Music Business Lessons Not Often Told

Choose the best adventure

A music career is an entrepreneurial endeavor for all musicians. Every person has a different path from beginner to professional musician that is shaped by a large variety of things, which include their:

• Families (are the families artistic or are they supportive of the arts in general?)

• Community (churches and other gatherings that result in exposure to music and culture)

• Parent's income level (can the parents afford instruments and lessons?)

• Geography (urban or rural?)

• Access to instruction (are there any instructors available?)

• Access to live concerts (are there any concerts?)

Why am I Not a Classical Musician?

First of all, there are things that would make it highly improbable for me to be a classical musician. I grew up with a 4 digit telephone number—four digits for local calls and seven digits for dialing across town. My parents had two broken television sets stacked—one had a working picture and the other had working sound. The family had a pickup truck with a rotted-out floor so my feet got wet when we drove through mud puddles. My Appalachian Virginia upbringing is a far cry from Beethoven in 1770s Vienna, Austria.

On the other hand, my entire music upbringing put me on a trajectory to be a classical musician. I was trained to read musical notation before I learned how to read words. My first lessons were on the piano and were largely classical even though there was some composition included. I started playing the saxophone in a beginning band class. In high school, I competed in classical piano competitions, won some competitions, and was at a level of classical playing that would have admitted me as a piano major in undergrad.

I started becoming an avid jazz listener in the 5th grade, but even at the time of entering college as a saxophone major, I was not an adequate jazz improviser. During my time in college and in graduate school, I learned to play jazz—and continue learning to this day.

After grad school, for a couple of years I didn't think about classical music at all. Then a saxophone teaching job opened at a university and I brushed off my chops to get the job. The university wanted a jazz saxophone player who could also teach concert saxophone music. No problem! It's all music.

In 2008 I decided it was time to get a doctoral degree because adjunct teaching did not pay enough. I found full funding at a university to pursue a degree in concert music. There was little or no jazz in the coursework and it was clear that the university did not care for jazz or respect the music. While repulsed by the notion that a major university could be so narrow in its focus, I did appreciate the opportunity to be surrounded by people who had 100% focus on European concert music. I found it intriguing to try to understand how they could be so interested in music from Germany or from many years ago. One of the most memorable doctoral seminars that I had included a heated discussion of grad students debating about which was better: castrati or countertenors. If you don't know what a castrati is, Google it!

The last time I wore a tux for a gig was ten years ago, so some alterations are needed for the next tux gig!

Now I have a classical credential and some experience playing concert music, I have been offered professional classical performance opportunities but have generally not been available and have had to decline the offers. A lot of students past and present have asked why I have not played much concert saxophone with orchestras or chamber groups. The answer is simple—BUSINESS—and here are three of the biggest reasons:

1. I’m already workin'!

Each of the last three times I have had an offer to play with an orchestra, I have already had a gig scheduled. Canceling another gig to play an orchestra gig is not an option because if I were to cancel a gig to make the time and space to play with an orchestra, it would signal that I am not interested in playing the concert/gig that I originally had booked. It would signal to everyone that I'm not interested so that could mean losing future opportunities with venues and/or other musicians. Accepting and then canceling a gig is unprofessional and a hard way to keep friendships.

2. There are so few gigs!

There are not enough orchestra gigs to warrant canceling an active ensemble or gig. It simply does not make sense to cancel a gig to play in an orchestra.

3. MONEY!

Taking an orchestral gig means making less money. Playing a small handful of gigs a year pays significantly less than regularly performing non-orchestral gigs. Making a choice to play a wide variety of styles (jazz, funk, Latin, reggae, hip hop, etc.) has allowed for me to be paid (and not pay out of pocket) to travel all around the world playing music—places like South America, Europe, Asia, and in between.

The pianist Bill Evans is a hero of mine because he was a talented concert pianist in addition to being a jazz pianist. As I have read, his own path was unclear, but he followed his best opportunities and became one of the greatest jazz pianists. I would advise for my students and other young musicians to keep an open mind and follow the doors that open for them.