Repetitive Stress Injuries: Temporarily Side-lined

Some aspects of pain are a natural byproduct of learning an instrument and are to be expected.  For stringed instrument players building calluses on the finger tips is an excellent example of this.  You practice until you’re uncomfortable, then stop and try again later.  Eventually your fingers grow accustomed to the sensation of working the strings and you build sufficient callus on the each finger to no longer have an issue with it.  Working unfamiliar muscles can result in lactic acid buildup which brings a different sort of discomfort, but one that most folks who have exercised are familiar with.   Stretching is vital to avoid many injuries, but it is also an area that is not addressed very often in the learning process.  Most of the time it comes up when an injury is either forming or has already manifested itself.

I have been having some issues with might right elbow that indicate that I probably have a repetitive stress injury that is impacting the ulnar nerve.  It seems to be a bass-centric injury in that the worst symptoms arise when I’ve been working with the bass as opposed to the guitar.  I’ve concluded that the ergonomics of my guitar playing are different than my bass playing.  One of my doctors agrees, and after noting the worsening of the symptoms, she stated that I should take an extended break from bass playing before the symptoms became even worse and started impacting my guitar playing as well.  She also advocated finding a good physical therapist to get me started on the road to recovery.  While this area is not her primary area of expertise, she is no stranger to RSIs as she has been dealing with her own for several years now.

So this has left me with a definite dilemma, as I am active in three bands as the bassist.  All three expect rehearsals and one is a semi regular three set a night band.  It was during the most recent gig with that one that I came to the realization that the problem needed to be dealt with in one way or another.  We were performing in a local watering hole and about half way through the second set the pain started in my elbow, followed by numbness and prickling running down my forearm.  If it had been my left arm I would have worried about my heart, but it was my right and not radiating from the shoulder.  By the end of the second set I was in significant pain and my right hand was starting to go numb in the ring finger and little finger.  The situation simply worsened through the third set, but I grunted my way through it; not necessarily the best decision health wise, but I made it through the gig.

If this had been a one-time occurrence I would have left it at that, but this has actually been building for some time now.  I have been having pain in the elbow there for some time and bouts of prickling and numbness running down my arm in that area that has come and gone.  I’d mentioned the prickling in passing to my PCP when I had my annual physical, but she was more concerned with some other things at that point and it was an “oh yeah, almost forgot about it,” comment on my part.  Given that my current symptoms are basically classic for some variation of tennis elbow, I’m fairly confident that I know what’s going on and my other doctor was in agreement with my assessment.  The treatment options that I have found thus far are pretty simple: rest, icing, and anti-inflammatories.  Severe cases might require surgery, which I would like to avoid.

I’ve also been exploring different positioning, moving from a five string to a four in order to change alignment, shifting strap lengths and instrument angles, and paying close attention to how my right arm responds to the changes.  I’ve been trying to move my elbow position as soon as I get any pain twinges or start feeling the prickling numbness occurring.  I traded my Carvin SB5000 five string for a Carvin Bunny Brunel BB70 four string, hoping that the difference in body shape, weight and less elbow travel to hit the low string would help.  I’m also trying to consciously play as lightly as I can with my right hand; trying to avoid digging in and working the muscles any harder than necessary.  Thus far the difference hasn’t provided any significant relief and I’m looking at another three set bass gig looming on the not so distant horizon.  The pain is under control, but the numbness and prickling are very much affected by how long I’m on the instrument at any given time.

So, I’ve started making my band members aware of my situation and have let them know that it is in all likelihood going to result in my having to take an extended break from performing on the bass.  I really don’t want this to get worse, particularly since I still can play guitar symptom free for the most part.  Thus I’m left with some pretty limited options.  We’ll see how it goes.

 

 

Sharing A Stage: Opening for The Tubes

Last night Speed of Sound, a classic rock cover band I play bass in, opened for The Tubes at Tailgater’s in Bolingbrook, Illinois. I spoke to three of the band members, guitarist Roger Steen, bassist Rick Anderson and keyboardist David Medd. All three were approachable and had no problems conversing with a local semi-pro who just happened to be in the opening act. Anderson quietly offered me the use of the bass rig that was rented for the band with two stipulations: that I didn’t play too loud or blow it up before he got to play. I had to smile at that. It was a huge Ampeg head on top of an Ampeg 8X10, which Anderson stated was basically, overkill for the venue; a 4X10 would have been fine. I thanked him, but opted to run with my much smaller rig set up on the other side of the stage where I could hear the band better.

The gear that The Tubes contracted filled a good portion of the large stage, and as openers we set up our gear in front of their backline after they were done with their sound check. It was quite evident that they had no interest in a loud presence through the monitors and desired a very comfortable stage volume. They’ve been doing this for about forty years or so, thus they are quite familiar with what they want and need versus the “if it’s too loud, you’re too old” perspective that many aging rockers tend to adhere to. That being said, the front of house sound was huge, clean and clear.

It was clear that Tailgater’s had set up for the event as a concert style production with high dollar tables filling the area that normally would be a dance floor in front of the stage. One of the band members noted that ticket sales were down, but he still maintained a cheerful and professional demeanor despite this. The sound check took a while, and it took the sound team a bit of time to get the keyboards into the stage mix at a level that the band was happy with. At the start the keys were washing everyone out except the drummer, and it took about ten minutes to nail that issue down, including switching out a monitor. Once they cleared we set up and ran our sound check. I have such a small footprint that I can set up in about two minutes, so I sat in place and looked out at the venue wondering how many tables were going to be filled.

People were starting to file in while we did our sound check. The doors opened at seven. We finished our prep by about 7:40 and then settled in to wait for our 8:30 hit time. People started filling the place up close to eight while I was trying to find a quiet place to sit down and breathe without anyone talking to me. My A-fib had kicked in shortly after arriving at the venue, putting me in a bit of a cold sweat, sucking my oxygen levels down, and sapping energy away, so I requested a stool just in case I needed it on stage. During sound check I was having difficulty getting enough air to push into my higher register for the vocal backups, while seated so all I could do was hope that the A-fib would pass by the time we hit. I talked to our front man after the check and gave him a heads up to which he replied, “oh no, I was hoping you’d cover some for me since I’m still kind of sick.” All I could give him was I’d do what I could. So there I was twenty minutes before the show, sitting on the stage steps doing deep breathing exercises to try to bring everything into sync.

We hit right at 8:30 to a fairly full house. The more expensive seats in front of the stage weren’t full, but the rest of the place was packed in. We were only supposed to go from 8:30 to 9:30 and that’s what we did, running through our set and roping in the crowd. It’s really nice to play to a good crowd. When you’re playing well, and they like what you’re doing it creates a mutual energy feed. Despite there not being a dance floor, we had people up and grooving to the tunes, dancing in the areas the wait-staff had roped off and solid applause after every song. A guy could really get used to this!

The breathing exercises helped get my ticker back in line, so I managed to hit the high notes when and where I was supposed to and I provided fill in support for our front man when he needed it. It felt good, while I was up there, or better stated, I felt good. I was surprised at the volume we were producing, though. We’re essentially a power trio plus a front man. So our instrumentation is guitar, bass and drums at this point. We’re looking into adding a keyboard player in the future, but our core is pretty basic. Despite this we have no difficulty providing a wall of sound, especially when we’re fully mic’ed up and pumping through an excellent club system. We definitely warmed up the crowd for The Tubes’ performance! All in all it turned into a pretty solid good night. I’m looking forward to many more in the future.

Busy-ness is Part of the Business

This has been a busy week and promises to continue to be so at least through tomorrow. Monday was taken up to a great extent by my annual physical, which between the commute there, the appointment, waiting for the blood draw at another office and then the commute home consumed about four hours. Tuesday was my light day. Wednesday consisted of a morning rehearsal and one in the evening. Thursday involved a trip to the dentist to reaffix the crown that came off Wednesday night, then a trip to Waukegan, IL for a television date with one of the Blu Wavs, then rehearsal in the evening with another band. Today has been devoted to class preparation for next week, and another rehearsal tonight. Tomorrow isn’t too bad with a guitar student in the morning and a gig opening for The Tubes in Bolingbroke, IL. Sunday I’ll finish up my plan for the semester and send off the syllabi for printing. All the while I’ve been keeping up with my writing commitment and doing the other things I do around the house to help keep things running. It’s good to be busy, but it really amazes me how much time is spent on the background stuff (preparation), versus the foreground (performance). I also find it ironic that the background area is where most of the actual nitty gritty work gets done, but the only money really comes in with the foreground work, which usually takes the least amount of time out of the bargain. As a writer and a musician both, I find myself with the conundrum of trying to turn it all into making a living, and both fields have similar issues.

Most writers that make money in the book market earn it in the form of royalties and the initial payment takes the form of an advance on expected royalties earned from projected book sales. The writer doesn’t see any more income from that particular publication until the advance has been recouped through actual sales. The IRS views the royalties as unearned income and withhold at a higher rate, which is a bit on the cruel side, despite the fact that most authors aren’t actually being paid while they write. The same holds true for musicians who make recordings through traditional record labels, except in that case usually the advance is also expected to cover the actual recording expenses. In both cases, writers and recording artists, the percentage per sales unit that they earn in the royalties themselves is quite low so making real money on the deal relies heavily upon the volume of sales. This is one of the reasons why self-publication and musicians creating their own independent labels has been growing in the digital age. This route creates a stronger possibility that the individuals who are creating the material can actually make a reasonable living without having to sell absolutely massive amounts of product in order to do so.

Of course the individual in these cases has to finance the whole production. This isn’t quite as problematic with writers as it is for musicians, but in both cases it involves a pretty steep learning curve, finding solid marketing and distribution resources, solid planning with a reasonable business plan, and some capital to finance the project. Both writers and musicians at this point can rely upon a strictly digital product, which can cut down some of the expenses on the front end. The advent of the e-readers has radically changed the expense of publishing a book, for instance, so if the independent writer wants to go the digital self-publication route there are several distributors that are more than willing to assist them in the process, most notably amazon.com and iBooks. They take a larger cut, but they are handling distribution and some limited advertising. Musicians can go the same route with iTunes, amazon.com and other download providers, as well as selling downloads through their own websites. However, most musicians need to invest in actual small run productions of cds as well, particularly for selling at shows along with other merchandise that promotes either their bands or themselves. Once again, the funding comes out of the individuals’ pockets.

At this point musicians are having to look into some pretty interesting ways to end up making ends meet and to bring projects together. Touring is expensive, downloading has led to piracy, and people are quite frankly becoming unwilling to part with money to pay for their daily soundtracks. The ease of access that the digital domain has created has also created a negative impact on sales of digital files. Sites like YouTube have an incredible amount of popular music material just a free click away, subsidized by commercials that aren’t lining the performers’ pockets. If there is any money made by the artists themselves, it’s even smaller than anything they would recoup from digital download sales, and while exposure is great, it won’t house or feed you. This type of situation has led to many musicians turning to crowd funding in order to make things happen and some have had incredible success simply asking their fans for the cash to front things.

So yes, I’m busy and I’ve got quite a bit on my plate at any one given time. I’m also still trying to wrap my head around all of this in a world that has changed so incredibly over the past 54 years of my lifetime. Changes in medium have brought so many incredible shifts in both the businesses of writing and music making, let alone the shifts in the technology that are still occurring at an ever increasing rate, yet still I’m loading up the equipment and heading out to gigs, paid and on spec, in the hopes that they’ll lead to something else. Still I’m hammering away on keys of some sort, affixing words to virtual pages where it used to be actual paper rolling into a typewriter or flowing from a pen. I’m still rehearsing, I’m still playing, and I’m still chasing that carrot no matter how many times it eludes me. Next week classes start up for spring semester, and a more traditional type or paycheck for at least part of my income. I’ll be ready.

Making it Work: Performing When Physically Compromised, or Again with the Cracks. . .

My fingers are patched up and I made it through a couple hours of rehearsing this morning.  The thumb splits reopened but the crack in the left middle finger held.  I’ve resealed the splits and reinforced the middle finger crack with a liquid bandage that I started applying yesterday.  I have another rehearsal tonight of about three hours, one tomorrow night, Friday night and then a gig opening for The Tubes Saturday night.  With the liquid bandage I think I’ll be all right and not get too bloody.  The good news is that I just had my physical, along with my bloodwork coming back in.  No blood borne pathogens here, which is what I thought but it’s always good to have that type of opinion backed by science to prove it to be fact.  Oh, and I have a TV gig tomorrow afternoon as well, a taping session of three tunes that’s part of a Valentine’s Day program featuring Chicago area blues acts.  It’s at the Comcast Studios in Waukegan, Illinois, so here’s to that.

It wasn’t as cold in the basement this morning as it was last Thursday when the splits popped open on my thumb.  Playing in cooler environments provides me with some physical challenges.  For one thing, when the temperature is creeping under sixty degrees my hands stay quite dry, as well as the skin staying cold.  This creates a situation where the skin isn’t as flexible as it is in warmer temperatures, which leads to a greater potential for damaging it as occurred last week.  Additionally, the cooler it gets the colder the hands get no matter how hard the fingers are working.  What normally presents no speed issues suddenly breeds them as my hands simply never adequately warm up.  This also can increase the potential for acquiring a repetitive stress injury, because the muscles aren’t working in an optimal environment for relaxed movement.  Cold tends to exacerbate stiff tendons and muscles creating more tension than normally present, as well.

Right around sixty degrees used to be fine for me, but I’m getting older and my circulation isn’t what it used to be.  I have gigged outdoors when the temperatures have dropped into the low fifties, upper forties, which is downright unpleasant for a string player or any other player who can’t perform with gloves.  When I was in the southwest gigging, there were many outdoor gigs that started out at a comfortable temperature but had dropped pretty low after the sun went down and time spun along.  This was in the late fall and early winter, then early spring.  We did a lot of outdoor gigs during that time frame.  It’s pleasant to begin with, and many of the places have tall propane space heaters spread out across the patios, which keeps the folks outside eating and drinking for the evening, so you do your best to stay warm and play your heart out even if your fingers are starting to go numb.

I no longer live in the southwest.  Up here in the Chicago area, the outdoor gigs are over by the time October rolls in.  The restaurants that have music and patio dining start moving things inside as the weather starts getting dicey, so inside is the place to be.  The rehearsal areas are another thing, though, particularly if you’re not long on paying rent for a rehearsal space.  Band members’ basements are the preferred locations in this case, but they’re often not the warmest areas, particularly in the older homes like mine.  It’s still warmer than the garage with a kerosene heater though, and I’ve done plenty of time in those as well.  There, it can get painful after awhile though and the concrete flooring never really does warm up enough for my feet to not feel like ice blocks.  The basement is much better if the rest of the family can deal with the additional “noise.”

I get cracks every winter regardless of where I rehearse though, so it’s just something I have to deal with.  We all have something that we’ve simply got to play through, and we do what we can to insure that the job gets done.  For instance, Johnny A, an incredible guitarist who does awesome instrumental rock/lounge music has scoliosis, curvature of the spine.  Standing with his guitar strapped to his body for performance purposes causes him a great deal of pain, so he sits either on a stool or a chair for his performances.  It’s what works for him, so it’s what works best for the audience as well because he gives a great concert when he’s not in pain.  He and I share this issue, although mine isn’t as bad as his.  In my case I use the chair for rehearsals and gigs where I don’t have any room to move around.  If I’m stuck in one spot wedged in between the drummer and someone else all night, I’m in agony the next day.  Other people have other issues that they deal with as well.

The key to all of this is finding a way that makes the situation doable, like Johnny A with his chair, or sealing my cracked fingertips in as many coats of dab on bandage that will stay put.  There’s always going to be something that has the potential to create an impediment to a solid performance, and part of a performer’s responsibility is finding a way through the problem that delivers the goods expected.  Whether it’s summer heat, too much sweat gunking up the hands, mosquitos or whatever else the situation throws at you, it’s up to you to solve it one way or another, meet the commitment, and play your heart out regardless.  Now, it’s about time for another coat of liquid bandage. . .

 

Band Biz: The Value of Well Conducted Meetings

Bands are made up of people, and in most cases they tend to be democratic units where everyone has a say in how things are run. Sometimes this is not the case, mostly situations where a leader has hired musicians to fulfill his or her project’s needs. In these cases money is usually involved even to rehearse. However, most bands function outside of the full on pro level and so adopt a majority rules approach. You might have a semi official leader, someone who runs rehearsals, and a division of labor among the group members, but all of this is usually decided by the group as a whole. In order for things to run smoothly, and various jobs to be agreed upon, it is usually necessary to hold periodic meetings, often short ones before or after rehearsals. Sometimes longer meetings are held either in lieu of or in addition to scheduled rehearsals, but these are primarily on an as needed basis. In order for the group to get the most out of its short, or long, scheduled meetings each member must know in advance that the meeting is going to take place, there should be an actual written agenda for the meeting, someone needs to document the proceedings and any decisions made, and everyone must be comfortable with a majority rules decision making process.

Meetings must have a purpose and if they’re going to be conducted successfully should have a plan laid out in the form of an agenda. The agenda should include the topics that need to be discussed and can follow a template decided on by the group. Some things discussed will of course need more time than others, such as new material proposals. One of the benefits of an agenda is that it can be sent to the band members before the meeting so they can think about the topics before hand and come up with ideas. Proposing new material is one of the areas that each member should do some prep work on before the meeting so they are coming to the meeting with a potential list of suggestions in place. This can also include emailing or texting suggestions to whomever is going to run the meeting so he or she can make up a master list for discussion and decision making at the meeting. This kind of pre-meeting planning and preparation can save quite a bit of time for everyone and help to keep things focused.

When the meeting takes place, someone needs to document what has been discussed, what decisions have been made, and then what needs to be carried over to the next meeting either due to running out of time or needing additional time to think about, prep responses to, or do the work required. Without documentation all too often the time ends up being wasted. People will forget what they decided, who said yes to what, what needed to be done before the next meeting/rehearsal, which songs were supposed to be next on the list to work on, and all of the other various aspects that were covered. Whoever takes notes for the meeting should within a reasonable amount of time transcribe what was covered, what decisions were made, and what needs to be addressed on the next agenda, then send it to the other members/make it available. This ensures that people remain on track and that everyone knows what his or her responsibilities are in relation to those decisions.

Bands run best when everyone is satisfied with how things are being decided, and feel like they really have a say in where things are headed and what is being done. It is very important that everyone feels like they have a voice that is heard and taken into consideration. That being said, when a band is run as a democracy everyone needs to be able to handle that when decisions are made, the majority rules. There should be boundaries, of course, and if someone totally despises a piece of music, or finds something intolerable then that MUST be taken into account. While it is a democracy it still needs to be reasonable, otherwise people will leave. If you’ve got a good team player who is being consistently shorted, then you’ll probably end up having conflict, so bear in mind that everyone needs to get his or her way sometimes. Keeping things on equal footing helps immensely.

Bands that are successful are so for many reasons, but one thing they have in common, particularly the ones that are together for extended runs, is that their people work well together for a common goal. This takes effort, even if everyone gets along well. Organization can make a huge difference in being able to maintain that solid relationship as the band moves along, grows and meets with new challenges. A key to creating that organization is open communication and one of the only ways that is going to happen is through dedicated meetings. These meetings must be planned with advance notice, have agendas, and need to have written documentation of what was decided and discussed in order to ensure that everyone is still on the same page the following week, rehearsal or performance. This can and will make a huge difference in both the productivity of the band, and the relationships between the band members.

Making a Life in the Arts: Make the Commitment, Do the Work; Expect Payment.

A life in the arts provides its inherent challenges, not the least of which is making a living within your art. Some folks go to school, graduate, then go on to graduate school, finally landing a job teaching in their field at the college level. While this might seem like an undesirable compromise to some altruists out there, the reality is these folks are lucky. They have found a way to make a decent living in their field, have the opportunity to continue pursuing their art, and are the ones who actually stand a chance of building a retirement fund in the process, all the while having access to other benefits like health care.   Some take the route of teaching in their field in elementary, middle and high schools. For those who land full time work there, it can be a reasonable living; however, in today’s public schools the arts are one of the first fields to be cut when funding crises occur. There are other ways to make your way in your field, but they are not for the uncommitted. If you can’t commit to doing everything it takes to make a living in your particular field, then you really need to face the fact that the only way you’re going to make it is with a day job.

The lady who owns the dance studio my daughter goes to studied dance through the college level, danced professionally for years, and is a certified dance teacher, licensed to teach in public schools as well as privately. She is currently in her middle years and still dances as the opportunity presents itself, but most of her professional life at this point is directly linked to her school here in Oak Park, IL. She has two studios, one in Oak Park and the other in Forest Park, which is a neighboring suburb. She has a cadre of instructors who are all excellent, and she still is very active teaching. I am amazed at the amount of work she puts into the studios, with dance concerts several times a year involving full productions on excellent stages in the area. She’s a dynamo who is also currently starting a dance company as well, featuring students and local professionals, and giving the ability to experience a full on professional production for the members. She spends enormous amounts of time teaching dance and choreography, producing the shows, choreographing dances and all the while maintains a positive attitude regardless of how stressed she might be. If you’re curious about her, her name is Diane VanDerhei, and her studio is Intuit Dance Studio in Oak Park, IL.

Diane is an example of the level of commitment necessary to be successful in the often cut-throat world of the arts. Most musicians that I know who aren’t teaching in colleges full time, either don’t make a living as a musician, relying on day jobs to pay the bills, or cobble together an income from a variety of sources, usually a combination of gigging, teaching private lessons, and working in a music store, or some combination thereof. I have a friend, Erik Truelove, in Tucson, AZ who is one of the best drummers I’ve ever worked with and a wonderful gentleman to boot. Erik has always been something of an entrepreneur and has worked as a contractor doing construction as well as having his own businesses over the years. Erik started a music school in Tucson called Drum and Drummer. Originally it was started to teach percussion, both group sessions and private one on one lessons. He also sells percussion instruments through his school. He has been successful, marketing his skills very well and has been expanding the school to include guitar, piano and bass lessons as well. This is in addition to working as a drummer on a fairly regular basis. He has a cadre of instructors as well as other staff who man the desk and take care of various aspects of business. This being said, the reason the place is running so well is that Erik committed to the project and didn’t go in part way. He had a plan, worked the plan and is getting solid results.

Often people go into the arts and have a somewhat flaky assumption that inspiration is something that cannot be rushed, you just have to wait for the moment and it’ll come. Most of those folks are still waiting. In order to be successful in the arts, whether it is dance, art, writing, music, or whatever, work must be done and it must be done on a regular basis. The people who are out there on the local level and making a living at it are all committed to doing the work it takes in order to reap the rewards. It’s also important to have a concrete understanding of what you need in order to make a decent living. What is a decent living must be ascertained otherwise it is simply a vague concept. Determining what you need to make also has a hand in determining what you need to do in order to hit that target. If you’re not willing to do that, then it’s definitely time to look for a different stream of income.

Too many people approach a life in the arts with the romantic notion that artists are dreamers who keep their own schedules and can’t be troubled with worrying about money. And far too many adopt an attitude that they’re selling out if they start thinking about the money aspect, looking upon those who expect to make money with sneers of disdain. The fact is people need to eat. They need a safe place to sleep and they need to be able to take care of themselves. Expecting to be paid for your art is simply the difference between a professional and an amateur. And if you have any hopes at all of making a life for yourself in the arts, you really need to focus on both your art, and how you can make a living with it. That is actually one of the key factors in succeeding. The other two are total commitment and tons of hard dedicated work.

Facing the Buffet and Making Choices: A Musical Smorgasbord

About a year ago I went through one of my “turn the focus to classical guitar” periods.  I had been playing with a community classical guitar group for fun, and had joined a classical guitar sextet to do more challenging material as well as possibly gigging with them.  I periodically go through these phases where I want to return to “serious” music, whatever that really means I’m not certain.  I posted a list of pieces I wanted to revisit, relearn and add to my solo repertoire.  That list is still on one of the windows in my studio, poking up behind my computer monitor.  Today it’s reminding me of where I’ve been before and where I’ll visit again some time from now, or tomorrow.  In many ways music has become a buffet table laden with delights from the many different places to explore, some exotic, some complex, some simple to the point of primitive, others heavy, weepy, joyful and downright creepy.  It’s all there right in front of me and I want it all at once.  I’ve also found that when I’m faced with the buffet I have difficulties determining my identity in all of it.  The easy answer is I’m a musician, but I’m not one that necessarily falls into a convenient slot for further identification, and that’s largely due to my own broad interests.

I have performed classical music as a guitarist, a pianist, and a choir member with large and small ensembles as well as performing as a solo classical guitarist.  I’ve also performed in alternative rock bands, dance bands, funk bands, blues bands, jazz bands, folk bands, country bands, jam bands, Americana groups, R&B bands, zydeco bands, cowboy rock and roll bands, hard rock bands, light rock bands, classic rock bands, country rock bands, and I’m sure I’m missing some other genres that I’ve done as well.  I’ve enjoyed all of them, some more than others, and when it comes down to brass tacks if the other players are good I’ll consider most genres as fair game and interesting in their own way.  I often like to be in a variety of groups at one time, playing different types of music in each, because variety keeps me ticking.  Too much of the same, along with too much repetition, kills the mix for me, and most of the time it doesn’t matter to me if I’m playing bass or guitar as long as I’m playing and performing.

One of the dangers of facing the buffet is overfilling the plate, particularly if it’s a really good buffet.  One of the local restaurants that I love is called The Khyber Pass, an Indian restaurant with an absolutely killer all you can eat buffet.  I have to be careful there because I’m always tempted to stuff myself to the bursting point, and all too frequently have because it’s so good.  The musical buffet presents the same danger, particularly when it comes to projects.  Sometimes it’s difficult not to over-commit, especially when opportunities start coming in.  When you have highly eclectic interests, like I do, often in order to get the variety I crave I have to play in multiple groups.  Most groups focus on a particular genre or target, and variety bands, particularly working variety bands, tend to be pretty tightly knit as well as few and far between.  This means that variety frequently requires multiple commitments, which in turn can lead to overcrowded plates.  When the opportunities are rolling in I have difficulty not overfilling the plate and then wanting to fill it with even more.

Now I’m looking at the list of songs on the window, wondering what I could pull off working on, how much time I have available, and then thinking about the new standards type of jazz project I’ve been considering doing, the four groups I’m currently with (two startups, one fully out of the gate and one getting out), and then my solo interests.  I have a lot going on, yes, but still want more, as well as more club dates to pay the bills.  I’m truly bellied up to the buffet, but I’m starting to wonder how much of it is dessert, versus how much is what really sustains me.  If I’m running with the food analogy, I have to also take into consideration what I need to eat to keep me as healthy as possible and what will keep me running best.  I have often found that when I want more, it’s usually because I’m not getting enough of something specific; there’s some important aspect that is missing in the equation so quantity becomes a way to appease the desire that hasn’t been either attended to or even defined.

Much of my musical journey has been a search for that missing aspect that needs to be fulfilled.  I’m still searching for the ultimate “right fit” and while I find myself periodically down for the count, I still inevitably pick myself up and return to the search.  I have to do this; it’s not optional for me.  It’s really integral to my personal make up, so I return to the search and keep bringing plates back from the buffet to my booth where I dig in once again.  The classical guitar comes out with the technical exercises and complicated pieces, the bass tunes down to E flat for the classic rock band and then up again to standard for the blues rock bands, and the acoustic steel string and nylon strings come out for the other work, all the while seeking that elusive compromise that makes it all work together, and brings home the cash.  I’m still searching, and I will be probably long after I find what I’m searching for.