With apologies for being off-topic, but this seems as good a place as any, on the subject of principles and integrity, to bemoan if not altogether rage against the inability to find personnel lists and credits for digital albums. Why the streaming services don't post them is beyond me -- what a huge disservice to musicians, engineers, et. al. Seems especially true of jazz recordings in my experience, even new ones.
I stayed true to my principles as well, as the owner/operator of a small listening room venue in New Hampshire (outer suburbs of Boston). We booked a huge range of acts, from Americana to rock to folk, but jazz was a particular focus. We had the love of local critics, the city, and the public. After opening in the summer of 2008 just as the economy was tanking, five years later we still couldn't make the numbers work.
ASCAP and the other performance rights organizations penalize small venues with proportionately higher fees. There is really no particularly good reason why. That's just one facet of the problems, but an important one nonetheless.
I wouldn't have traded the experience for something different, but to call it heartbreaking in a sustained way is a bit of an understatement.
With apologies for being off-topic, but this seems as good a place as any, on the subject of principles and integrity, to bemoan if not altogether rage against the inability to find personnel lists and credits for digital albums. Why the streaming services don't post them is beyond me -- what a huge disservice to musicians, engineers, et. al. Seems especially true of jazz recordings in my experience, even new ones.
I stayed true to my principles as well, as the owner/operator of a small listening room venue in New Hampshire (outer suburbs of Boston). We booked a huge range of acts, from Americana to rock to folk, but jazz was a particular focus. We had the love of local critics, the city, and the public. After opening in the summer of 2008 just as the economy was tanking, five years later we still couldn't make the numbers work.
ASCAP and the other performance rights organizations penalize small venues with proportionately higher fees. There is really no particularly good reason why. That's just one facet of the problems, but an important one nonetheless.
I wouldn't have traded the experience for something different, but to call it heartbreaking in a sustained way is a bit of an understatement.
As someone who works in a mission driven field (Catholic schools), this piece rang true for more than just leadership in jazz! Great insights!