This blog is aimed at people looking for ways to keep working and ways to improve themselves, but it is also a conversation about our craft as musicians. I do not envy Ms. Swift or wish her ill. I am not up at night worrying about Ms. Swift’s Grammy. I also have respect for her songwriting. I do not belittle her or think any less of her as a human being. I am simply trying to hold up a certain standard in my craft. To many of us who are actually working in the business, pitch still matters, and while I can appreciate record sales and good songwriting, I will not yield to the case for making pitch less important in the studio or live onstage. Lowering the bar is not my style, and as a mentor to other artists who I actually also employ and coach, it is my job to call it like I see it lest they follow the road of not caring about their actual instrument. That is one of my passions. Please check out my post going into more detail: http://www.michellejohnson.com/2010/02/13/582/ . I flush out the issue a little better there. This post was just a teaser because my phone and e-mail in -box blew up right after the Grammys. This is a legitimate discussion among musicians, working and not working.

Again, I assure you that this is not personal vitriol against Ms. Swift; this is a cry to call out the fact that a simple musical standard which has mattered and has indirectly influenced the Grammy decisions for years (since artists who could not sing in tune to some degree were not on the Grammies until the advent of the lip-sync) is slowly disappearing. That is all this article is really about. I know how the Grammys work. I also know who used to win and why, regardless of the “not performance based” aspect. Our industry has changed, and I am simply pointing it out, and pulling for singing in tune to still matter somewhere on this planet.

Your lack of knowledge about how hot the music of the 40′s is right now is interesting. I do not say this to insult you but I do think you are off the mark here. That music is actually in high demand. Have you ever heard of Michael Buble? He’s is super hot right now. Do you know what era he pulls from? He is just one. I am sure you have heard of Diana Krall. She is on tour most of the time. Best selling artist. Every record label is scrambling to find their own version of the next Great American Songbook artist. I don’t think Harry Connnick Jr. or Tony Bennett are hurting for work either. In fact Mr. Bennett’s career has been remade several times over due to his perennial popularity and his ability to draw younger and younger audiences. Current young artists are dying to be invited to perform on his duets albums. I believe he just did a recording with John Legend. Did you know that Rod Stewart’s Great American Songbook album sales surpassed all of his rock sales combined? Why would he try that genre? Maybe because it sells and it keeps on selling. Check out the primary and secondary demographic that is buying those records. You might be surprised. That demand translates to live music venues across the country, not just headliner rooms. Historical context, homage to past , future, and present and the generally cyclical nature of musical trends are key concepts in understanding this phenomenon. Marketing gurus get it. Wonder why Caesars in Las Vegas just poured all that promo into crooner Matt Goss? Just some things to think about.

Again, I have also worked with Slash, Sheena Easton, Paul McCartney, Elton John and Gladys Knight so I am by no means just a jazzer. Those are my peers by the way. (Re what you wrote above.) I continue to tour and sing in all genres, working with many different artists and on my own. I am just sayin … Also, when I am on my own I book myself and am usually hiring the peers you mentioned, not working for them, though I am happy to do both.

Also about the economy: Live music has not diminished in a steady line for ten years. I would be broke if that were true. Live entertainment opportunities ebb and flow with the economy because it is often seen as fluff, or something extra (like decor). I worked more in 2005 and 2006 than at any point in my life. I did countless corporate shows, headliner tours, television specials and awards shows (like the CMA’s, the Billboard awards, etc.) and also did small club work and casino production show work. I do a bit of everything. Again, read my bio.

Then the housing bubble burst, the stock market plummeted and work died down substantially. I am blessed that I have been able to keep working throughout these storms, but I certainly have not seen a straight ten-year decline. Record sales and live concert sales for headliners have decreased, but that has to do with inflated ticket prices, greed, and the downloadable music revolution which now allows people to buy one song rather than a whole album. On the other hand, live music opportunities for working musicians are part of an ever changing situation, and you are right, one has to know how to get work. That would be me.

My next gig? I’m performing with Sonny Turner and the Platters in Sacramento next month. Maybe you can come come see me! That would be cool. I am not a raving out of work chick singer, I just love 440.

By the way, I gotta add one more thing in defense of my Vegas peeps. You can hear 440 at the following lounges: The Tropicana Lounge featuring Santa Fe and the Fat City Horns, The Fontana Room at the Bellagio featuring Patty Janura, Dian Diaz, and other good acts. I think you would be blown away.

Cheers and thanks for weighing in,

Michelle

Additionally it may behoove you to speak to some actually in the know regarding how to find and maintain musical work in this economy. It still does exist. Coast to coast for over ten years live music has been diminishing as the entertainment of choice for social events. This is not a local phenomenon. There is a way to work as a singer/musician currently and those who are have it figured out. You may see them and hate what they are doing, but they understand their audience. This has always been the key. You cannot sing jazz standards which were primarily written in the 1940′s and expect a very large or, more importantly, consistent audience. If you think by selling music which middle-aged singers and musicians consider valid will ace you a job anywhere in 2010 you are sorely mistaken. This is most likely why you are not working steadily.

Please do not take this as being mean in intent, though when you speak of these things it would be best if you were writing from the point of view of one who is working regularly and not picking up off night work in local clubs working for their peers.

Ed bailey
edbailey02@comcat.net

Everyone, please take it to heart… and pass it on.

Andy