Party's Over/Begun

Back in the spring of 2001, the Jaztronauts invited me to play a three-week gig with them in Zurich, CH. The quartet consisted of sax, piano, bass and drums, but because of this specific contract, they needed a fifth member, so I got the call. The club was a little room in the historic “old town” part of the city called the Casa Bar. They usually hosted bands for at least a week at a time, with local groups covering the off nights. We stayed in a suite of apartments on the second floor of the building, directly above the club. The daily schedule consisted of waking up sometime between 11:00am and 1:00pm, walking down the street for some espresso, heading out to stroll along the boardwalk, smoke, take a nap in the sun, practice, eat dinner, shower and change for the gig. Did you know when you buy a bratwurst by the sea in Zurich you get meat in one hand and your bread (roll) in another? We played for 5 ½ hours, 6 nights a week. There were 5 sets a night, 6 on the weekends. Man, that third set was weird, a real twilight zone. After the gig, we’d walk down to this German restaurant in the red light district and eat and drink until about 4:00am. I remember thinking about halfway through the third week, when the cigar smoke curled up past my head, “This is what I want to do with my life.” Jazz.

After the contract was over, the band traveled to Italy while I stayed in Zurich. I felt like exploring. So I sent my suitcase on with the guys (they had the car) and I kept my horn and headphones, that’s about it. I figured I could survive for a couple of days.

I hopped a train out of town to a friend’s house, who I had met a week or so earlier, and hung out with him and his girlfriend from South Africa that afternoon. His place was high up on the hill overlooking the sea, a gorgeous view. He mentioned a party back in town that night and asked if I wanted to tag along. Seemed like a great idea.

The Party

So we headed off to the party that night in the “bad” part of town, not that I knew any difference. It did look much newer than the neighborhood that I was used to, perhaps it was only 100 years old?!! We headed into a row house that was six or seven stories high, up the steps, all the way to the top floor. It was a comfortable place, not extravagant, but nice and artsy. There were about 12 people there from all over the world. I was the only American. It was a fun hang, lots of eating, drinking and talking. The usual.

Around 1:30am, we opened the trap door in the ceiling and went up into the attic. It was a big, open room, with hardwood floors, carpets and rugs, and a round window on the front wall overlooking the city. There were all kinds of pillows thrown about, and the incense seemed to already be burning somehow. Only 8 people had lasted this long…

“Late in a good party, there is a subtle change in the air. Some people feel it as a time to say goodbye. Some people have used up their energy and bow out, unable to continue. A select few remain. The mood is tangible; you can almost taste it. The senses heighten, intimate connections are made, life glows… This moment, when the party seems over, is when it has just begun.”

The party had moved to another level as well. There was a tray of cocaine (I abstained), various other stimulants, and smoke so dense you could barely see. Then came the music. There was this amazing musician playing something that looked like a mandolin as well as other people playing guitars, plus a variety of world percussion, and of course we all were singing. I grabbed a hand drum and joined right in. We were all singing and laughing. A man and woman disappeared around the curtain and two beautiful Brazilian women began to make out with each other. I sat in the center of this wonderful world and sang until morning.

The next day I found my way to a park bench on the boardwalk, put on my headphones, threw in a Maria Schneider’s Allegresse, and slept. The police didn’t bother me. That night I went to a small jazz club called the Garage. Another friend of mine had opened it a year or so earlier. A few blurry hours later, I ended up passing out on the floor sometime during the second set. I keep telling myself it was from exhaustion. I remember looking up to a circle of surprised and concern faces staring down at me, a strange experience to say the least. A few guys from the band and a few audience members helped me up into a chair. The woman behind the bar was kind enough to get me some orange juice. The cats guided me outside to the train and I somehow found my way to the airport and crashed on another bench. The following morning, the guys in the band showed up right on time and probably thought I was a wreck. Nothing could be further than the truth.

When I arrived back in Minneapolis, I rented a new apartment downtown, cut back heavily on my “freelance” playing, got together my own band, began laying the groundwork for my first CD, “Party’s Over/Begun.”

Ten years ago today, November 14, 2001… we started recording.

The New Record Deal

"Have University positions become the new major label record deal for today's jazz musician? When I moved to New York in the late '80s/early '90s, [we] were either looking to play in the band of someone famous or to get signed by a major record label. Today, since neither is an option, university positions seem to be the "new hustle," as one of my colleagues likes to put it." - Sam Newsome, quoted from Downbeat, June 2010. He is on faculty at Long Island University Brooklyn Campus.

The Past

The legendary “Record Deal” is an endangered species. It was the golden gateway to success throughout the history of jazz. An artist would get signed by a label, go into a recording studio, capture lightning in a bottle, and walk out with a paycheck. More importantly, this was the only way to get your music distributed to record stores across the country, and eventually into the hands of eager listeners. The label would hopefully make money because of the artist’s work and in turn provide a certain amount of support for live performances, in order to sell more records. This circle of life evolved slowly, from 78’s through the Compact Disc, it was the law of the land. This was the Jazz Dream.

The Record Deal provided musicians a needed supplementary income to assist with their performance career. All great jazz musicians spent time in the studio, in order to walk out with a check. Touring was the heart of every career, but the income and exposure from the label’s marketing department, provided the skeletal support and the public image needed for their livelihood.

As jazz aged and became more socially acceptable, it was introduced into academia. At this time, a musician either primarily taught jazz as a career or they would primarily perform jazz as a career. Not to diminish in any way the greatness of their mission, these early jazz educators were heroes in their own right. They had to create entire curricula, essentially constructing the entire industry of jazz education. They had to bravely defend the artform from the highbrow attacks of traditional classical methodologists deeply fortified within the Ivory Tower. They have succeeded, the point has been proven. We need jazz education.

There is still a false assumption that this concept of teach vs. play is relevant, even when dancing along the lines of a “teacher who plays” or a “player who teaches”. When a young musician thinks, “I’m going to make it as a player,” what does that really mean these days? Or, “I’m going to be a teacher,” and teach WHAT exactly?

Times are changing. Remember, this year’s Grammy Award for “Best New Artist” went to a Jazz Professor at Berklee College of Music.

The Present

The old industry chain of: Record Deal - Label - Distributor - Record Store - Consumer, is dead and gone. Big labels are toast. Distributors, well… (who?? ‘nuff said). I gotta say though, that I do miss the record stores. I loved flipping through the vinyl and the cassettes looking for new music. The record store was one of the two types of stores I could ever enjoy browsing as a consumer, the other being a good book store.

In addition to the death of the Record Deal and the disappearance of all that it brought to the table for jazz musicians, touring has come to a standstill. The heart of our artform has some serious cholesterol issues. Gas is above $3 a gallon, as compared to less than a dollar during most of jazz’s history. Jazz clubs can’t afford to stay open, let along pay the band. And sadly, because of the natural passing of time, the jazz greats, who could lead a band that would always draw a crowd, have all but vanished from the scene. Marquee acts are hard to find these days. The Big Label marketing machine has disappeared and the next generation of jazz greats is struggling (along with the rest of the music industry) to get their music noticed in the sea of information called the Internet. What was once a trickle of free music has become a flood.

The current industry path for music is: Home (or cheap) Recording, upload directly to the web, to be downloaded immediately by the consumer. Remember feeling guilty when copying a buddy’s record onto cassette tape? Well that’s NOTHING compared to free downloading. Check this site out, YouTube Mp3. C’mon, most kids don’t even own a stereo.

So with touring at a crawl and record income eradicated by free downloads, how does a performing jazz musician stay afloat? Education. Look closely at the touring musicians’ calendars, an unusually high percentage of appearances are within some sort of academic environment. Clinics, festivals and guest appearances at high schools and universities are some of the most lucrative performance venues these days. And if they are lucky, they may even get an adjunct teaching gig in their hometown. This is not an accident. It is however, a secret. Performers still want to be considered Jazz Musicians, not Jazz Educators. Because of our twisted vision of marketing (which is still based on the old Record Label hierarchy), everyone feels threatened. Since there is still money in jazz education, there is a feeling of envy and resentment towards teachers from players who are struggling. There is also an odd feeling of insecurity from teachers who choose not to perform (for whatever reason) and they feel threatened by the image of the touring professional. When the going gets tough, everyone gets jealous.

It’s time for these negative dis-associations to stop. If you teach you CAN play. If you perform, you ARE qualified to teach. It is NOT one or the other, it’s BOTH.

Perhaps the coveted university gig has indeed become the New Record Deal. Here’s a short (and incomplete) list of performing jazz trumpeters and their respective “labels”:

• Dave Ballou - Towson University
• Scotty Barnhart - Florida State University
• Terence Blanchard - Thelonious Monk Institute, Loyola University
• Cecil Bridgewater - Manhattan School of Music
• Etienne Charles - Michigan State University
• Orbert Davis - University of Illinois at Chicago
• Jon Faddis - Purchase College SUNY
• Brad Goode - University of Colorado at Boulder
• Eddie Henderson - Julliard School
• Sean Jones - Duquesne University
• Brian Lynch - NYU Steinhardt
• Ron Miles - Metropolitan State College of Denver
• Alex Norris - Peabody Institute, Johns Hopkins University
• Tiger Okoshi - Berklee College of Music
• Jason Palmer - Berklee College of Music
• Jim Rotondi - Kunstuniversität Graz
• Terell Stafford - Temple University
• Ray Vega - University of Vermont
• Cuong Vu - University of Washington
• Scott Wendholt - Manhattan School of Music
• Joseph Wilder - Julliard School

Donald Byrd, one of my early heroes on the horn, has taught music at Rutgers University, the Hampton Institute, New York University, Howard University, Queens College, Oberlin College, Cornell University and Delaware State University. (source: Wikipedia)

For every jazz trumpeter with a teaching gig, there are at least 10 who are looking, in hopes of finding a good fit. I know some heavy cats in NYC (and elsewhere) who are actively applying for University jobs. It’s a difficult market. They not only are competing with the multitude of recent jazz school graduates, but they themselves may need to go back to school to pursue a graduate degree, just to satisfy the university’s strict employment policies. This is our current reality.

Of course teaching at a university is much more than getting signed to a record label. Don’t let my analogy here belie my deep commitment to Jazz Education.

Now to finally bring my blog up to date…

Last August (2010) I accepted a Visiting Assistant Professor / Director of Jazz Studies position, at Jacksonville State University in Alabama. This appointment has kept me traveling back and forth between Alabama and New York (and Minnesota). The school’s former Jazz Director and Trumpet Professor, Chip Crotts, built a fantastic Jazz Ensemble program during his tenure here and it’s been an honor to re-establish the program as one of the state’s premier jazz destinations. I am extremely grateful for the opportunity to work with these talented student musicians here at JSU.

The Future

I have just (March 2011) accepted a tenure track position as Director of Jazz Studies back east at Christopher Newport University in Virginia, to begin August 15, 2011. I’m truly very excited to join their esteemed faculty and to develop a program specifically addressing the needs of a modern jazz musician.

A bit of advice to those musicians who are just graduating college and are planning to pursue a career in jazz: if you are hoping to get a college teaching gig to supplement your performance career, you are now competing with top-level professional jazz musicians. Not too long ago, those same musicians weren’t looking for University jobs, they didn’t need to…

The upside of this future reality is the global exportation of jazz musicians. The young jazz musicians of the world are already coming to the United States to study jazz, and our Jazz Artists (performers/teachers) are increasingly relocating to other countries to pursue their modern jazz careers. This trend will not only increase, it will become the United States’ primary artistic export to the world.

John Denver Epiphany

[April 2010] I was enjoying a rare evening at home with my wife, listening to some records (yes – Records). We were going through some sides that haven’t been spun in ages. A touch of jazz, a bit of disco, some “easy listening”, and then we ran across a record that I needed to spin again and again and again. It was John Denver’s Rocky Mountain High. Fantastic! He was a brilliant tunesmith and that song Prisoners is a work of Art. So here I am living in an entirely Dominican neighborhood of Manhattan listening to John Denver… Huh!?! What’s going on here?

A great thing about New York is that it’s a veritable smorgasbord of jazz music. It’s all here. You can go out on any night and find the specific style that you really dig. Bebop, Big Band, Vocal, Latin Jazz, Free Jazz, Swing, Post-Bop, Lounge Jazz, Experimental, Student Ensembles, Electric, etc., the list goes on and on. All of the music that I love to play on my horn.

When pausing to reflect, I am aware of a dramatic difference between the music that IS happening and the music that was taught to me during my previous academic existence. The Academic musical cannon contains “correct” music that you “should” listen to, especially as a trumpeter. There is a rich history of classical (and jazz) music that is Right. The repertoire contains famous orchestral works and excellent solo opportunities, it traverses the beauty of the baroque all the way to the angst of contemporary atonal composers, plus it can offer the opportunity to perform music written by the worlds greatest composers. I really do love this music, which is good considering the years of study and performance that I have invested both as a student and as a teacher. Yet this laborious study is not significantly represented within my current world of sound.

As an Artist, there is a constant need to self analyze, to reflect upon one’s creative output. I carefully consider the music that I would like to present, especially as a leader. I realize that life is too short to invest in a path that is not true. But something seems unsettling. There’s a hole in my head. What’s missing? Why don’t I feel complete when combining these two huge influences? Classical and jazz?

The epiphany:

I like John Denver’s music.

Here are some additional artists and bands that I’m almost embarrassed to like: Lionel Richie, Barry Manilow, Kenny Rogers, Dolly Parton, The Beatles, Jimi Hendrix, Led Zepplin, Iron Maiden, ZZ Top, Cinderella, Guns & Roses, Living Color, Primus, Rage Against the Machine, Prince, Michael Jackson, Madonna, Sting, and the list goes on and on. They’re not highbrow or serious enough for classical musicians; and they’re not cool or obscure enough for jazz musicians. But there it is, dig it.

My complete musical package includes everything I’ve ever internalized through repetitive listening, including the Good, Bad and Ugly. I need to accept and deal with these three sides of my musical personality: Classical, Jazz AND Rock. I’m sure Rock and Pop has influenced my musical subconscious as much as jazz and classical, perhaps even more. Now I can play what needs to be played.

Axiom of Jazz: Choice lies not with what you export to the audience, but with what you import into your subconscious through diligent study.

If you aspire to be an improvising musician, you should play what needs to be played according to your own set of ears. Do NOT play what you think someone else thinks should be played; they hired you, or paid to listen to you, wanting to hear what you think should be played. Truly improvised creative musical ideas are based upon your musical subconscious, primarily built through what you choose to listen to over the course of your lifetime. This is what comprises your “voice” as a jazz artist. Believe in your own voice - I finally do.

Modern Range Expectations

[April 2010] This post addresses the range requirements of a modern professional jazz trumpeter, so it may be a little too specific for most people. You know… high notes and stuff…

Professional jazz trumpet players are expected to play higher today than ever before in the history of the instrument. Perhaps the closest historical comparison would be during the baroque era, or as Ed Tarr would say, “the golden age of the trumpet.” The picture above is a great example of a typical working trumpet section (L-R: Kelly Rossum, Seneca Black, Andy Gravish, Alex Norris).

Tarr claims that the golden age of the natural trumpet lies between 1600-1750 (can’t argue with that). The virtuosity required to perform even the simplest baroque trumpet music is often beyond the modern trumpeter’s abilities. To perform baroque melodies based upon stepwise motion and other standard melodic shapes, the trumpeter must stay in the upper most register of the instrument for the duration of the piece. The composers of the baroque era almost always wrote for individual performers, whom they knew personally, in order to assure the level of proficiency needed to execute their parts. These performers would occasionally take apprentices, to share the secrets of playing the trumpet. Only then would the master’s knowledge and experience, forged through years of heat (have You ever tried to play these things?!?!) be passed along to the next generation. Guilds of the time were very strict in allowing only highly trained trumpeters into the ranks of the artist class.

There are three primary factors contributing to today’s situation: 1) Jazz, 2) Technology, and 3) Population.

Louis Armstrong was a beast on the trumpet. Period. His influence went far beyond the virtuosic skills he so brilliantly incorporated into his improvisations; his persona influenced an entire nation’s cultural contribution to the world. The explosion of jazz across the globe (with Louis leading the charge) renewed a sense of wonder for the upper register of the trumpet. Trust me, the 19^th Century wasn’t so happening for high notes. Jazz also championed the individual skills of the performer, much more so than the previous focus upon the composer. This focus on individuality led to unusual techniques and upper register specialists. The first generation of individual jazz artists not only greatly influenced subsequent generations; they left unspoken technical challenges evidenced within their recordings.

The discovery and popularization of recorded music cannot be underestimated when discussing technical aspects of musical production on acoustic instruments (i.e. high notes). We do not have any aural records of Johann Altenburg or Goetfried Reiche; we truly do not know what they sounded like. With recorded sound, we can continue to study and learn decades past the actual performance. Modern technology also influences the production of the instruments themselves. Although a trumpet has primarily stayed the same over hundreds of years (buzz your lips in one end - sound comes out the other), the sheer availability of quality instruments has changed so radically over the past 100 years we forget to consider its global effect. And of course, we are now in the Age of Information, essentially connected to the combined consciousness of the human race through this little glowing screen in front of us. We can see and hear thousands of trumpeters, through decades of recorded media, at any moment. The next generation of trumpeters will be a sight to behold indeed! Technology has changed the world and we have yet to understand its long-term effects.

In this modern era, more people are playing the trumpet throughout the world, simply because there are more People. If we were to keep the same approximate percentage of virtuosic playing, as say the Golden Age of the Baroque Trumpet, and then factored in today’s Global Population, that would give us thousands more outstanding trumpeters today. This will only continue.

The results of these three contributing factors are most evident in today’s Big Band trumpeters.

The big bands of the 30’s and 40’s were so numerous; there were literally hundreds of working trumpeters. Out of that number, only a relatively small percent of them had the chops and training to play lead. Even the big name outfits only had one or two cats covering lead, the others really couldn’t (or wouldn’t) deal with the range requirements of the charts. I’m not knocking any of these players, far be it, the situation of today has just changed, that’s all.

The GRP big band from 1992 is an example of a band comprised of “stars”; now it’s commonplace for name big bands to be comprised entirely of absolute monsters, including the trumpet sections. The soloists are often lead players, and the lead players will often improvise. This could arguably be due to the increase in skill amongst the professional ranks in conjunction with the current number of working big bands.

The common division of roles still found in academia is simply not true in the professional arena. Most college bands are reading music that was actually written for college jazz ensembles. This of course creates a vicious circle of low expectations for big band trumpeters. The need isn’t there to develop a section of skilled individuals, because the charts are expressly written for their “assigned skills” (i.e. 2^nd = solo, 1^st = lead, 3^rd & 4^th = section). High school bands are even worse. Everyone SHOULD solo and everyone SHOULD play some lead. Before you think I don’t understand the difficulties of academia, consider the expectations of a professional Symphonic Orchestra musician. Nobody would ever expect a young professional to successfully audition for an orchestra after only focusing on the fourth trumpet part throughout their entire academic studies! Why is this considered OK for a Jazz musician?? In NYC, every chair can play every other chair on 97% of the charts. Plus, solos are often determined by the leader; when they point at you, blow!

When I listen to modern jazz trumpeters, especially when they are playing within the high-energy environment of a large ensemble, I realize the overall level of individual skill has risen dramatically during the past 50 years. They are not only heavy weight soloists, but are also outstanding section players (tone, pitch, blend), sight-readers, and can hold down a lead book if needed. Some of the names you may recognize are: Greg Gisbert, Sean Jones, Ryan Kisor, Wynton Marsalis, Alex Norris, Terell Stafford, Jim Seeley, and there are many, many more out there burning it up.

I believe we are entering a new golden age of the jazz trumpet. Dig it!

Full Time Art

Maybe its my slightly workaholic disposition, or my academic upbringings, either way, I thrive on being busy. The first week or so of February was my first taste of full time work, happening approximately 4 months after moving to New York City. Each day, I was running from rehearsal to rehearsal (literally running), performing shows at night, and practicing whenever and wherever I could. The most satisfying aspect of this week was that these performances involved bringing several artists' specific visions to life.

Suspended Cirque’s Speak Easy show, February 5th and 6th

Suspended Cirque is a troupe of dedicated performers, specializing in aerial acrobatics. The members are: Joshua Dean, Ben Franklin, Michelle Dortignac, Kristin Olness and Angela Jones. I had worked with a couple of aerialists in Minneapolis, so I thought I would know what to expect… nope. WOW, what a show! Speak Easy transformed the Galapagos art space into a 1947 gin joint and featured the vocal talents of Victoria Cave. Only in New York can a show come together in a venue like this. Galapagos is a club in the DUMBO neighborhood of Brooklyn, which features a 1600 square foot lake in front of the stage, intimate booth seating, a balcony and two full bars. It was the perfect setting for this spectacle of the senses.

Along with Victoria Cave (featured vocalist), the rest of the band was comprised of top-notch pros: Peter Kiesewalter (Band leader, piano), Ugonna Okegwo (bass), Eric Halverson (drums) and myself (trumpet). Chris Olness (trombone) was kind enough to join us as well, along with cast members Josh (trombone) and Kristin (saxophone) sitting in for a couple of tunes.

Here’s a review of the show, Speak Easy at Galapagos Art Space. The show was such a success, the troupe is back with Swinging’ at Jack’s in April!

Jeremy Walker’s Bootet, February 7th

Jeremy Walker is a pianist and a good friend of mine from Minneapolis, whose compositions reflect a strong Ellington/Monk vibe. He’s been honing his tunes for years with his Jazz Is Now! ensemble(s), and the music is viciously swinging and truly rewarding to play. He brought his book out to New York to launch his new group, the Bootet, down at Fat Cat in the village. The timing of the show was both a blessing and a curse; it was Super Bowl Sunday. The downside is that the usual NYU crowd that hangs out there was gone. The upside is that the usual NYU crown that hangs out there was gone - no pool playing! The musicians could hear each other and the audience was able to really embrace his compositions without the wall of sound usually heard down there.

A long time ago, I read an interview with a jazz musician who mentioned how he was in awe of all of the other musicians on stage; that’s how I felt playing this gig. Joining Jeremy Walker (composer, pianist) was: Ted Nash (saxophone), Vincent Gardner (trombone), Michael O’Brien (bass), Matt Wilson (drums) and myself (trumpet).

The music soared and sizzled, what a pleasure to play with these guys! Hopefully there will be more performances with this band after Jeremy moves to New York this summer. Check out these board recordings from the show: So Long New York, Play, Gringo Tango and This Is All Of Us.

Jomama Jones’ Lone Star CD release, February 9th

Way back in October, shortly after getting to town, I played some horn parts on the new CD project by Daniel Alexander Jones. The music was/is fantastic! I’m a big fan of Sly and the Family Stone as well as other ‘70s soul/funk bands, so this groove was a great fit for my ear. Daniel is an amazing talent; he channels the soul diva Jomama Jones, who by the way is a sweetheart as well, for the entirety of this project. The CD is entitled Lone Star. After the recording session, Daniel was gracious enough to invite me to perform with the band at the CD release show at Joe’s Pub.

The release show featured Jomama Jones and the Sweet Peaches (think Gladys Knight and the Pips). So in addition to Jomama Jones (vocalist), the Peaches were: Grisha Coleman (vocalist), Sonja Perryman (vocalist) and Helga Davis (vocalist). The band consisted of Bobby Halvorson (MD, drums) who flew in from L.A., Ted Cruz (keyboard), Nick Blossom (guitar), Eric Kim (bass) and myself (trumpet).

The show was sold out, weeks in advance, so hopefully this show will get an encore performance soon. Here are videos of Down, Down, Down and Lone Star recorded live at the show.

A final added bonus to this great week of music, is that by the end of the month, I actually hit my budget mark. The post-holiday months are historically slow for freelance work, so I feel extraordinarily lucky to finish my first February in the black. March, on the other hand…

The Other New York

I was talking with the guys on the gig this past weekend down at Fat Cat, and they were asking how things were going for me here in New York. Having no “Other” vision than the current reality of “New York” and all that that implies in my head, I told him things are fine; really good in fact.

I’ve learned that things weren’t always this way.

First off, and seemingly the most obvious difference between reality and, well, the “Other New York” is our Economy. The unemployment rate in New York City is around 10%, we’re clearly in the midst of a National Recession, and basically every major music market has been drastically affected. Really.

After speaking casually with people out here, there seems to be fewer private parties, especially those big, high paying ones. You know, the ones with shrimp at the buffet (and musicians could eat), fancy dresses, VIPs and valet parking? Well, when those parties don’t happen and the musicians aren’t getting the big calls, they can still play their regular gigs. This is not a musical slam, oh no, these regular gigs employ some of the finest musicians on the planet! All of the house bands, Broadway shows, orchestras, operas, club dates, experimental ensembles, touring groups and soloists are still cranking out music on a daily basis.

It’s just that the subs don’t get as many calls.

Broadway pits have reduced in size as well compared to the “Other New York.” This seems to be reflected in people’s excitement over large, full pit revival productions. Everybody loves a full sound, especially on these classic productions. There are a few shows running, however, who use the barest minimum of live musicians possible. Simulated big band music can be heard, but still… simulated big band music can be heard. Hmm. Those who do have the few great seats in the pit, are using their seatbelts.

It seems that the Latin band scene is gone or has diminished. The “Other New York” must have been heaven! This place is fantastic. Right here, right now.

Another sign of the times is that the Record companies are cutting way back. Recording sessions have been in decline for years. This seems to affect this city more than many other music towns, especially within the jazz circles. I personally feel it’s a massive after effect from major labels shutting down their jazz rosters, essentially stopping the flow of corporate money into the scene. The race to sign new talent is a long gone thing of the past. Being from Minneapolis, (a major jazz scene without a major label) I recognize the feeling of optimism among artists coupled with the creative desire to put out music, no matter what. Smaller labels recognize this as well; some are going “boutique”, or, charging artists to release an album. Thankfully there are some high profile, strong willed and creative independent artists and labels still here, as always.

An inevitable side effect of concentrated excellence, is that the young and dedicated stream here from all over the planet. This next generation of musicians, of which no major label will hear, would blow people’s minds. All of them are conversant in modern marketing methods and have the musical chops to back up their savvy. I was in a conversation with a fantastic, nationally recognized figure in the jazz world regarding booking shows around town, mentioning that I was competing for gigs with 19 year olds and he said, “We all are.” While financially frustrating, the potential for musical creativity and collaborative genius is unparalleled anywhere on the planet. This is jazz. New York hosts a global effort pursuing a musical dream of communication through improvisation.

The night I was subbing at Birdland with the Chico O’Farrill Latin Jazz Orchestra, one of the band members said to me on break, “You picked a hell of a time to move to New York.” At the time, I think he was comparing the status quo to the “Other New York”, but in my opinion, I couldn’t have picked a better time to come here. The unyielding optimism I’ve seen in New York’s jazz artists is a wonder in itself. It’s a tangible thing; you can actually feel it. Without fail, each show that I’ve played has put me in a fantastic mood, and has challenged me to my core. It’s like plugging into a pure source of ki. There’ve been amazing performances, amazing music and consistently solid crowds. All of the musicians share a single purpose,

They’re all here to play.

And they’re really nice. (Seriously, these people are really, really nice human beings!)

So far, I’ve been honored to perform with these groups: The Joshua Shneider Easy Bake Orchestra, Chico O’Farril’s Afro-Cuban Jazz Orchestra, George Gee Big Band, Michael O’Brien Greater Than Five, Anti-Social Music, Lou Caputo’s Little Big Band, Howard Williams Big Band, a special guest appearance with my good friends The New Standards (out of Minneapolis) and a new recording project by Daniel Alexander Jones.

Plus I’ve played and/or caught up with more people than I can keep track of, but here’s a short list: (in no particular order) David Gibson, Frank Kimbrough, Alexander Pope Norris, Geoff Vidal, Jon Davis, Joe Burgstaller, Pablo Masis, Michael O’Brien, Max Seigel, Shawn Edmonds, David Smith, Mark Miller, Stephanie Richards, Welf Dorr, Eric Halvorson, Joshua Shneider, Tom Bergeron, Lori Ann Taylor, Russ Nolan, Frank Greene, Mike Engstrom, John Walsh, Avram Fefer, Nate Wooley, Nick Videen, Paul Francis, John Guari, John Raymond, Mark Gross, Christopher Rinaman, Greg Diamond, Omar Abdulkarim, Wilmer Wise, Matthew McDonald, Thomas Heflin, Jeff Hirshfield, Matthew Jodrell, Ted Nash, Kirk Knuffke, Peter Evans, Laurie Frink, Howard Johnson, David Berkman, Roger Lent, Jason Wiseman, Dave Douglas, Billy Fox, Chris DiMeglio, Ty Citerman, Daniel Kelly, Chris Carroll, Daniel Alexander Jones, Sam Burtis, Rudy Albin Petschauer, Benjamin Healy, Evan Mazunik, Andy Gravish, John Eckert, Jim Seeley, Charles Blass, Eli Asher, Arturo O’Farrill, Bill Crow, Justin Mullens, Noah Bless, Frank Basile, Curtis Fowlkes, and many more… (give them a listen, great stuff)

And I can’t even begin to list the wonderful musicians that I’ve heard play live. Wow, what a town. Maybe someday, this will be my “Other New York”.

Gig From Hell

This is the best "gig-from-hell" story I have ever heard; and it happened to me. The story was big news for a while, I even remember reading about it in a regional dance band magazine. It’s been about 20 years since this gig and some of small details may be off, so if you happen to know any of the key dramatic figures, go ahead and ask them about the trip.

The Reflections Orchestra: 11-piece dance band based out of Lincoln, NE, owned and operated by five real life brothers whose father also led a dance band.

Mike: Lead Vocal and MC (brother no.1)

Dave: Drummer (brother no.2)

Bob: Bass (brother no.3)

John: Saxophone (brother no.4)

(The fifth brother, a pianist, had quit the band by this time, so he missed the fun)

Kristy: Vocals

Kelly: Trumpet

Bob: Trumpet

Dave: Sax

Trombone: Trombone (I can’t remember who was playing bone that night)

Freelance Kansas sax player: Sax (freelance player, small part in the production)

Freelance Kansas piano player: Piano (same situation as sax player above)

The set-up happened countless times before; arrive at a meeting spot, the tour bus picks up the band, we drive many hours to the gig, play, and drive back home, easy, right? The band was based out of Lincoln, NE and this particular gig was in or around Topeka, KS.

The temperature that day was a record high in Lincoln. It was probably upper 90's or more in the sun. I arrived at the truck stop, a.k.a. designated meeting place, 5 minutes before the scheduled departure time. Well, the bus didn't show for another hour, evidently the meeting time had been moved back. Of course, I didn't receive that message so I spent the time sitting on the hood of my ’72 light blue Duster enjoying (!?!) the weather.

Finally the bus arrives. This deluxe touring vehicle is a Greyhound from the 60's; it was a tank! It was wider than today's bus size regulations permit and the rear half had been transformed into a series of bunk beds and storage closets. Actually, it was a pretty sweet ride. As we get underway, we break out the deck of cards and sit at the table enjoying the air-conditioning and our usual game of poker.

Less than 30 minutes into the drive, the air-conditioning goes out. Aaargh. Ok, we're grown ups, we can handle this. So we propped the windows open with shoes and duct tape. After a couple of playing cards get sucked out the window, we abandoned the game. Nothing to do now but to sit and sweat.

Our first stop was in Nebraska City, straight south of Lincoln, to pick up one of the additional musicians for the night. We pull into the Wendy's parking lot and happily dive for the air-conditioned interior of the restaurant. Refreshed and well Frostied™, we head back out to the buss only to find that the keys were locked inside. No problem. I volunteer to scale the outside of the bus and climb in through the driver's open window. Once that was accomplished, I had to hit some makeshift electronic switch to open the main door; it was kind of like hot-wiring the lock. As we pulled out of the parking lot, we all felt lucky that we avoided a catastrophe.

The next hour or so was fairly uneventful, until the fateful moment happened. I was sitting near the bunks when I noticed quite a commotion amongst the brothers who owned the band. They were all up front by the driver, craning their necks to try and see behind the bus. I think someone was yelling something about the engine. We immediately (and fortunately) pulled off at a rest stop and streamed out of the bus. Trailing behind the bus, all the way back up the exit ramp, was a big black cloud of smoke. The engine had completely blown.

As us hired guns sat at a picnic bench, two of the brothers ran around the rest stop looking for rides into the nearest town. I remember this retired couple out walking their dog, turn and walk quickly back to their camper, then locking the doors when they saw these two scraggly musicians coming. Eventually, a trucker was kind enough to give them a lift… somewhere.

We had no idea what to do, or rather, what the owners of the band were going to do, so we just made the best of it an hung out in the shade of a few trees at this quaint little rest stop in northern Kansas. We assumed the gig would be scrapped and we'd just head home by car or something.

Much later, here comes this U-Haul truck blasting its horn, heading straight towards us. It's the guys! “Ok team, let's load up.” Being young and easily ordered around, I quickly helped to load ALL of our gear (amps, PA's, music boxes, fronts, light racks, power cables, drums and other instruments) into the back of this U-Haul. After we had everything in the truck it hit us – where do we sit? Yep, you guessed it. Up in the cab, one of the brothers drove, the female singer sat in the middle and the older trumpet player sat shotgun. The rest of us had to climb in the back of this thing and sit ON TOP of all of our gear!

Our first concern, while in the back of this U-Haul truck, was the amount of carbon monoxide that would get sucked into the compartment from the exhaust, so we shut the door tightly and headed out to the gig. Remember, the temperature was really, really hot and after loading all of that gear, we were some hot and sweaty dudes. Of course a couple of the guys lit up their cigs and pretty soon the compartment was full of sweat/steam/smoke… yuck. I only held out for about 25 minutes before banging on the cab to get the driver to pull over. We all laid down on the equipment cases and faked unconsciousness. When the driver opened the back door, smoke and sweat billowed out and he saw us all “dead” – of course his first response was to laugh. We immediately hit the next gas station and decided to tie the door open with a bent coat hanger, leaving a foot and a half gap, and just risk the exhaust.

We eventually pulled into the performance venue, which was some big dance hall, and one of the guys ran in to tell the story about the bus, and to explain to the crowd why the band arrived 70 minutes after the scheduled start time. After a lightning set-up, we hit, and the crowd gave us a wild round of applause, very impressed that we made it at all. After the first set, the singer was out in the audience talking with people and someone spilled a drink on her new dress, ruining it completely.

This is when somebody said, "Well, it can't get any worse," little did they know…

One thing that can always make a bad situation worse is alcohol. Up until now, the band has had only a few drinks during the gig, but since we were staring at a five plus hour ride home in the back of a U-Haul truck, we had to find something to drink. Thankfully, one of the brothers managed to convince the owner of the hall to get us a case of off-sale beer. He must have felt sorry for us.

What a party. Here we are, downing beers in the back of a U-Haul, telling dirty jokes and being generally rowdy. Kristy joined us in the back of the truck for some mixed company banter. Mike, the front man and singer, was a family man who seemed to be the most affected by the alcohol. The rest of us took it in stride.

About an hour into the trip, we needed a pit stop. The truck pulls over at a typical mid-western gas station, you know, the kind with rows of pumps out front between the street and the store. We parked the truck on the outside of the pumps, past a couple of cars and a pickup truck with a boat in tow. This is important because they all sat between the U-Haul and the entrance to the shop.

After acting like a bunch of obnoxious dufi (plural for dufus), we headed back out across the lane of pumps to the truck, now fully loaded with candy bars and bad burritos. Mike, who had too much to drink, jumped over the tongue of the boat trailer and landed badly. His ankle exploded to the size of a softball within seconds. Ouch.

So the next stop on this little tour was at the local hospital.

Although a couple of guys managed to get escorted out of the hospital for being overly rowdy, the party was beginning to wind down. Perhaps a good 50 minutes later, Mike comes hobbling out of the hospital on crutches. He had a severely sprained ankle.

Problem. What do you do with someone in this condition? Well, our only choice was to clear out a spot for him on the floor of the U-Haul, so he could lie flat on his back and keep his leg slightly up for the duration of the trip. We were pulling out of the parking lot and Mike's brother John was dinking around by the open door, inside of the back of the U-Haul. Speed Bump. The large back door, which is currently open about a foot and a half and still wired to keep it from opening all of the way, bounced hard and slams on John's foot. "@^%&!,” says John. So he heads up to the cab of the truck, biting his tongue because of the pain. Off we go.

I decided to stay awake since there was a guy laying on his back about five inches from an open door, flying along a highway at 85 miles per hour. I held the band's boom box stereo on my shoulder and turned up the tunes.

Later, not really sure how long we were on the road, I look out the back and see that we've turned into another parking lot. I figured it was another gas station. Since everyone else was asleep, I head out by myself to grab a soda.

Well, it was another HOSPITAL! I don't know where the hell we were, but it was a completely different hospital. I guess John couldn't take it anymore and had to check in. So a couple of us decided to indulge in some fine crap waiting room pseudo coffee flavored water. This time, the hospital was much faster, go figure; it's in the middle of the night. John had actually broken a bone on the arch of his foot. Yup, more crutches.

So here we are, two guys lying on their backs, on the floor of a rented U-Haul, with a pile of crutches, and the door wired open as we speed down a Nebraska highway in the middle of the night. Again, I was the guy to stay awake and watch over this bizarre scene.

Once we hit Nebraska City, I bailed and insisted on sitting up in the cab for the final leg of the trip back to Lincoln.

The rest of the trip was thankfully uneventful. But at least we got paid. The entire fiasco paid $80 per man!!!!

And YES, the above story is 100% true. Really.

Definition of Jazz

“Jazz is a global art form; which, primarily through improvisation, combines both the traditional and popular music of multiple cultures within a modern social context.”

- Kelly Rossum, 12:05am, October 1, 2007

When I First Came To New York

The phrase "when I first came to New York" means something special in the jazz world. It’s difficult to read an autobiography, watch a documentary, or find an interview, that doesn’t contain these words. It’s a subtle divider amongst jazz musicians; either you’ve done your time in the city, or you haven’t. It feels like a loaded statement, one that is treated as matter of fact by the musicians who utter it. Why is this string of words such an intimidating phrase to those jazz musicians who haven’t lived there?

FEAR. It’s the fear of Failure. This fear grows as you get older; the young are supposed to fail, learn from the experience, try again and move on. As we age, our culture imposes responsibility upon us, whether it’s real or imagined, and the specter of failure seems to become stronger in our lives.

Fortunately, jazz musicians deal with fear every day. We improvise for a living (not just in music). There is a certain sense of acceptance inherent in our actions; we acknowledge the possibility of failure, yet we continue to move forward.

From a personal standpoint, having spent most of my life in a scholastic environment (about 30 years as a student and 15 years as a teacher), I’ve accepted the fact that I’ll always be a student of music. That being said, I can frame my move to New York as an educational experience that will profoundly affect my outlook on the world of music and jazz in particular.

There are three basic goals I hope to reach while in NYC:

1) Immerse myself in a jazz environment through listening and meeting people.

"When I first came to New York, yes, I happened to have met him accidentally on the street. I ran into Gil Evans on the street and I said, ‘Mr. Evans, let me introduce myself. I'm Billy Harper. I play tenor saxophone. I hope, if there is ever a chance that you need somebody for a rehearsal, give me a call.’" – Billy Harper

"When I first came to New York, the first person I called when I got off the bus was Cannon." – Nancy Wilson

"When I first came to New York in 1991, one of my favorite groups to see live was John Scofield's storming band with Joe Lovano, Marc Johnson, and the exceptionally young Bill Stewart." – Ethan Iverson

"When I first came to New York, I was like Dizzy's little brother." – Miles Davis

2) Practice and compose while participating in the jazz tradition.

"When I first came to New York everybody on the scene would treat me like I could play, but I couldn't." - Wynton Marsalis

"And looking back, I was so naive when I first came to New York. My only goals were to learn the language, go to the Village Vanguard because I knew Coltrane and Miles and Bill Evans had played there and to try to be in jam sessions." - Claudia Acuna

"When I first came to New York I always tried to impress people, play long solos as fast as I could, lightning fast, and all of a sudden Billie Holiday said, ‘When you play, you're talking to people. So learn how to edit your thing, you know?’" – Curtis Fuller

"That's one thing I learned when I first came to New York and worked with Jackie Paris and Anne Marie Moss, getting the set to work, having pacing in the set and no fooling around." – Dennis Irwin

3) Focus on performing music through a variety of experiences.

"The more you freelance, the more you are involved with the big ‘M’ of music, not just a jazz band. Broadway shows, concerts with orchestras, chamber groups, folk music—when I first came to New York, I was down there playing with the folk singers. It might be a duo where it’s just a bass and drums, or a quartet where there’s no piano. All of these environments help you make musical decisions." – Ron Carter

"Yeah, well, I used to play for strippers in Chicago and when I first came to New York." – Jack DeJohnette

The phrase "when I first came to New York" is intimidating, but no more so than stepping onto a stage in front of hundreds of people not really knowing what you’re about to play. Time to accept the fear of failure and to move on.

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Quote sources:

Billy Harper, JazzWeekly

Nancy Wilson, The Cannonball Adderley Rendez-vous

Ethan Iverson, Do The Math

Miles Davis, JazzHouse

Wynton Marsalis, Steve LeVeille

Claudia Acuna, All About Jazz

Curtis Fuller, NEA Jazz Masters

Dennis Irwin, All About Jazz

Ron Carter, Bass Player online

Jack DeJohnette, Track By Track