Epicurean:

This is a topic I'm always interested in (i.e. FOOD!) and have decided to now share with you. I remember sitting at lunch one cold day in Cleveland all those moons ago with our dear pal Michelle, dreaming about becoming food critics. Well, we had some great ideas but not being a 'writer', I never really pushed to accomplish the goals.

She did.

And here's the fabulous result! http://www.tasteasyougo.com/
(Do a search for "Stephen Melissa" and you'll find us in four of Michelle's articles!)

Since moving out of the NYC area I miss meeting up with Michelle for indulging in our favorite pass-time, so here's my feeble attempt at something similar - a weekly contribution of home-made culinary attempts alongside little (nowhere near as extensive or detailed as Michelle's) snippets of eating experiences around Tampa Bay and beyond.


Lemon Grass - map
Many times Melissa and I have driven along Route 60 in downtown Tampa and commented on a big sign that reads "Best Thai in Tampa Bay!" It was only a matter of scheduling before we would partake in this fabulous promise.

The food was delicious. The atmosphere... we decided to sit outside (you can do that in December in Tampa). Service was prompt but it became clear it was all hands on deck rather than wait staff being assigned tables. Hopefully they share tips. As always, I started with a Chicken Satay:

(When trying a new Thai restaurant I always start with Chicken Satay, so that I have something to compare to other Thai restaurants. And there are a LOT of thai restaurants around Tampa Bay.)

Delightfully presented and suitably burned, the cucumber salad was weak and the peanut sauce was tomatoey. Pity.

But my main course (Pangang curry) was large and tasty and Melissa's Pad Se Ew was good. Not at all 'ew.'

To be perfectly honest, although this was far from being bad, there are a number of signs in the area that proclaim "Best Thai in Tampa Bay," but of all the thai restaurants we've tried, none of them are matching up to Ban Thai Restaurant in Safety Harbor. And they don't claim to be the best in Tampa Bay, but they clearly are.

So far.

Reading: The Savvy Musician

Someone suggested I read "The Savvy Musician" by David Cutler. In this case, I did. (Actually, there are a pile of books on my desk waiting their turn - just about all referrals or requests, and to be honest, I don't always get to every one of them.)

The fact that Dame Evelyn Glennie is the foremost-quoted commenter on the cover and inside, I was intrigued. Evelyn and I used to hang out together post-college days before she became REALLY famous and our paths diverged.

The book is truly essential for any musicians not living the life they want to be. In fact, as I shared many aspects with my wife, the first couple of chapters (including the introduction) can be applied to anyone with a passion of any sort - stamps, herb-growing, plumbing, and of course, award-winning calligraphy.

Lots of inspiration and practical ideas to turn your passion into income. Many of them specifically stated for musicians I've tried. Many I don't see are applicable. It's tough: a violinist needs, well, a violin and maybe 2, 3, or 4 others. A conductor ALWAYS needs a bunch of people otherwise they'd look silly waving in front of  2, 3, or 4 musicians! Hosting/ Master of Ceremonies (MC/ emcee) is one option, but then they are not making music. (Perhaps you think I'm splitting hairs.)

There was even a sample Chart of Accounts.

We're talking PRACTICAL advice. Stuff I wish I'd known during college.

Awesome.
Buy it here (Amazon Affiliate link). Send it to someone you know. Or, just sit back and relax until my next implemented venture is delivered to your inbox!

Teaching: one of its similarities with music

We've all taught somebody something. That doesn't necessarily mean we're all Teachers (with a capital "T"). Like any skill, some are proficient at it and some are not. Some have success in one environment - such as the kids at home, or grandparents (I remember teaching my grandmother how to write a check) - but that doesn't necessarily mean teaching in another environment - school or a nursing home - will be effective.

But, like music, teaching is definitely something everyone can participate in. How would we survive if we weren't taught? How would our legacy or impact even occur if we didn't teach others what was shared with us, or what we've discovered?

The bottom line is: regardless of your profession or vocation, role or perspective, the approach you take to sharing your knowledge and experience with others is an important aspect of your existence. Unfortunately, there seem to be a great many Teachers who have forgotten that, but there are many, many more who are effective, personable, passionate, and keen to help young and old folk alike.

Go ahead. Consider yourself a Teacher today. Recognize the moments you show someone something new, and while doing so... make 'em smile :)

Composing: It's a thief!

Another late night last night. Composing is one of those activities that easily, quickly and sneakily steals your life away. Whether sitting down to deliberatly write some music, or if you get a sudden moment of inspiration, it can end up being several hours before you stop.

Such happened last night. I knew I had to get working on the last remaining movement of my new piece "Tapestry Tampa Bay" so after an early admin start, a day full of spreadsheets and html, a great dinner & movie, finish reading a book (see this Thursday's blog), I settled down to create the movement's focus.

It started well.

It continuted well.

The structure became very apparent.

The texture grew organically.

Then a quiet little voice poked behind my office door and asked "Did you sleep, yet?"

oops.

I love my wife for keeping me sane, and so a few hours ago I went to bed.

But the piece is sounding GREAT! I think I'm going to dedicate a 6 week blog series just to this new piece - exploring it's structure, sounds, story and inspirations. Would you like that?

Performing: What changed?

Being a performer can be a thrilling experience, especially when the immense preparation for a performance becomes a truly worthwhile but momentary reality. There are times, however, when a repeat performance doesn't seem to have the same impact a previous one did. Lots of reason could contribute to a less-than-perfect experience. Here are just a handful of contributing factors:

Moods: Yours', the audience's, the other performers'.

Weather: it does impact a performance. Imagine a soaked audience who arrived during a torrential downpour, with umbrellas and wet coats and little puddles forming wherever they stand.

Sleep: Usually I don't sleep much the night before a first performance, then it's a busy day of rehearsals, interviews, meet & greets, and then the concert... followed by more meet & greets and maybe a late dinner. By the time I get to sleep it's the mid-early hours, but the following day may have some routine duties involved such as teaching, interviews, writing, paying bills, etc. Maybe a quick nap and some cooking for leisure. Imagine how tired I am by concert time!

Logistics: sometimes the same concert is performed in different venues, which takes it's own toll on the performance. Other times, there could be player changes (major yuck!) or perhaps one of your valued crew had a terrible day. There can even be an instrument change: one time, a bass drum rolled off the stage, literally. The replacement was tuned and sounded very different.

In your field of work, have you experienced the same task/ presentation/ performance/ session but had a very different result? What were the contributing factors?

The Quotable Stephen P Brown

"I don't care - that's what people do."

Discovering what a conductor does.

From The League of American Orchestras' "The Hub," January 4, 2012:

"I have been wondering what, exactly, a conductor does since around 1980, when I led a JVC boom box in a phenomenal performance of Beethoven’s Seventh Symphony in my bedroom,” writes classical-music critic Justin Davidson in the December 26/January 2 issue of New York Magazine. He found out this fall, studying with “Alan Gilbert, the music director of the New York Philharmonic, and James Ross, who with Gilbert runs the Juilliard’s School’s conducting program. I’ll be leading a student orchestra in a half-hour rehearsal of Mozart’s six-minute overture to Don Giovanni.… So where do I start? Ross gently advises me against trying to meet the standards of Lorin Maazel, legendary for his freakish memory and for terrifying apprentices with pop quizzes: Second movement, bar 123, what’s the second bassoon doing? Instead, he suggests I study the overture, take apart the structure, and feel the rhythms until I can sing the whole thing through by heart. … As we power toward the final cadence and I exchange glance after glance with the young musicians, it occurs to me that they are bombarding me with unspoken questions and it’s my job to convey answers. That’s what a conductor does: mold an interpretation by filtering the thousands of decisions packed into every minute of symphonic music."

So there you have it.

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