[Tradjazz] Jazz Diversified

[Bruce McNichols]

This is a message I sent to Bud Merigold, one of our Radio OKOM program producers.  Hear his wonderful "Jazz Diversified" on Radio OKOM (www.okom.com).

~~~~~~~~~
Hi Bud, 

Here I am, in my office, pretending to work.  I'm listening to Radio OKOM (what else is new?).  I was enjoying some fine old-time jazz and wondering what program it was.  I quickly deduced that it wasn't me -  I knew that I never played what I was hearing.

Soon enough, I heard your lovely tones.  You played several versions of "Changes."  I love that tune, although I've never learned it.  That can be said of dozens of songs that I've long-vowed to do, and never got to.  

As you know, there's a lot of good stuff out there.  Far more than a lifetime's worth of material that "I just gotta do."  In some cases, I've gone so far as to research a tune, learn the lyrics and chords and even print them out.  Yet, in many cases, I never did them.
  Next Week, I've got to get organized.
I sometimes grab my ukulele, and go over a tune, to check the changes and find a good key for me.  That, of course, is different from actually performing it on a gig.  On many gigs, I have no qualms about setting up a music stand, and reading the tune.  The fact is, at most gigs that's not appropriate, or more likely, the tune itself may not be right for a particular gig.  

I'm keenly aware, that I'm hired to serve a function at an event, and that function is NOT, to entertain myself.  Then there's what we call "Wallpaper Gigs."  That's when our job is little more than just being there.  It's an important job and it usually enhances the event, but quite frankly, they didn't come there to see us.  Often, it's those very gigs when we perform some of the best, esoteric, old-time gems.

Some of us carry chord sheets to "new (old)" tunes that we've come up with.  That way, if the guy who brings in the song, can play or sing the melody, then we're in.  Often the songs are straightforward enough that after a chorus or two, we no longer need the chord sheets.  

Slowly, our repertoire expands.  That said, there's always more tunes out there, than we ever get to.

~~
I'm very comfortable with the cold hard fact that my job is to serve the function of each individual gig.   Sometimes it can get frustrating for me to see the people virtually ignoring some of the outstanding playing of the guys.  As with me, my guys know where it's at.

Some gigs are hard work.  Many gigs are a musical pleasure but lack recognition of the people.  Why do we do it?  Of course, one simple answer is "We gotta eat!"  I'm convinced that the real reason most of us are in this racket, is simply because sprinkled throughout our playing careers, are moments of unbelievable gratification.  

I clearly recall one weekend when we performed two concerts at Avery Fisher Hall of Lincoln Center.  We were stars!  The very next day we worked at a little bar in Union City NJ.  Dat's da way it goes.
  As musicians, we suffer the misaprehension of people who take seriously the idea that we go out and "play."   Yes, we love what we do, but the fact is, we really do work.  Not just the years and years of learning our trade, but the real work that goes into each performance.

  The average person never thinks about us driving to (and from) the gig.  A short drive for me, is about one hour, and some are much further away.  Getting there a half hour early, is not good enough.  Most of the musicians I work with will arrive 45 minutes to an hour, ahead of gig-time.
    Then there's the added fun of gigs in Manhattan.  Parking is a big one.  Sometimes there's street parking so you gotta leave a looooong time to find a place.  Most often, we'll have to use a lot or parking garage.  We attempt to find one nearby the gig.  On a weekday, in midtown Manhattan, it's not unusual to pay around $40 to park.  That ain't hay, but it goes with the territory.  Then, you have to get your equipment to the gig-site.  Lord help you if you have to make more than one trip.  In New York City (and most other places) you just don't want to drop off your stuff, at the curb, and come back a half hour later.   No no no no no!
      It's fun to see the clever ways that musicians have devised, to be able to make only one trip (from car to gig).  I've seen shopping carts, airport baggage wheelers, dollies and big hand-trucks.  It's also fun to hear each musician extol the virtues of his method and put down, the other guy's system.  I have a heavy duty airport wheeler that I've retrofitted with an extension.  It works fine for me.  THANK YOU JESUS FOR BUNGEE CORDS.
  Even on simple jobs, we must allow at least a half hour to get into the place, case the joint, set up our instruments and equipment.  With that in mind, a half hour is really cutting it close,

  Then there's the gig itself.  Taking care of business on a gig is truly work.   What to play when?  When to break (and for how long)?  How to pace the gig?  When to back off (i.e. when they're eating) and when to let loose?  A lifetime of experience enables us to do a good job, all-around.
In my entire life, I've never worked so hard, physically or mentally, than I have in the band business,   BUT, I wouldn't want to have a real job!

McN


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