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  #21  
Old 03-09-2010, 09:19 AM
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Originally Posted by Paul Warburton View Post
You just barely beat me on that one, Tim.
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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  #22  
Old 03-09-2010, 09:33 AM
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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  
Old 03-09-2010, 09:44 AM
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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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Old 03-09-2010, 09:53 AM
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Originally Posted by Eric Swanson View Post
I am still laughing at the hat check girl stabbing you goodnight. I must have missed the repeat or the coda, or both...
Lol! Now that's funny.
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  #25  
Old 03-09-2010, 04:52 PM
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Originally Posted by Ken Smith View Post
Hey, I come from working the night scene in NYC. In the clubs there it's so tough that the hat check girl stabs you goodnight!
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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Old 03-22-2010, 12:51 PM
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Originally Posted by Paul Warburton View Post
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."
From everything I've read (albeit I know virtually nothing about Jazz) it seems that life as a professional jazz musician can be incredibly difficult, especially in the beginning. Would you all assess my opinion as on mark? At least with classical bass there is the prospect of auditions and getting some form of tenured position, whereas with Jazz, it's all about reputation and couple bad gigs can break you...Please stop me if I'm incorrect. Tough life indeed.
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Old 03-22-2010, 01:27 PM
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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.
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Old 03-22-2010, 02:17 PM
Eric Hochberg Eric Hochberg is offline
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Quote:
Originally Posted by Charles Stark View Post
From everything I've read (albeit I know virtually nothing about Jazz) it seems that life as a professional jazz musician can be incredibly difficult, especially in the beginning. Would you all assess my opinion as on mark? At least with classical bass there is the prospect of auditions and getting some form of tenured position, whereas with Jazz, it's all about reputation and couple bad gigs can break you...Please stop me if I'm incorrect. Tough life indeed.
Yes, life as a professional jazz musician can be difficult, especially these days with the decline of jazz as popular music. Most jazz people I know play other gigs, too. I always supplemented my jazz life with recording sessions, corporate and private parties as leader and sideman, teaching, and educational programs. Unfortunately, much of this work has also been on the decline over the last ten years or so. Many players are trying to get teaching gigs at the university level now to make up for the lack of playing opportunities.

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.
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  #29  
Old 03-22-2010, 04:29 PM
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Originally Posted by Paul Warburton View Post
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.
I've played in NYC many times over the years and love it. I gave living there a shot in 1979-80 when I was in my mid twenties, and brother, I had to give up. I played with some great players, did some nice gigs and was able to continue traveling with the band I was in at the time (based in Chicago), but I could tell that it was going to be a long road to get to the point of making a living from music there as I had been doing for a few years in Chicago. The logistics of dealing with bass and amp on public trans, parking my car, etc. were pretty tough after having things relatively easy in Chicago. Some memorable experiences:

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?
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  #30  
Old 03-22-2010, 06:19 PM
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Quote:
Originally Posted by Eric Hochberg View Post
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?
?? Nope, no recall, sorry

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.
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  #31  
Old 03-22-2010, 08:00 PM
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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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