Thanks, guys. Chas, collaboration is ultra important. Financial issues are not enough of a factor to matter. I'm lucky that
I turn down more jobs than I take, and revenue from sound scores far exceeds what anyone just playing live makes around here. I totally understand the observation about starting out and just seeing where you end up. That's sort of the ultimate, for me at least. That silent communication between like minded players is the best natural high I know of.

I understand Gary's opinion about arranger versatility for a OMB, but I tend to agree that any arranger is restrictive when you are used to a loose jazz collaboration environment.

Good friends of mine run music departments at Morehead State, Eastern Kentucky and UK, so I have an endless supply of talented youngsters and the old faculty guys who are good enough to keep me struggling to keep up.

There's no right choice or reason to disagree here, because I'm not saying this is the right approach for anyone else. I've had no problem replacing most of my arranger gigs with trio jobs or singles on acoustic guitar or piano. I'll continue to use an arranger when that's the best way to do a particular job.

This is my approach for now, and I'm having a ball!


Russ