Spring, 1999 On The Road Again! After a busy 1998 that ended with a two-month road trip, I took some time off between Christmas and the middle of February. I was "burnt" and in need ofsome "R and R", and, with the exception of attending and performing at the IAJE Conference in Anaheim, CA, I stayed home to spend time practicing and preparing for my spring tours. As well, I caught up on the many things that had piled up while being away so much. Another event of import was my purchase of a laptop computer, which would allow me to keep up with my email and the writing of Cadenzas and other articles while touring. But now I'm back on the road again and am struck by how so few people understand what that means. First of all, the music is THE reason one lives this kind of life! For me to be able to play this music and be paid well to doso while playing with the people I choose to perform with means that I must travel a great deal. With rare exception, no city or locale affords Jazz musicians the livelihood with which to maintain a decent life-style.  Many of us also must function in several areas in order to effectively provide a home, pay for education and all the other ingredients needed for a family and home life. For instance, I perform in concert halls, Jazz clubs and in private venues as well as working as a Jazz educator traveling to many schools each year performing with their groups and doing master classes and workshops.  I also am a trumpet designer, clinician and performing artist for French Besson trumpets which is owned by Boosey & Hawkes Musical Instruments.  Engaging in all this demands that I be on the road about seven months a year.  So, what about traveling? First, let me say that, generally speaking, I do not mind it; I have developed many rewarding friendships over the years which makes traveling easier because I get to spend time with these people when Iperform in their locales. But is this life so glamorous as most people think? Let's see! To begin with, I practically have had to become my own travel agent because with all the odd places I go to, I need to ascertain the most efficient and least expensive way to go, not always compatible goals! Then there is the dealing with airports filled with people who rarely travel and are inexperienced about so much in the art of travel. No one has educated them about such things as getting their tickets ahead of time from a travel agent(which saves everyone time at check-in when getting boarding cards) or having a name-tag on each bag before reaching the head of the baggage check-in line that seems to stretch forever. For one who travels a lot, these things add hours of inconvenience to the monotonous routine one endures daily. The same applies to checking in to a hotel, particularly for a music conference or convention. But these are part of the game, so you go straight ahead.  The traveling musician also must make time for warm-up each day and some of us try to do a good bit of practicing; I usually practice an hour or more everyday besides my performance. And many, like myself, try to do some kind of daily exercise routine to maintain their health; I run five plus miles everyday to keep in shape and maintain a positive frame of mind. In order to do these, I must sleep less while maintaining a certain a discipline, but, for me, the payoff is great! But what about traveling and all the places you go and the hotels you get to stay in? Airplanes are usually overcrowded and you'd better get your boarding pass early so you don't get "bumped"! And, after a while, a hotel room is just that! I'll never forget being in a luxurious hotel in Montreal toward the end of a long tour and realizing that they are really all the same. How I longed for our simple little old farmhouse at home! But I do see a bit more of places because I run everywhere I go, and that is a great way to see the places I visit. I sometimes might have time to walk around in some cities, but mostly, due to time constraints or weather or other things like interviews, etc., I am in the hotel or restaurant or in a bus or cab on the way to the gig. Then, after the gig, back to the hotel for a drink, maybe another bite to eat and to bed to start over again the next day. So, the thrill involving travel diminishes over time to be replaced with routine. Then why do it? Again, the music, the fulfilling of that dream, that fantasy, that takes place upon entering the stage to play the music I love, that makes it all worthwhile! How fortunate I am to have something so deep-seated that has remained such a thrill all these years, one that continually grows stronger!  And, too, the friendships that have developed over the years among those with whom I play this music are the other thing I enjoy so much. We share so much, and, have so much in common spiritually! Bill Mays, Ed Soph, Rufus Reid, Jay Anderson, Ron Vincent, Jay Leonhart, Terry Clarke, Michael Moore, Bill Charlap and others are among these wonderful musical compatriots. Asked once how I keep my batteries charged after all these years of playing, I responded that, in music, one never knows it all; the more you learn, the more fun this music is to play! This and the wonderful players I find myself surrounded with always keep my batteries charged! So, as one can see, playing this music has great rewards, but it also extracts a price for those rewards. The question is whether the rewards are worth the price. For me, the rewards of playing this music are of much greater magnitude that the price extracted by the travel and the routine. When I look around me, I see that most people I meet or know do not have this in their lives. What more can I ask for? Oh, I'm sorry! Please excuse me; I must go! I have to finish packing and get to the airport! On the road again!

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