My friend and fellow podcaster – and MPP Superfriend – Garrett Hope is back this week to talk with me about an idea that’s not super-well-known within the music community, but has been helping artists, professionals, and small business owners for nearly a century: Mastermind Groups.
Garrett and I are members of a small mastermind group of music podcasters and bloggers, and it’s in large part thanks to this group of wonderful musicians that I’ve continued to improve this show over the past few months.
What is a mastermind? Let Garrett explain it to you in this week’s episode, where we discuss the benefits of creating a group of peer mentors, how to gracefully accept criticism, being accountable, and building a base of support.
And head on over to Garrett’s show The Portfolio Composer, where I’m this week’s guest: Episode 99 – just before Garrett’s landmark 100th episode!
Emily Bookwalter is a violist, the Director of External Affairs for the String Orchestra of Brooklyn, and the Executive Director of New Amsterdam Records. In short, Emily does all the things.
This is a fantastic conversation where we riff on marketing, storytelling, the dargers/usefulness of -isms, community, musical citizenship, and how the viola is the best instrument. Soap-boxes abound.
And then Google Hangouts lost the last six minutes of the broadcast. Seriously. Fortunately, I was talking for most of those six minutes, so very little of import was lost.
Kathleen Supové is an excellent pianist with a flair for the theatrical and a deep love for new music. Although she studied within the classical tradition, she feels the need to forge new paths and create new traditions for new music.
We spoke a few days before The Debussy Effect, Kathleen’s latest album of works written for her, was released on New Focus Records. During our conversation, we talked about:
Seth Hanes is Philadelphia-based horn player and entrepreneur, and runs the excellent website The Musician’s Guide to Hustling, where he helps musicians get more gigs and create more – and more rewarding – connections with other musicians. I met Seth when he invited me to come on his site to talk about the differences between traditional publishing and self publishing, and I was impressed with his level of knowledge on marketing and effective promotion.
Seth just released his first book, Break into the Scene: A Musician’s Guide to Making Connections, Creating Opportunities, and Launching a Career, today, and I think that it’s a great addition to the library of any musician who wants clear, actionable advice on how to improve their career.
In the course of our conversation, we covered:
Having a versatile skillset
Scarcity vs abundance
Connecting with contractors
Considering the challenges of your prospective collaborators
Breaking into the Scene
In June 2005, my composition teacher at the time, <a href="http://www.daronhagen.com/" target="_blank">Daron Hagen</a>, told me that he was having his <em>Pianos Variations</em> premiered by a pianist named Marc Peloquin at the Bloomingdale School of Music, and that if I was interested, I should go. I arrived rather early, met Marc, and ended up helping him to set up chairs for the recital. The concert was wonderful, and in addition to Daron’s <em>Variations</em>, included some works by Virgil Thomson and David Del Tredici.
Afterward, I was invited to a post-concert dinner a few blocks away with Marc and his partner (now husband) Seth, Chester Biscardi, and David Del Tredici, and the five of us have been good friends ever since. (I like to tell the story of how I only ordered french fries, claiming that I had eaten before the concert, when in fact french fries were all I could afford at the time. The life of a young artist!)
Nine months after that concert and dinner, Marc and I performed together for the first time on the inaugural Tobenski-Algera Concert. We perform together regularly, have toured together, and formed a small record label to release our recordings of new vocal music. Marc was also the Best Man at my wedding last year.
During this week’s conversation, we talked about:
<li>The value of recording previously-unrecorded works</li>
<li>Approaching promotion from a project-oriented standpoint</li>
<li>The economics of recording</li>
<li>Finding a label or self-releasing your recordings</li>
<li>Learning from experience</li>
<li>How we run Perfect Enemy Records</li>
<li>Rolling with the punches</li>
<a href="http://marcpeloquin.com/" target="_blank">Marc Peloquin</a>
<a href="http://keyedupmusicproject.com/" target="_blank">KeyedUp MusicProject</a>
<a href="http://perfectenemyrecords.com/" target="_blank">Perfect Enemy Records</a>
<a href="http://kriswrites.com/2012/04/25/the-business-rusch-one-phone-call-from-our-knees/" target="_blank">Kristine Kathryn Rusch: One Phone Call from Our Knees</a>