Raybineisms': Part 2

Steve Raybine:

Blog #20:
 



Raybineisms': Part 2





1.) "If you don't know it, you can't show it."


As a musical performer, you can't demonstrate what you don't know.






2.) "Teaching is reaching and preaching."


Reaching a student (establishing a rapport and relationship with him or her) and preaching (sharing the knowledge of musical information) is paramount in becoming an effective and communicative teacher.






3.) "Show me, don't snow me."


Actions speak louder than words. Don't make excuses for your lack of effort.






4.) "Believe and you'll achieve."


Believe in yourself and your abilities and you will gain the knowledge and skills that you truly desire. Moreover, you will be active, vital and an achiever. Above all else, you must believe that you have potential, so don't give up, but rather, give in to your talent(s) and develop them to the best of your ability.






5.) "When knowledge reigns supreme, you'll lead the team."


The person who knows the most, is generally the person in charge.






6.) "When you inspire, you light the fire."


Once a person is inspired, they will want to gain knowledge and information.






7.) "When you waste time, you fall behind."


Time is a valuable commodity, so use it wisely and to your advantage.






8.) "Try and you'll reach the sky."


If you put forth your best effort, you may attain many of your dreams and goals over time.






9.) "Those who cheat, should never compete."


Don't cut corners in life and don't pretend to be something you're not. Work hard to attain your skills and you will earn the right to participate in all sorts of music ensembles.






10.) "If you run the race, there'll be no disgrace."


As long as you try your best, you are already a winner. Winning doesn't mean that you actually have to win, but the desire and the attempt put forth to win is what is truly important--that's all any of us can realistically do.






11.) "Practice makes better."


When you practice music, you may never be 'perfect' as the old saying goes, but I guarantee that you will become better. Besides, what does perfect really mean and who's perfect anyhow? Practicing to become better is a more realistic and healthy goal.






12.) "If you wanna be great, don't procrastinate."


Nothing in this world comes easily, so don't postpone your progress by being a procrastinator. Remember: only you know how much you truly desire to become great at something--it's really up to you.






13.) "The drummer is the engine of the ensemble, not the caboose."


Great drummers drive the band--they are the leaders, not the followers.






14.) "There's nothing like a good groove."


Having played in many music ensembles throughout my performing career, I can state unequivocally, that "There is nothing like a good groove." If and when you experience it, you'll understand the truth within this statement.






15.) "Trust your musical instincts."


After a certain point in every musician's evolution, each performer needs to trust their musical intuition and just play the music as they hear and feel it.






Copyright 2007 Steve Raybine


All Rights Reserved

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Why Play an Improvised Solo?

Steve Raybine:

Blog #19:

Why Play an Improvised Solo?

I asked one of my percussion students, Eric Neely (8th grader), why he might want to play an improvised solo on the drumset? After a brief hesitation, Eric replied, "You'd play a drum solo in order to show-off." I thanked Eric for his candidness, but then followed-up with the subsequent rhetorical question, "Are there any other reasons for an instrumentalist to play an improvised solo other than to show-off their skills to other people?"

For many people, playing a solo is, in fact, only an opportunity to 'show-off' and try to impress people. On a much deeper level, playing an improvised solo involves harnessing your musical skills, knowledge and intuition in order to communicate thoughtful; mindful and creative musical ideas. Intelligently-conceived improvising is not a random and arbitrary process, but is the byproduct of a talented and skilled musical technician and improvisor. With younger students or less experienced improvisors, playing a solo may not yet reflect a logical and creative approach that results in a more profound improvisation. The evolution of any disciplined musician is a maturation process, whereupon he or she may one day be able to generate more sophisticated musical thoughts on their instrument. It is, in fact, the desire to communicate musically with others and with yourself that inspires young and older artists alike to both develop and cherish the art of improvisation.

Learning to improvise is akin to learning a new language. Initially, you need to learn the extensive musical vocabulary (relevant to specific instruments) that will enable you to begin speaking the language. Once you learn the vocabulary, then you can begin organizing your musical ideas into cohesive thoughts and sentences. From there, musical sentences turn into longer thoughts, much like the development of a paragraph. The longer you can sustain your ideas, the more interesting your musical story will become. Finally, after much study and application of the theoretical principles and musical concepts involved in becoming a skilled player, you will hopefully speak fluently and eloquently on your instrument as you create your improvisations.

There is a great deal of musical information to absorb before you become a skilled improvisor on your instrument. Try to remember that learning to play a musically-satisfying solo on your instrument is an unfolding process--a rather lengthy process at that, in most instances. So, why would you want to play an improvised solo on your instrument? Because it is a joy to express yourself creatively; it is a musically-rewarding experience to communicate your 'innermost' musical thoughts to others; it is an exhilarating experience to 'challenge' yourself musically on your instrument and because it is fun!

Copyright 2007 Steve Raybine

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Keep Your Appointments

Steve Raybine:

Blog #18:

Keep Your Appointments

The following are case studies involving scheduled appointments: #1) A student literally 'begs' you to arrange an extra lesson so that you can record an accompanimental CD track for his vocal audition at a university, which is scheduled in three days (out-of-town). At the appointed hour, he doesn't show up. #2.) You have some music to drop off for one of your band members, which you need to discuss with him. After you arrange a convenient time for him to be home, you arrive at his house with the music, but he isn't there. #3.) You arrange to call someone at a specific time for a conference call and that person is not available to take your phone call. #4.) You have a business meeting with someone and when you arrive, they are not there--they have forgotten your appointment. Note: in all of the aforementioned situations, there was not an emergency that would have prevented the person from attending the appointment.

The above scenarios are just a few of many examples of scheduled appointments, which are broken by one of the parties. Whether it was unintentional or not really doesn't matter, because the other party or parties have been inconvenienced. Morever, some people think it's acceptable to be late or even very late to a scheduled appointment, which it most certainly is not. So, why do some people not honor their scheduled appointments? Well, with some individuals, it probably is a manifestation of their inability to be organized and to adhere to a strict schedule. These folks will do poorly in the business of music field, or in any business for that matter. Businesses work on schedules, and if you are someone who is unorganized and can't or won't function on a schedule, you won't succeed very long in any business.

Secondly, and most distressing, is that some people simply don't respect other peoples' time. In order to be a successful business person--remember, music is a business, you must have the utmost respect for the time other people allocate to you. Most successful people have complicated and demanding schedules. If that person arranges his or her schedule to meet with you in person or to speak with you on the phone, you should respect and honor that time commitment. If you fail to honor that time allocation, the likelihood of that individual giving up his or her time for you at some future date is slim-to-none! If for some reason you can't make the appointment, you should contact that person at your earliest convenience and cancel the appointment. If you do this, that would be the responsible and professional way to handle the situation.

Throughout the career of any professional musician, he or she will schedule innumerable appointments that must be kept. In my private teaching studio alone, I schedule over 2,500 music lessons each year that I attend. These appointments are important to my students and are essential to my yearly income. Scheduling and keeping your appointments are critical to the long-term success of all musicians.

Copyright 2008 Steve Raybine

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Farewell to a Business Associate and Friend

Steve Raybine:

Blog #17:

Farewell to a Business Associate and Friend

Over the last ten years, I've had the privilege of knowing and working with Dan Griffin, Vice-president of Sales for Premiere Media Solutions and Account Manager of Mail Marketing/UnitedEnterprises. Dan and his staff have facilitated the printing, duplication, graphics and mailing of my three CD's and seven singles. Dan recently informed all of his friends and associates that he will be moving to Orlando, Florida next month and starting a new job. For all of us who know Dan and have worked with him, we will certainly miss his friendship and the hard work he did on our behalf.

Throughout the years, I've considered Dan an integral member of my organization, albeit in a freelance-type business situation. I've always relied upon his business acumen and expertise regarding the visual production and audio duplication of my music onto CD's. Dan is a tireless worker who always met difficult deadlines, but seemed to make it look effortless. I never worried about the final product of my CD's, because I knew Dan shared the same standard-of-excellence that underlies everything I've done in music. Fortunately for me, Dan's trusted office manager, Krystal Wageman, will continue working at Premier Media Solutions and will remain the ever-reliable liaison between the company and artists' such as myself.

One of the joys of being in business for yourself, is choosing the people you like to work with and those who enjoy working with you as well. Compatible business colleagues pursuing the same goal(s) with a consistent vision, energy and passion usually results in a superior product. Dan and I enjoyed working together and because of our mutual hard-work ethic, we managed to make three superior CD's and numerous singles that certainly furthered my career as a recording artist.

One of the facts of any business is that it is common for people to leave their jobs and to pursue other work-related opportunities. Throughout the course of my career in music, I've had numerous business colleagues that have changed jobs, myself included. So, enjoy your business relationships that currently exist as they may change at some point in the future. Good luck with your new job, Dan! I hope that we can work together again one day.

Copyright 2009 Steve Raybine

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Is This My Final Radio Promotional Campaign?

Steve Raybine:

Blog #16:

Is This My Final Radio Promotional Campaign?

When I dropped my check off with my music attorney today to pay my radio promoter for six weeks of radio promotion beginning in early January 2010, I couldn't help but wonder if this would be the last radio campaign that I could afford. If you hope to have your music played on radio, then radio promotion is a necessity--simply put! Beginning with my second CD, Bad Kat Karma, this will be my sixth major radio campaign (4 with Bad Kat Karma and 2 with In the Driver's Seat) that I have embarked upon.

It is the job of radio promoters to "pitch" your song(s) to radio stations with the sole purpose of getting you valuable airplay. Learn this fact and learn it now: radio play is essential to your career as a performing musician if you hope to have a lucrative performing career either as an individual or as a member of a band. Without a significant amount of national and international radio play, your music career will be severely limited, at least it is within the Smooth Jazz market where I perform.

Hiring a top-flight radio promoter(s) is expensive--nothing regarding professional-level promotion of your music is inexpensive. The organization that promotes my music to radio does a superb job--they certainly earn their money. In order to further my career in radio, however, I really need something significant to happen with the pending release of my two, yes two new singles (simultaneous release of "You've Got it All" and "What You Won't Do For Love") in 2010. The radio promotion, combined with the printing, assembling and mailing of the 250 singles for the January 4th, 2010 release to radio will come to over $3,000.00--a tidy sum.

The money I'm investing in the next radio promotional campaign is money spent believing in myself, my music and my promoters. Together, we are a unified team whose mission is to get either of my singles on as many Smooth Jazz radio stations worldwide as possible. Thus far, my music has been played on over 130 radio stations, which is very good. However, there are still some large radio markets that I need to crack and to have a big impact doing so. Will it happen remains the great unanswered question? I do know this: the music and the promoters are both excellent, so let the journey begin.

Success (great or small) comes to those individuals who believe 100% (or maybe more) in themselves, their product and their potential. I've tried to live that philosophy every day of my life. I've paid my dues literally and figuratively for many years and I'm proud to say that I'm a survivor. Will this be my final significant radio promotional campaign or is greater musical success just around the corner? Only time will tell.............

Copyright 2009 Steve Raybine

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Los Angeles

Steve Raybine:




Blog #15:




Los Angeles





Los Angeles has many nicknames such as L.A.; Hell A.; Lost Angeles; Los Angles; Los Angelinos; City of Angels (its actual meaning) and the infamous Lost Arseholes, which was John Lennon's nickname for Los Angeles. Whatever you choose to call it, I spent 4 ½ years in Los Angeles and by the time I left, I had had enough--it was time to find some real friends and to rediscover my musical compass.






I had some interesting (and not so interesting) times living in Los Angeles during my twenties. I was a naive newbie to the L.A. scene when I tried to help Auracle (my band) secure a recording project. Initially, I took all of my college graduation money from my grandfather ($800.00) to help finance a two-week reconnaissance mission to the heart center of the music business--the glitz and glamour of L.A. Along with Auracle's drummer, it was our task to determine the feasibility of relocating to Los Angeles in order to launch our music careers. In hindsight, it was a colossal waste of my money to attempt to help that band, because it was an organization doomed to failure. Why, you ask? Not due to a lack of talent--the six of us had an abundance of that, but because we were incompatible on various levels and were involved in some complicated business relationships that we couldn't resolve. Simply put, in spite of our early successes (recording contract; touring; international press; etc.), we couldn't get along with each other for the greater good of the band. We weren't the first band to break-up and won't be the last, but it was very unfortunate that a band comprised of such young and talented musical performers and composers ultimately fell very short of their initial goals. All the promise of whatever Los Angeles held for Auracle, dissipated gradually, but completely. Note: Several of the original members of Auracle continue to live in their adopted city.






Most everyone has heard stories about Los Angeles (and Hollywood) being a fickle city--not the place where you make lifelong friends. I know that's not true for everyone, but it was for me. I'm from the Midwest, actually a northern Midwestern state (Wisconsin). Wisconsin is a state where you know your neighbors and people enjoy being kind and genuinely nice to each other. Moreover, most people are not preoccupied with competing with or "one-upping" (out-doing) each other. Wisconsonites are "true blue," as my wife might describe the people back home. They look out for each other because they like one another. Unfortunately, that wasn't my experience in Los Angeles. By the time I left L.A. and returned to my homeland, it actually took me awhile to become accustomed to the lifestyle I cherished as a young boy. Years later, I'm still in the Midwest (Omaha, Nebraska--the "Heartland"), which is another city with "salt-of-the-earth" people. Although it certainly isn't as large or as glamorous as Los Angeles, it still has a lot of culture...and great people that truly care about you and your family. I got married in Omaha; raised my family there; established my music career there and made many great friends that I cherish and am grateful for. You see, I wasn't meant to live in Los Angeles--the place just didn't resonate with me. I'm much happier in an environment, which is similar to the one where I was raised as a youngin'.






The moral of the story for you and for me, is that the grass is not always greener in some city where things are supposed to be better for one reason or another. External appearances can prove to be very superficial once you've truly examined them. In summation: quality of life matters; "true-blue" friends matter; raising your children in a safe environment with excellent public schools matter; a city that adheres to sound financial principles matter; an environment that isn't cluttered with a preponderance of meaningless billboards matter; a city where the average American can afford reasonable housing matters. Need I go on?






Los Angeles and Hollywood will always represent the ultimate fantasy for many people--so be it. Unfortunately for me (or should I say fortunately for me), the fantasy wasn't that great.






Copyright 2009 Steve Raybine


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Original Versus Cover Tunes

Steve Raybine:


Blog #14:


Original Versus Cover Tunes



One of the primary reasons I went into music was to perform my own music. That's right--original music! I wanted to follow the musical legacy of composers such as Bach; Beethoven; Mozart; Strauss; Wagner; Schubert; Stravinsky; Ellington; Miller; Gershwin; Porter; Arlen; Carmichael; Rodgers; Davis; Coltrane; Shorter; Zawinul; Corea; Lennon/McCartney; Joel; John; Springsteen; King; Taylor; Simon; etc. The power of original music has always inspired and motivated me to compose and I'm certain that it always will.






There are many creative musicians that live to perform their own music and for that, I applaud them. Alternatively, there are many people within the music business that are equally motivated to do re-makes and/or to promote an alternate version of someone's original music--the infamous "cover tune." There is nothing inherently wrong with performing or recording a cover-tune version of a popular song--I've done it myself and have enjoyed the experience of rendering my interpretation of someone's music. However, when the music industry becomes overly preoccupied with promoting cover tunes, due in part to the songs' familiarity with audiences and the possibility of making more money from that product, then I take issue with this precedent. Regardless of how good anyone's new rendition of a song may be, I will always believe that cover tunes are less important than someone's original musical creation...period!






Just imagine the world without the phenomenal music of those composers that I previously mentioned--it's beyond comprehension. These individuals and other composers of similar, yet different talents throughout history, have graced this world with their abilities as composers. If great composers throughout history felt as though there were little or no opportunities to showcase their music (for one reason or another), we may have been deprived of their musical creations--this would have been a tragedy and a travesty of immense proportions. Hopefully, audiences; patrons; the music industry; etc., will continue to help support the artistic endeavors of our most talented composers, because their music brings joy, beauty and hope to our civilization.






In summation: Long live original music by talented composers--it is something to be cherished for all times.






Copyright 2009 Steve Raybine


All Rights Reserved

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http://www.myspace.com/steveraybine

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