The anxiety of not knowing what my next gig is keeps me hungry.
Moving to Australia was not a career move, but a quality of life issue. It has no guns, no God, and no gangster rap. As an Ethiopian cab driver said to me the other day when I was returning from a gig in Sydney, Australia is a peaceful, democratic place. I like the relatively stress free lifestyle. It's worth the drop in income.
Sometimes, I have lost out on a gig because I was not high enough profile.
It's just to break things up between stand-up gigs. I would only do it periodically. Maybe just an East Coast thing.
[Eddie Locke] had a huge impact in my life. He was a great jazz drummer. He was mentored by Papa Joe Jones and he played for many years with Coleman Hawkins and Roy Eldridge and actually got me on a gig with Roy Eldridge when I was 20 that I'll never forget.
If you want to know how important Portland is to me, there's no Saturday night gigs here. They weren't available. So our whole thing coming into Portland, which is going to be different from anybody else, any other city, is every night is Saturday night.
Working on 'Gossip Girl' was a fantastic experience. It was my first real gig and I'm thankful for it - I got to learn a lot. I'm glad I got to explore getting comfortable in my own shoes in the background on a show like 'Gossip Girl.'
After a gig I get to the hotel all psyched-up from being on stage and get stuck into 'Homes and Interiors' magazine.
I failed to get into drama school, and my best friend told me I should do stand-up instead. I was always doing gags and voices, so he booked a gig for me without telling me. I only had four days to write it. I did a seven-minute set; the first four minutes were terrible, but the last two were amazing.
You never know which gig is going to be your last.
There's a dark side to each and every human soul. We wish we were Obi-Wan Kenobi, and for the most part we are, but there's a little Darth Vader in all of us. Thing is, this ain't no either or proposition. We're talking about dialectics, the good and the bad merging into us. You can run but you can't hide. My experience? Face the darkness, stare it down. Own it. As brother Nietzsche said, being human is a complicated gig. Give that old dark night of the soul a hug! Howl the eternal yes!
I was so happy and content with in life playing music. Music was always my first job and my day gig was my second job.
In the early days I was on the road 45-50 weeks a year, driving from gig to gig 6-8 weeks in a row. Not everyone can do that. The show becomes the easy part. Tt's the life on the road that is the hardest... and you can't get any good at standup unless you do the road.
My father told me when I first started that standup is exciting and I should pursue it, but that writing would be the thing that would give me power over my career. I never have to take a road gig or a writing gig I don't want because I always have the ability to play one against the other.
I never even think about the physicality of roles, until honestly I get the gig and I think, 'OK, now what do I have to do in this one?' Like, I approach it thinking more about the character - do I respond to it? Is it something I think I can play? Does it seem like it'll be fun?
I was fortunate enough to have my kids early, so being a mom always ended up being a better gig than these other parts that came along. So I always justified not really working a lot because I had a family.
I first became interested in style when I was 16 and I had my first couple of gigs. I realised I couldn't look like the people I was performing to. Not in a condescending way, but just that it would be weird if I was wearing exactly what someone in the crowd was wearing.
Teaching has definitely become a big part of my life in the past ten plus years. As it often does for many dedicated players. Because you can have some great gigs.
What you do is, you just do the gig, enjoy, get on with it, and treat the rest as horse doodle.
Having done a normal job for 10 years, as a psychiatric nurse dealing with emergencies, I know what terrible, hopeless lives some people have. So in many ways, it's great to be able to wield the financial power that I can, and do gigs, fundraisers or give money. I feel lucky I can help out.
I got to talk to people like Mel [Lewis] and Milt Hilton and Benny Carter and Clark Terry and... Jay McShann. I just found myself in some circumstances, on some gigs or sometimes in clubs, with the ability to talk to some of these people. Just being around their energy and being around that history was invaluable. And what I normally say to young people that are getting into the music, if you can and go... now there's less of those folks around, sadly.
I went in [Sweet Basil band] and played with them, maybe half the gig for almost eight years or more.
I was occasionally getting calls for some things. But I would say, 22 to 29 was a lot of scuffling. Hoping to get called for bad wedding gigs and I did do an off-Broadway show for about 15 months.
I definitely had some moments, where, "Wow, these were some hard chords" on some gig.
I went to Texas a few times for gigs and adopted the cowboy look. Every man, at some point in his life, goes through a cowboy stage - everyone! Well, at least everyone that I look up to!
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