Broadway has been a cornerstone of New York for decades now, synonymous with the city as much as pizza and the term “the big apple” itself. It has been a place for artists to come and make it, to realize their dreams. All that has been recently taken away due to the pandemic, but it’s not just the actors that have been affected… just as important as the actors and scenery are the musicians providing the soundtracks to these captivating stories.
One of my dearest friends and long-time colleagues is one of these musicians who has had their world uprooted by Covid-19 and I wanted to share his story with everyone. For musicians, musical lovers, and art lovers alike….here is my conversation with a multi-instrumentalist, and one of the greatest musicians I’ve had the pleasure of knowing and working with… Greg Riley!
Can you give us a little background as to your musical performance experience? Feel free to talk about EVERYTHING you’ve done as I know you have an extensive resume.
I received a Bachelor of Music in Music Education from the University of Alabama. Upon completion of this degree, I chose to pursue a career in performance, which led me to the University of Missouri-Kansas City Conservatory of Music and Dance for graduate study. I continued my education at the University of Southern California, where I fostered a career in classical, jazz, pop, and rock genres. While in Los Angeles, I performed and recorded with artists including Patti Austin, Tevin Campbell, Ray Charles, Dr. Dre, Sheila E, Billy Higgins, James Ingram, Quincy Jones, Chaka Khan, Gladys Knight, Teena Marie, Keiko Matsui, John Patitucci, John Tesh, Stevie Wonder, and The Los Angeles Opera Orchestra.
Since relocating to Philadelphia and New York City, I have maintained an active performing and recording career with The Philly Pops, The Chamber Orchestra of Philadelphia, Broadway Shows, Aretha Franklin, The Midtown Men (original cast of the Jersey Boys), Cook, Dixon, and Young (formally the Three Mo’ Tenors), Cynthia Erivo (The Color Purple), The Los Lonely Boys, LL Cool J (Exit 13), and Celine Dion.
How were you able to maintain the balance of playing all the woodwind instruments at such a proficient level? What was your first instrument and can you tell us about the journey as you learned all these instruments?
My first saxophone teacher was a very wonderful bassoonist that studied at the University of Michigan with Prof. Donald Sinta (Saxophone) and Prof. Lewis Hugh Cooper (Bassoon). I started playing bassoon in high school because there were so many saxophonists! It was that daily playing experience that fostered my woodwind playing career. I also need to credit my band director, Mr. Richard White, for “selecting” me for the bassoon. I didn’t see it as a positive at the time but now I realize the importance of his guidance. I also enjoy listening and practicing all of the woodwind instruments. I feel fortunate that I was able to have lessons with many great performers at the universities I attended. Many of those instructors challenged me to sound like each instrument was my primary instrument. I’m also thankful that I had the opportunities to play the clarinets, flutes, saxophones, bassoon, and oboe in university Orchestras, wind ensembles, woodwind quintets, pit orchestras, saxophone ensembles, and jazz ensembles.
When did you get your introduction into the Broadway musical set?
Long before moving to NYC, I played “Broadway Shows” in every city I called home. My first pit orchestra experience was in high school. In Nashville, Kansas City, San Antonio, and Los Angeles I played in many Broadway tour productions. When I moved to West Chester, PA in 2002, I knew that I wanted to try the NYC music environment. I contacted a number of musicians that were working on Broadway and in the jazz clubs. It took a few years before I received an opportunity to sub. Chad Smith was the first NYC musician that invited me to sub on his show at “Wicked” in 2011. It as a great learning experience. When I first heard the orchestra perform I was truly amazed at the musicianship, intonation, rhythmic vitality, and overall professionalism. I truly believe the musicians in NYC are some of the best in the world. Later, I was able to sub at Annie, Cinderella, Aladdin, The Color Purple, Hello Dolly, and The Prince of Broadway. The first chair I held was at the revival of The Color Purple. Subsequently, I held chairs at Bandstand and Frozen. I also had the fortune of playing The Radio City Christmas Spectacular.
What are some of the impressions you had of being a Broadway musician prior to playing Broadway and how has it changed or stayed the same since then?
I believe my impressions have changed because of the level of musicianship and the number of outstanding performers on any chair. Once you hear a great orchestra (on Broadway or any stage) you come to realize that the expectations by the conductors, orchestrators, contractors, producers, and stage performers are very high. All performances or substitute opportunities are under scrutiny so it is imperative that you are well prepared. Maybe the best compliment one can receive is: “I wasn’t aware that you were a sub”.
Can you tell us the challenges of being a prolific doubler (doubler meaning someone who plays more than one instrument for all those who aren’t musicians)?
Maintenance: The challenge is keeping the mind and body focused on the task at hand. All instruments require diligent practice, so I prepare well in advance of any performance. One of my favorite activities is to study with some of the best teachers on each individual instrument and strive to sound as much like them as possible.
COVID 19 shut down broadway, and as a result, all those involved lost work? Can you tell us about what has happened with you since the onset of the pandemic?
The pandemic has had a devastating effect on the entire arts community that relies on patrons to participate in the hearing, seeing, feeling, and absorbing process. I never thought that the Broadway world could be shut down for so long. The personal impact has been varied depending on the day, week, or month. At times, I feel very hopeful that a return is imminent and then we see that the virus has not been contained. As a member of the Frozen Orchestra, I was looking forward to a return to the performing pit but Disney decided to close the show permanently on Broadway. The good news is I continue to practice daily and have returned to some critically important etudes and exercises that I was neglecting as a result of being very busy. Since the pandemic, I’ve tried to make the best use of the time by returning to the basics. The financial concerns are always on my mind but I strive to maintain a good attitude in the face of such difficult circumstances.
What advice would you give to an up and coming woodwind player who is striving to perform on Broadway?
If a woodwind player has the requisite skills I believe it’s important that you find someone in the Broadway community who will allow you to be on their sub list. The playing experience is critically important to becoming a consistent performer on Broadway. There are many unspoken rules so pay attention to all aspects of engagement and try to remember the names of the people in your section! Be patient if you decide to call or email prospective teachers or mentors as many Broadway musicians are doing other musical performances outside of the shows. Ask to watch the book from the pit and always be respectful and grateful for those opportunities. Take note of the physical and mental ways that the players prepare for the shows. To be continued!!!
Being a great classical and jazz player as well, do you have any projects planned post-COVID 19?
I’m really looking forward to live performances again. I don’t have any major plans at this time but I think it’s time to do a personal recording project. I still love hearing great improvisers and I hope to someday produce a recording of my own.
Please check out the full video or podcast of our interview for a more in-depth analysis of the life of a broadway musician, and many more topics discussed!
Images, provided courtesy of Greg Riley
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Great article!