Good morning. My name is Christophe Papadimitriou. I have been playing the base professionally for the past 20 years. I am a member of various jazz and world music ensembles. I also accompany pop artists. In conjunction with my career as a musician, I have been directing Montreal's OFF Jazz Festival since 2006. I also work for the Chapelle historique du Bon-Pasteur, which is a cultural centre dedicated to classical and contemporary music. I sit on the board of the Conseil des arts de Montréal and am Vice-President of the Conseil québécois de la musique. I would like to thank you for welcoming me here today as a witness.
My many musical activities allow me to work with a wide variety of specialized musicians and to understand how the sector operates. My remarks today will essentially deal with the consequences of the cuts to the grants for specialized sound recording program for independent artists. The grants helped co-fund some 100 projects across Canada in 2008. They are essential and vital for specialized musicians. The production of a sound recording is a key step not only in the creation of a work but also in its dissemination. A recording is both a physical product of a musical creation, a necessary promotional tool to sell performances both here and abroad, and a reference document that is part of our national heritage.
The recording of specialized music cannot be treated in the same way as that of other more popular genres. I would like to quote the eloquent definition given by the Canada Council:
“Specialized music” is defined as music whose intent or content is not shaped by the desire for wide-market appeal—instead, it places creativity, self-expression or experimentation above the demands and formal expectations of the mainstream recording industry. Specialized music has significance beyond being just entertainment, and it is usually found in the parallel market and alternative distribution systems.
Profitability in terms of album sales does not apply in this case. We are addressing a specialized audience and, therefore, a limited number of sales. The profitability of a specialized music project is calculated in terms of career development. A recording allows a musician to be broadcast on the radio, obtain media reviews and, above all, sell concerts. In the majority of cases, concerts represent the main source of revenue for artists, and without quality recordings, groups have no way to solicit festivals and Canadian and foreign presenters or to take part in musical showcases.
The average funding allocated by the Canada Council for this type of project is approximately $7,000. The funding cannot exceed 60% of the total budget. Artists always invest their own money in this type of initiative, but their precarious status makes it impossible for them to pay the total amount. Moreover, a number of economic players also benefit from these recordings, including studios, sound engineers and graphic designers.
In conclusion, as I have just explained, these funds are essential for the survival of the specialized music sector, and they can only be managed by an institution whose selection criteria are based on artistic excellence rather than commercial benefits, such as the Canada Council for the Arts.
The elimination of the grants for specialized sound recording program will have irreparable consequences on an entire section of Canada's musical scene. The diversity and vitality of our creators is at stake. Quality and excellence are not necessarily rewarded with commercial success, but our artists' know-how and expertise enrich our Canadian heritage.
Thank you.