| I think I see competition and avoid getting involved. Some people want to be competitive in music and I think that's the beginning of the end. As soon as it becomes a competition you lose sight of what is important.
I feel competition living in NYC for sure when there are very few gigs, and when I'm not working. This is getting better and work is more consistent these days, but in the beginning you had to work hard to get good gigs. I think that's just a question of being great at what you do, consistent at what you do, and being cool to be around. Then the work will come. It takes time, but as long as you fill these few basic things it's cool.
Berklee was really cool in being open and creative. I didn't feel competition at all, and I learnt so much from not just fellow bass players, but musicians, writers and producers across the board.
I do move in some pretty "heavy" circles as you put it I guess, but I really don't think about it. My good friends Tony Grey, Matthew Garrison, Reggie Washington, Mike Pope, Lincoln Goines.... etcetc are all very open cats and we get together, or have gotten together a bunch to play and share ideas and work on music. There must be 5 or 6 incredible bass players that work with mike stern as well as myself. Vic, Anthony Jackson, Tom Kennedy, Lincoln, Rochard Bona..... and it's not a competition for who's going to do what gig at all. It just is what it is. It's fun, an amazing experience, well paid, and very open. And I know all the cats appreciate the work, and the time to play and travel the world with Mike.
I also spend time living and working in Los Angeles and have had similar experiences there as far as cats being open to play. It's a very different style of music being played and made there, but just as rewarding and fun.
I remember moving to NYC and getting together with Matt Garrison almost every week for quite a while, just jamming at his place and sharing ideas. I do the same with Mike Stern all the time. We shed together at his place for hours on end, sometimes every day of the week when we're in town at the same time. Me and tony always talk on the phone and share ideas, and when our schedules allow it we'll get together and play some.
I'm sure there are a ton of younger players moving to NYC and to Los Angeles that I don't even know about yet, and I'm going to enjoy discovering them and asking them to get together and play from time to time when my schedule is open. It's how this language is passed on from generation to generation, and it's one of the reasons I left Europe and came to the states. My experiences when I lived in london were nothing like what I've had in the past ten years of living in the US.
I was incredibly lucky to have the priceless experience of being mentored by Laurence Cottle. He was the bass player who inspired me to do what I do today, and back in the day in London I must have spent two years or more going to every gig he played. I would only miss one of his gigs if I had a gig of my own. We would hang out together, listen to music, and do a lot of juggling. But he never actually gave me lessons. I thought it sucked at the time, but he never gave me the easy answers to anything, because there are no easy answers. I learned an immense amount from him and he will always be a part of my sound and my music.
But that was a very unique situation. I had a hard time finding people of my own age who were that open to making music and to sharing things. Not just bass players, but anyone. And then trying to approach bigger name players to get together and play was impossible. So it was hard to push yourself musically by surrounding yourself with older players because they just weren't into playing unless it involved getting paid.
I hope that answers some of your questions, let me know if there's anything more specific you want me add.
Easy,
Janek | 
