Getting your first break....

[Dan Schultz]

Who gave you your first break into the 'pro' scene? RC

I only play with one professional group, but I'll never forget the fellow tuba-player who invited me to 'sit in' for the first time. Old Bill died about a month ago. I guess it will be up to me to find a replacement one of these days. I need to start lookin' before I get too old, I suppose!

[Todd S. Malicoate]

I guess it depends on what you consider "pro"...

I got $100 for arranging a "studio orchestra" accompaniment for "Without You" from "My Fair Lady" for my sister's state Junior Miss pageant when I was 13...paid, yes...pro, no way.

I was playing jazz bass gigs for pay as early as 15...small combo gigs in Ponca City with the jazz band director at the high school, who was a mean jazz trombonist. I still wouldn't consider those "pro" gigs.

Ironically, I would consider my first "pro" gig playing string bass with the World Youth Symphony Orchestra at Interlochen at age 16 and again at 18...and I had to pay through the nose and do a work-study gig to do it!

The only other real "pro" gigs I would acknowledge as such would be playing with the Disney summer groups, and the Boulevard Big Band in Kansas City (funny though...many many college students from KU in that group when I played piano with them).

I don't think I've ever had a "pro" gig playing tuba, aside from the Disney All American Marching Band...I'm not sure there are any around here to be had!

It's an esoteric question...what makes a scene a "pro" scene?

[Chuck Jackson]

Al Smukala, my Junior High Band Director, got me a gig with the "Schultz and Dooley Good Time Band" at the West End Brewery , the makers of that fine Lager "Utica Club" in 1974. The band is now defunct, but I mde pretty good money, $50 a night, for a kid.

When I was at Stetson University in 1980, Steve Hewitt, who played Euphonium for Ringling Brothers Barnum and Bailey Circus World, got me on the band to replace Dave Gannett, who was going out with the Blue Unit. I didn't know who he was then, but when I heard him play I almost ran away, fast. He and Jay Mueller, a stupendous player, were very nice, took me under their wing and I ended up playing there while I was in school. The great Joe Duweese, RIP, heard me and got me on as a CT at Disney where I met possibly the best Trad Tuba player on earth, Lee Richardson. Everyday was a learning experience and I bet he hated me for hounding him, but I will NEVER forget the generosity.

Lastly, Jack Robinson recommended me for a date with the Fort Collins Symphony in 1981 that grew into 3 years with them. Everyone on this board would have loved the conductor, Wil Schwartz, who was a no nonsence great musician that got more done in 2.5 hours than most big name conductors I played for later did in a week. He is one of my ideals when I am on the podium.

We are all products of someone who saw some inkling of talent and helped us out. Pick up the phone over the holiday season, call them, and Thank them profusely. And don't forget to pay it forward.

Chuck "humbled that I didn't Thank a couple of them when the were still alive, but do so everyday now"Jackson

[Tubaing]

When I was in 8th grade I got a paying gig for playing in the pit for a church play. It was 2 or 3 rehearsals and 3 performances on trombone and Tuba. After the performances, there were free refreshments (FREE FOOD!) I got payed $120

[KevinMadden]

Does playing here for a summer count as 'pro' ?

(Festhaus at Busch Gardens Williamsburg)

If it does, I'd have to thank my teahcer and whoever decided that the Busch audition tour should come up to IC!

[WoodSheddin]

My first "break" was when I was asked to play a tune on the concert with the 8th grade band while I was still in 7th grade because they were playing the tune "Kansas City Here I Come" and needed the bass line covered.

Meant a lot to a 13 year old.

[Casey Tucker]

mine was at the beginning of my freshman year here at Sam when i won the spot in the resident brass quintet. we played a wedding for a friend and future fraternity brother. good pay; somewhere around 350-400 a head. we play some prelude stuff and sit for close to 30-45 min and then we have to play an arrangement of O Magnum Mysterium and it started on a B above the staff. a little shaky but a great experience none the less.

[David Spies]

My first "break" was in 8th grade. My Junior High band director played trumpet in a decent working polka band in Northeastern Wisconsin. He had me "sit in" with the group for a gig in Wittenberg, Wisconsin.

Now, I had only played in Junior High band and seen only professionally engraved music. This dance hall was smoky, full of polka dancers, and dark compared to my band room. The music was almost all handwritten and pieces I had never even seen before.

They told me to play "One and Five". I had no idea what they were talking about until my band director told me that meant the first and fifth notes of the scale that was indicated in the chords shown in each measure.

I nearly %*#$ a brick. However, once I started, I could see how this worked. After all, I had heard polka bands before. I wasn't going to amaze anyone like some of the tuba players I heard, but I was at least holding my own.

After playing the first tune, they said that I was playing almost as good as their regular player. I took heart in that statement, played the rest of the set, and went home.

The pay was dinner, but the experience was priceless. I was hooked, not necessarily on polka--which was fun--but on the experience of performing for people and helping them to have a good time.

David Spies
Principal Tuba, Racine Symphony Orchestra

[John Caves]

Central Wisconsin was my old stomping ground. What band did you play with... The Polka Partners (Gene Lettau) or Gary Kuchenbecker?

[LoyalTubist]

I had three big breaks:

1. When I dropped out of college in 1978. I was offered a pretty good full time playing job (temporary) at a time when most people were doing regular jobs.

2. When I was in the Army, I got to work with some German groups. Some locals in Berlin were asking if any of the tuba players were free for work. I said yes. It was wonderful.

3. After I went back to college, a local tuba player died and I took a few of his jobs.

[windshieldbug]

A) Being taught by Irv Cohen in the way he was taught by Bill Bell in New York, which opened my eyes to the world of orchestral tuba playing and the concept of what a tuba could sound like.

B) Being recommended to sub in the Delaware Symphony by Irv.

C) Sitting next to Bass Trombonist Jay Hildebrandt (low brass instructor at the University of Delaware) when I did play with the orchestra. Jay taught me by example how to act, how to listen, and how to sound.

D) Riding to the gigs with Ken Laudermilch (principal trumpet, and conductor of the Wind Ensemble at West Chester University), who prepared me for what to expect, who I was going to meet, and counseled me on what to do, and what NOT to do.

E) The grace of God, which allowed me not to embarrass myself or make too much of a disaster of the tuba solos.