Latch Music's Ezine #28
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* "The Zine" content is contributed by Dave Latchaw and colleagues who use the Internet to promote their musical projects. You can check out previous issues at "The Zine" Archives.
- Article: "Contracting Musicians" by Dave Latchaw
- Guest Artist: John Fumo - Groovy soulful vibe.
- Featured Web Site: A Passion For Jazz
- Featured Web Video: Kit Watkins
- CD Pick: Wayne Shorter "Footprints Live"
Contracting Musicians
by Dave Latchaw
The freelance musician in a local scene very often has to deal with musicians who contract other musicians for casual pick-up gigs. These gigs can be anything from weddings to corporate receptions and anything in between. Although many bands work through professional managers or agencies to acquire their work, it is not as often the case with the freelance musician. A musician who also books gigs should be as professional as any manager or agency. With a manager or agency one expects a straightforward business transaction, dealing with percentages or a straight fee for work rendered from the total of amount of money collected. However the money is worked out for a job between the client, contact person and the musicians, it should all be above board, with everyone satisfied. Most would think having all the business information available for all the parties would be sensible. But many times this is not the case with some "Contracting Musicians".
Beware of the weaseling musician contractor who acts as part of the musical brotherhood but won't be candid about the business side of their dealings. They are the ones who when contacting you, will ask how much you want for such and such a gig. Most musicians have their rates that they are willing to work for, and that is generally what they will quote. It should be expected the contracting musician should make money for their work. They are dealing with a client and have to spend time on the phone, and are responsible for collecting the money and paying the musicians. But there needs to be a balance or perspective between the musician's time and years of preparation to do the appropriate musical work, and the hour or two the contractor spent setting up the gig and the responsibilities that go with it. It is understood that everyone has to look out for themselves, but there should be a balance, with everyone compensated appropriately.
To me, balance is not the soloist getting $150.00 for a job and the musician contractor getting $300.00 for doing the bizz side of the same job. That is just wrong! Yet this kind of thing happens. A musician who is contracted by another musician usually would find it hard to believe that another musician in the brotherhood would take such advantage. This contracting musician somehow has a clear conscience about the whole transaction because they were able to pay the musician what they asked for. This type of contracting musician has chosen money over what is ethical. They seem to be unwilling to say to the solo artist, "I can get $450.00 for this job, and I will take 20%". This would give the solo artist $360.00, and the contractor $90.00. This seems like a much more reasonable transaction than the musician getting $150.00 and the contractor getting $300.00. The contracting musician who does something like this is taking advantage of the musician, the musical brotherhood, and also the client.
It's hard at times for the freelance musician to avoid the weasel music contractor, because one wants to work. Freelance musicians should try to become more empowered, and take control instead of being taken advantage of. It takes time, but one needs to make a plan. One idea would be to start booking your own gigs so you are not as available for other gigs. When you book your own gigs, you can make some of the extra money from being the contractor. You could contract either by percentages of total monies, or just use a flat fee. When considering your contracting fee, factor in the time needed in securing the gig, hiring the musicians, collecting the money, and the stress of making sure the client and the musicians you hired are happy. I also find that it works well to book only the gigs you play on, so that makes you the musical leader of the gig also. When paying the band, I think it is a good practice to pay the musicians what you would be willing to do the job for if you were not the leader. The amount of compensation may be viewed differently by different people, but as long as it reasonable and justifiable it should be cool with everyone.
The other thing freelance musicians can do is keep raising their rates when dealing with the weasel contracting musician, or start working for a percentage of total money. I personally like the percentage idea. For example if the going rate for a job is $150.00 per musician, then if you have a quartet that's $600.00 dollars. If the weasel contractor charges $1,000.00 for the band, that's $400.00 for contracting one gig. That is just too much compared to the musicians! The contractor who also plays the gig, ends up making $550.00 for the entire job. If the musician worked for percentages it would increase their wages. If the contractor took 20% of the $1,000.00, then each musician in the quartet would make $200.00, and the musician contractor would make $400.00. I think $200 bucks for booking a casual gig is a bit steep, but using percentages does make things a bit more balanced.
We all want to be trusting of our fellow musicians and colleagues. But if something doesn't seem right when it comes to the money, look into it. If you can't get straight answers, you are probably being taken advantage of. Get the facts and do what you can to empower yourself and your musical brotherhood.
John Fumo
#1 Where on the Internet can people find out more about you and your musical activities?
We have a website at www.fumosonic.com. An interested soul can join our email/guest list and find out where and when we are performing. Follow links to downloads of new music as well as bio info and photos. Also: www.mp3.com/fumosonic.
#2 How were you inspired to go into music, and what kind of training have you had?
My father was a jazz fan. He would play me records (78's) of Dizzy Gillespie, Charlie Parker, Stan Kenton, Woody Herman, Count Basie, Ellington, etc. He bought me a cornet for $10 when I was 11 years old and I've been playing ever since. I took private lessons from the 7th grade though College. I attended the New England Conservatory of Music in Boston, then moved to Los Angeles where I study (by observation) from all the great trumpet players I sit next to.
#3 Of the session work you have done, what has been the most interesting, and why?
The recording Kelly and I have been doing is definitely the most interesting and rewarding. We go in the studio and laugh, and sweat, and lose ourselves until we both love what we created. Some solo sessions take days, some take 2 minutes. The sessions with Neil Young were all done with a live band tracking in the same room usually. We would do a song 18x's in a row. I got to play and sing "gang backgrounds" on an Al Jarreau Cd and that was a kick. All the CD's on NINE WINDS records I've recorded were fun because of the total freedom given to me thru the music.
#4 How did you and your wife Kelly get started as a musical team?
We met in a band in LA. She was singing background vocals, I was in the horn section. The band was Delaney Bramlett and Friends. One thing led to another, we fell in love, got married and decided to write music together. That was almost 13 years ago. We had a tiny Casio keyboard and a teac 4 track tape deck, and did some interesting quirky records.
#5 What influences have inspired yours and Kelly's musical direction, and why?
To name a few, I dig Miles Davis, Pink Floyd, Freddy King, Mahler, Ives, James Brown and Ornett Coleman. I like to bring in something out of the ordinary in our music. Kelly loves groove music, hip hop dance, early rap, ll cool j, warren G., Groove Collective, Morcheeba, as well as Chet Baker, and Ella. She brings the groove.
#6 What do you want people to get from listening to your CD "Strange & Wonderful"?
This CD is a mix of what we were feeling and going thru in the year it was made. 2001. These songs came from our hearts, we were moving forward in our lives at a pace that was indeed powerful for us. This music helped us deal with some of these changes. If a listener comes away in a better mood, or is inspired to do some creating of their own, I feel we have been of service to the music lover.
#7 What are your thoughts about the Internet and music?
I use the internet to listen to new music, to pass our music onto people, and promote our band. It's such a great tool to reach the world's population. I only put a few tunes up for free downloads. I believe the artists should receive compensation for their works, so that they can continue to create.
#8 What projects should people look for in the future?
We are working on a new CD to be finished this year. It will probably contain some covers we enjoy doing, but altered in a special way. We also have a CD we produced of instrumentals being shopped around for Film and TV exposure. This may be released as a CD this year. Kelly and I are in the process of putting together a "Fumosonic Sunday" event once a month in LA. Check the website for more info.
A Passion For Jazz
A Passion For Jazz is a cool site for students, players, educators and fans of jazz. It covers many aspects of jazz, such as the Evolution of Jazz Timeline, the Music Teacher Locator, Virtual Piano Chords, and more. This site is a great example of what a player/educator can do with a web site. Worth the time to check out.
Kit Watkins
Performing at the Gathering, "The Infinity of Three"
Kit Watkins is a wonderful multi-instrumentalist who has been a member of the bands Happy The Man and Camel. Kit's solo career began in 1980 with Labyrinth, which he produced and released on his label Azimuth Records. The album won him 5th place in the category of keyboard album in Keyboard magazine's Annual Readers' Poll Awards. During 2001, Kit performed a concert in Philadelphia for The Gatherings, a series hosted by Chuck van Zyl of Star's End radio. It was Kit's first performance in 20 years and his first as a solo artist. This performance is a great example of a solo artist using technology to have a wonderful expressive way to perform their music. Check out the video from the "on-line video" link toward the bottom of Kit's homepage. Also, check out Kit's "The Zine" interview.
Wayne Shorter
"Footprints Live"
Anybody into improvisation and composition has to know the work of Wayne Shorter and the playing he did with Art Blakey, Miles Davis, Weather Report and so on. This is Shorter's first all-acoustic recording since the 1967 "Schizophrenia". "Footprints Live" is also his first live recording, and his first recording as a leader since 1994's "High Life". On "Footprints Live" Wayne and the band make each tune into an improvisational adventure. The high level of interaction and sensitivity makes this recording a great example of what chamber jazz is all about. The band doesn't just play the tunes, they collaborate at every moment in a selfless manner which creates an environment of pure music. The music is bigger than the players.
Musicians for "Footprints Live"
Wayne Shorter - Tenor and Soprano Sax
Danilo Perez - Piano
John Patitucci - Bass
Brian Blade - Drums
Tracks for "Footprints Live"
- Sanctuary
- Masquelero
- Valse Triste
- Go
- Aung San Suu Kyi
- Footprints
- Atlantis
- JuJu
Click here to learn more about "Footprints Live"
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