Mr. Lame

A certain bassist (who shall remain nameless) in a major symphony orchestra also taught at a prominent university in that urban area. Auditions were held for a double bass vacancy in this orchestra, and The Prof (which is what I’ll call this guy) decided that all of his students needed to take this audition. He also happened to be on the audition committee, so he would be hearing all of the audition candidates.

A few days after the audition one of his students asked The Prof for some comments. It is common for audition committee members to jot down comments about each particular candidate, both to help remember how that person played and to offer advice to people who may want comments.

When I served on the audition committee for a double bass vacancy for the Elgin Symphony I made sure to take notes for each of the 25 candidates who auditioned. About eight people contacted me after the audition for comments, which I happily provided. Without those written comments I would never have remembered how candidate number 17 played Mozart or whether candidate number 11 rushed in the Brahms excerpt.

I noticed when reading my comments back to people that in the light of day they usually seemed harsh. What one writes in the middle of listening to hours of audition candidates can seem really snarky later. For example, my comments for one candidate were:

bad sound
bad pitch
bad
This seems extremely unhelpful and mean, but when one is on a committee and hearing the same excerpts over and over one tends to write like that. I’m sure that the above person didn’t ask for comments, but if he had I probably would have said:

“Well, your sound was a bit rough at times, and I’m pretty sure that I heard some intonation problems.”

Anyway, this student asked The Prof if he had any comments for him. The Prof asked what candidate number the student was, and the student told him. The Prof flipped open his notes to show the student any comments he had made. When he got to his student’s number the only thing The Prof had written was:

MR. LAME
Ouch! It’s easy to write curt comments when listening to auditions, but “Mr. Lame”? That’s worse than writing “musical disaster”, “crippling rhythm problems”, “massive intonation problems”, or anything like that. This poor student! Apparently he wasn’t just bad, he was “Mr. Lame” bad. It would be bad enough to get that comment from anyone, but think about getting it from your private teacher! I wonder how his next lesson went knowing that he was “Mr. Lame” to his teacher. I would want to crawl in a hole and die.

Freelancing + Snow = Pain

Every summer I think Chicago’s great. It’s sunny, warm, the beaches are filled with people, the city is bustling with activity, and the lake is beautiful and inviting. I am convinced that it’s the greatest city in the world. Then winter hits (in November, or perhaps October or maybe even in September some years!) and I start whistling a different tune. Chicago’s a great town with tons of culture, activities, and fun, but it is also a harsh and forbidding wasteland for many months each winter.

I started freelancing in September of 2000, having graduated from Northwestern University that same spring. Luckily, I had won several contracted positions in regional orchestras that year, including a position in the Milwaukee Ballet Orchestra. Although Milwaukee is close to Chicago in the eyes of U.S. Midwesterners, it was still a 166 mile round trip for me each day I went up there. You do the work you can get, however, and I thought that it was an OK job for someone just out of school.

The centerpiece of the Milwaukee Ballet’s season is, like most ballet companies, Tchaikovsky’s Nutcracker. The Milwaukee Ballet was doing 23 performances that year, which added up to a considerable chunk of change even after subtracting gas, tolls, and parking. I was pumped to play that long run of Nutcrackers. I would quickly become unpumped.

December of 2000 turned out to be the snowiest December in Chicago history. I am no stranger to driving in snow, having grown up in South Dakota. Still, this was a December unlike any I had seen before or have seen since. We got 40 inches of snow in 3 1/2 weeks, which is bad enough, but we also never had the temperature go above freezing. The problem of having that magnitude of snow becomes 10 times worse when it never melts, because there is no place to put all of that snow. One week it snowed four times, and each snow was 4-5 inches. Highways had no shoulders anymore–the snow was packed too high on either side.

People from warm places like California, Florida, or even Tennessee and Georgia may not realize the horrors of snow driving. I have driven down the interstate and sometimes seen taillights in the ditch every 2000 feet from people spinning off of the road. You can get in situations where it is actually impossible to get off of the interstate–all of the ramps are snowed in, and doing anything to change your course will land you squarely in the ditch. You drive on, at 5 miles per hour, white-knuckled, praying that something changes. Other times you get stuck in situations where there are semi trucks whipping by you far too fast, only to wind up in the ditch miles ahead themselves. These semis splatter your windshield with snow, slush, and salt. A trip that can take 1 1/2 hours (like the drive from Chicago to Milwaukee) ends up taking 4 hours and feeling like 18 hours.


My December started out fine–no snow fell at all for the rehearsals. The first matinee performance was at 11 a.m. on a Monday morning, and it snowed 12 inches the day before. I went out several times to clean off my car on Sunday (I parked on the street at this apartment), trying to get ready for the Monday performance. Nowadays I would have told management that I wouldn’t be in, but I was young and broke and didn’t even think of that as an option.

About 11 p.m. I was cleaning about 8 inches of snow off of my windshield when I heard a SNAP! I realized that, in my vigorous cleaning, I had broken one of my windshield wipers completely apart (the driver’s side wiper–the important one!). Cursing, I took the broken wiper into my apartment to try to think of a solution–I didn’t like the idea of a metal arm scraping across my windshield as I was trying to drive the next morning.

My roommate at the time had some advice for me:

“I would suggest socks,” my roommate said.
“Socks?” I asked.
“Yes, socks. And perhaps some rubber bands.”

I took an old Dampit (a green rubber double bass humidifier–kind of like a small green hose) and cut it apart. I then took an old sock and some rubber bands outside. I put the green rubber hose on the metal arm, put the sock over it and put rubber bands over the whole thing.

The next morning I started driving up to Milwaukee. It was still snowing and everything looked like a soft and fluffy war zone. I delayed putting on my wipers for as long as possible, not having much confidence in my cheezy sock/Dampit/rubber band wiper creation. Finally my windshield got too covered with snow and I hit the wiper fluid button to give it a try. My wiper fluid came out and my improvised wiper went SMEAR smack dab across my entire field of vision. Now totally blind and cursing, I frantically tried to get the snow and ice encrusted driver’s side window open. At last I got it open and started hacking at the icy smear with my wooden windshield scraper while driving down the highway.

I somehow made it to Milwaukee, played the matinee, and got the wiper fixed later that day.

There is a tradition in Chicago’s urban neighborhoods when it snows to shovel out one’s spot and then put old lawn chairs, bags of trash, stepladders, or any other such debris in the street to “reserve” that spot. This is illegal but frequently done when it snows six inches or more. Of course, if everybody would simply shovel out their car when it snows and not put any debris in the street then the next day there would be no problem.

If you park in someone’s “reserved” spot you may get your tires slashed, your windshield smashed in, or your antenna broken off by the psycho “reserver”. I do not believe in this practice, so I shovel out my car and leave the spot open when I leave, then park in another open spot when I come home. One morning I got up to find this note on my windshield:

Behind each of my tires was a piece of wood with a sharpened screw pointing up, and my hood was dented in (like someone was banging on it with a shovel) and a headlight was broken. This psycho had come out and stuck boards with sharpened screws behind each of my tires in the middle of the night, smashed in my hood, and left a crazy person note. There had been no debris in that spot when I pulled in the night before. Someone else must have thrown his contraption out of the street earlier the day before. I then parked in the open and clear spot.

Never mind that this “reserving” practice is totally illegal in the first place, and I didn’t touch this idiot’s stupid reserving contraption.

I was on my way to the Nutcracker again (like always). I briefly considered throwing the boards with sharpened screws through the guy’s glass door, then thought better of it and tossed them on his lawn. I headed to Milwaukee and called the Chicago Police. I think the exact line the police gave me was, “It’s a tough time of year. You shouldn’t be parking in people’s spots.” Thanks, cops. They weren’t interested in the address on the note or the note or the boards with sharpened screws though them. Maybe psycho man’s still got them in his basement, waiting to pounce on the next person to unwittingly park on the public street in front of his house.

December of 2000 was a rude introduction to the world of freelancing in the upper midwest. I have had many nasty drives since then–returning alone at midnight in rural Wisconsin in a whiteout coming home from teaching at UW-W, driving home from Elgin in 8 inches of freshly fallen snow, or driving to Memphis in the middle of an ice storm. I have never, however, had a snow spell as prolonged as that horrific December. In fact, every December since then has been pretty mild, but every year I brace myself for the worst. Sometimes in June as I walk along the shores of Lake Michigan I suddenly have a winter freelancing flashback, and I’m back in my car with semis passing me on either side while skidding around on a few inches of snow and ice.

Interesting Gig Story – Chicago Master Singers

I had an interesting Chicago Master Singers performing experience that I’d like to share. A couple of years ago I was hired by the Chicago Master Singers (see previous post) as the only instrumentalist for a couple of their concerts. The concert program was Rachmaninoff’s Vespers, a great piece for unaccompanied choir. I was hired to play bass behind the chorus very quietly through the entire program to help them stay on pitch.

When a choir sings unaccompanied for a long period of time, the pitch can drift imperceptibly up or down (down in this case!) This may or may not be noticeable to the audience, but it is not what one wants to happen in any case. This was definitely happening for the Master Singers for this piece. We would start a piece in the key of C and end in the key of B (or even Bb from time to time!). My job was to play just loud enough to provide a reference for the choir but not loud enough for the audience to hear. I was hidden behind a pillar on an elevated platform, and I could peek around the pillar to watch the conductor.

It is a tough job trying to keep a massive choir on pitch while not being heard by the audience! The bass singers would come in flat and I would increase my volume ever so slightly to keep them up. My instructions were to make a valiant attempt to keep the choir on pitch, but to follow their descending pitch if it was impossible to keep them in tune.

To complicate matters further, I had to play the actual pitch that the basses in the choir were singing, not the written pitch. Double basses actually read an octave higher than our sounding pitch, so I had to transpose up an octave and then immediately down somewhere between a quarter tone and a half step AND not be noticed but still work to keep the choir pitch from sinking further!

Also, many members of the choir were not happy with the implication that they could not sing in tune, and they weren’t shy about making these feelings known to me! These performances took every bit of mental focus that I could muster to handle the numerous challenges.

Even with this difficult role, I had a great time playing this piece. It’s not often that a bass player gets to participate in an a capella concert like this.

Extreme Gigging – All Night Drives

I have had the unfortunate experience of doing many all night drives over the years to get from one gig to another. This is never fun. The main problem is that I work in Memphis, Tennessee and in Chicago and Wisconsin. IRIS Chamber Orchestra concerts will start in Memphis at 8 p.m. on Saturday night and get done at 10 or 10:30 p.m. I will then often have rehearsals (or sometimes even concerts!) the next day in northern Illinois or in Wisconsin. Memphis and Chicago are about 9 1/2 hours apart for driving time, so this can present some complications.

Sometimes I only have a Sunday evening rehearsal or some teaching on Sunday night. This is the best sort of scenario. I simply have to get up around 5 a.m. (which I don’t like doing very much after a late night concert) and be on the road by 6 a.m. It’s a lonely drive through rural Arkansas and Missouri, but I can keep myself entertained with beautiful vistas like this farm:

this state prison:

the friendly hamlet of Salem, Illinois:

and Cairo, Illinois, which has a rich history of hate crimes and violence:

A Time magazine article a few years ago compared photos of downtown Cairo and photos of war zones, and there was very little difference.

Charming as this drive may be during the day, it is even more fun at night! The bad driving scenario (and one which I have done many times) is one in which I have a Memphis concert Saturday night ending at 10:30 p.m. and a Milwaukee service starting 11 a.m. Sunday morning. If I leave the second the concert gets out (no time to change) and hit the road I can make it to Milwaukee with about 45 minutes to spare.

The drive (which I have come to detest more than anything in this world) follows this sort of time line:

10:30 p.m. – I load the bass and the stool in the car (still in my suit) and book it to the freeway. Luckily there is a reception after each IRIS concert, so there is never a mad dash to the parking lot. I need to make sure to stop for gas before I leave Memphis, because late night gas stations are spread pretty far apart for the first two-thirds of this drive.
11:15 p.m. – By now I have cleared the Memphis area and entered West Memphis, Arkansas, another rough town on the drive. I’ve stopped here before, and to me it is like the East St. Louis of Memphis (any people from Illinois or Missouri know what I mean–it’s bad!).
12:15 a.m. – I hit the Arkansas-Missouri state line. Traffic starts to thin out by this point, but there is still some company on the road.
1:15 a.m. – I cross the Mississippi river and hit Cairo. The crossing is dramatic during the day, but at night it is creepy. I am basically the only car on the road right now. I’ve driven this drive during pouring rain and whipping wind when the temperature is just a hair above freezing. Here’s a picture of the crossing. Imagine how it looks in the conditions I just described:

1:30 a.m. – Now that I’m around Cairo I really start to get creeped out. Anybody interested in this town can read more about it here. I’m sure the town isn’t as bad as I imagine it to be, but I have this nightmare vision of breaking down out here in the pouring rain and never being heard from again. Adding to the creepiness is the fact that you enter a big southern Illinois forest at this point and that the trees at night are often filled with roosting ravens.
2:15 a.m. – I pass RIGHT NEXT to this prison:

I am the only car on the road. I make a mental note not to pick up any hitchhikers. Again I have visions of never being heard from again.

3-5 a.m. – I begin to enter a more populated, less “Deliverance” style area of the state. This is the point where I also start to feel VERY tired.
5-7 a.m. – These are the hardest hours of the drive for me physically. I am back in populated Illinois (I hit Champaign-Urbana around this time), but something about being still in my suit from the night before, unshaved, hungry, and squinting as the sun comes up makes me feel really rotten.
7-10 a.m. – I hit and pass metro Chicago on my way up to Milwaukee. I have not hit traffic ever at this time of day. It always strikes me at this point that the Chicago freeway system actually works great if there aren’t any cars on it!
10-10:45 a.m. – I arrive in Milwaukee at the ballet studio and brush my teeth in the street as I wait for the hall to open up. These days are doubles (!), so my day is as follows from this point:
11 a.m.-1:30 p.m. – Rehearsal #1
1:30-2:30 p.m. – crawl inside my bass case to take a nap
2:30-5 p.m. – Rehearsal #2
5-6:30 p.m. – drive home to Chicago
I haven’t yet had a gig after that second Milwaukee service, but I am sure that it is something that would happen if I were to continue to do these crazy drives. I have vowed to never do one of these days again–I am sure that it takes a month or so off of my lifespan after I do it.

I have also done all night drives to many other places besides Milwaukee, but those stories are for another time.

Freelance Life

My schedule for this past week:

Sunday, October 8, 2006

10 a.m. lesson in Evanston
1:00 p.m. lesson in Evanston
2:00-3:00 p.m. drive from Evanston to Elgin
3:30 p.m. Elgin Symphony Concert
5:30-7:30 p.m. drive to Whitewater, Wisconsin
7:30-11:30 p.m. teach at UW-Whitewater
11:30 p.m.-1:30 a.m. drive home to Chicago

Monday, October 9, 2006

10 a.m. lesson in Evanston
11 a.m. lesson in Evanston
11:30 a.m.-12:45 p.m. drive to Chicago to play at Columbia College

Chicago’s Columbus Day parade is happening just as I am trying to park, of course, so I have to loop three miles south of downtown and creep north to park in my $17 rip-off garage. All the other lots are filled with spectators for the parade. I chug about 1 1/4 miles south down Michigan Ave. and just make it to my gig.

1:30-2:45 p.m. performance of student works for Columbia College arranging class

I get done and run full speed (or as close to full speed as I can get with my bass) back 1 1/4 miles north. The parade is just getting done and the sidewalks are filled with people going back to their cars. Lovely. I get in the car and push my way into the gridlock traffic and head back north to Evanston.

2:45 p.m.-3:55 p.m. drive from Chicago to Evanston

I just make it to my next lesson at 4 p.m.

4-5 p.m. lesson in Evanston

Now I have exactly 30 minutes to go 15 miles north in rush hour traffic. Miraculously, the traffic angels were smiling that day and I make it just before my next lesson.

5-5:25 p.m. drive from Evanston to Northbrook

5:30-8:30 p.m. teach in Northbrook

Tuesday, October 10, 2006

8 a.m. drive to Skokie to feed my friend’s cats

8:30-9:45 a.m. drive from Skokie to Grayslake (35 miles north)

10:30 a.m.-3 p.m. double rehearsal for Lake Forest Symphony

3-4 p.m. drive from Grayslake to Deerfield

4:45-8:15 p.m. listen to Illinois Music Educators Association District 7 auditions

These are pretty normal freelance days for me. The key thing to notice in all of these days is DRIVING. I have driven probably 400 miles in the last three days. I often drive over 1000 miles a week easily. During the playing season (September-May) I get oil changes once a month.

Sometime I’ll share some of my extreme freelance stories here, but now I need to go to sleep to get up for my early morning rehearsal tomorrow.