music biz, music

Gil Evans’ Copyist

One March afternoon in 1974 I got a call from Gil Evans (https://en.wikipedia.org/wiki/Gil_Evans); could I come over to his loft-apartment in Westbeth (https://en.wikipedia.org/wiki/Westbeth_Artists_Community) to fix up some parts before his band’s gig that night at the Village Vanguard? I was then living in a basement apartment at 7th Ave. and 21st St., so I grabbed my supplies (pen, ink, manuscript paper and lick-&-stick staff strips) and headed downtown to meet with Gil.

Saxophonist Trevor Kohler was Gil’s copyist at that point, and I was surprised to see that many of the parts he’d copied were in turquoise ink (not exactly “standard”!) I’d also never seen as compressed sketch scores as what Gil handed me; talk about economy! Many of the sections had been erased and revoiced more than once. He was going to get his money’s worth out of that paper, by gum!

Thus began our relationship; most Monday afternoons I’d be on-call to patch up whatever section of an arrangement Gil was reworking, and then I’d spend my evening enjoying the band’s music at the club. The music itself was much looser than I was accustomed to, and week to week, I could rarely tell the “new” sections from the “old”, but my cover was waived and everyone seemed to be having a great time, so… what the heck!

David Sanborn had recently joined the group – behind him here are French hornist John Clark and multi-instrumentalist Tom Malone (on tuba). Howard Johnson must have had another gig or been playing bari sax that night.

Gil was a very laid-back guy, as was his wife Anita. It never occurred to me that their relaxed attitude may have been augmented by chemical enhancement. I’d get my assignment and be left alone unsupervised in their apartment for hours. Once when the phone rang, I answered and had to tell Miles Davis that Gil was asleep in the bath tub and unavailable to talk. I didn’t know about Miles’ raspy damaged vocal cords, so I took a message for Gil to return his call and then advised Miles that vitamin C might help, but maybe he should see a doctor for that horrible cold!

A few months after I began my tenure as Gil’s copyist, the band went on tour to Europe; I recently came across this YouTube: https://youtu.be/ihDjcW9u6y4 – they all look and sound just as I remember them; young and full-of-beans.

After a long delay, Gil was VERY excited to finally be recording the Jimi Hendrix album that first summer – and after having worked exclusively from sketch scores for months, I was shocked that Gil was actually capable of writing a full score, complete with individual staves, properly transposed for each instrument! Consequently the sessions at RCA were less last-minute and hectic, tho I missed the spontaneous backgrounds that the horn players would invent behind their cohort’s solos at their regular gigs. (Gil generally surrounded himself with younger people and encouraged them to take liberties with what he’d written).

Gil was particular about personnel, but understanding and relaxed when someone had to sub out, because there was never a dearth of fine players eager to play with the band. To my recollection, certain stalwarts were always there; Lew Soloff and Howard Johnson made Gil a top priority. I did, too – until more lucrative work came in. (https://marilyn801.wordpress.com/2015/10/03/getting-out-of-the-jingle-business/) (https://marilyn801.wordpress.com/2019/09/27/a-dime-a-dozen/)

Though I’ve looked back and wondered why I didn’t parlay more business connections from my copying clients, I never had the ambition to “go to school” on Gil, like Maria Schneider, who copied for him in the mid-80s. Sure, I admired Gil’s work. But to my ear, his orchestrations were too similar one to the next, and I was usually more interested in the original tunes themselves. (and distracted by the musicians, to be totally honest!)

I kept copies of some of his sketch scores, though – and after unearthing them from my file cabinet, recently decided to share them with the Library of Congress. Now anyone who’s interested can see first-hand how Gil was writing back then.

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music biz, music

True Enough

I’ve been encouraging a couple of friends to write and publish their memoirs; we get on the phone and I LOVE hearing about their career adventures – stories I think would interest every reader, not just those “in the biz”. Some of the most amazing tales are so vivid they make me gasp! Do I believe every word? I admit that sometimes it’s a stretch, because it seems incredible that so much could have happened to one person in one lifetime. But then I remember some of my own peccadillos and wonder how many people might have a hard time believing they actually happened. (I was there – they did!)

Marie was recalling her years playing piano at the mall in front of Nordstrom’s, and it brought back some of my favorite memories of performing in hotel lobbies and having random strangers start to dance as they passed – or begin to sing along! Jamie tells me about growing up in the mixed bag that was America in the 50s & 60s and it reminds me of the compromises my own family made to stay together. These stories need to be shared no matter how they might have become slightly embellished over time. If there’s enough truth, it validates the emotions and lessons to be learned.

We rewatched FARGO the other night, which purports to tell the true story of what happened in MN and ND in 1987. IMO, the film holds up VERY well 24 years after its release, while the additional material on the DVD reveals that the story was entirely the creation of Ethan and Joel Cohen and never actually occurred. But there’s enough truth in the characters, accents and attitudes that we go along for the ride, with “the willing suspension of disbelief”… and it winds up being True Enough.

I recently came across a memoir by a songwriter I’d met in the mid-1970s and perused the pages offered on the LOOK INSIDE by amazon; it certainly sounded like the Paul Vance I knew; dynamic, uncouth, and SUPER-self confident. Were all of his stories accurate? Does it matter? He’s honestly present in this book, telling it “how it is” – or at least how he remembers it! It’s authentic and for me it’s true enough.

Dr. Bertice Berry has been posting daily stories online during the pandemic; http://www.berticeberrynow.com. She frequently dissolves into tears during these videos. Are all of her stories based on absolute facts? I don’t care – I believe her because they’re true enough!

Remember Elvis’ TEDDY BEAR? ♫♬ https://youtu.be/jf9Wg2OkSbE Remember these lyrics? I don’t wanna be your cheetah, ’cause cheetahs run too fast! I don’t wanna be your panther, ’cause panthers don’t know how to make love last!  I don’t wanna be your leopard, ’cause they’re too hard to spot! I don’t wanna be your cougar, your lynx or any kind of ocelot!  I just wanna be… your Teddy Bear! ♫ ♬

Were all these wildcats in the mix before Bernie Low & Kal Mann settled on “tigers (that) play too rough” and “lions ain’t the kind you love enough”? (Can you prove they weren’t?) It amuses me, and it’s true enough! ♫♬

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religion, music biz, self-acceptance, music, excellence

Silk & Scientology

I’d never played a gig like this before; my friend Mara Purl had invited me to join Teji Ito’s band to provide music for a fashion show. I was to add keyboards to the group which featured Mara on koto, Dan Erkkila on flutes, Genji Ito, Cherel Winett Ito and Guillermo on percussion and shakuhachi. Say WHA???

There was no sheet music; we were all just supposed to listen to each other and extemporize, adding whatever might fit with what everyone else was playing. I was sure the resulting cacophony would be terrible – but somehow it began to gel during the rehearsal (otherwise known as my audition!?) – and then… the gig!

The venue was an art gallery and the models were all dancers from the NYC Ballet. Their gorgeous silk attire was breathtakingly beautiful, and they seemed to float on air as they danced to our spontaneous music – it was a “happening” in the best sense of the word!

We played for about an hour and then it was over. Mara and I returned the Fender Rhodes I’d borrowed back to the friend who’d lent it to us, then brought her koto back to her Park Avenue apartment. As it was a lovely spring afternoon, I decided to walk home to my place in Chelsea.

As I passed a storefront on West 34th Street, an attractive young man popped out and invited me to “take a free personality test ”  I was so surprised and in such a good mood, I (uncharacteristically for me!) agreed.  It took a lot longer than I’d thought but I was sure that I was “ace-ing” it!  Turns out – like everyone else who gets suckered into taking this test – not-so-much! The results were graded and it turned out that I was an amazingly defective excuse for a human being – desperately in need of the help that only Scientology could afford me.

All I could do was laugh! I’d just come from the headiest musical experience I’d ever had to that point, making music with Teiji and his group just a couple hours earlier! I’d been paid handsomely and felt on top of the world! Buoyed by that experience, I continued home in the twilight, still high from the gig.  While I might have been susceptible on some other day when my self-esteem may have been shaky… “not today, L. Ron Hubbard! Not today!”

WhatIfNothingWrongWYou

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music biz, music, Jingles, excellence

Leadership

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We’d done hundreds of recording sessions together and we’d been married for over 4 years before I discovered what a wonderful conductor Mark Wolfram is. Somehow I’d missed seeing him wave a baton in front of an ensemble before that.

Initially, Mark was introduced to me as another arranger at the Chicago jingle company where we both worked. His charts were always professional, sometimes brilliant – and he seemed to know his way around the recording studio. He picked up his trombone and played my charts beautifully.  A consummate producer, he was detail-oriented, but always got the big picture, especially when it came to the mix. His ears were impeccable; he could always tell when a singer or musician was sharp or flat, ahead or behind the beat.  He was also a skillful, safe driver behind the wheel – I trusted him and felt confident that he knew where he was going, what steps to take and how to get there – on the road and in his career.  I should have known.

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But I honestly had no idea how well he could conduct before I saw him in action and noticed how attentively the musicians were following him – performing for him in a way I could never get them to play for me.

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Having been a “solo act” for much of my professional life, and having not played or sung in very many ensembles, my knowledge of conducting was rudimentary and my confidence as a leader was sorely lacking. Sure, I’d taken the requisite conducting course in college, but I’d always felt uneasy and embarrassed in front of a group – like a fraud – and the results I got were disappointing. I just didn’t have the “it” factor to gain and keep the attention of the ensemble, whereas Mark has a natural ease on the podium, allowing the musicians to relax, knowing that they’re in good hands with him at the helm!

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Experts say there are basic qualities that the best leaders possess: communication skills, awareness, integrity, courage, vision… that great leaders guide and encourage other people to reach their goals, with the same attributes shared by great teachers – and the best music conductors. Ultimately – and ironically – strong effective leadership comes from being of service to those being led, to the project at hand, to the greater good.

I really wish more modern politicians were a fraction as imbued with these leadership qualities as my Maestro Mark.

Qualities

 

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excellence, music

My Mother’s Grandson

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She didn’t make a big deal about it, and I know she enjoyed all of her “granddogs” and “grandcats”, but I think my mother would have really loved it if her children had given her human grandchildren. And after seeing Ben Platt perform IT TAKES TWO for Stephen Sondheim’s 90th Birthday, I’m pretty sure that he would have more than surpassed her expectations for a grandson.

Ben first got my attention in DEAR EVAN HANSEN and a couple years later he blew my mind as THE POLITICIAN.  And now, I’m totally convinced – my mother would have adopted him in a heartbeat. For starters, INTO THE WOODS was my mother’s favorite show; for while she adored A FUNNY THING HAPPEN ON THE WAY TO THE FORUM, she was crazy about fairy tales her whole life, and INTO THE WOODS is the only musical she bought copies of for ALL of us.

My mom’s been gone for quite a few years, so Ben has nothing to worry about – but, oh, such a handsome young man – and such a brilliant talent! She would have delighted in and spoiled him rotten!

Instead, she delighted in and spoiled our first boy, Dunkel.  Fortunately, he loved his Grandma Betty right back! 🐾

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music biz, self-acceptance, #jazzcongress, music

Getting Off The Hamster Wheel

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Like many of my fervent enthusiasms, it began innocently enough; a new collaborator suggested I record a jazz CD. Of course, this had occurred to me before and we even made a CD a decade prior – but after production and replication, we’d run out of money and had no budget for promotion, so the CD gathered dust in our closet.

But this time would be different! We’d hire press agents and radio promoters to spread the word and garner airplay! We’d book live performances at jazz clubs and visit radio stations around the country! This time we’d get noticed and on the charts and succeed! At least that was the plan. The reality was slightly different; finding a club willing to take a chance on booking an unknown artist was virtually impossible. Getting radio programmers – even the ones we knew personally!? – to spin a cut on their station even once was iffy! Add to the mix my own profound ambivalence about performing… well, it was a longer-than-long shot.

Even so, there were some victories; I was very proud of both of my jazz albums and after the 2004 release of Future Street and the 2006 release of Round Trip, I finally charted on JazzWeek and became friends with some jazz radio programmers. I got to visit friends and family across the country on my tours. And I introduced some original songs to other artists who wound up performing and recording them.

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Alas, it ultimately wasn’t as rewarding as I’d hoped, either financially or emotionally. First I began to turn down gigs that involved schlepping keyboards, PAs and other gear, and after a few more years I found myself dialing back my involvement in the jazz-o-sphere at large. While I’d enjoyed the annual IAJE conferences and JazzConnect/JazzCongress, it became apparent to me that, like Henry Gibson recited on Laugh-In, one was expected to “keep-a-goin’!” despite any setback or frustration – and I’d had some: Believe Them The First Time

Now, this doesn’t seem to stop my initial reaction when I notice that other jazzers are releasing new CDs or getting covers of their original songs; this type of news pops up on FaceBook, YouTube, and my email box all the time, and I find my Fear Of Missing Out kicking into overdrive! …until I remember how much work and financial outlay are involved in producing, promoting, performing, etc. to create even the smallest ripple of attention, let alone acclaim – and how fundamentally uninterested I am in those aspects. I continue to watch with appreciation and rejoice in the business and artistic triumphs of my colleagues, especially because I know what it takes to accomplish – but I honestly don’t miss running on the hamster wheel!

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ummm…. not-so-much, any more!

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Jingles, music, music biz

A Dime A Dozen

We’d been pounding the pavement and hitting the phones hard for the first 7 months of 1981.  As a new jingle company, we rode elevators up to meet with potential advertising clients, along side competing music producers who were established and in many cases, offering cocaine as well as music. Totally sold on the idea of meritocracy, we were sure the creative directors would hear the difference between how OUR music fit the bill so much better than the other guys.  I look back now and wonder how we kept going, with “nobody winkin’ back” for so long, as my dad used to say.

And then my partner Mark took a meeting with Tony O.  Upon hearing our demo, Tony recognized some music that he himself had worked on and soon learned that the disco-esque charts for a soft drink had been written by Mark while in another company’s employ!  Suddenly we had an actual real-live client who liked us!!

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Tony wasted no time in asking for a new jingle for La Yogurt  (click on underlined link to hear it!), a regional brand that had been using a lackluster version of Frére Jacques in radio and TV ads. Given an afternoon, a list of the available flavors and the direction to imagine all the various times and places La Yogurt could be consumed, we created and demoed 4 different jingles for presentation. When one was chosen, we hired “jingle queen” Linda November and hit-singer/songwriter Paul Evans, as well as “the usual suspects” of studio musicians (like the wonderful George Marge on ocarina!) and an East coast market jingle “hit” was born!  The inspiration for the back-&-forwards trading of lines was somewhat inspired by the chemistry of the Polaroid ads featuring James Garner and Mariette Hartley that were running at the time. Our jingle proved versatile, running for a number of years, and we used the musical materials to compose YOGURT VARIATIONS  (click on link to hear excerpts) for the New Britain Symphony the following spring.  Tony invited us to the International Radio Festival of NY and La Yogurt took home the Gold Award for best radio spot in 1982!

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Almost immediately thereafter Tony tapped us to create the new jingle for Lee’s Carpets  (click link to hear!), which the agency and client both loved.There was a disruption in this love-fest when our production invoice hadn’t been paid within 90 days, so we re-sent it, waiting another month to follow up with the billing department at the agency. When we finally were connected, the accountant practically laughed in our faces over the phone, sneering, “You wanna get paid?  Ha!  You guys are a dime a dozen!”  We called Tony and eventually we got a check, but it was creepy – and we did NOT “relax” right away!

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A couple months later, the BIG prize account came up: Kinney Shoes  (click link to hear).  With no direction besides the tag line “Kinney Can”, we worked feverishly to create a winning concept. We wanted to build on the established reputation of the brand for being the family-friendly “Great American Shoe Store” while showing that Kinney had kept up with changing times. Encouraged by Tony, we were so excited about the anthem we created that we sank thousands of dollars of our own money into the production, including various versions  (click to hear NBAs version)  for different shoe lines.  We got the best-of-the-best musicians and singers to bring it to life, including Florence Warner  (click to hear) and her angel-voice! We were SURE this was the “big one” that would put us on the map as a jingle company!

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Alas – we eventually learned that on the day of the big Kinney presentation, Tony had been ill and failed to play our tracks for the client. He hadn’t even shown up to the meeting.  Or at least that’s what we were told. Another version of the story was that our tracks had been presented, but all the folks at Kinney were offended that they hadn’t been invited to the recording sessions, so our music was rejected out of hand.  We felt strongly about our work, so much so that we entered it into the International Radio Festival competition (where it earned an Honorable Mention, even though it had never been bought or aired).  18 months later we sent a 5-page single-spaced letter to Tony, begging him to re-present it to Kinney, as we’d heard through the grapevine they were unhappy with the music they had chosen and were looking for something new.  We got no response.

Tony was a vibrant man with fierce affection for his family and friends, as well as strong appetites for tobacco, liquor and food. His enthusiasms were infectious, so that when he told us he was going to audition for a local production of The Music Man (as Prof. Harold Hill, of course!) and he asked us for help preparing the song “Trouble”, we learned it along with him, and found it the perfect accompaniment for marching crosstown from our west side offices to Madison Avenue appointments.  When his boss was having a “big” birthday, Tony asked us to produce a special birthday song; Jerry, You’re the Bess We Got!  (click to hear excerpt) for the party, which we did happily – gratis. And when Tony’s daughter showed interest in learning to play the flute, I cheerfully lent mine so she could try it out for a semester. Tony wasn’t “just a client” – we considered him a friend. And we were pretty sure he felt the same way about us; we weren’t “just a supplier”. He invited us to dinner at his home in Bernardsville, NJ and we met his whole family; believe me, that wasn’t the case with most clients, no matter how well you got along and enjoyed working together!

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Woolworth/Woolco was set to roll out a new line of Christie Brinkley sportswear, and this time our jingle was chosen!  Juxta-positioning Christie in her casual attire and then crossfading to YOU (aka “normal young American woman!) wearing the identical outfit?  Well, it was a winning idea; there you’d be, Lookin’ Christie!  (click link to hear).  Unfortunately, right before the ads could air, Woolworth pulled the plug on Woolco, all their stores shuttered and that was that – another big break bites the dust!

Our finances faltered, a few of our key clients retired and we decided to try our luck in a different market. But even after we’d moved to Chicago, Tony kept calling us from NYC with work.  And he wasn’t shy about letting his colleagues know about how much he enjoyed working with us!

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The Woolworth company had other retail chains, and we produced jingles for *J.Brannam  (click to listen)  (JUst BRANd NAMes clothes and accessories), Frugal Frank’s (shoe outlet) (click to listen) as well as demos for the flagship Woolworth’s  stores (click link to listen).  One of my favorites was Susie’s Casuals (women’s clothing) (click link to listen), the spirit of which was inspired by the Mary Tyler Moore TV show theme song; “hey, girl, you’re makin’ it!  your chance is here and you’re takin’ it! The world will soon be awakenin’, and when they do, all they’re gonna see is YOU!”

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There were some semi-risqué demos for Palmolive soap (international) – one of which  sold and was played worldwide (click link to listen).  And we took a shot at a jingle demo for special Snorks  kids sneakers for Kinney Shoes (click link to listen), after we moved to L.A.  We even hired Tony at one point, to perform a voiceover for an industrial film we were scoring for a different client – recorded in the friendly confines of his San Francisco hotel room while he was on the west coast for business. Those 3-packs/day gave him an authoritative vocal growl and he knew how to work a mic.  Eventually the lack of proximity became somewhat of an issue and his music work went to other suppliers, but our relationship remained warm.

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The last time we got together, Tony was working from his home in Bernardsville, NJ and we met at the diner where the final shot of THE SOPRANOS was filmed a decade later. Tony looked happy and talked about his newest campaigns with zest.  We always made it a point to look him up to meet when we were back east.  And though he and his family never reciprocated, we sent Christmas cards every year.

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Until a few years ago.  His wife finally sent a note to let us know that Tony had passed on in 1999. We were stunned; we’d been sending holiday greetings to a ghost for 15 years!  Once we looked back, a sense of betrayal overwhelmed us, as we realized how compromised our relationship had actually been. Being treated with contempt by a snarly accountant was the tip of the iceberg; the Lee’s Carpet jingle was actually supposed to be a lucrative account, with over 250 dealer “lifts” being edited with our music – each of which was to have been paid separately.  This should have put us on Easy Street financially, as we were in the vocal group as well as among the musicians on the date. We found out later that the money that had been earmarked for all those residuals had been sidelined to the ad agency’s retirement plan. So even though these spots ran for several years, with many more customized versions, we never saw any of those payments, and neither did the singers and musicians we hired.

We realized that this was the case with almost ALL of the work we’d done for Tony, we hadn’t received residuals for virtually any of the music we’d produced! Though this practice is widespread in the arts, (see previous blog  Things We Do For Love). we’d been in denial of how entrenched the corruption had been at the agency and never dreamed Tony would have let this happen. But he had.

It’s a mixed bag and difficult to reconcile such a relationship; while we were cheated out of the money we’d honestly earned that would have enabled us to stay in NYC, through our work with Tony, we had the opportunity to create some music that we’re still proud of to this day. We got to work in the recording studio (our favorite place!), with the best musicians, singers and engineers (our favorite people!). And, for better or worse, we got to hang out with Tony O.  Click thru on the links peppered thru this blog post to hear the  Tony O. Hit Parade.

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Tony’s Dartmouth fraternity brothers miss him. And so do we. Sometimes.

 

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learning, music, music biz

Things We Do For Lo♥e

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No professional I know in the arts began with the idea “to get rich”.  Indeed, pursuing the arts comes from an irresistible impulse to write, to make music, to act, to paint, to perform, to create something new. As artists, we spend countless hours and prodigious amounts of money to develop our skills.  I began with the piano which drew me like a magnet. It was an inner impetus: I had to take lessons. I had to learn how to play. It was an all-consuming urge that could not be denied. I didn’t start out with the idea of becoming a star, or even of making a living in music – although that goal developed in pretty short order!  When I was learning to hand-copy music manuscripts in college, a teacher gave me an orchestral work that had been composed by a friend of his. I was delighted to spend weeks extracting the parts from the score, just for the practice and experience of learning. I don’t think the tiny check I received covered the price of the paper and ink I used!

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To my mind, the performing arts can be more treacherous than fine arts (painting, sculpture, etc.) in this regard because in most instances performers crave to relate directly with other performers and ultimately to the audience. One has to “keep up their chops” between gigs, so workshops are formed and often participants pay-to-play, as if they were out bowling recreationally, instead of working hard on perfecting their professional skills.

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As the daughter of two people who met on stage, I’ve noticed theater people appear to be more eager than many other performing pros to assume that one will volunteer for unpaid rehearsals, free rewrites, event promotion, set-building, etc. – Just For The Joy Of It.  This delusion persists their entire lives, apparently!?  One of the reasons I found it so onerous to work at The Gaslight Theater was the presumption that my time was worthless and therefore I need not be compensated for it. That idea may have been okay when I was in school, but it didn’t pass muster when I was in my 50s!

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As I see it, the stage is set for such gross exploitation at the outset of one’s creative life, when we’re so eager, we’ll do anything to scratch that itch! (It also doesn’t help that the world refers to what we do as playing music, as if it isn’t actually work!) Granted, there are so many more of us who get bitten by the creative bug than opportunities exist to do our thing, let alone get paid for it; it can become a desperate scene.

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Last week an article ran in The Hollywood Reporter recounting the tale of an actor who suffered terrible abuse at the hands of a powerhouse film director.  My heart was touched by the catch-22 in which he found himself; an ordeal that’s been echoed in my own life experiences all too often, though not as frequently now as in my younger years. Yes, there are still many Things We Do For Love – but increasingly, just as we learn to drive defensively, we may need to lo♥e defensively!

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music, music biz

♫ ♥ Jazz Songwriters ♥ ♫

Driving down the 405 to the annual IAJE convention in Long Beach in January 2002, I had to pull over when this song came on KJazz 88.1

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“I Can’t Be Choosy” –  Bruce Brown

OMG!!  Where did THAT come from?

I am a fool for wonderful songs in general, and thrilled by wonderful jazz songs, such as:

Screen Shot 2019-08-15 at 1.47.55 PMCloudburst!  – Jon Hendricks!

Screen Shot 2019-08-15 at 1.54.24 PM Zanzibar – Dave Frishberg!

Screen Shot 2019-08-15 at 2.09.11 PMDevil May Care – Bob Dorough!

Screen Shot 2019-08-15 at 3.02.27 PM“Your Mind Is On Vacation” –  Mose Allison!

Screen Shot 2019-08-15 at 3.09.41 PM“In The Name Of Love” –  Kenny Rankin!

Screen Shot 2019-08-15 at 3.34.23 PMGinny Carr’s UVJQ – “He Was The Cat”

Screen Shot 2019-08-15 at 4.43.42 PMLorraine Feather –   You’re Outa Here

Screen Shot 2019-08-15 at 4.51.57 PMDave Tull – “I Just Want To Get Paid”

SueMaskSue Maskaleris – “Unbreakable Heart”

Screen Shot 2019-08-15 at 6.10.01 PMMark Winkler – “Like Jazz”

All of these writers have tons more wonderful songs – go Google ’em!

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music, music biz

Mystique Vs. Music

Screen Shot 2019-08-04 at 6.01.32 PMThe cult of celebrity (AKA being famous for being famous) has muddied the waters of music for a long time.  Yet, after a lifetime of loving Beethoven’s music, (and Mozart’s, Schubert’s, Chopin’s, Brahms’,   etc.), I’m still moved by their works, without knowing much of the personal nature of their lives, if you can imagine that! For me, the logical development of the musical material gives meaning beyond the intrinsic beauty of their pieces – the music stands the test of time on its own merits, regardless of how celebrated or unpopular these creators were during the course of their lives.

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I was always a fan of Aaron Copland’s music, though I knew little of his private life and didn’t really care; it was enough to admire the fact he managed to earn a living from his compositions without needing a church gig, like J.S. Bach!  (It probably helped that, unlike Bach, Copland didn’t have 20 children to support!?)

 

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When I first met my teacher Hale Smith 49 years ago, I had never heard any of his works. As a teenager without funds to purchase recordings and in the absence of the internet, I didn’t become acquainted with his music until well after meeting him in person and becoming charmed by his vibrant character, energy and prodigious knowledge. While UConn had many fine faculty members who lived near the campus at Storrs, the music dept. also brought in professionals who made a living in NYC, and who provided an example of how it could be accomplished, for those of us who longed to make our mark in the music biz outside of academia. Hale was the chief shining beacon who inspired and encouraged me to imagine my own future as a professional musician.

But did I know his music? Do I know his music? Ummm…. maybe not-so-much!  Though brilliant, cogent and compelling, Hale’s “formal” music demands the listener truly pay attention to catch the nuances that constitute the integrity of his creations. For example, his Contours For Orchestra is pretty intense and difficult to appreciate on first hearing – at least for this listener!  Three Brevities (Allegro) is also complex, though composed for only a solo flute, and only one minute in duration!  Hale’s “casual” music is more accessible, I think, but still sophisticated and not completely grokked without paying attention.

We live in a society that frequently prizes big-name superstardom above actual accomplishment, and it’s easy to get swept up in the hype of celebrity; we’re certainly encouraged to do so by the media. One might argue that the personality pervades the creative end result and is indistinguishable  – but it seems to me that art falls or stands on its own 2 feet, regardless of the creator’s reputation. It takes effort to focus on more substantial values, in the arts and elsewhere. However, the rewards are worth the effort, IMHO.

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