For those of us who "play for pay" in the public sector, we have options.

For one, there are good paying gigs in the recording/sound effects sectors. I say "sound effects" because, after being a session musician and producer for over 40 years, I have just recently realized that less than half the projects involve straight meter recording of complete songs. While it takes a while to work your way in, once you become the "on call" guy, you're in!

Many sound score projects involve synching created sounds to on-screen action. INTERESTING STUFF. Typically, you're in front of a screen, watching playback of edited segments.

Then, there's the decision about whether to be a generalist or specialist....specializing in only one kind of music, specializing on only one instrument or specializing in terms of the venues you play.

I figure I've been at this game for over 55 years and am approaching my 20,000th job.

But, to do that, I have done a little bit of everything. My attitude is, if the venue is descent and the other players are OK...PLAY IT! I'm talking jazz upright in everything from bluegrass bands to PBS jazz specials, tenor banjo for a variety of dixi bands,drums and percussion, Keys and vibes (including my treasured B-3 and Rhodes) in more types of venues than I can remember, mandolin, guitars and bass for everything from experimental smooth jazz to standards and Motown (and yes, Mason....COUNTRY LOL)!.

On vocals, national and local commercials, back-up on lots of albums, voice-overs for hundreds of projects.

The point is, there never has been a time when opportunities for interesting, well-paying work did not exist.

The thing is, you have to ADAPT. Playing an arranger is one of the things I've done to keep working.

What I'm suggesting is, why not look at expanding what you do?


Keeps things interesting and keeps the checks appearing in the mailbox.

The first SS check just arrived, but I'm not anywhere near quitting.

And, being a generalist means a certain level of proficiency on EVERY instrument. It means you have to develop great sight reading skills. You have to learn lots of songs.

All of this means NO BOREDOM and LOTS of Fun.

And, above all, IT'S FUN AND FULFILLING!


Play on, everybody,


Russ

I often times feel like I spread myself way too thin, trying to cover too styles of music, too many instruments. Did Bill Evans try to double on trombone? Did Charlie Parker try to cover country music? Did Chet Akins try his hand at heavy metal?

Those fellows were true artists. I'm just a hack and have fun doing lots of diffent things. But I do often wonder where I'd be now musically if I had just stuck to one instrument and style.

You know, that is a valid observation. I wasn't brave enough and too poor to take that "long-suffering" route.

Can't imaging Bill Evans playing some of the jobs I have (LOL).

Different strokes, I guess. The point I'm making is that there are OPTIONS!

In reality, I've spent most of my "off stage" time learning to play jazz guitar...a "slippery slope" with few rewards and an audience that diminishes as you get better.

R.

LOL!