Name Dropping

So, I'm over at Jonathan's (the 12 string guy) and we were talking about opportunities ignored or declined, and the varying reasons for the bad call.  We were discussing past instances in which we fell into company with what turned out to be major players.

Anyway, such discussions can take on the character of fishing tales at the local tavern on the waterfront.  You can usually tell after awhile.  J tends to embellish when telling some stories, but not the ones involving name dropping.  I've concluded those are legit.  And his skill on 12 string is obviously on a level, and has a style, that good players might want.

During the discussion the name of a guy that is not famous, and who played a major role in offering me an opportunity which I didn't take.  At the time I was more clueless than now.

OK, so I was explaining how I still remember the guy's name and that it was XYZ.  J says, that name rings a bell.  I go on about how this guy chose, wisely, to fly jets for the FL Air Guard, declining a chance to tour with a name group.  But he still jammed with them when the were home.

The guy was reputed to be a monster guitar player.  Super nice guy, totally humble, no affectation whatsoever.  I mentioned those things to J and he said he met him in Nashville, that he had something to do with a music production outfit.  He went on to give a physical description, which I had not done.

He's hear XYZ play.  So, is this coincidence?

All of Copper Creek is playing a set at this New Year's party.  I hope I play like I did at practice.  Either I'm delusional or I was finally playing like the real deal.  It's cool and disconcerting when you feel like you hit a new level and enjoy the confidence attendant to that.  Invariably, a little period of confusion and over thinking follows.

I have no idea why I sometimes can do well on anything thrown my way, excluding Orange Blossom Special, and other times everything except the simplest thing throws me.  Lately I have not only felt comfortably free, but I think I've been paying more attention to the timbre and quality of notes and chords.  I also pay attention to everyone else who is playing.

For me, that is what makes it enjoyable to play with this group.  I like listening to them.  Same goes for some other players, but I think this combination of people is special.  I'd love to add a bass and drums or percussion.

I figured out that everyone brings some appeal, but what grabs the crowd is when L is the lead vocal.  She does one semi-blues tune and people notice.  There is something to the quality of her voice that I like.  Vocals that grab you aren't necessarily those that can hit the most octaves and notes.

Not everyone likes him, but enough to make him mega successful.  That's Willie Nelson.  I like him, and I like his voice.  He won't be doing opera soon, but his sound grabs a lot of people.  Doesn't hurt that his harmonica player is one of my favorites.

Anyway, maybe I'll make more effort to motivate these guys.  I'm pretty much in two bands that are practicing and not gigging much, if at all.  J may have a gig later this month. If that includes me, then good.  I'm almost certain it does.  Not sure if this gig will include everyone.  If it does, that is better.

Whatever the case, if I'm going to spend so much time playing, I may as well work it out to start getting paid.  I liked it when we were playing frequently in Memphis.  It didn't usually pay much, but it paid.

I've got to quit playtime someday and figure out how to pull a serious income.   First you get the idea, then you get the nerve, then you have to make the right moves.  People do it.