@Dr-GO said in Professional musicians on this board question:
@Trumpetsplus said in Professional musicians on this board question:
@Dr-GO As a medic
...I take my own advice.... it seems to be working!
Albeit there is the saying: A physician that treats himself has a fool for a patient.
Guilty as charged.... But again, I am a well aged OLD fool!
@Trumpetsplus said in Professional musicians on this board question:
@Dr-GO As a medic
Also as a medic (physician) I take my own advice.... it seems to be working!
@Trumpetsplus said in Professional musicians on this board question:
@Dr-GO As a medic does it bother you that most of these guys are dead?
What bothers me is that I am that old, and but am grateful that I have out survived these individuals.
Band Contract I have personally designed for my initial band, Second Coming, that has survived and been adapted by Eddie Brookshire for my current small group ensemble, The Eddie Brookshire Quintet: [0_1574634518191_EBQ General
Niner posted in the Lounge several questions as to what members play professionally, and gig specifics such as nationally know professionals they have played with and if playing was for pay. That reminded me of how difficult it was for me when starting in the business to protect my bands on myself to assure payment to gigs. It took a bit of research to find out how to draft contracts for gigs and came up with my own template that I have successfully used over the years.
I thought other members on this site may have examples as well that would help members that have consider the types of contracts that best fit their needs and situations.
Looking forward to many examples and a lively discussion.
@Niner said in Professional musicians on this board question:
Any of you work with any nationally famous artists?
My major employer now is Eddie Brookshire, a nationally recognized bass player. I had played with Kenny Drew, Jr until his death a couple of years ago. I have also played gigs with Bill Watrous and Louie Bellson when I was based out of Ft. Collins years ago before deciding to go into medicine at which time I had a bit more time on my hands that gave me the freedom to travel.
There are multiple options that bands I have played in have been paid. In the early 2000's I lead a band and would get paid by club owners by check. I would bring cash up front in advance to pay all the side men then deposit the check in my account. This is a bit of a pain, as with checks made in my name, I am responsible for taxes. I do take care of this by subtracting the tax burden out from the cash payment I pay the band members.
Over the next decade, I decided to get out of the leader role and became a side man. In that position, I now get paid in cash. Since starting this routine for playing, I keep an Excel spread sheet of gigs, locations, and amounts paid in cash, then submit this sheet with income statements for other jobs to my CPA when she prepares my IRS statement. The people that hire me as a sideman do so for gigs within a 6 state region. I am limited to how far out of my base I can go as I usually must return the next day for my day gig at my medical practice.
I do union gigs as well and these typically pay by check, as a coincidence, I just sent a contract out tonight for a Christmas Eve performance my local 101-473 had referred for me.
I have made recordings for which cash was used to pay me for the studio time. One of the recordings on a particular album I wrote, and I do get royalties in the form of a check for that work.
Locally, I play for several big bands. Each pays differently as well. One pays by cash for the same amount per gig, another pays by cash from the door take and a 50/50 lottery that is run by the club each time we play.
Also, I recommend using a tip jar even for salaried. gigs. I remember a gig our quintet played at the Chatter Box in Indianapolis where in addition to the fee paid to us by the club, each member received an additional $200 when the tips were divided.
My medical assistant surprised me with this remodeling of one of my exam rooms!
Hmmm.... Perhaps should change my mind. Just played a gig last night and had several solos with the big band that really stood out. After the gig an audience member introduced himself to me... The principle trumpet in the Dayton Philharmonic orchestra. He was blown away by my sound and wanted to know what trumpet I was playing... Since it was with the big band it was a Harrelson night. He LOVED it. Wants me to come into the next Philharmonic concert (told him I already had a seat for the performance) and wanted me to bring in the Harrelson as he wants to have the rest of the trumpet section experience this horn...
Should I reconsider my number one? Nahhhh... Martin has been very good to me as well!
@Rapier232 said in Mute Musings:
@Kehaulani
My Cleartone mute actually says on the label, ‘Corks may need filing’.
Would that be filed under "mute materials" or "trumpet accessories"?
Your thread initiating posts have always been thought provoking and by listening and hearing to what you have offered has enriched the process. May you also continue on your future paths with the keen skills to listen and hear, and in so doing, may your heart be healed.
I stopped looking once I took delivery of my Harrelson. There is no better modern horn that I have played, with a range of versatility, amazing dynamics and slotting control and design options that allow for fine adjustments. With that said, my Martin Committee still is the one. That horn really understands me.
@barliman2001 said in Having to play in too many sharps?:
@GeorgeB said in Having to play in too many sharps?:
@Trumpetsplus said in Having to play in too many sharps?:
@GeorgeB QED
Sorry, Ivan, my ignorance is probably going to show here: What Is QED?
Originally, it's Latin and the abbreviation for Quod Erat Demonstrandum, meaning, "what was intended to be demonstrated". The abbreviation was first used in mathematics.
"So it is proved" is another interpretation of QED. And Barliman, quid pro quo if you agree, yes?
@Rapier232 said in Mute Musings:
I physically cannot change mutes on a quaver rest".
And when you attempt to do this, bells are at high risk to get scratched and dented!
I had the honor of playing for Jamey Aebersold who has a jazz series that goes by his name at the Cincinnati Main Public Library. He had our quintet open the newly remodeled Main Branch building. It was truly an honor.
Here is one of my favorite Trumpet Players I would never have heard of if it wasn't for my morning workouts that I listen to to keep my pace up an the Elliptical while listening to Luna (Latino Jazz). It is Pete Rodriguez. Not only is he playing the amazing trumpet parts on this piece but is also the vocalist:
@Niner said in How about a "Random Meaningless Image...let's see them string"?:
Remember little Moron jokes when you were a kid? I found where he lives now days.
AND this is the traffic sign displayed at the other side of his yard:
@Kehaulani said in Structure of the Trumpet by Yamaha:
@Dr-GO said in Structure of the Trumpet by Yamaha:
My response to the first comment I do not feel the method of lip vibration is insignificant when it comes to is an efficiency component that does differ among various methods used in vibrating the lips.
Can someone put this in other words, please? I have no idea what it means. Thanks.
Kehaulani, refer to tj's post 16. I will repeat the link here for ease.
Youtube Video
Greg Spence describes this in another prospective. The key point is at 2:42 where he states: Restriction of the acoustical perspectives of the lead pipe that creates a feedback of the pressure that sets the lip into vibration.
This is the idea I have in mind in the comment you quoted. What ever embouchure technique is used at the mouthpiece end, and I agree we should be well past this by now, it is the resistance transmitted by the lead pipe that is felt by the human physical component (the lips). So in the Yamaha trumpet series, the ongoing discussion as to the components of the trumpet the help relieve this resistance are also important. This is a direction that I believe Rowuk can lead the discussion as he is very knowledgeable as to horn structure.
Kahaulani, does this video help? Thanks for your ongoing attempt to try to understand.
@Dr-Mark said in What is Your Definition of a Well Balanced Routine?:
Hi Kehaulani,
Do you know the one thing I don't see on any of in the posts, mine included?
SIGHT READING
That is what I do when I rehearse with the Generation's Big Band on two of the 4 Thursdays of the week. The other two (the first and third) are gig nights at Mila's Suburban Cafe and The Milton Club. I love the rehearsals for that reason. The site reading. And they ARE rehearsals. I find site reading that is put in front of me from someone else's choice (not mine) is even more empowering as my bias to tunes I already have in mind to site read are eliminated.
And tonight I play the Jazz Central Jazz Jam where a multitude of performers bring charts to the gig; however, this is less about site reading as it is playing the jazz standards, most of which, I already know.
