| I know at least one or two fine player who were good enough to get their foot in the door of doing Broadway shows, and got one show, but were not able to translate that into an ongoing career on Broadway precisely because of the issues Tony brought up. And I know a lot of good but no great players who work regularly on Broadway because they show up on time, show respect to their colleagues and the music, and know how to foster a positive work environment.
It's no different in the Club Date (casual) scene in NYC, which is where I do most of my work. There are a lot of great players, better than me, who wish they worke as often as I do. I am not saying I am anything special, but I know that contractors like that I come to work with a smile on my face, and some of these other guys make you feel like they are doing you a favor playing the gig.
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Bach 37
Yamaha 8310Z
Yamaha 631 Flugel
Getzen 850 Cornet
Yamaha Picc
Yamaha Xeno C 8445
Monette B1-5M, B1-5F, B1-5D cornet, Stork 3P, Monette C1-5M |