robertwhite

Hi Tony,

Thought I'd get the ball rolling here with some questions. Your discography contains lots of rock and pop albums, and I was wondering what those sessions are usually like.

For example, do you normally get charts, or are things sometimes made up on the spot? Are horns usually the last thing to get recorded? Have you ever come into a session like that with no idea what to expect? Is there a wide range of "professionalism" among those sorts of artists? Any favorites to work for? Lastly, how do residuals work for those kinds of recordings?

Any funny stories from a situation like this? (Feel free to name names - this is a trumpet forum after all! )

Thanks!

kadleck

Hi Robert -

Thanks for your question.

Most artists will have charts, but occasionally players are asked to come up with things on the spot. (That's usually a bit sticky, because then you are technically "writing" as well as playing, and should be paid as such.)

Horns and strings are usually some of the last things to be recorded (final vocals are often the last).

With studio work, you NEVER know what to expect before you get there. Of course, on the days that you feel great - there is not much to play, and when you're running late and not warmed up, that's when there will be something really hard!

For me, it's not usually the artist that makes it fun, but the arranger. If a Don Sebesky or a Torrie Zito is writing, I can almost guarantee that I'll have a great time. On the other hand, if an arranger doesn't really know the trumpet range, or that you can't switch from a flugelhorn to a muted trumpet in one beat, then it can be frustrating.

Residuals for albums are paid annually (Aug. 1), based on sales of that particular record. (As opposed to TV jingles, where you get small checks every 13 weeks.)

Funny stories? Well, on a Michael Jackson session, the orchestra was forced to sign something stating that if we saw Michael (in the hallway or something), we could make no mention of it to any media outlet. I guess if he was having a bad hair day, he didn't want it in the tabloids! It seemed silly, but rules are rules.

Thanks -

Tony

robertwhite

Thanks for the reply, Tony. That's good stuff!

I saw on your calendar that you're playing tonight and tomorrow with Rufus Wainright at Carnegie Hall. Is he using a full orchestra back up or a smaller band? His father Loudon was a great songwriter - any of his tunes show up in the book?

Thanks,
Bob

kadleck

Bob,

He used a 40 piece orchestra, but the concept of the concert was basically to recreate a 1961 Judy Garland concert (also at Carnegie). (Yes, he did change the keys.) No originals, although his mother and sister were on the concert as guest artists.

Tony