AboutStephen Saxon Expertise Vocal Jazz: solo and ensemble performing; arranging for voices or instrumental ensembles; improvisation; creative group dynamics; sight reading.
Classical and Choral Voice: Ensemble singing; section leading; sight singing; performance practices (ancient through modern).
Klezmer / Jewish Music: Klezmer (instrumental) repertoire and styles; authentic representation of traditional klezmer style; pushing the envelope of klezmer music; transcriptions and notation of melodies and ornamentation; traditional cantorial vocal interpretation.
Instrumental Jazz: Improvisation and theory; jazz interpretation; arranging; music copying (parts preparation); using Finale (music preparation software).
Trumpet: Professional trumpet player for over thirty years - all styles.
Experience
Past/Present clients Performed and/or recorded with: Chanticleer, Bobby McFerrin, Michael Brecker, Chet Baker, Kitka, David Grisman, Clockwork (www.clockworksingers.com), Mal Waldron, Abby Lincoln (Amenata Moseka), Andy Williams, David Grisman, San Francisco Symphony Orchestra, Berkeley Symphony, Spokane Symphony, etc. Music preparation for artists ranging from Barry White to Barry Manilow (funny, but true).
Expert: Stephen Saxon Date: 11/1/2006 Subject: Touring Staff
Question I don't know if this is in your expertise, but you are the closest I can find to answer the questions.
The following questions relate to someone as big as Barry Manilow:
1. What kind of personal staff does a touring artist take with him
(personal assistant, manager, etc.)and what are their responsibilities?
2. What is a day in the life of a touring artist like? (the events
that go on and the places they have to go to)
Answer It's been a while (like 20 years) since I toured full-time. But some things don't change much. Others do, of course.
I read that Billy Joel once told his Columbia University class that the average day of a typical touring rock musician included an AA meeting and a round of golf. Maybe so, maybe not. But I found it very useful to see myself as a person traveling on (music) business, not a star. There's always someone more popular, and there's always someone who looks up to you. Respect them all and earn their respect.
But anyway, the first question is who to bring with you. The answer is: Who can you not be without? Every extra body adds cost to the logistics, so if someone isn't actually generating income, you probably don't want them there with you on the road, except under special circumstances (bringing a spouse for a special trip, for example).
With email, cheap national cell phone plans and even blackberry hand-helds, the presence of a manager or personal assistant ON THE ROAD seems pretty unnecessary. Anything they can say in person, they can probably say or do more effectively from their own normal work environment, and you save hotel and meal costs. If you need a baby-sitter, bring one along. But if you're the baby, it might be cost effective to just grow up <g>.
That assumes a mature and intelligent individual on both ends (the musician and the manager), of course.
Wait... I just saw the part about Barry Manilow. Well, I once did some music preparation work for him and even auditioned for his band (didn't make it). But I never toured with him. Still, the basic rules of engagement are going to be similar. If someone's making money for you by being on the road, then they belong with you.
Don't forget that selling or overseeing merchandise sales or counting the house and reconciling the proceeds and making the collections are all money-making tasks, and must be done by someone you trust very deeply. It's not a place for someone who's not dependable and in your court 100%.
Day in the life? Try to work in some exercise and a lot of rest. Count on doing some rehearsing, either on off-days or integrating it into the sound-check. Keep in mind that the sound check should be a pretty mechanical experience - know what you need to hear, what settings are standard for your setup, and how to communicate those effectively to the house crew (if you're not bringing your own sound tech crew). Also, know what the difference is between various microphones or amplification components. For example, I typically use a mic that requires a specific EQ setup to sound right, so I tell the sound guy right at the top what that is (actually, it's part of the pre-sent specs). That way, when I get there, it sounds how I want it to sound and we're all happier.
On a travel day (often after a concert the previous night), you need to take care of yourself. Work out, drink a lot of water (we lose a lot on stage), and try to generally keep quiet. You need the down-time, so take it.
Sleep a lot. You probably won't sleep as well on the road, so compensate by getting more of it. Your audience will appreciate it, even if they don't realize it.
I remember one band that was touring and they'd cancel about every third or fourth concert because the lead singer would lose his voice. You could actually predict the concert that they'd cancel, because he couldn't do three nights in a row. It was strange that his management (and the bookers) didn't figure that out. Stranger still that HE didn't figure it out.
So on a concert day (sometimes the same day as a travel day), you'll have a sound check, usually at least four hours before the concert. For an 8:00 show it might be anywhere from 2:30 to 4:00 start. Maybe even in the morning, but I don't like to have it that far apart. Strange things can happen. On a shared bill, it's typical for the last band (headliner) to sound check first, and the first band to sound check last. It just works out better that way.
As I said, approach your sound check as a task-oriented thing. Get the monitors right. Add the house. Play your softest song. Play your loudest song. Play your fastest song. Can everyone hear everything they need to hear? If there's a question about that, turn something down, not up. Your ears (and your older years) will thank you.
Take a break between sound check and the concert. Have a light meal... you might have a meet-and-greet or a press function. Don't over-do it. I sometimes like to take a short nap - even 45 minutes is sometimes helpful to recharge me. But give yourself adequate time to prepare for the actual show. If you wear costumes or uniforms, have backups. If you wear make-up, make sure you can do that yourself - and while your distracted. Check out your instruments and make sure that everything's as it should be.
Then have a great show.
After the show, you might have a meet-and-greet session. This is often better than before the show for many reasons. BE NICE TO PEOPLE! They're paying your way through life, so you should thank them, be nice to them, and let them know that you're actually a cool, nice, polite, professional individual. It will bring you more dedicated fans and more importantly, return bookings. Bookers talk to each other, so if one has a good experience with you, word will get around. Same if you're a pain, too. That's whether you're a huge star or a little guy. Nice really does pay.
You can only have so much sex, and I think we're all agreed that drugs are generally not our friends, so go get some sleep. Then wake up the next day and do it again.
In the best scenario, it's a long-distance race, not a sprint. Not a marathon, either, so give what you've got while they're willing to take it. But remember that you're a professional and you're providing a service to other professionals. The art is, sad to say, almost incidental. To paraphrase an old Army commercial: It's not just a way of life, it's a job.
