Performed live in concert at Independence Tap 3932 W Irving Park Road Chicago, IL 60641 Sunday 21 Dec 14.

Today, I am graduating with a Master's Degree in Entertainment Business Management.

My band and I performed in concert here last night. The crowd and the staff loved us. A great time was had by all!

Nash_ DMK Blog 1 Post Taking a Look at the Double Bass

I am a bassist. This blog is about a bassist, so most of the content is going to be about basses and bassists. This blog will also chronicle my life as a bassist.   So if you visit this blog, I want you to know upfront we are going to talk about any and everything that represents and reflects the “bottom line,” as the saying goes.  And I don’t know who coined the phrase, but Covering the Bass-ics is about “all Bass and no treble.” (Side bar: I am a percussionist too so discourse about that discipline is perfectly allowed).

For this discussion post however, I am going to provide you a brief history on the double bass.  For those of you who are novices, the double bass is that huge, over-sized looking violin that you see in most jazz bands. In fact, the double bass is a member of the violin family. That stringed- family includes the violin, viola, cello, and yes, the double bass.  The double bass represents the “lowest-pitched member” of the family. According to the Encyclopedia Britannica the double bass goes by the names:  upright bass, contrabass, string bass, bass, bass violin, bass fiddle, or bull fiddle, French contrebasse, and the German Kontrabass. (2014)

The history of the double bass dates back to the late 15th or early 16th century and was in common use by the 18th century. Ludwig van Beethoven and later composers gave the bass increased importance in the symphony orchestra. (2014)

 I don’t know if you have ever noticed or not, but in most cases, (although today it is not uncommon to find a modern electrified one), your standard double basses have no amplification. Also according to the article,

A double bass is usually strung with four heavy strings pitched E₁–A₁–D–G; a fifth string is occasionally added—in jazz band basses, at the top of the register to allow high notes to be played more easily; in symphony orchestra basses, below the E string, tuned to C. (2014)

 The bass can be played using a bow or plucked with the fingers, as in many jazz performances.

In jazz ensembles the bass forms part of the rhythm section and is also used as a melody instrument. It is often electronically amplified when played with such groups; an electric upright bass—a slender instrument that is easier to transport—is also common. In most rock and some jazz bands, the electric bass guitar takes the place of the double bass. (2014)

 Corey Brown in his 2011 online article for No Treble: Nothing But Bass cites in his opinion, ten of the most notable double or upright bass performances. Brown’s selection of Bassology featuring Willie Dixon is one of my all-time favorites. Take a look.

References

http://www.britannica.com/EBchecked/topic/169851/double-bass

http://www.notreble.com/buzz/2011/01/27/top-ten-the-best-upright-bass-videos/

https://www.youtube.com/watch?v=UcqqyL-Y6Go

Nash_Sandy_MPD Professional Blog Post Monday 15 Sep 14

Note: I am a bassist/percussionist. There is nothing I love better than to read about or come across articles and/or materials talking about the subjects that I love so well. I could dialogue about these subjects all day; that is music, bass, and percussion, of course. For this post, I am going to continue to build upon my previous ones.

 “Covering The  Bass-ics...” is a continuing saga of what goes on in my life as a bassist/percussionist. And let me tell you, bassist/percussionists are some “special” folk. There is nothing like holding down the ”bottom line.”  Often times, we think all day long about nothing but rhythms and beats. We hear them in everything in our environments. I live in the heart of the city so most of my inspiration comes from the sound of a moving elevated train or the persistent pounding of a jackhammer or even the slight accidental tapping of a utensil against a glass of water at a swank restaurant. We, who hold down the “bottom line,” feel our day is not complete if we are not either on our instruments and/or discovering that new bada..s thump or beat in our daily existence.

With that said, my blog covers what it is like to live in my musical world, how I wake up in the morning, the tools of my trade, the musicians who inspire me, and how they each impact and direct my personal music journey.

So like I have said, this is what my blog is all about. At the start, I formally introduced myself. Then, I wrote a couple blog posts on two of my musical inspirations- Steinway pianist, Lenore Raphael and legendary bassist, Carol Kaye.

Subsequently, I will add some more personal stuff, such as my own live performances; including insights and encounters.  However, since this month, I have been dealing the subjects of publishing and distribution, I would like to talk about something else near and dear to my and many musicians’ hearts-transcription and sheet music.   More specifically, for this current post, I thought I would talk a little about a project that I am developing. This project is a computer program, potentially an app. It is my plan to produce this program in conjunction with the Hal Leonard Corporation.  “Hal Leonard Corporation is a US music publishing company founded 1947 in Winona, Minnesota, by brothers Harold "Hal" Edstrom, Everett "Leonard" Edstrom and musician Roger Busdicker.” Currently, the corporation is headquartered in Milwaukee, Wisconsin.

There are a number of reasons why I am choosing Hal Leonard. First ,the Leonard Corporation’s reputation, “for over 60 years, they’ve been publishing and distributing publications for virtually every type of instrument and ensemble.”  

Second, the company boasts it has the Internet home for “the world's largest music print publisher.” Third, as a serious bass player, I am always searching for the most accurate bass transcriptions I can find on some of the most prolific music of our time. Yet, I have found out how really difficult that is. Sure, a bass player can sit for hours and ear-tune a composition, but it just seems easier to me to have access to the composition readily available. And finally, I chose them because I would like to shop to the company a computer program that may resolve the entire issue.

This program would transcribe bass lines on the fly, in real time. Of course, the program would provide online access and not only enable note for note transcription, but bass tablature as well, nearly simultaneously.   Moreover, detailed sheet music would also be readily available to print right from the comfort of your own home or office. In addition, by the program being online, you would have access to the program playing the composition back just like what is being done on some other sites.  You would be surprised how difficult it is for a bassist to find really good, accurate bass transcription.

I choose Hal Leonard because of its international reputation for excellence in the business of music publishing and distribution. I also know the company has the enormous resources to make certain this program of mine would operate within the lawful scope of copyrights, royalties, etc.

 I will not go into the all of the details on my blog. I can say though, that with the Hal Leonard Corporation and my computer program we cannot lose. Of course, if the Leonard Corporation were not interested in my program… I could always shop it out to the corporation’s competitors- Musicnotes, Inc, Alfred Publishing Co., Inc or Music Sales Group Limited. Hmm, now there’s a thought!

References

www.halleonard.com/

Nash_Sandy_Interview Blog Post Sun 01 Jun 14 (Revised)

Lenore Raphael

     I sing her praises as a jazz impresario and as a human being. Lenore Raphael, I am proud to say is a Steinway jazz pianist without equal. She is a composer, music instructor, recording artist and host of her own Jazz radio show.  I have come to know her as a consummate artist and a wonderful humanitarian. I chose her for this interview for these reasons and because we have developed a rare friendship over the last couple of years in which we talk about nearly everything from the business to our families, to sports and our pets.  I have grown to love her as a fellow artist and friend.

     We initially attempted to conduct the interview via email then both agreed that the better way would be to connect by phone. Lenore is a resident of New York City.  I am a resident of Chicago. Our schedules are often otherworldly. Lenore performs all over the world. I alternate between school, performing and trying to run two totally different companies. I am honored that she thought enough of our friendship to take the time to partake in this interview. She is indeed a rare person, with exceptional music abilities. She is a lover of traditional jazz. We share that love in common along with the fact she loves cockatiels. She has one; Spike and I have two; Bubba and Spanky. 

     Lenore Raphael was born Lenore Hyams June 01, 1942 in New York City. She is a jazz pianist influenced by the likes of jazz greats, Oscar Peterson, Bill Evans and George Shearing.  She began her foray into music at the age of four. According to Lenore, she heard her brother playing the piano and although she did not yet know the chords by name, began to replay them to near perfection by ear.

     In her teens, as a prodigy, Lenore performed classical music at Carnegie Hall.  She received her formal training in classical music at the High School of Music & Art in Manhattan, later going on to New York University where she received a Bachelor of Arts degree in music.   She has studied jazz piano under both legendary Barry Harris and Michael “Mike” Longo.

     She has performed with the late jazz vibraphonist Lionel Hampton, jazz clarinetist and tenor saxophonist, Ken Peplowski, American jazz tenor saxophonist, Illinois Jacquet and trumpeter and flugelhornist, Clark Terry.

     Today, she has a thriving musical career.  She literally performs across the globe adding stints throughout the United States, South Africa and Europe. Everywhere Lenore performs her performances draw spectacular accolades.  

     Her CDs include The Whole Truth, Reflections, Wingin' It, A Beautiful Friendship and Class Act.  Two of her recordings “Invitation” (2006) and “Loverly” (2012) were nominated for Grammys.  Additionally, a series she helped to create has become a model for teaching young students the fundamentals of jazz in the curriculum of many schools.

     From this interview, just when I thought I knew everything there was to know about her, I discovered I had a great deal more to learn about the extraordinarily accomplished Ms. Raphael.

1. Me: Lenore, this interview focuses on your experiences with different negotiation techniques.  Typically, who handles setting up your bookings, promotions, online presence etc.?

Lenore:  Typically, I do it all myself. I really do take of all of that. I have been doing it as long as I have been in this business.  As you said before, nobody knows you as well as we do ourselves.

2. Me: And, aside from the issues you and I are experiencing getting you booked here in Chicago at the Jazz Showcase, the club of my childhood friends (laughing, but this is a true story), how difficult is it for you to negotiate the type of music you will play, scheduling, salaries, travel, hotels, incidentals etc.?

Lenore:  Ok, well each situation is different, you. What I do very often, if I know somebody is playing in a venue already, I will ask him or her certain questions without telling them me how much they paid you, how was the pay? Did they get you a hotel? Did they make it part of the total amount?  So, I sort of know what I am getting into even before I get into it, I then have a good idea what I can ask for, what I might ask for and what is going to be the hardest part of the negotiation?

3. Is there any average timeframe for you to get this all done?

Lenore: Really, no there really is not. Some people get back to me immediately, say when can you be here?  Others say I’ve booked this so get back to me in six months or a year. Others say were are book for the next year or so, I can’t even talk to you. Each situation is different. So really there is no average.

4. Me: How do you go about selecting the artists you choose to perform with? Are you like me, in that when you are going to perform you want to have the whole enchilada in place; scheduling, salary, hotel, and travel expenses etc.?  I am somewhat new to the online side of the business although, I have actually been in the business performing for years. You are not new. With all of the stuff you have out there your websites, music, etc., do all of these things help you to set up performances?  Are the deals you set up inclusive of the other artist or do they provide their own deals and accommodations? Who provides the contract for each party involved in the deal?

Lenore: Absolutely! I think to a great extent you do have to sound people out.  This going to sound strange, but you can get a pretty good idea of what they are going to do for you by looking at other artists they have had there. So, if you see a big name or a name you recognize you know the deal is going to be better, then if you see a bunch of local performers on the website or wherever. And you then say oh they’re booking locals with an occasional out-of -town artist performing there so I can’t expect that much. That is a good way to do it, actually. Look who is playing there.  People do check websites.  They really do, they check websites. Often again, it is a question of budget. I recently had an experience, and I won’t tell you where, the budget was really nice, I got to pick my own musicians who came with me. That’s kind of a rarity these days.  What I am finding more and more is that they will book me and I will usually get some local players.  What I am finding which is great, there are great players everywhere these days. So I know there are certain cities I can go to now and I just make a call. I know these people. I have played with them. So If I know I am going to Denver I have four basses I love playing with there, in Florida, I have a couple of bassists there and so forth.  And so it also depends on the budget. If someone is playing with me I just simply tell him or her, I have the contract this is what you are going to get paid, here are the details. That is all they need to know.

5.  Me: Are there times when your performance deals are difficult to execute? In such incidences, how do you resolve this conflict? What do you do when you come across the other party’s (e.g. the club owner or it could even be another member of the band, etc.) difficult attitude?  How do you separate the people from the problem when you are negotiating? What tips do you have for new negotiators who are trying to do this?

Lenore:  Well, the truth is thank goodness, I haven’t run into to that that much. Occasionally, I run into someone who doesn’t want to pay me what I want so forth or so on.  I think in certain situations it’s a value added.  In other words, I might say something like yes I might negotiate, but I can bring in “x” amount of people, I can guarantee the place is going to be full. I really have think carefully how to negotiate on what I want, it is not always possible to get what you want. I will say there is only one time I absolutely did walk away from something.  It wasn’t that they were a problem. They did want me. They did not want to cover airfare. It would have been totally impossible for me to cover the airfare and make any money at all. I did unfortunately have to walk away from that. But, recently I had a negotiations with somebody, whose name I won’t mention. And I was prepared to walk away. And I wanted something and I essentially said, “Thank you very much, but I think I will have to pass.” And he did get back to me. He called me back and said, “Ok let’s do it” and he did agree. Evidently, somebody there said,  “You gotta have her.”  “She is great”.  He thought it out and he said ah, She'll bring people into the club and even if she doesn’t, it will bring the reputation of the club up.  He thought it out. Because up until that time he had been booking mostly local people. He can say now I have national artists here. I am booking a national artist now in terms of the reputation the club had, right?  That was a good negotiation, to get what I wanted.  It’s economics. Will it pay for itself?

For new negotiators you have to know what you want, be definite about it and be prepared to walk away if you have to. And don’t pay to play! Do not let anyone tell you if you play you have to pay.

6. Me: How do you handle positional bargaining tactics?

Lenore:  You mean you give me this I give you that? I really had to be honest; I have never had to deal with that. I really haven’t.  Most of the dealings I have this days say, “This is what we pay.” “This is the budget.”  What a new person today should ask immediately is, “What is your budget?”  What do you cover? What do you take care of? I really haven’t had too much haggling back and forth. Either, I have been lucky or I don’t know. I find most of these days the contracts come, you look at the amount, you say, “Okay that’s cool or not.”

7. Do you have an attorney to write up and review your contractual agreements?

Lenore: I use to have an attorney to take care of that. I don’t now because I am pretty much aware of all the little things in in the middle that say in case of whether we cancel or in case its acts of God kinds of things.  So, haven seen lots of contracts to this point I pretty much know what to look for and what to watch out for.  And, what I need to put in of course, which is my own rider that says I want this, this and this, which they usually will cooperate with. But As far as needing an attorney at this point, I don’t bother. If it were an issue of signing with a record label, then I would have an attorney look at that.

8.  Me:  Have you ever used objective criteria in an effort to come to a mutual agreement with the person you were negotiating with? Examples would include using statistics, past practice and data to shore up your position.

Lenore: I don’t.  Well yes, actually, I guess I do in a way.   In a sense, if you can call it that, I call and say,  “Hey, we have played at thus and so and have sold out.” “ We sold the place out.” “They had to put up a sign that said,  “Sorry, no more people.” “We’re sold out.” So you can use that as a negation to say look we can sell the place out.  You are going to make money.  You are going to sell drinks. You’re gonna…  Statistics? I don’t know.

9.  Me: Have you ever had to employ or resort to any so-called dirty tricks to get the other party to see you point of view. You are so classy; I cannot fathom you using such underhanded tactics.

Lenore: No, I can say that unequivocally.  No. Some people might, but no. I do want to add something it just occurred to me.  The reason that it is not really a great thing to do, club owners, festival brokers, etc., they all talk to each other and what goes around comes around.  And, if a venue says thus and so did that, they’re going to tell everybody, chances are you are not going to wind up playing in too many places. You know word gets out.  They all talk to each other. From a negative standpoint, but from a positive standpoint too, they talk to each other. “Well, how did Lenore do at your festival?”  “She sold the place out.”  “They loved it.”  “She got a standing ovation.”  You have to watch what you do.

10.  Me:  I have a question I have been dying to ask.  How accurate is your Wikipedia profile?

Lenore: Yes, I know the guy who wrote it. And he actually ran it by me before he put it up. And it’s pretty accurate. Yeah. The only thing I wish they would leave out is the year I was born. There are no secrets on the Internet! (We both laugh).

Me: I tell Lenore not to worry, because of her magnificence, the year of her birth, made it a very good year indeed!  (The interview has concluded).

References

http://en.wikipedia.org/wiki/Lenore_Raphael

http://www.lenoreraphael.com/

Name and Contact Information: Lenore Raphael,

http://www.lenoreraphael.com/

Email: swinginfox@swinginfox.com

Link:

http://rcmcltd1.tumblr.com/Nash_Sandy_Interview%20Blog%20Post%20Sun%2001%20Jun%2014%20%28Revised%29

NashSandyBlog1.doc Sun 06 Apr 14 (Revised)

I am a bassist. This is of course, one of my chosen professions. The other being a business owner.  Now that I am retired from the Chicago Police Department, a great part of my day, any day, is spent either practicing new music, in rehearsals or racing  with equipment in tow to get to my next gig.

No matter what a musician will tell you, the fun and delight of music is not in the lugging of amplifiers, instruments and suitcases. But, all is forgiven when on stage tuned up and ready to rock. And oh, by the way, I have yet to get a good grasp on the jitters that accompany each performance. Some how it just comes with the territory.

Once you get on stage though, the whole thing just seems to come together. Playing with competent musicians helps. Embracing that energy that comes when you are playing the music that you love, with the musicians you admire, and watching the reaction of the faces and bodies of those you have come to entertain is definitely what its all about.

And since I am a bassist, I decided to blog on one of artists that I consider a mentor in my line of work. I am choosing to blog about an artist who could be considered the “First Lady of Bass,”  Ms. Carol Kaye.

Ms. Kaye, according to her biography was born March 24,1935 in  Everett, Washington. Her parents were professional musicians. Carol, herself has played and taught guitar professionally since 1949. She is considered a both a session musician and teacher. Her students include some of today’s bass legends.

She has worked with the likes of  Michel LeGrand, Quincy Jones, Elmer Bernstein, Lalo Schifrin, David Rose, David Grusin, Ernie Freeman, Hugo Montenegro, Leonard Rosenman, John Williams, Alfred & Lionel Newman, as well as The Beach Boys, Phil Spector, The Doors,  the late Richie Valens, Frank and Nancy Sinatra, Leon Russell, Sonny and Cher, Barbara Streisand, Frank Zappa, Tina Turner, Johnny Mathis and the list is endless.
 The story goes that In 1963 when a Fender bassist didn't show up for a record date at Capitol Records, she picked up the Fender bass and grew quickly to be the no. 1 call with record companies, movie & TV film people, commercials (ads), and industrial films.

 According to her biography, beginning in 1969, she wrote her first of many bass tutoring books, "How To Play The Electric Bass" effectively changing the name of Fender Bass to Electric Bass.
Carol has given many seminars all over the USA. She has won numerous awards.  She is also a leader in Electric Bass education.

Several years ago, I had the near privilege of meeting Ms. Kaye in person at  NAMM, the National Association of Music Merchants. Every year NAMM is the place to be if you are in the music industry. Held in California, you can catch some of the best new equipment and instruments; and run into some of the largest names in the industry. I was scheduled to attend the event with a friend of mine, who is also in the business and Carol Kaye was going to be featured.  I missed my flight and missed a tremendous opportunity to see one of my idols in person. 

If it is the last thing I do, I am going to try to meet  and interview the legendary bassist, Carol Kaye. 

References

https://www.carolkaye.com/www/biography/index.htm

I was impressed by entrepreneur Gary Vaynerchuk’s Ted.com  Best of the Web speech entitled, Do What You Love, No Excuses!   With  Gary’s topic  I am reminded of how I was certainly  inspired by the late Randy Pausch’s plea before an audience at Carnegie Mellon  before his own death from cancer several years ago. Pausch’s heartfelt diatribe still resonates in my soul.

Randy also has a video on Ted.com. I was privy however, to have been directed to his full-length speech on YouTube.  His life’s story and discovery still leaves me in tears.

You see, I like motivational speeches, positive spiels that get me thinking and moving.  I seek out motivational speeches that help rid me of self-doubt and negativity. Motivational speeches that direct me to fulfill my life’s passion are always for me just what the doctor ordered. 

For me, these “pep talks” reenergize and reinvigorate my spirit and psyche.  So each time I have encountered Randy Pausch’s message, I just want to thank him for not only having the courage to follow his dreams but to also firmly encouraged the rest of us to return to that child-like sense of wonder so buried underneath the “adult life” each of us has felt compelled to live instead.

But sadly, Randy is no longer with us. This still  makes me  a little unhinged. I loved his message though. I just don’t love the fact that he succumbs to that dreaded disease , cancer.

There is a light at the end of the tunnel in this blog entry, however. Upon reviewing the Best of Ted, I came across another speaker who speaks with Pausch’s message to us with energy, theatrics, humor and a slight bit of vulgarity just to spice everything up.

That person of course is no other than Gary Vaynerchuk.  Gary is a real character. He  is co-founder and CEO of a social media brand consulting agency, video blogger, co-owner and director of operations of a wine retail store. Gary is also an author and public speaker.  Gary says in his own words that  he is “just a guy that loves the hustle, people, wine and the NY Jets.”  His delivery becomes especially kinetic when he talks about the passion he has for his wine. I find his energy when he is talking about this subject, if you will excuse the obvious pun, “intoxicating.”

His enthusiastic motivational spiel of, Do What You Love, No Excuses! on Ted.com returns my spirit to why today I am  taking  risks and pursuing my passions (music, the arts, and multimedia).  And unlike Randy, unfortunately,  Gary is very much alive. But just like Randy Pausch’s message, Gary intuitively knows we have just this one life and we need to stop giving it away doing things we hate just to appear grown up and to return to creating happier lives for ourselves by doing what we love.

References

http://en.wikipedia.org/wiki/Gary_Vaynerchuk

http://garyvaynerchuk.com/vip/

http://www.ted.com/talks/gary_vaynerchuk_do_what_you_love_no_excuses

More About Me

I am in the business of providing music and multimedia entertainment across the globe and well into infinity.  Most ambitious people say, “The sky’s the limit,” I say,  “I have NO limits.”  I strive to be an industry force.

My ultimate goal is to leave a lasting, positive footprint and legacy on the entertainment world; be it as a performer, artist manager, business owner or humanitarian.

I want my name and my company’s name to be synonymous with efficiency, excellence, integrity, humanity, elegance and innovation.

Moreover, I feel it important to give back to my community and my world. I have always contributed to the success of art, music and theater enabling those less fortunate to delight in the experiences that I was privileged to have in my own life.

"My faith suggests that, I cannot be totally happy if unhappiness exists anywhere in the world. Anywhere evil exists, beauty must prevail.” (This quote was composed by me, Friday 06 Dec 13).

Acquiring a Recording Studio

Trying to decide what type of recording studio would serve your needs?

What is the difference between having a large commercial studio and a home studio? Well, if you are not preparing to record a 100-piece band, then you might want to consider the virtues of acquiring a home studio.

But again, what is the difference? Are you really planning on recording a 100-piece band? Then you will probably need to either purchase or rent out that state- of -the art large commercial studio.  Or are you just trying to get you and your musician friends on record?

If so, recording in a home studio, again may be the best solution for you wallet.  According to RRF Recording Connection Audio Institute, the costs range between the modest figures of $500 and $20,000.

However, The Gear Page suggests the average costs of putting together a large state-of-the art commercial studio could easily start at several 100k and the costs could spiral up to… Well let’s just say there’s no limited as to what this type of studio could actually cost.   

Thinking of renting one instead? To rent out a recording studio for your recording project, says could cost anywhere from High-level recording studios that charge $100 per hour and more, while mid-level studios may range from $45 to $65 per hour.

The article also iterates that studios vary on how long they take to complete a job, and the lowest hourly rate may not actually be the best value.

You might decide to make an attempt to schedule an appointment to actually visit a local recording studio. Being a student at such higher education entities as Full Sail University may well open the right doors to obtaining a tour. 

With this said, you could now decide a little more efficiently which of the recording studio solutions offer the best bang for your buck.