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  1. Hello, I am currently in the process of writing a screenplay about a fictional jazz musician in the mid-1950's and my research has hit a brick wall. I am hoping to find any help I can get in regards to the business side of jazz musicians at this time, namely: What was the role of a manager for a jazz musician in the 1950's? - What role would the manager play in the musicians career? Booking gigs? Handling the financial side? Booking studio time? - How much of an input would the manager have in the career of the musician? It seems like the artist would have a lot, if not all control over who they played with, what musicians they collaborated with, and authority over pretty much all of the artistic decisions. At what point would a jazz musician gain representation? - Was it possible/common for artists to manage themselves or not have representation altogether? Was the role of a manager essential? Would the manager represent just one person or the whole group? - It would seem any business decisions would affect the whole group of musicians in say a quartet, would a manger represent just the leader of the group or would he represent the group as a whole? - Would each musician have different representation or would some not have any representation at all? - If he represented the group as a whole and the band leader were to fire him, would he stop representing every musician in the group? Would the artist(s) have to sign a binding contract to a manager? The character in question is a (locally) well respected musician but has not reached any national level of fame, or recorded any studio albums yet. He is getting work due to his reputation as a musician, but has yet to reach any real level of success. If anyone knew the managerial situations of artists such as Miles, Coltrane or Bill Evans both prior to or during the 50's 60's that would also be very useful. Thank you in advance for any help whatsoever with the above questions, any other useful information regarding the business/management side of jazz in the 50's (/60's) would also be greatly appreciated. Thanks!
  2. Top 'o the day to youse, Phantom Dancers, This is the first post on Organissimo about The Phantom Dancer, 2 hours of swing and jazz from live 1920s-60s radio and TV every Tuesday at 12 noon AEST (+11GMT) on 107.3 2SER Sydney and On the air since 1985 and presented by 1920s-30s singer, Greg Poppleton. This Tuesday's Phantom Dancer, 12 noon 107.3 2SER Sydney, online at, and on over 30 stations of the Community Radio Network, brings to your eager ears live 1920s-60s radio by John Kirby and his Sextet, the Johnny Guanieri Quintet, that 1935 Congress Hotel broadcast of Sandman by the Benny Goodman Orchestra we missed out on playing last Tuesday, a couple of songs by Mildred Bailey and loads more. You can see the full play list and this week's Phantom Dancer Video of the Week on Greg Poppleton's Radio Lounge Blog This week's video is Jack Teagarden and his All-Stars on a 'Stars In Jazz' TV Show, Los Angeles TV, 1956. The host is singer, Bobby Troup, lyricist for the songs Route 66 and My City Of Sydney. And all the great 50s ads are intact! Enjoy.
  3. You can now listen to the 3 June Phantom Dancer radio show online. Available for a month. Follow the links, see the play list and Vid of the Week at Greg Poppleton's Radio Lounge Blog... On this Tuesday’s show, a set of Lee Konitz followed by Charlie Parker live off the wireless in 1954, and the Dallape Orchestra swing George Formby’s ‘When I’m Cleaning Windows’ in Helsinki in 1938. I’ll also be starting each June show with a 1936-1940 recording by Sydney swing maestro, Dick Freeman. Check out the full play list. And for your Phantom Dancer Video of the Week, the 1948 Los Angeles Streetscape film (see 20 May blog entry) was so popular with you that I’ve dug up another for your perusal. Enjoy!