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Blues Gig (a cautionary tale)

D

dougjwray

Jul 20, 2005
7,044
7,896
#1
People sometimes ask what they need to know to be a blues bassist. I figured I'd describe my New Year's Eve gig to illustrate.

I'm *very* experienced. Kids, don't try this at home!

The day after Christmas, I fielded an email (which was cc'ed to two other bassists) asking about subbing at a nice paying New Year's Eve blues gig. The lineup: a singer/harmonica player; a singer/guitarist; a bassist; a drummer. The drummer (who sent the email) is a friend and a very fine player, and I knew the other guys would be, too, so I answered right away, and got the gig.

On Dec. 29, the drummer was thoughtful enough to meet up with me to give me 6 CDs full of the guitarist's material (all original versions-- Howlin' Wolf, Little Walter, Slim Harpo, Muddy Waters, etc.), each containing 20-25 tunes. There was also a CD of the harmonica player's tunes (about 20-25 also).

On Dec. 30, before I'd had time to start listening, the drummer forwarded the guitarist's email offering his "most probable" tunes, about 20 in all. A comparable list was forthcoming from the harmonica player.
I sat down that night to transcribe bass patterns and make notes about keys, stops, and so on. Unfortunately, I found only 5 of the guitarist's "most probable" tunes among the 120-150 tunes on the 6 CDs.

No "most probable" list ever arrived from the harmonica player. I did study all the songs on his CD.

At the gig, the drummer and I showed up a couple of hours early, to set up, eat dinner and relax.

The other two guys showed up about 20 minutes before starting time, set up, got a sound, and away we went.

In the end, we played a total of five songs that I had listened to (one from the harmonica player, four from the guitarist). For the rest, I depended on the likes of: "Key of C, rumba, no quick IV, watch for stops, double up on the V at the end... Ready? Here we go..."

The night went spectacularly well.

Again, I'm *very* experienced at this stuff, and I'm sincerely not bragging here... I just wanted to give a real world illustration of what a pro blues bassist can expect.

Happy New Year!
 
#2
I know what that's like. Recently did a sub gig and had a list of 40+ songs. I worked my butt off learning them. Right before we started the keyboard player said "well....that list will probably go out the window." It did, but I hung in there like "a hair in a biscuit."
 
#4
dougjwray said:
People sometimes ask what they need to know to be a blues bassist. I figured I'd describe my New Year's Eve gig to illustrate.

I'm *very* experienced. Kids, don't try this at home!

The day after Christmas, I fielded an email (which was cc'ed to two other bassists) asking about subbing at a nice paying New Year's Eve blues gig. The lineup: a singer/harmonica player; a singer/guitarist; a bassist; a drummer. The drummer (who sent the email) is a friend and a very fine player, and I knew the other guys would be, too, so I answered right away, and got the gig.

On Dec. 29, the drummer was thoughtful enough to meet up with me to give me 6 CDs full of the guitarist's material (all original versions-- Howlin' Wolf, Little Walter, Slim Harpo, Muddy Waters, etc.), each containing 20-25 tunes. There was also a CD of the harmonica player's tunes (about 20-25 also).

On Dec. 30, before I'd had time to start listening, that drummer forwarded the guitarist's email offering his "most probable" tunes, about 20 in all. A comparable list was forthcoming from the harmonica player.
I sat down that night to transcribe bass patterns and make notes about keys, stops, and so on. Unfortunately, I found only 5 of the guitarist's "most probable" tunes among the 120-150 tunes on the 6 CDs.

No "most probable" list ever arrived from the harmonica player. I did study all the songs on his CD.

At the gig, the drummer and I showed up a couple of hours early, to set up, eat dinner and relax.

The other two guys showed up about 20 minutes before starting time, set up, got a sound, and away we went.

In the end, we played a total of five songs that I had listened to (one from the harmonica player, four from the guitarist). For the rest, I depended on the likes of: "Key of C, rumba, no quick IV, watch for stops, double up on the V at the end... Ready? Here we go..."

The night went spectacularly well.

Again, I'm *very* experienced at this stuff, and I'm sincerely not bragging here... I just wanted to give a real world illustration of what a pro blues bassist can expect.

Happy New Year!
Click to expand...

Great story. I love playing music like this... it is nerve wracking sometimes... but fun as hell.

For those of you interested in blues... in my opinion the best way to learn is playing with other bluesmen. Go to your local open mic, sign up, and play.

G
 
#6
I have done a few stints with blues bands.

Real blues artists usually have substance abuse problems. This is sad to see talented people go self destructive.

One blues band had an 80 song setlist. The band would gig Friday and Saturday nites. On Friday they would start on song #1 and get to song #80 by the end of Saturday nite. Another blues band had a set list they went through, but every set would start and end with their theme song "Chicken Shack".

Also with blues bands you have to listen to the other players. You can't just go into a pre-programed mode of just playing a preset pattern. A real blues artist will change up songs on the fly as he feels and reacts to the audience. If you can't play along with that then blues will be difficult for you.
 
#7
I play blues for the most part myself and am starting to get very selective about the sub gigs I take as I've found that some blues "bands" (I use that term loosely as the scene in and around Washington, DC is largely pickup) do not have it together to impart their music to a stranger who is helping them out on (likely) a one shot deal. First problem: not knowing how to describe the nature of their songs to a stranger. Sure, there are standards ... but there are often many versions of said standards done with different grooves and arrangements. They need to learn some of the standard descriptions that we bassists can latch onto like ... quick 4, long 1, 2-5-1 turnaround, hang on the one, fade out on the one, rhumba, Texas shuffle, flat tire shuffle, uptown box shuffle, downtown box shuffle, 16 bar blues, 8 bar blues, Muddy style slow blues, jump blues, church changes, rhythm changes, etc. There are variations on these terms and plenty more, but it would be a wise thing for blues band leaders who often operate in a pickup/sub environment to learn and understand some of these terms. Another thing is that they should learn a thing or two about giving decent cues to strangers who are filling in. I know it's more work, but it makes for a more professional show and it's more fun for those who care about professionalism. Lastly, band leaders should decide on specifically what material they're going to do and impart that to the impending sub so that said sub doesn't have to spend WAY more time than necessary familiarizing themselves with a lot of material that isn't going to get played and instead can concentrate on the material that is going to get played. ... just my .02 on the whole blues bass pickup/sub scene.
 
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#8
pbassnut said:
I play blues for the most part myself and am starting to get very selective about the sub gigs I take as I've found that some blues "bands" (I use that term loosely as the scene in and around Washington, DC is largely pickup) do not have it together to impart their music to a stranger who is helping them out on (likely) a one shot deal. First problem: not knowing how to describe the nature of their songs to a stranger. Sure, their are standards ... but there are often many versions of said standards done with different grooves and arrangements. They need to learn some of the standard descriptions that we bassists can latch onto like ... quick 4, long 1, 2-5-1 turnaround, hang on the one, fade out on the one, rhumba, Texas shuffle, flat tire shuffle, uptown box shuffle, downtown box shuffle, 16 bar blues, 8 bar blues, Muddy style slow blues, jump blues, church changes, rhythm changes, etc. There are variations on these terms and plenty more, but it would be a wise thing for blues band leaders who often operate in a pickup/sub environment to learn and understand some of these terms. Another thing is that they should learn a thing or two about giving decent cues to strangers who are filling in. I know it's more work, but it makes for a more professional show and it's more fun for those who care about professionalism. Lastly, band leaders should decide on specifically what material they're going to do and impart that to the impending sub so that said sub doesn't have to spend WAY more time than necessary familiarizing themselves with a lot of material that isn't going to get played and instead can concentrate on the material that is going to get played. ... just my .02 on the whole blues bass pickup/sub scene.
Click to expand...

All very true...

I can only argue that my inability to prepare the other night was a mixed blessing, because at least I didn't have my head in charts the entire time. Getting the quick tip-offs before each song does force you to listen hard, and that does lead you to go where the leader goes (extending solos if the crowd is getting excited, maybe adding a bar or beat here or there if the spirit moves him/her, etc.). I play other kinds of music, too (including the highly premeditated and arranged variety), but what I love about the blues are the endless variations and the necessity to make it happen on the spot, with the other players.

Also, I consider a big part of my bassplaying role to be making singers/soloists comfortable. I don't want them worrying about whether they're going to remember to do exactly what they told me they were going to do!

Having said all that, I admit that I was fortunate to be playing the other night with guys who DID know the terminology, as you say.
 
#10
I've had similar experiences... then you get to the gig and find out you are a last minute replacement band for a bluegrass or big band swing band.

THEN you can start sweating....
 
#11
The OPs story is a familiar one indeed. While it can be a little unnerving at times, playing gigs with little or no prior knowledge of the material happens quite a bit. I think most in the audience have no idea when you pull it off right. Being able to take gigs on the fly can lead to a lot of work and makes you a better player.

I've played with some bandleader who are really good and can quickly tell you the key and changes, and others who give tell you to "follow me" as the count of the tune. This can work though if their playing gives you cues.

A little OT, but IMO taking a few blues gigs should be requisite for any bass player, on the fly or well rehearsed.
 
#12
This is EXACTLY what I deal with on a regular basis. It can be a little unsettling, but it really helps you get your ears together because you have to listen to what's going on and then make the bass line work with it.

One thing I will add is that having a really good grasp of the Nashville Number System has been invaluable to me with these type of gigs. You hear a lot of the same songs, but the key changes often depending on the singer, so if it's more sophisticated blues that goes beyond I-IV-V progressions knowing your numbers makes it so much easier to transpose.
 
#16
dougjwray said:
......For the rest, I depended on the likes of: "Key of C, rumba, no quick IV, watch for stops, double up on the V at the end... Ready? Here we go..."

The night went spectacularly well.
Click to expand...

I've been doing the Blues thing for a long time, and I grew up in the place where Muddy Waters discovered electricity.

Quite honestly, if I got 6 CDs of material to listen to as probable songs, I would ask the band leader if it would be cool if he could just cue me just like you said above, since I'm familiar with the terminology. "Flat Tire shuffle, quick change, key of A, stops on verses" is good enough for me. I find that lots of Blues gigs work this way. It's not like a Top 40 gig where they want to you play it like the recording. It's the Blues, and it's a place for the individual player to contribute their own voice.

Listening to 120-150 songs with similar chord progressions when you're only going to play 25-40 of them would be unneccessary, to me. Not that I wouldn't enjoy listening to the tunes, but as an experienced Blues musician, I don't need to listen to all of them to put on a decent show. I find that in the Blues, people deviate from the recordings alot, and deviate from one show to the next. It's more important for you to flow with the band than to play what's on the recording.
 
#17
jive1 said:
I've been doing the Blues thing for a long time, and I grew up in the place where Muddy Waters discovered electricity.

Quite honestly, if I got 6 CDs of material to listen to as probable songs, I would ask the band leader if it would be cool if he could just cue me just like you said above, since I'm familiar with the terminology. "Flat Tire shuffle, quick change, key of A, stops on verses" is good enough for me. I find that lots of Blues gigs work this way. It's not like a Top 40 gig where they want to you play it like the recording. It's the Blues, and it's a place for the individual player to contribute their own voice.

Listening to 120-150 songs with similar chord progressions when you're only going to play 25-40 of them would be unneccessary, to me. Not that I wouldn't enjoy listening to the tunes, but as an experienced Blues musician, I don't need to listen to all of them to put on a decent show. I find that in the Blues, people deviate from the recordings alot, and deviate from one show to the next. It's more important for you to flow with the band than to play what's on the recording.
Click to expand...

I've been doing the blues thing for a long time, too.
The thing was, the initial list was subsequently pared down to a "probable" list by one player (the other guy never got around to it)... and then it was almost completely tossed out, anyway.
My thing is, I always try to put on more than a "decent" show (no disrespect intended), and I enjoy being able to nail the tunes that do have quirks. As I'm sure you know, there are certain blues standards that do not deviate from their quirks, because that's what makes them special. (Just one example: the added bars in "King Bee".)
But the whole point is to be ready for anything, and I enjoy that challenge. Of course, on top of knowing forms and your fingerboard, you've got to swing, employ dynamics, follow a soloist wherever he's going, and know how to build something dramatic and kinetic out of a genre that non-fans find "simple" or "boring."
 
#18
pbassnut said:
...some of the standard descriptions that we bassists can latch onto like ... quick 4, long 1, 2-5-1 turnaround, hang on the one, fade out on the one, rhumba, Texas shuffle, flat tire shuffle, uptown box shuffle, downtown box shuffle, 16 bar blues, 8 bar blues, Muddy style slow blues, jump blues, church changes, rhythm changes, etc.
Click to expand...

I'm a very experienced blues listerner and somewhat experienced blues drummer, but still very much "aspiring" on bass. Out of all those terms you mentioned, the only one I know for sure is a 2-5-1 turnaround. Well, and I think I do a credible Texas shuffle on drums.

Anybody care to explain what the other ones mean? It's fine to say go to a blues jam, sign up, and play and learn what those things mean from the other players, but I don't want to be that guy that's up there (purportedly, because I know how to play well enough to participate in an open jam) and has to ask "what does that mean" each time somebody calls and song and uses one of those terms.
 
#19
StuartV said:
I'm a very experienced blues listerner and somewhat experienced blues drummer, but still very much "aspiring" on bass. Out of all those terms you mentioned, the only one I know for sure is a 2-5-1 turnaround. Well, and I think I do a credible Texas shuffle on drums.

Anybody care to explain what the other ones mean? It's fine to say go to a blues jam, sign up, and play and learn what those things mean from the other players, but I don't want to be that guy that's up there (purportedly, because I know how to play well enough to participate in an open jam) and has to ask "what does that mean" each time somebody calls and song and uses one of those terms.
Click to expand...

+1
I have not seen good descriptions of those in books, found some sorta mentioned (but not fully explained) via Google and during a jam there is not much interest by more experienced players to teach less experienced players like me.

Maybe in the Talkbass Wiki? I'll go look.
 
#20
dougjwray said:
My thing is, I always try to put on more than a "decent" show (no disrespect intended), and I enjoy being able to nail the tunes that do have quirks. As I'm sure you know, there are certain blues standards that do not deviate from their quirks, because that's what makes them special. (Just one example: the added bars in "King Bee".)
But the whole point is to be ready for anything, and I enjoy that challenge. Of course, on top of knowing forms and your fingerboard, you've got to swing, employ dynamics, follow a soloist wherever he's going, and know how to build something dramatic and kinetic out of a genre that non-fans find "simple" or "boring."
Click to expand...

If you're working with some guys who really know the Blues, it's not difficult to communicate the quirks. Heck, some of us Blues nerds live for those quirks. For example, the last time I did "Full Time Lover", I told the guys it's a slow 12 bar for the chorus, but it goes to a 16 bar with a I-IV as the I for the verse. We killed it.

Yes, be ready for anything. I've done plenty of Blues gigs where it seemed like the set list was tossed out the window. But, it's a jam oriented genre, and that's where the excitement lies.
 

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