Archive for category Playing Gigs

Queen of ‘Jazzipino’ Charmaine Clamor Breaks Ground in America

 

My music copyist client is continuing to achieve international success!

 

OAKLAND, Calif. — Many jazz artists and aficionados consider jazz as the immigrant’s music — embracing and absorbing into a big pot, the many styles, elements and talents coming from musicians from all over the globe.

Charmaine Clamor, recently hailed as America’s leading Filipina jazz and world music vocalist, believes the “Filipino spice” may have found its renaissance in this pot in recent years, through the hybrid genre she created, “Jazzipino”. It’s a blend of the soul and swing of American jazz with Filipino music, languages and instruments. It’s the perfect pairing of her two great loves, Clamor says – of jazz and her Filipino soul, and it has catapulted her into the American jazz stratosphere.
Clamor’s Success an Embodiment of Jazz as the Immigrant’s Music.

 

Way to go Charmaine!!!

 

Read more about this success story here. It’s very motivating!

 

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What Kind of Gigs Do Musicians Play for Money?

 

Making it as an original artist or session player are goals of many musicians and singers. Until a person achieves these ranks in the music business – how does a musician make a living? My students asked me this question for years and here’s the info. This article covers traditional instruments, as computer driven music is a topic for another article.

Since different instruments provide different functions in the music biz, e.g., soloing, playing accompaniment, etc., the gigs they get follow accordingly. Though I primarily cover the more popular instruments, many classical instruments will be mentioned. If you don’t know what these instruments are, or what they sound like, I suggest going to a library and checking out CD’s that describe and demonstrate them. There are also a number of excellent computer programs that do this if you’re set up for it.

The purpose of this article is to expose you to the types of gigs different instruments are used for. I mention how gigs are gotten, though complete information is covered in my “MUSICIANS’ HOW-TO SERIES.” Here are the usual calls:
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Fun Gig at Jax in Glendale, CA

 

Here’s a short vid of club gig I played last weekend. Cool little bass solo at 2:20.

 

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Awesome Gig!

I played an awesome event over the weekend. It was a 40 yr anniversary gig that was very fancy. I played with one of my regular grooving trios, and the main show featured no other than: Chick Corea, Stanley Clarke and Vinnie Colaiuta. Wow–that man has some chops!

Here’s a pic of me and my friend Petrina. (I don’t have any gig shots yet.)

Gala MB and PJ

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The Joy of the Groove!

I played a really fun trio gig last weekend at this cool little steakhouse in Eaglerock, CA — “Colombo’s Italian Steakhouse.”

We played a variety of styles: pop, funk, jazz, etc.

What made the gig so fun were the grooves, mainly between bass (me) and drums. The groove creates the space for all the other sounds to sit on. Without space there is no where for the vocals and solos to go.

The groove provides the support for everything and gives the audience a stable reference for enjoyment and their participation: they dance, they move, they bob their heads, they smile, they put money in the tip jar and buy CD’s.

A groove creates a new universe that everyone can be in. It belongs to the musicians creating it and anyone else in the space of the groove.

As a full closet cannot accommodate additional clothes, a groove with too many notes cannot accommodate additional expression.

You can have fun, show off and use some chops.

But keep the groove solid and embracive. Incorporate everything in your space and create a new universe.

Groove on!

Marty B.

Personal Site

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Buttwinick Teaching Studio

My Articles About Music Instruction

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How Music Lessons Relate to Live Performance

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Good music instruction directly relates to live performance in ways that might not seem obvious. I’ve been wanting to write something about this for years, one of my gigs last December sparked my interest in getting this done.

I played a gig in Redondo Beach with my singer/songwriter pal, Ron Rutherford. Really good talent. We opened for Leon Russel, so it wasn’t just “any ole’ gig.”

It was a little last minute with only a handful of rehearsals, and my job as musical director was to slam the band into shape! (Which I did.) To me, this meant: exact rehearsal times, efficient rehearsals and nothing missed. This entailed a complete overview of what needed to be done, a correct evaluation of how much time was needed for each point and ensuring that everything needing rehearsal was rehearsed—and things not needing rehearsal were not. It’s easy and fun to rehearse things one likes to play, but if that time spent neglects rehearsing what you NEED to rehearse, it’s not only wasted time but detrimental by neglecting what needs to be done and diminishing the possibility of playing a great show.

Here is a brief list of the corresponding points that compare lessons to live performance:

  • Learning personal skills translate into playing well at gigs (or any performance, for fun or pro).
  • Knowing how to practice one musical aspect on a lesson translates into knowing how to break a song down and rehearse it — as a group. You learn how to do the same, isolated thing repetitively until finished with it. And more importantly, it gives one the tolerance and ability to persist on something until it’s complete.
  • Taking directions from an instructor can translate to taking instruction from a bandleader, producer or stage manager. This is an important skill to have. (Ever work with someone who always has to have things his way—when he’s not in charge? This does not work.) You have to know how to take directions without fussing about things.
  • And lastly, when you have been through good music instruction to the point of actually achieving a musical goal, you gain certainty that you can do it! This certainty builds confidence which carries over to the bandstand.

A few band members who hadn’t had much private instruction were amazed at how fast the show came together.

You want to have as much certainty and confidence as possible when you are performing. This develops mainly from performing a lot, but these roots begin by having certainty as a musician — at whatever level you are at.

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