At 03:40 PM 1/30/99 -0500, you wrote: >Hi Z, > >While I usually work with classical artists, I get to work with Marcus >Roberts in a couple weeks (SNIP) >and a master class for kids >during the day. I think it will be a treat for me as well as the kids. :-) >Gina Hi Gina, I think my favorite part of last weeks' job for Maynard Ferguson was the afternoon clinic. That, and discovering the ease of steam voicing. Now, when I voice my fingers, it doesn't draw blood. Zen, when I worked for Corea a couple a years ago, I found him to be much more interactive than other non-classical types. He's the only one (of several) where I attended the concert voluntarily. If you ever get to work for Stevie Wonder, wear heavy shoes. The stage can be covered in little 2x4 "toe cues". He uses them to position himself .... anywhere. The ones under the piano can break your toes, if you don't watch out. If you ever work for Abbey Simon, don't forget his bench blocks. They're little 2x4 chunks that go under the rear legs of the bench. Tilts it like the old player benches. Cool, huh? Maybe 2x4's are a sign of success. If you've never heard him, give it a shot. He's recorded EVERYthing that Chopin ever wrote. Nice touch. Likes his una corda adjusted to within about... oh.... .002 in. I've had the great fortune to work for a lot of travelling shows, due to the "big fish, little pond" aspect of my market area. The jock-pit concerts are always.... interesting. Tuning while they set up three thousand metal chairs on the concrete floor is loads of fun. Great for basketball, not so hot for pianos. I much prefer the recital halls and performance theaters. Have fun, charge enough, and don't take any negative personally. Guy "Reality leaves a lot to the imagination." - John Lennon
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