Discussion in 'EC Downloading' started by swissdude, Sep 10, 2005.

  1. swissdude

    swissdude Pianissimo User

    Nov 29, 2003
    West Chester, PA
    Hi Ed,

    Wondering what your thoughts were on management. In today's world is it something trumpet players can still dream about or not anymore?
    Anywhere you look you find violins, piano, singers....but you can count the number of trumpet players.

    Would you recommend players to try a self-management versus management company that keep some of your paycheck....

    Anyone else with a thought on this?

  2. ecarroll

    ecarroll Artist in Residence Staff Member

    Jul 13, 2005

    The concert scene has changed tremendously since I had a manager, and the current economic climate, coupled with cultural changes, evolving ways of marketing your career, and communicating with others, has muddied the waters even further.

    We can get into a discussion about what you intend to play and whom you intend to play for another time. Let's focus on the role and cost of management for now.

    Dave had good success with Joanne Rile, Rolf with CAMI, I had a bit with Mel Kaplan, etc. They used their resources (remember that this was pre internet) and connections to publicize and book concerts. We often were packaged on the coat tails of bigger names (example: I'll give you the Emerson Quartet if you'll take Ed Carroll). Managements today, however, require you to have a tremendous amount of financial resource. Many charge a yearly retainer fee even before a phone is lifted. You then pay for all the costs of your publicity, a portion of their phone bill, and 25% of every fee booked. This, mind you, is before your travel and related expenses. It will typically take a few years before concert presenters have been solicited enough times to get a date, and then re-engagement - even when you're a smash hit -- is even harder. They certainly won't book a solo trumpeter every year!

    No wonder so few are listed on the rosters of major managements.

    Self-management is tremendously time consuming but, if you have some connections (and are tenacious) it may be more feasible. All you need is a great webpage, mailing lists, and loads of patience.

    Other opinions are welcomed. Perhaps the above will prime the pump?

  3. TrentAustin

    TrentAustin Fortissimo User

    Oct 28, 2003
    KC MO
    I've also explored agents here in the US and might sign with a big time agency near where I live due to recent doors being opened. I also am presenting the agents with a different concept than most jazz musicians and think that might be why people are listening and not just hanging up on me! :lol:

    That being said there are so many pluses about agents over self-promotion. I'm willing to work really hard and self-promote (which you'll still have to do when you sign on with an agent!!!) and supplement my agent's big performances with smaller venues. I'll keep you all posted as the process unfolds, but it is extremely exciting!

    If you haven't checked out the book "Making Music in Looking Glass Land" I'd advise you to purchase it. It was written in conjunction with the Concerts Artists Guild (major promoters of classical musicians in NYC). It has a lot of "no-nonsense" information in there about agents and self-promotion. I've used it a lot since I got out of grad school. (search online... I don't think the copy is REALLY $140... I paid 20 bucks for mine).

    Hope this rambling makes sense... PM me if you still have any trouble finding the book.

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