How to be a sucessful sideman...

[justabass]

So how about a thread for the TB'ers who are not trying to promote or make it with a band. Instead they would like to share how they find work as a sideman trying to keep the calender filled and the bills payed...Advice,tips,ideas,questions and creative ways to make it work...if yall think this is dumb I'll shut up.

[Joe Nerve]

Keep your mouth shut, smile, and say "yes" to everything.

[Seattle_BassMan]

yeah....check your ego at the door. Blend in and don't step out too much until the band gets used to you. Be extremely easy to work with and willing to lend a hand to the other band members when needed. Be the first to arrive and last to leave if possible. As long as you have decent chops, I find that it's pretty much the same as trying to succeed in any other field. Be professional and a good guy.

I joined my current band about 2 years ago. Prior to that I always had my own band or was co-founder with my long time guitarist. When I started with this band I was strictly a side man (as was everyone else). However, even though this is still a Solo artist (with record contract), I find that it has really evolved into more of a "band" type atmosphere. Luckily the Singer is a really good guy.

I think my presence has helped to change the relationship from Singer with all sidemen to Singer with a Band...or perhaps just band. Obviously, the Singer (Artist) is still in charge, but I find that I do have a lot of say or "pull" in the band. That's probably because I have come through for him over the years and have thought prior to speaking (most often). Also, while other members (some have gone) will just pack their stuff and leave at the end of the night, I will usually try to lend a hand where needed. Granted I don't do this at every gig, but enough so that it is noticed (and appreciated).

Hope this helps

[DougD]

Keep your mouth shut, smile, and say "yes" to everything?
That's cold. This is a very good question. i'd like to know also. Mabe some of you workin pro's can chime in.

[DougD]

Originally Posted by Seattle_BassMan

yeah....check your ego at the door. Blend in and don't step out too much until the band gets used to you. Be extremely easy to work with and willing to lend a hand to the other band members when needed. Be the first to arrive and last to leave if possible. As long as you have decent chops, I find that it's pretty much the same as trying to succeed in any other field. Be professional and a good guy.

I joined my current band about 2 years ago. Prior to that I always had my own band or was co-founder with my long time guitarist. When I started with this band I was strictly a side man (as was everyone else). However, even though this is still a Solo artist (with record contract), I find that it has really evolved into more of a "band" type atmosphere. Luckily the Singer is a really good guy.

I think my presence has helped to change the relationship from Singer with all sidemen to Singer with a Band...or perhaps just band. Obviously, the Singer (Artist) is still in charge, but I find that I do have a lot of say or "pull" in the band. That's probably because I have come through for him over the years and have thought prior to speaking (most often). Also, while other members (some have gone) will just pack their stuff and leave at the end of the night, I will usually try to lend a hand where needed. Granted I don't do this at every gig, but enough so that it is noticed (and appreciated).

Hope this helps

That's good preachin'
+1

[Joe Nerve]

Originally Posted by DougD

Keep your mouth shut, smile, and say "yes" to everything?
That's cold. This is a very good question. i'd like to know also. Mabe some of you workin pro's can chime in.

Not cold - true. Although bassman put it a lot more nicely.

I'll add to that:

• Know your material inside out and backwards.
• If you screw up (everyone does) never announce it.
• Be someone who can be completely depended upon. Make sure you're always prepared, tuned, on time, and completely in control of all things bass.
• Keep an accurate and up to date calendar.
• Make whatever band you're playing with your #1 priority when you're with that band.
• Get everywhere early.
• Offer a hand loading out of clubs.
• Look decent. Stay in shape. Guys & girls who look the part will get a gig before someone who looks like they're falling apart.

[ryco]

Originally Posted by Seattle_BassMan

yeah....check your ego at the door. Blend in and don't step out too much until the band gets used to you. Be extremely easy to work with and willing to lend a hand to the other band members when needed. Be the first to arrive and last to leave if possible. As long as you have decent chops, I find that it's pretty much the same as trying to succeed in any other field. Be professional and a good guy.

Also, while other members (some have gone) will just pack their stuff and leave at the end of the night, I will usually try to lend a hand where needed. Granted I don't do this at every gig, but enough so that it is noticed (and appreciated).

+1 Excellent post. Sounds like you've done this a little bit!
Also helps to be the owner of a nice tour bus! Just kiddin' ya, mon. Liked yer vid!

[Seattle_BassMan]

Thanks Ryco....I'm glad you liked the video....I just posted a few more on my website....

yeah, it's nice to have a bus ....unfortunately, Jonathan (the Artist) has an even nicer one ;-)

[justabass]

Being versatile will keep the phone ringing. The more styles you become proficient at the more the phone will ring. Some of the best paying gigs I do are suit and tie corporate type shows and weddings playing stuff I really don't care for. But I am a bassist for a living and if there's a hole in calender I'm taking it. I recently got a call about doing some swing band shows. The bandleader asked me if I play upright...I didn't play upright but I didn't tell him that. I borrowed one and learned or charted all the tunes...everything from The Brian Setzer Orchestra to ballad type Tony Bennett stuff. We did the first show with no rehearsal and he's called me every since. My point is don't sell yourself short and put yourself out of some really good paying, and fun I might add, work! You'll find that most the time you'll be up to the challenge and you'll grow as a player. Diving in on upright is one of the best things I've done in a while. Sorry if I'm rambling...3:29am and I'm winding down from a late nighter

[Murf]

On top of everything else which has been said, to get the really sweet gigs and to send your "employability" through the roof..LEARN TO READ!!!.

I make a great living as a sideman, and about 80% of my gigs are professional and amateur shows, (session work is fine but where I'm based its a feast or a famine..so you need a backup gig when the famine hits) The shows are great as you get a consistant run of gigs and invariably move on to the next one, I've done 12 shows one after the other since December 06...consistant employment, the main thing that gets me these gigs is that I can sight read a score.

At the moment I'm in the middle of a run of "Hello Dolly" with our national symphony orchestra...we had ONE bandcall before the actual show and it was a case of ...turn up, here's your score, play... and by God you better be able to read or your screwed.

Over the years I've met incredible musicians with fantastic chops..problem is they dont get the pro gigs because they cant read music..(trust me, tab dosent cut it)...whereas I know musicians who are "competent" (in other words...average...cough) who get more work purely because they can read a score.

Learn to read music, seriously it will open more doors than you can imagine.

(on a side note, this current gig I'm doing is bizarre to say the least, we (the orchestra) are all in soundproofed booths with a monitor and headphones during the show...all we can see in our monitors is the MD conducting us, we've done the show 5 times so far and havent even seen the damn thing).


cheers
Murf

[theshadow2001]

Originally Posted by Joe Nerve

Keep your mouth shut, smile, and say "yes" to everything.

Sounds like my ideal woman

[justabass]

Originally Posted by Murf

On top of everything else which has been said, to get the really sweet gigs and to send your "employability" through the roof..LEARN TO READ!!!

You are absolutely right! I wish I would have started sight reading a long time ago. I'm still not great but I can get by. I had to sub the show Menopause a couple times. The setup was about 2 stories above and behind the stage. The only musician with a view of the stage was the keyboard/director via a monitor.He would count the tunes off and control the flow and tempos. You have to really keep up with your charts on a gig like that! Took a little getting used too being isolated too.

I will add that while in some cities you won't see nearly as much reading work as in others you still need to at least work on your reading skills. I've yet to see a chart using anything but the Nashville number system in Nashville. But even there you will have to sight read if you're trying to do jingle work and any kind of play/show. Good advice Murf!

[bikeplate]

HI

Just overly obvious things. On time, prepared, etc. There is no magic to it. Just like the business world

Rob

[ibnzneksrul]

Save the intoxicants for after hours.

[NickyBass]

Most gigs that you'll get will be through referals. I suppose the best way to start is to meet other sideman. Sure, you can look around all day for people to hire you, but it's so much easier to make friends with people who are already sucessful sidemen. Go to open jams, sit in on some gigs.

I used to get calls all the time from people who I have never met. They get my number from other bassists and musicians.

There is alot of good advise here. I just want to stress the importance of personality. If you are a good person, you will get calls over the guy who treats everyone badly. I've seen it happen so many times. An ego is your enemy, and will crush your career.

It's the simple things that people notice. Arriving early, helping load in/out. Talking with the audience.

I've seen hired guys get into arguments with audience members. This reflects badly on the leader -- and leads to getting fired.

[brianrost]

All of the above is good advice.

Word of mouth has been the most common way I've gotten gigs. People who enjoy working with you will recommend you for other gigs they do. When my gigs start drying up, I go out to hang at jam sessions which usually primes the pump again.

My #1 rule when playing with a new band is to lay low, pay attention and be deferential until you get a good handle on the vibe of the gig. Making the gig go smoothly is what endears you to bandleaders.

Of course, what's a given: you must be competent in a variety of styles. I decribe myself as broad but not deep. I can go on stage and play rock, blues, jazz, funk, soul, country, Irish, cajun, bluegrass, reggae, rockabilly, etc. I know a couple of chestnuts in all those styles and can play simple bass lines in all those genres. If someone stands next to me calling out the chords I can play tunes I've never heard on the fly. I may not play the best bass line you ever heard but I will play something appropriate.

[Freddels]

Originally Posted by brianrost

If someone stands next to me calling out the chords I can play tunes I've never heard on the fly. I may not play the best bass line you ever heard but I will play something appropriate.

This works until you have the guitarist with the capo calling out the chords based on the shapes (without the capo).

[SteveC]

Netwwork. It's often who you know as much as what you know, you know?

Play anything. You may need to do some gigs that aren't your favorite thing in order to "get in" with the "right" people.

Play a little of everything. Jack of all trades, master of none.

Be on time and know your stuff ahead of time if possible/appropriate.

For some "show" type gigs, having the upright as an option helps. We have a touring cast of "Chicago" coming through town in a couple weeks that needs a pit. I play upright, I played the show in town a couple summers ago when a local group did it, and I got the call for the gig. 4 hour rehearsal, sound check and 2 shows over 2 nights - $500. Not bad for around here.

[Murf]

Originally Posted by SteveC

For some "show" type gigs, having the upright as an option helps. We have a touring cast of "Chicago" coming through town in a couple weeks that needs a pit. I play upright, I played the show in town a couple summers ago when a local group did it, and I got the call for the gig. 4 hour rehearsal, sound check and 2 shows over 2 nights - $500. Not bad for around here.

This is so true, I got my current gig (Hello Dolly) purely because I could play an upright, also I've done more sessions than I can count where the "songwriter" wanted an upright for the gig...and in fairness the ole "bull fiddle" sounds so much better than an electric for the more "traditional" musicals....(eg: the bass score for Hello Dolly is written for an upright bass not electric...and man does it show, I used an electric (5 string cirrus) for the first show...and very quickly switched to an upright, 90% of the written basslines are designed for the woody thud of an upright which you just cant emulate with an electric))...also being able to play a double bass will increase your employment possibilities as well


murf

[justabass]

If you become proficient on upright I think its safe to say you could double your workload...