How Realistic Are Your Goals?

Steve Raybine:

Blog #5;



How Realistic Are Your Goals?



Ever since I've been a young boy, I've been encouraged by my parents (particularly my father, Art) to be a goal-oriented person. The following would be representative of my short- and long-term goals:


1.) How good am I becoming as a musician and can I achieve my standards of musical excellence?


2.) How much am I achieving academically and can I become a superior student?


3.) What kind of athlete am I capable of being and can I be reasonably competitive with other athletes my age?


4.) Am I capable of becoming an excellent public speaker and how will this impact my future career plans?


5.) Will I ever earn my Bachelor's (B.M.); Master's (M.M.) and Doctorate (D.M.A.) degrees in music?


6.) Can I become a music teacher worthy of inspiring students?


7.) Will I ever get a recording contract?


8.) Will my music ever be played on radio stations?


9.) Will I achieve national prominence as a jazz performer and composer?


10.) Am I capable of being the type of husband and father that puts my family first before all other considerations?


These are but a few of the goals that were imposed upon me as a young boy and many that I imposed upon myself throughout the years.



As an only child, it seems that I was always competing for something or against someone from an early age. I was always expected to be outstanding at everything I did, which of course, is not theoretically possible (my wife, Beth, will be happy to share with you my inability to fix things--alas, no carpenter). However, as a young man, that didn't stop me from going the extra mile to excel at many things including music; sports; academics; public speaking; being a leader; etc. I developed a lifestyle that predated the select 'everything' contemporary child, which many of us have come to know all too well. Ultimately, I channeled my career energies primarily into music, which hasn't changed much over the last 40 years. For the most part, I've been pretty successful in music (I won't bore you with my BIO) and still remain a competitive goal-seeking individual. Setting goals and being achievement-oriented has defined me and is probably the reason I've accomplished as much as I have during my lifetime. However, were my goals realistic and was this process always the best way to achieve happiness and fulfillment in life?





Over time, I have found that different things and methods inspire people to pursue their dreams and goals. For some folks, it is best to not overtly push them in any one direction--they prefer to find their own way in life and to pursue or alternatively, not pursue specific goals. In their case, they determine what innately appeals to them. The expectations of someone else imposing their will upon them is not relevant...and not appreciated. Conversely, there are people like myself, who were pushed/challenged/motivated to excel at various things--some to their liking and some not. These people either embraced this more overt methodology or rejected it--there wasn't much middle ground in this approach.






Some of my goals that I set for myself in music were attainable, while others seem far more elusive and impractical in hindsight. For instance:


#1.) It was ultimately within my power to increase my skills as a performer and composer--these were reasonable goals.





#2.) Obtaining my Bachelor of Music and Master of Music degrees was definitely achievable, but the Doctorate in Music degree was extremely difficult. It took all of my determination and self-discipline to complete this goal both musically and academically. Writing the bulk of my doctoral dissertation for seven hours each evening for nine consecutive months was a terrible ordeal. Did I mention that I wrote for seven hours after I worked all day? Wow!





#3.) Becoming an inspiring and worthwhile teacher was within my grasp, but I certainly had to work long and hard at becoming an effective communicator that understood the needs of each of my students (my oratorical skills have been a tremendous asset to me as an educator and performer).




#4.) Obtaining a recording contract (in my mid-twenties) was somewhat unrealistic given the illogical and unpredictable nature of the music business, but I did manage to fulfill that goal.





#5.) Getting my music on radio was also an elusive and impractical goal in hindsight, but I'm proud to say that my music has been played on over 130 radio and internet stations worldwide. Getting your music played on radio is exceedingly difficult--don't ever underestimate the complexity of radio programming.




#6.) Becoming a prominent jazz artist and composer within my field was perhaps the most difficult of all my musical goals I set out to achieve. However, I am a jazz vibist that is sponsored as an artist and clinician with one of the premier mallet-percussion instrument manufacturers worldwide (Musser, a division of the Conn-Selmer Music Corp.); I have a mallet endorsement deal with Mike Balter Mallets, one of the most prestigious mallet companies worldwide; I've performed at numerous (prominent) jazz venues and festivals; my music has been well-represented on radio stations; I record on my own record label (Bad Kat Records); I've received prestigious reviews and press from around the world as a performer and composer; etc. So, although I've attained many of my musical goals and many people consider me quite successful as a musician, I still have goals I set for myself as a younger person that I'd like to achieve. Again, considering the unpredictable, illogical, over-saturated and fiercely competitive nature of the music industry, it was naive of me to think that attaining every musical goal was going to be a slam dunk. Nonetheless, I'm proud of what I've achieved thus far in music.



One of the other goals I previously mentioned (and the most important one) was becoming an admirable and loving marital partner for my wife, Beth, and father to my two sons, David and Sam. For any parent, maintaining a healthy, prominent and loving presence in your children's lives is an on-going journey. Although, I know that I'm imperfect, as most parents are, I have been a diligent and devoted father for 19 years now. I adore my sons and like most parents I know, love my children unconditionally. I've been married, successfully I believe, for 21 years and I'm proud of that. My family has enriched my life in every way possible and I hope that I've fulfilled my responsibilities to them. This goal is a never-ending goal, as it needs daily maintenance and care–you can never compromise or quit on this goal because of what's at stake.





In summation: however you set your goals or rather, don't set your goals, living your life with a balanced outlook and degree of practicality is ultimately recommended. Perhaps I wouldn't have achieved things that I have, had I not been somewhat naive and impractical in my thought process. However, I'm not sure some of my goal-setting examples should serve as a role model as they've taken a toll on me over time. Alternatively, many of my goals were and are life-affirming. By the way, I became a competent athlete, but nothing truly outstanding.





Copyright 2009 Steve Raybine


All Rights Reserved

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CDs Anyone?

Steve Raybine:

Blog # 4;

CDs Anyone?

If you haven't noticed by now, CD sales are down within the music industry. This is not good news to those of us who record and promote our own music. My new CD (In the Driver's Seat) cost approximately $22,000.00 to make. I printed 1,500 copies of the CD, which brought my total expenditures to $25,000.00. I then embarked on a radio campaign, which thus far has cost $4,200.00. Moreover, I did some advertising for my CD release party, which brought the grand total to $29,500.00. Soon, I anticipate spending another $2,400.00 for phase 2 of the radio promotional campaign, which will bring us to $31,900.00. Ouch!






Recording and promoting your CD can be an extremely expensive endeavor. Granted, some people record and promote their music for far less than I do, but for the quality of the CD I need to produce for my market, this is what my CD's generally cost me. Remember the good old days when an abundance of potential record companies might sign you as an artist and advance you money to record your music...and promote it? Generally speaking, those days are over for the vast majority of musicians recording CD's today. We live in the independent artist era, when the myriad of expenses associated with your recording project are incurred exclusively by you, the artist. Have you heard the old joke, "How do you make a million dollars in the music business as a jazz artist?" Answer: "Start with two million!" What a deal, huh?






The internet and digital downloading of music has been an advantage for many musicians, myself included. However, with individual song downloads being so prevalent, entire CD sales have suffered--significantly. Many consumers adopt the philosophy, "Why buy an entire CD when you only want one or two songs for your Ipod?" Moreover, with all of the illegal duplication of CD's that occurs, many people are quite content to copy a CD from one of their friends, which results in the loss of income for the recording artist. Unfortunately, it appears as though music retail record stores are slowly going out-of-business, because people just aren't buying CD's like they once did, which I believe is due in part to internet music sales and depressed economic times. High-profile artists within their respective genres are generally able to still sell significant CD's (product), because they tour extensively (often for large crowds) and audiences are more inclined to buy CD's at a live show. For artists that are unable to tour regularly, which is an expensive undertaking (band expenses; lodging; food; promotion; etc.,), they can't sell enough CD's to recoup their initial investment in their music. So, they essentially lose money on their CD's, but are at least able to remain viable as a recording musician, even though their sales may be marginal.






These are not particularly good times for creative artists trying to survive within a depressed industry and economy. Most recording artists I know within the jazz marketplace (and others) are struggling with their financial situations. There are always those select few that are able to maintain their status quo and perhaps even thrive despite the prevailing music-business and economic trends--lucky them! I realize that because of the exorbitant fees associated with my own project, I may never be able to finance another CD--at least one of the magnitude of my current project. This, of course, is of great frustration and sadness to me, but a reality that I and others am forced to confront. For now, I will remain optimistic about my current CD project and enjoy the moment, because this time may never come again. CDs, anyone?






Copyright 2009 Steve Raybine


All Rights Reserved

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Some Prominent Jazz Style Periods

Steve Raybine:



Blog #3;




Some Prominent Jazz Style Periods





1.) Vaudeville Era:


A time period in the history of American music (circa 1900-1930) when musical styles such as Ragtime; Dixieland/New Orleans Classic Jazz (combo jazz) were popular. Jazz historians often refer to Ragtime (piano-based music) as the first authentic jazz style. Jazz artists popular during this time were: Louis Armstrong (trumpet and first great jazz soloist); Jelly Roll Morton (piano and first great jazz composer and stylist); Scott Joplin (piano--more strict Ragtime); etc.






2.) Swing Era:


The period in jazz history during the 1930's and 1940's when Swing music played by Big Bands utitlizing large-scale arrangements were popular. Arguably the most popular period in jazz history, the large band format (Big Bands) consisted of: Glenn Miller (trombonist); Tommy Dorsey (trombonist); Duke Ellington (pianist); Count Basie (pianist); Artie Shaw (clarinetist); Benny Goodman (clarinetist); Harry James (trumpet); etc.






3.) Bebop Era:


An innovative form of combo-style jazz music pioneered by alto saxophonist Charlie "Bird" Parker; trumpeter John Birks "Dizzy" Gillespie and pianist Thelonious Monk in the 1940's. The musical focus was oriented towards fast tempos; complex harmonies (altered and unaltered chord extensions) and virtuosic, linear outlining of the underlying harmonic structure.






4.) Cool Jazz Era:


An introspective ('cool') chamber-like jazz style that flourished in the 1950's subsequent to the Bebop period. This predominantly combo style (varied in size) of jazz music was also referred to as the West Coast Style. The music, which was championed by Miles Davis (trumpet); Gil Evans (arranger); etc, contains Bebop-influenced musical components (harmonies, improvisational elements) with provocative textural orchestrations and a modal (jazz theory modes) orientation. The improvisations generally unfolded more gradually and were less frenetic and complex as Bebop-style improvisations.






5.) Hard Bop:


An impassioned and hard-edged derivative of Bebop music, which was popularized during the 1950's and 1960's. The music also contained "Blues-oriented" funky stylistics, which was a precursor of sorts to the Smooth Jazz genre of the late 1980's and 1990's and continuing throughout current times. Hard Bop musicians were Horace Silver (pianist/composer) John Coltrane (tenor saxophone); Art Blakey (drums); etc.






6.) Third Stream Music:


A provocative form of chamber jazz played by groups (combos) such as the Modern Jazz Quartet, whose musical trademark featured a synthesis of jazz and art music ('classical') from the Western European tradition.






7.) Avant Garde Jazz:


Atypical jazz focus (melody/harmony) which utilizes substantial re-orientation of the principles of jazz while exploring more overt melodic dissonance and density of improvisational construction. Albert Ayler (tenor saxophone); Pharoh Sanders (tenor saxophone); Art Ensemble of Chicago; Don Cherry (pocket trumpet); Ornette Coleman (multi-instrumentalist); etc., were associated with the avant garde jazz movement.


8.) Fusion Music:


Fusion music emerged in the 1960's and continued throughout much of the 1970's as initially, a synthesis of musical elements from the jazz and rock idioms creating a hybrid known as Jazz-Rock. In contemporary music, the spectrum of fusion encompasses multicultural world music and art music from the European Classical tradition. Some people may even consider elements of New Age Music to factor within the discussion of Jazz Fusion, albeit an ethereal, hypnotic form of the genre. Weather Report; Chick Corea's, Return to Forever; Miles Davis (Bitches Brew); Mahavishnu Orchestra; etc., were significant fusion groups.






9.) Smooth Jazz:


Smooth Jazz (mid-late 1980's to current times) incorporates the following musical elements: Jazz; R&B; Gospel; Blues (prevalent in all jazz styles); Urban Funk; 'Pop'/Rock; Latin/Afro-Cuban styles; etc. The music generally features strong, hook-like melodies and funky rhythms. The Rippington's; Boney James; Brian Culbertson; etc., are archtypical Smooth Jazz artists/groups.






Note: While all these various style periods have emerged throughout the history of jazz, they've generally continued to remain vital and popular (in varying degrees) with certain jazz audiences. Some of these styles have re-emerged in a slightly altered form, which may reflect other musical influences.




Copyright 2009 Steve Raybine


All Rights Reserved

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The Chosen Ones

Steve Raybine:

Blog #2:

 "The Chosen Ones"

 Ask yourself this question: When you decided to play a musical instrument, did you have any idea that you were competing with other instruments for audience popularity? Answer: I bet that you didn't--I know that I certainly wasn't aware of this situation. Perhaps you didn't even care which instrument was more popular? When I started taking lessons, I began on the piano, which to this day, enjoys a certain degree of popularity in multiple idioms as both a frontline and backline instrument. From there, I progressed to the drumset, which is still a popular instrument, but is generally considered a 'backline' instrument in contemporary music. However, phase three of my instrumental choice, the vibraphone (my primary instrument), has chosen to be a surprise to me over the years.






The vibraphone or vibes as they are commonly known (no, not a xylophone as most people refer to it), is considered a jazz instrument. Although the vibes are utilized in all sorts of ensembles (symphonic bands; orchestras; recording studios; etc.,), they have historically been most popular fronting a jazz combo, which has suited my musical purposes--to a certain degree. What I didn't realize when I decided to focus on the vibraphone as my primary instrument, is that it is not considered as versatile and popular as many other instruments within the music industry--especially on radio. Mind you, I'm not saying that certain factions of the music business don't appreciate or even like the vibes, but that it is simply not as popular as some of the following instruments:


1.) Trumpet


2.) Piano/Keyboards


3.) Electric Bass


4.) Drums


5.) Trombone (this instrument is not nearly as popular as it once was, however)


6.) Vocals (yes, a vocalist uses their voice as an instrument)


7.) Violin


and the most BELOVED Instruments of all............the SAXOPHONE and the GUITAR.






That's correct all you hopeful instrumentalists, everyone pales in comparison to the exhalted saxophone(s) and guitar(s). In the vast arena of contemporary music, the sax and guitar dominate all other instruments, unless we also include vocals within this hierarchy. In Smooth Jazz, these two instruments comprise 90% or more of the music that is played on Smooth Jazz radio stations. In much of the jazz idiom, those two instruments are most prevalent with the aforementioned instruments comprising the majority of the remaining marketplace. In Rock or some facsimile therein, guitars and vocals rule and everyone else drools. However, Rock-oriented bands still need a competent drummer and bassist with the occasional keyboardist thrown into the mix. Country music features guitars and vocals with a similar configuration to the bands within the Rock genre. I'm not including symphonic or orchestral music within this discussion as those genres are unique unto themselves and comprise a relatively small percentage of the recorded music today.






You'll notice that thus far, I haven't mentioned the flute; piccolo; clarinet; bass clarinet; bassoon; oboe; english horn; baritone; tuba; harp; cello and viola (primarily orchestral and symphonic instruments) within this discussion of instrument popularity. Guess what: they're unfortunately not that popular within contemporary 'popular' music. Does that surprise you? I've always favored the flute, but it just isn't a major player on radio or in concerts, instrumentally speaking, that is. Either is the clarinet, which reached its zenith during the Swing Era of the 1930's and 40's.






So, what does this all mean? It means that from a radio perspective, the beloved instruments, (a.k.a. "The Chosen Ones"), get the vast majority of the radio play. Music Directors and Program Directors from radio stations consciously orient their play lists around songs that feature these instruments or voice. The rest get the leftovers, in varying degrees, with trumpet being the most preferred other instrument. If you receive the majority of radio play, then you'll get more printed press (ink, as it is known), sell more product (CD's; T-shirts, etc.,) and you'll get more of the premier bookings (festivals; cruises; etc.,).






What can be done about this hierarchical situation? All of the not-so-popular instruments need to make a concerted effort to prove their inherent worth to all factions of the music industry. Thus far, over a ten year period, I've released and promoted three CD's to radio and the music business and have made some substantial gains within the marketplace (primarily Smooth Jazz radio). My music has been played on over one hundred thirty (130) regular and internet radio stations around the world. That means that the "vibraphone" (a less common radio instrument), has actually been played and featured on these stations many times. Trust me when I say that this has been a long, arduous and expensive road I've traveled on behalf of instrument viability. I've coupled my music and instrument with saxophone, guitar, trumpet, keyboards, etc., in order to increase my chances of being played on radio. And, for the record, I also like the saxophone and guitar--they're eminently likeable and versatile instruments. Mind you, I'm still trying to crack through the glass ceiling of radio and be accepted into the top echelon of radio stations--whether I make it that far remains a quest-in-progress. Sometimes I feel like Martin Luther King when he said, "I've seen the promised land (of radio), but I may not make it there with you."






What the future holds for all of us less popular instruments remains to be seen. I've been your point man--I've tried to run interference for all of you who are struggling for acceptance and opportunities. Remember what I told you initially about instrument popularity? Well, maybe now you've come to realize that popularity means more artistic opportunities to showcase your talent and to make money performing on your instrument. Heed my call: the time to act and to speak up is NOW! It already may be too late. Remember: the instrument-makers didn't design just a couple of instruments to have a monopoly over all other instruments. You're as good as everyone else--it's time to embrace and promote your uniqueness and your potential--otherwise it may never come to pass.


Steve Raybine




Copyright 2009 Steve Raybine



All Rights Reserved

http://www.steveraybine.com/



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Welcome to My Organization!

Steve Raybine:
Blog #1

Welcome to My Organization!

Hello everyone and welcome to Steve Raybine's World Wide Blog. During the course of my weekly blogs, I will be discussing many issues related to music and the music business--some more controversial than others. You will have an opportunity to submit your comments to the Blogs–please sign in and share your opinions with us! I hope to see you on a daily basis as I inform and challenge you to consider the topic of the day. Now, on to the first blog!
In the music business, it's virtually impossible to survive on your own--you need the support of close allies and associates. In my case, I've assembled a group of people that help me fulfill the various functions required to promote myself and my music. These highly-valued independent contractors, who are paid for their services, are essential to any success I achieve within the music industry as a performer, composer and recording artist. Let me introduce my business and musical team members to you for BAD KAT Records, LLC:






THE BUSINESS TEAM: Part A
A.) Rob Laughlin, Attorney at Law (CARDINAL ENTERTAINMENT):
Rob is my music attorney. We've collaborated together since my first CD (Balance Act) was released in 2000. Here are some of the many duties Rob fulfills for the team:
1.) Rob negotiates and drafts all complex contracts. Many times, these contracts require persistent and complicated negotiations. Moreover, there is often legalese that can only be interpreted by an attorney.
2.) He pursues concert venues for the band. This work is typically done by an agent, but Rob also functions in this capacity. He frequently assembles promotional packs and other press-related items that need to be sent to industry people. He also drafts great letters for the press kits--a certain skill is involved with the personalization of these letters. He speaks on my behalf regarding pending
concerts, etc.
3.) Rob also sends out certain mailings that require his attention--this can range from radio liners to discussions with magazines; journals, etc.
4.) Rob also serves as my official photographer. Photography is one of his hobbies and he has taken many photos of me and/or the band for press purposes.
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B.) Chris Cooke:
Chris is my website designer. He's been working with me since the release of my second CD (Bad Kat Karma) in 2005. Here are the duties Chris fulfills for the team:
1.) Chris has designed and maintains my website (www.steveraybine.com) on a daily basis. He constantly updates it with pictures; new press materials; etc. Whatever is required to keep my website functioning professionally and consistently is his domain. Websites need constant attention and require a great deal of maintenance.
2.) Chris has designed my Facebook page and regularly contributes pictures and press-release information to it.
3.) Chris has designed my MySpace page(s) and keeps it current with friend requests, etc.
4.) He provides some photography. He will occasionally attend concerts and take pictures for press purposes.
5.) He is responsible for packaging and mailing out CD's that are sold through my website.
6.) Chris recently set-up a Twitter account for me.
7.) He sets up jazz-related internet sites for me that I need a presence on (my profile, etc.).
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C.) Dwight Thomas (DAPrint Music Preparation/Publishing):
Dwight prints my music and fulfills other music business necessities associated with my publishing, copyrights and internet music downloading. Dwight has worked with me since Balance Act was released in 2000.
1.) Dwight prints all of my music.
2.) Dwight is responsible for filing and paying for all of my music copyrights with the Library of Congress.
3.) Dwight files and purchases all of my mechanical licenses with the Harry Fox Agency etc., so that I am legally protected to record other composer's songs (cover tunes).
4.) Dwight is responsible for making sure that my CD's and individual songs are available for purchase and internet downloading on CD Baby; Rhapsody; itunes, etc.
5.) Dwight files my Music Registration Forms for my songs with BMI, so that I can collect my composing and publishing royalties from radio play, etc.
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D.) Patrick LaVelle, CPA of Dutton and Associates, P.C.:
Patrick has worked with me since the release of In the Driver's Seat in 2009. He is my personal accountant and tax specialist.
1.) Patrick files my taxes, which are quite complicated due to the nature of my multi-faceted business.
2.) Patrick provides legal information involving accounting or tax-related procedures.
Note: Prior to Patrick joining the team in 2008/2009, Ron Bauers functioned in this capacity.
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E.) Steve Raybine, President and Owner of BAD KAT Records, LLC:
1.) I consult daily or as needed with the members of my business or music teams regarding their specific duties. It is my job to make sure everything is progressing forward and that we're all accomplishing what needs to be done as efficiently as possible.
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THE BUSINESS TEAM: Part B
A.) Dan Griffin and Premiere Media Solutions:
Dan and his company prints/duplicates my CD's and singles. Dan has worked with me since Balance Act's release in 2000.
1.) Dan is responsible for overseeing the printing/duplicating of my CD's. He makes sure the entire CD package is assembled correctly prior to printing.
2.) Dan obtains the bar code, which appears on the back of the CD package. He checks the mechanical licenses for accuracy before going to print.
3.) Dan and his staff are responsible for the graphic design of the CD. This was a particular success on my most recent CD, "In the Driver's Seat," which was coordinated entirely by Dan and his graphic-artist staff.
4.) Dan and his company print my singles for radio play. Singles require a different design and orientation than regular CD's.
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B.) All That Jazz, Inc.:
Cliff and Jason Gorov and Marcy Schmitz promote my music to radio and internet radio stations worldwide. They have worked with me since the release of Bad Kat Karma in 2005.
1.) Cliff and his team have the challenging job of promoting my music to radio stations. Thus far, I've been played on over one hundred thirty (130) radio stations, satellite TV-radio stations worldwide.
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C.) Smoothjazz.com:
Sandy Shore and her staff promote my music on the internet. They have worked with me since the release of Bad Kat Karma in 2005.
1.) Smoothjazz.com promotes my music worldwide on the internet.
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THE MUSIC TEAM: PART A
A.) Chris Acker:
Chris is the executive producer of my CD's. He has worked with me since the beginning of Balance Act in 2000.
1.) Chris' responsibility is to oversee every aspect of the recording process of my CD's. A gifted recording engineer, Chris is my executive producer.
Note: Prior to In the Driver's Seat, Chris was the primary recording engineer and mixer for my first two CD's. He also used to print my music before Dwight Thomas assumed that job.
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B.) Doyle Tipler:
Doyle is my chief recording engineer; co-producer; CD mixer and horn-section composer. He wrote horn parts for Bad Kat Karma in 2005, but In the Driver's Seat was his first major project with me.
1.) Doyle's primary responsibility is to record the CD.
2.) He is responsible for mixing the tunes on the CD.
3.) He wrote all of the horn-section parts for the various tunes (In the Driver's Seat).
4.) He edits the singles for radio if it is required.
5.) Doyle co-produced the CD with Steve.
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C.) Doug Van Sloun (Focus Mastering):
Doug masters the CD's. He has worked with me from the beginning since Balance Act in 2000.
1.) Doug is responsible for mastering the CD(s).
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D.) Steve Raybine;
Composer, performer and co-producer.
1.) It is my primary responsibility to compose the music for the CD's.
2.) I rehearse the band; play and record my parts; consult with my exec.producer and co-producer; transpose music for horn players; check the mixes and masterings; etc.
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MUSIC TEAM: Part B; The Musicians
1.) David Raybine: Alto Saxophone (co-front man)
David records and does gigs with the band.
2.) Stan Harper: Alto, Tenor and Baritone Saxophones (Horn Section)
Stan primarily records with the band.
3.) Dan Cerveny: Keyboards
Dan records and does gigs with the band.
4.) Mitch Towne: Keyboards
Mitch only records with the band.
5.) Jeff Scheffler: Acoustic and Electric Guitar
Jeff records and plays gigs with the band.
6.) Steve Gomez: Acoustic and Electric Bass
Steve records and plays gigs with the band.
7.) Craig Balderston: Electric Bass
Craig primarily records with the band.
8.) Calvin Hansen: Drums
Calvin records and plays gigs with the band.
9.) Grant McMullen: Drums
Grant plays gigs with the band.
10.) Joey Gulizia: Percussion and Drums
Joey primarily records with the band.
11.) Chris Acker: Trombone (Horn Section)
Chris primarily records with the band.
12.) Curtis Pelster: Trumpet (Horn Section)
Curtis records with the band.
13.) Doyle Tipler: Trumpet (Horn Section)
Doyle plays gigs with the band.
14.) Steve Raybine: Vibes, Percussion, Composer/Arranger; Band Leader; co-front man
I record and play gigs with the band (rather obvious).
You've now been introduced to my entire organization. We are a team and like any team, rely upon each others' skills and individual talents. This is a fun and harmonious group of people--can't say this was true of the other organizations I've been a member of in the past, unfortunately. Remember: when you assemble your business and musical teams, make sure that everyone understands their role(s) and are generally good-natured to work with--life is far too short to deal with difficult and self-centered people. Good luck!






Steve Raybine


Copyright 2009 Steve Raybine
All Rights Reserved

http://www.steveraybine.com/

http://www.myspace.com/steveraybine

http://www.facebook.com/pages/Steve-Raybine/56070941106


http://www.cdbaby.com/cd/raybine3


http://www.youtube.com/results?search_query=Steve+Raybine&search_type=&aq=f


http://www.smoothjazz.eu/index2.html