Larry Rhodes, director of dance at The Juilliard School, agrees.
“In my experience, people in dance are never working because they are looking for financial reward. They choose this profession because they love it, they want and need to do it,” he says. “Dance is simply a part of their lives and to do without it would be a great loss to them.” ………
|said: “As a bandleader you often lose money. I've definitely lost money more times than I can count but I'd rather play an amazing show and lose some money than play a forgettable show and make some money.” 17 February 2011
|Those of us who enjoy listening and dancing to music should never let a day pass without thanking , , for the musicians who make music for the love of doing so regardless of what they get paid for our pleasure.
……… The is an 18-piece band (5/4/4/4 configuration) with a boy singer and Leader Tom ??? I first heard them playing with the outstanding Redwood Symphony, Dr. Eric Kujawsky's beautiful baby. They also play at the every for the pittance of a $4 ($6 in 2011) admission that, from the perhaps 400 attendees, could pay them a maximum of $80 each presuming the gig has no other expenses such as rent, janitorial service, utilities, snacks, etc. Deduct those and they're lucky to get as much as $60.
………Today's Big Bands, such as those of Harold Jones and the Bossmen, , , , the , the , , the , the Millenium Sounds Orchestra, , , , , the , and the San Francisco Bay Area Big Band,
………We would have to pay at least $10, presuming an attendance of 400, to make it financially worth the musicians' while. We should never let a day pass without thanking Euterpe, Orpheus, and Jubal for what they have done for us.
|The August 2001 Santa Clara Senior Center gig of the LyraTones was musically very satisfying. They swung almost every number, played badass charts, had some good solos, and were tight and loose in the best senses of those words. Wow! The concert aspects of the gig were wonderful.
But it was a dance gig and the dance aspects of it were far from ideal aside from the somewhat slow, very large, floor. The tempi were so high that I counted them. On two occasions, three consecutive numbers were faster than 160 BPM. Even a fine rendition of ¡Oye! ¿Cómo Va? was at a blistering 166 BPM. You KNOW Tito never played it that fast. The FoxTrots were the most suited to Swing dancing and the so-called Swings were faster than Jive tempi normally are. One number was close to 200 BPM. Mind you, this gig was at a Senior Center and, guess what?, most of the attendees were quite old, many of them lucky they could still walk much less dance [please see How to Play for Dancing].
The August 13, 2011 performance at the San José Summer Jazz Fest was dead. They did everything but swing. And the music was just as undanceable as it had been. The Lyratones are off our list.
………The dancing level was among the lowest I've ever encountered. Even my girlfriend was appalled and so dis-satisfied that she wants to never return. There were about six couples who appeared to dance well but they never let go of each other so it's impossible to know whether they really know how to dance or just how to dance with each other. During the mixers they hugged the walls while the rest of us mixed. They returned to the floor for the music and then the incredibly rude, inconsiderate, and uncoöperative assholes unfairly huddled against the walls during the mixing.