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Open Letter to the Chancellor

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The Rt Hon Rishi Sunak MP Chancellor of the Exchequer 11 Downing St Westminster London SW1A 2AB 15 October 2020 Dear Chancellor, We are writing to you as representatives of the freelance arts sector in the hope that you will support the #MakeMusicWork campaign, which is backed by the Musicians’ Movement, the Incorporated Society of Musicians, and the many other organisations represented in this letter. This campaign offers two clear and viable solutions for the Government to take forward that will get our creative industries safely back to work. 1. Freelance Performers Support Scheme First, we ask that you introduce a new Freelance Performers’ Support Scheme to facilitate the reopening of music venues under social distancing and see the return of live performances. This new scheme would include grants for venues designed to cover the loss of income due to the reduced ticket sales required by social distancing guidelines. This grant would be in addition to the income generated from ticket sales. The scheme would also include a guaranteed fee for each performer with a cultural exemption on VAT for tickets. This would: - create a route back to work; kickstarting the live music sector, bringing back tens of thousands of viable jobs, uniting communities and protecting our national culture; - guarantee performers a minimum fee, even if COVID restrictions change, which in turn enables some financial security in these unprecedented times; - give venues and promoters the opportunity to programme in advance without financial insecurity, enabling promoters of all sizes to start curation and allowing their communities to connect once more; - be flexible and scalable in relation to government guidelines and ensure government spending is used effectively; - have transferable principles for other parts of the creative industries, with the potential for the sector to unite around a funding model that works for all arts-sector initiatives. 2. Improve the Self Employment Income Support Scheme (SEISS) Whilst most venues remain closed and the opportunities for musicians to earn an income remain extremely limited, we desperately need urgent changes to the SEISS. Many musicians have already fallen through the gaps in the SEISS and will continue to be excluded under the new measures announced in the Chancellor’s 'Winter Economy Plan'. In addition, reducing the level of support down from 70% to just 20% of average monthly trading profits will not provide an adequate safety net for our members when they are unable to generate any income at all. The government must deliver on its pledge to ensure parity between employees and the self-employed by maintaining the existing level of support provided by the SEISS and expanding the eligibility. Specifically, the criteria should meet the particular needs of creative freelancers, and those musicians whose income is derived from a mixture of employed and self-employed work. Communities across all four nations that make up our United Kingdom have experienced unprecedented hardships and the strains are showing. Our culture is the lifeblood of our nation and has an essential role to play in uniting our country. The economic impact of Coronavirus on our sector is also disproportionately high; with empty town and city centres it is more important now than ever to give the public a reason to make their way to our high streets and eat out, before attending a COVID- secure cultural event. Our work, and the work of our members and supporters has always been viable and will continue to be so for centuries to come. Therefore, these proposals should be seen as a bridging scheme until venues can open at full capacity, and the music sector can start contributing fully to the economic and cultural health of the country once again. Unlike other sectors, the music industry does not face the threat of automation and AI in the next few decades, our skills cannot be replaced by technology, and music will play a critical part in the new digital age. With the music industry generating over £5bn annually to our economy and playing a crucial role in the UK’s worldwide influence, it is an investment worth making. We are only unable to return to work because of government measures implemented to combat the spread of Coronavirus. Whilst safety is paramount, without further support for our sector the UK will have lost much of the priceless cultural heritage that was built up over generations, and replaced with a cultural wasteland with no industry to return to. Signed as of 14:00 on 15 October 2020. Deborah Annetts, Chief Executive, Incorporated Society of Musicians Phil Meadows & Christopher Barrett, Managing Directors, Musicians Movement Organisations Chi-chi Nwanoku OBE, Double bassist; Founder, Artistic & Executive Director of Chineke! - Principal double bass, Artistic & Executive Director; Chineke Foundation Claire Gevaux - Programme Director; Help Musicians Nicola Benedetti - Violinist and educator; Violinist and Artistic Director, Benedetti Foundation James Ainscough - Chief Executive; Help Musicians Kathryn McDowell - Managing Director; London Symphony Orchestra Mark Pemberton - Director; Association of British Orchestras Nigel Slee - Digital Director; Jazz North David Burke - Chief Executive; London Philharmonic Orchestra Adam Moses - Director; jazz re:freshed Alexander Van Ingen - Chief Executive; Philharmonia Orchestra Nigel Tully MBE - Executive Chair; National Youth Jazz Orchestra (NYJO) Gary Carpenter - Composer, educator, Ivors Academy Director ; Ivors Academy, RNCM Manchester, RAM London. James Murphy - Chief Executive; Royal Philharmonic Society Chrissy Kinsella - Chief Executive; London Music Fund Stuart Murphy - CEO; English National Opera Nina Swann - Acting Executive Director ; Live Music Now James Williams - Managing Director; Royal Philharmonic Orchestra Fiona Pendreigh - Chair; Music Education Council Lynne Williams - Principal; Guildhall School of Music & Drama Bridget Whyte - CEO; Music Mark Simon Toyne - President; Music Teachers' Association Gavin Sutherland - Music Director; English National Ballet William Conway - Artistic Director, principal cellist, conductor; Hebrides Ensemble and Chamber Orchestra of Europe Lee Ward - Director of Music; Liverpool Cathedral Justin Pearson - Managing Director and Artistic Director ; National Symphony Orchestra Robert King - Artistic Director; The King's Consort Paul Hoskins - Director of Music; The Purcell School for Young Musicians Alan Watt - Chief Executive; Academy of St Martin in the Fields Anne Besford - Chief Executive; National Youth Choirs of Great Britain John Nichols - Master; The Musicians' Company David Martin - CEO; Featured Artists Coalition (FAC) Sandra Booth - Director of Policy and External Relations; Council for Higher Education Art and Design David Saint - Chair; Incorporated Association of Organists Bob Riley - Chief Executive Officer; Manchester Camerata Katy Spicer - Chief Executive & Artistic Director; English Folk Dance & Song Society Ian Cross - Director, Centre for Music & Science; University of Cambridge Philip Flood - Director; Sound Connections Maren Bosma - Leader, Artistic Creator; Bath Festival Orchestra Adam Mezzatesta - Director; Bands For Hire Ltd Alison Madin - Director of Music; South East Derbyshire Music Centre Andrew Burke - Chief Executive & Artistic Director; London Sinfonietta Andrew Phillips - Director; Chameleon Arts Management Andy Farquharson - Director; TheMusicAgency.com Anna Croad - Director and Co Founder; Blue Topaz Music Annalisa Vaughan - Soprano and Managing Director; Project:Opera Anne Bunker - Chairman; The Amici Singers - performing with free-lance musicians Ann Wright - Director of Education; VOCES8 Foundation Anthi Papadopoulos - Chief Operating Officer ; Oxford Philharmonic Orchestra Anthony Hickling - Founder; Hickling Music Services Ariel Lang - Director; MyLuthier Asa Malmsten - CEO; Sound Sense Atholl Swainston-Harrison - Chief Executive; International Artist Managers’ Association Barney Stevenson - Artistic Director; Marsden Jazz Festival Bazil Meade MBE - Founder London Community Gospel Choir; London Community Gospel Choir Ben Lee - Trumpeter, Leader of Nottingham Youth Jazz Orchestra; Freelance Ben Palmer - Artistic Director; Covent Garden Sinfonia Benjamin Pope - Music Director, Conductor; The Classical Roadshow Brooks - Singer & Choir Director; The Phoenix Choir Catherine Manson - Director; MusicWorks (Chamber Courses) Carien Meijer - Chief Executive; Drake Music Carina Einarson - Director of Music; London Nordic Choir Corin Handley - Director; Totally Tina Limited Caroline Clipsham - Freelance pianist, Founder of Polka Dot Concerts; Polka Dot Concerts Chan-Dog - Founder; Chan-Dog’s VibeVan Chico Chakravorty - Founder and Consultant; Doing Diversity Differently Chris O'Reilly - Chief Executive; Presto Music Christopher Barrett - Owner; The PTC Record Label Christopher Lydon - Music Director; Artisan Creative Claire Cressey - Director; Live Music Now Wales Clare Bradbury - Director; Musicalchairs (musician employment website) Craig D Smith - Director; Soundsmiths Promotions Ltd Daniella Gluck - Founder & Managing Director; Black Dress Code Ltd David Beattie - Secretary; Ensemble of Friends David Giardino - Leader / Founder / Director; Giardino Strings David Juritz - Artistic Director Burton Bradstock Festival of Music and Art. Freelance violinist; Burton Bradstock Festival David McClintock - Musical Director; Huntingdonshire Concert Band David Ward - Executive Director; Joint Audio Media Education
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  • Carlton Barrett

    Carlton Barrett

    ! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures.