eMajor Marketing

SoundClick: Kristin Samet "Goin' Nowhere"

noreply@blogger.com (eMajor Marketing) — Wed, 14 Mar 2012 23:02:00 +0000

SoundClick: Kristin Samet "Goin' Nowhere"
over 56 weeks in the Top 5 !!!

# 5 in Country out of 58,458 songs /
# 2 in Country-Pop out of 6,047 songs
FREE DOWNLOAD :-) http://tinyurl.com/4v5e58y

HUGE THANKS to my producer, Neil Kaplan, for helping this song come to be!

Touring as an Indie: Strategies for booking, promoting, and thriving on the road

noreply@blogger.com (eMajor Marketing) — Mon, 05 Mar 2012 21:45:00 +0000

Excerpted the new guide, Touring as an Indie: Strategies for booking, promoting, and thriving on the road.

Touring as an indie doesn’t mean getting on a luxury bus and having a tour manager handling gigs, logistics, accommodations, and meals. Here’s some good advice on how to tour culled from loads of blog posts and articles we’ve published on touring. These highlights should get you thinking about the ins outs of how to get gigs, what an indie tour can be, and touring tips to take with you on the road.

House Concerts

House concerts are just what the name implies: concerts in someone’s home. Typically, house concerts are invitation-only gigs presented by a host, with all the proceeds going to the artist. As a general rule, house concerts are:
• intimate shows with 15-50 people sitting close to the performer
• $10-20 per guest
• performed by solo artists or small groups with little to no amplification
• likely to house and feed the artist for the night
Sprinkling house concerts in between club dates can be a great way to fill out your itinerary. It does take coordination to connect with a host and organize the event, and you are relying on your host’s ability to get enough people in the door to make it a success. But house concerts can be an excellent way to personally connect with fans, sell merch, and make decent money.

Your gig takes up 25% of your day…

… don’t waste the rest of it. Have a set of acoustic versions of your songs rehearsed and ready. For each town where you’ve booked an evening gig, contact local coffee houses and record shops and ask if you can do a daytime performance free of charge (with a tip jar). Also see if there are local radio stations where you can play, do an interview, and spin some tracks. Even if the listenership or turnout is minimal, in-studios and in-stores are excellent video and photo opportunities that make great content for the web!

Use social media

Your social media exploits will be more effective if they’re targeted.
• If you’ve played in the area before, reconnect with the folks you met the last go-round.
• Create a Facebook event for each show and invite attendees based on their location.
• Check out the venue websites where you’re going to play. Do they have Facebook, MySpace, and Twitter pages you can follow? Who are their most active fans? Reach out to them.
• Do you have an email list you can segment by state and city? If not, now is the time to start. Send a personalized email to the groups of people who live within driving distance of your show.
• Keep a tour diary. This can be as simple as a few sentences and pictures from your adventures you can post on your blog.
• Who are the other artists you’re playing shows with? Find them online. Begin a dialogue. See if you can interact with some of their online fans, because some of them will be at your show.

Document Everything
Take pictures, video, and audio – not just of your concert, but of the people you meet, the places you go, the landmarks you see, and your band cruising the city. Interview audience members and upload to YouTube. Post the videos on your blog, on Facebook, and Tweet like a bird.

Sleep

Getting sleep and staying hydrated are essential to enjoying a tour. You won’t last if you’re partying all the time. You’re out there to perform: everything else comes second to keeping yourself in performing shape, especially if you’re a vocalist.
If you’re traveling on a budget and not always staying in hotels, finding a comfortable place to lay your head can be a challenge. Pack inflatable AeroBeds, at least one pair of earplugs, and a sleep mask to help when you’re trying to catch sleep in odd places at odd hours.

Get resourceful with accommodations

Veteran touring bands often stay in houses of people they’ve met at gigs, and these often become a regular stop if the band tours the same route again. A key to success: be a good houseguest. Buy your hosts toilet paper, or offer to cook breakfast. You’re cultivating relationships that could be very useful for future trips.

Great advice on using text messages to promote shows

noreply@blogger.com (eMajor Marketing) — Sat, 23 Jul 2011 03:33:00 +0000

Video discusses the problems with Facebook invites and email blasts and provides a great alternative.

Kristin Samet, "Goin' Nowhere" Top Ten for 26 weeks straight

noreply@blogger.com (eMajor Marketing) — Sat, 23 Jul 2011 03:15:00 +0000

Kristin Samet, "Goin' Nowhere" has been Top Ten on SoundClick's Country &
Country-Pop charts for 26 weeks!
Hear it at: http://www.bluezmama.blogspot.com

Number One! Stephen Sea, "Ballad of Dylan James"

noreply@blogger.com (eMajor Marketing) — Tue, 16 Nov 2010 20:08:00 +0000

eMajor Marketing congratulates Stephen Sea!"Ballad of Dylan James" is *#1* on the SoundClick Guitar Rock Charts! http://tinyurl.com/2g8afmk

Progress vs. Perfection by Scott James

noreply@blogger.com (eMajor Marketing) — Fri, 08 Oct 2010 09:09:00 +0000

Progress vs. Perfection
by Scott James

About 8 years ago I used to smoke two packs of Marlboro Red cigarettes a day. It was hard for me to imagine what it would really take to quit. I tried to kick the habit cold turkey a few times and it just made me want to crawl out of my skin. Then I heard about the patch and decided to give it a try.

I put it on one morning and made it until about 10PM before I ripped it off and started smoking. The fact that I don’t smoke today has a lot to do with how I chose to look at what happened that day. Was it a success or was it a failure? You could make a good case for either side. I decided that it was a success. I had proven that I could go almost an entire day without a cigarette.

If I decided that that day was a failure than I wouldn’t have anything to build on. I would just be reinforcing the idea in my mind that I’d never be able to quit. By focusing on the positive I was able to convince myself that my experience would help me do better the next time.

Sure enough I was able to go well over 24 hours the next time. It probably took a good 6 or 7 tries over the course of about a year to quit for good. I was able to do it because the only thing I was looking at was my progress. I built on that until I achieved the outcome I wanted. I never beat myself up when I would fall off the wagon. Instead I let myself enjoy my cigarettes while mentally preparing to do even better the next time.

When you compare yourself to perfection or your ideal then you’ll always fall short. It’s demotivating and it will never make you happy. Getting somewhere worthwhile take time and practice. If you have ambitions then chances are you can’t get from where you are to where you’d like to be in one step. You need to have the right mindset to stay on your path while you’re still short of your goal.

For example, maybe you’re a solo artist who usually ends up losing money at gigs because you have to pay your band and you aren’t bringing in enough money to cover your expenses. Between the gig and rehearsals you’re paying out $800 a show. At the last gig you pulled in $500 and ended up losing $300. At the next gig you bring in just over $600 and end up in the hole by just under $200. Are you going to consider that a success or another failure?

Chances are if you consider it a failure then you will loose motivation and have a cynical outlook for the future. If you focus on your progress then chances are you’ll be thinking about what you can do to build on it. You’d probably start to think that you’re getting pretty close to breaking even. You might vow to do a better job of letting people know about the CDs you have for sale in the back. You might decide to recruit a friend to help you sell some merch at the show. Maybe you put a little more effort into your promotion. Before you know it you’re actually making money at your gigs.

So what are you focusing on? Your success or your failures? The answer might be more important than you can even imagine.

Article by Scott James of The Independent Rockstar Blog.

Progress vs. Perfection — Echoes - Insight for Independent Artists http://blog.discmakers.com/2010/09/progress-vs-perfection/#ixzz11kx7klZw

Stephen Sea, "Date Street Shuffle" #9 Soundclick Electric Blues Chart! Please click to help us move up!

noreply@blogger.com (eMajor Marketing) — Sun, 23 May 2010 18:42:00 +0000

Stephen Sea, "Date Street Shuffle" #9 Soundclick Electric Blues Chart! Please click to help us move up! http://tinyurl.com/275ode7

Stephen Sea, Ballad of Dylan James debuts in Top 50 Guitar Rock on Soundclick!

noreply@blogger.com (eMajor Marketing) — Tue, 18 May 2010 22:11:00 +0000

Stephen Sea, Ballad of Dylan James debuts in Top 50 Guitar Rock on Soundclick!
Please support indie music!

Click:

Stephen Sea - To the Stars Top Ten Soundclick NuJazz Charts:

###
Kristin Samet, eMajor Marketing
http://emajormarketing.googlepages.com

Stephen Sea Music
http://www.facebook.com/pages/Stephen-Sea/121228617888991

Top 5 ! Stephen Sea "Proclamation" Soundclick charts 5/7/2010

noreply@blogger.com (eMajor Marketing) — Fri, 07 May 2010 15:51:00 +0000

Thank you for listening & all the great support! --Stephen Sea

Inertia Records Artist Stephen Sea
New EP, "Proclamation: Sonic Prelude"

Chart Positions

To the Stars # 5 in NuJazz / #41 debut / Jazz
[listen: http://soundclick.com/share?songid=9105494 ]

Walk With Me # 15 in Smooth Jazz
[listen: http://soundclick.com/share?songid=9105495 ]

Date Street Shuffle: # 12 in Electric Blues
# 77 in Blues General
[listen: http://soundclick.com/share?songid=9105331 ]

Love is Gonna Find You
# 30 in Progressive Rock / # 216 in Rock
[listen: http://soundclick.com/share?songid=8967625 ]

White Shoe White # 47 in Blues General
[listen: http://soundclick.com/share?songid=9107051 ]

Ballad of Dylan James
# 2,002 in Instrumentals (Total songs: 1,131,265)
# 632 in Instrumentals with Hooks (Total songs: 13,756)
[listen: http://soundclick.com/share?songid=9105330 ]

###
Kristin Samet, eMajor Marketing
Global Internet Music Promotion
http://emajormarketing.googlepages.com

Coldplay:Free Live LP download “LeftRightLeftRightLeft”

noreply@blogger.com (eMajor Marketing) — Mon, 05 Apr 2010 16:17:00 +0000

Starting with their May 15th show in West Palm Beach, Florida, Coldplay will give all fans that attend a gig on their North American Viva la Vida summer tour a free live album.

Fans who aren’t holding tickets to any of those performances can get the nine-song collection, LeftRightLeftRightLeft, as a free download on the band’s official Website at
http://www.coldplay.com/lrlrl/lr.html

The live album culls performances from several cities during the band’s last year of touring and will be available only during its summer tour, which runs until August 9th.

“Playing live is what we love. This album is a thank you to our fans — the people who give us a reason to do it and make it happen,” Coldplay said in a statement. Over half of LeftRightLeftRightLeft’s track list draws from the both the band’s Viva la Vida or Death and All His Friends and their recent Prospekt’s March EP. The collection is rounded out by their X&Y hits “Fix You” and “The Hardest Part’ plus A Rush of Blood to the Head’s “Clocks.”

LeftRightLeftRightLeft track list:

1. Glass of Water
2. 42
3. Clocks
4. Strawberry Swing
5. The Hardest Part/Postcards From Far Away
6. Viva La Vida
7. Death Will Never Conquer
8. Fix You
9. Death And All His Friends

Kermit Driscoll, NYC Bassist, Nominated For Grammy Award 2010

noreply@blogger.com (eMajor Marketing) — Tue, 22 Dec 2009 03:19:00 +0000

eMajor Marketing congratulates bassist Kermit Driscoll

on his Grammy Award Nomination for his work

with the John Hollenbeck Large Ensemble

Visit Kermit Driscoll on the web

http://www.kermitdriscoll.com

http://www.youtube.com/user/kermitdriscoll

http://www.facebook.com/home.php#/pages/Kermit-Driscoll-Quartet/117873790148

http://www.myspace.com/kermitdriscoll

Published on Interlochen Center for the Arts

(http://www.interlochen.org/news/sixteen-alumni-nominated-52nd-annual-grammy-awards)

Sixteen Alumni Nominated for 52nd Annual Grammy Awards

Sixteen Interlochen alumni have been nominated in thirteen categories for the 52nd annual Grammy Awards, to be presented January 31, 2010.

Norah Jones (Camp '94-95) with Willie Nelson - Best Pop Collaboration with Vocals
Peter Erskine (Academy '68-71) with Bob Florence Limited Edition - Best Large Jazz Ensemble Album
Jeremy Viner (Academy '01-04) with John Hollenbeck Large Ensemble - Best Large Jazz Ensemble Album
Kermit Driscoll (Academy '73-74) with John Hollenbeck Large Ensemble - Best Large Jazz Ensemble Album
Jerry Hey (Academy '65-66) with David Fosters (arrangers), Seal - Best Instrumental Arrangement Accompanying Vocalist(s)
Benjamin Zander (Camp Faculty, '87), Philharmonia Orchestra conductor - Best Orchestral Performance
Stephen Bryant (Camp '74), principal soloist for Marco Polo - Best Opera Recording
Dennis Keene (Camp '69), conductor, Voices of Ascension - Best Choral Performance
Carlos Miguel Prieto (Camp, '78 & '81), conductor, Orquesta Sinfonica de Mineria - Best Instrumental Soloist(s) Performance (with Orchestra)
Caroline Goulding (Camp '02-03), violin - Best Instrumental Soloist Performance (without Orchestra)
Yolanda Kondonassis (Academy '78-82), harp (with others) - Best Chamber Music Performance
John Dalley (Camp '46-52) with Guarneri Quartet - Best Chamber Music Performance
Lorraine Hunt Lieberson (Camp '71) - Best Classical Vocal Performance
George Crumb (Camp '47, Faculty '57-61) - Best Classical Contemporary Composition
Keith Lawrence (Camp '94-96, Academy '96-97) with Quartet San Francisco - Best Classical Crossover Album
Ann Marie (Simpson) Calhoun (Camp '97) with Steve Vai - Best Rock Instrumental Performance

Since 1958, 91 Grammys have been awarded to Interlochen alumni. Many more Grammys have been awarded to orchestras or ensembles in which alumni perform.

JOHN HOLLENBECK Triple Bill @ Le Poisson Rouge, 30 NOV 2009

noreply@blogger.com (eMajor Marketing) — Sat, 07 Nov 2009 15:24:00 +0000

TRIPLE BILL:
·JOHN HOLLENBECK LARGE ENSEMBLE
·FUTURE QUEST (MUSIC OF MEREDITH MONK)
·TRIO WITH TODD REYNOLDS + MATT MORAN

CELEBRATING TWO NEW CDS: "ETERNAL INTERLUDE" and "RAINBOW JIMMIES"

Doors Open: 7:00pm Show Time: 8:00pm
Venue: Le Poisson Rouge, Greenwich Village, 158 Bleecker St (between Sullivan St & Thompson St) New York, NY 10012
Tel: (212) 505-3474 Web: http://lepoissonrouge.com
Tickets: $15 Minimum Age: 18+, Wheelchair Accessible: No, Alcohol: Full Bar, Smoking: No, Coat Check: Yes

Description:John Hollenbeck has gained widespread recognition as the driving force behind the Claudia Quintet and the John Hollenbeck Large Ensemble, groups with roots in jazz, world music, and contemporary composition. He is well known for his longtime collaboration with Meredith Monk, composing and performing the percussion scores for her Magic Frequencies, Mercy, and The Impermanence Project.
Hollenbeck was named as both the Rising Star Composer and the Rising Star Arranger of the Year two years in a row (2008 and 2009) in Down Beat Magazine’s Critics Poll. John’s first large ensemble recording, A Blessing, received a 2006 Grammy Nomination, and in 2007, John was awarded the prestigious Guggenheim Fellowship.

PART ONE: John Hollenbeck This show spotlights Hollenbeck in each of these roles, opening with music from Rainbow Jimmies (GPE), his new CD of chamber works, played by violinist Todd Reynolds, vibraphonist Matt Moran, and John Hollenbeck.

PART TWO: Future Quest, a quintet devoted to “re-imaginings” of Meredith Monk’s music, with vocalist Theo Bleckmann, saxophonists Ellery Eskelin and Tony Malaby, pianist Gary Versace, and Hollenbeck on percussion. Meredith Monk will be in attendance.

PART THREE: John Hollenbeck Large Ensemble, performing music from the group’s new CD, Eternal Interlude (Sunnyside), including three New York premieres.

Artists
John Hollenbeck Large Ensemble: Sunnyside CD Release Performance for "eternal interlude" with...
Woodwinds: Ben Kono flute/soprano/alto sax, Jeremy Viner clarinet/tenor sax, Tony Malaby soprano/tenor sax, Ellery Eskelin tenor sax (perseverance), Dan Willis tenor/soprano sax/soprano sax/flute/english horn, Bohdan Hilash bass clarinet/baritone sax/contrabass clarinet.
Trombones: Rob Hudson, Mike Christianson, Jacob Garchik:(tenor horn on eternal interlude), Alan Ferber
Trumpets/Flugelhorns: Tony Kadleck, Jon Owens, Dave Ballou, Laurie Frink
Acoustic and Electric Bass: Kermit Driscoll, Drums (keyboard-The Cloud): John Hollenbeck, Piano/Organ/Keyboard: Gary Versace, Marimba, Vibraphone, Glockenspiel, Crotales: John Ferrari (eternal interlude, Perseverance, no boat)
Vibraphone: Matt Moran (Foreign One, Guarana, The Cloud), Voice: Theo Bleckmann, Conductor: JC Sanford
=========
Future Quest: with Theo Bleckmann, Ellery Eskelin, John Hollenbeck, Tony Malaby, Gary Versace
Vocalist Theo Bleckmann and percussionist John Hollenbeck have both spent considerable amounts of time in the ensemble led by visionary singer, composer and choreographer Meredith Monk. Completing the lineup are saxophonists Ellery Eskelin and Tony Malaby, and keyboardist Gary Versace.
=================
Hollenbeck/Reynolds/Moran trio
Rainbow Jimmies is largely devoted to Gray Cottage Studies, composed for Todd Reynolds. The seven studies, scored for violin with vibraphone and/or drumkit, were written by Hollenbeck while at the Blue Mountain Center arts retreat in the Adirondack Mountains.

For more information, please visit: http://www.johnhollenbeck.com
# # #

internet publicity: Kristin Samet, eMajor Marketing

DO YOU REMEMBER SWINGING AT THE BARN?

noreply@blogger.com (eMajor Marketing) — Thu, 05 Nov 2009 22:53:00 +0000

DO YOU REMEMBER SWINGING AT THE BARN?, WEEK OF NOVEMBER 12-18, 2009
The Wilmington Journal
Originally posted 11/16/2009

http://www.wilmingtonjournal.com/news/Article/Article.asp?NewsID=100084&sID=4

BY LARRY RENI THOMAS
CONTRIBUTING WRITER

SWINGING AT THE BARN: A STUDY OF WILMINGTON, NORTH CAROLINA'S JAZZ DANCE HALL (1944-1952), an oral history project, which will consist of interviews and videos, is looking for people who frequented ''The Barn,'' during the 1940s and 1950s. The popular dance hall played host to several great jazz bands like Lionel Hampton, Louis Armstrong, Count Basie, Buddy Johnson, Louie Jordan and many others. We are looking for people who frequented ''The Barn'' or have heard about ''The Barn'' from others. We want them to talk about times at that black-owned and operated establishment. Located on South Eleventh Street, it was not only a thriving black business, but it was also a place where blacks held meetings, wedding receptions, debutante balls, birthday parties and family functions. Locals would point proudly to ''The Barn,'' as a shining example of black pride in the midst of a segregated Wilmington when ''Whites Only'' signs made some African-Americans feel less than human. It meant that blacks could have something first-class, and that they could dress up, go out to some place nice to enjoy themselves. At ''The Barn'' they danced their troubles and the night away. It was known as the place where the dancers seemed like they were ''flying in the air'' all the time.

''The Barn'' was owned by Mr. and Mrs. Charles Whitted, who lived in a big two story on South Seventh Street.

Sometimes they would make accommodations for some of the musicians to stay with them because white motels and hotels would not allow them to stay at their establishments.

There were some very famous musicians who stayed with the Whitteds. One of them included vocalist Billy Eckstine, whom their granddaughter, Gerrie Lemon, in an interview during the 1980s, recalled hearing singing one morning, while he shaved, in a bathroom across from her bedroom. The legendary saxophonist Jimmy Heath, who was a 1943 graduate of the all-black Williston Industrial High School, remembered one of his very first concerts as a professional, with the Nat Towles Band, was at ''The Barn.'' Heath said, during a 1989 interview, that it was where he first met a young saxophonist who would later be known as Yusuf Lateef. The famous trumpet player John Birks ''Dizzy' Gillespie also played at ''The Barn'' early in his career in The Cab Calloway Band and he also came back later as the leader of his own big band during the late 1940s.

All of these all-star, well-known big bands played in Wilmington during what was called the Big Band era of the jazz, during the World War II years of the mid to late 1940s. Wilmington was part of a Southern tour that included Raleigh, Durham, Kinston, Rocky Mount and other North Carolina cities. The port city was known as a party place and a classy city where blacks appreciated good jazz music and fun times. Oftentimes, the band members would arrive early in the week, say on a Wednesday, or Thursday. That would give them a chance to play in softball games against the local teams. It was a joyous occasion for all and permitted the band members a time to relax and to get to know their fans. It also helped the citizens feel good about meeting and seeing these musicians up close and personal. It was a thrill for the public to see them play softball on a Friday and perform on the bandstand on a Saturday night.

SWINGING AT THE BARN: A STUDY OF WILMINGTON, NORTH CAROLINA'S JAZZ DANCE HALL, our oral history project, will need the help of the general public.

We are asking all who have photos, memorabilia and mementos to let us know about these keepsakes. We would like to interview people who would like to talk about ''The Barn.'' We realize that time is moving quickly and that time is of essence because most of the people who need to talk to are getting older.

Contact us by sending an e-mail to: larryrthomas@bellsouth.net or mailing a letter to P.O. Box 4171 Chapel Hill, North Carolina 27515. You can also contact The Wilmington Journal. We plan to donate our research results to local educational and cultural institutions. We are thrilled, inspired and very excited about this project. We look forward to hearing from you, so we can leave a legacy for future generations to read, brag and boast about, and to show that Wilmington was and still is, a major cultural center, a place that has always been filled with great, highly-professional, pleasing, excellent entertainment.

Larry Reni Thomas, a Wilmington native, is a writer/ radio announcer based in Chapel Hill, North Carolina. He is the host of Sunday Night Jazz, WCOM-FM, Chapel Hill-Carrboro, North Carolina, and is contributor to www.allaboutjazz.com

Newport Jazz 2009

noreply@blogger.com (eMajor Marketing) — Tue, 18 Aug 2009 03:57:00 +0000

Dave Brubeck performs at Newport Jazz

Newport Jazz 2009
http://www.npr.org/music/newportjazz/index2.html

About Jazz At Newport
One of the most diverse and intriguing lineups in recent memory comes to the annual jazz festival in Newport, R.I., celebrating its 55th year this August. NPR Music, with partners WBGO and WGBH, will present live coverage and recording archives of George Wein's CareFusion Jazz Festival 55.

Hear full, archived performances from Newport Jazz 2009:

Claudia Acuna
The Bad Plus with Wendy Lewis
Steven Bernstein's Millenial Territory Orchestra
Brian Blade & The Fellowship Band
Dave Brubeck Quartet
Michel Camilo Trio
James Carter Organ Trio
Hiromi's SonicBloom
Vijay Iyer Trio
Joe Lovano UsFive
Rudresh Mahanthappa's Indo-Pak Coalition
North Carolina Central Ensembles
Esperanza Spalding
Cedar Walton All-Stars with Lew Tabackin & Curtis Fuller
Miguel Zenon Quartet

You May Be Too Old for the Gig if...

noreply@blogger.com (eMajor Marketing) — Wed, 15 Jul 2009 16:53:00 +0000

You May Be Too Old for the Gig if...
(A few clues to tell when you're past prime time)

Your gig stool needs to have a back.
You need a nap before the gig.
The waitress is actually your daughter
All your fans get up and leave by 9:30 p.m.
You feel like hell before the gig even starts.
You prefer a music stand with a light.
It's more important to find a place on stage for your fan than your amp.
Your gig clothes make you look like George Burns out for a round of golf.
All you want from groupies is a nice foot massage and back rub.
You like taking the elevator since you can sing along with most of your playlist.
Instead of adding another member, your band wants to hire a roadie.
You forgot where you put the directions to the gig.
You need your glasses to see the amp settings.
You've thrown out your back jumping off the stage.
You stop the set because your ibuprofen fell behind the speakers.
Most of your crowd just sits and sways in their seats.
You ask the club owner if you can start at 8:30 instead of 9:30.
You find your drink tokens from last month's gig in your guitar case.
You refuse to play without wearing earplugs.
You're related to at least one member in the band.
You hope the host's speech lasts forever.
You never let any one else sit-in on a tune.
After the third set, you ask the club manager to let you quit early.
During the breaks, you go to your van to lie down and rest your eyes.
You don't recover from the gig until Tuesday afternoon.
You buy amps because of their weight, not their tone or cool factor.
You have a hazy memory of the days when you could work 10 gigs in 7 days.
You can remember at least seven different club names for the same location.
You feel guilty looking at hot women at the bar since they're younger than your daughter.
You scream at the drummer to stop hitting those annoying cymbals.
You refuse to play out of tune.
Each gig finds you warming up additional body parts.
The after-show party is held at the International House of Pancakes.
You hire band members for their values instead of their talent.
Prepping for the gig involves trimming chin and nose hair.
Most of that hair is gray.
You’re thrilled to get New Year’s Eve off.
You no longer use a tip jar.
You can’t play without a set list.
You say you double on bass.
You discourage playing longer than contracted.
You have a contract.
You know all the words to “Aqualung.”

The CareFusion Jazz Festival Series

noreply@blogger.com (eMajor Marketing) — Thu, 09 Jul 2009 10:36:00 +0000

George Wein's Jazz Festivals Get Infusion of Cash

In this Aug. 10, 2008 file photo, Newport Jazz Festival founder George Wein performs at the Newport Jazz Festival at Fort Adams State Park in Newport, R.I.

At 83, George Wein hoped the future of his Newport folk and jazz festivals would have been set. But the founder of the annual Newport events and the New York jazz festival has been working harder then ever to keep the events alive.

Yesterday at a New York press conference, Wein announced that he’d received a lifeline from CareFusion, a planned spinoff of Cardinal Health’s clinical and medical products businesses.

The company outlined an expansive sponsorship deal for what will be called the CareFusion Jazz Festival Series; the kickoff event will be George Wein’s CareFusion Jazz Festival 55 at Fort Adams State Park in Newport.

The company will also help Wein revive the New York jazz festival next June, and it will sponsor jazz fests in Chicago, Monterey, Calif., Paris and Australia.

“This is a great boost for jazz,” Wein told the Herald by phone before the press conference. “JazzTimes magazine is going under. No one can find sponsors for festivals. The arts are in trouble. And then CareFusion walked in the door. It’s more than a light at the end of the tunnel. We are out of the tunnel.”

The CareFusion Jazz Festival Series will open in Newport, R.I. The kickoff event will be George Wein's CareFusion Jazz Festival 55, the oldest of the festivals and the one that has set the tradition for jazz festivals as they are known today.

The full schedule includes:
George Wein's CareFusion Jazz Festival 55 (Newport, R.I.), Aug. 7 - 9, 2009
Chicago Jazz Festival presented by CareFusion, Sept. 4 - 6, 2009
CareFusion Presents Dizzy's Den at the Monterey Jazz Festival, Sept. 18 - 20, 2009
CareFusion Manly Jazz Festival (Australia), Oct. 3 - 5, 2009
CareFusion Jazz Festival Paris, Oct. 16 - 24, 2009
CareFusion New York Jazz Festival, June 2010 (exact dates to be determined)

Sources:

http://www.carefusionjazz.com/

http://sev.prnewswire.com/health-care-hospitals/20090707/LA4286107072009-1.html

http://www.bostonherald.com/entertainment/music/general/view/20090708weins_jazz_festivals_get_infusion_of_cash/srvc=home&position=also

CHICAGO THIEVES Live@Hare & Hounds 04 July 2009

noreply@blogger.com (eMajor Marketing) — Tue, 30 Jun 2009 08:02:00 +0000

CHICAGO THIEVES Live@Hare & Hounds 4 July 2009
The Hare & Hounds, Cowfold, West Sussex, 8.30pm.
The village of Cowfold is hosting its annual Village Day celebrations on July 4th - Independence Day in the USA.
Check out www.hare-and-hounds.co.uk for further information or call 01403 865354.

For more info: http://www.chicagothieves.co.uk/gigs.php
***NEW!!! CD "IN THE WINDY CITY" available at***
http://cdbaby.com/cd/chicagothieves
*THE CHICAGO THIEVES*
www.chicagothieves.co.uk
www.myspace.com/thieves21
http://www.facebook.com/pages/Chicago-Thieves/38775751117

JAZZ in NYC! Kermit Driscoll Quartet, Live! 25 June@The Stone,NYC

noreply@blogger.com (eMajor Marketing) — Sat, 20 Jun 2009 10:42:00 +0000

Former Bill Frisell bassist, Kermit Driscoll, with his Quartet,
Live! 25 June@The Stone,NYC

Date: Thursday, June 25, 2009
Time: 8:00pm - 9:30pm
Location: The Stone, NYC
Corner of Ave C & 2nd St., New York, NY

Kermit Driscoll Quartet Live! @THE STONE, NYC
feat: KERMIT DRISCOLL: Bass; KRIS DAVIS: piano; TERRENCE McMANUS: guitar; BROOKE SOFFERMAN: drums.

The Kermit Driscoll Quartet will be playing songs from their upcoming CD featuring KERMIT DRISCOLL, BILL FRISELL, VINNIE COLAIUTA & KRIS DAVIS.

The Stone is a not-for-profit performance space hosted by JOHN ZORN dedicated to the EXPERIMENTAL and AVANT-GARDE.
All expenses are paid for by the MUSIC itself - 100% of the nightly revenue goes directly to the musicians.

There are no refreshments or merchandise at The Stone.
Only music.
All ages are welcome.
There are no advance ticket sales - all admissions are at the door prior to each performance.

ADMISSION
$10.00 per set
Students (13 to 19) admitted half price
Children (12 & under) free

Kermit Driscoll on the Web:
Website
MySpace
Facebook

Sammy Cahn said thank you

noreply@blogger.com (eMajor Marketing) — Sat, 13 Jun 2009 06:31:00 +0000

© 2009 Derek Sivers
used by permission of the author

In 1990, at the age of 20, I moved to New York City and got a job as the tape room guy for Warner/Chappell Music Publishing.
It was a small office, about 12 people, but the door to one room was always closed. I assumed it was unused.

One day, after a few months, I hear an old man yelling, “Goddamn it! What’s wrong with this typewriter? Can’t someone make a simple goddamn typewriter work?! What the hell?”
He was in the previously-closed room, door open, fighting with the typewriter. I went in to help, and as I was fixing it, I noticed some press clippings on the wall about Sammy Cahn, then looked at the man and realized it was Sammy Cahn!

Legendary songwriter Sammy Cahn who wrote most of those huge Frank Sinatra hits! “Love and Marriage”, “Let It Snow, Let It Snow, Let It Snow”, “All the Way”, “High Hopes”, “Call Me Irresponsible” and many more. He lived in Los Angeles, but the New York office kept an office for him, which he’d visit every few months.

I fixed his typewriter, then said, “Sammy – my name’s Derek. If you ever need anything, just buzz number 12 on your phone and I’ll be glad to help.” He scowled at me, then waved me out of his room.
But from them on, every time he’d come into town, I’d be the first to know, because his voice would bark over my intercom, “[beeeep] Derek, goddamn it, get in here!” Everyone else at the office avoided him.

One day, he had me go to the Time/Warner Cafeteria to get him his favorite bowl of soup. When I gave it to him, he yelled at me for not filling the cup all the way to the top.
One day, he had me get some Ben Gay from the drug store. When I gave it to him, he asked me to rub it on his neck, which I did, but I used too much, and he yelled at me for making his neck all goopy.
But I liked him. His cranky personality was like a running joke, and didn’t bother me a bit.

He was still writing songs every day. Usually custom lyrics for existing songs, tailored for friends’ birthdays or special events. But he was still writing new songs, too.
I spent hours with him helping him autograph his songbooks. He patiently answered all of my eager questions about songwriting. (“As soon as I hear a melody, I can tell you what that song will be called. The piece of paper goes in the typewriter, I start typing, and when it comes out, it’s done! No edits!”)
I’d find an excuse to be in the room when he was writing new songs with composers like Walter Afanasieff. I played him some of my songs, and he gave me advice. I was thrilled. 20 years old, living in New York City, and working with Sammy Cahn.

One day as I was xeroxing something in the kitchen, he was yelling at the coffee machine. (“What’s wrong with the goddamn coffee? Can’t I get a simple goddamn cup of coffee anymore? What are all these buttons?”)
I laughed and said, “Sammy, you know what? I like you.”
He looked at me, and his usually-scowling face went blank. Like the mask he always wears had dropped. Like he hadn’t heard “I like you” in a long long time.

He paused for a while, then said, in an unusually nice voice, “Thank you. You’re a very nice man.”
Then he went back to yelling at the coffee machine.

--------------------------------------------------------------------------------

A few months later, in November 1992, I quit my job to be a full time musician, and went out to an isolated part of the Oregon coast to record. No TV, no newspaper, no internet, no radio. Just me, all alone, just recording. Warner/Chappell Music was long behind me, and I didn’t keep in touch with anyone.
Every morning I’d wake up with no alarm clock, and remember all of my dreams. I started writing them down. The more I wrote, the more I remembered. Sometimes it would take 45 minutes just to write down all the vivid details.

One Friday in January, I had this vivid dream that I was outside a big military building in the 1950s. A mounted air force jet outside, and General MacArthur was at the door. We talked for a minute, then he let me in. I walked down a long empty hallway, then took a right, and walked down another long empty hallway.
At the end of the hallway was a younger Sammy Cahn, in the 1950s, with a full head of brown hair, waving his arms, yelling at someone. (“Goddamn it! What the hell were you thinking?”)

As I got closer, he stopped, turned to me, and said, “Who the hell are you?”
I said, “Sammy, you don’t know me, but I came back from 40 years in the future to tell you that in 40 years, you’re still going to be alive and well and writing songs every day.”

Just like that day in the kitchen, his face went blank. His mask dropped. He said, in that rare nice voice, “Thank you. I really appreciate it.”

Then I woke up.
I wrote it all down.

The next day, a friend of mine called me at the beach and said, “Well… I guess you heard the news?”

“Uh, no. I don’t get any news out here. What’s up?”

“Your friend Sammy Cahn died last night.”

The same night I had the dream.
Whoa.

I didn’t believe in any of that stuff before, but couldn’t help but wonder about that life-after-death stuff you hear about, or maybe ESP, or something. Who knows if I had the dream right before he died or right after, but I still think he came by to say thank you.

Music Humor

noreply@blogger.com (eMajor Marketing) — Tue, 09 Jun 2009 14:58:00 +0000

(so silly, it's brilliant!)

C, E-flat and G go into a bar. The bartender says, "sorry, but we don't serve minors." So E-flat leaves, and C and G have an open fifth between them. After a few drinks, the fifth is diminished and G is out flat. F comes in and tries to augment the situation, but is not sharp enough.

D comes in and heads for the bathroom saying, "Excuse me. I'll just be a second." Then A comes in, but the bartender is not convinced that this relative of C is not a minor. Then the bartender notices B-flat hiding at the end of the bar and says, "Get out! You're the seventh minor I've found in this bar tonight."

E-Flat comes back the next night in a three-piece suit with nicely shined shoes. The bartender says, "you're looking sharp tonight. Come on in, this could be a major development." Sure enough, E-flat soon takes off his suit and everything else, and is au natural.

Eventually C sobers up and realizes in horror that he's under a rest. C is brought to trial, found guilty of contributing to the diminution of a minor, and is sentenced to 10 years of D.S. without Coda at an upscale correctional facility.

On appeal, however, the C is found innocent of any wrongdoing, even accidental, and that all accusations to the contrary are bassless.

The bartender decides, however, that since he's only had tenor so patrons, the soprano out in the bathroom, and everything has become alto much treble, he needs a rest and closes the bar.

Got The Twitter Jitters? Twitter For Beginners

noreply@blogger.com (eMajor Marketing) — Wed, 13 May 2009 11:07:00 +0000

Hi folks,
Some useful items for helping you to learn to use Twitter without all the anxiety.

First, watch this 4 min video on YouTube:
How to Use Twitter for business
http://www.youtube.com/watch?v=86xsgdt5GoM

Then, download the free PDF "Twitter For Beginners" at:
http://www.crowinfodesign.com/downloads/twitter_beginners.pdf

A fun thing to check out is Twittervision: A real-time geographic visualization of global posts to Twitter.
http://twittervision.com/

a 3-D version of Twittervision is here:
http://twittervision.com/maps/show_3d

Tweet Tweet! Kristin

Kristin Samet
eMajor Marketing / Global Internet Music & Arts Marketing
http://emajormarketing.googlepages.com
http://www.linkedin.com/pub/5/9b0/405
http://www.myspace.com/bluezmama
http://www.facebook.com/profile.php?id=649788759
http://www.emajormarketing.blogspot.com
http://twitter.com/kristinsamet

Melanie: The 41st Dover Sole (Podcast)

noreply@blogger.com (eMajor Marketing) — Tue, 21 Apr 2009 15:13:00 +0000

The Singer Songwriter Melanie draws you into her temporal world, the Roadburn Cafe as she reads entries from her journals about her life and thoughts, telling stories of her life with pathos and insight. [5:40 total time]

http://www.musicallmusic.com/podcasts/melanie/brandnewkey_podcast.mp3

Melanie Safka

The Voca People

noreply@blogger.com (eMajor Marketing) — Mon, 20 Apr 2009 11:39:00 +0000

The Voca People is an international vocal theater performance that combines vocal sounds and acapella singing with the art of modern beat-box which imitates the sounds of drums, trumpets, guitars and other instruments and musical effects without using any musical instrument on stage, performed in a humoristic way and with audience participation.
The Voca People is an ensemble of 8 musician-actors; 3 female singers (alt, mezzo, soprano) and 3 male singers (bass, baritone, tenor. In addition there are 2 beat box artists that create human beat box sounds.
Performers: Eyal Cohen, Oded Goldstein, Liraz Rahmin, Adi Cesare, Adi Kozlovsky, Naama Levi, Boaz Ben David, Inon Ben David.

The secret formula to every album ever, and why no one buys CDs anymore

noreply@blogger.com (eMajor Marketing) — Sun, 19 Apr 2009 15:16:00 +0000

CLICK THUMBNAIL FOR FULL SIZE IMAGE

Twin Solid State Musical Tesla coils playing the Zelda theme song

noreply@blogger.com (eMajor Marketing) — Tue, 31 Mar 2009 08:56:00 +0000

The music that you hear is coming from the sparks that these two identical high power solid state Tesla coils are generating. There are no speakers involved. The Tesla coils stand 7 feet tall and are each capable of putting out over 12 foot of spark. They are spaced about 18 feet apart. The coils are controlled over a fiber optic link by a single laptop computer. Each coil is assigned to a midi channel which it responds to by playing notes that are programed into the computer software. What is not obvious is how loud the coils are. They are well over 110dB. Listen for the echo after the notes stop. These coils were constructed by Steve Ward and Jeff Larson. Programming and musical content by Steve Ward. Video was captured by Terry Blake and edited by Jeff Larson.