Do the Research

Understanding music business is crucial for any artist who wants to find their own way in this complex environment. Yet, not many musicians have the chance to find the right tools or time to seek out the information that might help in their careers.

So, in this post I’m sharing a compilation of five articles that magnify the relationships within the triangle of artists, audiences and stakeholders (venues, festival organizations etc.).

I know this is a lot to read and digest in one sitting, but I think that understanding the playing field is part of the role of being an artist. Hope you find inspiration from how other artists navigate this world!

Citation:

  • Medbøe, Haftor. “4.7. Jazz scenes and networks in Europe: repackaging independent jazz–new strategies for emerging markets.” 295.
  • Reynolds, Dean S. Jazz and Recording in the Digital Age: Technology, New Media, and Performance in New York and Online. City University of New York, 2017.
  • Debono, Christian. Is yesterday´ s popular genre today´ s elitist art form?: the analysis of the evolution of Jazz through contemporary festivals. Diss. 2021.
  • League, Panayotis. “From the Ground Up, Again.” Critical Studies in Improvisation/Études critiques en improvisation 14.2-3 (2021).
  • Gould, Jackson S. The Changing Business of Bands: How New Groups Start, Grow, and Succeed Using Social Media. Diss. Ohio University, 2012.

Wayne Shorter Fee-Fi-Fo-Fum Transcription

I have always loved this album, and find myself coming back to it either for more digging or simply enjoy Wayne’s intriguing compositions. However this time, I found much joy in uncovering what the band is actually doing beat by beat and appreciate their vibe and wit.

So here’s the head of Fee-Fi-Fo-Fum.

Jazz Composers’ Workshop Orchestra

During my first studio lesson with Ken Schaphorst at NEC, he looked at one of my compositions written for five horn players, plus the rhythm section and said, “Why don’t you expand this for the orchestra?”. Not having written anything for such a band before in my life thrilled me but also scared the shit out of me, because in NEC’s workshop orchestra, the composers also get to conduct their own pieces. So, just coming out of Istanbul with zero orchestra experience, standing in front of these amazing musicians and conducting them was probably one of the most fun yet challenging experiences in my life.

I want to share this composition of mine called ‘Nadir’. I love the opening section of this piece as well as the build up of the first soloist Ye Huang, echoing his clarinet on the walls of Jordan Hall at NEC. Below is the description of the piece.

In Turkish, “Nadir” means “rare”. This composition was inspired by my close musician friends in Istanbul during the summer of 2016, when the city was traumatized by various terrorist attacks and political upheavals, completely shattering the peace of mind for everyone in the city. Yet, these musicians found the courage to get together and play, making anyone hearing the music feel at least a little bit better. This composition is dedicated to all of those musicians that help to create that positive spirit.