Magazine pitch

[Room to improve Pitch after further deliberation]

‘All That’ magazine, bringing ‘All That’ Jazz back to the forefront. The title itself sounds exciting and new and has had positive feed back.

• Because it sounds all that.
• Sounds like it's going to cover a bit of everything.
• Just seems snazzy
• Very up to date

The magazine is aimed at 17-20 year old who take an interest in Jazz music or even those who want to explore the world of Jazz in an easy and convenient way.

My survey findings showed that not many people today read magazines anymore to keep in touch with the musical world. ‘All That’ aims to re-inspire a generation and recapture their interest.

I found the style of other Jazz mags to be sleek and sophisticated with a refined look that both excites and informs in a crisp and clear fashion.

This is an example of how I have tried to re-create this sleek style, by using little content and only the bare essentials it creates an artistic and modern feel that has become popular over recent years.

Inspired by the works of Jamie Cullum and his efforts to modernise and introduce Jazz to a new generation, Our aspiration is to show today’s youth that jazz is really ‘All That’.

  

Research into institutions

About Down Beat
“A History As Rich As Jazz Itself”
There are many roads to jazz, as any collection of fans will demonstrate. But for many of those fans, whose age today can fall anywhere between 10 and 80, that road has been paved with issues of Down Beat magazine.
Over the decades it has instructed, recommended, criticized, praised, condemned, advocated and, in the aggregate, honored the most dynamic American music of the twentieth century. Millions have been led to records and artists on the strength of a Down Beat review, news tip, or profile. It has shaped young tastes in need of guidance and challenged older ones in need of a wake-up call. In the 1930s, before any important book on jazz had yet been written, Down Beat collected the first important body of pre-1935 jazz history. It became a monthly, then semi-monthly, a diary of the swing era as it happened, then tracked the progression of bop, pop, rock, freedom, fusion, and nineties neoclassicism, all from the perspective of the musician. Hard to believe it began by selling insurance.
“You Can't Sell 'em Both"
Albert J. Lipschultz was neither a full-time musician nor a professional journalist. He had no interest in leading a band, acquiring power, or editorializing on the affairs of the world.
During 1935 and 1936 Down Beat took a sharp turn from being a parochial little news and gossip sheet to becoming a credible national publication with a solid musician orientation and a particularly keen ear for jazz. Its timing couldn't have been more superb.
About Jazziz
For over 25 years, JAZZIZ Magazine has been covering the jazz world, documenting musical innovations, charting industry trends, following the artists whose lives so colorfully inform our own.
The award-winning JAZZIZ Magazine gives you the lowdown, in print and online, on what’s hot (and what’s not) in the world of jazz with insightful editorial, hundreds of CD reviews, and inspired photography and design. Aside from its unparalleled look, each issue of JAZZIZ comes with Limited Edition Collector’s CDs so that you can listen to the music featured in the magazine.
JAZZIZ has been called “the voice of a new jazz culture; a culture it helped create,” and over the past 25 years has earned the undisputed authority on jazz and style. More than a magazine, JAZZIZ is your one-stop destination for information and entertainment in the jazz world.
JAZZIZ is now delivered in print, on disc and on line for members only. Join us today.
The look, the listen, the lowdown.
JAZZIZ … the final word on jazz.

About JazzTimes
By
The history of the magazine dates back to Radio Free Jazz, a publication founded in 1970 by Ira Sabin when he was operating a record store in Washington, DC. It was originally a newsletter designed to update shoppers on the latest jazz releases and provide jazz radio programmers with a means of communicating with the industry. However, Radio Free Jazz grew substantially over the next decade, attracting readers and writers from around the world.
In 1980, the magazine's broader focus and appeal prompted a name change, so Radio Free became JazzTimes. In 1990, the magazine also underwent a change, receiving a bold new look that incorporated exclusive cover photography and state of the art graphic design. Since then JazzTimes has continued to evolve into what is widely regarded as the world's leading jazz publication.
Here's what you'll find in the pages of JazzTimes today:
Extensive News CoverageWho's recording what and with whom? What are the latest releases and reissues? Who's booked to perform at your favorite jazz festival? What's the latest word in books, films, TV, cyberspace? You'll find the answers to these and many other questions in every issue of JazzTimes.

Award Winning Jazz JournalismThe list of contributors reads like a who's who of jazz journalism. Nat Hentoff, Gary Giddins, Nate Chinen, Ashley Kahn, Bill Milkowski, Josef Woodard, David Adler and other well known writers regularly appear in JazzTimes, providing readers with the kind of insightful reviews and coverage unavailable anywhere else. Not surprisingly, several JazzTimes contributors have received ASCAP/Deems Taylor awards for jazz journalism.

Hundreds of CD, Book and Video ReviewsHow do you keep up with the hundreds of CDs released every month? It's not easy. Each month JazzTimes sifts through all the CD releases--plus book and video releases--in order to provide readers with informative, money saving reviews of what's worth purchasing--and what isn't.

World Class Photography and Award-Winning GraphicsThe unrivaled roster of photographers who contribute to JazzTimes speaks for itself: Herman Leonard, Lee Tanner, John Abbott, Jimmy Katz and Nick Ruechel top the distinguished list. The combination of their images and award-winning graphic treatments has given JazzTimes a truly distinctive visual signature. In recognition of exceptional graphic design, the magazine has been honored with several prestigious Gold and Silver Ozzie Awards.

Informative Features and ColumnsIn each issue of JazzTimes you'll find a series of features and columns that shed light on a variety of artists and subjects. In Before and After, well-known jazz musicians get their ears tested to see if they can recognize the music of their peers and predecessors. In Audio/Video Files, noted audio expert Brent Butterworth gives readers the lowdown on audio and video components. The Currents columns reports monthly on contemporary jazz recordings.

Special Theme IssuesThroughout the year JazzTimes focuses on a specific instrument--saxophone or guitar, for example--and devotes extensive editorial coverage to the subject.

Special DirectoriesNo other jazz publication offers readers as many directories as JazzTimes. Our comprehensive directories for jazz clubs, education programs, record labels and music festivals are used by readers as reference guides year-round.

Readers Poll and Critics PicksEvery year JazzTimes readers and JazzTimes critics cast their ballots in a pair of widely read and wildly entertaining jazz polls.

Sound sweepsJazzTimes doesn't just report on jazz festivals around the world, we frequently send winners of our Sound$weeps giveaways to those same festivals. Past Sound$weeps prizes have included all-expense-paid vacations to everywhere from Monterey, California to Umbria, Italy.JazzTimes

Production plan

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Draft text

Cover:

Masthead: All That

Cover story: Strumming the chords with Missy May

Tag line: A conversation with the sensational new artist

Cover line 1: All That’s talent to watch

Tag Line: Artists to look out for in the new year

Cover line 2: Felicity Dawn talks ‘Old Blue Eyes’

Tag line: why she adores and idolizes Sinatra

Cover line 3: Something rich and something smooth

Tag line: why Jazz is at the height of fashion this year

Contents:

Logo: All That

Date: 2^nd January 2012

03 Felicity Dawn’s ‘Old Blue Eyes’

05 Something rich and something smooth

07 Strumming the chords with Hazel May

11 All That’s talent to watch

Double page:

Head line: Strumming the way to stardom

Stand first: All That has a conversation with the sensational new British artist

By line: Holly Lauren

Pull quote: "maybe they wont even be able to understand me at all!"

Article: Norah Jones meets Jessie J in the form of Missy May, the bohemian eccentric and the critics’ favourite new artist of 2012, Her smooth tones and cheeky smile has charmed the hearts of the British public and now she prepares to conquer the giant that is the U.S.A. we were lucky enough to have obtained an interview with Missy as she graciously took timeout of her hectic schedule. We talked past achievements, plans to ensnare America and her must haves when travelling over the pond.

All That: Why Miss may you do look stunning, how on earth do you manage to look so calm and collected when it is well known that you are a busy lady?

Missy: [blushes and gives slight smile] Well now I wouldn’t say stunning. I’m just like everyone else, I do my own make up, there’s no top secret formula. Although I will confide in you [she leans forward] when no ones looking… I do have my little cheeky cat naps. I love my sleep.

All That: Let’s talk about your debut album, How does it feel to know you have touched the hearts of so many in Britain?

Missy: Oh it’s absolutely wonderful, and overwhelming. My album was incredibly personal to me it came from a lot of private experiences, good and bad. To know that the British public not only understand and empathise this but can also relate to me and my music is amazing.

All That: How to you think your music will translate over in America?

Missy: [Laughs] Well it’s quite daunting to be entirely honest. I have no idea how well I will do, a lot of British exports just don’t make it over there. They have such a different way of being over there, who knows they might not like my British sense of humour or think I talk funny, maybe they wont even be able to understand me at all! [smirks]

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Double page spread analysis

Typography- The headline is a large bold word art, it is a sans serif font and the biggest font on the page, this allows it to draw attention of the reader. This may even go against the typical route of eye as the font is so large and bold in comparison to everything else on the double page it may draw the eye straight away. Therefore not abiding to the route of eye with the eye starting to view at the right hand side instead of left. The sans serif of this font gives the headline a playful to match the language used. The stand first and by line are written in a small serif font the serif font creates a formal look that signifies the start of the article and sets the tone of the relaxed but classy interview. The by line is in bold to best display the writer’s name in a modest way without making it large and garish. The article is written in the same serif font continuing the business like style, the questions and speech by the interviewer are written in bold to set it apart from Cullum’s responses and to make the difference clear.

Layout- The double page has a very simplistic and minimalist layout that gives the pages a classy and sophisticated look. This also gives the pages a modern artistic feel which add to the overall cultural atmosphere that the magazine tries to promote. The entire left page is taken up by a picture of Cullum which shows his importance in the piece as it is all about him. If following the route of eye this also makes him the first thing you see which also emphasizes his importance. The headline on the second page is so large it takes up half of the page ensuring it is eye catching, this creates a forceful and confident air to the piece. The rest of the text then follows neatly below. The over all look of the page is neat and organised and very chic.

Colour- The Headline is a purple colour, purple is warm and cool which matches the style of Jazz and also Cullum’s own music. Purple is often used to signify royalty which would mean that the magazine is trying to suggest Cullum is music royalty which is emphasized when comparing him to Paul McCartney who is renowned as music royalty. A mysterious colour, purple is associated with both nobility and spirituality which again enforces the powerful air Cullum‘s appearance and pose creates. The opposites of hot red and cool blue combine to create this intriguing colour that has the calming effect of blue but still retains the power of red.
 Images- The only image is a long shot of Cullum that dominates the whole of the left page, the long shot allows us to fully see Cullum in his pose, the largeness of this image gives Cullum a confident and powerful air. The mise en-scene of his pose shows him in a laid back and relaxed pose showing he is comfortable with himself and those around him. This makes him look the ultimate depiction of cool with his mussed hair and smart suit contrasting in a way that becomes fashionable. The type of chair Cullum is reclining on is an old fashioned type which fits in with his classic suit and the overall classic look of the pages.

Mode of Address- The type of language used isn’t overly formal but manages to retain intelligence. ‘Jamming’ and ‘the pub’ are mentioned in Cullum’s responses but this is mainly due to his way of talking and colloquialisms. Whereas the interviewer uses language such as ‘significant’ and ‘farther’ which suggest the piece is well written and continues the sophisticated atmosphere.

Typography- The headline is smaller than a typical double page spread headline, it is in a bold serif font and as the only bold writing on the entire double page it still stands out in an understated way. The serif font creates a sophisticated style which coupled with the small but effective writing produces a classy yet low-key look to the page. The stand first and by line and pull quote are all in the same serif font as the headline, however they are not in bold which automatically shows them to be recognizably less important.

Layout- The sole image dominates all of the double page spread which immediately shows the focus of the article. The headline is placed to the top left which puts it as the first thing viewed according to the route of eye which connotes it importance and again ensure it will be perfectly visible in a subtle way due to it’s lacking in size. The stand first follows beneath the headline as does the by line beneath the stand first. The pull quote is then directly below them. All 4 pieces of text are centred and so follow each other nicely with sufficient gaps between them to make them look organised and well placed. There is very little on this double page spread and so it comes across very minimalist but cool and collected. In this case less is more and the real focus is on the artistic and strangely beautiful image of Pizzarelli.midnight blue which is a very dark shade of blue. It is a cool colour which would mean it could be readily associated with the coolness of jazz music. Close to navy, Midnight Blue carries the blue symbolism of importance, confidence, power, and authority which could tell us a lot about Pizzarelli and his music. Darker blue is associated with intelligence which then flows onto the feeling of culture and sophistication that the magazine stimulates.　
Images- The image of Pizzarelli is a mid-shot which is done to best focus on his expression as opposed to his posture as all of Pizzarelli’s personality is in his face, not the way he holds himself. The mise-en-scene of the image shows low key lighting which gives the impression of a romantic setting and jazz music is often used to set a romantic mood. The smart tuxedo worn by Pizzarelli also sets a classy tone which hints at romance and serenading. The way Pizzarelli is stood with his chin lifted in the air gives of a dignified air and connotes confidence and a powerful presence. His slight smile also links in with the headline ‘The Good humour Man’

Mode of Address- There is very little language on the page, but what there is of it is very simplistic. The word ‘fun’ is repeated several times which suggests this particular article is going to be light hearted. This is again enforced by ‘good humour’. however the refined undertone and serious attitude to music still surfaces with ‘but never comes at the expense of the music’.

Typography- The headline is large and takes up a significant amount of the double page spread. The font is a sans serif and is unusually not in bold which is typical of a headline. However this is all in keeping with the headline which is named ‘Back to basics’ and so the writing itself seems to have gone back to basics with a very simplistic, stripped back style. The stand first is also in a sans serif font but much smaller as not to draw attention from the headline, the by line is the smallest writing on the page and will often be over looked due to this.

Layout- The double page spread takes on a quite a sparse and stripped back look as there is not much on the pages. The sole image is spread across both pages which brings the page s to life. All of the writing is kept to the left hand page which gives the layout some order, the text is also all aligned to the left linking the text nicely and giving it flow. The lacking of items on the double page again echoes the theme of ‘back to basics’ with only the bare essentials being on the double page spread which works nicely to keep the pages neat yet meaningful.

Colour- The most dominant colouring on the page is the background of golds. Gold can often stand for increased personal power which would com across as Kurt’s confidence and give him a powerful air backed up by his importance on this page. Gold also signifies relaxation and enjoyment of life which creates a fun and chilled atmosphere which is usually associated with the music of jazz. This also again emphasizes the headline of ’back to basics’ by interpreting it as a back to good and simple times. Success is also demonstrated with the colour gold and the use of this colour could be used to signify Kurt’s success in the world of music and show he is a well established artist.　
Images- The sole image is a close up of Kurt’s face. It’s a simple shot with little facial expression which again emphasizes the simplistic and basic nature of the page. The mise-en-scene of the image shows high key lighting which connotes a happy and upbeat atmosphere. The expression on Kurt’s face however contrasts with this upbeat feel as he is looking very serious, this depicts how seriously Kurt takes his music and his career.

Mode of Address- To reverberate the back to basics theme the language is very simplistic and straight forward. The writer addresses the audience in a very straight forward and straight to the point manner that cuts to the focus in a matter of a few words.

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Colour- The overall look to this page is quite dark which could come across as brooding, however the majority of the background is