BANDCOCKTAIL.COM

The advent of new technology has brought in new possibilities for bands to reach fans and hopefully make some money. The internet clearly has the potential for many acts to further their fan base but many people are also tipping mobile phones to generate a lot of publicity.

Many mobile phones are now being used as mp3 players which make it easier for people to have music with them without carrying around extra devices or gadgets. A few years back people predicted that bands would make a lot of money from selling ring tones but this trend has still to take off in the manner it was suggested.

“There’s only music so that there’s new ring tones”

So sang the Arctic Monkeys on ‘A Certain Romance’ and there have been suggestions that ring tones have been outselling CD singles for certain artists and releases. The only problem is that technology has caught up with the mobile phone and it is now fairly easy for a person to download any track from CD or their computer onto their phone. This has reduced the potential for selling ring tones but this does not mean that bands and management should abandon all consideration of this promotional channel.

There may not be the money in selling ring tones but it could generate a lot of extra publicity and awareness in a band for no great cost at all. Just imagine if a fan had your songs as their ring tone or message alert, every time they received a call your bands music would play.

Give Stuff Away for Free

This is why bands who have websites should consider offering songs or snippets that are designed to be used on a phone to their fans. Any track could be edited to feature the chorus or perhaps just a riff to ensure that the impact is noticeable every single time a phone rings.

Equally, wallpapers and graphics for people to place on their phones can be offered too. Doing this is no guarantee of success and you have to accept the limitations of trying to reach people in this manner but it’s a worthwhile option at not much cost for a band to consider.

Even if it fails to generate any new fans, it will be seen as a good gesture to existing fans. People like getting stuff for nothing and by offering freebies for people to download onto their phones, a band will create a better spirit between themselves and their fans.

Release Exclusive Content for Mobile Phones

Alternatively, some bands are offering exclusive content that cannot be purchased anywhere else to fans through their phones. Perhaps it could be live tracks from a gig or perhaps a remix of a popular track but the option to give away exclusive content or perhaps sell it for a small fee could greatly improve the popularity of a band.

The possibilities of this are only limited by the technology available to a band. If fans at a gig all had the Bluetooth facility enabled on their phone, they could easily receive exclusive content from a band. This would further encourage fans to come along to gigs if they felt they were being offered something exclusive and again, it would be create a stronger bond between band and fan.

With technology moving forward at a great rate, artists who are able to react to the new possibilities and use it to communicate with fans, existing or potential, are giving themselves a greater opportunity of being found by more people. If you don’t do it one of your rivals probably will so be sure to check out what the latest mobile phone technology can do for your band.

Copyright (c) 2008 Daniel Lafleche

So, you have an indie film and you want to find distribution.

Never have so many options for distribution been available; never has it been so confusing to decide what is right for you and your film. The industry is experiencing a transitional moment; everyone knows online downloads are the future, but nobody knows exactly how it will play out. As well, distribution has gone online too, offering a plethora of choices for the indie filmmaker and producer. What to do, what to do.

This article is the first of a 5-part series that looks at all of the avenues open to you as a filmmaker and distributor. We’ll offer some tips on how to find your film a home.

Regardless of your film’s ultimate destination, your goal is to find a license buyer for your film. Who are film buyers? We’re talking about broadcast TV (cable, satellite, and terrestrial), home DVD companies, VOD service providers, and mobile content providers.

Let’s start this series by examining the psychology of this rare and overworked professional. Here are five things you should know about Film Buyers and 5 tips for putting the best face of your film forward.

1. Film Buyers want a ’story’. This little bit of terminology here might create some confusion. We’re not talking about the plot of your film or the subject matter of your documentary, but a story that will sell the film–on paper. You should be doing everything in your power to create that story. To do this, you have to distance yourself from the film you know and love and ask yourself: What will sell this film to somebody who does not know and love it the way I do? The answer to this question is the ’story’ you will use to sell your film.

The most obviously valuable raw material for a sales story is…star power. Film stars often fail to attract their audience, but nothing makes film buyers feel more peaceful than the presence of some known names in the mix. If you are bereft of any bona fide name power, do not fear, you have other options. Festival play and any press generated are also incredibly important. You should be knocking yourself out to find some kind of festival and press exposure for your film. Even if it’s not a top festival or a top publication, festival and press play will take your film from having no story at all to having a first chapter. Hype is over-hyped, but your film is going to look more valuable to buyers if it has a story. If you can say, “This film already had some exposure. This film has been reviewed. This film has played at a festival. This film has a response. This film has an online presence. This film has the beginnings of an audience or a niche audience,” then you have a story buyers will want to cuddle up with.

If you are looking for ideas you should check out the industry trades. Look at how distributors market their films, and figure out how to do this on a small scale. You want your story to be a comfortable and familiar one. “But my film is original, beautiful, heart-breaking, unique…and my marketing must be the same,” you say. This brings us to the next point…

2. Film Buyers think in dollars, not passion. When selling your film, don’t rely on your own enthusiasm and passion to make the sale. Again, channel your enthusiasm into a narrative the film buyer can understand, a narrative about how and why this film is going to attract people to it. Has this genre of film had any recent notable successes? Does your film intersect with any issues or topics that are garnering attention? Save your passion for your filmmaking, and focus your remaining energy into crafting a professional marketing campaign and learning the highly efficient language of film buyers.

3. Film buyers are overextended, have short attention spans, and don’t want to waste time. Film buyers are professionals. Hook them fast with a comprehensive one sheet (or sell sheet). The circumstances in which you are pitching your film are going to vary, but one thing that everybody will need at some point is a one sheet as part of their promotional package. Here is the crucial thing: your sheet should be short and to the point. This sheet is a cliff notes to the strongest features of your film. Do you have a few positive reviews? Great, use them in the press kit, but on the one sheet just use the best line from each one. Do you have some seasoned talent? Stick their names on the one sheet with 1 or 2 of their best-known films, but save full biographies for later. Any film can create a ton of paperwork, but nobody is going to go through it all. Don’t bury the selling features of your film and assume buyers will get to it. With that in mind, don’t assume a buyer will watch a screener. Most buyers accumulate hundreds and hundreds of screeners every year and many of these remain unwatched. Save your screeners for buyer’s who show interest, or even for buyers who you have a good feeling about.

4. Film Buyers want to work in their comfort zone. To save your time and your buyer’s time, you should always do research beforehand, especially if you are making the first move. Are you targeting a buyer that makes sense for your film? Why do you think so? What else had this buyer/company done that makes you think the company is right for your film. Again, these points can be, if not part of your one sheet, an introduction to the story of your film. You will look professional and on the ball, you will stand out if it seems like you have done the research and are personally addressing a buyer’s specific skills, past successes and proven strengths.

5. Film Buyers are freaked out. By and large film buyers are a worried bunch, cowering in the ruins of the decimated music industry and wondering if their business is going to disappear out from under their feet. Film and music are different animals, and the future of film in the era of online exhibition is still not completely foretold, but the mood is certainly wary. The film industry is in transition and everyone is handling it in their own way, some better than others. You’ll see conservative streaks, but also canny entrepreneurs looking to exploit the changing terrain. Overall, though, most buyers want to minimize advance spending. This practice, in itself is not suspicious, but for your own protection do your homework and make sure you are dealing with a reputable company and a company that is in a stable financial position.

Over the next few minutes, I am going to go over some music promotional ideas, offer advice on selecting musician resources and show you how to promote your CD without emptying out your wallet. Independent artists have the upper hand and no longer have to worry about being signed to a major label to make it.

1. As I said before, you don’t need a record deal to “make it” in the music industry. The industry has changed and that is no longer the absolute measure of your success. You can define your own success.

2. As an Indie artist, you won’t have anyone telling you what to play, how to dress, how to promote your CD, which songs to sing or who to socialize with. It is all about you and your creativity!

3. Financial freedom is one of the most wonderful things about being an independent artist. You can come up with all types of music promotional ideas about how you market your music and what you do with your profits.

4. Spend the most amount of time on your first album. Take full advantage of every musician resource out there. First impressions are everything so you want this first one to be great.

5. Spend your money wisely. Don’t go crazy with studio time and rack up tons of bills. Try to work out any problematic areas before you go on the studio clock.

6. Don’t skimp on the manufacturing of your CD. You these people to be reputable and it is ok to splurge in this area. You want to make sure you release a good product no matter what.

7. Schedule your own tour. You want to build an incredible fan base because they are the best musician resource out there. Your fans love you but they will also be honest about your music and shows. If they don’t like something or something is up to their standards, they will let you know.

8. Lastly, never underestimate the power of the Internet when searching for music promotional ideas on how to promote your CD. The Web is your friend and that is where the Independent artists make the most dough. Get a website and get a MySpace page.

These are just the top eight music promotional ideas and tips that I can offer you. Constantly try to redefine your music and come up with innovative marketable ideas. The opportunities are endless so take advantage of every single one of them.

I’ve been using ReverbNation for about 6 months now, and I have to say, the site has really helped me with the promotion and marketing of my music. Like anything else, you get back what you put into it, and as anyone who has done any type of online marketing knows, it is a very time consuming process. Especially if you are attempting to do it alone ( or with very little help).

This is where ReverbNation can help. They provide you with tools, such as promo widgets, a fan mail program,etc. that can help you get your music out there, and get your band seen and heard online. They also provide detailed stats on your page views, plays, listeners, fans, etc. The best part of their site is that most of their services are absolutely free. They actually have a band equity program that pays the musician.

Obviously, you are providing content for their site, and with the email program there is an ad at the bottom of the email sent out. But it is all done with style, and in my opinion, is very professional looking.

The Fanreach email system also offers you info on click thru %, fan location, age, % of mail opened,etc. It also has filters so you can search for fans in certain geographic locations ( to avoid email fatigue ) and automatically removes invalid email addresses or unsubscribed users.

The widgets speak for themselves. If you want to see how they can be put into use, check out examples on the reverbnation site.

I think these widgets blend  nicely into  websites. They aren’t plastered with ads for doritos or bud light. They are customizable as well ( background and font colour ).

ReverbNation helps  artists to better understand how their promotional efforts are working, and provides the means with which to communicate better with their fans. I really believe it is a must for any indie musician. Especially if you are understaffed, underpaid, and underfed.

Order my new album, Painfully Mainstream, TODAY! Click here to do so: dftba.com A lovingly crafted and charmingly rough-around-the-edges music video for Song For The Painfully Indie, probably the most overtly bile-filled track on my new album, Painfully Mainstream. Which you can order today, for delivery. Or get it off iTunes. Or listen to and buy it on Bandcamp. Where it’s streaming for free! Yeah! The lovely people who gave their time to help make this video are: recorder player/pervy friend: www.youtube.com band member/club friend: www.youtube.com bassist/club friend: www.youtube.com club friend/bar friend: www.youtube.com lady bassist: www.youtube.com girl in question: www.youtube.com drummer/awesome jumper wearer: www.youtube.com As well as wonderful friends and family who are NOT INTERNET ENOUGH TO BE REFERRED TO BY URL. Also, thanks to Tom from www.youtube.com/studentbreakfast for helping me edit and colour correct this beast. Tom PS: Lyrics? Oh, go on then. There’s a girl there on the dancefloor And I don’t know how to greet her Now heterosexuality’s Not my defining feature They said skinny jeans and cardigans Were the only way to go But it seems that Oxfam employees Are not the ones who know just how it works Give me a minute While I fiddle with my hair Cause you keep telling me that it looks fine But I’m the one who cares About a good impression being made Cause I’m the one who might get laid Don’t tell me how the game is played Don’t tell me how the game is …

An interview with Kerchoonz co-founder and Scotland-based, singer-songwriter Indiana Gregg (part 1 of 2)

Imagine working for years developing your music career. You’ve released several albums, signed with an indie label, inked licensing deals, and received love from the press and radio, all while you’ve toured the country. An indie artist’s dream! That is until you find out that your latest release has been illegally downloaded over 250,000 times off of major pirate sites like The Pirate Bay.

This is the nightmare Glasgow, Scotland-based, singer-songwriter Indiana Gregg faced about 18 months ago when she released her album “Woman at Work.” The level of piracy was actually threatening the financial viability of her independent label Gr8Pop. So Gregg decided to take matters in her own hands and fight back. She contacted the UK-based Mechanical Copyright Protection Society (MCPS) and British Phonographic Industry (BPI), as well as contacting the various websites linking to the illegal copies of her album. While nearly all the sites complied with the link removal request, file-sharing website The Pirate Bay responded with a “cyber-bullying” campaign, publicly releasing Indiana’s email that resulted in a malicious deluge from the site’s supporters.

Instead of getting mad, Indiana – with her manager and husband Ian Morrow – decided to get even on behalf of all artists. To accomplish this, she has set out to create a site that would pay artists for every stream of their music; and even pay when the artist would want to offer their music for free download. Slated for beta launch later this month, Kerchoonz.com has already attracted the attention of media outlets like the BBC and Digital Media Wire, as well pirate forums such as TorrentFreak and suprbay.org.

MusicDish e-Journal sat down with Indiana to find out more about Kerchoonz and how it might just tilt the music industry balance in favor of musicians.

[Eric de Fontenay] Where did the idea behind Kerchoonz originate?

[Indiana Gregg] I’ve always believed that art and music should be free and accessible to the people who can perhaps not afford it. However, it shouldn’t be at the expense of the people who create music and film. Since the late 90’s, billions of copyrighted files have been downloaded illegally. Free art is a great concept, but musician’s can’t live on “thin air” and it’s hard to make music without some investment. Music, film and art costs money, time and dedication to produce. We believe that if this continues, nobody will want to invest in new creativity, and we can’t let that happen. Brainstorming took place, and Kerchoonz is what we decided to offer as a solution.

I spoke with my partner/producer Ian Morrow, and we started to put this idea into motion. We began developing the site in late 2006 and in April 2008, we founded a new Scottish-based company, Kerchoonz Ltd. We’ve been working on the site around the clock with developers from all over the world (and every time zone!). You might say we’re workaholics, but it’s actually been terribly creative, fun and exciting despite the long hours we’ve put in. So, Kerchoonz is a site where artistic creators can give their music away for free and still get paid!

[de Fontenay] Obviously, piracy was a driving force behind Kerchoonz’ drive to compensate artists. In what other ways has piracy influenced the site?

[Gregg] To be honest, piracy is only a tiny part of what has influenced the development of Kerchoonz. In the early days, even before social sites like MySpace and YouTube came into the mainstream, we were discussing paying artists for streams and how social networks were using music to draw traffic to their sites. Having millions of people visit my own social networking pages, I thought it would be cool if we were able to pay artists for their streams.

You know, there is a fine line between a band getting “free promotion” on the internet and crossing over to that point where sites are really more or less “freely exploiting” a band’s work. Many sites are making millions in advertising each year from delivering the “goods” (music, film, software, games), however, the creative people whose work is being exploited earn absolutely nothing from these sites.

If a label or musician doesn’t want to give their music away as a free download, they can still be paid for their streams and even provide a link to iTunes or wherever their music is available for sale.

The bottom line is we need to protect the future of art and we hope that people will make the choice to support artists simply by listening or downloading for free.

I believe that on-demand streaming of music will be one of the main ways people access music in the future. Kerchoonz is a site where people can access music and create playlists on-demand at any time they want via the Internet or mobile phones.

So, really, I’d have to say that we’ve developed Kerchoonz primarily to cater to this huge shift in how people are choosing to access music. Was it due to piracy or the birth of social networking? Maybe a bit of both. People are changing the way they access music now and, to be honest, that’s been the strongest influence upon the creation of Kerchoonz.

[de Fontenay] Kerchoonz’ website mentions that Kerchoonz does not use DRM or embedded ads in download files. How does Kerchoonz generate the revenue to compensate artists? Do you feel that DRM and embedded ads will still be around in five years?

[Gregg] Advertisers want to reach specific numbers of people within a specific demographic. We want Kerchoonz to be fun and informative, and advertising is a way of finding out about new products and services. It’s also the way we plan to help compensate artists. But, we won’t be using pop-up ads or ads attached to the downloadable files.

Kerchoonz advertising is done in a way that’s more attractive and even entertaining for the user. We use a system where video adverts are played during downloads but they are not “attached” to them. There are no annoying force-fed ads. However, advertisers get their message, products and services across to their target demographic on the site, and that’s what’s important for this kind of ad-funded model.

Whether or not DRM or embedded ads will be necessary five years from now (or if they are even necessary now) depends upon the future of downloading. I have a feeling we are moving towards an era of ‘on-demand’ where people won’t want or need to actually “own” the files. So, it’s hard to say.

[de Fontenay] Do you feel that the industry’s approach to tackling piracy has been effective? What would you want to see proposed that would help you in developing a revenue channel for artists?

[Gregg] The music industry has suffered a tsunami of change over the past decade. It’s becoming more and more difficult for bands to compete by selling music alongside the huge popularity of “free.”

Has the industry been effective in tackling piracy? I don’t know. I think this is a difficult one to assess. I can only say that from my personal experiences, some of the pirate sites have been rather antagonistic in their approach towards musicians. They say that the industry is trying to force their old model on people. However, those same sites are the ones who are trying to force musicians into accepting “nothing” as an option.

As a result, the file-sharers have been targeted by the Recording Industry Association of America (RIAA). I don’t know how effective that has been. However, recently more ISPs are getting involved and perhaps they will help reduce the problem.

http://www.kerchoonz.com

**********
Next week, in part 2 of MusicDish e-Journal’s interview with Indiana Gregg, we learn more about Kerchoonz, the site’s multiple features and it’s Choonz origins.

There are varying opinions about how much money (if any) a person or group can earn by starting an independent record label. The truth is that there is real money to be made, but you definitely earn it through hard work. Believe it or not, sometimes the artist ends up making more money through a small indie label than he or she would signing with one of the “big boys.” Now, that’s what we like to hear!

It’s true that the return on investment can be higher for an independently released album than for one that goes through the more traditional channels. The explanation for this revolves around the amount of money spent to get the album into circulation. Plus, indie labels are more likely to work equally for all of their artists. The bigger labels choose which artists to back with the most support. This is a bit of a catch-22, though, because the more money they spend promoting the music, the more sales have to be made to break even. The artist won’t see any money until those costs are recouped.

The independent record label is going to spend a lot less when promoting their artists, which may seem unfortunate, but they also have to sell significantly less copies before they start making a profit. If the indie label spends $1,500 producing and distributing an album, they only need to sell 100 copies at $15.00 each before they start profiting. On the other hand, if a larger label spent $30,000 promoting an album, they would need to sell 2,000 copies before breaking even. You may also be able to offer the artist a higher royalty rate, too, as the overhead expenses for your business are probably much smaller than those of a big label.

Because the small, independent labels have less funds to contribute to promotion, they often become masters at finding free and low-cost ways to do the job. Of course, one of the first orders of business is to create a web site so fans can order the music online or purchase any merchandise that may be promoting an artist or the label. Including that address on every item sold ensures that anyone who listens to someone else’s copy of a CD has the information they need to go online and buy one themselves. Live performances are also a great way to make sales. Often the band manager or even the artists themselves will set up a table at performances and sell copies of the CD. It’s even possible to set up CD signings at local music stores.

While these methods for selling albums aren’t as glamorous as cardboard cut-outs of the artist at the local music store franchise, they are necessary for the indie label. An event that leads to 20 CDs sold can add up to more money for the artist than having 1,000 sold through a huge record label. Remember that anything sold after recouping the original investment is pure profit!

Do you love music and aspire to start your own independent record label? If so, there are several things to consider, and we’re going to lay them out simply. There are definite steps that need to be taken during the planning phase to ensure that your indie label is a success. You will need to consider the who, what, where, when, why and how of starting your label.

Who:
It is not impossible for one person to start an indie label alone. In fact, it’s been done quite successfully. However, you need to take the time to decide if that is the route you want to take. Perhaps you are thinking of creating a partnership with someone who shares your passion. If that’s the case, take some time to figure out what roles each of you will play. Finally, you may decide to have various professionals and paraprofessionals involved. Plan how you will find and keep those people.

What:
Spend some time determining exactly what it is that you would like to create. For example, one of the most important choices you will need to make regards the type of music you want to promote. While it may seem easier to just take whatever comes along that sounds good to you, it is in fact very important to choose a genre and stick with it. Your label will be taken more seriously, and you won’t split your focus.

Where:
The “headquarters” of indie labels are about as varied as the people who run them. Make an assessment of what you have available. Are you planning to package and mail materials at your kitchen table, or do you have an office space lined up? Even your city might be a consideration. There’s a reason so many country labels are located in Nashville. With access to the internet, some of these issues are easier to address than they were in the past. You can have a virtual “store” online, although you still need to plan for the physical part of the job.

When:
When do you plan to get started? Do you need to save enough money to get the ball rolling? If so, set a deadline for yourself and work as hard as you can to reach it. If other people are involved (partners, investors, etc.) check with them to make sure everyone is on the same page about the timeline.

Why:
Decide what is important to you in this venture. Are you simply interested in promoting your own music, or do you plan to represent other artists? Some people choose to start their own labels in order to share good music with the world, while others see it as an opportunity to make a living doing something they love. This can also help you determine how much time and effort you are willing to devote to the enterprise.

How:
Well, that’s the big question, isn’t it? I hope that reading through these suggestions gives you a little better idea on how to go about starting your own indie label. The key here is to really think it through beforehand so that you are prepared for what needs to be done.

Knowing who will be involved, what you want to create, where you’ll be located, when to get started and why you’re doing it at all are the first steps to creating an independent record label that can sustain itself – and maybe even you along with it. Take these how-to steps and put them to work for you.

Virtual Venues Network (VVN), a pioneering media company that produces high-definition, virtual concert experiences at clubs and theaters, has introduced an exciting new opportunity for independent filmmakers, music documentary producers and makers of alternative content. “Indie Roadshow” will provide an alternative to traditional theatrical presentations with a new, state-of the-art digital showcase environment offered to nightclubs and college music venues. The “Indie Roadshow” will be offered exclusively through the Virtual Venues Network beginning October 2008.

“This is an entirely new channel for independent distribution” says CEO Michael Horne, “In addition to the great concert footage that has been submitted for inclusion in our “Virtual Concert Experience” environment, we’ve received great documentaries and indie projects that are perfectly suited to the college and nightclub audience.” The Indie Roadshow will feature pre-release exclusive screenings and stage DVD release events city to city, on tour, all year round.

VVN books high-definition music content onto nightclub stages, replicating the live concert and bringing national touring acts into smaller markets they would not reach on tour. VVN is currently outfitting nightclubs and college venues with projectors, their patented, ClubLyncTM digital players and installing life-size screens on-stage at each venue. They are currently coordinating a 60-city tour with “Hi-Def From Red Rocks featuring The String Cheese Incident.” While The String Cheese Incident is no longer touring live, the three hour, twenty minute Virtual Concert Experience is reuniting fans in hometown venues across the country.

Visit http://www.virtualvenuesnetwork.com for programming info and upcoming Virtual Concert and Indie Roadshow screenings or contact Virtual Venues Network at 831-421-9500.

Jazz websites have become a hot asset to new Jazz artist as well as established Jazz artist.  As the manager for a new independent Jazz guitarist, Dave Percell, it has become essential to hang out and become familiar with some of the best Jazz websites on the internet.  Two of my favorite Jazz sites are The Jazz Network and AllaboutJazz.com.  These two sites have been incredible resources for me.

It’s true that “Who You Know” can make or break an artist, and that is why I love The Jazz Network.  We have connected with not only other Jazz artist/musicians, but the variety of producers, Radio stations, podcasters, and publicist  that are literally at our finger tips has been a huge blessing.  We have connected with Radio stations broadcasting both in the US, Australia, and the UK in which some of them fish for fresh Indie artist from this website to assemble their playlist and broadcast on air and online.  The Indie Showcase is just one radio station that has aired Dave Percell recently and of course is a contact that we met through The Jazz Network. As with other profile sites you can take advantage of meeting new friends, sending invites to upcoming events to your friends, play your tracks and music on your profile site through the use of their online MP3 player, post bulletins, join groups, and so much more.  The connections on this site is amazing.

Allaboutjazz.com is one the most Jazz artist/musician friendly sites around. Where do I start with this site? Their is just so much you can do. They aren’t their just to make money, they are their to help artist promote their Jazz music, and it’s evident with the amount of free resources and exposure they give to Jazz musicians.  Every day this site features a daily MP3 download that gives an awesome amount of exposure to the artist.  It is featured on their home page, and picked up by other article sites, bloggers, and online news websites. It was honor to be able to have Dave Percell’s song “Eternal Traveler” featured on this site as it drove an enormous amount of traffic to our CD Baby Site as well as Dave Percell’s Myspace and official website.

Article writing is a great key to internet marketing, which is yet another reason to fall in love with this website. All About Jazz allows you to submit articles on Jazz artist, upcoming events, festival, general news etc. and feature it; which is again picked up by multiple websites thus sending traffic to your other websites.  In case your wondering this is all 100% FREE EXPOSURE! Yes people FREE EXPOSURE! The industry resources include music bloggers, publicist, Production companies, and many more …. and yes again its free……AND it includes the contact information to who you need to contact within these companies.

There are many more reasons to love these two Jazz websites, but hopefully what I wrote so far will cause you to go there and start exploring these sites for yourself because they will be a great asset to your musical career.