I’m still at what I hope is the beginning of a long career, with lots of things left to learn. But here are a few little things I’ve picked up along the way so far (three and a half years, actually), and that I thought might be worth sharing.
Getting hired for a job in academia is about being the right match. I applied to a lot of jobs during the final year of my doctoral studies. A few seemed like good matches on paper, but for a number of others I thought I could perhaps offer something better than what was listed in the requirements. For example, I applied for quite a few single-woodwind jobs, and tried to emphasize in my cover letters and CVs that I could potentially take on responsibilities with additional instruments. I got virtually no response to those applications. The jobs that I got interviews for were specifically multiple-woodwinds jobs.
A highly-qualified and very talented friend of mine was hired for a teaching position. I had opportunity later to speak with one of his new colleagues, who raved about my friend’s lively and outgoing personality. “The other person we interviewed was so boring,” she moaned. I suspect that had I interviewed for that job, I would have been the “boring” one. At some other interview, my friend’s energy and humor might have been seen as frivolous or flippant, and my more muted social style might have won the day.
Since being hired myself, I’ve had several opportunities to serve on committees that have sifted through applicants for other music faculty positions. There are lots of people looking for those jobs, and when the applications start to pile up, anyone who doesn’t meet the specific requirements of the job gets set aside pretty quickly, no matter what other strengths they might bring to the table.
Once I started my new job, I discovered quickly that students, as a group, utterly defy my every expectation. Sometimes in negative ways, sometimes in very positive ways.
I have made a number of mistakes related to designing syllabi, assignments, and so forth, mostly because I have tailored them to the kind of student that I was (at least in my rosiest memories). But my students are different from me and different from each other. In general, the more smug I am about the cleverness and innovation of a teaching technique, the more quickly I can expect my students to poke holes in it.
I have made a number of changes to the way I grade applied (private) lessons, because the sort of idealized system that I started with was sometimes rewarding or punishing the wrong things, and sometimes misleading my students about what kinds of grades to expect at the end of the semester. A colleague who directs a performing ensemble explained to me that his syllabus now includes a “black socks” clause: specifying concert attire including black shirt, pants, and shoes proved not to be an adequate level of detail for some of his students.
Documenting everything for the various higher powers is a way of life in academia. Annually, I am expected to submit a report detailing my work during the past year. This includes what courses I have taught, how I have improved upon them from previous semesters, what performances and presentations I have made on and off campus, what I have done to continue my own education, what service activities I have participated in on campus and in the community, and a number of other things. Every two years, I sort through all of this information again and organize it a little differently for submission for the tenure and promotion process. Several times a year, some subset of this information is needed for some kind of departmental or university report, preparation for re-accreditation, or some other type of data-gathering. Additionally, I’m expected to submit updates to various newsletters and to file press releases. Sometimes it seems as though I spend half my time doing my job, and the other half explaining how I did my job.
Some kind of organization system is a must. One thing that works well for me is to spend some time each semester going through the archives of my calendar and to-do list, which I maintain obsessively using various electronic tools. Anything that’s not 100% routine gets looked at carefully, and most things end up filed under teaching, service, or faculty development: did I develop any new handouts or other materials for a course? attend a lecture or workshop on campus? spend any time on a high school or community college campus? do committee work? come up with an idea that was implemented by my department? Small or large, it goes into the records.
As it turns out, the ten years and three degree programs that I finished in college were just enough to get me started. Clichéd as it sounds, it may be that I actually do learn more from my students than they do from me, and that’s certainly true of my various bosses and colleagues. Here’s to another 30+ years of my education.
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”
Lately I have been enjoying Sal Lozano‘s recent CD, Everything’s Gonna Be Great (available from CD Baby and iTunes). The album is 13 charts by Tom Kubis for 5-piece saxophone section with rhythm section, and Sal plays all five of the saxophone parts. It’s a lot of fun, Sal sounds great, and there’s an all-star lineup of guest soloists.
Even if you don’t know Sal Lozano’s name, you have almost certainly heard him play saxophone and woodwinds. He has recorded with artists ranging from Paul McCartney to Stevie Wonder to Christina Aguilera to Mel Tormé, played on movie scores for Disney’s Beauty and the Beast and National Treasure, and performed in TV orchestras for the Academy Awards, the Emmy Awards, the Grammy Awards, American Idol, and Dancing with the Stars, among many, many other projects. He plays in Gordon Goodwin’s Big Phat Band, which just picked up another four Grammy nominations to add to an already-impressive list. (Also check out my interview with Big Phat Band saxophonist Jay Mason.) Sal also teaches at California State University, Long Beach, is a clinician for Disneyland music education programs, and is available for masterclasses and clinics.
Sal is very generous with his time and expertise, and was kind enough to answer some questions about his work and his new album. (He also asked me to let my readers know that they are welcome to contact him.)
“I’m a sax player.” That’s what I say to anyone who asks. I also teach saxophone at the university level. Just private students, about six, which has paid for my daughters’ education.
What education (formal or otherwise) and experience prepared you for the work you do?
I studied at California State University, Long Beach as a performance major on saxophone. Four years of private lessons with Leo Potts. Prior to that I studied with Greg Adams at a music education studio owned by Gary Foster. After college I studied flute with John Barcelona and Jim Walker (he kicked my butt). Then clarinet with Jim Kanter. I also have enjoyed playing in ensembles for many many years which is just as much a learning experience as any teaching I’ve had. I also started playing at Disneyland when I was 19 and that was a great learning experience. Too much to talk about now.
If you could do it over, is there anything you would have done differently to prepare for your current career?
Interesting. (This is my third rewrite of this question.) I’m not sure I knew of a plan then. I just wanted to play. Having said that, I wish I could have learned a little more theory and harmony, but maybe things happen for a reason.
What is a typical work week like for you?
Long tones. Oh… work? It’s all “maybe…” Maybe a recording or two (motion picture, TV show, CD recording, etc.), or if I’m doing theater my nights are busy with that (usually six nights a week if I happen to have a theater run). Teach on Friday. Perhaps a concert with the Phat Band, which is mostly out of town. That band is a lot of fun and travels well. Sometimes weeks can be very busy and some are sporadic. However, I try to do something musical every day.
What projects are you excited about right now?
I have the new CD out and have been getting great response. I am hoping to put out a playalong book based on the tunes on the CD. In April I will be on a solo tour in Japan playing with several local big bands. I’m also in the orchestra for the Oscars so things are great right now.
What instruments do you consider part of your current professional toolbox?
I play all the saxes, flutes, clarinets, whistles, ethnic flutes, and the EWI.
Are there others you are working on or would like to add at some point?
I was asked to play the ocarina last year on a Robbie Williams CD so I learned that. This year I’m on a project where I’m playing a bamboo sax from Argentina. Another calls for the shakuhachi flute so I may learn that.
Do you self-identify as a “doubler?” A saxophonist who doubles? Something else? 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’ll answer these in order: no, no, yes, and all equally well. To explain, I consider myself a woodwind player (I know, I don’t play double reeds, I tried and said “no”). When I pick up the sax, I’m a sax player; flute? a flute player, etc. That’s the attitude I’ve taken when approaching these instruments. I dive into the deep end when playing these because most of the time I’m sitting next to great players who only play flute, clarinet, oboe, etc. Many remarkable players.
What kinds of teaching/educational activities are you involved with?
I teach at California State University, Long Beach, which is a four-year university, teaching private saxophone lessons. For about 23 years I also have been a clinician for a program at Disneyland called Disney Performing Arts where we take students through a 1½ hour recording session, reading music written for that level and recording a soundtrack of a short clip of a Disney animated motion picture. We use a click track and everything that is involved with recording. Great program because the students react quickly when they hear themselves on the soundtrack. It turns out that they fix problems quickly. I also enjoy very much going across the country and playing with music schools of any type. Clinics, masterclasses, etc. I really get a kick out of that and would like to do more.
What is the best part of your job? What is the worst part?
The best part is playing music. Doing something I love to do. Hanging and playing with great players and writers and the joy of watching a student excel and succeed. Not sure if there is a worst part because I really enjoy it.
Do you have time for other interests, hobbies, etc.?
Oh yes. MLB baseball. College hoops.
Your new album is in sort of a Supersax vein, with a big-band-style saxophone section playing with rhythm section and guest soloists, but you recorded all the saxophone section parts yourself. How does that process compare to recording section parts with other saxophonists?
Well, first of all, I didn’t have to tell anyone in the section where to breathe and how to phrase. No one shows up late or has to leave early. I don’t have to tell the second alto he’s playing too loud. Tom Kubis told me he had written these charts and wanted to record them with the guys in the big band. I told him that I would record all the parts, and that was it. It is really fun to play in a section, or play chamber music where you have to listen and react.
In the liner notes, Tom Kubis (who wrote all the charts) compares your lead playing to Marshal Royal and Jerome Richardson. Does that ring true to you? Do you have other favorite lead players?
Marshal is one of my idols and heroes. I had the honor of sitting next to him with the Ray Anthony big band and he still commanded a lead alto presence in his mid- to late 70’s. He was the first guy I heard way back in junior high school and I was hooked. I’m a huge Basie fan and collect bootleg recordings from the 50’s of that band with Marshal playing lead. Great sound, great time. Jerome was a great influence while he was with the Thad Jones/Mel Lewis big band, especially on soprano. There is a huge list of lead alto players I love. The list is quite extensive and it wouldn’t be right to start to list because I can’t think of all of them. They all have this confidence in their sound, the way they go from one note to the next, in many, many styles, not just traditional big band.
Some of the charts on the album use the “standard” alto/alto/tenor/tenor/baritone saxophone section, but some use the less-common soprano lead. Any thoughts on soprano vs. alto as lead instruments? Other than paying dues on the horn, are there any other special considerations when you play lead soprano?
To me? Soprano saxophone requires a hard reed and a slightly open mouthpiece. Mine is an old S80 Selmer E with #3 traditional Vandoren reeds. I need to have the resistance to help me get from one note to the next and hold the pitch and sound I want. I’m not going to change this setup, only the reed. This goes for any playing situation. I most certainly put more air into lead alto playing than I do soprano.
Although the album seems to feature you primarily as a section player, you do take some nice solos, including one on flute. Are you as comfortable improvising on your doubles as you are on saxophone? I think a lot of doublers (myself included) really learn to improvise on the saxophone, and then discover that the vocabulary and fluency don’t automatically transfer.
I would suggest learning technical patterns on the other instruments as you would with saxophone. However, my overall objective is to play flute and clarinet with more of a “classical” approach, so I have had to catch up when improvising on those instruments. Listening to great jazz flute and clarinet players as much as I have listened to “classical” players is quite helpful. I have to remember that each of these instruments requires its own discipline, which is why I don’t consider them “doubles.” It just doesn’t work that way for me.
Any other behind-the-scenes information about the album that you would like to share?
For this project we started with bass and drums and a scratch lead alto/soprano part. Then, the following week, I sat down and played the parts, which took two six-hour days to play 13 charts playing all five parts on each. Eventually we added soloists, guitar, percussion, and piano.
What advice would you give to aspiring musicians who want to do the kind of work you do?
Practice everything, learn to write, arrange, play the piano, enjoy what you do, get into teaching once you feel comfortable in your playing. With the computer age, ProTools or other recording software makes it very easy to record anywhere.
So, with that comes a responsibility to music. Practicing scales with a metronome, playing long tones with a tuner. The reason is that these recording techniques require us to play along with instruments that are fixed pitched. Record yourself using GarageBand on a Mac or the PC equivalent and it will become apparent. [Ed. note: Audacity is one free, basic recording program for Windows or Linux computers.]
Play in every situation you possibly can, listen to music. A lot. To anything.
Do you have any favorite woodwind doubling (or general woodwind-playing) tips?
One thing I began to realize when studying was that the approach to putting air into these instruments grew to be similar. How I phrased and how I went from one note to the next and playing everything between the notes sort of became the same to me. Obviously embouchure is different but the air thing became the same.
Get a great mouthpiece/reed combination as soon as you can. Look for a decent flute or maybe a head-joint. Ask around, try out everything.
As you play keep in mind four things:
When you read music, the second time you see it you are no longer sightreading.
Listen.
Count.
Always look for beat one.
Thanks, Sal, for the music and for taking some time to share a bit of your experience and expertise!
I’m pleased to share an interview that I did with Ryan Lillywhite of Cannonball Musical Instruments. Ryan and I played in college jazz band together, and recently reconnected. He is a really creative and fun soloist with an incredible tenor sound, plus a cool guy with a cool job, not to mention a new dad. Read all the way to the bottom to find a video of Ryan and his Cannonball colleagues (all very tasty players) showing off their chops and their horns. Cannonball is a serious contender in today’s saxophone market, doing some very interesting and innovative things, generating some great buzz, and signing big-name endorsing artists left and right. Ryan was kind enough to answer a few questions about what he does at work. [Full disclosure: I recently bought a new Cannonball tenor with Ryan’s expert help, and it is a seriously awesome horn.]
BP: Tell us a little about yourself.
RL: I work for Cannonball Musical Instruments. I studied at Brigham Young University where I started in music but ended up graduating with a business degree and a music minor. When I’m not working, I stay busy performing, fixing up old horns, working on my old muscle car, and spending time with my wife and five-month-old daughter.
Tell us about your performing background.
I had a blast as lead tenor in Synthesis (BYU’s jazz band); I’ve performed with the Utah Symphony and some smaller local groups, recorded for movies and commercials, and recently performed with the Cannonball Band at the Salt Lake City International Jazz Festival. Most of that was on tenor sax, but I’ve done my share of doubling on flutes and clarinets in pit orchestras. I currently take my jazz quartet around for local weddings and other events, which I’ve been doing for about a decade now and still enjoy. Especially when food is provided.
What is your job title? What do you do at work?
It kind of depends on the day … we all wear a lot of hats around here. I play test, inspect, and acoustically customize about half of the saxophones we sell; I’m in charge of the spare parts/repair department; I manage a number of international accounts; I do our social media; I contribute to product and acoustical development and testing; I clean the boys’ bathroom (hey, you asked!); and whatever other projects come up. Things definitely don’t get boring around here.
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.
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.
Lately I have been enjoying 
