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
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.
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.
It’s cheap and easy to create a website. Any serious freelance musician (or aspiring musician) should have one.
This should be a website about you, an individual musician. It should be separate from your ensemble’s website or your academic institution’s website. It should exist long-term, and serve as a sort of permanent address for finding you online. If you do most of your online stuff on social media sites or on your organizations’ sites, that’s fine. Your individual website doesn’t have to replace or duplicate any of that. It can simply point people to those resources.
I won’t go into any technical details here, because there is very extensive information available online about the ways to make websites. Suffice it to say that if you have only enough technical skill to send and receive email and post things on Facebook, there are website services simple enough for you to operate. Or if you want to roll up your sleeves and code every line from scratch, you can learn how to do that too.
Here’s what you need, content-wise:
Mandatory items
A domain name. Preferably this is something very simple and clear, like your name. Mine is bretpimentel.com. It works well because there aren’t a lot of Bret Pimentels, so web searches for my name usually put my site right at the top of the results.
If you have a more common name, you might need to add something meaningful to it. bretpimentelwoodwinds.com might work well, or bretpimentelmusic.com.
Pay for a real domain name. It’s not expensive. Something like bretpimentel.freewebsites.com looks unprofessional.
At minimum, a simple indication of what it is you do and how to contact you. That’s enough to be your whole website if you like. Here’s an example: “Bret Pimentel is a performer and teacher on the woodwind instruments: flute, oboe, clarinet, bassoon, and saxophone. Reach him at bret@bretpimentel.com.”
Some longevity. Go ahead and prepay the domain name and whatever hosting services you need for a good long time, maybe five or ten years, or set it up to renew automatically.
Optional items
A more detailed biography.
A nice picture of you, especially one that helps reinforce what you do (like one where you’re holding your instrument).
Links to your social media profiles, YouTube channel, or other online things you want people to find.
Links to the websites of things associated with your career, like your performing ensembles or the institutions where you teach.
Optional items with caveats
Most of these things have to do with updating the content of your site on some kind of regular basis. That’s worth doing if your intention is to bring people back to visit your site again in the future. If you prefer to use your site as just sort of a digital business card, with no updating content, that’s fine too, and is much less effort to maintain.
A calendar of your upcoming performances. Only do this if you are thoroughly dedicated to keeping it up to date. An expired calendar makes your website look abandoned.
Recordings (audio and/or video) of some of your performances.
If you are hoping your website will help you get hired for things, only include recordings that you think appropriately and honestly reflect your current abilities.
Only post material you are certain you have the rights to post. For most individual-musician websites, chances are slim that anyone will take legal action against you for posting copyrighted material, but it’s still decent and polite to respect others’ intellectual property. (Acknowledging your non-ownership doesn’t make it okay to post something that isn’t yours. The copyright owner has to specifically give you permission or license the material to you in some way.)
A blog and/or some articles or other resources.
Again, this should be your own intellectual property or something you have explicit permission to post.
If you start a blog, start with a post that is about something, not a post about how you intend to start blogging soon, or asking people for ideas what to blog about. Lots of blogs start that way, with a single post promising big things to come, and then nothing more ever.
You don’t have to blog on any particular schedule if you don’t want to, just post when you have something to say.
Don’t include these
Lists of who you have played with, unless they are significant and career-defining.
As a graduate student I got to play at a university event honoring Dave Brubeck, including playing in an ensemble “with” him. For years my professional biography indicated that I had played with Dave Brubeck, even though after the one gig was over he almost certainly wouldn’t have remembered me, much less considered me some kind of collaborator. Listing him on my website was a pretty transparent inflation of the truth. (If he had hired me to join his quartet and go on the road for a few years, that would definitely be worth mentioning on my site.)
There have also been many less-famous names I have performed with, and why list those?
Lists of the equipment you use. One possible exception is if you have official endorsement deals that contractually require you to include this information. Otherwise, what is the list for? To prove how much money you have spent? To encourage others to blindly buy the same products as you?
“Links” lists, except in the rare case that your curation brings something valuable to the table. Lists of sites that you think are interesting or somehow related to your site are an artifact of earlier days of the web. Now if people want to find sites related to a topic, they just do a web search or follow related entities on social media.
Gratuitous photo albums, unless there’s a good reason to post them. Being attractive and/or vain isn’t a good reason, if you are hoping people will focus on what you have to offer musically. And you do need permission from the copyright holder.
A simple website is part of the modern musician’s professional face—you need one the same way you need a phone number, an email address, and black clothes for the gig. You can start for a few dollars and finish in less than an hour, or spend years building it into a powerful communication outlet. Get started today!
Sarah Cosano is a busy working woodwind player (among other things). I initially reached out to Sarah about doing an interview because I was interested in her experiences with playing on cruise ships, but it turns out her musical experiences are quite varied. In 2000, Sarah was an MTNA National Competition winner, a featured performer on the NPR radio show From the Top, and an Emerson Scholar at the Interlochen Arts Camp. Since then she has performed with the Disneyland All American College Band, BLAST: Music in Xtreme, and the show Evolutionin Japan. Her cruise ship playing has taken her around the world (Russia, Estonia, Fiji, New Zealand, Iceland, and the Caribbean). She is a bandleader, a freelancer, an educator, and a doctoral student in saxophone at the University of Nebraska–Lincoln. Sarah was kind enough to answer some questions about her career thus far. Read to the end for a video of Sarah doing her thing on flute, and be sure to check out her website for more performances.
I grew up in a small town in rural Idaho, and really the only music I knew was through competitions. (My graduating class was 8 people, so band programs were non-existent!) My teacher kept me motivated by entering me in competitions. I loved the dedication it required to make pieces as perfect as possible.
When I got into school at Duquesne in Pittsburgh, I was elated! Little did I know how much my life would change. Living in a larger city made it very clear to me that I didn’t have gig-worthy skills even when I was practicing 3+ hours a day. By the time I finished my undergraduate degree as a performance major, I knew something was missing. I moved back home and spent a few years working day jobs, saving up for instruments, and taking lessons on doubling and jazz. A couple of years later, I was on ships as a showband musician.
Since then, my career has been eclectic. I love the university environment, the constant challenge to become better and all the available information. At the same time, I believe the “real world” deserves respect. It’s hard and unforgiving, and that’s what makes it great. I would say so far my life has been equal parts school and career musician. Between each degree I have taken a few years off to tour and try to balance my academic knowledge with the practical. I don’t regret one second of it.
What education (formal or otherwise) and experience prepared you for what you do?
Classical training is definitely useful for some things: technique, rhythm, tuning, and the basics of musicianship. I took lessons on each instrument from great teachers (clarinet lessons from a clarinet professor, etc.). The downside to the college education system is, often there is an expectation for virtuosic technique in just one skill set. That can inhibit students because they feel they don’t have time to diversify. And I think deep down we sometimes are afraid to be bad at something again.
When I started gigging, I had to pick up skills from all kinds of sources. You never know what you can learn from someone, even non musicians. As a lounge singer on Celebrity, I got commentary about how I switch the microphone a lot while I sing (point taken/fixed!). When I played in a funk band, they wanted simple solos with more soul. I learned about networking, and really being a team player (for example, when you’re a sideman, your primary job is to meet the goals of the person who hired you). Even the showbiz aspect was picked up out there: learning how to create an environment and collaborate with other artists to create an interesting product.
If you could do it over, is there anything you would have done differently to prepare for your current pursuits?
Every step of the way, I have been really honest with myself. If I am doing a gig and feel that I am not being challenged enough, then I take it upon myself to find where the next step is for me. So with whatever knowledge I had at that point, I took it as far as I could. That translated to a lot of change in the past 10 years.
Some would say it can also be a weakness, because I find myself getting to a certain level and then losing interest. It’s fun for me to pick up something completely new because the progress is so noticeable in the early stages. Where I am now, I wish I had taken some voice lessons and worked on double reeds so I’d be further along at this point, but I’m doing that now, so I don’t have regrets. Nobody plowed this path for me—I really had to work for it and I’m proud of that.
Side note: I think it’s important to assess where you are regularly. I feel that jealousy and dissatisfaction can be healthy because we see that we need to stretch again, to make a change in our own life. We just have to keep pushing forward.
What effects did youth/student-oriented music experiences like Interlochen, MTNA, From the Top, and the Disneyland All-American College Band have on your career development?
You know, these were all different phases in my life. Competitions like MTNA are like musical Mount Everest. You have to do the opposite of woodwind doubling and focus on one main goal. The pieces need to be perfect. You have to be able to hear the music like your own voice, becoming one with it and committing if you want to win these things. It taught me how much deeper I could reach into the heart of one piece. But it takes everything. I don’t know if I could compete at that level with all the things I balance right now. I remember that Interlochen had chair challenges, where you would challenge the person above you every week in band. No slacking if you don’t want to be last chair!
Competitions really have instilled in me a sense of how big the world is. Even if you are the top player in your school or town, there is someone out there who can run circles around you. I think if people really thought about that, they would work harder.
Disneyland was a completely different experience, I got in as I was coming home to work on doubling and jazz. At first, I really failed at the movement while playing, it was so hard! This summer was so different from what I had been taught in school. It was a place where jazz, doubling, and showbiz were everything, and perfection was not important. The people I worked with in this band have all gone on to some incredible careers, I’m proud to know them all.
Most importantly with the Disneyland experience, one guy that I worked with on this gig recommended me for BLAST and, after sending a demo, I got in on the Japan tour. Then from that tour, another person I met on BLAST recommended me for Evolution. So really Disneyland catapulted me on a crazy ride to some great gigs. Luckily the dancing part got easier!
How did you get started playing on cruise ships?
Cruise ships are a lot less who you know. There are many agencies out there, and if you’re lucky, you can work direct with the company. Agents usually take a 7–12% cut from each month’s salary, and they have clauses that renew for a few years after each contract. They are cruise-line-specific, so if you have an agent with Holland, you can still go direct with Royal if you get the contact info. Downside: working direct with head office takes a lot of time to get a hold of people. If you want quick or fill in work, an agent is a better way to go.
I kind of went in blind because I didn’t know much about working on ships. I auditioned for an agent and got a gig a month later. I’ve worked with a few agents, but our last contract as a lounge band was direct with head office. For showband, they send you charts an hour or less in advance and you print them out. Then they call you on a landline and you video record the audition. Afterwards, you send the files to them, and they do the video editing and get you a gig. They usually ask for sight reading of a show with tracks and some basic soloing. And they’ll definitely test you on flute and clarinet.
What is day-to-day life like for a cruise musician? What is the best part? What is the worst part?
Typically for showband you will have a rehearsal in the am and then play two shows at night. There also are other sets, like captain’s cocktail (swing big band music) and possibly theme sets. What company you work for has a huge part in how your life is going to be. On Holland, we played 5 hours a day every day, split between Top 40 music and tracked shows (they recently dropped the sax from the instrumentation, the last surviving horn!) Most other companies are lighter. I would say the average work is around 3 hours.
Shows will typically be a couple of production shows with cast singers and dancers (most companies are going the route of tracks these days, and the band has to play with a click track). Then you’ll have a fly-on guest entertainer a couple times a cruise where you read the show in the morning and play it that night. That really helps with sight reading. Lately some companies (Princess) have cut the second sax part, so they ask you to bring tenor, alto, clarinet, and flute out there.
About the lifestyle. There are important factors to consider. For example, IPM, or in port manning means you have to stay on the ship to “protect it” even if you aren’t working. Some companies like Holland had a heavy rotation, every 3-4 days, but Celebrity was once every 3 months or so. And FOOD! Companies vary on whether you can eat upstairs with passengers or not. Believe me, crew food can be brutal. You’ll be sleeping in bunk beds with a roommate, likely a guy from the band. And you will need to have some degree of safety duties. So you want to think about these things when you consider a ship gig.
One good thing is I paid off all my student loans with ships! You can really save because you don’t have to pay rent or buy food. I also travelled all over the world and meet some incredible, adventurous people. We went to Australia, Fiji, Greenland, Alaska, Caribbean, Russia, Norway, Hawaii, Italy, Spain, etc., for free. I also met my husband from Argentina working on ships. Professionally, I had time to really work on my doubling and grow as a musician.
Still, living can become a drag after awhile because ships really have a corporate aspect to them. If a cruise director wants you playing to an empty bar that is not open at 11 am while the ship docks in Rome, you will be doing that. Also, you don’t really have control over the music or the musicians that you are playing with, so it can be really great… or it can stink. Many people on ships work 13-14 hours a day for very little wage so there can be some jealousy towards the entertainment department. Some companies have been pushing the limits to what musician contracts delineate. I was recently on a ship that assigned musicians check in duties at 6:00 AM every week. There has been push back, but I don’t know if the gig is going to keep going this way. It has changed a lot even in the past 10 years.
What advice would you give to a musician who wants to play on cruise ships? for BLAST? shows like Evolution?
To get onboard: practice your doubles, practice your reading, get used to improv (rhythm changes and blues is usually enough for starters), and work on getting a clear, solid jazz sound. I don’t think you will have any problem getting on if you have these skills ready to go.
Once you get there, explore the destinations, and take advantage of this time. For most people, you’ll never get to see the world like this again. Musically, go in there and learn everything that you can. If there is anything that you don’t know how to do, work your butt off and fix it! Also, don’t underestimate the people around you because they can make your life easier, especially in a ship situation. Make friends because you don’t know who’s connected to who. At some point, you will have learned everything that you can get from this gig, and you may began to feel stuck in one place. Don’t become one of those musicians who kept doing the same thing because they’re afraid of moving—find that next step!
BLAST and Evolution sometimes feel to me like luck. But I think they are lessons in basic networking. These aren’t advertised gigs, they are people knowing people. You have to get your foot in the door somehow, and then things will open up. Also, I should point out that my main instrument is saxophone, but for Evolution I barely played that. It helped to be versatile on a few instruments. My main job there was a flute feature while dancing. So really work hard on making each instrument sound as legit as possible, because you may be hired primarily as one of those, and you have to step up to that.
Several of your performance experiences (BLAST, Evolution, the Disney College Band) include movement and dance. Do you enjoy that part of it, or is it just a necessary part of getting to play music? Do you have abilities/experience in these areas that has given you an advantage over other musicians who might have wanted those performing opportunities?
I love it! I love being on stage and being a ham, so that’s really fun. Of course, movement was hard at first. In BLAST, I would come to the hotel every night and put the iPod on in the gym, going through the movements while singing my part. You have to time the movements of big muscles with the small muscles. We also had a part where we used pogo balls and jumped on trampolines while we played, so that took practice. I still am more stiff when performing than I would like to be, probably because I only took dance as a kid and it is hard to keep good air support while jumping in the air.
Players who do marching band would definitely have an advantage at BLAST, and that is something I wished I had when I was growing up. If you haven’t had formal dance training, movement while playing can still be done. You just have to practice it just like you would an instrument.
What part has teaching played in your career? What part do you see it playing in the future?
I really enjoy teaching, especially because I have had to teach myself a lot of things over the course of my career. Another plug for doubling, when I lived in Austin there was not much need of saxophone teachers, so most of my students were middle school clarinetists. That’s an advantage to being a doubler. Wherever you are, you can find a place for yourself among all the other professionals in your area. I would like to teach at the college level, because I feel comfortable in this environment and like to boil things down to a practical level. I’m not a very abstract person. I want my students to be empowered to really achieve things and I also want them to know how to think on their feet and create opportunities for themselves. Looking back, my career has been pretty cool so far, but anybody can do the same thing if they take some risks.
What part has YouTube and other online presence played in your career and development?
I only set up a website this past summer. For a long time, I used YouTube and Myspace for all my promo materials. It wasn’t very organized, but if I wanted a gig I could send links to the specific videos. It’s important to have information online so people can “spy” on you. Now that I book more gigs with my band, the first thing I do before hiring someone is internet search them. It’s a shame how many great players do not have material available. How can I know they are good for our gig if I can’t hear them?
A few years ago, I started putting instructional videos up. I really should do more. It takes effort to get them online. It’s been crazy how many more people come to my channel now! I’ve picked up a few Skype students this way—they will see the video, check out my website, and then go from there. Another part of this is that there is some misinformation there on YouTube. If I can combat it a little of that, then I’ve done something good for the world.
You do non-woodwind things like singing and playing keyboards. Do those things affect or inform your woodwind playing? How? Would your career to this point have turned out differently if you were strictly a woodwind player?
I got into singing when I realized how much better the gig is if you can sing! I also like to front bands, and truthfully was getting bored just playing short lines on sax. Singing is a totally different world. Words, meaning, acting, and connection with the audience are all supremely important. It’s still hard for me to disconnect from mechanics and really convey the song’s meaning. I think this is something that we as instrumentalists often miss, just the simplicity of emotion and the importance of audience-performer connections.
I played piano in high school, but I have gotten really rusty. If I had more time, I’d like to do more jazz piano because it would be cool to be able to accompany myself on a solo gig. But I just can’t find time for it right now. Playing keys on that one cruise contract made me very aware of a mindset difference—as a sax player I play a lick and then hang out. But with piano, you are always there as part of the rhythm section. You really need stamina and a focus towards the people around you, more so than when you’re playing horn. Having some piano skills has also been nice for accompanying students. My career has been mainly woodwinds, but piano is useful when arranging things, and working on singing exercises.
Do you identify as a “doubler?” Is it your intention to play all your instruments equally well, or are there one or more that you would prefer to focus on?
I tend to focus on whatever gig I’m working towards. Its hard to juggle 5+ instruments all the time equally. If it is 3 or more that I need to keep in shape, I rotate instruments with 45 minute practice sessions and I try to get 2-3 hours in a day.
I began as a saxophonist, and that instrument is the easiest for me. It’s what I primarily get gigs with too. But I want to make them as equal as I can. Another caveat, don’t let other people define you. They may see what you are, but only you know where you’re going. At the beginning of every phase (or instrument) in my career, pretty much nobody believed in me. And probably for good reason, because I’m sure I didn’t sound very good! But I practiced my way out of it. I wasn’t going to stay in that place long.
Do you have any favorite woodwind doubling tips?
I know this is common advice, but get rid of the concept of a “doubler” as soon as you can. Whenever I pick up an instrument, I say to myself, I am now a [insert instrument here] player. With flute, I work really hard to match the embouchure to full-time flutists. Don’t take fingering shortcuts— if clarinetists don’t slide their pinkies, don’t form that habit yourself! You have to also hear notes in a different way, the airstream and the shaping inside your mouth will change depending on what instrument you are performing on. Listen to recordings of great players and try to internalize it so it will come out correctly.
We’re really lucky to play multiple instruments. If you can get past the initial feeling of frustration trying to make sounds come out (I sometimes call it the 40-year-old in a 10-year-old body syndrome), you’ll see there is a real advantage to the speed with which we learn things. You already know rhythms, tuning, and many aspects of technique that will cross apply to whatever instrument you are playing.
What instruments do you consider part of your current professional toolbox? What musical styles? Are there others you are working on or would like to add at some point?
Alto, tenor, soprano sax
Bari sax
Flute
Clarinet
Singing
Piccolo
Piano
Bassoon (just started lessons this semester!)
Classical
Jazz
Pop/Rock/R&B
Reading gigs
I have a whole list of instruments that I would buy if I won the lottery!! A better-quality piccolo, my own bari sax, bass clarinet, alto flute, and bassoon. I’m also aiming to take oboe lessons next fall. For a long time, I was wary of double reeds, but bassoon has broken the ice for me. It’s been a lot of fun and I’m enrolled for another semester come January.
I saw some very cool electronic things that musicians were doing on ships on my last contract, and I may someday try to figure out basics of DJing. Not top-40 style, but actually creating electronic patches as music. So much to learn, so little time.
What projects are you working on now?
My jazz group Cambia (formerly Off the Record) is releasing our debut CD on December 11. We’ll have songs online via iTunes, Amazon, and all those great places before Christmas. I play tenor, alto, flute, clarinet, and I have a vocal cameo in the last track so it’s a doubler’s dream. The music is original compositions by myself and my husband (a guitar player). We’re hoping to take this project on the road to a few places next year, so if you stay tuned to my website I will keep updates rolling there.
Do you have time for other interests, hobbies, etc?
I wish! I used to guide rafting tours and I went snowboarding a lot when I lived on the West Coast. I miss it sometimes, but living here in Nebraska makes those hobbies difficult. At this point, I pretty much just do music stuff and follow news and politics obsessively. I like cats. Does that count?
Thank you, Sarah, for taking the time to share your thoughts and experiences!
Being a doctoral student in multiple woodwinds performance, I like to keep an eye on the job listings for university faculty positions that involve teaching multiple woodwind instruments. There usually aren’t many, at least not many that involve a national search. But two positions were posted to HigherEdJobs.com this morning: Read More “University woodwinds job postings, 5/30/08”
I first set up a personal website in about 2000 or 2001. There wasn’t much reason for me to do so—I was a college undergraduate, with virtually no worthwhile content to share. But it was a start, and fifteen or sixteen years later I have a few hundred blog posts and some other resources, plus a few college degrees and a university teaching position to perhaps bolster my reputation, and I enjoy a modest flow of web traffic. For what it’s worth, here are a few thoughts on websites for individual working (or aspiring) musicians, particularly those in non-“pop” genres and whose reputations exist primarily regionally or within specialized circles (such as academia).
photo, Markus Tacker
“Home” page: Put some content here. Why have a “landing” page that is nothing but a menu/obstacle to the meat of your site? Put your professional biography here, or maybe a recent blog post (the actual text, I mean, not just links to blog posts).
Biography: Ask yourself, are your site visitors really interested in your life story? (“Bret Pimentel started playing the saxophone at the tender age of ten…”) Keep it simple, professional, and brief. Let people know what you do.
For “who I have played with” lists, I suggest keeping it to 10 or 12 entries, tops. When you play with someone famous/interesting enough to add to your list, drop someone else.
Résumé/vita: Potential employers (for gigs, teaching positions, etc.) aren’t harvesting résumés from websites. Your short bio is probably enough. If you insist on posting your résumé or curriculum vita, strongly consider posting it as a web page, not as a PDF or word processing document. (As a general rule, use a word processing document—preferably an “open” format—if people will want to download and edit it, a PDF if they will want to save or print it without editing, and a web page if they will just want to read it online.) And I suggest removing your address and phone number for safety and privacy.
Blog entries: Not everybody needs or wants a blog, and that’s okay. But if you are hoping to use your website to build an online audience, it helps to have an avenue for publishing new stuff. (Nobody is coming back to read and re-read your bio.) I strongly suggest real blog software (such as WordPress, or a link to a WordPress.com or Blogger.com hosted blog), rather than just typing new entries into a plain web page. That way you can benefit from built-in syndication feeds and other technologies that make it easy for people to find and follow your content in their favorite apps, leave comments, etc.
It’s okay to post only occasionally. Many, many of the musicians’ blogs I follow consist of annual apologies for not posting lately and promises of great stuff coming soon, and nothing more. Just post if you have something to post.
Even if you are planning mostly to use social media sites to connect professionally, bear in mind that those can come and go quickly, and it’s nice to have a home base for your content where it will remain under your control. By all means, post your new web content to the social networks you use yourself, as those connections are the ones most likely to reshare and amplify your content.
Articles/resources: For content that you intend to update or improve over time, it probably makes sense to publish it as a “static” page rather than a blog post. If you are old enough to remember these things, you might consider a blog post to be like a newspaper article, which you probably read once and then look for fresh content the next day, while “resources” are more like phone books, which you refer to on an ongoing basis and which get replaced by newer editions.
Audio/video: I think it makes sense to host these elsewhere (YouTube, SoundCloud, etc.) and link or embed them on your site, since putting them in places where people are already looking for music and video gets them to a larger audience and boosts their search engine juice. They should never play automatically—only when your site visitor intentionally starts them.
Photos: I used to have a photo gallery on my site, but I have removed it. Ask yourself: are you famous or interesting enough (yet) that people are going to have an interest in seeing your career’s visual history? Are you hoping they will be impressed by something related to your physical appearance? Consider using one or two photos on your bio page, and put the rest on Facebook for your friends and relatives to enjoy.
Equipment: I am on record as believing that listing what brands and models you play is useless at best.
(Also, if you have endorsement deals you want to brag about, remember that the correct wording is that you endorse the brand, not that the brand endorses you.)
Contact info: Contact forms are kind of a pain. I suggest providing a real email address so that people can communicate with you using the software or webmail of their choice. Worried about spam? Use a free webmail account with powerful spam filtering.
Social links: You don’t have to link to all the social media sites, just the ones you use and see as good places to connect with internet strangers.
Instructions on how to use a website: If your website includes instructions on how to use your website, either your website is poorly designed or you are talking down to your visitors.
In general, look at each page of your website and ask, is this here because it is potentially of use or interest to my site visitors, or is it only interesting to me? Would I read this content on someone else’s site?
Last summer I finally got myself a Little-Jake setup so I could experiment with some electric bassoon playing. The inventor of the Little-Jake, Trent Jacobs, is a performer, educator, and reedmaker, and I’ve linked to his blog posts on a number of occasions.
Trent was kind enough to answer a few questions about himself and about the Little-Jake.
Tell us in a nutshell about yourself and your career.
I have a bachelor of music degree from the Lawrence University Conservatory of Music, and Masters and DMA degrees from the University of Illinois. My primary teachers were Monte Perkins and Timothy McGovern. I moved to Minneapolis in 2009 where I started work at Midwest Musical Imports, and began freelancing and teaching as much as I could around the full time job. In about 2010 I started making reeds commercially under the Weasel Reeds brand, which grew significantly over the years. I started teaching bassoon and music theory at the University of Wisconsin–Eau Claire in fall of 2015 and left MMI shortly after. I now teach there and in my studio in Minneapolis, continue with the reed making business, help in raising my two children (which includes Suzuki violin lessons), and freelance when I’m able.
What is the “Little-Jake?”
The Little-Jake is a small and inexpensive wind instrument pickup, designed to mount directly to the bocal of the bassoon or similar location on other woodwinds. It gets the name from a nickname I had when I was a little boy. My fathers friends called him “Jake” as short for Jacobs so when I was around I was “little Jake” while he was “big Jake.”
What was the impetus for creating it?
In about 2005 while I was working on my DMA, I started working out that my thesis/project would be somehow related to jazz bassoon. Years prior I was a pretty competent jazz guitarist, but didn’t ever translate that to bassoon much, and never improvised on bassoon until then. So when pursuing jazz bassoon in all facets I encountered (again) the music of Paul Hanson, and his electric bassoon playing.
If you know anything about Paul’s setup at that time, you’ll know he was using a pickup that was no longer being made or serviced by the inventor, and was an unusual piece of gear with odd technical requirements. The only thing on the market available to anyone else was actually a control booth earpiece that functioned as a microphone well enough when fit to a bocal (the Telex pickup).
I was curious about it and happened to have a third-hand connection with Mark Ortwein at the time, and I knew he had a Telex setup which he let me borrow. It worked, but I was rather unimpressed with the sound quality I could get through my guitar amp and pedals, so I set out to make something I liked better. Quite a few dozen experimental pieces later I had a prototype I was close to happy with, that worked with the Telex fitting.
What kind of background or skills did you have that made it possible?
It’s rather embarrassing to say, but the first skill needed in making something like this is soldering, which I learned by modifying gaming consoles to play homebrew software. I had learned to do that with some tutorial videos on the internet and had made a few small electronics projects so I had some idea what I was doing. I also got some help from the guy that makes the Altoids box preamps that are now commonly bundled with the Little Jake in the technical aspects of circuit building.
Most of the construction of them isn’t all that different from bassoon reed making in my mind. Small pieces have to be fit together in a precise way, it’s just that the tools and pieces are a bit different. The hardest thing in the early days was getting a good connection with the existing Telex pickup bocal adapter being made by Forrests Music. I was fortunate enough to have a colleague in the bassoon studio at the University of Illinois who was an architecture major and had access to CAD and acrylic laser cutting machines. He helped me prototype and get working pieces to allow for a solid connection.
Eventually I switched everything over to a threaded/screw adapter like what Paul Hanson was using with his FRAP pickups, so he could use my pickups with his existing equipment. That is the only way I make the pickups now.
What instruments are people using the Little Jake with? Are there others that it theoretically would work with?
I’ve seen them used on clarinet and saxophone, although not too much. Nearly any woodwind instrument is possible, as long as the player is willing to drill a hole where it’s needed. Clarinet is best done in the barrel, which is easy. Saxophone could use the mouthpiece but the neck is better, similar to the bocal mount for the bassoon. English horn could be done on the bocal but it’s fine work and I don’t know of anyone that’s actually gone there.
Flute is the one that’s not really necessary, as there are plenty of high quality microphone systems for flute that would be ultimately superior to the sound you could get with the Little Jake anyway, but there is a way to modify a Little Jake and a headjoint of a flute to make it work together. A lot of work and the sound wouldn’t be as good as a commercially available flute mic at the lip plate anyway.
Oboe is the toughest sell: you have to drill a hole at about where the third octave key is on the top joint. Most oboists aren’t willing to sacrifice a top joint to electrify the oboe, so I don’t think it’s been done. Paul McCandless has done it in the past with a FRAP, but I don’t think anyone else ever has.
I’m sure there are non-western instruments that it’d work with as well, as long as there’s a place to drill the hole.
Have you seen any uses of the Little Jake that you found especially surprising?
I’m just always surprised when I find a bassoonist using it and enjoying it in a rock band setting. I’ve had people send me recordings over the years and it’s pretty cool to see something you’ve created being used in contexts you wouldn’t yourself be in. I was blown away when I discovered a band in Iceland that had a bassoonist using a Little Jake.
Obviously using a Little Jake opens up a whole rabbit hole of new gear to buy, but what is a good minimum setup that, say, a bassoonist needs just to try out some electric playing?
The amp is the most important second piece of equipment. The goal of using a pickup with a bassoon is to get the sound space into a place that can be heard even when there are drums involved. When putting together a guitar rig, as an example, the guitar is only half of the sound; the other half of the sound is the amplifier. Ask any guitar player, the amp is absolutely critical when getting the tone you want. All the pedals and stuff you can put between the instrument and amp are just extras. So it’s really important to get an amp that gets you the sound you want at a volume appropriate for what you’re doing. I’ve settled on a really high end acoustic guitar amp, but in the past I’ve used bass guitar amps, powered PA speakers, and guitar amplifiers. It all depends on what kind of sound you want. You can get a good amp used for $100 or less.
For someone who already has that minimum setup, what are the next few things to consider buying?
If you don’t know anything about effects pedals, one of the simple and small multi-effect units for guitar or bass guitar are a good starting point. You can experiment with lots of different types of effects and decide what you like to use before investing in more specialized gear. Those multi-effect units can sometimes be found for $50 if you get a good Craigslist deal.
If you know what kinds of effects you like, you can get dedicated pedals that do that one thing really well. I find that a lot of things respond differently to bassoon than to electric guitar (which is what these things are designed for) so you really have to try things out before you spend the money. It’s always fun to take your bassoon out in a guitar store and start playing through pedals. The people in those shops love it! I also really highly suggest effects units designed with vocalists in mind. A voice or wind instrument is more similar to a bassoon than an electric guitar is. I personally use a lot of pitch shifting effects, modulation effects (phaser, chorus, etc.), and time based effects like delay/echo and reverb. I don’t really use distortion all that much unless I’m really trying to sound like another guitar player in the same band. The other thing that’s always sure to turn heads is an Envelope Filter (sometimes called auto-wah but that’s not really correct). That’s the effect that makes your instrument have that “quack” or “wah” sound when you articulate.
What surprises or challenges do people run into when electrifying their instruments for the first time?
Feedback is probably the biggest issue with amplifying an acoustic instrument. Feedback is where the sound from the amplifier or speaker is picked up by the microphone, which creates an audio loop that quickly becomes very loud and usually very high pitched. Acoustic instruments have more problems with this because they themselves are a bit of an amplifying chamber that can pick up the sound of the speakers. You have to learn what effects and volume levels will create that feedback with your own setups and be ready with a plan to control them (be always close to a volume knob that you can zero out if it gets really bad).
Do you have any favorite bassoon- (or woodwind-) playing tips?
Don’t play on crap reeds. Life is too short. Practice your damned scales and long tones. Take good care of your equipment: regular instrument maintenance with a specialist on that instrument, store things properly, clean them regularly, buy appropriate cases or covers or whatever to keep things protected. Don’t swing stuff around carelessly. Swab your horn. Especially in my years at MMI I was frequently amazed at how poorly some people, even professionals, took care of their gear. If you’re playing a bassoon at a night club you’d best know that you have the single most expensive piece of equipment in the band probably, and nobody knows it or cares, so watch out for your own stuff.
Would you like to share anything about your recent medical history?
In May of 2017 I was diagnosed with esophageal cancer. I underwent 9 weeks of chemotherapy and in early November had surgery to remove the tumor, which involved also removing my entire stomach and a portion of my esophagus. I finished 9 more weeks of chemotherapy after the surgery and have started playing again, but I still have a long road to recovery and learning to live without a stomach. I have started teaching and working again and so far things are looking good for my healing. We will do regular scans and hopefully find nothing.
I found that some side effects of chemo prevented me from making reeds as much as I was used to, and generally being fatigued kept me from playing as much as I wanted. I obviously had to turn down quite a few calls for gigs. I’m fortunate to have a good health insurance plan through my university and have some of the best doctors in the world working on me, so while my income has suffered I have a good safety net. I expect to be in full production of bassoon reeds again in the spring of 2018, so if anyone wants to be notified when I have reeds ready to go again, send a message to me through my website.
Nice interview with Jay! Thanks!