Gig is slang for a live musical performance. Originally coined in the 1920s by jazz musicians, the term, short for the word “engagement”, now refers to any aspect of performing, such as assisting with and attending musical performance. More broadly, the term “gigging” means having paid work, being employed.
According to our friends at Wikipedia, the first documented use “gig” in this way appears in 1926: Melody Maker 7 September 1926, with the story byline stating, “One Popular Gig Band Makes Use of a Nicely Printed Booklet.”
Currently the term “gig” refers to a “set”, which is a term that comes from “set list,” which is a list of all the music that an individual or a band is going to play throughout the course of a performance.
In recent years, the term “gig” has been used in a broader context in the economy. Our new “Gig Economy” refers to the new reality that many people now work several jobs just to make ends meet.
Night is Alive books gigs for some of the highest-ranking jazz artists today. Learn how we can provide the right musician for your performance venue at our Contact page!
If “will travel for jazz” is your motto, you’re in the right place. We’re going to share some of the top jazz festivals from around the country, and the world, that will probably be right up your alley. So, go get a good suitcase and make sure your passport is ready to go. We’re certain the urge to travel will be even stronger after you read this list.
Festival International de Jazz de Montréal
Festival International de Jazz de Montréal
Of course, we have to start with what has been ranked as the world’s largest jazz festival. The Festival International de Jazz de Montréal was started back in 1979 and its goal was to bring some of the world’s best musicians to the public. Since then, festivalgoers have been treated to performances from the likes of Ray Charles, Chick Corea, Dave Brubeck, Miles Davis, Ornette Coleman, Tony Bennett, Pat Metheny group, Wynton Marsalis, Madeline Peyroux, Aretha Franklin, Esperanza Spaulding, Diana Krall and many more. The festival runs for 10 days in downtown Montréal towards the end of June. This year marks the festival’s 40th year.
Montreux Jazz Festival
Montreux Jazz Festival
Created in 1967, the Montreux Jazz Festival takes place in Switzerland for two weeks in early July and it tends to draw more than 250,000 visitors each year. It’s been said to be one of Europe’s best-known events. While Montreux’s foundation was built on blues and jazz, many other genres have found a place at the festival as well. Montreux has seen historic performances by Nina Simone, Miles Davis, Ella Fitzgerald, Marvin Gaye, Prince, Leonard Cohen, David Bowie, and Stevie Wonder.
New Orleans Jazz & Heritage Festival
New Orleans Jazz & Heritage Festival
The New Orleans Jazz & Heritage Festival, or Jazz Fest, started in 1970 when George Wein, the jazz impresario behind the Newport Jazz Festival and the Newport Folk Festival was hired to design and produce a unique festival for New Orleans. Held during the last weekend in April and the first weekend in May, the festival has since turned into an epic event for the city and generates about $300 million dollars each year.
The Festival tends to blend a wide mix of well-known artists. Past performers include Dizzy Gillespie, Santana, Sarah Vaughan, Paul Simon, B.B. King, Dave Matthews Band, Tito Puente, Al Green, Lenny Kravitz, Abbey Lincoln, and Erykah Badu.
Newport Jazz Festival
Newport Jazz Festival
The Newport Jazz Festival is held every summer in Newport, Rhode Island. It was established by socialite, Elaine Lorillard, back in 1954. It was the first outdoor music festival that was devoted entirely to jazz. Around 13,000 people attended the first festival. This year’s festival will be held August 2-4. Past performers include Roy Hargrove, Gregory Porter, Corinne Bailey Rae, Terence Blanchard, Herbie Hancock, Billie Holliday, Carmen McRae, Nina Simone, Muddy Waters, George Clinton & Parliament Funkadelic, Miles Davis, and Ella Fitzgerald.
Monterey Jazz Festival
Monterey Jazz Festival
This year marks the Monterey Jazz Festival’s 62nd season. Founded in 1958, the festival has donated its proceeds to music education from the very start. Dave Brubeck was instrumental in getting city approval for the first festival. He even performed for the city council to persuade them to let it take place. He ended up performing at the Monterey Jazz Festival 14 times.
Five hundred top jazz artists perform on nine stages during the third weekend in September. In addition to the performances, the Monterey Jazz Festival features jazz conversations, panel discussions, workshops, exhibitions, clinics, and an international array of food, shopping, and festivities.
We know there are many more festivals out there for jazz lovers like you. Tell us. What are some of your favorite jazz festivals?
Who is really buying music? Where the money comes from now.
The music industry has gone through some monumental changes in the past 20 years. What was once driven by consumer purchases has now become a subscription-based model that eliminates the need for physical record stores. For the vast majority of the modern music industry, selling records was the main business focus. While some fans still prefer to purchase a hardcopy, the popularity of Spotify, Amazon Music, Apple Music, and Pandora have opened up a new way to access artists’ material. This computerized marketplace has begun a new debate within the music industry: how will artists get paid in the world of the digital download, and where does the money come from?
Without a doubt, the way most big acts make their money is touring. Many artists are under the impression that when signing with a record label they will see profits once their album is live. While a record label can legitimize an artist and help them launch their career, labels expect to be paid back for the money they put up for the new artist. Even as the album begins to pick up steam and sell, the label is paid first. For example, the Black Eyed Peas didn’t see a big paycheck until their second hit album. Touring is different. The artists are paid for the shows they do. The more shows they do, the more they make. U2 is one of the most successful bands, and it all comes from the groups’ dedication to hit the road and tour. A recent Citigroup report stated that of the $43 billion in revenue the music industry produced in 2017, only 12% when to the artist. Of that 12%, touring was by far the most significant profit center for musicians. While streaming services are increasing in popularity, these earnings are not enough alone. Album and soundtrack licensing sales usually come in second with streaming services, publishing, and merchandise sold at concerts following in that order.
Streaming through a music service has in many ways replaced the era of purchasing a record or CD. Each of these streaming services, Pandora, Apple Music or the largest of the services Spotify, all have different pay scales. For streaming services, it’s all about the number of requests for a particular song or artist. This is where a new artist will find it difficult to break in. Many up and coming artists are not going to have enough requests on the platform to see any real money. Many streaming services do not count a song until it has reached 1000 requests. These services benefit famous artist disproportionally from a new artist.
While there are still many methods for musicians to make a living, social media and the new marketing trends are leading the way. Instagram, Facebook, and the 24/7 information cycle require musicians that want to reach the top to have a complete package to get there.
The art of recording has developed alongside advancements in technology. In fact, tech mixes so well with the art of recording that it is now the only way to make music. To have an album released nowadays and not be from the digital realm is an oddity. Thirty years ago, it took rooms of mixing boards, amps, booths, tape recording equipment, and trained professionals who knew how all that equipment worked and all the little tricks to get the sound right. That is no longer the case.
Successful artists still use much of the “old ways” to make their albums sound perfect, but the advancement of home recording software has leveled the playing field for those who want a richly produced sound without the expense and expertise.
If you are looking for a music software system to create your own home recordings, here is a list to help you find what works and is the best fit. This list was created after researching what systems are available in today’s market, how long the system has been a force in the industry, and what level of tech is required to get the job done.
The best thing about GarageBand is that it is free and doesn’t require a lot of equipment. Simply purchase an iPad, download GarageBand, and you are ready to go. Apple packs a ton of additions to the stock program, and beats, instruments, and live recording are also part of the package. It will not get you the same studio quality as some other systems on this list, but for very little money and hassle it will make your music sound great.
Ableton Live has been making a name for itself for years. Released in 2001, it was one of the only software programs that could change the tempo of the music without affecting pitch. The ability to have a music software system that can record and mix live performances placed Ableton Live in a league of their own. The mixing capabilities are still some of the best-designed software on the market today.
This software system gained popularity for its ability to create amazing loops. First known as FruityLoops, FL Studio is used widely in hip-hop and electronic dance music (EDM). FL Studio is also a favorite with producers for its ease of use and editing capabilities.
Logic Pro has been on the scene from the beginning. Logic Pro is a full-feature music production system that can create professional-grade music. Apple purchased Logic Pro in 2002. The extra add-ons and features that Logic contains make it easy to control while maintaining a conservative user interface.
Pro Tools is the top music production software system used today in the music industry. Avid, the creator of Pro Tools, is the movie industry standard for video production, so it was only natural for them to own the audio market too. Pro Tools has a few different levels available depending on where you are starting. (maybe include a sentence or two about the different levels that are available, i.e. Pro Tools First, Pro Tools, Pro Tools Ultimate.) They also make proprietary hardware for their professional level software system.
While there are many programs to choose from, this list represents the systems that have displayed longevity, a strong fan base, and the ability to consistently get the job done. Pro Tools as our number one pick offers a level of depth and focus that has made it a mainstay in the music industry, but any of these Top 5 Music Software Systems will deliver.
If you’re a jazz fan, it is likely you already know what a jazz standard is. If so, good for you! But don’t go anywhere just yet – we have some information you might find interesting later on in this post. If you don’t know what a jazz standard is, this next paragraph is for you, so keep on reading.
A jazz standard is a song that is regularly performed or recorded by jazz artists. Because these songs are played a lot, they are easily recognized by many jazz fans or music lovers in general. Those are pretty much the basics; a jazz standard is simply a popular song that tends to frequently reappear in the repertoires of a wide range of musicians.
The one thing that even jazz fans might not know is that a standard doesn’t have to be written by a jazz composer. A number of jazz standards were originally written for Broadway or Hollywood musicals, or they were Tin Pan Alley songs. In Europe, some standards were even purported to be folk or ethnic songs.
Now that we have determined what a jazz standard is, here are some examples of popular standards all jazz fans should know. Whether you’re new to jazz or a long-time fan, we’re pretty sure you will know some of these songs.
Jazz Standards By Decade
Since there are so many songs out there, we’re going to list a few jazz standards by decade to make things a little easier.
Jazz Standards from the 1920s or The “Jazz Age”
Here are a few popular standards that originated during the 20s.
John Coltrane was a legend in his own right. Easily considered one of the greatest musicians of the modern era, Coltrane revolutionized jazz with his intense improvisations, multi-tonic changes and globally inspired sound.
Ralph Moore is a legend as well. The tenor saxophonist is known for his solid, straight-ahead and inspiring style. He’s a heavyweight in the jazz world and he’s played alongside amazing musicians like Dizzy Gillespie, Horace Silver, Freddie Hubbard, McCoy Tyner, Roy Hargrove and Oscar Peterson.
Both men have forged solid jazz legacies in their own memorable and unique ways.
On Saturday, March 16, Ralph Moore had the chance to honor the man who influenced his tenor sax tone and playing style—John Coltrane.
Moore and his quartet headlined the 47th annual Lakeland Jazz Festival with a tribute to John Coltrane at 8 P.M. The Ralph Moore Quartet featured Moore on tenor sax, Xavier Davis on piano, Rodney Whitaker on acoustic bass and Sean Dobbins on drums.
A special pre-concert discussion with the quartet took place at 7 P.M. Hosted by WCPN radio host Dan Polletta, this portion of the show was only for ticket holders.
What is life like for a jazz musician while they’re touring? Is it full of plush, 5-star restaurants with valet services, or is it a life of hole-in-the-wall clubs that you get to by taking a cab? Well, the answer may surprise you. Any jazz musician today, Grammy winning or not, is actually living between both of these lifestyles. There will be some months filled with touring through some of Europe’s most prestigious hotels, playing for large, high paying crowds, filled with many who have seen our musicians perform in the past. Other times one of our guys could go back to playing in a small town night club that seats, at most, 40 patrons. It all depends on the time of year and what the venue owners are looking for at that moment. The one thing that never changes about where our musicians perform however, is the fan base. Whether it’s the Ritz-Carlton or a club that can barely afford Ritz Crackers, the love for jazz music is the same. That’s what keeps them playing and gets them excited for the next tour coming up. Touring life itself is filled with quick meals and even quicker travel times. A successful jazz musician who’s “on the road” has to be both incredibly quick and flexible in regard to their schedules. Anything can change and anything can certainly happen while touring; from sudden room changes and traffic backups to even instruments breaking or losing pieces. Any musician will tell you they keep a bottle of super glue on them for a reason! When it comes time to eating while on tour, jazz musicians tend to eat around 5, as most of their shows don’t start until 6:30 or 7 at night. This does not mean, however, that these same musicians don’t eat after the show; oh how wrong you would be! Any musician, jazz or not, will tell you that the post-show cravings for food is nearly unmatched by any other activity. Due to the fact that most sit-down establishments are closed by the time the show ends, many jazz musicians have found that an after performance diet consists of visiting the nearest hamburger or pizza joint! A quick moving, life of luxury and fast food. This is the life of a jazz musician while they’re touring. Performance halls may change in their pedigree, but the fast happening, crowd loving jazz life is the same anywhere our guys play. Have any touring stories of your own? Let us know down in the comments below!
Often a song can pack so much sound and history that you can close your eyes and be transported. Donna Summer’s “On the Radio” is a song so amazing that it serves as a marker for all songs of the disco century. The song has the DNA of everything that made disco great. Listening to Donna Summer’s classic “On the Radio” puts you right back in the glitter and dance of disco long ago.
The song has a storied past. Initially written by her producer Giorgio Moroder and first played for her at his house in early 1979, the song failed to move Summer. Moroder put the song on the shelf knowing that someday it would be just right for her.
Months later Moroder was working on the soundtrack for the movie “Foxes” and could not get the song out of his head. He approached Summer again and asked her to listen one more time. This time she felt it and agreed to re-write the lyrics and record the song.
Not an easy re-write, she is quoted as saying the whole song came from the lyric “It must have fallen out of a hole in your old brown overcoat.” She wrote the song about lost love and the emotions that remain. From that point on, she knew where and how the song should go. A hit was born. The slow-ballad beginning that gives way to that incredible disco drum beat pushed the song to the top of the charts. The song became so popular so fast that they included the track on her upcoming album release. They named the album “On the Radio: Greatest Hits Volumes I and II.”
Donna Summer’s loved the song “On the Radio” and commented that she always felt the song was a legato Italian melody at its heart. Hearing the song again feels like being in a time machine traveling to an era that has not lost any of its detail or flare. Donna Summer’s “On the Radio: Greatest Hits Volumes I and II” is a fantastic song collection and worthy of inclusion on anyone’s playlist.
Few decades in America are as defined and culturally rich as the 1960’s. The era is responsible for some of the greatest music in the history of rock. Listen to any 60’s band and you are immediately taken back in time. The music was a reflection of the passion and protest of the people. The mental shift that took place in the 60’s can still can be felt present day. There are many legendary stories that can be told of the generation. Jorma Kaukonen’s new book entitled “Been So Long: My Life and Music” is a front row seat into a world of music, drugs, and fame in the hippie 60’s.
In “Been So Long: My Life and Music,” Jorma Kaukonen reflects about his life, music and the artistry that defined the 60’s and found success. This Rock & Roll Hall of Fame artist is best known for being the legendary guitarist for Jefferson Airplane. He was a major part of the super-group that produced hits like, “Somebody to Love” and “White Rabbit”. These are era defining songs that still get constant radio play 50 years later. Getting his start with other great San Francisco artists like Jimmy Hendrix, and Janis Joplin, Kaukonen was there from the beginning. He played Altamonte, Monterey and Woodstock. These concerts are at the heart of 60’s music and this guy was around to see it all.
In the book Kaukonen draws a contrast between the artists and the fans who flocked to their shows. He writes that the artists were not all drug induced artist like many have come to think. While drugs, alcohol, and a fear of monogamy were always present, these artists were professional musicians. He states that he and his music peers did not look at themselves as hippies or drop-outs. They were successful artists that had reached a high level of success and the money that comes with it. They were not living in a beat-up old Volkswagen. These were mega stars with mansions in San Francisco. They had rich people problems. They did not share the same life as their fans.
Kaukonen’s “Been So Long: My Life and Music,” is not filled with endless stories of drugs, sex and parties but a clear look at a time in music that caused huge and lasting change to our culture. Kaukonen’s honest and humorous telling of his past experiences is an amazing look at a time that many wish they could relive. Now 77, Jorma Kaukonen is still touring and active on the music scene. He also developed a musical retreat in rural Ohio called the Fur Peace Ranch. At the ranch, Kaukonen brings students and professional musicians together to get instruction and hear the stories first hand.
From now until Valentine’s Day, we’re sharing some of our picks to get you in the mood. Last time, we told you about “Our Love Is Easy” by Melody Gardot. Now, we’re giving you a jazz standard.
Chet Baker
“My Funny Valentine”
My funny Valentine, sweet comic Valentine
You make me smile with my heart
Your looks are laughable
Unphotographable
Yet you’re my favorite work of art
Of course, this made the list. C’mon, you can’t have Valentine’s Day without it! The funny thing about it is that “My Funny Valentine” started as a show tune written by Richard Rodgers and Lorenz Hart back in 1937, and it was introduced by child star, Mitzi Green. It’s since become a popular jazz standard and has been performed by more than 600 artists. Baker was able to turn the tune into a jazz classic when he recorded an instrumental version with the Gerry Mulligan Quartet in 1952, and then a haunting vocal version in 1956. He then would go on to revisit the song a number of times throughout his career.
Chesney Henry Baker Jr., or Chet Baker, was known for the melancholic, fragile tone of his trumpet playing and singing. He began playing the trumpet at 10 and later went on to play in Army bands while he was a soldier. During the 50s, he played with Charlie Parker and joined Gerry Mulligan’s quartet in 1952.
In 1954, Baker beat out Miles Davis and many others to win the Downbeat Jazz Poll. Over the next few years, Baker was a frontman for his own combo He played trumpet and sang. Baker’s good looks, vibratoless, soft tenor voice and cool vibe pretty much put him on the fast track. But his personal struggles would end up taking a toll on his career.
Despite the troubles, it’s been said that the period between 1977 and 1988 were Baker’s most prolific musical years. He’s pretty much an icon for the “cool school” style of jazz.
What’s your favorite song for Valentine’s Day? Let us know in the comments.
