## **Trustees ’ Annual Report for the period** **From April 1 2023 Period start date To March 31 2024 Period end date** ## **Charity name: Jazz Promotion Network** ## **Charity registration number:** 1160282 ## **Objectives and Activities** ||SORP reference|| |---|---|---| |Summary of the purposes of
the charity as set out in its
governing document|Para 1.17|The objects of the JPN are to foster and
promote public education in the arts through
the maintenance, improvement and
development of knowledge, understanding,
appreciation of, and participation in, the arts, in
particular in the arts of jazz and related forms of
music, and in particular through mutual support
and actions amongst organisations and
individuals committed to the pursuit of this
common purpose.| |Summary of the main
activities in relation to those
purposes for the public
benefit, in particular, the
activities, projects or
services identified in the
accounts.|Para 1.17 and 1.19|Annual conference for the sector to discuss and
consider improvements in music promotion and
education, supporting those who present jazz
to the public.
Spreading information to JPN members and
others regarding International projects
designed to support more opportunities for
audiences to hear and experience a wider
range of music from other nations.
Spreading information about International
support available for artists from JPN nations
to extend their profile more widely abroad.
Work on digital and social media
communications to inform a wider public of the
opportunities in jazz performance, participation
and education.
Work to develop regional networks and support
structures to enable a wider and more diverse
range of music to be made available to
audiences in specific regions.
Projects to bring a wider range of young and
newly emerging jazz artists to public audiences
around the JPN nations.| 1 |||Campaigns to bring jazz to greater public
attention.| |---|---|---| |Statement confirming
whether the trustees have
had regard to the guidance
issued by the Charity
Commission on public
benefit|Para 1.18|In establishing JPN and registering as CIO,
JPN trustees followed advice and guidance
from the Charity Commission on public benefit
and will continue to revisit that advice to ensure
compliance.| ## **Additional information (optional)** You may choose to include further statements where relevant about: ||SORP reference|| |---|---|---| |Policy on grant making|Para 1.38|| |Policy on social investment
including program related
investment|Para 1.38|| |Contribution made by
volunteers|Para 1.38|The work of any p/t paid staff is complemented
by voluntary contributions of time from board
members and members. JPN also
acknowledges the essential part that volunteers
play in its projects and the key role that unpaid
volunteers play in live music promotion
throughout the JPN nations.| |Other||| ## **Achievements and Performance** SORP reference 2 |Summary of the main
achievements of the charity,
identifying the difference the
charity’s work has made to
the circumstances of its
beneficiaries and any wider
benefits to society as a
whole.|Para 1.20|The main focus for JPN in this period was the
annual conference held in Birmingham in early
November 2023. Preparations and negotiations
were stepped up from May 2023 led by the
Chair liaising with the three Birmingham
institutions who had agreed to co-host the
event: Symphony Hall (now known as B:Music),
Birmingham City University and the Royal
Birmingham Conservatoire.The Chair and
another board member also did further work on
a potential‘Routes into Jazz’ promoter
development scheme, one of the needs
identified via the consultation process, in
preparation for a session at the Birmingham
conference seeking delegate feedback.
Securing and working with BCU as the lead
partner in the development of the event was a
major achievement and gave JPN access to
speakers connected with the university as well
as to spaces
both at BCU and the Royal Birmingham
Conservatoire, as well as at B:Music. This gave
the conference a higher profile than in the past.
The event was the best
attended to date, and also the most diverse in
terms of age and ethnicity amongst the
delegates,speakers and artists involved. JPN
also engaged a digital marketing specialist to
work on promoting the event on social media in
the run up to the conference which gave it
wider visibility across the music industry. Key
individuals were also invited as speakers for the
first time, not just from jazz organisations but
from other music networks such as ISM and
Making Music, providing useful contacts for the
future.
This conference was the first to include a
showcase programme featuring artists from
across the UK and Ireland, rather than just the
area in which the event is based. This ambition
grew directly from the outcome of extensive
consultation during the pandemic, which
revealed a clear demand for opportunities for
jazz artists to present their work to promoters
from across the UK. The positive reception to
the showcase programme in Birmingham has
convinced us that this is the right way forward,
particularly as there is no other event of this
kind for jazz in the UK.
A longlist of showcase artists nominated by
JPN members was drawn up and an expert
panel with representation from across all the
nations made the final selection.
The artists benefited by performing live in front
of jazz promoters from across the UK, Ireland
and from Germany , and from being included in
the conference brochure and website
information. The response to the conference
survey was very positive about this new aspect
of the conference; comments included‘Have
already booked one of the artists for a gig’, ‘the
quality was very high. A good mix of improv and| |---|---|---| 3 traditional/ fusion and rock jazz - every performance felt new and current. Definitely renewed my interest in contemporary jazz. ’ The conference programme included the opportunity to hear from key organisations from the UK jazz scene (London Jazz Festival, Tomorrow ’s Warriors, Manchester Jazz Festival, Jazz Refreshed, Women in Jazz) as well as specialist sessions organised by Birmingham City University on Artificial Intelligence and different areas of jazz research. Birmingham based jazz composer Soweto Kinch ’s Keynote Address was provocative and very well received. The bursary programme was, as with previous conferences, a very important aspect of the project.Comments from among these people included: “I found the conference generally useful, in particular the opportunity to meet and talk to other promoters and organisations like my own – promoting smaller gigs and mostly run by volunteers – though the opportunity to engage with wider industry issues was also valuable. ’ The two surveys we issued after the conference also provided plenty of food for thought regarding how things might be improved further in future. Other JPN activity during this period was attendance by the Chair and several other Trustees at the _jazzahead_ expo in Bremen in Germany, helping staff a UK stand organised by London Jazz News (now UK Jazz News), and also attendance at the Love Supreme festival in Glynde in July 2023.`Both of these provided opportunities to promote the forthcoming conference and to engage potential speakers. The JPN Chair and Company Secretary also attended the annual Europe Jazz Network conference in Marseille in September 2023 which provided opportunities for discussion about potential pan European collaboration. ## **Additional information (optional)** You may choose to include further statements where relevant about: |
Achievements against
objectives set|
Para 1.41|
One of the main objectives for this period was
to stage a full programme of UK wide
showcases at the annual conference - hence
expanding the nature of the event, and this was
achieved successfully. We also registered 157
delegates (against a target of 150) and took| |---|---|---| 4 |||£1,252 in delegate fees against a target of
£1,000.| |---|---|---| |Performance of fundraising
activities against objectives
set|Para 1.41|Themain purpose of fundraising in the period
was to support the conference and some
ancillary activity; our applications to Arts
Council England and Creative Scotland
resulted in full awards, with Arts Council Wales
awarding around 50% of the target. JPN’s
application to Arts Council Northern Ireland was
unsuccessful on this occasion but it was
possible then to scale back showcase and
bursary activity related to the grant meaning it
was still possible to cover conference costs.| |Investment performance
against objectives|Para 1.41|| |Other||| 5 ## **Financial Review** |**Financial Review**||| |---|---|---| |Review of the charity’s
financial position at the end
of the period|Para 1.21|The company ended the period with a surplus
of£10,849.| |Statement explaining the
policy for holding reserves
stating why they are held|Para 1.22|Reserves are needed to cover shortfalls and
gaps in funding. The trustees consider that the
level of free cash reserves should be between
£10,000 and £20,000.| |Amount of reserves held|Para 1.22|£10,849| |Reasons for holding zero
reserves|Para 1.22|| |Details of fund materially in
deficit|Para 1.24|| |Explanation of any
uncertainties about the
charity continuing as a going
concern|Para 1.23|N/A| |**Additional information (optional)**
You may choose to include further statements where relevant about:||| |The charity’s principal
sources of funds (including
any fundraising)|Para 1.47|Funds are derived from membership fees
and fundraising from arts funders (see 1.22
above)| |Investment policy and
objectives including any
social investment policy
adopted|Para 1.46|| |A description of the principal
risks facing the charity|Para 1.46|The principal risk is any potential failure in
fundraising from arts funders which would
might result in limitations on the ability to
progress projects.| |Other||| 6 ## **Structure, Governance and Management** |Description of
charity’s trusts:|||| |---|---|---|---| |Type of governing
document
(trust deed, royal
charter)|Para 1.25|Constitution|| |How is the charity
constituted?
(e.g
unincorporated
association, CIO)|Para 1.25|Charitable Incorporated Organisation|| |Trustee selection
methods including
details of any
constitutional
provisions e.g.
election to post or
name of any
person or body
entitled to appoint
one or more
trustees|Para 1.25|Elected by membership, co-opted by trustees.|| ## **Additional information (optional)** You may choose to include further statements where relevant about: |Policies and procedures
adopted for the induction
and training of trustees|Para 1.51|New trustees provided with induction pack of
relevant documents and opportunities for
discussion with the Chair and other officers.| |---|---|---| |The charity’s organisational
structure and any wider
network with which the
charity works|Para 1.51|| |Relationship with any related
parties|Para 1.51|| |Other||| ## **Reference and Administrative details** |Charity name|Jazz Promotion Network| |---|---| |Other name the charity uses|JPN| |Registered charity number|1160282| |Charity’s principal address|Bristol Music Trust, Bristol Beacon, Trenchard Street,
Bristol BS1 5AR.| ||| 7 **Names of the charity trustees who manage the charity** |1
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17|**Trustee name**|**Office (if any)**|**Dates acted if not for whole**
**year**|**Name of**
**person (or**
**body)**
**entitled to**
**appoint**
**trustee (if**
**any)**| |---|---|---|---|---| ||Ros Rigby|Chair||| ||OrphyRobinson|Vice-Chair||| ||Nod Knowles|Company
Secretary/Acting
Treasurer||| ||Mark Kass|||| ||Heather Spencer|||| ||Peter Slavid|||| ||Keith Michael|||| ||Agnese Daverio|||| |||||| |||||| |||||| |||||| |||||| |||||| |||||| |||||| |||||| ## – Corporate trustees names of the directors at the date the report was approved **Director name** Ros Rigby Orphy Robinson Nod Knowles Mark Kass Heather Spencer Peter Slavid Keith Michael Agnese Daverio Name of trustees holding title to property belonging to the charity **Trustee name Dates acted if not for whole year** 8 ## **Funds held as custodian trustees on behalf of others** Description of the assets N/A held in this capacity Name and objects of the charity on whose behalf the assets are held and how this falls within the custodian charity ’s objects Details of arrangements for safe custody and segregation of such assets from the charity ’s own assets ## **Additional information (optional)** ## **Names and addresses of advisers (Optional information)** ||**Type of**|**Name**|**Address**| |---|---|---|---| ||**adviser**||| ||Financial,|Andrew Procter|| ||accounting||74 Standenhall Drive, Burnley BB10 2EF| ||||| ## **Name of chief executive or names of senior staff members (Optional information)** Chair acts as CEO where it is not possible to employ someone at that level; other freelance staff are employed part-time and ins some cases on time-limited contracts. ## **Exemptions from disclosure** Reason for non-disclosure of key personnel details ## **Other optional information** 9 ## **Declarations** **The trustees declare that they have approved the trustees ’ report above.** **Signed on behalf of the charity ’s trustees** **----- Start of picture text -----**
Signature(s)
Nod Knowles
Full name(s) Rosamund Rigby
ee ee
Position (eg Chair
Company Secretary
Secretary, Chair, etc)
es ee
Date
23 January 2025
**----- End of picture text -----**
10 ## **Independent Examiner ’s Report** ## **TO THE TRUSTEES AND MEMBERS OF THE JAZZ PROMOTION NETWORK** I report on the accounts for the charity for the year ended 31st March 2024 which are set out on pages 12 and 13. ## **Respective responsibilities of trustees and examiner** The charity's trustees are responsible for the preparation of the accounts. The charity's trustees consider that an audit is not required for this year under section 144(2) of the Charities Act 2011 (the 2011 Act) and that an independent examination is needed. It is my responsibility to: - examine the accounts under section 145 of the 2011 Act; - to follow the procedure laid down in the general Directions given by the Charity Commission under section 145 (5)(b) of the 2011 Act; and - to state whether particular matters have come to my attention. ## **Basis of independent examiner's report** My examination was carried out in accordance with general Directions given by the Charity Commission. An examination includes a review of the accounting records kept by the charity and a comparison of the accounts presented with those records. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from you as trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit, and consequently no opinion is given as to whether the accounts present a ‘ true and fair view ’ and the report is limited to those matters set out in the statement below. ## **Independent examiner's statement** In the course of my examination, no matter has come to my attention: (1) which gives me reasonable cause to believe that in any material respect the requirements: - to keep accounting records in accordance with section 130 of the 2011 Act; and to prepare accounts which accord with the accounting records and comply with the accounting requirements of the 2011 Act have not been met; or (2) to which, in my opinion, attention should be drawn in order to enable a proper understanding of the accounts to be reached. Paul Cowham FCA DChA Withington Works Withington Baths 30 Burton Road Manchester, M20 3EB 11 ## **Jazz Promotion Network** Year ending 31 March 2024 ## **Receipts and Payments Accounts** |||2024|||_2023_|| |---|---|---|---|---|---|---| ||Unrestricte
d funds|Restricte
d funds|Total funds|_Unrestricte_
_d funds_|_Restricted_
_funds_|_Total funds_| |**Receipts**|£|£|£|_£_|_£_|_£_| |Arts Council England grant|-|14,995|14,995|_-_|_10,000_|_10,000_| |Arts Council Northern||||||| |Ireland|-|-|-|_-_|_500_|_500_| |Arts Council Wales|-|4,500|4,500|_-_|_4,500_|_4,500_| |Creative Scotland|-|13,380|13,380|_-_|_5,000_|_5,000_| |Membership fees|7,380|-|7,380|_6,888_|_-_|_6,888_| |Going Dutch project|-|-|-|_-_|_-_|_-_| |Sponsorship|1,100|-|1,100|_900_|_-_|_900_| |Conference fees|1,252|-|1,252|_465_|_-_|_465_| |Total receipts|9,732|32,875|42,607|_8,253_|_20,000_|_28,253_| |**Payments**||||||| |Accountancy|450|-|450|_400_|_150_|_550_| |Advertising/Promotional|_-_|-|-|_-_|_-_|_-_| |Artist fees/travel|_-_|8,763|8,763|_-_|_-_|_-_| |Board and staff expenses|_-_|2,712|2,712|_-_|_1,281_|_1,281_| |Bursaries|_-_|4,341|4,341|_-_|_2,376_|_2,376_| |Conference costs|-|-|-|_559_|_-_|_559_| |Consultancy|-|-|-||_1,600_|_1,600_| |Catering|-|-|-|_48_|_-_|_48_| |Insurance|516|-|516|_-_|_584_|_584_| |Marketing & PR|-|2,463|2,463|_21_|_-_|_21_| |Office costs|1,476|-|1,476|_882_|_284_|_1,166_| |Membership fees|-|-|-|_-_|_-_|_-_| |Website & software|460|-|460|_409_|_29_|_438_| |Speaker fee|150|1,455|1,605|_-_|_3,495_|_3,495_| |Staff costs|275|9,007|9,282|_9,635_|_21,459_|_31,094_| |Staff travel|121|-|121|_86_|_203_|_289_| |Tickets re conference|-|-|-|_-_|_134_|_134_| |Travel and accommodation|569|-|569|_1,069_|_6,258_|_7,327_| |Venue hire|-|4,134|4,134|_-_|_1,880_|_1,880_| |Bank charges|96|-|96|_208_|_-_|_208_| |Total payments|4,113|32,875|36,988|_13,317_|_39,733_|_53,050_| |Net of receipts/(payments)|5,619|-|5,619|_(5,064)_|_(19,733)_|_(24,797)_| |Transfers|||-|_(7,786)_|_7,786_|_-_| |Cash funds last year end|5,230|-|5,230|_18,080_|_11,947_|_30,027_| |Cash funds this year end|10,849|-|10,849|_5,230_|_-_|_5,230_| 12 ## **Jazz Promotion Network** Year ending 31 March 2024 ## **Statement of assets and liabilities at the end of the year** |||2024|||_2023_|| |---|---|---|---|---|---|---| |Notes|Unrestricte
d funds|Restricte
d funds|Total funds|Unrestricted
funds|Restricted
funds|Prior period| ||£|£|£|£|£|£| |Cash funds
1|10,849|-|10,849|_5,230_|_-_|_5,230_| |Other assets||||||| |Monies owed to the||||||| |charity at 31 March 2024|675|-|675|_260_|_-_|_260_| |Liabilities||||||| |Items paid after 31 March||||||| |24 relating to the period|1,040|-|1,040|_1,223_|-|1,223| ||10,484|-|10,484|4,267|-|4,267| |Signed on behalf of the trustees:||QsR|R|||| |Rosamund Rigby||||||| |_Name_||_Signed_||||| |Nod Knowles||||||| |_Name_||_Signed_||||| |23 January 2025||||||| |Date||||||| ## Notes ## 1 **Analysis of cash reserves** ||2023|2022| |---|---|---| ||£|£| |Arts Council England|-|-| |Free reserves|10,849|5,230| ||10,849|5,230| ## 2 **Trustee expenses** Two trustees received reimbursed traval and subsistence expenses of £568.73 during the year (2023: ten trustees received travel and subsistence expenses of £2,851.35). 13