Continuing the thread that was started with Sunday's post about some slightly odd goings-on in the world of arts funding I've been thinking a lot and reading a lot about the subject. It's no news to anybody even slightly interested in the domestic jazz scene that the amounts of money bestowed upon jazz musicians, promoters, organisations and such like are utterly derisory to say the least. Looked at alongside the money lavished upon opera and ballet the figures become even more contemptible.
I have to say that I have been on the receiving end of arts funding and it benefited me enormously; creating as it did the opportunity to record some new music with a new band and to then set up a series of live dates to put said music before an audience. It was great. It was a very long time ago. I haven't troubled the funding bodies since. My view is that I've had a bite of the cherry, let somebody else take a turn. I take my hat off to anybody who can plough through the acres of paperwork and become sufficiently fluent in 'quangospeak'.
Practical realities cannot be sidestepped though and we all need income in order to survive. Freelance employment is only part of the answer and is probably more unreliable than at any time in my recollection given the over supply of truly able players coupled with the ongoing economic downturn. The same applies to teaching. Just like the previous post on the trials and tribulations of theatre musicians you can find some amazing, international level talent teaching in London's schools and colleges.
So what are the other alternatives for those of us who are not blessed with compositional skills? It certainly isn't releasing your own music: invest eight grand and spend the next five years breaking even? No thanks. I prefer a quicker return on my outlay.
The solution came to me quite by accident in 2007. We had done a particularly pleasing out of town gig with the big band and a number of the musicians were very eager to reprise the show in London, so we did. Such was the result that I've repeated the formula on a number of occasions. I put gigs on on Monday nights when lots of industry friends aren't working so they come out in numbers and give support. Then when they put on gigs I go and support them, the jazz industry to some extent becomes its own audience. It has always gone on. I remember going to see local musicians play from before I was in my teens but whether there is significant untapped potential for something bigger here remains to be seen. Any coming together of self promoters (yes, I am a self promoter and make no bones about it!) will enhance bargaining power accross a whole range of sectors. Already this week I've dispensed advice to two fellow musicians about the pitfalls and benefits of staging your own shows. The single biggest benefit in my experience is sidestepping the middleman for the investment of a few hours of your free time here and there.
My next grand plan is that we musicians do our own funding. I don't know how this will pan out but purely in the interests of research if all readers could send me a small sum (£10 perhaps?) I'll let you know as soon as I have the numbers together.
Cheque made out to your off-shore Belise account!
ReplyDeleteI did try sending the tenner but my email program apparently doesn't support it.
ReplyDeleteSeriously, the self funding principle applies to semi-pro bands as well - one of my big bands runs two such events a year, which pay for a lot of music and rehearsal room hire. Bookings have really plumetted since the recession, so it's a good way of keeping the band afloat.