We don’t rehearse. Real book jazz trio. Been together 12 years. If the BL wants us to play a new song, he’ll just send us a chart. Our “practice” of it is usually the first when nearly nobody is there.
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Bands that never rehearse
- Thread starter mambo4
- Start date
Usually it’s one’s we’ve all heard before. Plus it’s always in the recorded key so YouTube always has version of it. We did What a Wonderful World on the fly and it did just fine. As long as we’re sticking a by the known form all is well. I know in the past we’ve done a jazzier version of Wichita Lineman and we did have to practice that one.
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I play in a band that's been together for about 15 years. We used to rehearse regularly but decided to give up our rehearsal space during Covid as it was just a money pit. We rehearse now as needed -- to integrate new material or to get a sub ready for a gig. It's maybe once a month... I actually left the band in 2014 and rejoined earlier this year. I had a lot of new material to learn and old stuff to brush up on, but that's why I practice at home. 
i think the longer a group has been together the less rehearsal is likely needed.
i think the longer a group has been together the less rehearsal is likely needed.
i think you covered it!
"we're so good that we never rehearse" doesn't mean much without context and knowing the truth behind the statement. regarding vulfpeck (i'm a fan): playing their music takes chops --- but not a Ph.D. in music theory...and lick-based stuff is easier than some other stuff...if you can play the licks = you're in!
but i'm with you, matt, at face value: i don't believe it either!
Feel a Whole Lot Better (originally Byrds and covered by Petty very closely). Straight ahead rock, nothing difficult for any of us really. The guitarist who suggested it knows it well and will sing lead. The only potential issue is nailing the harmonies. I jokingly told the BL the song needed a 12-string and I would not be surprised if he shows up with one tonight.
You beat me to it. I had a buddy who called his jazz combo "Moments' Notice" because we often only had a moments' notice prior to the gig. Last jazz gig I had, a corporate party back in March, was a drummer I had not seen in probably 5 years and a sax player I had never met. I had played a lot recently with the guitarist and keyboard player, but most of what we played that night were jazz standards out of the Real Book that we had not rehearsed (though we did get a set list a few weeks in advance).
The OP implies, as do many posters and posts here, that the only music is rock and roll. I can tell you that in the GB world, society bands, jazz bands, bluegrass, there are very many bands who show up for the gig and play the tunes.
In the worlds of jazz and society dance bands, they're reading charts, and if a request comes up that isn't in the book, there'll probably be enough guys that know it (especially in the rhythm section) to play it. All the players are competent to make up appropriate parts on the fly.
In the bluegrass world, everyone uses their ears and one person knows how the thing goes, and all the players are competent to make up appropriate parts on the fly.
If you all know how the tune goes - either how this exact one goes on a reference recording, or how in general the band does tunes like this, competent musicians can make up their parts on the fly. The only thing you can't do is special intros or endings, or unusual interludes. But if there's a super well known reference recording, even those can be duplicated (some examples from my world would be the "I am hip, I am hip" intro to All the Things You Are, or the bass intro to Red Clay, or the chant in Sheik of Araby, or the vocal on Fables of Faubus. One that comes to mind from rock is the extended keyboard interlude in Won't Get Fooled Again - I'm sure with some time I could think of a ton more.)
In the worlds of jazz and society dance bands, they're reading charts, and if a request comes up that isn't in the book, there'll probably be enough guys that know it (especially in the rhythm section) to play it. All the players are competent to make up appropriate parts on the fly.
In the bluegrass world, everyone uses their ears and one person knows how the thing goes, and all the players are competent to make up appropriate parts on the fly.
If you all know how the tune goes - either how this exact one goes on a reference recording, or how in general the band does tunes like this, competent musicians can make up their parts on the fly. The only thing you can't do is special intros or endings, or unusual interludes. But if there's a super well known reference recording, even those can be duplicated (some examples from my world would be the "I am hip, I am hip" intro to All the Things You Are, or the bass intro to Red Clay, or the chant in Sheik of Araby, or the vocal on Fables of Faubus. One that comes to mind from rock is the extended keyboard interlude in Won't Get Fooled Again - I'm sure with some time I could think of a ton more.)
As I said in another post, rehearsals were for intro and endings when doing new songs.
But once a week or every other was for fun as much as anything. After 13 years, we had the songs pretty down. I guess kinda like a boys night out
But once a week or every other was for fun as much as anything. After 13 years, we had the songs pretty down. I guess kinda like a boys night out
Jazz groups I have played in and led have never rehearsed for the most part, often meeting for the first time at the gig and letting the moment happen. Jazz playing folk are comfortable in this situation as most can sight read and know the standard tunes that are most often played. The only times I have rehearsed with a jazz group has been before a tour or special event, if there are original or specially arranged songs.
I also have done Musicals sight reading as well as shows in Vegas and on cruise ships with no rehearsal.
I also have done Musicals sight reading as well as shows in Vegas and on cruise ships with no rehearsal.
Yes... and those tight intros/endings/transitions are often what sets a band apart.
That is a fact!
At the last gig it was kinda slow so we were calling some tunes in the "Extras" list. I called "Stuck in the Middle" which we had actually rehearsed and supposedly knew. One of the guitarists kicked it off and the other guitarist was clueless. He pulled up the tabs on his phone and started playing....in the wrong key. It took him an excruciating few seconds to realize it, then he asked the other guitarist what key he was in, hit a tab on his phone, and he was in. Pretty sad to not be able to play a simple song like that off the cuff and figure out the key and chords without an iPad, imo.
Good song!
That's when the "I'm going to introduce the band" segment of the show is especially appropriate.
As a jazz player, I've played plenty of unrehearsed gigs. They usually fall into a few categories:
1. Standards.
2. Larger dance bands that sight-read from charts.
3. Train wrecks.
Standards are the bread and butter gigs, that work well enough. Often you build your reputation in those gigs before finding cohesive bands that want to do something unique. The gigs are easy to play, and to manage. Go down your list of players until you have enough people who can make the date.
I will admit that I've gotten just a little bit ambivalent about that work after doing it for 40+ years. I'll still do it, if there's some draw other than playing walking bass behind the same 50 tunes. One band I'm in has been together for 20 years, we're super tight, energetic, and entertaining. We get repeat business.
I now play in a couple of bands that rehearse. One is a large jazz band, but we play fairly complex material, beyond the ability of most players to sight read. Also, the rehearsals give us a chance to discuss interpretation and work out problems with the parts. And it's a great hang.
The other band is a "contemporary" quartet that plays mostly original compositions and arrangements. We benefit from refining our parts as a group. Sometimes the writer will revise things after hearing them played. I've noticed that most of the jazz groups in my locale that attract an audience have moved on from standards.
1. Standards.
2. Larger dance bands that sight-read from charts.
3. Train wrecks.
Standards are the bread and butter gigs, that work well enough. Often you build your reputation in those gigs before finding cohesive bands that want to do something unique. The gigs are easy to play, and to manage. Go down your list of players until you have enough people who can make the date.
I will admit that I've gotten just a little bit ambivalent about that work after doing it for 40+ years. I'll still do it, if there's some draw other than playing walking bass behind the same 50 tunes. One band I'm in has been together for 20 years, we're super tight, energetic, and entertaining. We get repeat business.
I now play in a couple of bands that rehearse. One is a large jazz band, but we play fairly complex material, beyond the ability of most players to sight read. Also, the rehearsals give us a chance to discuss interpretation and work out problems with the parts. And it's a great hang.
The other band is a "contemporary" quartet that plays mostly original compositions and arrangements. We benefit from refining our parts as a group. Sometimes the writer will revise things after hearing them played. I've noticed that most of the jazz groups in my locale that attract an audience have moved on from standards.
We had a bit of a train wreck last night. We played at an all ages venue and a little girl requested "Dock of the Bay." Strange request for a little girl, I thought. I've played it but never on bass, but I knew the kick-off and everything till the next to the last chord of the bridge. Turns out none of us knew it. I just did a walk right there. I may have actually hit the right note somewhere in that walk. I doubt that anyone in the crowd knew the difference.
IME, it's been a within-reason kind of thing.
Personally, I've asked if I could use notes/charts on a couple more complex arrangements and BL's have given me the green light. Then, if it's a repeating gig, I'll work away from relying on those charts ASAP.
Otherwise, those who don't actually sit down and learn their parts aren't really a problem in my little world. They just don't get called again and problem solved.
Granted, most of us are old/older and have the experience to woodshed and learn our parts, though one drummer I work with is 25 and is one of the best in the area in this regard.
You didn't direct this question at me; May I answer anyway?
Just to provide some background, here's one the BL in a no-rehearsal band asked me to learn. First time we played it was in front of a full house a couple months ago. Please pardon the cross-post:
(this was not the first time)
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The singer may call a song from his era...i e 60's and you can say you 'know' the song just by having heard it eons ago but never played or prepped it.
However, the singer knows it very well, and you literally follow his chords as he plays it.
Doesn't matter what key he may sing it in... you haven't got any time on it anyway.
However, the singer knows it very well, and you literally follow his chords as he plays it.
Doesn't matter what key he may sing it in... you haven't got any time on it anyway.
It's pretty remarkable what certain good players can just do on the fly. Dynamics, key changes... stuff that the wrong rehearsal project can never get around to working up IME.
If you want to do rehearsals right, my advice is 1) don't confuse them with writing / arranging sessions 2) work them in the pay schedule and 3) EVERYBODY BRING A PENCIL.
If you want to do rehearsals right, my advice is 1) don't confuse them with writing / arranging sessions 2) work them in the pay schedule and 3) EVERYBODY BRING A PENCIL.
When I was gigging 6 nights a week we only rehearsed new tunes and as others have said, for harmonies and endings. In the "orchestra" (13-piece big band) on a cruise ship we rehearsed whenever the acts wanted to, most often even when they were "regulars" and we knew their shows backwards and forwards. It made them more comfortable though, so worth it.
We had one guy come on the ship, singer/piano/comedian, and this guy had NO charts. EVERYONE we played behind had charts. Some of them even had backing tracks for when they were on ships with small combos rather than larger bands like ours. But this guy was just providing a very loose framework of his act, and even saying "What all do you guys know?" We'd play through something about halfway and he'd say "Yeah, that's close enough." I remember a LOT of eye rolling, but we scrambled to chart and notate what we could. The piano player looked at me at one point and whispered "This is more like when we (rhythm section) do the passenger talent show". We were all dreading the massive train wreck it was sure to be. He came out just owning the room and KILLED. At the end of the night the crowd literally leapt to its feet to give this guy the standing O he deserved. To say the least, we did not see that coming. In retrospect, he probably knew that he could have come out without anyone behind him and gotten the same reaction, but that was not apparent in the least at rehearsal.
We had one guy come on the ship, singer/piano/comedian, and this guy had NO charts. EVERYONE we played behind had charts. Some of them even had backing tracks for when they were on ships with small combos rather than larger bands like ours. But this guy was just providing a very loose framework of his act, and even saying "What all do you guys know?" We'd play through something about halfway and he'd say "Yeah, that's close enough." I remember a LOT of eye rolling, but we scrambled to chart and notate what we could. The piano player looked at me at one point and whispered "This is more like when we (rhythm section) do the passenger talent show". We were all dreading the massive train wreck it was sure to be. He came out just owning the room and KILLED. At the end of the night the crowd literally leapt to its feet to give this guy the standing O he deserved. To say the least, we did not see that coming. In retrospect, he probably knew that he could have come out without anyone behind him and gotten the same reaction, but that was not apparent in the least at rehearsal.
