My friend and co-worker Mike Davis is the trombone player at Priscilla Queen of the Desert on Broadway. We brag a lot about Mike over there because he’s a monster player and, when he’s not hanging out with us, the trombonist for the Rolling Stones.
Mike has completely re-designed and restructured his website, Hip-BoneMusic.com and he’s looking to get the word out. I told him that I would tell you about the site and recommend that you check it out.
Aside from the Stones, Mike has toured and recorded with a huge list of legends like Frank Sinatra, Michael Jackson, Sting, Aerosmith, Tony Bennett, Sheryl Crow, Jay Z, Buddy Rich, Bob Dylan, Sarah Vaughn and Bob Mitzer. He’s also has his own signature trombone made by the S.E. Shires company.
I’m serious. They made a trombone and named it after Mike. He’s, like, totally famous.
Mike’s website is a great example of how modern musicians can use the power of the internet to connect with other musicians, create a brand and sustain a career. It’s also a great example of the transition that a lot of A-level recording-industry players have made in the past 20 years.
From Mike’s blog:
The New York freelance music scene, like the rest of the world, has undergone dramatic change in the past 10 to 15 years. At first glance it can seem overwhelming and a bit scary, but on closer inspection we come to realize that this change is our best opportunity for growth. It may seem a bit harsh, but the expression “change or die” has never been more applicable.
Some of the most enjoyable work I do is recording music in a studio. These recording sessions can be for a cd, a motion picture soundtrack, a television theme or commercial. Coming out of college, my goal was to become what was then called a “studio musician”. Everyday you were presented with a new, fresh musical challenge that you were seeing for the first time. A challenge that you had to deliver on immediately. A pressure packed environment for sure, but also an extremely rewarding one at times. As the music business has evolved over the past decade, the role of the studio musician has contracted. While I still get calls to record on a regular basis, it’s definitely less.
Fortunately, New York has a thriving musical theater scene also known simply as “Broadway”. Most freelance musicians in the commercial end of the business find themselves playing in the pits of Broadway. You either have a full time position, which enables you to perform 8 shows a week, or you are in the very talented pool of substitutes who fill in for the regulars when they take off to do other work.
Check out more at Hip-BoneMusic.com