Industry Profile: Eric Hanson

Booking agent Eric Hanson is the founder of Tree Lawn Artists, Inc., a Boston based booking agency representing a range of jazz and pop artists including the Yellowjackets, Groove Collective, Chuck Brown, Jesse Harris, Sasha Dobson and Erin Bode as well as the outrageous attraction Incredibly Strange Wrestling.

"I was a big music fan growing up, but in particular, I was a live music junkie," Eric explains about the change. "I loved the drama and specialness of concerts, from heavy metal shows to the band concerts I played in, so playing a role in making them happen seemed exciting and important. I also wanted the musicians I liked to potentially like me as much as I liked them, and when I found out what an agent does, it was also attractive in that regard. It doesn't always work out that way, of course."

He left in 1990 and founded his own agency, Steppin' In Artist Development, which represented Art Ensemble of Chicago, World Saxophone Quartet, Don Pullen, Nina Simone, Matthew Shipp and Steve Tibbetts.

Originally based in Brooklyn, N.Y., Steppin' In made the move with Eric to New Haven, Conn., in 1993, while he earned a masters degree in African-American Studies from Yale University.

"I was having second thoughts about making a go of it in the music business," Eric notes. "I'd a strong interest in African-American literature and music and had visions of becoming a college professor who occasionally produces shows. I eventually soured on academia though, so it didn't turn out that way. I had trouble adapting to the rigors of traditional academic protocol -- lessons I had learned through my personal experiences in the music business had little to no validity to my professors -- and also didn't feel a lot of enthusiasm toward the subject matter from my fellow colleagues. I also saw up-close how tough it was to get a good job in the field."

Fed up with academia and East Coast weather, Eric moved to San Francisco in 1996. "My two siblings both lived and still live there, and I loved the city, specifically, the air out there, literally," he maintains. "I was a big long-distance runner at the time and liked the idea of being able to comfortably run outside year-round. I moved there with no clear career strategy. After I got settled, I had a vague memory that there was a cool agency named Rosebud, and I looked it up in the white pages and called."

As luck would have it, Rosebud had an opening in the management division. For a year, Eric assisted then-management head Steve Lee with John Lee Hooker, Robert Cray, John Hammond, Duke Robillard, Loudon Wainwright III and the Dirty Dozen Brass Band. During this time and for three more years, he continued running Steppin' In on the West Coast.

He left Rosebud in February 1997 to run Steppin' In full-time. "It was a struggle," Eric admits about his two-job career, "but I would usually put in two or three hours of phone time to East Coast buyers prior to going to Rosebud's office, which was possible because of the time difference. It wasn't ever a conflict of interest really because I was not an agent at Rosebud. I worked strictly in artist management."

At the same time, Eric also was managing drummer Leon Parker. In January 2000, an agent position at Ted Kurland Associates in Boston opened up. Eric headed back east and joined the agency. "Leon recorded a duo CD with guitarist Charlie Hunter, a Ted Kurland Associates client at the time," he advises.

"Jack Randall, then and still an agent with TKA, had met me once before and called me to get a feel for how feasible touring would be for Leon with Charlie. He went ahead with it despite my warnings," he laughs. "Jack and I kept in touch, and he called me about a job opening they had there shortly afterwards."

Eric remained at TKA through December 2006, when he left to start his second booking agency, Tree Lawn Artists, Inc.

Experience & Advice
I've spent too much time with some artists who weren't a good match for me, sometimes out of blind loyalty and sometimes because I simply liked them and their music too much to move on. In the end it's best to move on sooner rather than later in most cases. Similarly, I have trusted buyers too much in some cases and spent too much time hoping they will come around on a certain artist instead of focusing on those who are more receptive from the beginning. Persistence in both cases -- with artists and buyers -- can have its merits, of course, which makes it difficult to recognize when a never-say-never attitude is a winner or a waste.

How important does MySpace.com play in today's music environment?
It has become a very simple and user-friendly way for bands of all levels of commercial notoriety to get the word out on their music. Garage bands and pop stars alike have pages. It's helpful on my end of the business because artists are looking for representation

What did you learn as a manager that you have brought to being an agent?
This is something I learned more from watching Rosebud's Mike Kappus than through any of my own experiences: that you can and often should have a say and a personal hand in every aspect of the way your artist is presented to the rest of the industry and to the public. Press releases, bios and photos are all crucial to the perception of an artist, and the record company isn't always the best arbiter of what versions of each are most effective. Mike would often set up his own photo shoots and write his own artist bios, for example. This lesson has taught me by extension to never take "no" for an answer as an agent and to work on alternate means to get a quality booking in a particular market -- by recruiting a local zealot in the radio or college ranks to cheerlead to the buyer in question on behalf of the artist. For example, when not getting the desired response from the buyer.

Do you miss managing?
Not really. It's so intense, and I can't imagine managing and also being married with kids, which I am.

Why did you decide to open your own agency again?
I turned 40 years old and felt like it was the best time for me to make the move because I still had enough energy and drive to make it work. I also was interested in working with artists who didn't fit in that well musically with the rest of the Ted Kurland Associates roster. It was a difficult decision because the Kurland position was a good fit with great artists and colleagues, not to mention financial security, but the combination of the bug to be on my own and the idea of pursuing some of these other artists made me decide to do it.

First concert attended
Elton John at Richfield Coliseum in Cleveland, Ohio, 1978.

First concert worked
Trouble Funk at Williams College in Williamstown, Mass, in 1988. I promoted it in conjunction with the student activities committee. Also previewed the show in the newspaper, promoted on radio, drove the van for the band, etc.

First industry job
The now-defunct Third World Agency in New York as booking agent for 40-50 international acts. It was run by the very-much-not-defunct Larry Gold, founder of SOB's nightclub in New York.

Career highlights
Representing Nina Simone and tour managing John Lee Hooker.

Career disappointment
Not finding a way to book an extended tour for an established, straight ahead jazz group such as the Kenny Garrett Quartet and the Pat Martino Quartet/Quintet.

Greatest challenge
Prioritizing my day-to-day tasks.

Best business decision
Starting my own agency again

Best advice you received
The truth will set you free, but first it will piss you off.

Best advice to offer
Be sincere and passionate and call people back.

Most memorable industry experience
Attending the 2003 Grammy Awards with the Yellowjackets (nominated, but did not win, in the category of Best Contemporary Jazz Album for "Mint Jam").

Favorite team
Cleveland Indians. I grew up in Cleveland and am convinced they will be champions in my lifetime.

Favorite restaurant
Corner Bistro, New York.

Favorite hotel
Bellagio, Las Vegas.

What friends would be surprised to learn about you
That I still don't drink coffee.

Industry pet peeve
Not getting a return call or e-mail

Office paraphernalia
Many, many, many tiny masked wrestling figures

If I wasn't doing this, I would be...
…brewing beer.

Industry mentors
Don Pullen and Al Lowman.

Eric can be reached at: (617) 469-5600; e-mail: eric@treelawn.org