“JAZZ  PARA  EL  AUTISMO”     Reflective  Paper   by  Felipe  Saalfeld   Project  Supervisor:  Graham  Ball   Global  Entertainment  &  Music  Business   Berklee  College  of  Music   July  26th  2015       1.Summary  of  the  Project   “Jazz  Para  El  Autismo”   was   a   collaborative   Project   between   the   Contemporary   Performance   (CP)   and   the   Global   Entertainment   and   Music   Business   (GEMB)   Master   Programs   at   Berklee   Valencia.   Jacopo   Mezzanotti   (Artistic   Director,   CP   Program)   and   Felipe   Saalfeld   (myself,  as  head  manager,  producer  and  promoter,  GEMB  Program)  joined  forces  together   to   create   a   unique   an   innovative   show,   in   the   form   of   a   Symphonic   Jazz   concert,   to   be   presented  to  the  local  Valencian  community  and  raising  funds  for  a  local  NGO.     Artistic  perspective:  Symphonic  Jazz  Concert   From   an   artistic   perspective,   the   concert   featured   mostly   Jacopo’s   original   Jazz   compositions,  all  arranged  by  himself  in  a  very  innovative  way  for  performing  live  for  his   Netherlands  based  Jazz  band  “Joe  Midnights  Space  Trio”1  together  with  a  Classic  Symphony   orchestra  and  a  Jazz  Big  Band  on  stage.  Today,  the  “Metropole   Orkest”2  founded  in  1945  in   Netherlands,  is  one  of  the  unique  examples  of  a  project  that  arranges  contemporary  music   in   this   way   for   all   kinds   of   artists,   such   as:   Pat   Metheny,   Snarky   Puppy,   Ella   Fitzgerald,  Dizzy   Gillespie,  Al   Jarreau,  Bono,  Elvis   Costello,  Within   Temptation,   John   Scofield,  Steve  Vai,  etc.                                                                                                                         1  Jacopo  Mezzanotti,  http://www.jacopomezzanotti.com/     2  Metropole  Orkest,  http://www.mo.nl/en/     2     Social  perspective:  MUA  Organization                                               The   concert   was   with   non-­‐profit   purposes.     All   profit   generated   from   the   concert   was   donated   for   an   emerging   NGO   from   Valencia   called   MUA   organization3,“Música   para   el   Autismo”  (Music   for   the   Autism),   which   works   doing   alternative   music   therapies   for   kids   with  autism.    As  described  on  their  webpage  by  Jordi  Ardit,  director  of  the  NGO:     “We  are  a  non-­‐profit  organization  with  our  head  office  in  Valencia  (Spain)  that  aims  to  help   people  with  autism  to  improve  their  personal  development  through  music”.   The   money   raised   will  help  the  NGO  to  keep  on  with  their  fund  programs  for  families  in  social  risk  in  need  for   therapy  for  their  children.       General  Outcomes   -­‐ Date/time:  May  26th  2015  at  8:30  PM     -­‐ Venue:  Espai  La  Rambleta4,  Valencia,  Spain   -­‐ The  Stage:  47  artists  on  stage,  including  the  Jazz  trio,  the  symphony  orchestra,  the   big  band,  the  director,  and  the  special  guests   -­‐ Attendance:   Almost   full   house,   589   (out   of   650   available)   successfully   delivered   tickets,  being  495  sold  tickets  and  94  courtesy  tickets.     -­‐ Total  NGO  net  profit  raised:  4777.12  €                                                                                                                       3  MUA  “Música  Para  el  Autismo”,  http://musicaparaelautismo.org/en/   4  Espai  La  Rambleta,  http://larambleta.com/     3     2.Process   The  “Lunch  Accident”   September   2014,   at   Berklee   Valencia’s   cantina.   At   that   time   I   was   still   confused   with   lots   of   different  ideas  for  the  concept  I  wanted  for  my  CE.  Nevertheless,  I  already  knew  I  wanted  to   make   a   live   intervention,   something   big,   and   also   challenging.   Therefore,   I   was   trying   to   find  if  someone  in  Berklee  was  also  in  my  “frequency”,  so  I  wanted  to  meet  as  much  people   I  could  and  talk  about  projects.  I  had  already  met  Jacopo  at  that  point,  but  just  having  quick   hall   conversations,   random   chatting.   That   specific   day,   I   joined   Jacopo   for   lunch,   but   we   didn’t   discuss   anything   about   CE.   We   were   sharing   music   tastes,   until   he   told   me   that   he   would  love  to  make  a  project  here  in  Berklee  where  he  could  present  his  music  arranged   for   an   orchestra,   but   regarding   the   fact   of   just   writing   the   arrangements   would   take   him   so   much   time,   he   was   searching   for   someone   interested   in   helping   to   make   this   a   real   professional  spectacle.  I  felt  that  I  was  in  the  exact  place  where  I  was  meant  to  be  at  that   moment.   I   showed   my   interest   to   Jacopo,   and   we   organized   so   we   could   meet   together   again   and   discuss   this   more   in   depth.   It   turns   that   his   inspiration   was   the   music   arrangements-­‐type  of  thing  that  the  Metropole  Orkest  does.  He  was  particularly  inspired  by   the   concert   of   Pat   Metheny   featuring   the   Metropole   Orkest.   For   his   undergrad,   he   did   a   small   orchestral   set   and   recorded   it   as   a   live-­‐promo   documentary   for   his   band   “Joe   Midnights  Space  Trio”.  I  could  imagine  the  artistic  concept  perfectly.  As  for  me,  I  was  also   familiar  with  the  Metropole  Orkest,  inspired  by  progressive  rock  guitar  player  Steve  Vai’s   live   DVD   “Visual   Sound   Theories”.   I   could   understand   and   feel   the   passion   behind   this,   and     4   the  importance  of  achieving  this  challenge,  artistically.  I  felt  I  was  at  the  right  place,  and  I   told   him   I   wanted   to   be   100%   full   time   committed   to   this   project,   and   make   it   my   culminating   experience   as   well   at   Berklee.   We   made   a   first   draft   proposal,   and   went   to   discuss  this  project  with  my  program  director  Emilien  Moyon.  The  rest  of  this  challenge  is   history  now.       Going  no-­‐profit   We  had  a  difficult  challenge  already,  in  terms  of  production.  In  addition,  we  knew  that  as   foreigner   Master   Students   we   could   give   away   something   more   to   our   hosting   city   of   Valencia.  We  came  out  with  the  idea  of  making  this  concert  as  a  fundraiser  for  charity.  I  got   together   with   Clara   Barberá   (Student’s   affairs)   and   she   gave   me   a   list   of   local   charities   that   we  could  cooperate  for.  “Música  Para  El  Autismo”  (MUA)  gained  our  attention  immediately   as   it   was   the   only   one   related   with   music   and   also   Jacopo   and   me   have   already   had   experience  with  kids  with  autism.  I  decided  I  would  write  to  them  first,  receiving  an  almost   immediate   response   from   their   director   Jordi   Ardit.   He   told   me   he   already   had   a   great   experience  with  Berklee  when  they  did  2014’s  Version  of  the  Berklee  Ball  as  a  fundraiser   for   the   NGO.   Personally,   I   think   that   as   musicians,   or   content   producers,   we   have   a   fundamental  social  role.  From  my  point  of  view,  we  make  music  and  generate  experiences   as   pure   ways   of   culture,   art   and   entertainment.   MUA   is   using   music   for   healing   people.   Not   only  children  with  Autism,  but  also  families  that  have  loss  their  faith  in  ways  society  could   incorporate   their   children   and   bring   happiness   to   them.   It’s   the   music.   Music   is   the   connection   between   us,   and   is   what   made   us   commit   to   get   as   much   funds   possible   for   helping  MUA  continue  their  important  and  noble  labor.     5     3.Results:  how  the  project  did  and  did   not  align  with  expectations     My  overall  goals  for  this  project  were  2:     1. Produce  a  unique  an  innovative  concert  on  a  professional  level  and  present  it  to  a   large  number  of  patrons  in  the  city  of  Valencia.   2. Get   at   least   80%   of   the   ticketing   income   to   the   NGO,   understanding   that   the   remaining  20%  would  cover  inevitable  costs  for  the  production  of  the  concert.   The  first  important  achievement  was  selecting  and  booking  our  venue.  Making  this  decision   was  a  key  element  for  our  show,  at  the  same  time  as  facing  our  first  challenge:  get  a  650   seats   capacity   theater   sold.   Realistically,   we   knew   that   this   goal   was   quite   ambitious,   as   we   are   presenting   Jacopo’s   band   as   headliner,   which   is   not   known   here   in   Valencia.   Part   of   my   ticketing  strategy  was  to  consider  giving  away  a  maximum  of  100  tickets  as  guest-­‐special   invitations,   so   we   could   assure   a   minimum   attendance.   The   reality   was,   we   were   able   to   deliver  589  tickets,  meaning  we  got  about  90%  of  the  capacity  of  the  theater.  Because  all   the  general  seats  were  used,  the  theater  looked  almost  full  house.  Being  that  said,  the  only   empty  seats  were  the  very  limited  upper  balcony  ones.  Great  achievement!     The   experience   of   making   a   crowdfunding   campaign   was   new   and   challenging   for   me   as   well.   I   wanted   to   raise   2000   €   in   a   one   month   campaign,   expecting   that   my   social   media   campaign   would   help   me   to   have   mostly   Spanish   Valencian   donors.   Before   launching   the   campaign,  we  crafted  a  2  minutes  call  of  action  video  with  the  help  of  my  GEMB  peers  Oscar     6   Tecuanhuey  and  Oliver  Chiu.  The  launch  and  the  first  week  of  campaign  started  well.  But  as   days   passed   over,   I   could   see   how   the   buzz   and   the   energy   was   decreasing.   After   commissions,   we   raised   1086   €   from   this   campaign,   with   most   of   the   donators   being   my   family  and  close  friends,  instead  of  people  from  Valencia.  Not  my  expectations  at  all.       As   the   project   was   starting   to   take   form,   we   were   still   raising   funds.   So   it   was   very   important   to   keep   control   of   the   budget.   Every   euro   my   team   wanted   to   spend   was   a   trade   off   as   far   as   extra   non-­‐ticketing   potential   income   for   the   NGO.   Therefore,   our   decisions   where   based   on   how   the   investments   (as   we   did   for   example   with   the   high-­‐resolution   physical  programs,  or  the  special  awards  for  the  musicians)  would  extremely  benefit  and   enhance   the   experience   for   our   audience   or   our   artists,   making   the   event   more   professional.     The   date   of   the   concert   was   getting   near   and   we   started   facing   last   minute   problems,   mostly   a   bunch   of   musicians   from   the   orchestra   who   left   the   project   3   days   before   the   concert,   unbelievably.   In   addition   to   the   artistic   chaos   we   struggle   trying   to   find   replacements,  this  was  delaying  the  delivery  of  the  program  of  the  event.  Somehow  I  finally   finished  working  it  with  the  help  of  my  GEMB  fellow  Fernanda  Gomez  one  day  at  5  in  the   morning  doing  the  last  minute  changes  before  our  deadline  for  sending  them  to  print.     Choosing  and  then  coaching  the  volunteers  for  the  day  of  the  event  was  very  challenging  as   well.   First   of   all,   we   created   a   very   detailed   timeline   and   show-­‐flow   for   the   event   with   Jacopo,  which  I  would  be  presenting  the  day  before  the  concert  in  a  general  meeting  with   my  different  teams  (stage,  recorded-­‐audio  and  hosting).  As  an  overall,  the  teams  did  a  great   job,   following   almost   every   detail   I   wanted,   and   also   being   fast   and   creative   when   facing     7   specially   stage   production   logistic   problems.   They   knew   they   had   to   follow   the   precise   instructions   that   the   production   manager   I   chose,   my   fellow   GEMB   Alejandro   Morales,   would  tell  them  from  the  upper  cabin,  where  I  was  also  supervising  everything.       Lastly,  from  the  589  tickets  delivered,  we  sold  495  and  we  delivered  94  to  our  guests  (from   the  100  maximum  that  I  calculated  previously).  With  this  being  said,  and  considering  our   available   budget   and   our   expenses,   we   raised   4777.12   €   for   Música  Para  el  Autismo.   This   amount  corresponds  to  the  98%  of  the  direct  ticket  revenue  stream,  raising  my  initial  goal   from  80%  to  98%.     It’s   an   overall   success,   and   despite   the   fact   I   couldn’t   make   the   100%   ticket   revenue,   or   the   650  seats,  we  all  did  a  fantastic  job  accomplishing  all  our  goals.       4.Next  step   The   Concert   and   the   project   itself   received   a   great   acceptance   throughout   the   Valencian   community.   Lots   of   members   from   our   audience   and   also   some   of   our   musicians   reached   out  to  us  immediately  after  the  show  to  ask  when  the  concert  would  take  place  again.  We   felt   really   happy   to   have   delivered   a   great   experience,   both   to   our   audience   and   to   our   musicians   and   staff,   playing   music   for   a   good   and   noble   cause   as   Música  Para  el  Autismo.   Since  the  overall  success,  we  are  in  conversations  now  in  between  Jacopo  and  Jordi  Ardit   (NGO   Director)   to   establish   the   name   (brand)   “Jazz   Para   El   Autismo”   and   make   this   an   annual   concert   in   a   bigger   scale,   or   perhaps   a   tour   through   Spain   and   Europe   in   the   future.   For  doing  this,  we  understand  we  have  to  have  a  managing  team  as  well  as  a  local  promoter     8   and  producer  involved  and  interested.  Since  I’m  going  to  be  working  in  Madrid,  I’m  going  to   be   involved   more   like   a   consultant   for   the   project.   Going   further,   I   think   I   can   use   my   professional  experience  so  I  can  do  general  consulting  services  for  this  kind  of  projects  in   the   near   future.   I   hereby   encourage   the   Berklee   faculty   to   motivate   future   students   for   making   more   big   productions   at   the   same   time   as   helping   NGO’s   like   MUA.   Collaboration   spirit   is   one   of   my   core   competences,   and   I   also   encourage   Berklee   to   make   more   multi-­‐ programs  cross  collaborations.       5.Contribution  to  the  discipline  and   profession     Organizing   this   project   implied   high   level   of   logistics,   team   working   and   fast   decision-­‐ making.     Since   I   want   to   make   a   career   in   Live   Entertainment,   as   a   producer   or   promoter,   I   understand  the  importance  of  all  these  elements  regarding  a  live  show.     As   from   the   production-­‐wise,   we   had   to   figure   out   how   to   make   this   concert   from   zero.   We   didn’t  have  money,  we  didn’t  have  any  equipment  available  nor  any  place  to  fit  more  than   40   musicians.   Also,   we   were   making   a   very   unique   artistic   configuration,   which   needs   special   knowledge   from   people   that   are   going   to   work   on   the   audio   reinforcement.   I’m   talking   specifically   to   put   a   Jazz   trio   with   a   symphony   orchestra   and   a   jazz   big   band   all   together.   As   far   as   what   will   be   the   challenges   I   will   face   in   the   future,   I   feel   more   prepared   for   “orchestral-­‐wise”   details   from   a   production   point   of   view,   which   I   personally   feel   fascinated  for.       9   Being  patient  and  flexible  is  another  lifetime  in-­‐development  skill  that  will  help  me  in  my   profession   (perhaps   in   all   professions!   as   a   very   transversal   soft   skill).   As   a   leader,   it’s   very   important   to   show   yourself   calm   in   critical   moments,   so   your   team   will   not   loose   their   focus.  Delegating  is  another  story.  As  the  passionate  leader  of  a  project,  I  want  everything   as  perfect  as  possible,  and  I  know  I’m  capable  for  doing  it  because  I  trust  myself.  But  team   working   is   not   only   about   trusting   yourself,   but   also   trusting   your   team.   It   is   physically   impossible   to   be   responsible   for   everything   in   a   complex   operational   project,   so   delegating   becomes   a   crucial   element.   For   that,   personally,   I   like   to   feel   comfortable   and   select   by   myself   who   is   going   to   be   involved   in   my   projects.   Jazz   Para   El   Autismo   has   been   a   great   experience  for  developing  my  leadership.     One   last   contribution,   very   important   for   the   Live   Entertainment   world,   was   networking   with   a   lot   of   people   throughout   the   process.   We   talked   to   a   lot   of   artists,   promoters,   and   different   audio-­‐visual   experts   that   gave   us   their   input   for   the   project,   as   well   as   some   collaboration  for  the  concert  itself.  When  giving  flyers  and  promoting  the  concert,  people   really   react   different   when   the   producer   of   the   concert   is   the   one   doing   the   “guerilla   marketing”.  I  felt  a  lot  of  support  and  I  established  important  professional  and  also  random       casual  connections  with  entertainment  professionals  as  well  as  music  lovers.           10     6.Impact  on  the  student  completing  the   work   As   a   more   personal   point   of   view,   working   with   Jacopo   has   been   my   highest   approach   to   the   Jazz   world   ever.   Most   of   my   personal   projects   are   related   to   rock,   pop,   electronic   or   progressive  instrumental  oriented.  I’ve  opened  my  mind  to  understanding  more  the  ideas   and  the  creative  process  of  a  Jazz  virtuoso.     I  faced  a  lot  of  emotions  during  the  process  of  making  this  project.  Mostly,  I  received  a  lot  of   good   responses   and   positivism   from   my   peers,   my   supervisors   and   the   city   of   Valencia.   Nevertheless,   I   faced   hard   criticism   and   “pushing-­‐down”   adversity.   Some   people   didn’t   believe   that   I   was   really   going   to   be   able   to   make   this   project   happen.   They   thought   this   idea   was   out   of   boundaries   for   a   school   project   and   kept   pointing   the   impossibility   of   handling  so  much  complexity,  on  a  logistics  and  production  point  of  view.  This  happened  to   our   team   in   different   levels.   The   key   was   our   unity   and   our   self-­‐team   support.   In   a   way,   we   inverted  roles  being  “psychologists”  to  each  other,  in  the  way  that  when  I  was  injected  with   bad  feelings  Jacopo  was  pushing  me  up,  and  vice-­‐versa.     Lastly,  and  personally,  my  most  important  personal  impact  was  to  involve  myself  with  an   NGO   related   with   autism.   Part   of   my   personal   story   is   growing   up   with   a   close   family’s   son   who  was  born  with  a  high  level  of  Autism.  Today,  Diego  is  18  years  old,  and  he  is  available   to  speak  and  to  read,  even  finishing  traditional  basic  education  (before  high  school)  as  his   highest   achievement.   I   know   him   since   little   and   I’ve   witnessed   all   his   progress.   Nevertheless,  this  progress  would  not  be  possible  without  the  constant  push  of  a  family  full   of   love   surrounding   him.   When   I   met   Jordi   Ardit,   the   NGO’s   director,   I   felt   this   same   love     11   and  push  from  himself  and  his  family  for  his  son  (which  coincidently  is  also  called  Diego).   Discovering  that  his  little  boy  reacted  different  and  positive  with  musical  stimulus  was  his   inspiration  for  creating  MUA.  I  deeply  felt  that  connection  and  I  definitely  wanted  to  help  as   much   as   I   could   with   this   project.   For   our   crowdfunding   video,   we   went   to   visit   one   of   MUA’s  therapy  centers.  It’s  really  difficult  to  explain  how  I  felt  in  that  moment,  but  for  sure,   I  was  totally  convinced  that  I  was  doing  exactly  what  I  had  to  do,  helping  this  noble  cause   acknowledging  the  daily  efforts  that  all  these  families  do  for  their  children.       7.References   Jacopo  Mezzanotti  official,  http://www.jacopomezzanotti.com/     Metropole  Orkest  official,  http://www.mo.nl/en/   MUA  “Música  Para  el  Autismo”,  http://musicaparaelautismo.org/en/   Espai  La  Rambleta,  http://larambleta.com/         12