Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...


Leonardo Pavkovic: Nothing is Ordinary

Chris M. Slawecki By

Sign in to view read count
AAJ: That is an amazing story of persistence and dedication. It worked out well?

LP: You have to know about Soft Machine and be a fan of this seminal band to understand the dynamics and excitement that propelled our conversation. We had, in hand, four former members of the band, representing different periods of the band between 1969 and 1975. After talking to just a few people and several journalist friends, we realized that this would be something more than merely "special." And after some brainstorming, we decided that the name "Soft Ware" should be changed to "Soft Works." I immediately communicated our good news to the three musicians in London, who were all very excited. John Marshall actually phoned Allan, and the two spoke for a really long time.

I was already thinking ahead and eMailed Masa Matsuzaki in Tokyo. In a matter of only 15 minutes, I received an eMail screaming with excitement: "PLEASE, PLEASE, MAKE IT POSSIBLE!" A few days later, we received an official offer of a $50,000 record advance, with an additional sum available for a potential live record from Japan whenever the band was ready to tour there. Ken and I quickly formed a small joint company in LA and in a matter of weeks received half of the advances. What a deal! We had funds before the band rehearsed one single minute, played one single minute or even met, because three gentlemen lived in London and one in Southern California! We flew to London in June 2002 to record the album Abracadabra.

So "in a few words," that's how I started both MoonJune Records and my main business, MoonJune Music Bookings, which covers my bookings, management and general schmoozing and dealing in the music business around the globe. Once the Soft Works album was recorded, it was licensed to Universal Japan, to Mascote Provogue in Europe, and to Shrapnel Records in the US. The band played its debut gig at "The Progman Cometh" Festival, in Seattle, August 2002. They toured Japan a year later; toured Italy in January and February 2004; and played their last show at BajaProg, in Mexicali, Mexico, in March of 2004. In the meantime, I toured Japan, South and Central America with PFM in 2002, and that's how I became a tour manager!

As is the case with most everything I've done in my life, nothing can really be explained fully in just a few words or a few sentences. What happen with Soft Works, which became Soft Machine Legacy and how I started working with Allan Holdsworth, is a huge chapter in my life. And how I started being a label, booking rep, tour manager—it simply cannot be explained in a few sentences, paragraphs or pages. It's more like a book, and a thick one. My life has been filled with magical and completely unpredictable moments!

AAJ: You have literally seen, and recorded, performers from all around the world. Who are some of the artists you've seen perform the most?

LP: I was very lucky to see so many shows: first as a fan, then working with musicians and booking their gigs. Booking some of my heroes was both satisfying and fun. I actually counted all the Allan Holdsworth shows I saw, and saw him perform 245 shows.

A few years ago, I took over booking duties for Tony Levin's Stick Men with Pat Mastelotto and Markus Reuter, so I've seen them close to 100 times. I saw many shows by Soft Machine Legacy. I saw the Italian prog legends PFM a lot as well. Among individual musicians—besides Allan Holdsworth and Tony Levin, whom I have seen perform live almost 150 times across many bands and projects—the musicians I've seen the most are probably Jimmy Haslip, Gary Husband, Chad Wackerman, Jimmy Johnson, Markus Reuter, Pat Mastelotto, and Scott Henderson. That's one of the best parts of working as a booking rep: In the course of working with these great musicians, more often than not, they wind up becoming my friends. Most everything that I have done has arisen from necessity, to help friends.

AAJ: What's the difference between a good performer and great performer?

LP: It's all relative, I believe. I was just talking to a friend of mine, a fairly well-known musician, who said that sometimes he does amazing shows then reads a review and the reviewer said the show sucked, and vice versa. This is a very relative thing. Take Allan Holdsworth: He almost always complained about how he didn't perform well, when, in reality, his performances were often quite brilliant. It's very subjective. What does "a great show" mean? It's very difficult to say. To me, a great performer is the one I liked and enjoyed during his performance. Basically, that's it. We all have different perspectives. Sometimes I can feel that a performance was not very good, but another person may think it's the best show they ever saw. Musical performances are a personal experience for each listener, and everyone's tastes and evaluations are different.

Of course, certain performances suck. In recent years it has been painful to watch one of my all-time favorite progressive bands, Yes. I will not comment further other than to say that, for me, it's sad. Even so, many YES fans believe they remain an incredible, great group. Music is truly a most subjective art.


From the Inside Out Chris M. Slawecki Robert Wyatt Soft Machine Walter Becker Donald Fagen Marbin simakDialog Allan Holdsworth Alan Pasqua Jimmy Haslip Chad Wackerman Tony Williams john mclaughlin dwiki dharmawan Ligro Agam Hamzah Dennis Rea Moraine Iron Kim Style Zhongyu Michel Delville The Wrong Object Machine Mass douBt Elton Dean Finisterre D.F.A. John Coltrane Rashied Ali Soft Ware Keith Tippett Hugh Hopper John Marshall Joe Gallivan Marcio Mattos evan parker Mike Ratledge Banco Mona Lisa Supersister Peter Hammill Mark Hewins Daevid Allen Gong Dave Stewart Allan Holdsworth PFM Tony Levin Stick Men Pat Mastelotto Markus Reuter Gary Husband Jimmy Johnson Scott Henderson Yes Nektar Hamiet Bluiett Ravi Shankar Black Sabbath Sun Ra Neil Young Jethro Tull Paco de Lucia Ella Fitzgerald Lucio Dalla James Last Orchestra Ian Dury John Lee Hooker Jimi Hendrix John Bonham Keith Emerson Jack Bruce Frank Zappa John Etheridge Dewa Budjana Tohpati Deep Purple Tommy Bolin Glenn Hughes Ritchie Blackmore Discus Iwan Hasan Riza Arshad Little River Band Jeff Lynne Winger Styx Toto Asia Joe Lynn Turner Journey Thunder Survivor House of Lords Crush 40 Hardline Jeff Scott Soto Whitesnake Boston FM John Sykes Yoso Bobby Kimball Billy Sherwood Tony Kaye Jake E. Lee Texas Hippie Coalition Loudness Dominique Vantomme Maxime Lenssens Slivovitz mark wingfield Jesus Rovira Asaf Sirkis Yaron Stavi nguyen le Carles Benavent Sylwia Bialas Frank Harrison Kevin Glasgow Bill Bruford Vasil Hadžimanov Dusan Jevtovic Bernat Hernandez Dwiki Dharmwan Vasil Hadzimanov Boris Savoldelli Beledo steven wilson The Beatles Rolling Stones


comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

Related Articles

Dexter Payne: All Things, All Beings
By Chris M. Slawecki
May 20, 2019
Moers Festival Interviews: Anguish
By Martin Longley
May 11, 2019
Catherine Farhi: Finding Home in the New Morning
By Alexander Durie
May 1, 2019
Denny Zeitlin: Balancing Act
By Ken Dryden
April 29, 2019
Carlo Mombelli: Angels and Demons
By Seton Hawkins
April 22, 2019
Anoushka Shankar: Music Makes the World a Better Place
By Nenad Georgievski
April 17, 2019