The Concept

I've sat, and I've thought, and I've pondered, and I've mused...what could be the concept behind my next album? And, how would that concept help me come up with a name for the album? After much deliberation, I decided to look back at my last album, "Front and Center", for some ideas.

Back in 2006, while I was recording "Front and Center", the whole idea was to basically introduce myself to the listeners. Additionally, I wanted to show my versatility as a musician, which is why there were such a variety of subgenres of jazz that was present. This time around, though it seems versatility may still play a role judging by the tunes I have composed so far, I decided that there are a few things that I want.

First, I want all of the tunes to be original compositions...no standards this time. Second, I don't want to have to resort to using 2 different guys for each position in the rhythm section. Last time around, schedules were so scattered for the guys in my quartet that I could only use one of them (drummer Kyle Struve), and that was for only two or three of the nine tunes on the album. For this project, I really want to use the guys that I play with on a regular basis from my quartet. Especially considering that, by the time we record, we would have performed the tunes in live situations a few times. And third, I want the album to be centered around a concept that everyone can relate to. It's because of this last reason that I have decided to name the album "A Day in the Life of...". I leave a space after the word "of", because I want the listener to fill in the blank with the name of someone they know that the style, personality, and titles of the tunes remind them of.

Each song title on the album will have something to do with everyday life that we all experience, whether it's running around and trying to get everything done, or just the relief you may feel when you realize it's time for lunch. For example, the three tunes that I have composed so far are called "12:00 Strut", "Runnin'", and "Quiet". "Quiet" is interesting because it sounds more like a classical music piece than anything from the jazz idiom. I even had to compose a full score for it, rather than a lead sheet, which is how I usually write the charts for my tunes.

As May 26th (D-Day for the recording) gets ever closer, I'm getting more an more excited. And, for that matter, so are the cats involved! In fact ,the recording engineer for the project (John Zych) and I visited the recital hall of the Staller Center on the campus of Stony Brook University in New York to figure out some of the logistics regarding how we will be setting things up. During that visit, John said that he has been looking forward to this session for months and can't wait to do it. That sure felt good to hear!

by Shenole Latimer

Musicians Shouldn't Get Paid

There's a phrase I hear a lot of. And, I've been hearing it long before the economy tanked. It goes something like this: "I love how you guys sound! I'm an organizer for (just fill in the blank here) and I would like to hire you to give a performance there. We don't have much money though."

Bingo! There it is! The "we don't have much money" statement.

Now, that is all well and good. People are always going to try and get your services for free or next to nothing. Also, there are certainly times when that statement may be legit. However, I recently heard this statement when I was a sideman for an artist, who I will not name. A woman came up saying that she was the event coordinator for a yacht club, that I will also not name, and she said the very same words that are in the first paragraph of this post.

OK, here's the thing. First of all, I grew up near this yacht club and have seen a number of the events that they have. They are pretty lavish. Secondly, I knew people, during different periods of time, that have worked there. Every last one of them, including someone who has worked there within the last 4 months, have each told me how much money flies around there...and not just from the clients. With all of that, and the fact that it is a YACHT club, I'm I expected to think that I (or I should say the artist that I was the sideman for) can't ask for at least my normal performance fee?

Yeah...I could swallow that one, just like I could a 10 pound horse pill!

Look...non-musicians...people who would hire a musician or a band for their services...do you expect to have a plumber, who charges say $300 for a job, come to your house and do the job, but accept that you will only pay them $50 because you like how they clear up your plumbing but you don't want to pay their rate? How about taking your car to the shop. A lot of shops charge about $90 per hour for labor. Do you realistically think that you're going to bring your car to a shop...any shop...and have them agree to only charge you $15 because you tell them that your car isn't running correctly, you like how they fix cars, but you don't have much money. What would happen is that shop would send you on your way and ask you not to come back.

Musicians...you cats that play instruments or sing for a living...WAKE UP! Has it ever occurred to you that people don't take yourself seriously because you don't take you seriously? Before you bristle your feathers over that, what I mean is that you don't present yourself in a business-like fashion. The truth of the matter is, one of the problems for us is that too many of us have too casual a manner about ourselves when we are conducting business. Some of us forget that the person on stage is the entertainer and the person that steps off that stage is a business person. We have to wear different hats and be able to switch them, at times, instantaneously.

If you're not going to get serious when you conduct your business, at least come up with a pricing plan to cover different situations, so that you're not stuck looking like a deer in headlights when someone asks you what you charge. All of the serious musicians I know, including myself, have a pricing "menu" for all sorts of different performance situations and configurations. Every now and then someone will come up to me and ask me what I charge for a situation I have not thought of. You know what I tell them? I say that I'll have to call them back because it is a situation I haven't done before and I need to sit down and consider a fair way to do it.

One more thing, musician type people. If someone offers you a price that is well below your normal asking price, or even ask that you perform for free, there is a magical word that you can use that will stop you from playing a 2 - 4 hour gig that you end up regreting, hauling all of your gear, and listening to unhappy bandmates who are underpaid. This incredible word is "No". You have to remember that the people hiring you have absolutely no clue that you've spent thousands and thousands of dollars on your gear, many hundreds or even thousands of hours practicing and honing your skill, sacrificed valuable time with family and friends, etc. But, YOU know and that is my point!

With all of that said, by no means does that mean I don't work with people regarding rates. But, I won't be giving the farm away. I have done this long enough now (I've been playing music in a public fashion for about 15 years and full-time for over 10 years now) that I know the minute someone says that it doesn't pay but it's good exposure, or that they don't have much money, that the gig will most likely not be worth my time. In my 15 total years of doing this thing called music, what I have learned is that those kinds of gigs almost always end up being much more stressful than most of the gigs I have that pay better. Every once in a while there are some "exposure gigs" that are good, but you have to really weigh those and give them a lot of consideration before you do them.

Well, I guess I've said what's on my mind. I'll tell you one thing, though. If a band is just playing terribly and stinking up the place, and they are not conducting themselves in a professional manner, those are the times that musicians shouldn't get paid!

written by Shenole Latimer

Look...DON'T TOUCH (The Musician's Universal Plea)

A couple of weeks ago, I had an experience that has put me on a personal crusade to educate people about musicians and their equipment.

Now first of all, if you are a fan of mine, I hope that you will not take offense to this statement, but people simply don't have a single clue as to how expensive our equipment is and why nobody, other than the musician who owns it, should ever bother trying to touch ANY OF IT! So, with that said, here's what happened a couple of weeks ago.

I was in the auditorium of a library and was setting my gear up because I had one of my educational presentations that I do. It was still at least 30 minutes before the program was suppose to start, and I was pretty much finished setting up, when two ladies walked in. We then struck up a conversation. Eventually, the conversation went more towards just one of the ladies, while the other walked away. Something told me to look in the direction of the woman who had walked away. And, it's a good thing that I did! I was horrified to see the second woman proceed to grab my alto saxophone by the neck in order to pick it up off of the sax stand that I had it placed on. I immediately started yelling, "no, no, no!"

I arrived just in time to grab my sax from her before she could fully lift it up. By the time I reached my sax, I was actually fuming mad because I had just spent $500 getting extensive and much needed work done on it. At the same time, I was trying to stay polite and in control of my overall reaction. The lady then told me that she only wanted to look at it and that she knew what she was doing because her father had been a musician. Her comment almost made me loose it because, if she had indeed grown up around a PROFESSIONAL musician, surely one of the first things she should have learned was DON'T TOUCH. Besides, he may have dabbled with music, but was he a FULL-TIME, PROFESSIONAL musician like me? As I always say, "just because you can screw in a light bulb, it doesn't make you an electrician. "

More to the point of things, it was MY equipment that she was handling and I simply DO NOT LIKE people touching my stuff without my permission.

Still trying to keep my composure, I went on to explain that my sax was not a cheap beginner's model and that I depended on it for my livelihood. I then politely clued her in that she didn't actually know as much as she thought she did, because she was about to pick the sax up in the worse manner that you could possibly pick a saxophone up by. The neck is a separate piece from the body of the sax and can be very easily separated, even after applying the screw for the clamp that holds it in place. In other words, she would have picked the sax up by the neck, the body of the sax would have detached and fallen on the ground, and I would have been looking at anywhere between $500 - $1,500 worth of damage. Experience has taught me that, once an instrument falls to the ground, it NEVER plays quite the same ever again, no matter how much money you dump into getting it repaired.

The end result is that I managed to get her to understand the situation.

As for the public at large, people simply have no idea the worth of musician's instruments. Between the 5 saxophones that I own ( 2 altos, 2 sopranos, and a rare C melody sax), I'm looking at around $23,000. And that's just my saxophones! If you add up all of the equipment that I own for the purposes of making my living in music, the grand total is just under $41,000. Believe it or not, that isn't even on the more expensive end of things regarding what some professional musicians have spent on their gear. Todd Coolman, the esteemed bassist who was my first jazz instructor at Stony Brook University and is currently the head of the SUNY (State University of New York) at Purchase Jazz Program once confided in me that his prized bass, which is the one he uses on important gigs and recording sessions, is worth about $85,000. He uses a different bass that is worth (I think I remember him saying) about $12,000 for most of his other gigs.

Anyway, the point of all of this isn't to just give you a tally of how much we spend on our instruments and gear. The simple fact is that you should NEVER handle a musician's gear, period. It isn't even your stuff to handle in the first place! Look...DON'T TOUCH!

written by Shenole Latimer