*Jessie Riggins highlights a few forthcoming concerts in a spring survey for KC Metropolis.
*A handful of jazz-related entries are among a compilation of
best of 2017 lists from 20 KC music influencers.
*Dean Minderman of St. Louis Jazz Notes compiled dozens of “Best Jazz of 2017” lists.
*Tweet o’ the Week: Green Lady Lounge- Green Lady @GreenLadyLounge has launched http://GreenLadyRadio.com streaming directly licensed, original jazz compositions by today's Kansas City jazz musicians. Special thanks to our sponsor - Ambassador Hotel 1111 Grand Blvd Kansas City MO. Listen now at http://GreenLadyRadio.com
*Comment o’ the Week: Christopher Burnett- ...1. We need several (5-10) truly professional artist management and booking agencies here to work with/career develop the 50 or so artists, who are objectively at a national level talent-wise. 2. We need several (5-10) truly publicists and public relations professionals here to work with/career develop the 50 or so artists, who are objectively at a national level talent-wise. 3. You, Joe and Larry (at least), should also be publishing items in DownBeat, Jazz Times, Jazziz, etc. along with your normal local beats. That would put us on the map big time.
(Original image by Plastic Sax.)
2 comments:
Thanks for the link!
Doubling back to say that Christopher Burnett's comment about a lack of music business infrastructure resonates for me, because St. Louis has the same issue.
The thing is, while some managers and booking agents are willing to work for a percentage of gross revenues, publicists and radio promotion people usually want to be paid specific amounts, sometimes in advance, either as a retainer or on a project basis.
Most musicians who are not already well-established don't have that kind of cash, which leads to a chicken-or-the-egg problem. Smaller presenters are in a similar boat.
It's not that there aren't skilled people out there - I know at least a handful of people here in St. Louis with sufficient publicity skills to potentially make a difference for musicians, if only those musicians had enough money to employ them in the first place. But those potential publicists have to make a living, too.
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