What not to do on a gig

[sgcim]

It's a well-known fact-NYC is filled with Mid-Westerners who just wanted to fulfill their childhood dreams of going to the NY they saw in the movies. Then, when they find out what a living hell it is, they mate with a fellow Mid-Westerner, and get the hell out and breed somewhere else.

[BreckerFan]

Having a day job and doing music on the side sounds like a good deal, but I don't think there's really a way to balance it that doesn't give music the short end of the deal. I know for me that I could not have a kid, work my corporate job, and maintain my current practice/jam schedule (tho I'm pretty obsessed with practicing haha). Which, among other reasons, is why I'm trying to figure out a different career path. Better to be happy and not rich than rich and not happy, imo.

Also no, you definitely do not need to know 500+ tunes to play at jams in NYC. As with any scene, go check the jams out, see what tunes are called, and get those ones down. If you do that while also working on increasing repertoire at a reasonable rate you'll be fine.

[JazzIsGood]

Yes they are transplants in NY, but i mean it does attract the best of the best.

You can play the jams with 150 tunes, but on the real gigs I think they expect you to know quite a lot of tunes, or be able to pick them up after hearing them 1 time through.

[pamosmusic]

Yes they are transplants in NY, but i mean it does attract the best of the best.

You can play the jams with 150 tunes, but on the real gigs I think they expect you to know quite a lot of tunes, or be able to pick them up after hearing them 1 time through.

I mean ... I did live there for a decade, but thank you.

[Christian Miller]

A good time for me to chime in with my favorite quote: "I've forgotten more tunes than I know."

Me too. There’s a lot of helpful info in that witticism….

Also some of the tunes, I forget what they are called or how the tune goes even but my body remembers lol. That period when I learned a large number of old tunes for dancers - quite honestly I do a gig with one of those old bands every few years and someone calls something like ‘Mahogany Hall Stomp’, ‘I’ll Sit Right Down and Write Myself a Letter’ or ‘Way Down Yonder in New Orleans’ or something, and I stare blankly. The count in happens and I play the song. I must have played those tunes a few hundred times in every state of consciousness lol. This is what happens. The brain is no longer involved in any way.

I must know a couple of hundred of those things lol, no one in the modern jazz community plays them…

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[rpjazzguitar]

Some years back I was in a class with Guinga, the Brazilian composer/guitarist/singer. Somebody called Stella. No charts. Guinga, who is not a jazz musician, knew it and started playing it, but in F, not Bb.

One of the students was a college professor of jazz guitar. Another student was a well known player.

The well-known player got it on the second chorus. The professor got it on the third chorus.

The point is, that even some elite players struggled to play Stella in an unusual key the very first time through.

[RJVB]

The point is, that even some elite players struggled to play Stella in an unusual key the very first time through.

The story has no record of how the participant (maybe not yet) called rpjazzguitar fared?

[AllanAllen]

The story has no record of how the participant (maybe not yet) called rpjazzguitar fared?

Some say he's still searching for the changes to this day.

[rpjazzguitar]

Badly, to put it bluntly. I kept getting confused in bar 9 where there's a fourth in the melody and would end up in the wrong key. I can do it now, but it's been years.

[Alter]

When I was going to jams in NYC (end of previous century ), you could get lists of tunes from players there, I believe one had 500 tunes and another had 1500 tunes (from people doing masters in performance). From one point up the difficulty becomes similar to all the other genres, you only have to learn the tunes, and if you know how the melody goes you can play it in any key.

But you had to know the tunes to play with good players. As Richie Hart told me describing NYC attitude: "If you don't know the tunes you don't belong with us"! I sure spent a lot of time listening to and playing tunes! But that's what the whole idiom is if one thinks about it, you can't really play classic jazz if you don't dive into the music at least as deep as you practice the instrument. And today, after decades of listening to jazz and to many other styles of music (and I have tens of thousands of albums in various formats), it is these classic era tunes that are closest to my heart, I'll never get tired of hearing them it's just great music!

I think the biggest learning breakthroughs I've had all these years of practicing were first, the first time I tried writing arrangements (where you learn so much in say four bars of music), and second actually playing tunes I knew in different keys, thus discovering a whole different way of learning tunes!

[yebdox]

The music life is a calling, much like someone is called to be a priest or monk. The work is demanding, with bad hours, and for people who are intoxicated, and it's low paying but the reward is in the music itself and hopefully, in some of the adventures you take and people you meet doing it. Like being a priest or a monk, it's not for most people so if the wrong person pursues that, he/she will be miserable.

I look at it like one decent gig night=one less day spent at meaningless day job. Simplify your approach and see the benefits. I'd rather be poor than to just have a life of 30 years of 9-5, a brief retirement, then death because I quit working a job I hated. Doesn't sound like a winning combo but if you have first world tastes then it will be required of you unless you have other sources of wealth to expend.

Dawg, you are among the courageous few and I applaud you for it.

[JazzerEU]

Here are some general insights I've gathered from a decade of playing music professionally:

1. During soundcheck, use a 20-foot cable so you can step into the audience area and gauge how your volume fits into the mix from their perspective.
2. Always bring a backup amp and guitar, especially if you rely on a tube amp. I've had a Fender Champ 12 fail mid-gig, but thankfully, I had a Quilter Micro Block to keep the show going.
3. If you're new to a gig, avoid being the first to suggest a song. Calling a tune that someone doesn't know might offend them and reduce your chances of being hired again.
4. Keep romantic interests separate from the gig. Making advances during a performance can create tension and affect your professional relationships. Dating fellow musicians can be risky—at best, it may cost you a gig, and at worst, it could lead to serious personal conflicts.
5. Ensure you are permitted to play chords before playing them. I angered a lot of musicians with my chord soloing back when I was a musician because horn players couldn't do it and piano players didn't like me going into their territory.
6. Avoid expressing disdain for any instrument, especially if you're a sideman. Saying something like "guitar has no place in jazz" will ensure that no guitarist ever calls you for a gig.
7. Stay away from heated political debates, whether at the gig or on the way to it.
8. If you're catching a ride, always ask the driver if it's okay to eat or drink in their car.
9. Never get involved in a fight at a gig, and don't try to break one up unless it's a matter of life or death—you don't want to be caught in the chaos when the police or bandleader arrives.
10. Punctuality is key: if you're early, you're on time; if you're on time, you're late; if you're late, you're fired.
11. Maintain a positive and professional attitude towards everyone at the gig.

Please take the following advice with a grain of salt—my experience comes from a scene that was quite dysfunctional, and I'm relieved to have moved on.

1. Keep a low profile and try to be the gray man on the room per se. In a cutthroat environment, people may look for ways to sabotage each other. Avoid saying anything that could be twisted to make you look bad.
2. Leave your most valuable gear at home to prevent theft or sabotage.
3. If you use a tube amp, keep an eye on it during breaks. There were times when competitors would pay someone to disconnect the speaker cable from an amp to cause it to fail.
4. Record your performances to review later and to have evidence if someone tampers with your equipment. Use a cheap camera or an old phone to avoid losing something valuable if it's stolen. Don't store sensitive information on the recording device.
5. Never leave your gear in your car, but if you must, lock it in the trunk. Crime rates are rising in many major cities.
6. Have an exit strategy if a gig becomes unsafe. Decide in advance whether you'll prioritize your gear or your safety. Consider using amps with detachable power cords or keeping a power strip within reach for a quick unplug if you need to leave in a hurry.
7. If you promote your gig on social media, park your car in a secure location overnight to prevent competitors from sabotaging it. Avoid hosting rehearsals at your home, and keep your personal address private. Invest in security measures like a doorbell camera and motion-activated lights.
8. Think about what you can use for self-defense in a worst-case scenario. The obvious choice might be your guitar, especially if it's a solid-body model like a Strat or Telecaster, but check your local laws on self-defense tools.
9. Again, aim to blend in at the gig and be the gray man in the room. Your goal is to perform well enough to get called back, collect your pay, and get home safely without doing anything that could be used against you later. Be cautious about what you say—misinterpretations can damage your reputation.

[pauln]

...Have an exit strategy if a gig becomes unsafe. Decide in advance whether you'll prioritize your gear or your safety. Consider using amps with detachable power cords or keeping a power strip within reach for a quick unplug if you need to leave in a hurry.

If you promote your gig on social media, park your car in a secure location overnight to prevent competitors from sabotaging it. Avoid hosting rehearsals at your home, and keep your personal address private. Invest in security measures like a doorbell camera and motion-activated lights.

Think about what you can use for self-defense in a worst-case scenario. The obvious choice might be your guitar, especially if it's a solid-body model like a Strat or Telecaster, but check your local laws on self-defense tools...

Reminds me of this...

[RJVB]

Reminds me of this...

It reminded me of a line in a favourite song, about the musician's life: Didn't you learn a trade? Get a real job, things'll get better, you see!.

[Christian Miller]

Here are some general insights I've gathered from a decade of playing music professionally:

1. During soundcheck, use a 20-foot cable so you can step into the audience area and gauge how your volume fits into the mix from their perspective.
2. Always bring a backup amp and guitar, especially if you rely on a tube amp. I've had a Fender Champ 12 fail mid-gig, but thankfully, I had a Quilter Micro Block to keep the show going.
3. If you're new to a gig, avoid being the first to suggest a song. Calling a tune that someone doesn't know might offend them and reduce your chances of being hired again.
4. Keep romantic interests separate from the gig. Making advances during a performance can create tension and affect your professional relationships. Dating fellow musicians can be risky—at best, it may cost you a gig, and at worst, it could lead to serious personal conflicts.
5. Ensure you are permitted to play chords before playing them. I angered a lot of musicians with my chord soloing back when I was a musician because horn players couldn't do it and piano players didn't like me going into their territory.
6. Avoid expressing disdain for any instrument, especially if you're a sideman. Saying something like "guitar has no place in jazz" will ensure that no guitarist ever calls you for a gig.
7. Stay away from heated political debates, whether at the gig or on the way to it.
8. If you're catching a ride, always ask the driver if it's okay to eat or drink in their car.
9. Never get involved in a fight at a gig, and don't try to break one up unless it's a matter of life or death—you don't want to be caught in the chaos when the police or bandleader arrives.
10. Punctuality is key: if you're early, you're on time; if you're on time, you're late; if you're late, you're fired.
11. Maintain a positive and professional attitude towards everyone at the gig.

Please take the following advice with a grain of salt—my experience comes from a scene that was quite dysfunctional, and I'm relieved to have moved on.

1. Keep a low profile and try to be the gray man on the room per se. In a cutthroat environment, people may look for ways to sabotage each other. Avoid saying anything that could be twisted to make you look bad.
2. Leave your most valuable gear at home to prevent theft or sabotage.
3. If you use a tube amp, keep an eye on it during breaks. There were times when competitors would pay someone to disconnect the speaker cable from an amp to cause it to fail.
4. Record your performances to review later and to have evidence if someone tampers with your equipment. Use a cheap camera or an old phone to avoid losing something valuable if it's stolen. Don't store sensitive information on the recording device.
5. Never leave your gear in your car, but if you must, lock it in the trunk. Crime rates are rising in many major cities.
6. Have an exit strategy if a gig becomes unsafe. Decide in advance whether you'll prioritize your gear or your safety. Consider using amps with detachable power cords or keeping a power strip within reach for a quick unplug if you need to leave in a hurry.
7. If you promote your gig on social media, park your car in a secure location overnight to prevent competitors from sabotaging it. Avoid hosting rehearsals at your home, and keep your personal address private. Invest in security measures like a doorbell camera and motion-activated lights.
8. Think about what you can use for self-defense in a worst-case scenario. The obvious choice might be your guitar, especially if it's a solid-body model like a Strat or Telecaster, but check your local laws on self-defense tools.
9. Again, aim to blend in at the gig and be the gray man in the room. Your goal is to perform well enough to get called back, collect your pay, and get home safely without doing anything that could be used against you later. Be cautious about what you say—misinterpretations can damage your reputation.

Crikey, it's Wild West where you are.

We just have passive aggression in the UK.

[pamosmusic]

Crikey, it's Wild West where you are.

We just have passive aggression in the UK.

Youve never severed a trumpet players brake line because he didn’t hire you for his tips only coffee house gig?

[RJVB]

Youve never severed a trumpet players brake line

Didn't know trumpets had (hydraulic) brakes, but they sure could do with some!

[Christian Miller]

Youve never severed a trumpet players brake line because he didn’t hire you for his tips only coffee house gig?

Maybe that’s where I’m going wrong.


Sent from my iPhone using Tapatalk

[Bobby Timmons]

How to avoid in working musician society having to worry about protecting your professional relationships, gear, and safety from aggressors: play solo. :P

[Alter]

1. Keep a low profile and try to be the gray man on the room per se. In a cutthroat environment, people may look for ways to sabotage each other. Avoid saying anything that could be twisted to make you look bad.
2. Leave your most valuable gear at home to prevent theft or sabotage.
3. If you use a tube amp, keep an eye on it during breaks. There were times when competitors would pay someone to disconnect the speaker cable from an amp to cause it to fail.
4. Record your performances to review later and to have evidence if someone tampers with your equipment. Use a cheap camera or an old phone to avoid losing something valuable if it's stolen. Don't store sensitive information on the recording device.
5. Never leave your gear in your car, but if you must, lock it in the trunk. Crime rates are rising in many major cities.
6. Have an exit strategy if a gig becomes unsafe. Decide in advance whether you'll prioritize your gear or your safety. Consider using amps with detachable power cords or keeping a power strip within reach for a quick unplug if you need to leave in a hurry.
7. If you promote your gig on social media, park your car in a secure location overnight to prevent competitors from sabotaging it. Avoid hosting rehearsals at your home, and keep your personal address private. Invest in security measures like a doorbell camera and motion-activated lights.
8. Think about what you can use for self-defense in a worst-case scenario. The obvious choice might be your guitar, especially if it's a solid-body model like a Strat or Telecaster, but check your local laws on self-defense tools.
9. Again, aim to blend in at the gig and be the gray man in the room. Your goal is to perform well enough to get called back, collect your pay, and get home safely without doing anything that could be used against you later. Be cautious about what you say—misinterpretations can damage your reputation.

Used to play punk and metal gigs decades ago, many of these apply there!!

[Bop Head]

How to avoid in working musician society having to worry about protecting your professional relationships, gear, and safety from aggressors: play solo. :P

But you also avoid the fun of interacting with others.

[Bobby Timmons]

^ It's not fun for me to hang out with you people. :P

Used to play punk and metal gigs decades ago, many of these apply there!!

Lol! I'm sure they do. Was a bit surprised to hear that cynical write up for jazz.

[JazzerEU]

Yeah the scene I worked in was quite hostile, especially towards guitarists. I had to take down my YouTube and instagram accounts after receiving anonymous calls threatening they would do harm to my family if I didn’t take the channels down. Unsurprisingly, the police reports and complaints we filed fell on deaf ears. Thankfully, many homeowners in our neighborhood are former police and military and are ready to defend our community.

Those who live in developed cities and parts of the world should be lucky they don’t have to deal with what I had to deal with as a musician before I left the country.

[Doublea A]

I've been a bandleader for a few years now. People all want me to give them a gig. I am the rainmaker. I book the gigs and I hire the musicians. Sometimes I hire someone and then I don't hire them again. Most of this is not related to how you play. Vetting how well people play is easy for me, and you would not be on gig #1 if you didn't play well. But sometimes people never get to gig #2 and it has nothing to do with their playing. Here's what not to do-

- Don't tell me "I didn't like my solo on that last tune" or any self critique type stuff between songs. It's gonna make me not hire you again. It's not a workshop, it's a professional gig. We are looking to get into the next song fairly quickly.

-Don't take more than 20-30 seconds to be ready for the next song. Once I call it and tell you the key, the clock is ticking and I can't sit around and wait while you are flipping through charts.

-Don't bitch about the sound or the gear. These are throw and go jazz gigs, in most cases for pretty low money. It aint Carnegie Hall and it aint a recording session.

- Short remarks referencing the jazz greats are fine between songs, but don't tell me a 8 minute story about Charlie Parker and Miles Davis eating chicken in a cab in 1948.

- Don't bitch about the money. I don't have much control over that and we are involved with a dying art form. If you don't like the money, book the damn gigs yourself and you'll find out the reality on this.

- Everyone seems to know this, but do not go over my head and try to talk to the booker about booking yourself there without me. You will be gone SO FAST.

- Don't bring a bunch of nervous energy that brings everyone down. We want to sound good, but the audience is not playing close attention. Don't be visibly upset if you play a few bad notes, nobody noticed but you. By the time you've arrived to the gig, the quality of your playing has already been determined by how much you have practiced and what you know. If you're not happy with that level, stay home and don't play gigs.

- Don't have a feud with other musicians in the scene. I'm not going to keep track of what people dislike each other. If you tell me that you're in these little feuds I just cross you off the list.

- Don't complain about being in a video or live stream. We need these videos to keep bookings going. If you're not willing to appear onYouTube or a stream, stay home and don't play gigs. If you're going to play music in public, you should stand behind it.

- It's fine to compliment the other musicians, but don't go on and on to the point where it gets uncomfortable.

Can I add

- Do not scroll through your phone while other musicians are playing

- Do not pull out your phone immediately when a break is called

- Do not pull out your phone during the gig period.

- In public settings (restaurants, bars) do interact with the audience. They will feel connected to you and possibly come back next week

- If you are on a jobbing, at least attempt to make it look like you are a cohesive group. Most people don’t understand that musicians can be substituted in and out of groups. Don’t make it obvious that you are not a cohesive group.

- Do dress like a professional. If you want to be paid like a professional, dress like one. No T-Shirts, Shorts, Flip Flops, even if it is a street festival. There are people in the audience that have come to scout musicians for their next wedding, corporate party, special event etc. They want to see what it will look and sound like. Your T- Shirt, shorts, and flip flops will not impress the CEO regardless of how well you play.


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[RJVB]

Your T- Shirt, shorts, and flip flops will not impress the CEO regardless of how well you play.

Ahem, a CEO who comes scouting at an event where no one attending looks like they'd fit in his/her work culture can keep his/her event if you can land the gig as long as you look the part regardless of well you (don't) play (and s/he can't even be bothered to check if alternative performance uniforms are an option). I never played to be appreciated for form over function.
Am I the only one thinking along such lines now?