RdG: Do you see the organisation as having an important role to play once you’ve discovered and/or identified a “talent deserving of wider recognition”?
PIP: I believe the ‘market’ is smaller than people think. It’s all about the network and connecting with the right partners for your music. Word of mouth not only within the audience and press but also within the professional booking circuit, is hugely important and plays a big role in discovering new talent. I share as much as possible my discoveries with the network. #JazzNewBlood is still a new platform and I’m very passionate about developing it to hopefully have that impact of identifying talent and push it further in the network.
RdG: Have you ever thought about other artist supports – kind of what the unions used to do (or not do) for musicians in the early days of the music?
PIP: I consider myself a Youth Jazz Talent activist. I advocate for an increase in performance slots dedicated to jazz talent under 18. I think organizations in charge of junior education should have a tight link to Festivals and other live music promoters. There should be more opportunities for young people to play live and jam specially within the “live Jazz” circuit, no class room replaces the teachings of the stage. In 2 years, more than 30 concerts have happened in the UK with #JazzNewBlood collaboration either by recommendation or within our Festival series, I would like to increase this plus continue the focus on documenting and promoting. Other goals are: working towards developing a system to increase the general public awareness of Jazz education resources for young people under 18 and explore the concept of creating a visible Youth Jazz European network to increase the exchange between Junior Jazz educational organisations. It’s an invaluable opportunity for young people from different background and countries to be able to play and jam.