Missing the Downbeat - Not Enjoying it Anymore

[StyleOverShow]

Did a gig last night with an ensemble of hired guns. I was the weakest player in the group as I couldn't sight read as quickly as everyone else. They played everything at blazing tempos, 160 and above and trading fours solos were everywhere.

The ambivalent crowd seemed much too concerned with themselves to care what we were doing but asked us to turn it down after the 3rd song (private party).

The 'magic' just didn't happen. We ran through perhaps 30 songs from a book provided by the saxophonist so plenty of opportunities. I got off a couple of good solos but otherwise stuck to pocket playing concentrating on keeping it tight with the drummer (guitarist no KB).

Maybe its the retailer malaise (I run a small biz retail store that isn't thriving) or angst/anxiety over the uncertain future of our civilization, but I didn't get a warm and fuzzy from playing and that is rare. I don't even feel like playing the blues.

-Not down with the downbeat

[xgator4u]

Sounds like musicians "burn-out" to me. I have had it,so have most if you play long enough.
Perhaps you are taking the music/yourself too seriously. The best cure I know of is getting together with some "friends", and just playing for fun. No money issues, no pressure, no strangers, just you,your friends, and the music. Good luck brother, and Get well soon!

[StyleOverShow]

Yeah, maybe your right, just jam with some buddies and play for fun.

Thanks for your thoughts.

[RBrownBass]

Did this happen over the one gig or a long period? If the former, I'd chuck it off as a combo of the crowd and your being the weak link on that night.

[jazzbo58]

I agree with xgator4u. Get together with some friends and have a fun filled jam! Don't let it get to you. I think we all go through this at some time in our lives. I know I have had it happen to me. Just hang in there and make it fun.

Cheers,
Jim

[StyleOverShow]

Originally Posted by Auriaprottu

Did this happen over the one gig or a long period? If the former, I'd chuck it off as a combo of the crowd and your being the weak link on that night.

Nah, just last night. Played Monday with a "new" band doing Rock covers. It was so loud that I ordered a set of earplugs on Tuesday morning.

This gig was a Craigs list special. I think I'll lay off them for awhile.

-richard

[bass12]

I wouldn't worry about it. So much of the magic in music results from the chemistry created by the interaction of the musicians. It sounds as if the guys you were playing with were more concerned about jerking off than playing actual music. Good musicians can often sense where the comfort zones are with their fellow players and they work around that. I've been in similar situations with guys who were seasoned readers/jazzers and I've very much enjoyed (most of) those experiences. It's largely a matter of communication and it doesn't sound as if your bandmates were communicating much about what material should be played so that everyone could be comfortable. Seriously, I'd shrug it off - a GOOD playing experience is just around the corner.

[ZonGuy]

Style,

All the posters above were very kind to you. Such kindess is, in reality, cruel, because they aren't telling you the truth. If you want to play in the big ring, read further.

You will never get another call back from any of those hired guns. And possibly anybody else that talks to the hired guns. When I started in the hired gun land 9 years ago, I had some of the same problems and played some gigs that did not go down well. 2 years ago, I had a New Years Evening gig lined up and the artist called and cancelled off the gig without hearing me play a note (but she was best friends with a piano player I had a bad job with 9 years ago).

Suggestion 1 - Go back to the stuff you fluffed and practice it until you can do the job right at the tempo they do it. I presume it was a sight reading job? Go get a book of stuff just like what you fluffed, start at a slow tempo with a metronome and pracitce it perfectly at increasing tempos.

Suggestion 2 - Go find easier jobs in the same vein when you are ready and play them. Pay your dues.

Suggestion 3. Don't ever take a job you really can't handle; it will come back to haunt you. The pros will run from a bass player that couldn't handle the normal work like you got scabs on your face.

Suggestion 4. When you are really up to speed, call the contractor on the job you fluffed, apologize and ask for another shot.

I am not trying to be unnecessarily hurtful - but you need to know the score.

Best of luck practicing.

[StyleOverShow]

Originally Posted by ZonGuy

Style,

All the posters above were very kind to you. Such kindess is, in reality, cruel, because they aren't telling you the truth. If you want to play in the big ring, read further.

You will never get another call back from any of those hired guns. And possibly anybody else that talks to the hired guns. When I started in the hired gun land 9 years ago, I had some of the same problems and played some gigs that did not go down well. 2 years ago, I had a New Years Evening gig lined up and the artist called and cancelled off the gig without hearing me play a note (but she was best friends with a piano player I had a bad job with 9 years ago).

Suggestion 1 - Go back to the stuff you fluffed and practice it until you can do the job right at the tempo they do it. I presume it was a sight reading job? Go get a book of stuff just like what you fluffed, start at a slow tempo with a metronome and pracitce it perfectly at increasing tempos.

Suggestion 2 - Go find easier jobs in the same vein when you are ready and play them. Pay your dues.

Suggestion 3. Don't ever take a job you really can't handle; it will come back to haunt you. The pros will run from a bass player that couldn't handle the normal work like you got scabs on your face.

Suggestion 4. When you are really up to speed, call the contractor on the job you fluffed, apologize and ask for another shot.

I am not trying to be unnecessarily hurtful - but you need to know the score.

Best of luck practicing.

Yeah, there is some truth to the points you raise. I am a long time player in R&B and have stretched out over the last 5 years into jazz. Don't have an upright but I should, losing gigs because of it (my Z3 just won't handle the size).

Yeah, I was rattled early in the first set by tunes I had played once or twice, but the arrangements had lines written for bass and I muffed them. The leader pivoted on his heels to turn to me when I screwed the pooch. The tempos were too fast for me and I was out of my league, you're right.

Harsh words about losing futures gigs but I've been in the business long enough to know that this is true, too.

About the chemistry, the guitarist and sax (leader) were looking exclusively to one another to play off, and the drummer and I, who I knew and presumably 'got me the job', were just side men. They would talk to one another between songs and then turn and bark the next couple of tunes to us. It wasn't a warm and fuzzy and as a sideman, I'm used to that.

Just desserts and at nearly 60 years old (that's my kid in the avatar picture) I should be able to take it like a 4 stringer and solve the problem(s) and move on. Thanks for the kick in the patootee.

-richard

[David Tyler]

Hey - it's all about the song. You don't have to be Billy Sheehan or Victor Wooten to find the pocket and ride it. If you happen to actually be Billy Sheehan (or worship at his temple) and just feel the urge to fly, it's your choice but it's just that .. a choice.

Not being able to slip into the groove is the only thing I would worry about. Trading fours doesn't have to mean tearing up the fret board.

[albertofrog]

I got caught out a few years ago dep'ing with a big band out of town, and got blamed when the rhythm section went to S*1t. (It was actually the drummers fault and there was nothing I could do to save it.)

Anyway, the band leader basically told me I wasnt good enough and they'd be getting another dep next time.

That hurt, especially as i knew i wasnt the one who fluffed up.

However, a couple of years later, the band leader was sitting in the trombone section of a band i was dep'ing with, and this time I NAILED the gig. (I mean, sharp nails and a big hammer...)

He had the decency to come up to me after the gig and apologise, having realised that he called it wrong.

so in response to zonguy's post, I'd say, rather than ring up and ask for another shot, could you get youself in somewhere where you will get seen and word can get back that you can cut it?

just a thought...

[Freddels]

My take on this is that these were supposed to be professional musicians playing at a private function. So they're job was to make the music sound good. After one tune they could have easily figured out that you weren't going to be able to read the music as fast as they were playing it. I'm also guessing that they've played together before and probably weren't really sightreading it (but I do know some players that could easily do it). They should have brought the tempos down to a manageable one for the good of the music.

If this was just some jam session that they wanted to put you through the fire then that's one thing but this was a private function. So I would say that they were the ones being quite unprofessional on the gig.

It's true that they probably won't hire you again but then I probably wouldn't want to hire them either.

[ZonGuy]

Originally Posted by StyleOverShow

Yeah, there is some truth to the points you raise. I am a long time player in R&B and have stretched out over the last 5 years into jazz. Don't have an upright but I should, losing gigs because of it (my Z3 just won't handle the size).

-richard

I have an upright but have refused to be bullied by the big bass snob club (also afraid that working on one will detract from the other). Turned down a very good paying job for today because "I don't do upright anymore". Accept that you will get locked out of 75% of the jazz jobs, but that still leaves 25% to play.

That remark about not being able to keep up sounds like me 9 years ago. Keep at it, practice, practice and then get some easier jobs. Make the transition from struggling with music to being a musician while you are at it.

[ZonGuy]

If the drummer is bad, the bass player is going to look bad.

Find the best drummer around and lock on.

[StyleOverShow]

Originally Posted by ZonGuy

..That remark about not being able to keep up sounds like me 9 years ago. Keep at it, practice, practice and then get some easier jobs. Make the transition from struggling with music to being a musician while you are at it.

A couple of days, and a gig with another band later, and I've gained a little perspective. True, I couldn't handle those blazing tempos and sight read at the same time. Few could. I want to be one of those guys, and I'm not. They work together and were familiar with the charts so the pressure was lower on them.

It's also true that the sax/guitar player were more involved with impressing each other than finding some middle ground with the audience tastes (smooth jazz-maybe) and the rhythm section (me and the drummer).

So all things being equal I resolve to keep playing, keep practicing and keep my head up - I play bass and am proud of it!

-richard

[xgator4u]

Originally Posted by StyleOverShow

Maybe its the retailer malaise (I run a small biz retail store that isn't thriving) or angst/anxiety over the uncertain future of our civilization, but I didn't get a warm and fuzzy from playing and that is rare. I don't even feel like playing the blues.

-Not down with the downbeat

Richard, from your OP I stick with my original feeling of musicians burn out, Been there done that. I too am no spring chicken, nor new to gigging. Many a time I played with a group of a$$hats, and told myself, "***, what am I doing, I really don't even feel like playing anymore". This happens, jam with some friends and cure yourself. Then if those cats don't want to hire you again, so what, you are a big boy, who needs clown like that anyway?

[LedBelli Bass]

Show me the chart of a song I've played a hundred times and I can make my reading look damn impressive.

Show it to me the first time . . . and see what's real.

I bet they had the edge going in . . .

The very best of the very best cannot do a 4/4 180 sight unseen mistake free on the first run through. THAT'S WHY THEY CALL IT REHEARSAL . . . and professionals rehearse.

**********************************

My daughter's piano teacher is a guy I play with named Steve Haberman (formerly the musical director of "Young and the Restless" for 17 years). He's also been the musical director for the Jerry Lewis MS telethons, and done a lot of other top-billing, professional work on both coasts.

Steve grew up in the New York Jazz scene of the 50's and 60's before going to LA to be a studio stud for 20+ years while doing Y&R. He's now 63 and living in eastern WA state, doing jazz work and teaching. (How that came to pass is a whole other story.)

Steve is the gold-standard of sight-reading something unseen, and he's not easily impressed. Pinned to the wall of his studio just above his piano is a hand-written piece by John Coltrane ( I forget the name of the song, but I'll get it to post here). It runs at just over 200 bpm as Coltrane wrote/performed it.

Steve has been working on that piece for YEARS, for two reasons: first, to try and get it down perfectlly as Coltrane wrote it; and second, to remind himself how far he still has to go to be as good as he wants to be. And even Steve says that Coltrane himself could not have played it blind on the first run-through.

My case is: if a guy like Steve Haberman, with over 50 years of professional reading/performance experience, cannot blaze something like Coltrane's piece on first sight, then don't kid yourself into thinking that ANY of the locals can do it.

Just be encouraged and keep on truckin . . . music is politics at every level, just like everything else in life. Screw those guys and screw the guys that think like those guys!!! Play for the pure love of music and the rest will fall into place in due time.

Your burnout isn't with playing . . . it's with "players"!!

[RustyAxe]

I had a rough night last week, really stunk up a jazz piece, and it was discouraging.

But ... that's how it sometimes is when I agree to be a "bass whore" and sit in on something I haven't practiced. C'est la vie. I redeemed myself over the weekend and now the sun shines on me again ...

[ZonGuy]

Originally Posted by LedBelli Bass

Show me the chart of a song I've played a hundred times and I can make my reading look damn impressive.

Show it to me the first time . . . and see what's real.

I bet they had the edge going in . . .

The very best of the very best cannot do a 4/4 180 sight unseen mistake free on the first run through. THAT'S WHY THEY CALL IT REHEARSAL . . . and professionals rehearse.

Your burnout isn't with playing . . . it's with "players"!!

I agree, screw the showoffs...but since we are talking about sight reading, may I add my $0.02 worth. Don't give up, get better.

Play everything you can get ahold of:
Sight reading improves with practice. If I am killing time in a bus or a doctors office, I am reading sheet music to improve my sight reading skills. Big band horn charts and bass charts charts, Jaco transcripts, Jamerson transcripts, flea transcripts, jazz solo transcripts, yada yada. I try to play everything I get my hands on. I understand Ready Freddie Washington played the "Jamerson Transcription" for some hairy chart first time through near-flawless. That is an inspiration to me.

Three survival tricks:
1) Read Ahead:
Learn to read ahead at least one measure from where you are playing.

2) Quickly scan the sheet music methodically .
What keys? Key Changes? Repeats Codas? Chord Patterns (II V I?)

3) Faking it - the ultimate survival skill.
If the sheet music looks like swarming ants, it is time to reach deep into your bag of self confidence and ear training and try to whup it by ear. If its a pattern you recognize, relax and play what you think fits without trying to get all the notes . Simplify, simplify, simplify. If its not possible to figure the line, just play over the chords and forget the notes. Try to figure out what the music is about and what bass part will work then do your best to keep the rhythmic part going. When in doubt, mute (or slap). If its some hairy obscure crap, chances are know one knows what is going down except the mofo showoffs - and they may appreciate your moxie. Something rhythmic will sound way better than the written part a beat behind.

There have been more than a few times that I have lost my place in a chart without chord symbols, but held it down until I found my place.

Best of luck, brother.

And one plug...Band-in-a Box really helped my sight reading and my ear training. Don't need the elaborate program just the basics and some online jazz midi files and you are set.

[StyleOverShow]

All right, so here is the reality check. Just got a call this PM from the guitar player of the ill fated gig. He wants me to sub in his band next Tuesday night at restaurant gig downtown. Guess it wasn't so bad after all.

Thanks for all your comments. Playing music is a very personal experience, albeit shared with fellow players and the audience, and it is a real pleasure to have a network of people, who do the same thing that I do, share their experiences, insights, tips, and critiques. Thanks again.

-richard