Extra! Extra! Read all about the current predicament of jazz artists in new york city

Tenor Saxophonist Vester Bonnén, one of the star student performers in our Jazz Standard Youth Orchestra, conducted interviews and compiled a wonderfully pertinent report on what life is like for jazz musicians living in NYC and abroad. The multinational study included interviewees who varied greatly in age and demographics which makes for an thoroughly interesting and in depth essay on not only present day economics but also how they have changed over time in several countries. The findings sadly tell a tale that life for musicians is becoming increasingly next to impossible and requires financial aid from organizations like Jazz Generation.

Here are some of what we learned from this invaluable study:

— 80% of respondents supplement their performance work with other income (mostly teaching)

— Diversifying the portfolio is the norm: teaching, side jobs, performance, recording, touring, etc.

— A bigger scene is not always better: Large urban centers feature more work opportunities but higher costs of living

— Structural changes are needed to sustain the art form: Public and/or private funding is crucial to the music’s survival

In Vester’s own words…

Building a Sustainable Career in Jazz: 

Exploration of Income Models and Support Opportunities for Working Musicians

New research support’s Jazz Generation’s mission: sustainable jazz careers are dependent on organizations that can create more opportunities for paid work, as well as career continuity and income stability. The research also shows that, in order to turn musical talent into a career, young musician’s need opportunities to create trusted relationships with mentors and peers, which is central to the JSYO program. The report offers practical recommendations for young musicians and ideas for how Jazz Generation can continue to create value for the jazz community.

We are thrilled to be recipients of the first annual Ridgewood Jazz Fest Community Impact Awards. Getting recognition for our work is always appreciated and we are proud partners with the Ridgewood Jazz Fest. Check out their work on their website, here or on their instagram!

Thank you to Lainey Nguyen and WFUV music for their Jazz Generation shoutout. You can read the article here for more information on how Jazz Generation’s youth programs have been making an impact for young jazz musicians in NYC over the years!

!Check out our spread in hot house magazine!

Jon Batiste visits OUR JSYO!

 KU! on ABC News! 

NEW YORK (WABC) -- Jazz is often called the great American art form, but despite the genre's important place in our culture, its musicians often go without steady work.

Now, one organization is aiming to change that.

It's called KEYED UP!, and it is a non-profit organization of jazz lovers who know that jazz musicians are often underappreciated and underpaid. KEYED UP! aims to change that by giving musicians extra cash and more opportunities.

Check it out →

KU! - keeping music alive during the pandemic

Jazz Discovery celebrates 25 years!

Neon Jazz Interview with Rob Duguay
- COO of Jazz Generation

KEYED UP! in the Bronx:
Mosholu Duo looks to keep jazz
alive and well in the boogie down

“Liquid Melodies,” are able to perform at the Bronx Burger House with financial help from KEYED UP! — one of three programs of Jazz Generation, which is an education and performance initiative to create playing opportunities for children and adults.

KEYED UP! works by supplementing the income of live Jazz performers in venues from New Jersey to Long Island and the five boroughs. Musicians must secure a venue willing to provide the space and compensation for them to perform. If the venue is unable to meet the industry pay-rate, which varies greatly according to location and band size, Keyed Up! will supplement the difference on a case-by case-basis. As it stands, the nonprofit has paid approximately $2 million to Jazz performers since its founding in 2014.

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Along the way, James also started a nonprofit called KEYED UP! in 2016. He had been playing with musicians for many years, and he saw that it was almost impossible for them to make a livable wage playing jazz. He wanted to do something to change that. “These are people who do the most difficult thing that I’m aware of, the most beautiful thing that I’m aware of, and they make peanuts. I was with a guy and, there was cancelation, he said that if he didn’t get paid that $50 cancelation fee, he wasn’t going to be able to make his rent for a room—this was a guy who had toured the world playing music. And I said to myself, there’s something off here. There is a disconnect here—how can it be that you’re among the best in this art form, which is America’s greatest art form, and you have to survive on only a $50 a night gig? I couldn’t wrap my head around this idea. So, in the midst of the pandemic, my idea was to reopen the Jazz Standard as part of the nonprofit, with all the profits flowing from Jazz Standard, as well as donations, to help propagate jazz all around the city and, actually, all around the country.”

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