Backstage pass: The sax player changing the game

NAIROBI, KENYA: Growing up, many of us were encouraged to become doctors or lawyers. These were the careers considered prestigious and solid – qualities that would lead us to success.

Delving into the arts was largely considered something to do as a hobby, and with good reason – not too long ago, there weren’t many people making a decent living off their artistic talents.

This, however, didn’t discourage those brave enough to do what they loved. And thanks to their courage, they paved the way for a new crop of artistes to make a living off their creativity, which means artistes are no longer seen as a ragtag community of underachievers.

Edward Parseen, 35, heads the Different Faces Band and takes us backstage to show us what it’s like to live the life of a successful musician.

How did you get started in music?

For me, music is a passion, so it was very easy for me to take that passion and turn it into a business. I started playing music a long time ago but didn’t pursue it as a business until around 2005.

What made you believe that this was a commercially viable option?

I looked around and realised that there were lots of people playing music but not seeing it as a business opportunity. I played with various bands back then and saw a niche ready to be filled, especially in the area of jazz and corporate entertainment. I saw an opportunity to make money and so in 2005, I registered my company.

What kind of response did you get when you said you wanted to pursue a career in music?

I was brought up by a single mother. I got As in my O-Levels, and naturally, my mother wanted me to pursue something else, but I reminded her that when I was 9, she bought me a keyboard. I asked her why she would do that and then expect me to take another direction in life. I studied at Kenyatta University where I graduated with a degree in music, although I started teaching music to others while I was in my second year of school.

How did you go about building not only your business but your brand?

During my formative years in college, I was really trying to understand the industry; trying to get my first clients and getting them to trust that I could actually do the work they were paying me for. Back then, pop music in Kenya was just getting started. Musicians who were playing jazz usually played in hotel lobbies and bars. If you suggested playing jazz at a wedding, people would look at you like you were mad. They wanted Kayamba Africa. I did some pro bono work then – not because I wanted to, but because I needed people to understand what I did.

Who was your first paying client?

Can I remember that far back? Oh yeah, it was a German guy who worked for some international company. He hired me to perform at his child’s birthday party that was held in his house. It was a very nice event.

How did you go from there to getting other clients?

It was mainly by word of mouth. Back then, Facebook wasn’t available like it is now. I put together a company profile, made business cards and registered the company. When I approached potential clients, I appeared professional and they would be more open to listening to me when I told them what I did.

How did you get your band, Different Faces, together?

The reason I named my band Different Faces is because it took me a while to get them together. People would come for about five or six weeks and then take off, and I would be back looking for another band member.

When people realised I was serious about what I was doing, could get work and pay them well and on time, they wanted to play with me. Most people want job security and I could give them that. As band members, we have been together for about seven years. I understand them and because this works, I am not looking to change the formula.

What kind of clients do you have?

It cuts across the board. We do everything. We perform at corporate events for clients like Total, Lafarge and Safaricom. Name the top 20 corporates in Kenya and I have worked with them. They know that I am consistent and reliable.

I also perform at weddings and deal with restaurants and clubs. Right now I am consulting with Cabanas and handling their entertainment – hiring their band, sorting out theme nights and all that. There have been several concerts that I have put together by collaborating with industry players, projects like Jazz Under the Stars, Motown in Nairobi and Sax in the City. We were to have released an album by now, but there were issues around publishing royalties on two of the songs, so the album will instead be coming out within the next few months.

What challenges have you faced in the industry?

People have money but they want you to do the service almost for free. You can’t really quantify talent. I am the one who has to decide the value of what I do and I, therefore, have to determine the fee I’ll charge for my time and services.

How much do you charge per event?

It varies from Sh100,000 to Sh350,000, depending on the type and duration of the event, location and scope of what I am expected to do.

Is it important for you to stand your ground when it comes to your fee?

Yes, it is very important. I see myself as a market leader and if I don’t enforce my fee structure, then I will not be protecting those who are coming up behind me in the industry.

I can no longer charge anything less than Sh100,000 because the moment I start doing that, then I will be taking work away from those artistes who are trying to grow. I can easily get jobs for Sh250,000 and above, and these cushion me from trying to get the work of younger artistes. It is very important for people like me to protect those who are growing by controlling the price in the market.

Did you ever have a backup plan in case music didn’t work out?

No, I didn’t. I am not that kind of guy. When I decide to do something, I go for it. If I fall, I get up and try again. If you don’t commit 100 per cent then you won’t get 100 per cent back.