Band Leader and Musician, Holland America Line
August 2008 – August 2012

As a supervisor of musicians, my job was to ensure quality performances across a variety of venues aboard a major cruise line.  Musicians all have unique personalities and working styles, and I had to adapt to the abilities and strengths of the team that I was given.  A performer may thrive in a certain style of music and dislike constructive criticism requiring that I adjust my management style to keep both themand the audience happy.  An unhappy musician is not one that is fun to watch.  We had very little rehearsal time, so this job required I think on my feet during performances, leading the band through musical arrangements they may be very unfamiliar with.  I also served as the liaison between the musicians and the ship's administrative staff, and created repertoire organizational documents to efficiently put performance material together for any venue we may play.

Artist Recital Series Intern, Oberlin Jazz Septet and Orchestra Manager
Program Board Chair,  Oberlin College Conservatory,  Oberlin, OH
September 2006 - May 2008 

In my role as the Oberlin Jazz Septet Manager, I booked a two-week east coast tour to jazz clubs and schools for educational workshops and performances.  The highlight of the trip was a performance at the legendary Birdland jazz club in New York.  As this was a tour to promote the conservatory, I had to balance requirements set for me by conservatory administration, faculty, student performers, venues, and high schools.  I was also tasked with doing this with the smallest budget possible.  From the road, I managed tour logistics including concert production, technical, travel, and hotel arrangements.  Here is the final itinerary with all of the tour management information I prepared and arranged.

As the Oberlin Orchestra Manager, I stage-managed rehearsals and concerts for Oberlin Orchestra by  serving as a liaison between the conductor, ensemble librarian, administrative staff, and musicians.  A big responsibility of mine was coordinating the transportation of orchestral equipment from Oberlin to Carnegie Hall in New York City for a performance.  The night we were transporting the instruments, the conservatory had the orchestra perform a concert.  The students were told to load a truck full of heavy equipment right after their performance, drive to New York the next day, and perform again.  Knowing the students would not perform as well under these conditions, I negotiated with the conservatory to hire movers so we could save the energy of our performers.  

My position as the Artist Recital Series Intern had me assisting with the production of a classical artist concert series similar to the work I was doing at the Eastern Music Festival.  This included coordinating sound, financial, artist hospitality, marketing, and performance requirements with the artists, college, and conservatory staff.  Artists I worked with included Edgar Meyer, Hilary Hahn, Gil Shaham, Mike Marshall, and the Imani Winds.

As Student Union Program Board Chair, I oversaw the committee that booked popular music concerts on campus.   I was in charge of the largest per student concert performance budget of any liberal arts school in the country.   I created policy and procedure for board meetings and implemented a payment structure for previously unpaid board members while working at events.  We frequently booked artists before they came famous; we brought MGMT as the opening act for Of Montreal a year before they started performing in stadiums.

Special Attractions Intern,  Eastern Music Festival,  Greensboro, NC
Summers of 2007 and 2008 

My job at the Eastern Music Festival was primarily producing their Fringe concert series of blues, americana, jazz, and popular music artists within their larger classical music festival.  As this was a new part of their festival, I was able to take on a lot of direct responsibility as a concert producer and promoter.

Some of my main job tasks included coordinating sound and backline, artist hospitality, rehearsal, transportation, financial, and venue requirements as stipulated in performance contracts.  During the concerts, I oversaw front of house operations and helped manage the stage.  Click here for the concert production checklist I made for myself, detailing my responsibilities for each of the 30+ shows.

All of these reponsibilities demanded a rigorous schedule and on-call status for the duration of the festival.  The position required significant interactions with artists, their managers, venue owners, concert patrons, and other festival staff.  Realizing that the Fringe concert series had no efficient way to store contract information, I implemented a Microsoft Access database system to more store and recall concert production information.  I also helped market the concert series to area businesses.  

Some of the artists I worked with included Hilary Hahn, Ellis Marsalis, David Krakauer, Sharon Isbin, The Canadian Brass, Mike Marshall, Bruce Hornsby, Mavis Staples (of the Staples Singers), and Aimee Mann.

Junior Agent Intern, Universal Attractions,  New York, NY
May 2009 - August 2009 

During a break between ship contracts, I trained as an urban music booking agent in the agency that discovered and booked James Brown, and continues to book such artists as MC Hammer and Parliament Funkadelic.  The most important part of the training was identifying new buyer leads and selling artists over the phone to concert promoters.  I also helped prepare artist's promotional material and provided general administrative assistance to senior booking agents.