#Jazz Music

13 Mar 2013
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The Disconnect Between Musicians and Promoters Part 2

Let’s break it down a little bit so that maybe I can shed some light on what promoters are looking for in booking an opening act. First and foremost, this is definitely a “who do you know?” business. If you have the right connections or relationships, this will certainly be a lot easier for you. Some times it seems unfair but people will use people they like and trust before people they don’t. It’s your job to development this relationship and get your foot in the door.

Unfortunately most bands and artist just send an email and wait for a response and leave it at that. This shows no “real” interest in developing a relationship with a promoter or talent buyer and is pretty rote at this point in the game. Business people are looking for persistence, reliability, creativity and hard work. This is a very speculative business and so promoters are looking for artists that will make sure they deliver and help make sure the show doesn’t operate at a loss.

To get in good with a promoter, you need to try some creative ways to get noticed and get the gigs. They need to feel a sense of trust with you. Try setting up some social media campaigns early that get your fan base used to interacting with you in different types of promotional contests (These are things the promoters will see when checking you out). Then apply that to getting opening gigs. Especially when you have a opening spot already in line. Make sure you explain to your participants the seriousness of what you are asking them to do.

Let’s say you are opening for a band in your hometown. Supply the box office with a sheet of paper (with your band name on it and numbered already) and get all your fans to make sure they report to the box office they are there to see you and wouldn’t have bought tickets if you weren’t on the bill. After the show, get that paper and show it to the promoter, talent buyer or in house manager (take a pic first in case they keep it). It is essential you start building up your rep for hard work and bringing people out.

Another idea is prep your fans before the show by saying after you perform, you will be at your merch booth and want all your fans to come and bring their tickets stubs. Have them initial the front of them and take a pic of all them together. Obviously these are things you can email to promoters, put on social media (be prepared for every other band to copy you) and start building your street cred as the band to hire for the gig. This is also a great way for your fans to participate in your success and make sure they know that appreciate their help and support. You can’t do this with out them. This also helps people decide which show they want to spend their money on. One with a serious band they like where they can help or just another show where the band will show up, play, and act like they are the stars and probably bail before the concert is over.

This will also help people at the show who were on the fence about you or are maybe just showing up decide to check out your booth. Having all the people around you and the excitement they see going on while you are gathering ticket stubs will help you to get these “undecided’s” to the booth and hopefully by your CD or spend time talking to you. You are now developing new fans. You see, your time on stage isn’t the only time you are developing new fans. You job the whole time you are there is to development new fans and maximize every opportunity in front of you to do so.

As you can see, none of this is hard. It may be a bit time consuming having to interact on social media but you are supposed to be having original content to post anyway and this helps fill that hole. The idea is to be creative and PROVE you are the band to bring on board. This may take prep work as described above but this is business. You are a business. You need to start acting like one.

Good Luck!

You can also read this and some of my other articles at www.metalholic.com.

David Lowry is the President of The Lowry Agency, a full service artist management agency that works with musicians, speakers, entertainers, actors and models based in Nashville, TN. The Lowry Agency’s roster includes Mike Martin, Rob Balducci, Neil Zaza and Jon Finn. For more information please contact The Lowry Agency at http://www.thelowryagency.com.

 

 

 

 

 

 

11 Mar 2013
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CD Review – “Tapped In” by Don Lappin

TappedIn

I came to find Don Lappin through facebook and even though I follow guitar players, I wasn’t aware of Don’s playing until recently although being a fan of Michael Sweets (Stryper) I had probably heard Don before and didn’t realize it. Don is currently an Assistant Professor at the Berklee School of Music specializing in rock techniques for the guitar. Don has also played with musical greats such as Jon Finn, Chad Wackerman, Guthrie Govan and Jonathon Mover to tell you how talented he is. Don’s approach to the guitar incorporates a lot of tapping and 4 note-per-string playing which is slightly out of the norm and about as technical as I am going to get for this blog. This about the music and not his technique. You can contact Don for more information on that for you guitar nerds.

“Tapped In” is Don’s second solo release and it is full of stellar guitar work by this modern day guitar virtuoso. From the intro straight in the first song “Lappin it Up,” you know you are in for something very different for a guitar instrumental CD. I have done a few reviews of guitar instrumental CD’s and having listened to hundreds if not thousands of these guitar players, it is very hard to find one with their own distinct voice. The kind that once you hear them anywhere on any CD you know it’s them. Don has that unique voice. His playing is extremely fluid partially due to his tapping technique but also his mastery of his instrument of choice. Don is very melodic and his vamps are not your the tired typical power chord vamps that guitar players love to play over. After being sent so many bad CD’s to review, you almost dread getting another wanna be guitar shredder CD in the mail. Thankfully this is NOT one of those CD’s. There is a lot of creativity in every part of the songwriting on “Tapped In”.

The highlights on “Tapped In” for me are the songs “Lappin it Up, Captain’s Lady and A Song for Robert.” The first song “Lappin it Up” could possibly be the most original sounding guitar song I have heard in a long time, especially during the verses. It’s a fast paced groove with a different sonic texture then you’d expect and moves into some nice melodic lines and an uplifting chorus that is hooky. Laden with some tension coming out of the chorus to bring you back to earth, Don creates melodic passes that always keep the song fresh and interesting.

“Captain’s Lady” is a “pretty” song in the way Don constructs the melody from the opening. Although it’s a rock song, it has a light quality that brings you to a feeling of taking off in the chorus. One of the great things about artists like Don is you never know where the song is going to take you because they have so many tools in their arsenal. This keeps the songs fresh and invigorated which is great for longer instrumentals and can really show you that you don’t always have to have a typical ABABBABB type song to have a listener friendly tune. Great songwriters will keep you engaged at all times and Don does this very well.

“A Song for Robert” is a slow song that reminds me of the feeling I get when listening to an Eric Johnson composition. Don and Eric are completely different players and writers, but here Don achieves that same ability to create a musical picture that takes you away and creates that sonic landscape you can picture in your mind’s eye. It’s a beautiful song that will pass without you realizing it’s 9:29 long. That is effective songwriting when you get lost in the music and forget about time altogether.

“Tapped In” being Don’s first full length CD is an amazing effort with a great sense of melody phrasing and songwriting ability that is already very strong and I am sure will only get better as he puts out more CD’s. For fans of instrumental music, “Tapped In” should appeal to those that like listener friendly songs and tunes with a slight fusion feel for lack of a better term. You never really get thrown by anything here even though there are parts that shine with sparks of jazz influenced lead lines that drift from the main melody motif which again is another sign of solid songwriting.

I give “Tapped In” a solid 4 out of 5 stars. The only thing missing is that break out “Cliff’s of Dover” type song that just amazes your ears but also knocks you on your ass like nothing you have heard before.

You can purchase “Tapped In” here: http://donlappin.bandcamp.com/

You can find out more about Don Lappin here:

http://www.donlappinmusic.com/fr_home.cfm

https://twitter.com/DonLappinMusic

http://www.facebook.com/tappinlappin

http://www.youtube.com/user/TappinLappin?feature=mhee

08 Mar 2013
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Guitar Goddess Gretchen Menn joins Live From Music City!

GretchenMenn

Photo by Max Crace

 

Guitar Goddess Gretchen Menn joined Live From Music City to talk about the music business, her CD “Hale Souls” and her other projects. Listen in as she talks about image, haters and the struggles of being an instrumental artist.

Interview here: Live From Music City with Guest Gretchen Menn

 

BIO

Apart from demolishing her mother’s violin with Pete Townshend-like vehemence at age three, Gretchen’s passion for all things guitar didn’t fully surface until her early teenage years. It was under the tutelage of classical guitarist Phillip de Fremery, a student of Andrés Segovia, that Gretchen began her path on the instrument. Her father, noted writer and former editor-in-chief of Guitar Player Magazine, Don Menn, was quick to point her in the direction of the greats as soon as she expressed interest in guitar.

While earning a degree in music at Smith College, Gretchen’s adventurous approach to her education would foreshadow her approach to the guitar. She convinced a professor to allow her to launch a special studies project on the intricate and unclassifiable music of Frank Zappa. Her analyses of “The Sheik Yerbouti Tango” and “The Girl in the Magnesium Dress” showed a love for epic, melodic, genre-shattering rock and roll composition that would manifest later in her original instrumentals.

After college, Gretchen began heavily incorporating her love of rock guitar into her daily regime, the only hitch being that the music of her rock gods, Steve Morse, Eric Johnson, and Frank Zappa, wasn’t exactly Guitar 101. She also began considering her career path, and how she might prevent a situation she sought to avoid: tainting her love of music with the necessity of paying rent.

The solution? She went directly from college to flight school, and two years later was flying regional jets for the airlines. Yet Gretchen was never without her guitar.

After a year in the jet, with the life of an airline pilot being more than a little incompatible with a career in music, Gretchen relinquished her position with the airlines, knowing that there was a pilot out there somewhere who would appreciate the opportunity. She decided to take a more direct approach to realizing her musical dreams.

Playing with tireless passion and constantly seeking out new challenges, Gretchen’s projects have spanned the genres of jazz, funk, rock, progressive, and metal. In 2003, she donned a schoolboy uniform and joined AC/DShe as “Agnes Young.” In 2005, she joined forces with drummer, Clementine, to form Zepparella, currently with singer Noelle Doughty and bassist Angeline Saris. In 2007, Gretchen formed Sticks and Stones, the high-energy, instrumental “bassless power trio” with guitarist Mickael Tremel and drummer Sam Adato. In 2010, she played in Lapdance Armageddon, an aggressive acoustic duo with Jude Gold. In 2011 she wrote, produced, and recorded her first solo album, Hale Souls, which features bassist Stu Hamm, drummer John Mader, violinist Emily Palen, and guest artists Angeline Saris (bass on “Scrap Metal”), Jude Gold (second acoustic guitar on “Fast Crowd”), and Gretchen’s sister, Kirsten Menn (soprano on “Fading.”) Gretchen’s solo project, a trio with Angeline Saris on bass and Thomas Perry on drums, played their first shows in November of 2011, and will be starting to tour more in 2012.

Discography:

GRETCHEN MENN

Hale Souls (Mach Zero Records, 2011)

LAPDANCE ARMAGEDDON

Lapdance Armageddon (self-released, 2010)

FRANCIS BAKIN

Conversation with Francis Bakin (self-released, 2009)

STICKS AND STONES

Unbreakable Strings (self-released, 2007)

THE HOUSE OF MORE

The House of More (self-released, 2006)

ZEPPARELLA

Live at 19 Broadway (Bonny Boy Records, 2005)

A Pleasing Pounding (What Are Records?, 2008)

www.gretchenmenn.com

https://www.facebook.com/#!/GretchenMennGuitar?fref=ts

https://twitter.com/gretchenmenn

http://www.youtube.com/gretchenmenn

 

18 Feb 2013
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Gretchen Menn Joins Live From Music City!

GM_BW-full

Photo: Mark Manion

 

Apart from demolishing her mother’s violin with Pete Townshend-like vehemence at age three, Gretchen’s passion for all things guitar didn’t fully surface until her early teenage years. It was under the tutelage of classical guitarist Phillip de Fremery, a student of Andrés Segovia, that Gretchen began her path on the instrument. Her father, noted writer and former editor-in-chief of Guitar Player Magazine, Don Menn, was quick to point her in the direction of the greats as soon as she expressed interest in guitar.

While earning a degree in music at Smith College, Gretchen’s adventurous approach to her education would foreshadow her approach to the guitar. She convinced a professor to allow her to launch a special studies project on the intricate and unclassifiable music of Frank Zappa. Her analyses of “The Sheik Yerbouti Tango” and “The Girl in the Magnesium Dress” showed a love for epic, melodic, genre-shattering rock and roll composition that would manifest later in her original instrumentals.

After college, Gretchen began heavily incorporating her love of rock guitar into her daily regime, the only hitch being that the music of her rock gods, Steve Morse, Eric Johnson, and Frank Zappa, wasn’t exactly Guitar 101. She also began considering her career path, and how she might prevent a situation she sought to avoid: tainting her love of music with the necessity of paying rent.

The solution? She went directly from college to flight school, and two years later was flying regional jets for the airlines. Yet Gretchen was never without her guitar.

After a year in the jet, with the life of an airline pilot being more than a little incompatible with a career in music, Gretchen relinquished her position with the airlines, knowing that there was a pilot out there somewhere who would appreciate the opportunity. She decided to take a more direct approach to realizing her musical dreams.

Playing with tireless passion and constantly seeking out new challenges, Gretchen’s projects have spanned the genres of jazz, funk, rock, progressive, and metal. In 2003, she donned a schoolboy uniform and joined AC/DShe as “Agnes Young.” In 2005, she joined forces with drummer, Clementine, to form Zepparella, currently with singer Noelle Doughty and bassist Angeline Saris. In 2007, Gretchen formed Sticks and Stones, the high-energy, instrumental “bassless power trio” with guitarist Mickael Tremel and drummer Sam Adato. In 2010, she played in Lapdance Armageddon, an aggressive acoustic duo with Jude Gold. In 2011 she wrote, produced, and recorded her first solo album, Hale Souls, which features bassist Stu Hamm, drummer John Mader, violinist Emily Palen, and guest artists Angeline Saris (bass on “Scrap Metal”), Jude Gold (second acoustic guitar on “Fast Crowd”), and Gretchen’s sister, Kirsten Menn (soprano on “Fading.”) Gretchen’s solo project, a trio with Angeline Saris on bass and Thomas Perry on drums, played their first shows in November of 2011, and will be starting to tour more in 2012.

Discography:

GRETCHEN MENN

Hale Souls (Mach Zero Records, 2011)

LAPDANCE ARMAGEDDON

Lapdance Armageddon (self-released, 2010)

FRANCIS BAKIN

Conversation with Francis Bakin (self-released, 2009)

STICKS AND STONES

Unbreakable Strings (self-released, 2007)

THE HOUSE OF MORE

The House of More (self-released, 2006)

ZEPPARELLA

Live at 19 Broadway (Bonny Boy Records, 2005)

A Pleasing Pounding (What Are Records?, 2008)

www.gretchenmenn.com

08 Feb 2013
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The Disconnect Between Musicians and Promoters Part 1

You hear it all the time from musicians. “Why won’t they book me for an opening act?” “How come they got the spot and we didn’t?”, or “the promoter didn’t do his job” even “the promoter screwed me or didn’t know what they were doing.” etc…. This is obviously a one sided opinion, and from my experience one that is very, very misleading. Many artists have little or no experience in promoting a show, or have an idea what it costs; they just want to blame someone for things not going right, without ever looking at what they bring or don’t bring to the table.

Granted there are instances where maybe a promoter didn’t know what they were doing or maybe there were a small company with very little cash flow to do an amazing job of advertising the show, but that is a risk we all take and like all bands, promotion companies have to start somewhere and grow as well. This is why working as a team is incredibly important and any acts associated with a bill, should be doing everything in their power to work with the promoter and make the show as successful as possible.

I find this can be very frustrating, knowing how much work and money it takes to put on one single show. For a 1,500 seat venue, this can become extremely time consuming and expensive for the risk involved, and a marginal profitable return on the investment. To have a small time musician/band say that the promoter didn’t do their job is completely asinine. First of all, the musician/band probably has no idea what it really takes to make one of these shows happen, and secondly, what an opportunity it is for the band to even get a spot on this when someone else is paying for your opportunity and the big media. Most opening bands should realize by now that their job is to put butts in seats or they have no business opening a show for anyone. They should be able to bring in at least 40 to 50 people to each opening or they shouldn’t complain at all.

To put on a show of this size can run from $50,000 up to over $100,000 depending on the type of venue, marketing, guarantee etc… It takes at least 60 – 90 days worth of work, negotiations, planning and so forth to get these things going. When a band is given an opportunity to open a show, many times they don’t deliver and don’t work the opportunity for all it’s worth.

Promoting the show is so important. I am not talking about Facebook posts or the other white noise that you are putting out. I am talking about getting promotional materials, getting off your butt, and doing your job. You should be out on the streets consistently promoting and showing everyone that you are the band to hire for opening spots. Getting the promoter, venue and others to notice you is as important as performing on stage. Doing everything you can to get your fans to purchase tickets to come see you at this event, and then deliver the best show you can that night no matter what the circumstances is the ultimate goal.

Remember, the promoter doesn’t owe you anything. They gave you a shot and if you don’t deliver, it’s no ones fault but your own. Once you do the show, if you happen to deliver and get butts in the seat, then you need to learn to turn that into other opportunities.

In the next blog we will talk about ideas you can do to not only get the opening spots but to also get people to the show but also how to possibly get more out of the show than just exposing your music to a new audience.

Good luck!

You can also read this and some of my other articles at www.metalholic.com. http://metalholic.com/the-disconnect-between-musicians-and-promoters-part-1/

28 Aug 2012
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For the Fans… How You Can Best Help on Social Media

[youtube=http://youtu.be/B3m9wUhZ0-Q]

I know, I know… There are a million bands, authors, actors, small businesses asking for you to spread the word about them, “like” them, vote for them and so on and on. Sometimes we feel like we have to because we don’t want to create trouble because we are friends with so many local talents and if like one but not the other then the drama starts and some times we don’t support at all because we don’t want the drama or we don’t have the time or something similar. With this blog I am not asking you to do anything but support your favorites and only your favorites.  It is not your responsibility or obligation to support anyone except those you chose and no one should get mad at you if you don’t support things you chose not to for any reason at all.

In order for your favorite artist (insert entertainment medium here) to spread the word and create the “buzz,” they need people spreading the word about them as much as possible. Social media is the easiest and cheapest way to do that. So this blog is about that and how you as a fan, friend or family member can do this to maximize their efforts and actually yours as well.

It is very important to the success of any type of entertainer be it musicians, authors, bloggers, actors etc… that their content reach the masses. Since many of you already click like on so much of their stuff would it really take that much extra time to share it? Comment on it on the actual page and not just on Facebook although that does help. All these sites rates posts popularity by how much attention it gets and for it to reach the masses, it needs your attention. So please read this and if you are able to help these people out, please do the extra little bit for your favorite artists etc…

Facebook – With Facebook all these artists should be using a fan page to track their metrics and not a personal page although many haven’t figured this out yet. Facebook recently made it harder for the Fan Pages to get attention by limiting the amount of people seeing posts so they could attract revenue dollars by having people with pages pay to advertise their posts to the audience that had already requested to see the posts by “liking” they page. I know ludicrous but it is Facebooks right to generate revenue so let’s just leave it at that for now. As a fan you need to go to the artists page, hover your mouse over the “like” button and select “show in news feed” to make sure you are getting the info they put out. When you do see the info, please “like” each post, share each post and comment on each post if you can. Remember that statistically only 7% of your audience sees your posts so you are not going to be annoying anyone with these posts and even if you do, so what. It’s your wall and you can choose to support what you wish with out fear of reprisal from others saying you post to much about something or someone. It’s not their business nor is it their wall.

In respect to this, if someone shares a post from a blog or other source, please if you can take the time and do the same on the original post, not just the Facebook one. There are share buttons for Twitter, Pinterest, LinkedIn, Google+ and loads of others. Please share this on your accounts and also comment on this page. It will help drive up the rankings for Google and on what ever other social media site it is on to further increase their exposure.

Twitter – Retweeting is the key here, if you have a twitter account please RT and share any content you can. Learn how to use #hashtags if you are posting on your own about your favorite artist and RTing something.

Pinterest – The latest social media spot. You can keyword on Pinterest to have your pins pop for people looking for things to find or discover such as #music, #movies, #authors etc… You can use any word to describe your pins and hopefully help people discover that artist you think is amazing. You boards also are coded to post in certain categories to which you chose when you create them.

Youtube – Obviously probably the most influential for music and movies so please again “like” the video, share them from the available links and comment on them. Youtube videos go viral from you emailing them to your friends. This especially happens from the teenagers and young adults. Don’t forget to help out with that. Maybe you can help create a viral campaign for your favorite artist.

Blogs – With people who blog, it is important to realize that like with WordPress, the more views, comments and star ratings a blog gets the more likely it is to be featured on the home page. This is a big deal for bloggers or artists using blogging sites for their main web pages. Please take the time to make sure you comment, rate with the star system, like and share from here as well. You can cut and paste your comment from Facebook to here to make it easier. It’s not that hard or time consuming and is a huge help to the author of the blog. Please make sure you also follow the blog. This way you can get all the updates to better help you spread the word and keep on top of the latest news.

Because of all the social media coming at you, the requests, the endless number of bands, singers, authors, writers, radio shows etc… asking everyone to do these things, it is important for you as the fan to really chose whom you want to support and help them stand out from the rest of the white noise out there on social media.

Everyone is trying to get noticed and draw attention to themselves, their show, their blog or whatever. That is fine. That is what they are supposed to do and there are many great ones out there, but you individually can’t do it for all of them. Chose your favorites and help make a difference for that artist. They need your support now more than ever as there is so much out there now, it is very hard to get people to notice you.

From the bottom of all of our hearts as entertainment people, THANK YOU for all that you do. None of it is worth it without you and no one could do it without you either. So again thank you for all of your past, present and future support from all of us.

Regards,

The Entertainment World.

P.S. A special shout out to Michelle Holland for being the embodiment of this message in her support of Richie Kotzen.