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Originally Posted by John A.
I wish I had any kind of self-promotion skills. I absolutely HATE doing it.
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11-02-2022 10:52 AM
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Originally Posted by Marinero
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Originally Posted by whiskey02
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Originally Posted by mr. beaumont
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Originally Posted by John A.
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Originally Posted by Lionelsax
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Originally Posted by mr. beaumont
Pitching my jazz group to a restaurant or bar was something I avoided for years. I didn't like what I imagined the relationship would be. And, with the money likely to be offered, I'd then have to ask my fellow musicians to play for an insulting amount of money. So, I didn't do it -- for years.
Gradually it dawned on me that musicians of the level I needed were taking that kind of gig quite often. Which freed me up to try to sell the group.
I was walking down the main business street in a nearby town when I saw an ad for a jazz trio in the window of a place I'd played at before. It had changed hands and was a different kind of restaurant -- but it was the same building. For some reason, I walked in and asked the guy behind the counter if there was anybody I could talk to about bringing in a band. He said sure, and asked for some tracks. I had to get his email, because I didn't have a website. So, I sent him 5 tracks. He wanted us. So, I asked the musicians I wanted if they were willing to play for this kind of money and they all said yes. I was pleasantly surprised. The place hired us and we've been there twice a month since.
I then did the same thing at two other places, both assented. One required a website, which I made with bandzoogle in a couple of hours. We took one of the offers and turned the other down because we then had as many of this kind of gig as we wanted.
I advertised the gigs on Facebook and a radio station's Jazz Calendar for the area.
The reason I'm posting this is because I was surprised to find that it wasn't difficult or unpleasant. But, this type of gig is not something that a musician can make a living at.
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"The reason I'm posting this is because I was surprised to find that it wasn't difficult or unpleasant. But, this type of gig is not something that a musician can make a living at. . . " rpjazzguitar
Hi, RP,
And, this is the million-dollar denouement! There ARE opportunities to play but at what price? And, please understand that this is NOT an attack against you but rather a fair statement of reality: namely, every time someone plays for peanuts it destroys anothers chance for playing for a fair price. Most musicians who are capable of playing with an ensemble have spent untold dollars on formal musical lessons, quality instruments, and uncountable hours of practice. That's why music unions started to provide a minimum wage and fair working conditions for musicians. However, as a member of Chicago's Local 10-208 for over 15 years, I can tell you that only happened in the top echelon venues in the city and everything else was a free for all. So, we musicians are really responsible for our problems and there's the rub.
Further, for clarity, I never had a problem getting solo gigs for a fair price(with some research and pavement pounding) and although I haven't played since Covid in my new state, I'm certain I can find solo work when I'm ready. The difficulty, as in my original question, was to try to find other competent musicians for some ensemble work as a duo/trio playing Jazz which I've found lately . . . I really miss it. Thanks again for your honest reply.
Marinero
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The main problem for musicians self promoting is that musicians can play to a good or better level spend their time feeling profoundly incomplete as players. It’s what makes them good; that desire to improve and relentless self criticism.
it doesn’t however make for the best self-promotional mindset.
to self promote - indeed function - as a professional musician you kind of need to find a way to turn that off - or at least not signal it too much - when not in the practice room. It’s a weird duality, but it’s easier when you realise absolutely everyone feels the same thing.
This conflict manifests in different ways, some benign, some health, some unhealthy, some toxic.
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Originally Posted by Christian Miller
And, in that case, you need to find someone to book the gigs for you. . . a friend or family member who has these skills with a promotional package of recorded music, rate sheets, contracts, and examples of the self-advertising you'll do for the gig. And, since you play at a high level, you shouldn't ever play for free or the proverbial peanuts of lesser musicians. For me, however, it's soup du jour since I did it for every band I played in since my youth unless it was a union gig as a sub or when we had an agent(s) in the Jazz Rock big bands. A musician of your caliber should be working regularly . . . somewhere. Good luck, C!
Marinero
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M,
Reading over your comments. You moved out of a major city, then COVID hit, and due to that, you haven't played live or gone out to make connections. Get a business card and start playing gigs, hit up open mic/jam nights and get friendly with the host band, these are the professionals in the room you have access to at jam nights. They have contacts, they know working musicians, they might know a player who has always wanted to play in a bossa nova duo but it's never happened.
The guy who gets up there and flubs through a blues, when he's done tell him he did a good job and give him a smile, people like that keep the jam alive so you have somewhere to meet players, plus you don't know where they are in their journey and where they'll end up.
It's like fishing, you don't catch a fish every time but sometimes you do. More importantly, you can't catch a fish at home.
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Originally Posted by Marinero
I have gone through periods of that type of self promotion and I would say that picking up the phone or sending those emails may feel like a waste of time sometimes especially when you don’t even get a ‘no’, and it can feel like you are shouting into the void, but it always seems to get something moving. So, as painful as it is, it’s worth it. It’s also a bit of numbers game, at least at first.
It’s astonishing that someone would book anyone new on the basis of an unsolicited email or call when you think about it. What’s the guarantee for the venue these people are even going to turn up? And yet it happens….
it’s also a risk booking a new player for a gig.
(Atm for various reasons I’m quiet on the gig front and mostly teaching.)
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I didn't do it for decades for that reason. But, when I found out that so many musicians were doing it, including plenty above my level, it didn't seem like my reluctance made any difference. You might say, well, if nobody thought that way the problem might be solved, but is that going to happen? Seems to me that the ship has sailed.
And, I can see how many dinners the restaurant is serving, their prices and their likely food cost. Nobody is getting rich off the band.
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Originally Posted by Christian Miller
A couple of things that will get you gigs right away:
1. Go solo. Forget the other guys. It's more money for you and you'll work in more intimate settings with better pay.
2. Start with the best 5-star hotels in your area and ask for the entertainment director. Bring your package, including a sampling
of your music and a list of your previous gigs. No blue jeans and t-shirts: tux pants and shirt should be emphasized at
your meeting for the performance. Forget the phone calls! You must go in person.
3. Play standards that everyone knows: Stardust, Misty, Over the Rainbow, Body and Soul, Days of Wine and Roses, My Funny
Valentine, etc. Forget the Swing stuff. People are eating dinner and just want enjoyable background music for their
Rack of Lamb with oven-browned potatoes. You're still playing great music.
4. Bring your CD's, business cards, and your TIP JAR!
I've done this part-time for the last 30 years, albeit on CG, with a few Jazz/Bossa standards in the mix. There was never a time when I put in the effort that I couldn't find a gig. Stick with "high-line" venues and forget the beer crowd. Ever wonder why you always see a piano player working at the best restaurants in town? Once you're known, you'll be booked steadily ( as much as you want) and you'll get a shot at weddings, private parties, etc.
5. You won't get gigs by talking about it. Plan a day when you'll hit 5 places a day. I would be surprised if you didn't have a gig after three days. Remember: Five-Star hotels, wine bars, upscale bistros, wine conventions/festivals. Really, there are gigs for the solo musician. Good luck!
Marinero
Crimson/Hutchins Gibson l5
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