I’ve recently released my debut 17-piece jazz orchestra album, OR, which reflects my decade-long journey from working as a radiographer in Taiwan to discovering my passion for jazz and becoming a big band composer. The album is now complete and making its way to every corner of the world. Leading my own big band and making a record feels like obtaining another degree or like a meaningful internship as a big band composer. Looking back, it took me nearly three years to complete this journey. From forming the project proposal, applying for several grants, assembling a team of over 40 people, recording the music, navigating the post-production process, handling design and manufacturing, first venture into the industry, and now in the promotion phase. Occasionally, I felt frustrated about this business going nowhere and perhaps the worst kind of business investment! However, if I look at it as an investment in myself or the art itself, much like pursuing an educational degree, the best kind of education I could have hoped for, learning firsthand from some of the best in the field. That said, I truly had no clue what I was signing up for when I first discovered my passion for jazz and writing for big band! If I’d known what this business involved, I’m not sure I’d have had the same courage to step into the big band world so boldly.
Identities
I often struggle with introducing myself to others, what I do, or who I am. People in this field usually introduce me as a composer. Yet, there is always this guilty feeling deep in my mind as I don’t practice my compositional skills every day, I don’t have a commission to write every day, I most likely have a negative income for leading my own orchestra, and I would feel lucky and luxury enough to hold a concert once a year. I know I have the skill set, but have I earned the title? Coming from a world that requires a licensing exam to prove our skills and knowledge, I’m often unsure about the standards for being recognized as a composer.
I now primarily work as a musician for dance (accompanist), playing in various styles at quite a list of dance companies and schools. I also freelance regularly as a photographer and occasionally as a musician. Most big band leaders nowadays find their ways to generate income beyond composing. The most common route is perhaps holding a teaching position somewhere. I’ve tried many different things along the way since I arrived in New York City in 2016, from teaching instruments to being a copyist, freelance photographer, video editor, and all kinds of assistants…etc.
The advantage of holding multiple identities is that it allows me to develop various opportunities around these interests that I’ve established. I can draw inspiration, gather skills from various fields, and cross-apply them, while expanding my creativity and improving my problem-solving abilities. But it can also be challenging at times, especially with time management and shifting between different mindsets and roles. I’m close to finding the right balance between doing what I love, love what I do, and also gaining equivalent growth in other fields while remaining rooted in my own. I’ve also observed that developing multiple identities has become a trend these days that perhaps aligns better with today’s market dynamics.
Non-musical writings
Besides the considerable time I dedicate to my physical work as an accompanist and all the commute hours involved, this non-musical writing definitely consumes another significant portion of my time compared to writing for music. If anything that makes me feel I earned the title of a composer, it’s these writing things that have become a major part of my life! I often tell people that I have deadlines, which some might see as an excuse. But seriously, there’s always so much writing and applying to be done. This doesn’t even include the time spent researching opportunities, understanding timelines, and deciding which ones are the best fit to spend time and bet on.
The most relevant examples are grant proposals and all sorts of application requirements. I constantly need to update bios (in all kinds of lengths and word counts), artist bios, artist statements, descriptions of each composition, this cool upcoming project that I want to do, and all kinds of grant reports when I was lucky to receive one….etc. As a Taiwanese artist, I also have to work out everything in both Mandarin and English.
These non-musical writings likely apply not just to big band leaders but to any artist working on a unique project. However, I do believe it’s an essential skill for big band leaders, especially for someone who doesn’t have a lot of resources to begin with. Given the size of the band and the scale of the project, it really relies on getting a few of these grants, residency, or some other forms of support to accumulate work, experience, and accomplishments.
Artists often struggle to express their work in words, particularly when the project is abstract and emotionally driven rather than grounded in theoretical concepts. Ultimately, it’s good practice for me, as it helps me structure my thoughts and present my work coherently. One source of inspiration for me is visiting exhibitions, where I can view the artworks, read the descriptions of each piece, and explore the overall exhibition concepts.
Conducting
Conducting was definitely one of the unexpected challenges I encountered when I chose to focus on composition, which is generally a more backstage role. However, for a big band leader, even while playing in the band, it is essential to know how to lead and conduct, as the musicians are interpreting our music. And ideally, the bandleader should have the deepest understanding of the music.
Over time, I began to realize that this role isn’t just about marking the beats; more importantly, it’s about gathering the energy as a whole, which is essential for shaping the sound itself and influencing the collective vibe of the band. I believe this aspect also plays a key role in distinguishing the unique styles between various ensembles. This is a skill I’ve come to embrace more these days, and I want to continue developing it.
While I don’t have much time to practice conducting, when I accompany classes for the dancers, I relate deeply to the role of directing the ensemble. In most cases, the dancers follow and reflect the music I create at that moment, both in terms of timing and atmosphere. While it’s not a real conducting, I felt it shares a lot in common, as in some kind of driving force for the ensemble. These are considered my daily practice that prepares me for the moments when I have to conduct and lead the ensemble.
Managing Skills
Leading a large ensemble could also mean managing personnel, coordinating schedules, budget planning, being your own financial advisor, organizing composition parts and scores, managing bookings, and keeping track of all sorts of lists…etc. These are things I never expected to become part of the skill set I’d need to master it!
I’ve developed these management skills primarily through my experiences as an assistant and by reflecting on my experiences while working in over ten companies and schools as a dance musician. The size of an organization often shapes its structure, culture, policies, and communication dynamics, all of which influence how things operate. It’s quite interesting for me to observe these details and differences, and I’ve taken the opportunity to gather strategies and methods that are useful when I need to manage my project.
In the studio
Before we finally entered the studio, a year had passed quickly with all the preparations, including successfully securing several grants and assembling a dream team with Darcy James Argue as my co-producer. Musically, we had only nearly seven hours of rehearsal time before heading into the studio.
Studio time is incredibly precious—not just because it’s a rare opportunity to see the grand view of all our planning come to life, but also because expenses can add up quickly. This part of the process is something we rarely get to practice and can be intimidating, especially for a production of this scale. Thorough planning and a deep familiarity with the entire process became crucial.
I was fortunate to work as a production assistant alongside Darcy a few years ago, which helped me become familiar with his production style, pacing, and the countless details that needed to be managed. I’ve also gained valuable experience in various studio settings as a photographer, camera operator, and assistant. I’ve used every opportunity to observe how others manage their sessions.
In my album notes, I compared the experience of entering the studio for my debut jazz orchestra recording to stepping into an “Operating Room” as a medical staff (which I used to be). This isn’t just a metaphor—it reflects how sacred the experience feels to me. In a way, I am truly “operating” my music with my band. Even though this phase passed quickly compared to the rest of the album-making process, it’s the moment I felt that essence of being a big band leader. And I felt a profound growth and transformation just through that two day recording session. Having Darcy and Brian Montgomery by my side in the studio was an enormous support—I called them my chief surgeons, as if I were passing my residency exam. I should also mention that the entire OR team is incredible. Their professionalism and kind support have helped me during times when I felt like I was losing faith in myself. That’s how it feels to me, and I treasure this fresh experience, cause I know that next time, if there is one, I will have a different perspective.
Post-production
Post-production includes the music side of things—editing, mixing, and mastering. Then there’s video post-production, design-related tasks, shooting promotional and/or cover photos, package design, and manufacturing. The big band post-production was definitely a new experience for me. The data became more intricate and extensive. This is when I have to up my game with my hardware and software, even if I’m just organizing the files. Programs like Pro Tools, Logic, Final Cut, Photoshop, and Illustrator, among others, all come into play at some point.
During the whole journey, other than the recording session itself, I probably enjoy the most during the Editing, Mixing, and Mastering processes. I felt intimidated at the beginning, as this was a journey I had to navigate on my own. My team left me notes that could serve as a guidebook over time, but ultimately, the final decisions fell on me. Darcy had marked only a few plus and minus signs with numbers on my charts, just like some secret coding. I thought I would be so lost with those minimum notes, but when I listened back to all the takes, I was astounded by the precision and detail Darcy captured during that very moment in the session and documented in such a fashion! It felt like I was embarking on a new journey, uncovering or tracing those little secrets that master had left me on the way and enabled me to continue to reveal the meaning of this journey.
I should also mention that I felt music post-production offers a second chance to refine my works and an opportunity to recreate them in a sonic dimension for the final presentation. There’s a lot of instinct involved, but clear notes, effective communication and decision-making became very very crucial during the process.
My mixing and mastering engineers, Brian Montgomery and Mark Wilder, were incredibly kind and patient in guiding me through this journey. Brian, in particular, I felt like my chief surgeon in this musical surgery process. And when he wrote to me, ‘Next stop, the summit!’ he positioned himself as a faithful Sherpa. I felt that was the warmest encouragement and a reassuring boost for a first-timer embarking on this lonely and unknown journey.
The entire package design and manufacturing process was one area where I felt particularly insecure (the most among all the insecurities), as I sensed a significant knowledge gap. I was hoping to get some pleasant surprises from someone skilled in their field to help extend the vision of my music, but the process ultimately became somewhat of an unpleasant journey. It took a huge toll on me. I was so exhausted and had lost all faith in making this album. After exchanging experiences with other artists, I realized I wasn’t alone in facing these challenges. I view this entire journey as a lesson in itself, even though it’s a harsh one.
The whole post-production phase turned out to be the longest, spanning about a year and a half for me to finalize everything. I take responsibility for not anticipating the pacing, but it’s quite a challenge to maintain that pace while working nearly full time and juggling many other duties along the way. So I think it’s totally okay that I take my time to really process through and actually enjoy every step while this is my first time making an album.
Business Aspect
What a complete whole new world! Research labels, understand the terms of contracts, and grasp how this business operates, including how the timeline works. Like writing this article, as I neared the end of this marathon, I found myself nearly out of strength. Good thing is, after spending some time understanding how it functions, you sort of just let go and let the professionals and faith guide you for the rest of this journey. But seriously, there are so many tasks to manage along the way. I clearly need to improve my promotional and business skills. As of now, I’m still navigating this last phase before the album release show, which will mark a significant final milestone for me in this journey.
Final thoughts
After this whole journey, I’ve come to understand what it truly means to run my own orchestra and record an album. It feels like starting a small business that requires self-management and possessing knowledge of every position within the organization. It might seem like a failed business model from a business point, but I try to see it as a creative way for personal growth and a means to consolidate and practice all the knowledge and experiences I gather elsewhere. I constantly draw inspiration from other fields and professionals, taking notes, and observing how the world operates. I want to underscore that many ideas and mindsets can cross-apply to other fields. This approach has taken me very far.
I believe everyone’s experience is unique, coming from different backgrounds, entry points, positions, perspectives, resources, connections, and even personalities, all of which can lead to various pathways and outcomes. I can only share my journey and the challenges that have arisen along the way, as well as what I’ve observed and concluded so far. And I should note that I’m focusing on the stage where we’ve progressed beyond being inexperienced writers and have compiled a diverse portfolio. It’s undoubtedly costly to custom-make a big band and make a record out of it. But it gives me more flexibility in shaping my music in my own direction. Over time, I believe I will be able to craft a distinctive personality for the band.
I’m completely drained after this journey, but once I regain my energy and stamina, I hope to find the courage to take it on again, perhaps in a new form. My deepest hope is to discover better solutions for a more sustainable business model and preserve this art form, passing on the legacy I’ve been so fortunate to be nurtured by.
About the Author:
Born and raised in Taiwan, Tracy Yang has established herself as a composer, musician, and cross-discipline artist in New York City. Recognized with the Charlie Parker Jazz Composition Prize among many other awards, she’s also been honored with grants from respected institutions like New Music USA, New York Foundation for the Arts, and Pathways to Jazz. She has worked with esteemed ensembles such as the BMI/New York Jazz Orchestra, The Army Jazz Ambassadors, and the Taipei Jazz Orchestra. In addition to her musical accomplishments, Yang’s expertise extends to the dance world, where she contributes music to various renowned dance institutions, including Martha Graham, ABT, Limón, and Paul Taylor. Her jazz quartet EP, “The 217 Diaries”, debuted in 2021, setting the stage for her eagerly awaited jazz orchestra album, “OR”, to be released in August 2024.
Artist photo by Andreas Hofweber, header photo by Adrien Tillman Photography.
