#21
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Sorry...
Sorry, I gave it a few minutes but I just couldn't resist. Lol! It had screaming reply all over it.
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Tim Bishop |
#22
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Naw, this is cool. Maybe he'll annoit us as Moderators. This site isn't quite as active as some, obviously. Sometimes it takes a few days to build up some anguish on other sites. You and I are doing some good work in a matter of minutes.
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#23
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I am still laughing at the hat check girl stabbing you goodnight. I must have missed the repeat or the coda, or both...
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#24
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Lol!
Lol! Now that's funny.
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Tim Bishop |
#25
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NYC is a cold and tough place. First gig there for me was @ The Vangaurd. The table right in front was filled with a who's who of jazz bass in the world....Haden, Buster, Cecil McBee and a couple others. I thought "All Right....the boys come to check me out!" A friend told me later..."Naw, they just wanted to see your bass."
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#26
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Quote:
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#27
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As you probably know, NYC is the epi center of Jazz. As with all things in life, there are trade-offs involved. That's where the best players at least go through consistantly to play the clubs, concert halls and educational venues. Many of the greatest living players either live in the city or in close surrounding areas. The negatives are there, off course, but the musical pay backs are huge.
I've thought about it many times and am giving serious thought to giving it a shot. A good musical reputation and some word of mouth can help, as can friends in the area. Would I walk in there with some kind of "attitude"? Nope. Not on your life. |
#28
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I suggest reading Jason Heath's "Road Warrior" series on doublebassblog.org to get an idea of what classical musicians go through when they don't land that major symphony gig and have to freelance. |
#29
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Showing up at Roseland for a union sponsored gig search. A crowd of musicians looking for work, I think every Tuesday. I was standing next to Sal Nestico in his tux and thought, oh geez... Taking the Lex Ave train from 69th? St. to 125th and walking over to 9th? Ave, I think, with my bass and amp, to play at the "Cotton Club" I'll never forget that walk. Leaving a session downtown at 2AM or so and getting on the subway, looking around at the crowd, and getting off before the doors closed. I think I walked 40 blocks getting home that night. Getting a call to play with drummer Billy Hart, oh yeah, I thought. I asked the leader how to get to the club in NJ - take my bass and amp on the subway to 186th?, grab a bus to wherever, they'd then pick me up and take me to the club. Gig payed $35 I think. I passed... Ken, I think I may have met you at guitarist Ross Traut's loft on 27th St. I think maybe you had just started making basses. Sound familiar? |
#30
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I would like to add that the Economy is not limited to Jazz and Commercial Gigs. The Orchestra world has been suffering at least as much if not more. For the most part, the better players get the better gigs, but not 100% of the time. One thing for sure is that there are more players than Jobs now. Take for example the NY Phil. Over a 2 year period on two separate invites, about 350 people auditioned for a spot or two. The first was to replace Lew Norton when he retired and of the 200, no one got the gig. The second, about 150 I heard showed up. Zip again in the Hires and 1 or 2 more spots opened up between the first 200 and the next 150 tried out. I know they are using Sub's whenever needed to fill out the section per concert/series. From a business standpoint the Sub's probably do not get all the benefits and frills that the regulars do so it's cheaper 'not' to hire anyone permanently. On the other hand, there are probably union minimums for the Orchestra per section. Using Sub's I would guess satisfies the minimums required. One auditionee that I know was offered to be on the sub list. He asked me on the phone if he should accept and I said "of course. Next time you audition there you will more comfortable and relaxed from playing there already." This person already has a Job in another Orchestra but is looking to move up, like many. |
#31
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There's an unfortunate trend happening where prominent orchestras have been turning full time section positions into extras. After all, it's not often that you need bassist no. 8, he/she can be contracted out, right? I'm pretty against this way of thinking as it only degrades the quality of the ensemble and cheats players.
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