In July of 2020, I left a tenured principal position to join the Kansas City Symphony. On January 10, 2023, I was denied tenure by the Kansas City Symphony for the stated reason of “being disorganized,” a decision based on information received from tenured and substitute musicians that was factually untrue. I challenged the denial, citing evidence that refuted their claims, as well as pointed out contract violations that occurred during and after the tenure process, but my appeals were dismissed by management, the musicians committee and the union. The idea that the organization chose to sustain their decision despite the facts and the union would not represent me was too difficult to accept. It was at this point that I decided to make my situation public.
After a public protest supported by individuals and organizations, news outlets such as the Washington Post began to report on the matter. While the protest and publicity did not result in the reversal or even the investigation of this matter, it did, in my opinion, prod the classical music industry to be proactive in preventing a repetition of this situation. In 2024 the Black Orchestral Network in collaboration with the American Federation of Musicians developed model tenure guidelines for orchestras to adopt in their respective Collective Bargaining Agreements (CBA). Ten orchestras, named below, have since negotiated to adopt these guidelines into their CBA’s and or created task forces to assess their orchestra’s audition and tenure processes for fairness and equity.
While this has had a positive and lasting effect on the industry, this has also been indescribably harmful on myself and my family. From being ignored, to even being bullied throughout the rest of my contract by members of management and musicians, this wrong has forever changed the trajectory of our lives. Me leaving a tenured position and free healthcare and my partner leaving her stable job in Chicago, only to have everything be abruptly taken away from us was devastating. No one should be subject to this type of harm.
It is for these reasons that I have spoken extensively about my experience in several formats and spaces: Presenting on principal percussion duties and navigating the tenure process at the Percussive Arts Society International Convention, speaking on panels at the National Youth Orchestra summer program, the Black Orchestral Network annual summit and others. I am actively searching for more opportunities to share my story in its entirety in order to spread awareness and to encourage more organizations to make their processes equitable for all musicians, ensuring that this never happens to anyone ever again.
Learn More About Kansas City Symphony’s Tenure Denial
The Trilloquy Podcast
When Josh Jones was denied tenure at the Kansas City Symphony, he alleged racism and the world listened. He joins Loki to tell his story, share how this experience has informed the future of his career, and to offer broader context on why fighting racism within the orchestral field is still important. Loki shares continued reflections on his 2020 termination from American Public Media.
Host Loki Karuna
The Washington Post
“A Black rising star lost his elite orchestra job. He won’t go quietly.”
Josh Jones thought the Kansas City Symphony dismissed him unjustly — and took his complaints public. Supporters say he’s exposing an antiquated system that thwarts promising young talent.
By Geoff Edgers
Essence Magazine
“This Black Musician Says He Was Unjustly Fired From His Orchestra Job. Now He’s Calling Out A System Of Inequality”
Josh Jones talked about his time with the Kansas City Symphony and the longstanding racism and barriers he says Black musicians face within the American orchestral community.
The Kansas City Pitch
“Josh Jones, the Kansas City Symphony’s first Black tenure-track musician, speaks out about his experiences working at the organization”
In September 2020, percussionist Josh Jones became the first Black tenure-track musician in the Kansas City Symphony’s history, founded in 1982. Jones was denied tenure earlier this spring, sparking outrage not only among Kansas City’s local music scene but the orchestral community on a national level. Jones sat down with The Pitch to speak about his encounters working with the organization.
By Nina Cherry