Industry Profile: Jack Randall

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Jack Randall, president of the Agency Division, The Kurland Agency.

Veteran booking agent Jack Randall, recently named president of the Agency Division at The Kurland Agency in Boston, now directs domestic and international bookings as well as continuing his role leading A&R efforts at the agency.

Randall had been senior agent and VP of A&R at TKA.

TKA was founded in Boston in 1975 by Ted Kurland, who had graduated from Brandeis University nearby two years earlier, and who had served an apprenticeship with Music Unlimited Associates in Boston. With two partners, Kurland started out in 1974 as All American Talent booking primarily blues artists.

After American Talent morphed into Ted Kurland Associates in 1975, the agency’s focus shifted to booking notable jazz artists and expanding its bookings internationally.

Although TKA remains best-known for its representation of leading jazz artists, its roster now features performers from all fields including blues, world and pop music.

Among the acts represented by TKA are: Pat Metheny, Béla Fleck, Wynton Marsalis, Charles Lloyd, Chick Corea, Christian Sands, Davina and The Vagabonds, Elvin Bishop, Gary Burton, Jamison Ross, Lisa Fischer, Joey Alexander, Marcia Ball, Cécile McLorin Salvant, Sonny Rollins, Bobby McFerrin, Bettye LaVette, Catherine Russell and Squirrel Nut Zippers.

Born and raised in Dearborn, Michigan, a suburb of Detroit, Randall’s entry in music first came from working on-air at a local high school radio station.

After various on-air positions at radio stations in Wisconsin, Illinois, and Michigan, Randall shifted over to live music in 1987 at Prism Productions in Ann Arbor. Three years later, he moved to Concerted Efforts in Boston as a booking agent.

In 1996, he joined TKA.

You’ve been with The Kurland Agency since 1996 after Ed Keane, the Midwest/West Coast agent, left to start his own agency, Ed Keane Associates?


You recently were named to a new position, president of the Agency Division. What are the difference between what you had been doing as senior Agent, and VP of A&R? What’s new?

What’s changed? I guess I started down this path of becoming this three years ago 2013 when (senior agent, and VP of the domestic division) Laurel Wicks retired. She had been here from almost the very beginning (starting at Ted Kurland’s first agency, All-American Talent). She had started working for Ted when she was still going to university. She was a (temp) Kelly girl. If you are old enough to know what that is. Not everybody would know what the hell I am talking about. That’s how she met Ted. She worked here for 40 years or there about. So she retired.

So you ask what’s different?

I am in charge of the agency, and all of the agents and the support staff. Ted is allowing me—and I would say us as a team—to really run the agency and execute what our vision is in terms of what artists we represent and what projects that we want to do, and how we do things

When you came as an agent in 1996 you oversaw the Midwest, the Pacific North West, and Canada.

Yes. Central and Western Canada. Laurel had Ontario and the East.

Your background previously had been booking primarily blues and alternative acts. You weren’t doing any jazz, were you?

No. I wasn’t really doing any jazz. Not really, though I listened to a fair amount of it. Looking back now, I would like to think that I was reasonably knowledgeable about jazz. I will give myself some credit of that. I really dived into it. I really learned about the genre, and just devoured the music. I’m a music nut. You are talking to a guy with close to 11,000 CDs in my music collection.

It also happened to be a great time to get into jazz at that point and to build a collection because all the labels were reissuing jazz on CDs. Bluenote was putting out something like 7 reissues each month. I learned about the legacy of guys like Lee Morgan, Hank Mobley, and jazz musicians like that. There had already been a lot of history and legacy at TKA before I started here. But Miles Davis had been dead for five years before I started. The Modern jazz Quartet had just run its course, and guys like Dexter Gordon had passed as well.

As with other musical genres, with jazz, there’s continually a rebirth.

Yes, I would agree with that. The legacy artists that we had were Pat Metheny, Chick Corea, Sonny Rollins, and Bradford Marsalis. We had Isaac Hayes too, actually. That was a connection through the guy (Ron Moss) who managed Chick at the time. That is why he was here. Then a lot of guys, with the exception of Kurt Elling, a lot of the younger guys that were there at the time--really it was at the end of that Young Lions Movement--some of these artists later became clients. Like Joshua Redman, and Christian McBride. When I started here those guys weren’t here. There was a lot of guys, including Kevin Mahogany, Mark Whitfield, Wallace Roney, and people like that. Also, Kenny Garrett was here at the time.

A guy that I should single out, if you did your research on the agency before I was here, the guy who really was the key guy before Ted, who started booking a lot of blues guys, and that’s a love of his, is (eminent jazz vibraphonist) Gary Burton.

Gary Burton was living in Boston and had started teaching at Berklee. It was through Gary that Metheny came to Ted out of Gary’s band. And there was Chick, Sonny Rollins, Keith Jarrett, and Miles Davis. Gary was really the guy. An underrated musician. One of the great musicians out there. He has some dates coming this Spring. When the dates on his calendar play through, I believe (at age 74) he’s really retiring.

[Gary Burton, was the first artist to become a client of Ted Kurland Associates. Soon afterward, other major jazz performers joined as clients including Pat Metheny, Keith Jarrett, Chick Corea, Miles Davis, Sonny Rollins, Bill Evans, Roy Haynes, Milt Jackson, Charles Mingus, Dexter Gordon, Nina Simone, the Modern Jazz Quartet, Jaco Pastorius, and Tony Williams.]

There were great jazz labels then too like Pacific Jazz, Fantasy, Bluenote and so on.

Back when I started here, Larry, basically every major label had a jazz division. I had multiple acts on Warner Brothers Jazz. There was Verve, Impulse, and Sony.

Tommy LiPuma was still in his stride producing David Sanborn and others.

You also had people like Bruce Lundvall, one of the great label guys of all time.

When you came to TKA did you primarily book clubs?

At the time I started it was a lot of club stuff, a lot of jazz club stuff. Back then I could take a guy like (jazz vibraphonist) Milt Jackson, and be able to book him for six night at Catalina (in Los Angeles), and six nights at Yoshi’s (in Oakland, California). You could do a month on the west coast, and it was six bookings. Definitely a lot of clubs. We slowly started to infiltrate the performing arts circuit. When I started here there was some of that, but not anywhere near the volume that it is now.

With an agency heritage of over 40 years, you must have a pretty firm idea of what the vision is for the company already. Many of TKA’s clients, including Pat Metheny, have been at the agency for decades.

With Pat Metheny, this is the only agency he’s had in his whole career. Wynton Marsalis has been with us for about 15 years. Chick Corea, with one small break of four years at the turn of the century, has been with the agency for probably 35 years. So you right in that. I don’t believe that there is another agency out there that has the commitment we do to the genre of jazz. Not only with what I would call heritage artists, iconic artists like Chick Corea, Wynton Marsalis and Pat Metheny, all of those guys for sure--but also investing, and doubling down in the future of music too; whether it is people like (jazz vocalist) Cécile McLorin Salvant, who has become a real star in the jazz, and (13-year-old piano Indonesian jazz pianist) Joey Alexander.

Of course, you are still signing acts.

A couple of months ago, we signed a young piano player named Christian Sands. He’s 27-years-old. He’s been playing piano in in one of Christian McBride’s trios (Inside Straight) for, maybe, the last four or five years. An incredible piano player. I have this kid, Jamison Ross, who won the Thelonious Monk International Jazz Competition (in 2012), two years after Cécile McLorin Salvant won. I don’t know what you know about that competition. Each year they alternate the competition One year, it’s a vocal competition, and the next year it’s an instrumental competition. So Jamison won as a drummer, and he sings like Stevie Wonder. His first record (“Jamison”) on Concord (Records) came out last year, and was nominated for a Best Jazz Vocal Album, and lost to Cécile (for “For One To Love”). Meanwhile, Concord has picked up his option and they are recording his next record.

Impressive signings.

To my bigger point, there is no one else out there that has the kind of commitment that we do to the jazz genre and, overall, to roots music in general. To blues, and to Americana.

Of late we are seeing damaging changes in the blues and jazz club sector, but there are also some bright spots. For every club that closes like Jimmy Mak’s in Portland, Oregon, there’s a vibrant music scene happening elsewhere, as in San Diego with The Seven Grand, The Rancho Bernardo Library, Saville Theatre, and Panama 66. A good or a bad time for booking jazz, blues, and bluegrass acts?

You are talking about North America. I would say more good than bad. It’s challenging. I’d say that it is probably more challenging if you are an instrumental jazz artist. Think about it. I will get off in a moment about the clubs and how pretty much how all of the jazz clubs have diversified, and they are really like adult showcases. Just think about the fact that you are out there (as a jazz artist), and you are trying to develop your career. As with any musician you want to compare it to the rock world. But with the jazz guys, it’s not a reality to put---especially a developing jazz artist on a first or second record—these artists in a bus or a van and tour around the country. You can’t work that way. Also, they (artists) are typically used to having a hotel provided, and local ground transportation, but the huge thing is backline. Even if you are a singer with a piano trio or, maybe with more musicians---with a guitar and sax with you---think about it. How many clubs in our world have an in-house piano?

Not many. And pure jazz clubs are mostly long gone. I guess there’s a few in New York City. But there aren’t many of them anymore.

Right, New York is kind of the exception to the rule. There are a handful of others around the country. If you are a developing jazz artist, whether you are an instrumentalist or a vocalist, and even if it’s a piano trio you are talking about, if you don’t have an in-house piano, that’s two grand just to be able to play. Then the act needs to make something (a fee) on top of it.

Another obstacle for emerging artists working within the genre is that jazz radio is so diverse today. All over the musical spectrum.

It is.

If you are managing a newbie female jazz singer where do you start her at radio? Would she be “too jazz” for some stations? Maybe, she might be considered adult contemporary jazz?

Anytime somebody somewhere plays one of my clients, god bless them for doing so, but in the big picture with jazz radio airplay I see the charts from time to time and probably as frequently as often as not, somebody will be the #1 artist, and more often than not, they are a quality act. They are deserving of getting X amount of spins per week on all of these stations. However, the majority of the time that act outside of New York City, at least domestically, to book other dates for them around the country is kind of like hand-to-hand combat.

So do they concentrate on tackling bookings region by region?

Yes, but it’s hard. A lot of these guys live in the north east, so yes there are little places that they can play. But even in a market like Philadelphia right now on a club level, you have Chris’ Jazz Cafe, and that’s really it.

Out on the west coast, Portland and San Diego seem to be good markets for jazz.

Yes, there are certainly some places to play. Seattle, for sure. Obviously, The (San Francisco) Bay area. L.A. can be a struggle, but certainly, there are places where you can go in and work. But it is really, really hard.

How about within the Boston and Cambridge area where your office is located?

Basically, right now there are two clubs in town that do national touring acts. One of those clubs, The Regatta Bar (in Cambridge), if you look at their schedule you will see that they may have five shows a month; whereas 15 years ago they had 20, 22, 23 shows a month. There’s Scullers (Scullers Jazz Club in Boston,) which is doing live jazz probably four or five nights a week. They are doing touring artists and they do---I would say---some smooth jazz in various forms which can be a little urbane. They recently had (singer/actress) Linda Eder for a couple of nights. She’s a great singer. I wouldn’t categorize her as jazz. Cabaret, maybe.

So many clubs today in North America have a varied music policy.

Virtually all of them. A lot of these clubs, maybe as recently as 10 years ago, were real jazz clubs, booking jazz all of the time. I will give you the example of the Dakota in Minneapolis and Yoshi’s. The Dakota is probably doing better than ever as a club, as an entity, but they have broadened into what I would call a showcase room. So the (booker Lowell Pickett) will do anything from...I still do a lot of jazz there. He does blues, folk, and singer/songwriter as well. He will even do some classic rock. But I would say that the common thread with all of that (club’s status) is, typically, that the fan base is older, more affluent, and has no problem paying a relatively premium price for a real intimate experience with nice food, and being treated well.

PACs have also broadened their bookings in recent years.

Well, right, I would say that this is an example of where things are improving. I would say that more of the performing arts centers are also building small black boxes (smaller rooms)

Building an addition or walling off existing venue space?

They will turn what is something...I don’t know if they do an addition. There’s Segerstrom Center in Costa Mesa, California, the Mesa Performing Arts Center in Mesa, Arizona, and Valley Performing Arts Center at California State/Northridge, California. Typically these are rooms that are, maybe, 150 to 250 (capacity). They will do a small series, and they will book amongst other things some of the younger artists on my roster. Trying to develop them in the market which is really great.

Two decades ago you might not have been able to get bluegrass artists like Béla Fleck or the Del McCoury Band into some of the PACs. They were then primarily booking classical, and some jazz.

Yeah. I agree with that statement. As you said, they have diversified. Another thing that has changed in recent years is that many of those buyers are programming later and later. It used to be 15 years ago that by the time that APAP (APAP Conference NYC, presented annually by the Assn. of Performing Arts Presenters) rolled around most people had a pretty good idea of their programming. You might not have had everything contracted and confirmed, but a lot of those buyers had a real idea. They had some stuff already booked.

They had their season worked out because they wanted to lock down budgets.

Yeah. The trend has been over the past several years where a lot of those people will show up—look I’m not saying they will come to APAP and have no idea of what they want to do next season. I’m not saying that—but they have realized that if they, maybe, don’t program early or don’t lock into too quickly or too far in advance that other options appear.

Have casinos diversified enough to book blues, jazz, and bluegrass acts from your roster?

There are a handful of cases where there are casinos out there that do very diversified programming. I will single out one, my buddy Bob Rech (manager of The Northern Lights Theater) at the Potawatomi Hotel & Casino in Milwaukee. He will book many things that you won’t typically see at a casino.

Like a Bettye LaVette?

Like a Bettye LaVette. I’ve had many people on my roster play there, like Chick Corea on a bigger level or Marcia Ball. Last year, I had a Fat Tuesday gig there with Marcia Ball and Buckwheat Zydeco. They aren’t my client anymore, but he’s also done Preservation Hall Jazz Band, for example. A lot of stuff like that.

You only rarely see a jazz artist at a casino in North America.

Look, most of the casino buyers, as a group of people, they are certainly diversified in what they are doing with their programming; but, yes, it’s a rarity that I will find a casino--at least in my territory-- looking to delve into jazz. Maybe, the blues, yes.

Meanwhile, they are running out of headline blues artists.

They are running out of blues artists, yeah. Even 25 years ago you still had great artists like (Clarence) “Gatemouth” Brown, Luther Allison, Junior Wells, and Otis Rush. He’s still alive, but he can’t perform anymore. Koko Taylor, Albert Collins. A lot of really, really great artists are gone. You’re right.

Decades ago many blues artists didn’t have agents. Many of the Alligator Record acts out of Chicago didn’t have agents early on. That’s when America Famous Talent’s Ron Kaplan (now at Monterey International) and others started picking up such artists as Koko Taylor, Lonnie Brooks, and others.

Right. When I was working at Prism Productions (in Ann Arbor) I was buying a lot of acts from AFT. Garry Buck (now also at Monterey International) was really my guy. But I booked a lot of the people that I just rattled off. I probably did 20 Lonnie Brooks shows in 2 ½ years all over the state of Michigan.

Last year the Squirrel Nut Zippers’ return with top-flight players was a nice present for everybody.

It sure was.

Who brought you the band? Keith Hagan of SKH Music?

Keith brought me the group. I didn’t really know Keith prior to the relationship. I knew Steve Karas, his partner a bit going back 20 plus years. Basically, what happened was Steve and Keith and we got involved with Davina and the Vagabonds basically at the same time. Davina is somebody that we kept an eye on for many years and we kind of felt that the time—this was going back about a year and a half ago—the timing was right. At the time, she decided for the first time in her career that it made sense for her to get a manager. We kind of came on board together. I just started working with those two guys and developing a relationship.

Of course, Keith goes back to the embryo of Squirrel Nut Zippers, really. I don’t know if there was another guy out there who could have reassembled it (the band) in any form. Yeah, so we ended up getting onboard. It’s been a very nice surprise. They have been doing really, really solid business. The band is a really great live act.

After all of the assorted versions of Squirrel Nut Zippers, this wasn’t a nostalgia tour, but a long-term commitment.

Right. From the get-go, this was never about “Let’s do a victory lap for 15 months or whatever, and everybody will go on and do something else.” This was always, “We are going to put together a new incarnation of the band. We are going to go out there and work, and we are going to do new music. Everybody’s in it for the long hall.” That’s what it has been.

The band revamp unexpectedly included a female singer, New Orleans’ Ingrid Lucia who has since been replaced by Celia Blue.

Yep. Jimbo (Mathus) is a sweet guy. A great band leader. He has a real vision. A great showman. Working with Keith and Steve has been a real nice thing as well. Working with both of these artists. I hope to be working with those guys for a long time and, hopefully, work with them on other things too.

According to a recent SEC filing, Live Nation subsidiaries are now managing more than 500 artists. Also leaders in the management field today are Red Light Management, and Azoff Music. Does that type of concentration of management assets hold any problems for boutique-sized booking agencies? Does such concentration of management power even touch your side of the business?

[Live Nation companies now employ over 140 artist managers worldwide with stakes in the United States including Roc Nation Management, 24 Artist Management, Blueprint Artist Management, Spalding Entertainment, LMG Management, Mick Artists Management, Three Six Zero Group, Vector Management, Career Artist Management and Philymack Management.]

I have had clients at Red Light, and one client at Vector Management which is not a mom and pop shop. They are a satellite of Azoff’s. Is it a problem?

You do know in working with these major management shops that the clocks are going to run on time in contrast to working with an inexperienced manager.

I would say that if you have an artist there that there is a certain level of professionalism. Sometimes with a baby manager, you have to hold their hand and guide them along. You know that in cases here that you don’t have to worry at all. It’s a case by case situation.

There are huge mega management companies that do well for their clients. I will use Vector as an example. They took Kings of Leon from nowhere to where they have become.

Probably the biggest problem that I have seen with some of the bigger management companies is that at times....frankly speaking, the acts that I am typically dealing with, they are not arena acts. If a manager has got 7 or 8 clients, the reality is that, if I am lucky, I am working with the 6th largest grossing client that they have. Maybe. Or the 7th or 8th. But sometimes in a small shop, an artist will just not be getting enough attention. That can happen everywhere. It happens at a label level. It happens at an agency level. It happens at a promoter level with shows.

Still, these companies have a big footprint in your world.

As the company continues on, I certainly want to broaden our footprint. I would like to develop deeper relationships with some of these larger management companies, for sure.

TKA’s senior VP David Sholemson, and management associate Jordan Fritz now oversee some management. Will management be an area you move into further?

I would say for the right artist, sure. Frankly, I am primarily focused on growing the agency side of the things. We are certainly open to managing some other clients as well, though.

In these times doesn’t it make sense to both book and manage acts?

Yeah, but you have to be careful that you don’t have conflicts of interest. It’s not a factor inside of our company. But you don’t want a perception of that out there. Two things in my opinion that you have to be conscious of. One is that you don’t want your managers to be threatened that you are going to try to steal their act away as a management client. Two, you also don’t want your managers thinking that artists that you manage are a higher priority.

It leads to a scenario where a manager might think you bumped his act with a booking in favor of an act the agency manages.

We don’t think like that, but it’s something you have to be conscious of. Madison House as an example of a company which has grown both parts of their business.

They were involved with management from day one.

Yeah, their company was built on the String Cheese Incident. To their credit, they grew their business and have done a really nice job with it and diversified. And now obviously in the concert promotion business as well. I go way back with those guys from their early days. I worked with Mike Luba, maybe, in the twilight (years) of Pete Seeger which will always be an honor and highlight of my career.

You are from Dearborn, Michigan?


You got into radio while in high school?

I got a lucky break and I got a gig the summer between my junior and senior year in high school at a radio station at Southfield High School. I kinda got the bug. Looking back at it now, I knew by the time that I was 16 that I wanted to be in the music business. I knew that I wasn’t going to be a musician. I kind of kid now and say that coming to that realization at that point of my life was like the equivalent of getting a four-year degree.

You wanted the free records.

Yeah, yeah (laughing) and to meet the (record) guys. I didn’t know anybody in the entertainment business, let alone the music business.

What type of work did your mother and father do?

My dad worked at the Detroit Free Press. My mom was what you would now call an executive assistant. She was the secretary to the boss at the extension service of the 4-H Program for Wayne County. She was a county employee. Unlike a lot of my friends, both of my parents worked. I guess we were middle class. I don’t know if I would say upper middle class but skewed in that direction more than lower middle class.

Shortly after graduation, you enrolled at the Specs Howard School of Broadcasting in Southfield.

Yeah. I saved up enough money. My old man got me a job working at the newspaper the night after I graduated high school. I saved up money, and I paid my tuition to Specs Howard all up front. I started in January so I paid by the end of December. I did it for $1,700. I saved $200 (by paying early).

That was just me figuring radio was a big thing. We all listened to it. You spent a lot of time in a car if you then grew up in suburban Detroit. That’s how we discovered music. That and reading Circus and Creem was how we discovered music

And going out to Pine Knob Music Theatre, the outdoor amphitheater in nearby Clarkston.

Yep. Going out to Pine Knob, and Cobo Arena (in Detroit) and wherever.

Did you graduate from the Specs Howard School?

I did graduate. It was basically a trade school. I graduated 9 months later. I had the good fortune a few weeks after I started at that school the guy who was the new promotion’s director for (AOR station) WWWW-FM came to the school looking for interns. I think that three of my classmates also started there.

Howard Stern worked at WWW-FM early in his career.

I was there when Howard was there. Mark McEwen was the morning guy when I started there, and he got a gig at The Loop in Chicago. Actually, they offered the morning slot to another guy who was the morning guy and program director at a station in Toledo. From what I understand, when he went back down there to hand in his notice, they offered him a piece of the station’s ownership. So he reneged on the (WWW-FM) deal. So they went with the #2 choice which was Howard.

Was Howard pretty straight back then.

Howard was very straight back then.

I meant on the air.

Oh yeah. He didn’t have an engineer. He was spinning his own records. Playing a lot of music. We got to know each other pretty well. We used to have breakfast once or twice a week. He wanted the station to hire me, and pay me a minimum wage just to engineer the board, but the GM was too cheap to do it.

You weren’t being paid?

No, I wasn’t. I did end up working my way up. They bought a used white stretch limo for me to drive Howard around to different promotions and sometimes drive musicians. I remember driving Dave Davies around one night. And executives from the broadcasting company. Another jock who started the same day was Les Cook. He was a very important guy to me. He gave me a lot of opportunities. I had graduated from the school, and I was looking for a gig. He invited me to sit in on kind of a masters class by radio consultant Lee Michaels who was working with Lee Abrams (of Burkhart/Abrams). They were the premier AOR consulting firm back in the day.

You landed on-air radio positions at Y-95 in Rockford, Illinois; WMAD in Madison, Wisconsin; WILS-FM in Lansing, Michigan; and WIQB in Ann Arbor. Eventually, you realized that a radio career wasn’t in your future?

Well, I liked it. There were a lot of things that I liked about it. I joke that WIQB stands for “Why I Quit Broadcasting.” The positive thing for me was that the program director there was one of my best friends from the time I was 12. His name was Jeff Crowe. He’s still one of my best friends. That was cool. But it got to the point where a computer was picking what we were playing a week ahead. I had gotten to know Lee Berry when I was at WILS-FM in Lansing.

Lee operated Prism Productions in Ann Arbor.

Yes. I ended up going to work with him. Again, looking back that was another important thing for me. Getting out of radio and getting into the live music part.

Was Lee both a booking agent and a promoter?

The company was first and foremost a concert promoter. Lee and the guy who co-founded the company, Tom Stachler, who got out of it around the time I started working there, had developed themselves as the indie-rock guys. Lee became the sole principal shortly after I started there.

Prism did shows from R.E.M. in arenas to the Replacements, Husker Du, Nirvana and Soundgarden in clubs. It also promoted acts like Jimmy Cliff, Buddy Guy and John Lee Hooker.

All those bands

Did you know local promoter Vince Bannon?

I sure did. He’s a Canadian. We used to do 60 or 70 shows a year with Vince and Amir Daiza at Concert Company Ritual.

[While in college in Detroit, Vince Bannon launched Concert Company Ritual, serving as its president from 1979 to 1993. The company, which owned and operated several Detroit nightclubs--including St. Andrew's Hall, The Shelter, Industry Asylum, Industry, and Clutch Cargo's—and promoted shows with Nirvana, the Police, Prince, Pearl Jam, the Dave Matthews Band, Nine Inch Nails, Guns N’ Roses and others. Concert Company Ritual grew to 110 employees, and was eventually purchased by Clear Channel Entertainment.]

Also what Prism had besides the concert promotion business was that we booked talent at a lot of clubs in the region. There was a club in Ann Arbor, The Blind Pig, where they booked everything, whether it was local or national (acts). Then there were other situations where they (venues) booked a lot of the national stuff. I was getting a salary for working the shows, for doing the publicity and promotion, running the door sometimes, and settling shows. I was getting commissions for things that I booked.

What acts were you working with?

It was all kinds of stuff. At that time it seemed that with blues and reggae, it seemed to me almost impossible to lose money. I could take a baby act on Alligator Records at the time (1988) like Lil' Ed & The Blues Imperials or Tinsley Ellis or the Kinsey Report and I could book them at Club Rick’s American Cafe in East Lansing on a Wednesday night and do 400 people.

We had the good fortune, depending if there was a booking in Kalamazoo or Grand Rapids or Lansing or Ann Arbor or Detroit, of being within two to four hours of 80% of the great blues artists in the country. So I just started getting more into blues. Then I started booking a couple of acts which were really baby acts on Alligator Records at the time like Kenny Neal and Tinsley Ellis. When they put out their first records, they didn’t even really have an agent. I just started to book them, and I started booking them around the country. I just started book them and I started booking them around the country. Then I started putting together things for them in Europe. One thing led to another, and I soon thought, “What if I was a full-time booking agent?” Steve Hecht was leaving Concerted Efforts (in Massachusetts). So I came out east, and Paul Kahn interviewed me. He then offered me a job. That was in January 1990

Paul then had Booker T. & the MGs, and Clarence “Gatemouth” Brown on his roster.

As well as Robert Jr. Lockwood, and Buckwheat Zydeco.

Paul was so pivotal to America’s emerging blues scene.

He was. He built careers and really loved the music as well. I still work with him in that he manages his wife who is a client, Catherine Russell.

Steve Hecht had hired blues and reggae artists from Paul at Concerted Efforts while he was a student at SUNY Binghamton. Then Steve was hired out of university and worked there for five years until he moved to North Carolina and founded Piedmont Talent, which he built into a great roots music agency until his death in 2013.


Elizabeth Rush was at Concerted Efforts as well.

That’s right. I was there most of her time.

Elizabeth brought in such artists as Richard Thompson, Roger McGuinn, Leon Redbone, Adrian Belew and others.

That was ’93 when that happened.

Elizabeth greatly expanded the scope of the agency.

She did and that gave me the opportunity to develop a broader network of relationships in booking people like that at the time.

So you end up at TKA where you have been for over 20 years. Did you ever think that would happen?

Did I think I was going to work here for 20 years when I started? No. But....

Why haven’t you gone out on your own?

While I was at Concerted Efforts I had started a family. I ended up in a situation of having two children who both have cystic fibrosis. I had no idea that the disease would run in my family or my former wife’s family. I just felt that I wanted....they needed the security. That was something, frankly, that I wasn’t willing to gamble.

Plus, as they are growing up, you have to be there for both them and for your spouse.

That was exactly it.

All the times you’d be called away due to a medical emergency.

That’s the other thing. Ted always treated me well and specifically when it came to my kids. Without exception, he couldn’t have been more supportive. If I felt that I had to be with them or deal with something, never was a negative word spoken.

How old are you children today?

My son will be 26 in two months, and my daughter is 23, and she continues to threaten you and I and all of my colleagues about getting into the music business herself.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


Return to front page of ENCORE

© 2001-2018 Gen-Den Corporation. All rights reserved.
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.

** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **