Hardly anyone can live without extra money
January 29, 2014 Stuttgarter Zeitung 

Anyone who wants to earn money as a musician must be ready to play at company festivals.
By Martina Zick 

Who opens the event section of this newspaper, daily finds as extensive as versatile cultural offer. "The density of music is nowhere as big as in Stuttgart and the surrounding area," says jazz musician Martin Keller, who is also chairman of the Interessengemeinschaft (IG) Jazz. But can musicians, beyond the classical music industry, also live off their art? There are no numbers, just the answer: "Yes, but." Because those who only want to get away with art and concentrate on appearances alone, have bad cards. This becomes clear in conversation with various participants. Martin Keller: "Nobody can live from jazz, of course." But he also says, "It's not a picnic, but they all come through." There are ultimately two models to have a reasonably secure source of income in addition to the concerts: "You deserve with commercial music or seeks a teaching job." "The income is always a mixed calculation," says Mini Schulz, professor of bass (jazz and pop) at the Stuttgart Music Academy. That applies to the whole range from jazz to pop. Where Peter James, director of the Stuttgart Popbüro, in the field of advertising, the question arises where to draw the line. Who is a musician, who is a pure service provider? Can this be separated at all? In any case, there is a lot of love in popular music. This definition applies to James "where revenue is not in the black". And few wrote black numbers. A little you can help the success by setting yourself apart from the mainstream. In addition, in his division is the combination of playing in his own band and teaching, often. The fact that musicians should not be too bad for the service is beyond question for Branko Arnsek. Private celebrations, company celebrations and comparable assignments are a matter of course for him.
Arnsek knows how things are going: The native Slovene, who grew up in Sindelfingen, studied at the Swiss Jazz School in Bern and has been living in Stuttgart for decades, is firmly established in the local music scene. With his formations Tokame and the Guttenberger Brothers he has occupied two niches: Cuban music, but expanded European, and Gypsy swing. In addition, the bassist teaches at the music school, has his series "Branko & Friends" in the Arigato and uses as many performance opportunities as possible away from his band activities.
That, in turn, requires you to be well connected. Already, to make contacts, study would make sense, Arnsek clearly. A musician must start early and should never lose sight of these contacts. Many times he met old acquaintances after many years, came to appearances or gave them some. "Musicians engage each other," explains Arnsek. But: "You have to be a fighter" in order to keep the complex system of colleagues, organizers, clients and, of course, what you want to do yourself, running. That he is also his own manager and producer is also part of everyday life for Arnsek. For example, it is indispensable for a musician to record CDs, although this has long been a minus business. But without it just can not go. "It's like making a poster," says Arnsek. Who in one of the many fields abates - in their own claim, the
Practice, in presence - be quick away from the window. This applies all the more, especially in the field of services, the number of bands has increased significantly. This means that it has become more difficult to get orders. In addition, the fees are "not long as lush as they used to be". In Stuttgart, the fees, which are paid in jazz clubs, moved between
100 and 200 euros, says Martin Keller. However, at least 100 euros are secured, thanks to the Landesjazzverband: The association subsidize the concerts in the clubs. That was "a very good model". Add to that, that in and around Stuttgart a
give a considerable number of clubs. "We are in a great position and must be really proud of it," says Keller, naming the Bix, the box and the forum theater as important locations in Stuttgart. Mini Schulz, who by the way is convinced that Stuttgart is able to "live very well" on music, is also full of praise: "Stuttgart supports the jazz scene in Germany proportionately and best at the same time City shows there.