Musings from Story Jam Land

1/20/10

Toot Toot

http://www.hipchick.com









Yikes Gal! Do you believe this? I have been transformed into "serious band leader" through aligning my band with an organization called STITELY ENTERTAINMENT. Run by Jeff Stitely, a most excellent dude, the company represents a group of high-level party bands in Chicago. They have an office in Evanston and have been on the scene for over a decade. I've worked for them as a singer a bunch and now they are enlisting my band to be one of four in their roster.



Ah, how these people are sitrring up my world of contentment and ennui!!! 


Of course, I've been a willing bandleader at parties for many years, but I've only provided music for people I know - or for people who've been referred to me by people I know - and I've never actually promoted myself as Miss Party Band Thang before. Yet, when I met with Jeff Stitely and his posse a few months ago to discuss the prospect of working with them, I felt that I was finally ready to take it awn and become La Chick Leader.


So...I have spent the last two months cranking out recordings, photo shoots, music charts, blurbs, song lists, bios, and Everything Else these fine people require for my band to become one of their select few. Lots of meetings, calls, sessions and rehearsals have ensued, in preparation for our official entree into the intensosity of rawking party music. What an upstanding disciple of business acumen I've become!!!


Do I look a little freaked underneath the smile? 


I know I am an artist above all, but to get to play music for a living is a true privilege. I love giving people the gift of music and doing it well. Plus, I am not going to be singing anything heinous! This band is for groovesters. Obviously we will play whatever they want to hear, but we're heavy on the indie and acoustic pop rock and that which might be a little under the pop culture radar. It's a pretty fresh thing, combining very familiar stuff with cool, semi-popular or less known tunages...and my keyboard player is also a dance/re-mixer/dj, so he can jam the mashups at the end of the night for the clubber types.


So, here begins a new adventure. I'm pretty proud to be able to do this and I'm very proud of the musicians with whom I work and to be a part of a really honorable, cool company. I have been approached before by other bandleaders to lead a second or third band for their organization, and the timing wasn't right. Now, it feels just perfect. 


I am still doing my singer-songwriter thing, of course! I'll never stop cranking out rebel-cry tunes in dingy, late-night bars (BTW, I am concurrently producing my third cd of original music right now with the guy from Sons of The Neverwrong).


In continuation of this horn tooting campaign, I am also back on the audition trail for commercials with a hotshot Chicago agency. Oh, the lucky life of an Artsy Fartsy Soccer Mama!











10/27/09

Sound Bites


I was worried. I know...I've been performing for awhile now (last year marked my 20th year of being in rock bands), but still, sometimes I get that panic-in-the-gut feeling.


The panicky feeling I get now isn't related to nerves - I did used to get very nervous performing before a crowd - no, it is more related to the details of the gig. Will the sound be ok? Will I remember the chords if I'm playing piano or guitar? Will I be able to engage the audience while looking at the fret board? Did I practice enough?



When I sing at someone's wedding, the only two things I fret over are: 1. How is my monitor mix? and 2. What does the band think of my performance? I KNOW I can make a crowd happy at any party or wedding. It's not hard. With great musicians, good song choices and a really professional band leader, any jobbing band can rock it. Rocking it is a given in the high-caliber bands and orchestras, so sometimes the ones who take notice of your golden (or not so golden) moments are your band mates.

But, when it's my band doing mostly my original songs in a small bar or club, the pressure is ON and I am the one who is truly responsible for bringing game. Well, I can't bring game unless the technical stuff is solid. Mainly, good SOUND. That means that I should be able to hear myself perfectly without screaming, and

that every instrument is beautifully balanced in my monitors.


Happily (and to my surprise), I did get good sound on Friday at Bill's Blues in Evanston. I was able to free myself from worry. I got into my performer flow and rocked it. The great crowd of friends really helped the energy too and I was able to sing and perform with unabashed confidence. After a bad experience last year and many months of not wanting to perform out at clubs, I am now getting interested again. My new caveat: there must be good sound. My next show is with a group of solo performers at The Wilmette Theatre on November 19th, where I know the sound and crowd will be fantastic.

Labels:

8/24/09

Inspiration vs. Procreation

It's nearly impossible to put off mom-ness for a rare creative moment. Balancing the two is a constant challenge, yet carving out stolen moments for writing/working is essential to keeping the creative juices flowing. My brain is in songwriter mode right now and when I'm in this state, home duties can really fall by the wayside. However, when the duty involves a live human being, one cannot just hang out all night drinking whisky while dishes pile up and bills remain unpaid (kiss those days goodbye!). I am forever conflicted by my need to be a kickass mom and my need to follow the creative urge.

So just the other night I couldn't get a song idea out of my head. I tried recording it on my iphone (using "Recorder," an amazing invention!) so I could go back to it later, but I just COULDN'T make the noise in my head go away and I was deeply entrenched in "artistic space." The chorus and the verses were starting to mentally line up - I was on a inspired roll - and yet, oh, I had to take care of our son.

So, slightly exasperated (and after many failed pleas for him to go to bed and "wait for mama"), I gave the Bambino a book, a blanket and a pillow and made a little spot for him under the piano so I could finish the song. It was crazy. It was late. It had "bad mom" signs written all over it. But...I was absolutely in the moment and hubby was busy. I had to do something revolutionary. He needed his mama and I needed to follow the impulse.

Now, if he were a toddler, I don't know if I could have gotten away with such sleep time rule breaking, but...this is still summer, we are usually pretty strict on the sleep gig and my mama's boy is just not quite ready to go to bed alone. I won't even tell you how late it was before the child fell asleep, however...

It worked. He had a blast under that piano and we both shared a
welcome rebel moment that neither of us will soon forget. He even broke from his book a few times to offer pointers for the song. So, now Mama has a finished song and he got a mutinous story that he was quite pleased to relay to his friends in the morning.

7/8/09

Uncomfortable Genius

If you're moved by music, you probably have your faves. I remember the summer-driven moment I first heard "Good Vibrations" by The Beach Boys. I loved Carl Wilson's vocal tone and the break down section. Just listen to the first note he sings: "I..." which he made more like "Ahhhhh..." Is it not astounding?  



So, music can have this power, this emotional pull. And one artist in particular has always roused my deepest core: Miss Rickie Lee Jones.

Some people recognize the true genius that is Rickie Lee Jones; some think she's bizarre; others haven't heard of her. I am seated solidly in the first category. No other pop singer on this planet, in my mind, encircles the soul of music like RLJ. She is an un-studied jazzer at heart, who accesses some other world and creates rich harmonic structures, singing with pained clarity in a mostly pop format. It floors me. I've heard Rickie live probably 30 times and as any RLJ fan knows, you could get a moderately grumpy, pained performance as she chastise an upright bass player for his intonation, or tell the audience to hush it, but then again...you get a glimpse of her incredible creative bag. She is always an edge-of-your-seat experience. 

One time she hired a coupla guys who didn't have time to rehearse for Orchestra Hall in Chicago, so she had them work by EAR. She would start a song on piano or guitar, and the instrumentalists (a guitarist and upright bassist), just followed along while Rickie played in and out of strange time signatures, forging chords no one had ever heard, while she signaled what to do with her vocal cues. To me, it was breathtaking! My hubby and our two friends were upset by the free-flow of this, however, and took to drinking vast quantities of alcohol. Maybe it is kinda hard to "get" Rickie and what she's about, but I like her for her pop sensibilities (I'm a pop singer for crying out loud!) and her depth and complexity within the format. She actually has lots of very palatable, hit-type songs and is a two-time Grammy winner. Satellites Video.


And maybe the reason I have never toured is because of Rickie. Unlike my musical idol, being out of a certain comfort zone whigs me out. I couldn't handle living "on the jazz side of life," or partying with Tom Waits at the Tropicana Motel all night. But, would I write cool stuff if I unleashed my "demons" the way she so openly conjures hers?  Would I have access to musical brilliance if I didn't allow myself the conventions of comfort and happiness?

My favorite RLJ is her at the piano, doing her jazz thing, in that pin-point sweet soprano.



I wonder if she thinks all her wounds are worth the transcendent music we are so fortunate to hear her make...

Labels:

6/18/09

Happy in the Crowd

In addition to singing a lot lately, I've been going to lots of shows. I've been to Ravinia a few times, and I can be found lurking in the back of many a Chicago club (or theatre), checking out the bands, the singers, the acts. I love live performance!

But I get the feeling that some performers feel uncomfortable when fellow artists show up. Being a performer watching performers isn't any different than being a "person" watching performers, other than a performer might have more understanding of what went into the performance and rehearsal, technique-wise, and how things sound.
I do know that seeing performing colleagues in your audience can sort of boost up your energy. You feel you have to bring your game a bit more, and you know that all your "tricks" are pretty transparent. It might make you a little more self-conscious too, but there is something titillating about singing in front of fellow singers.
Often it just feels cool and communal, and I personally know that if I'm "on," onlooking performers can really appreciate the work, maybe more so than the average audience member. Most of us performers are easily entranced by live works, which is why we have chosen to do it ourselves! I believe mostly we love hearing each other and seeing each other. 

I think we also learn from watching others do their thing. Would you agree?

When I was a kid, my parents used to take us to New York City to see what was happening on Broadway (I know, how lucky, right?). I was mesmerized by the people on stage - Who were they? Where did they live? What did they do in "real life?" I thought they were special and fascinating and I still think performers are interesting. 

Sure, if the show I'm attending stinks, my mind can start to wander and I imagine all the ways I would like to see it improved, but for the most part, I am in awe and think it's a blast to get out and see artists do their thing. 

And, sometimes I'm a little jealous that I'm not up there too! 

6/2/09

Read Your Crowd


Conversely, the other night's gig was sorta sad. The band leader, a formidable jazz singer and earnest-enough drummer, also served as the sound guy, emcee, event planner and music director (doh!). He also didn't really gauge the crowd. This is very key at any party: Read your crowd!. 

He started out the night playing the usual mellow dinner music standards and instrumentals, and after the dinner ended, he kept playing the same kinda mellow dinner music standards and instrumentals (doh again!). They are ready to rock now, dude! Time to play something UP. Thrill the crowd. Even dare to play something upbeat during the dinner set! Just know when to back off the slow-tempo and mid-swing thing (classic mistake of playing what you love versus what they want to hear).

Of course, there were two older couples on the floor this whole time, but the young peeps (the majority of the guests) were at the bar...

That is, until we played DANCING QUEEN three hours into the night. I know, this is a cliche and so pre-fab, but guys, it works. The familiarity of it, the recent ABBA revival, and the just...girliness...of the tune gets people going. And, when the chicks wanna dance, guess what the guys wanna do?

So, I said to the band leader: "Hey Leader, they seem to really like pop, disco and uptempo rock!" So, what does he play? He plays Fly Me To The Friggin' Moon! Now, Fly Me is a great song, a classic. But, this crowd wanted to PARTY, to blow off steam from a stressful day that wasn't going well (we were told the wedding was wrought with problems). So, give these 20-somethings some r&b, some rock, some pop, give them their "Let's Get Loud," their "Crazy For You," their "I Will Survive" (another sure thing). Give them whatever they need to bring some energy to this partalia!

So finally! All of us in the band are insisting he call some current hits and thankfully he listens. Okay! We're rocking it on some groovy Pink number, and all the kids come racing to the floor, and I'm all - Yes! Now, we're cooking! And then what happens? The bandmaster-sound-guy-drummer-crooner's PA system goes wonky and suddenly, shoooooooo...we blow a fuse.

20 minutes of silence...

At this point, we have a bride in tears. She's already had a stressful day and just when her wedding started becoming modestly enjoyable for her, the music dies! Seeing this, I frantically get into the crowd, start clapping my hands in time like a wild hyena and scream: "LINE DANCE!!!!" 


Ay yi yi.

Thank GOD the sound eventually came back and we ended the night, five hours later, with the dance floor full. But, ugh, such an odyssey and what a great example of why it's important to read your crowd and play what they want to hear. In the clubs, when we're playing originals, artistic liberties are all ours in my opinion, but at a party where you are hired, please just make 'em happy!

5/30/09

Orchestral Highs



I write songs and sing in dive bars, but quite often, I am a "jobber." In Chicago, jobbing means you are hired by bands or orchestras to play parties, fundraisers, weddings, and other fancy affairs. In New York, apparently it's called "playing clubs" or "clubbing," presumably named for the country club circuit. 
In Los Angeles, they play "casuals." It's all the same thing, however I am told that in NY and LA, "jobbing" (or "clubbing" or doing "casuals") is completely UNKEWL. However, in Chicago, the BEST MUSICIANS job (verb form of "jobbing"). And believe it or not, you may often find yourself playing cheesy wedding music, but with a hot band and good arrangements, this can be extremely fun.

Fun was the case last week, when I rocked it with The Chris Sarlas Orchestra. 


First and foremost, Chris is a very classy guy who is endlessly grateful to have such an awesome band. The band - Tom Leddy (drums), Wayne Jones (bass), Paul Coscino (keys), Dave Berger (guitar), Mark Hoffman (trumpet), Mike Pendowski (sax) and Tim Coffman (trombone) - is replete with super nice people who play their asses off. How rare and amazing! I have worked with a lot of popular Chicago bands, and this was a highlight. Another amazing element: Chris's singers, most notably Opal.  


Opal is pure astoundingness. I know, that's not even a word. She has earned the creation of a new word to describe her! Her energy is infectious and upbeat, sweet and generous. She threw me leads when she could have sung them herself quite easily. And from the minute I met her at rehearsal, she was all "Hey Steph! I got your back Stephie! Sing it Steph!!!!" Damn, she made me feel so welcome. And, Opal is a singer of stratospheric high caliber. No lie. Maybe she could be like a Whitney or a Mariah. 

Sometimes it sucks being a sub on a gig. You don't know how things roll and the songs might be arranged uniquely. You're trying to look like you've been with the band for years while following signals and watching the other singers to match harmonies. It can be awkward. But, Chris, Opal, Barry and Dick (his other singers) were all incredibly smooth and inclusive and I was on a high for three days after hanging with them. 

5/22/09

Set Up

i would have snuck quietly under the radar, humming along time (i have blogged since 1999, see musings). but, i've now given in. i have an artsy mom blog. sheesh. 

quick set-up for those who are new to the artsy mom blog scene. 

this is where i started. all naive and intense, a student in boston. the floppy sweater and careless hair give me away as a theatre major. what you don't see are a very practiced lauren bacall smolder and the myriad hippy jewelry.

i spent one year at the school for the arts at bu. it was a fun time, punctuated by flirting in the student lounge between cigarette drags and rolling around on the floor in acting class - you're a snake! you're a mammal! you're going through the birth canal!

i wasn't ever lonely. i was surrounded by about 80 other like-minded nutters. i remember most of them fondly. thespians can be extremely generous and cool. lots of tarot, conversations about jung and chekhov, journaling, and plenty of cheap red wine. yum!

in spite of all the fun to be had in boston, i transferred to northwestern university after one year, which is where i wanted to be in the first place. a steady decline in grades and a penchant for trouble-making delayed my entree, so i came in as a soph. this is me here during junior year, playing ann margret—i mean the mom—in tommy, my first and, to date, only musical theatre role.

i was in a band then and another after graduating. i consulted famous psychic sonia choquette to see what to do next, music or acting. She told me " just do not move to los angeles, no matter what." 

despite her warnings, i was on a plane two weeks later to find fame and fortune.

 I don't think there was an actor in LA back then who was less famous or less fortunate. I got cancer and had to hike it back home to Chicago for some medical interventions. 

Then I met the guy. Then we had the baby. Then some other stuff. 

The rest comes next.