Interview: Jay Mason, saxophone and woodwind artist

ByBret Pimentel

One of the cool people I’ve come in contact with through this blog is Jay Mason, a very busy southern California woodwind player. If you’re a fan of Gordon Goodwin’s Big Phat Band (and you should be), you have heard Jay’s baritone anchoring the saxophone section. You may have also heard him on film scores (like the recent Monsters University), on television (The Tonight Show with Jay Leno, for one), in the theater (numerous productions around southern California), on high-profile recording projects (Patti Austin, Barry Manilow, Chick Corea…), and backing up a wide variety of marquee acts in concert (Barry White, Kenny Rogers, Michael Bolton, Bob Hope, and many more). He also teaches at Cal State Long Beach and Concordia University – Irvine. Jay was nice enough to take the time to answer some questions about his work.

Jay Mason and friends
Jay Mason and friends

BP: What do you do for a living?

JM: A combination of playing saxophones and woodwinds in recording and live situations, and music education.

What education (formal or otherwise) and experience prepared you for the work you do?

I was very fortunate to have several great young players in my high school bands, both jazz and concert band, who have gone on to successful careers in music. The choir director there started a music theory class during my junior year, which was very thorough and inclusive of many styles, which really helped me to understand how music works, not just how to play. In college, quite a few of the professors either were or had been involved in studio and live work, and working with them, talking shop, etc. helped me to understand what I needed to do if I wanted to become part of that scene. In terms of experience, the opportunity to double on flute and clarinet, as well as all of the different types of saxophones, came along in college in a variety of situations in and outside of school: musicals, different ensembles, saxophone quartets, you name it. After college, I performed at Disneyland for quite a while, which put me into a huge variety of situations, playing everything from piccolo to bass saxophone, often having to read new material or learn new parts quickly, and make it happen day in and day out, no matter the weather, the crowd, or my mood and health.

What is a typical work week like for you?

There isn’t one, which is one of the things I like about this business.

How much does your work schedule change seasonally? Do you have a “busy” time of year?

It does change, but fortunately I have enough variety in my musical life that when one thing gets slow, another seems to get busy. Usually spring until mid-June and September until Jan 1st it’s really busy, especially that spring time. For some reason my schedule is always a challenge that time of year—for which I am really thankful.

What projects are you excited about right now?

Aside from the Phat Band (we have a new recording coming out soon, about which I’m excited) there’s a quintet that I’m helping to start that we hope to launch in the fall this year. I’m writing for it, which is something I’ve wanted to get into for a long time, as is everyone else in the group. A former student and great composer, Roger Przytulski, is writing a woodwind doubling concerto for me, that features saxophone, flute, clarinet and English horn, each with its own movement, and concert band—really looking forward to learning and performing that! I’ve also been considering a solo project for quite awhile now, and the idea of what a first project would/should be is finally taking shape. Finally, I just finished recording a new project with Frank Macchia, who orchestrates and writes for a lot of TV and motion pictures here, which features a killer sax section—the rest of the band is amazing too, and Frank’s writing is unbelievable. I ended up being part of the rhythm section on bass sax, and played a couple of solos on it. I’m really blessed be to working on a lot of great stuff!!!

What is the best part of your job? What is the worst part?

The best part is getting to work with amazingly gifted and accomplished colleagues, in a variety of situations and styles. The worst part is commuting. LA traffic has a reputation for a reason.

Do you have time for other interests, hobbies, etc.?

Yes, I am a licensed pilot and have a wonderful wife and two great kids!

What instruments do you consider part of your current professional toolbox?

All the saxophones, soprano through bass (yep, I own one); all of my clarinets (E-flat, B-flat/A, bass, and E-flat/B-flat contrabasses), piccolo, C, alto and bass flutes, and oboe/English Horn. I also play several keys and sizes of pennywhistles and recorders.

Are there others you are working on or would like to add at some point? Any you would rather retire?

There’s always something interesting or intriguing to me, it seems. I still enjoy playing them all, so no, can’t say that I’d retire anything at this point.

Do you self-identify as a “doubler?” A saxophonist who doubles? Something else?

I’m not a big fan of labels, so I don’t really think about it. When a flute is in my hands, I strive to be the strongest flute player possible, and the same goes for oboe, clarinets, all the saxes, etc.

Is it your intention to play all your instruments equally well, or are there one or more that you would prefer to focus on?

See above! Seriously, I’ll always gravitate toward the saxophone, particularly the E-flat horns for some reason. My personal goal is to be equally strong on all of them, but that is a very difficult thing to achieve—which makes what I do interesting and engaging. There’s always something to work on…

You seem to do a certain amount of work as a “low reeds” player. Do you see yourself as a low reeds specialist? Did you intentionally set out to become one?

No, I didn’t set out with any intention of becoming a low reed specialist, nor do I see myself that way. But I have a reputation on those horns, for sure. I was fortunate to play baritone and bass sax in a variety of situations, which led to the baritone chair in the Phat Band, and that position introduced my playing to a whole lot of new folks, who had only heard me on the baritone sax and bass clarinet. Then they start asking “do you play bass saxophone, contrabass clarinet, etc?” Why yes I do! Doing that led to the thought, in many people’s minds at least, that I’m a low reed specialist when that’s just one facet of what I do. In fact I’m playing lead alto in several situations at the present time.

For many saxophonists, the baritone is a secondary instrument in terms of dues-paying. What mistakes do you see alto/tenor players make with regard to the baritone?

An unwillingness to pick it up!! Regarding technique, playing behind the time a little bit is a common issue. The instrument does respond differently, so you have to work out playing with good time. Another is being unable to play with finesse, especially at softer dynamics.

If you could do it over, is there anything you would have done differently to prepare for your current career?

Yes, I would have done more with writing—composing, orchestrating, arranging. I enjoyed those things during my education, and wish that I had kept developing it all along.

What advice would you give to musicians hoping to work in/around Los Angeles? Who want to play in the Big Phat Band or a group of similar caliber? Who want to do studio work?

The modern music business requires one to be as versatile as possible, keeping in mind that whatever mix you choose to develop, you must be able to do those things really well. Listen to performances of all the media you are exposed to, and ask yourself “can I play (insert name of instrument here) at that level? If not, what do I have to do make that so? Could I write a cue like that?” and such. Another excellent strategy is to look for a niche, something that is needed that few, or nobody, can do at the time. If you can write well, and people know you will play well, they may use you in both capacities on a project. Additionally, never forget that, as much as we love what we do, it is a business, so thinking and being entrepreneurial is very important. Entrepreneurs see something where nothing presently exists and create that thing. An album project would be one example of this. A teaching studio in an underserved market would be another.

Do you have any favorite woodwind doubling (or general woodwind-playing) tips?

There are two that come up quite frequently. First, when you’ve committed to playing a double really well, find a great teacher for whom that instrument is their main or only one, and study with them (or perhaps several different folks). No matter how great a doubling player is on a particular instrument, study with a person who has dedicated his or her life to that has helped everyone I know who does it. I still do this, quite often. Second, develop an awareness of the techniques that are common to all your woodwinds. One example: wasting motion in your fingers. Every woodwind instrument benefits from smooth technique without slapping or clamping fingers, or raising them unnecessarily too far from the keys. There are many other things that are common to all of them, or nearly so.

Thank you, Jay! Check out Jay’s website: jaymasonmusic.com

Similar Posts

  • |

    Advice on multiple-woodwinds graduate degrees and teaching careers

    ByBret Pimentel

    I often have university students bring up the idea of graduate school and a university teaching career, and I have previously given general advice about that.

    Perhaps since my graduate degrees and a teaching career are in multiple woodwinds, my students sometimes wonder if that’s a path they should take. Here are a few thoughts:

    I’ve mentioned previously that, even for talented and hardworking folks, a graduate education is far from a guarantee of employment. Does a multiple-woodwinds degree help? I think it helped me, but I also had some significant luck.

    The year I was on the job market, I applied for a small handful of multiple-woodwinds jobs and got a small handful of interviews. I landed in the job that was the best match. I kept an eye on job listings in subsequent years, and years went by without a single multiple-woodwinds job being listed. If I had graduated a year later than I did, I may well have been unemployed.

    During my job search I also applied for single-instrument teaching jobs, and got zero responses. Having been on the hiring side of things a few times now, I understand why. Faculty jobs get dozens of applicants that need to be narrowed down quickly, and the ones whose qualifications and experience are laser-focused for the job in question rise to the top. Though I felt I had things to offer, my multiple-woodwinds background wasn’t a precise enough fit, and somebody else’s background was.

    So is a multiple-woodwinds education better, employability-wise, than focused study of a single instrument? It’s a calculated gamble. When you’re on the job market there might happen to be a windfall of single-instrument jobs, and if you’ve been focused on multiple woodwinds instead, you may be out of luck. However, there are fewer multiple-woodwinds graduates, so if a multiple-woodwinds-geared job opens, your background might prove very valuable.

    Multiple-woodwinds teaching jobs tend to be common at smaller schools with smaller music departments, and that may or may not affect your decision. I have a mixed but mostly positive relationship with my small-university job. If your heart is set on teaching at a major university, then most of the jobs won’t be multiple-instrument jobs, and your competition will mostly be highly-specialized, highly-focused single-instrument players.

    One other factor to consider is what kind of multiple-woodwinds education you want to get. Do you want to have a “primary” and “secondary” instruments, or study them in an equal way? Do you want to do a masters degree and a doctoral degree both in multiple woodwinds, or one in multiple woodwinds and one in a single instrument? How you focus your studies will affect which theoretical future jobs you will or won’t be a match for. (Each degree program is a little different, so check with the schools you’re interested in to see how their programs are structured.)

    Graduate study in multiple woodwinds can be valuable preparation for a career in higher education, but the job opportunities are limited and hard to predict. I suggest pursuing that path if you have additional reasons or motivations for doing so, like a fascination with the woodwind instruments and woodwind doubling.

  • |

    University woodwinds job postings, 6/6/08

    ByBret Pimentel

    Another national search for a full-time professor of multiple woodwinds has been announced. This makes the third one in a week’s time! Read More “University woodwinds job postings, 6/6/08”

  • Wind playing and contagious diseases

    ByBret Pimentel

    I’m not a (medical) doctor or disease expert of any kind, but I’ve been thinking a bit about the instruments I play and the risks of catching or spreading disease. (At the time of this writing, Covid-19 is foremost in many people’s minds.) I’m presenting a few thoughts here in hopes that people with real expertise will be able to address them in an authoritative way, and I’ll update this post as appropriate with links to additional information if/when it becomes available. Update: I have created a separate page with links to research/resources.

    As a player of reed instruments, I am of course concerned about reeds and mouthpieces (and related items like mouthpiece caps and reed cases, tools, and workspaces), and would like to implement some more structured, methodical ways of keeping them clean.

    But the thing that worries me more is what is in the air when I am playing wind instruments, or near people who are. Some research/modeling (the accuracy/relevance of which I am unqualified to judge) seems to suggest that “aerosol particles” from a cough can travel far and remain in the air for a long time:

    I can only speculate on how this relates to playing wind instruments, but it does leave me feeling uneasy. Some concerns that spring to mind:

    • If I am teaching lessons, even in my relatively spacious university studio, are my students and I both filling the air with potentially infectious particles, by blowing large amounts of well-supported air over sustained periods of time?
    • What surfaces in my studio are receiving these particles, and how long can germs survive there? Should I be altering my routine of teaching lessons all morning, then eating lunch at my desk? Do I need a routine for cleaning music stands, metronomes, and other items that are in the line of “fire?” Should I be concerned about what is settling on the bassoon reeds drying on pegs in a corner of the office?
    • When I or my students perform (especially in ensembles), how close are we to other people? I’ve certainly played orchestral gigs where there’s hardly enough elbow room to swab out a clarinet. What is being put into the air or onto surfaces when the entire wind section starts to play?

    Contagious diseases certainly aren’t new, and I think some basic courtesies and hygiene will continue to be adequate to keep ordinary disease risks in check. But at the time of this writing we find ourselves in an age when we are more attuned to physical (“social”) distancing, handwashing, and mask-wearing, and when we receive somber daily tallies of those affected by a public health crisis we don’t yet fully understand.

    Let’s all be listening to experts and thinking about how we can continue to share music with our students, teachers, collaborators, and audiences, safely and in good health. Stay well.

  • |

    When things get canceled

    ByBret Pimentel

    I had a very busy final semester of my bachelor’s degree. I was performing with six different university ensembles (one of which was planning a month-long international summer tour), doing woodwind doubling for a musical, teaching at a nearby music school, and preparing for graduate school auditions.

    Then I broke my arm. I slipped on something in a parking lot and landed on my elbow. The doctor put me in a cast from fingertips to shoulder.

    At the time it seemed like the world was coming to an end. But things worked out. I canceled some things and modified or delayed some others. Some kind professors gave me advice and perspective and helped out with some logistics.

    Looking back, it’s barely a bump in the road to where I am now. But I think of it now and then, when the next gig or recital starts to feel like the most important thing I will ever do.

    For my college students, lots of things have been canceled this semester. Some of them won’t get to do their recital class performances or their Honors Recital auditions or their ensemble concerts.

    It’s a shame to miss out on things. But right now there are bigger things going on in the world that demand some changes of plan. And in another year or two, those missed opportunities will be crowded out by all the new ones. A few missed performances will be a war story, not a lasting tragedy.

    (That said, we shouldn’t forget that some musicians’ livelihoods are threatened by things like shutdowns of venues. Now is an excellent time to buy your favorites’ albums and merch to enjoy at home.)

    Stay well, and look forward to the opportunities to come.

  • Getting gigs on woodwind doubles

    ByBret Pimentel

    Here’s a question sent to me recently [edited lightly]:

    Do you have any advice on getting gigs on doubles? I play all the major modern woodwinds, but I’m definitely an oboe/English horn player first, and saxophone is my strongest double. I wouldn’t say I’m the best flute or clarinet player, but I’m good enough to gig or perform solo repertoire. I never get gigs on anything but oboe/English horn or saxophone, which makes me feel like I’m wasting my time practicing anything else.

    Here are a few things to consider:

    Firstly, hopefully it goes without saying, but continue developing your skills on your doubles.

    Developing a reputation in your local market takes time. Plus, your local ecosystem of musicians and gigs is a factor outside your control. For example, if there is already an abundance of well-established clarinetists in local contractors’ contact lists, then it may just take time before you get a shot.

    Get to know the players in town who are doing the kind of gigs you want, and establish professional acquaintances with them. There’s also a time-honored tradition of taking a “lesson” or two with top local players so they can see what you’re capable of, and potentially recommend you for gigs (plus you might learn something).

    Check in with contractors or other hirers you may be working with already. You could say something like, “Hey, I’ve been doing so much oboe and saxophone lately work that I’m not sure people realize I’m a strong flute and clarinet player, too. Just wanted to make sure you have that info in the back of your mind. Thanks!”

    Also consider what you are or aren’t doing to sell yourself convincingly as a doubler. I checked out your web presence, and found social media usernames and profile pictures that identify you very clearly as an oboist, plus some vague, apologetic hints that you are also woodwind doubler. Some humility is good, but if you want to work as a flutist then it helps to tell people you’re a flutist.

    You also do not have a personal web page, or not one that I could quickly find. That’s your digital-era business card. (Consider getting some actual business cards, too.) It should state clearly what you bring to the table, and ideally provide some evidence. If I visit your website and it doesn’t mention the bassoon, or it mentions the bassoon but has audio/videos of you playing everything but the bassoon, then I’m unlikely to consider you a hireable bassoonist. If your bassoon playing is only so-so, I might still need you for a gig that has less-critical bassoon parts, but hearing you play something gives me some reference point for what you can do. As a next-best thing, you can provide an easy-to-find, easy-to-skim list of some gigs you have done in recent memory.

    Find appropriate opportunities to offer your services on additional instruments. “Hey, I have my flute with me today, and I can cover that third part if you like.” “I was thinking maybe this passage would sound good on clarinet. Mind if I give it a try in rehearsal?” Don’t push it to the point of being annoying, and be a good sport if the person in charge wants you to stay in your lane.

    Good luck!

  • Stuff bad music teachers say

    ByBret Pimentel

    We can all stand to improve our teaching. Here are some things I’ve either said or heard said that are symptomatic of gaps in pedagogical knowledge.

    “I’ve been doing it this way for years and I’m very successful.”

    Nobody is arguing with your success. But success isn’t a reason to stop improving, nor is it evidence of a perfect approach. Be open to new ideas. Choose to accept or reject a new approach based on its merits, not based on inertia.

    “My famous and well-respected teacher taught it to me this way.”

    The craft doesn’t progress if your let hero worship blind you to new ideas. Would your teachers want you to cling to outdated pedagogy out of loyalty, or to further your knowledge and advance the discipline?

    “Well, those scientific results don’t matter, because this is music and it can’t be studied in that way. I think musicians know a little more about music than scientists, don’t you?”

    Sound is a phenomenon very observable, measurable, and understandable through empirical study. Don’t worry, more information won’t ruin the magic. Take the example of high-level athletes and embrace careful, systematic scientific method as a means of achieving more.

    In woodwind teaching in particular, I hear a lot of vague, contradictory, or fantastical ideas that fall apart after even a cursory study of anatomy, acoustics, or fluid dynamics.

    And, just like you wouldn’t expect a stodgy old scientist to fully grasp the finer points of your musical performance, recognize your own limitations when it comes to scientific rigor. The Wikipedia article or a blog post you read probably aren’t very solid sources, and the experiment you did with different mouthpieces in your living room probably wouldn’t pass muster with a scholarly journal.

    “It’s not a contradiction.”

    If your teaching is making you and your students experience cognitive dissonance, getting defensive and brushing past the problem doesn’t help. Watch out for this kind of nonsense: “You have to increase the breath support as you go up to the high register. No, no, don’t reduce the breath support as you go back down to the low register.”

    “No, I haven’t read it.”

    Music teachers should be active readers of pedagogical materials new and old, and should be actively questioning what they read. (Attending masterclasses, watching videos, etc. is also good, but you will find someone’s clearest, most organized thinking when they have to commit it to paper and/or digital text.) Proliferation of small publishing companies, self-publishing operations, and, of course, the internet, have made the bar for “expertise” very low, but have also made it possible for conscientious readers to consume more and to police what is written. Readers shouldn’t take anything at face value, and authors shouldn’t expect a pass on low-quality work.

    Have the courage, conscience, and dedication to pursue deeper, broader, and more accurate knowledge of the concepts you are teaching!

One Comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Comments that take a negative or confrontational tone are subject to email and name verification before being approved. In other words: no anonymous trolls allowed—take responsibility for your words.

This site uses Akismet to reduce spam. Learn how your comment data is processed.