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  1. BFT 197 Discussion

    Hi all- I’m excited to have curated this month’s (August 2020) collection of tracks. I’ve tried my best to include things that I’m currently digging as well as some gems from my past. thanks to Thom Keith for helping me with all the logistics! I hope you guys enjoy the music. http://thomkeith.net/index.php/blindfold-tests/
  2. 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!
  3. Fiddler’s Tune

    http://www.nytimes.com/2013/05/13/nyregion/song-ashokan-farewell-saved-center-in-catskills.html?smid=pl-share
  4. I'm the son of the owners of 55 Grand, the NYC jazz club and musicians hang that was located in Soho and open from 1981 to 1984. I'm in the process of building an archives for the club for use in a documentary film I'm making. I'm putting out a call for any materials that may be floating out in the ether. I will pay money for any video, audio recordings, photographs, or other relevant archival materials from the club that you may have. Materials can be of performances or the general scene at the club. Please contact directly at 55GrandTheMovie@gmail.com