jazz festivals that now have an education component involved, the many presenting organizations that get  funding grants that require a educational component to their programming, yes lady and gentlemen, we are pumping new “jazzers” out and yes we are an economy albeit small, a lot of cash flows through it..  So many of the artists coming out of school, working in the above systems, doing their research on where to put their hard earned money still do not have realistic expectations from the results and what to do with those results. I actually have about an 70/30% success rate a varying levels.  But folks, that 30% of effort that doesn’t create something visable for an artists truly creates pain for the artist and for me.  I am pretty good at what I do but I can not make people like an artist’s music particularly when radio and press are getting about 100 CDs per week.  In future posts I will spend a lot more time about those results and expectations.Musician-Cartoon










Is it important to do the bullet list? Yes is the simple answer. What happens when one gets the results is much more complicated and we will talk about these issues in future posts.

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The updated Jazz Artists Survival Guide blog and a Free Book!

I have updated the Jazz Artist’s Survival Guide to reflect my desire to help others in this ever evolving Jazz World.  The new site offers:

  • A FREE pdf copy of the Jazz Artist’s Survival Guide for signing up to my newsletter
  • Free consulting on any topic in the Jazz World that I can offer some help in, Promotion, Booking, Recording, etc
  • A weekly post about my past, present, and future adventures and experiences in the world of jazz promotion, marketing, performances, recording, touring, and more
  • The ability to purchase the best databases for DIY promoting CDs and booking gigs
  • The chance to donate to my cause to keep helping others find their way in this crazy business
  • A portal to my Blujazz Label and Promotions business with great offers

It is not the strongest of the species that survive, nor the most intelligent, but the one most responsive to change. Charles Darwin

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“I have heard that Europe would really like my music…” Part I

“I have heard that Europe would really like my music!”  Part I

I wish I had a couple of bucks for evertime I have heard this from artist’s that I talk to.

jazzhead And you know what, they just might be right.  But first there needs to be a heavy reality check.  Times have changed and so has Europe.

There was a period when Europe had a heavy love affair with American jazz artists as well as Blues artists.  I am not a jazz historian but in summary somewhere after 1945 during the years of Bop (1945-1950), Cool (1950-1955), Hard Bop (1955-1960), Free Jazz/Avant Garde (1960s), and Fusion/Jazz Rock (1970s) jazz was held up as almost a pop music in Europe where it was fertile ground for American jazz recording arists (I use the term recording artists to mean the time when record labels paid for recordings, promoted them and even gave tour support)  to be booked for concerts and clubs, press conferences, etc for good fees with there music being played on radio and eventually TV). Many of the great classic great jazz artists of which the majority were Afro-American (The Afro-American roots of jazz which we take for granted in the U.S. didn’t really exist in Europe) that we now use as role models actually moved to Europe for a part of their lives and some for the rest of their lives as Europe could support their art much better then America. These artist included  Sidney Bechet,  Kenny Clarke, Arthur Taylor, Bud Powell, Dexter Gordon, Johnny Griffin,. Racial tension was less pronounced and European audiences were far more appreciative.  The number of artists living in Paris has become legendary with several movies written about those times.

By the 1980s there were more notable Euopean jazz personalities and styles from many of the European countries. Some had come through be-bop, while the new generation was affected by free jazz and Coltrane as well as fusion. By that decade, jazz education was well on its way throughout Europe. In fact, the 80s represented a virtual explosion of interest in jazz with more combinations of European and American musicians. There had always been a tradition of an American soloist(usually a horn player) playing with a European rhythm section. That trend increased during the 80s when even lesser known musicians were being invited to play with Europeans. At this point I will withdraw myself from the history of Jazz in Europe and give you what I think is a pretty definitive essay on the subject from non other than US Saxophonist Dave Liebman

 So where are we now:

Stay tuned for Part II as I will give you some insight into what my experiences have been over the last 5 years in Europe.


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