My primary job of coarse was composer. Anyone one who has ever written large ensemble music knows how many hours it takes to write a single chart (especially the first attempts). This album has nine charts (which were each re-worked at least twice before even having a reading session, making more edits, and then rehearsing again, sometimes followed by more edits etc). I am now a much more efficient large ensemble writer as a result (-and if you want some good ear training, rehearse a jazz orchestra for a little while, it really helps my ensemble playing).
I'm sure I am not alone in hating the next job, which is that of the copyist. Just when you think the music is ready to rock, it's time to make sure the parts all look squeaky clean and are free of mistakes. I now understand Sibelius much better than going into this project, but if you are not a seasoned pro with your music notation software, it can be extremely time consuming as well as frustrating. If nothing else, just figuring out how to work efficiently in Sibelius is a tool that will help immensely for the rest of my life (or at least as long as I use the software).
After the music is ready, it's time to schedule the band, which in my case was comprised of 18 of Denver's busiest professional musicians (I now appreciate the important work musical directors do). And let's not forget my other favorite jobs: publicist, manager, booking agent, photographer, fund-raiser, conductor, executive producer...the list goes on. There is no way I could even begin to count how many hours I spent in total (and I don't even want to calculate my hourly wage, still with some debt at this point=-).
Looking back, there are some obvious things I will do differently next time. Going into the project I had no idea there was an industry standard timeline for releasing an album, mostly post production stuff, and I didn't even come close to following the norm (I am just sending my album for reviews now, 6 months after the release). The other main thing I will change next time around will be to record with a regularly rehearsing/working band (as much as possible in the big band world). The musicians I chose did an amazing job, and I couldn't be happier with their performances at gigs and in the studio, however, we crammed a lot of music into a short amount of time. There are obvious advantages to the band knowing the music inside and out, and having time to allow the pieces to naturally shape themselves and become more spontaneous.
The do-it-yourself musician's job is daunting and exhausting, but there is a also huge sense of accomplishment and satisfaction. The first time you record, learn html for your website, or teach yourself how to write a press releases, about the only guarantee is that you will make mistakes. Probably a lot of them. But sometimes the most important lessons you learn are from your mistakes. I have taken two university level music business classes, and it wasn't until this real life project that any of it started to make sense.
For all you diy musicians out there, I will pass on the same advice a good friend of mine (and amazing vibraphonist from the album - Greg Harris) gave me. "Just do it. Make a record." As simple as that. I had been wanting to record for some time, and had enough charts in the works to do it, but I was nervous because I didn't know what I was getting myself into. In the end the musicians I was working with gave me the positive feedback and confidence I needed to stop wishing and start doing.
Also, surround yourself with people who appreciate your music, and who you enjoy working with. This is very important. I feel very lucky in my first studio experience compared to some other composers I know, who have had negative experiences, which resulted from them hiring people they didn't know (enter the cries of not being paid enough, not wanting to rehearse etc etc).
In closing, I would like to quote one of my favorite musicians, Joe Lovano, (in regards to practicing, and I am paraphrasing) - "If you are playing music that you truly love, it will never feel like practicing. You should be filled with joy when you play, and if you're not, you either need to find some music that does move you, or change professions". This is true with composition as well as performance. If you absolutely love what you are doing, you almost have to try not to do it. Stop worrying about what you don't understand, we all learn from experience. Whatever your next career move, just do it. Jump in and go for it! Your passion will take care of the rest.
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