<p>binx- I’ve got a few thoughts looking at this from a “business” relationship and what a developing musician might not know. </p>
<p>A contract is binding. It should never be signed unless it is fully understood. Negotiations and clarifications need to be done prior to signing. Do not rely on what was agreed upon verbally to actually appear within the contract. Mutually agreed changes need to be added as signed amendments. The more involved the terms, obligations, and responsibilities are for all parties, the more critical it is to make sure all the t’s are dotted and i’s are crossed on paper.</p>
<p>Penalty clauses are a double edge sword… if only one side faces penalties, it’s an unfair agreement, but binding once signed. There should be penalties implied for either party negotiated early on. It should be a quid pro quo. (No first night hotel included for example)</p>
<p>Performing as a small ensemble has special considerations, and it’s something for your son to think about down the road. If this is an existing long term, fairly active ensemble, then they need to come to a mutual agreement amongst themselves as to who does what… one may do promotion, another the travel, one may do publicity, one can keep records, etc. Assignments should be based on the respective strengths of the involved parties, or rotated if necessary but it should be understood beforehand who is responsible for what areas. If the ensemble is large (probably larger than a sextet) or performs frequently it may well make sense to farm the business/logistics out to a hired gun.</p>
<p>Whatever is done, it should be done in a professional manner. BassDad’s point of breakdown of communication is exactly right from my reading as it appears the negotiations, travel arrangements were not handled in a professional manner. Period. It seems a case of “we’ve done it before, we’ll handle it, and keep you posted” or “we’re involved with the organization, we have the contacts”.</p>
<p>This gig doesn’t involve driving from Boston to Providence. It should have been planned accordingly, and people were too far out of the loop to be comfortable.</p>
<p>It could be a great experience for all, or they may end up never speaking to each other. Whatever happens, your son should know a bit more now of the business side of performing, and strive to avoid having similar repeat experiences by seeing first hand how not to do things.</p>
<p>Distance, language barriers, security for his person and his instrument are prime concerns. If nothing else, get an international calling card before he leaves or he can rent his own cell. It seems like there may be one all controlling entity who feels she’s in charge. </p>
<p>Good luck to him. My fingers are crossed.</p>