Clark’s Interview with Roots to the Bone – Adam Reeves

Dated March 29, 2022, this interview with Clark goes deep into his years with The Skatalites.

Clark has some new SoundCloud tunes to lighten the mood

Clark Gayton tracks on SoundCloud

April seems so long ago … RNZ Interview

Enjoyed this interview on RNZ this past Spring.

 

 

The Grammys are to music as …

It may be time to create an event that is dedicated to representing exceptional music in America. I guess it would be hard to determine who is going to decide what is good and what is not. Well, as far as I’m concerned, we all know deep down. It would just take some folks who want to have an event, and make the best choices.

The frauds will be peeking around the corner, wondering why they weren’t chosen. They’ll pretend not to care at first- why would they? There won’t be big endorsements, no big dance routines, no gift bag with a Cartier watch in it… why would we want this award? Will Justin be there?

An event about music would have everyone reeling right now. A modest, but significant award meant for artists, not entertainers.

Anyway- I think there’s something wrong with trying to seek acceptance from people who don’t like you. I say, just move on.

Fighting for your rights is so… 20th century.

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American Jazz History – Is the music racist?

The word “jazz” has always been associated with exploitation. Just read the other day that they are taking the word “n#^*$%” out of Mark Twain novels now. What does that say? That there was no racism in the 19th century? The word “jazz” is drenched in racism, more than freedom to play what you “feel”. Early jazz had working hours, popular tunes that HAD to be played, and there were no “progressive” musicians with the attitude of not needing a gig, and insisting on playing their original music.The music happened despite restrictions imposed on it. Should we believe that Charlie Parker played standards because he loved the songs? He played them because the record companies wanted to generate publishing for their publishing companies, and made him play those songs. Bebop was a protest to this system. A code. Of course, the standards we all play are beautiful, but there are so many contradictions when it comes to music, so many foul characters of all races blurring the truth for personal gain. We can’t bury our heads in the sand when talking about the history of American music. The history is the reason it sounds as it does, not because we live in a vacuum, never letting social conditions or surroundings effect your expression, even if oppressed. The “can’t we all get along” view point is lazy and irresponsible, and can’t be trusted. IMHO, of course.

And another thing … did I already talk about appreciation?

It’s important to thank the people who have helped you, or given you good advice over the years. Most of the older musicians in this business have earned the knowledge that they have, it wasn’t given to them. In other words, what took them 20 hard years to learn, they GAVE to you in one or two sentences.

The other day, a trombone player that I turned on to a few gigs years back, talked to me like I was a rookie, I guess because he is doing very well now. He went on and on about how well he was doing, his new house, and how he just can’t take any more work… well… what do you say to that? He never called me for any of the jobs he couldn’t make! It was fine, because at the moment, I’m doing O.K., and I’m able to do what needs to be done. The problem here is, this screws up the musical eco system. You have to turn on the guys that helped you with work in order to keep the balance of music and employment in check. At present, the eco system is broken. There are not enough paying gigs in New York to sustain a living as a musician.

Where ever you make money is where you put it back. Invest in the community and people that put you on the map. The same goes for a band or club. If a certain band or musician gave an establishment credibility, that establishment should return the favor, and re-invest in those musicians, because they may be struggling now. Help THEM out!

The current wages New York clubs pay are the same wages they paid in the late ’60s and early ‘70s. Because of this, most “jazz’ musicians teach at clinics and universities. This is fine, but what’s happening now is that there’s nowhere to go after you graduate from these schools except back to school. Is this irony, or just sad?

Anyway, I’m ranting.

For the sake of the music, next time you see a musician that has helped you in any way, whether that musician called you to sub for them, gave a gig at the circus, or you just heard them play, thank them. Repay them if you can for their dedication to playing live music. Give them a call when they’re sick or having trouble. Believe it or not, this will help us all in the end.

The Vagrant Dude

I would practice almost every day on the “A” train. Second car from the end, right side of the train, I would find a seat that felt “right”. The ride from Washington Heights to mid-town is about a half hour of practice time. To Brooklyn, I figure I could blow about an hour. This method seemed to work out really well, and I would continue this ritual for years.

“Stardust” almost always was my opening warm-up selection. I noticed that in most situations, this particular song would win the approval of the other passengers in the car, and transform me from “the annoying subway musician bum”, to “the guy over there with the funny horn who ain’t really hurtin’ nobody.” I could then go to my scales and exercises in the comfort of my newly acquired invisibility.

Eyes closed.

The only time that I would open my eyes was when I had to reach for 6th position. I didn’t want hit anyone with my slide. In that instant, I would notice people that I had seen before, and People I hadn’t It was distracting a bit, but the rehearsal went on.

The only Person that would grab my attention was this one vagrant black man. He wasn’t unusually noticeable in appearance or odor, but he always seemed to get my attention. When he entered the car at the front, his left hand extended, he asked everyone for a donation without uttering a word. Then exited the car at the back. His level of disconnection always blew me away. “How can anyone become that far removed?” I thought to myself. Like I mentioned before, this routine went on for years.

At times, my thoughts would drift.

Money problems, the gig tonight, the lack of a gig tonight, my family and friends, being alone, why I torture myself with this music thing.

“Do you like J.J. Johnson?” a voice said one day. I looked up, and it was this vagrant dude! I couldn’t believe it. I’ve been seeing this guy for years, and I had never heard him say a word. I don’t know why I assumed he couldn’t speak, but I certainly wasn’t expecting him to mention one of my favorite players.

“JJ’s my main man!” I told him.

“I can tell you like Curtis Fuller too,” the guy said.

“Thank you, that’s very nice of you to say.”

I dropped some change in his hand and we talked a bit about music.

“Alright, it was nice speaking to you. I’ll see you soon.”

”Yeah, I’ll see you around,” I said.

The next time I saw him, I said hello.

There was not a glimmer of recognition in his eyes. He looked through me and kept on walking. I had to laugh to myself.

I tried to acknowledge him again on other occasions, but I always got the same reaction.
Months passed. Maybe a year.

On the train, my thoughts would drift. Money problems, the gig tonight, the lack of a gig tonight, my family and friends, being alone, why I torture myself with this music thing.

“Hey.”

I looked up. It was the vagrant dude.

“You know, you should always play music because it makes people happy,” he said. He gave me a half smile, the train stopped at 59th street, and he scurried off the car.

I never saw him again.

© 1997 Ritual Ltd.

Clark Gayton with Bruce Springsteen & the E Street Band

http://www.vevo.com/watch/bruce-springsteen-the-e-street-band/songs-from-the-promise-live/USSM21002203

Writing Charts and Conducting Effective Rehearsals

The whole idea of writing a “chart” or “arrangement” is to save time. SAVE time, not to waste time. How is that done? Well, the first thing to do is learn how to write a chart. 

It’s not always necessary to take a class, but if you can’t get anyone to help you out, the best thing would be to take a class or join a rehearsal band to observe how it’s done. 

Hint – Don’t assume everyone is interested in your music

Most of the time, they’re not. Most folks are just trying to make the gig, meet some musicians, or to look busy. Therefore, half baked charts are a drag for most. 

If you didn’t care enough to write a decent chart, why should anyone care? Crossed out bars, music written on the back of another song, or using faulty materials is a sure way to lose the interest of the player. 

There will always be impromptu charts written on the back of a napkin, but ideally, your music should be written in ink, or by a music program. 

Hint – Find out what a “Coda” is

If you use a program, you still have to learn how to construct a readable chart. Know the appropriate terms and how they are used.

People sit up and pay attention soon as they see a properly written piece of music. Attention drifts when one sees crooked lines or crossed out measures. Just the way it is. 

Hint – Make decisions about your music

A sure fire way to have cats not return your calls is to call rehearsals to go over the same music over and over. If you’re been tweaking the same chart for more than two months, you’re wasting everyone’s time. Make a decision, and live with it. Move on to the next project and see it as a learning process. The next song will be better. 

Hint – Have articulation and rehearsal letters on the chart

Don’t have articulation on the parts? If you don’t, you’ll have to explain how you want the notes played – a classic way to get everyone to mumble under their breath!

Hint – Triple check your parts

Look for accidental mistakes and missing measures. You won’t catch all of them, but at least give it a try. Transposition mistakes are very common, but a drag just the same.

Quality musicians will play whatever you have with style and beauty, but you never know who will be reading your music, that’s why it’s best to nothing for granted. It’s in YOUR interest. 

When your musicians see a thought-out arrangement, they’ll find it easier to listen to what you’ve written, and be happy to play it.  Your reputation as a good writer will spread quickly and you’ll find musicians looking forward to working with you.