What a Great Life

My friends at Inside MusiCast recently invited me to submit a guest editorial about “musical challenges in respect to creating and playing for TV, live performance, and studio recording.”  Wow!  I’m honored to share my views on this stuff.  I’m clearly much more useful writing an editorial on this subject versus an editorial on, say, fixing the carburetor on your ’82 Chevette or the joys of using thyme in one’s gravy recipe!

Well, as most Los Angeles musicians will testify, studio and touring work isn’t what it once was in the 1970’s, 80’s, and even 90’s.  And there are indeed challenges with maintaining the status of remaining a working musician in today’s climate. Today’s economy has obviously suffered in all businesses, and the music business is no different. But I truly choose to continue to embrace a positive outlook during this time. Growing despondent and complaining about how things “used to be” seems worthless. The music business, for me at least, has been partly about one’s attitude when working. The guy (or gal) that complains about work being slow or wears a coat of stress wherever he/she goes is generally unpleasant to be around, and this unpleasantness can affect the team – composers, producers, and artists.  

Why have things changed in the music business? Well, it seems that years of extreme greed in the record industry caused what I think is namely a positive correction, ultimately. For years, the record companies were paying their artists FAR too little, and pocketing a lot of money for their execs and own interests.

I remember filing expense reports and copying receipts when I was an intern at one of the majors back in the 90’s. I couldn’t believe what these execs were spending on “business trips,” and yet wouldn’t bat an eye as they informed artists that they couldn’t fund a new record or get behind a new act. Not to mention, this particular company was signing bogus “sound-alike” artists that clearly would go nowhere, with no remorse. So, in a sick way, I’m glad they suffered.

Here’s the POSITIVE outcome of something like that. In today’s climate, artists can control their own careers, marketing, direction, etc. on their own with the power of the web. Artists from Alexi Murdoch to Taylor Swift, and even Radiohead and Wilco have used the power of Myspace, their band websites, and other social networking options to get the word, and their music out to the masses in droves. Listeners also have the power to browse and discover music with ease. And the term “viral” on the internet is so telling—but in a good way, the buzz on a band or artist can spread quickly like a great virus (!!), with no record company bozo trying to shape their sound or image.  How great this opportunity is for the individual artist or band!

The downside of the fall of the record industry seems to be in tour support, for one.  This affects people like myself, potentially. Every spring, I used to be contacted by 4 or 5 tour managers or artist managers asking about my availability for an upcoming summer run, or beyond. By 2000, this had dwindled noticeably. Part of it is that, THANKFULLY, I had begun working in TV, in the house band on the short lived Martin Short Show. Another reason I was getting called less was due to the fact that I was no longer 22 years old. A huge part of the decline of touring opportunities is that record companies could no longer afford to send as many artists on big tours.  And small “boutique-y” tours couldn’t afford to pay me enough even to afford rent and bills at the time. So I do believe it’s a bit more difficult to make a living as a touring musician with a budding artist. 

And on the “jazz” side – it seems VERY difficult to make a profit with today’s weak dollar going overseas like we did in the 90’s playing music for appreciative artists.  

So what do you do?

Well, I suppose it’s difficult for me to be an armchair therapist (although I am sitting actually in an armchair at Peet’s Coffee) from afar, as I am one of a select and blessed few that have a steady job, with Jimmy Kimmel Live. But I’ve always believed in doing your best to STAY POSITIVE.  We can all complain about the state of the biz. We can all long for the days of 3 sessions a day and gigs at night, with tours coming and going all months of the year. But it’s just not the state of today’s business. 

What is exciting about today’s business is that we can do things ourselves. I have a little studio with all of my gear set up. In the last 5 years, I’d say composers and producers are either coming to my studio or emailing me tracks more and more often. Probably 70% of my work is now made up of things I can do, dressed however casually, at whatever pace I’m comfortable, with whatever performances I’m comfortable with in my own studio. I can edit my own takes and get my own sounds. The composers/producers/artists are usually quite happy, and if not, it’s easy for me to tweak and send new tracks. How exciting is this? So much of my time before was wasted on driving 45 minutes in L.A. 405 traffic, and by the time I may have traveled 5 miles, often I can have a track in the can!  I love this freedom. I love having my B3, favorite suitcase Rhodes, Wurly—all my wacky keyboards “at the ready” – it’s like my little play room. Technology has truly allowed people like myself to do things with freedom and creativity.  

Also, artists can post things they’ve done so easily on the web for people to hear! And with the power of simple programs like Garage Band – even the most entry-level artist has a chance to create and share his work with the world.

We have a special guy, George, that comes into the Baked Potato whenever we play, and voluntarily digitally films all of our gigs, just for the joy of doing it. Go George! We can post clips that we like on YouTube if we want people to see it, and boom! The world is now at our little Tuesday night Spud gig! So many composers say they’ve seen things on YouTube or some random gig and hired me because of this. Think of how technology has helped there! 

Eddy at Inside MusiCast also asked me about the challenges of working in television. I love working in television. We are so lucky to have this steady work. And I’m very fortunate in the fact that our leader, Jimmy Kimmel, is the best guy in the world to work with and work for. Not to mention, our bandleader, Cleto Escobedo, is a dear friend, and the band is made up of close friends. What’s not to like?  

Any personal challenges I’ve run into in the world of television have been challenges to myself – to stay actively creative. It’s easy for people with a steady gig to get complacent and uninspired. Our job at Kimmel could become stagnant if one let it, as there are many days where we are primarily just playing “bumper music” in and out of commercials. But even in the Kimmel environment, we have exciting tasks.

Sometimes we have “sit in” notable guests, which is a lot of fun – learning an artist’s entire hit song catalog for one night’s show. I also have had the opportunity to score events as they happen live, and compose for the show, which I enjoy. But otherwise, I need to challenge myself and push myself musically in other arenas. I’ve had to resign to the fact that the show won’t always provide 100% of my musical inspiration or challenge, so I write and practice and find other outlets to exercise those needs. This way, the show stays a fresh and fun environment for what IT is, and I receive my other stimulus elsewhere. 

What a great life!

Comments

[Max]

Great life indeed! Anytime you need a sub, Jeff, I'm your guy!

[Andy B]

Good, entertaining read Jeff, ever considered writing a book ? How about another column soon..?
Cheers,
Andy B
Cambridge
England.

[Eddy]

We'll all hear more from Jeff in the next coming months! What a great column for us...thanks so much Jeff! (e)