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Becoming a session musician- what does it entail?

Mel Brown wrote a book called "From Zero to Sideman" which tells how he did it.

Basically, he worked his way up to getting into Aretha Franklin's band and how he does session work.

Mel is an interesting guy and a great player.
 
My advice is to do everything music related you can: cover bands, sub gigs, composing (I'm doing stuff for a video game project now, never thought I could until I sat down and did it), teaching lessons, etc.

It is the opinion of many older musicians I know that if you can do it all and do it every day, you can make 80-100k US$ a year.

I am around your age. I know how it feels. I'm 17 and out of high school so I understand if you feel pressure. But the most important thing is to do what you love as often as you can and contribute to others doing it
 
My advice is to do everything music related you can: cover bands, sub gigs, composing (I'm doing stuff for a video game project now, never thought I could until I sat down and did it), teaching lessons, etc.

It is the opinion of many older musicians I know that if you can do it all and do it every day, you can make 80-100k US$ a year.

I am around your age. I know how it feels. I'm 17 and out of high school so I understand if you feel pressure. But the most important thing is to do what you love as often as you can and contribute to others doing it


Still not as important as phone calls, personal introductions, and follow ups.
 
I recently met with a guy who is responsible for auditioning players and filling band slots in Nashville. I asked him how he finds players and he said he has his own first-call list that he uses religiously, and when they aren't available, he get recommendations from his first-call list players - most of whom have their own short list of first-call subs.

So obviously living in a music mecca (like Nashville, USA) is very important. Then networking and establishing yourself as a reliable, go-to guy is critical so you can hopefully get on some A-lister's A-list. That probably means getting out there every day and night going to gigs and meeting other musicians - going to as many auditions as you can and really getting your name and face out there.

I also asked him what he looks for when a bass player comes to audition (besides the ability to play). His very first answer was "Pro Gear" - he went on to say that he's seen people arrive with their instrument in a garbage bag or their rattle-trap amp in a little red wagon. Those players may or may not be able to play, but the quality of their gear put them on the 'no go' list almost immediately.

He then said that general appearance was important. He said that didn't mean that you had to be a model or look like an athlete - although that certainly doesn't hurt - but you should definitely not show up in your ratty jeans and holey tee-shirt looking like you just rolled out from behind a dumpster. - This was for doing touring stuff. Obviously an audio recording doesn't care how you look.

I asked if reading was critical - he said it was important since a lot of the players he auditions had to read from charts and sheet music frequently - but he also said that while it was important, it wasn't necessarily critical.

He also said that beyond passing all the individual tests (playing, pro-gear, good hygiene) that you have make a good connection with the rest of the band. You could be the best player of the bunch, but if the band doesn't 'dig you', you won't be coming back to the next session.

Above all, once you've been given the opportunity, you absolutely MUST be ON TIME and READY TO ROLL 100% of the time! He said he's had a couple players who came very highly recommended miss a start time - even by a few minutes - and that pretty much did them in. He said one player even called and said he was right outside the door - apologized profusely for being late and was told "too bad, so sad..." his number was removed from the little black book and the next guy in line ended up getting the gig.

So - beyond the requisite playing skills you must:
1) Get into the scene, press the flesh and make friends in high places in the hopes of becoming one of their recommended subs should the opportunity present - and if you do get recommended for a gig, DO NOT BLOW IT by being late or unprepared! Not only will that get you eliminated from the gig, it will reflect poorly on the guy who recommended you which may or may not harm his gigging potential - but at bear minimum will ensure he won't be tossing any more recommendations your way.
2) Have pro gear that is always in working order
3) Be presentable, well-spoken and ready to work
4) Be punctual
5) Get along with others

Mind you, I am NOT a first-call session player. But I do try to behave as if I were one which is why I asked this guy all these questions. While I don't think I'll ever put myself into the market as a session guy, I want to at least feel like if the opportunity presented itself, I wouldn't drop the ball.
 
You've got good advice from people who've played way more sessions than I have and are much better players. What I can offer you is advice from the perspective of someone doing the hiring - I've hired plenty of players and singers of all styles.

Everyone that hires has a list. I started mine by asking other small producers who they used. If I saw someone playing live and was impressed I asked for a phone number and added them to the list. That's tricky because playing prepared music is so different. But in some cases I was impressed, got the number and then got a second recommendation about the guy elsewhere. I had one guy offer to play a few sessions for me for free to get in the door. He knew he was good enough that after that I'd be willing to pay him - and he was right. Your put your list in order of who you'd prefer to get first, then go down it if he/she's not available (or affordable).

The best session player I ever worked with was an acoustic player named Bobby All. He'd listen to the song, take the chart (or write it if you needed him to) and talk to you about what you wanted. Then he would play it in one take incorporating everything you asked for. He would also play catchy hooks instead of hot licks. He also could play absolutely without squeaking strings ever! That's an amazing talent very few have on any instrument - especially a close mic'd acoustic guitar.

Pat Buchanan was one of the most amazing electric guitarists I recorded. He was going through my songs so fast it was almost like he had intuition. One time he said, "Just go ahead and hit record and put the next song on." I said surely he would need to hear it at least once. He said, "No, I'll figure it out by the time it's halfway through so we'll have the last half. Then we can go back and punch the first half." He did just that.

I liked guys who knew how to get good tone of different types upon request. I liked to find out what a guy could do best and put him in the right song for that. I quit calling people who didn't show up on time or were always in a hurry to get through it to be somewhere else.

For a bass player, the single most difficult thing is to play exactly on the beat. Not just a little ahead, not just a little behind. The guys that get lots of session work tend to have that quality and I'm not sure it's something that can ever be learned. You either have it or you don't and only a very very small percentage of people do. It's the intangible thing that makes a track sound so solid - when both the bass and drums have this quality.
 
For a bass player, the single most difficult thing is to play exactly on the beat. Not just a little ahead, not just a little behind. The guys that get lots of session work tend to have that quality and I'm not sure it's something that can ever be learned. You either have it or you don't and only a very very small percentage of people do. It's the intangible thing that makes a track sound so solid - when both the bass and drums have this quality.

great post thanks!

what about styles where it is common for the bass to play just a little behind? like reggae or funk? should the bass player still be spot on like the click?
 
as mn air head actually does this I would take his advice to heart

I know a few people who do session work and it's pretty much as he says -- even-tempered, competent professionals.
I also believe it takes a certain personality to work the contacts/business side and deal with a lot of rejection with persistence and confidence, but not arrogance.
At your age I was not nearly as willing to reveal how ignorant and foolish I was, as I am now. I believe that's a lot of what it takes. Given a lot of talent and practice that can bolster enough confidence to know you'll get through musical situations and social situations that are uncomfortable and difficult. I'm fairly certain this sort of training is what the best teachers develop in a person as well as a musician.
 
great post thanks!

what about styles where it is common for the bass to play just a little behind? like reggae or funk? should the bass player still be spot on like the click?

Some guys just play that way naturally and some play ahead naturally. You can alter the way you play somewhat temporarily but it's not really the same thing.

I've heard some really great session drummers say that they don't play particularly well with certain bassists because the drummer hits his foot on the back of the beat and the bass player on the front, or vice versa.

Funk would be on the front of the beat if anything, not behind. Stones type music is what I think of on the back side of the beat. I don't really know if they are or not, but it's that genre of music that comes to mind - the heavy drugs are kicking in sound.
 
Some guys just play that way naturally and some play ahead naturally. You can alter the way you play somewhat temporarily but it's not really the same thing.

I've heard some really great session drummers say that they don't play particularly well with certain bassists because the drummer hits his foot on the back of the beat and the bass player on the front, or vice versa.

Funk would be on the front of the beat if anything, not behind. Stones type music is what I think of on the back side of the beat. I don't really know if they are or not, but it's that genre of music that comes to mind - the heavy drugs are kicking in sound.

Again - not a session player here - but I've done my share of gigs with a wide array of drummers and I've felt it was my job to assess how they play and adjust my attack accordingly.

I am in three bands currently, each with a very different type of drummer. The jam band's drummer is very groovy, laid-back, funk/reggae-centric. He listens to everyone - me included - and we play off of each other. Very much 'give and take'. Sometimes he sets the agenda, sometimes I do, but we both have ears on each other and the rest of the band and take responsibility for defining the groove.

The originals band's drummer is a 'pusher' - very 'in-front' of the beat. He doesn't rush, but if I try to lay back or even land square, we don't sound 'locked-in' - so I adjust to his push and things sound fine.

The 'corporate' band's drummer is like a metronome/robot - rigid, hard-hitting, goes into his own world and doesn't come out until the song is over. I could lay back or push and he'd never notice (but I do) - so with him I lock down on that robotic beat and things sound good.

But generally speaking, I feel it's my responsibility to read the drummer and adjust my attack to suit his style.
 
At 16-18 years old, the quick answer is, practice as much as you can, play as much as you can, take any gig that won't hurt you, and find out where the studio players are, and hang out there. In Northern Ireland you're closest bet is London. Here's some more advice that popped up recently: Invalid Link Removed