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Double Bass jazz quartet

Ed Fuqua said:
Just so I have this straight, you have a group of musicians who are extremely limited in experience and ability (in playing jazz) and you are looking for gigs, has that got it covered?

Not really... I have a group of guys, 2 of which have extensive jazz training (trombone and sax), one of which has god given talent and is the son if a well known percussionist in NYC (drums) and me, I have 8 years of classical training and have been playing in a big band consistently for the last few years. We are you and don't necessarily have a lot of experience with small jazz ensemble stuff, but we definately know are stuff. I talked to a couple guys today and I think I have decided to go the sax, trombone, bass and drums route because that is where I would get the most solid experience going into it. Now just the question of what to play. Loving the suggestions, I will certainly look into all of these!
Thanks
Chris
 
There is some confusion here... I did not explain as well as I could have. We are all in the same big band. We know a lot of classics and some more modern stuff. We all have some experience. If I understand correctly, there is a pretty big difference between playing notated arrangements and getting together to play some actual tunes. I was really just hoping for suggestions on what piece to start with, not people telling me I can't do it or don't have the experience. We all have seriouse roots in theory and jazz. We have done jam sessions, etc. Now that all of that stuff has been going on for a while, I'm hoping to take that to the next level.
 
No suggestions from me and I'm not sure why you would take any from anyone. Invite these guys over with their record collections or iPods or whatever and after a night of listening, play what you must. If you don't have a connection to the music, don't play it.
 
chris1125

The idea put forth that venues to play are somehow homogenous is not the case. If you don't have a well established group with credentials you are most likely not "taking away gigs" from the more established groups.

For someone who has spent numerous hours studying the material and creating an incredible ensemble to present in the club, you pose no serious threat because the listener is going to notice the difference, and quality gigs know who they hiring. If, however, they don't seem to care, and you somehow are taking away gigs from the virtuosic players, then, welcome to America, you aren't the only one devaluing the music, rather you play a smaller role in that function, it is the venue booking agent who is reducing the standard and putting a new value on the music.

This doesn't mean you try and snake everyone out of their gig, (which you won't be able to do anyway unless your group is stellar), and the advice to visit local jam sessions is sound advice.

The fact is, most suburban areas have numerous venues to play for a jazz quartet. Don't expect $1000 a gig. Don't expect everyone to be on the edge of their seat waiting for each note you play. Do expect to have fun and gain valuable experience.

I live in an area where there is more than enough to go around for everyone, and the coveted gigs are closed off to newbies anyway. YMMV, so be prepared to have to deal with some resistance if your area is something more akin to what we might assume previous posters reside.
 
PostBop said:
chris1125

The idea put forth that venues to play are somehow homogenous is not the case. If you don't have a well established group with credentials you are most likely not "taking away gigs" from the more established groups.

For someone who has spent numerous hours studying the material and creating an incredible ensemble to present in the club, you pose no serious threat because the listener is going to notice the difference, and quality gigs know who they hiring. If, however, they don't seem to care, and you somehow are taking away gigs from the virtuosic players, then, welcome to America, you aren't the only one devaluing the music, rather you play a smaller role in that function, it is the venue booking agent who is reducing the standard and putting a new value on the music.

This doesn't mean you try and snake everyone out of their gig, (which you won't be able to do anyway unless your group is stellar), and the advice to visit local jam sessions is sound advice.

The fact is, most suburban areas have numerous venues to play for a jazz quartet. Don't expect $1000 a gig. Don't expect everyone to be on the edge of their seat waiting for each note you play. Do expect to have fun and gain valuable experience.

I live in an area where there is more than enough to go around for everyone, and the coveted gigs are closed off to newbies anyway. YMMV, so be prepared to have to deal with some resistance if your area is something more akin to what we might assume previous posters reside.

Thank you! I am certainly not planning on taking anybodys gigs away here. I know all of the locals and I would never take a gig that they would play. I am saying little things, probobly $100 or so gigs like ribfest and some freeby gigs like homes and hospitals just for the practice.
 
Thank you! I am certainly not planning on taking anybodys gigs away here. I know all of the locals and I would never take a gig that they would play. I am saying little things, probobly $100 or so gigs like ribfest and some freeby gigs like homes and hospitals just for the practice.

Also check out nursing homes, that would be a great community oriented activity to present music that might really appeal to their generation and the world they grew up in (Sinatra, Louis Armstrong, etc). And I am sure there are local coffeehouses and all that would be amenable to you guys doing some gigs.
But don't simply think of gigs as "freebys". Always make sure you value yourself and more importantly, give the music the value it deserves! I play in people's homes all the times, and I just played a hospital (non-profit institutition) about a month ago and make a good portion of my income doing gigs like that. But always at a union wage.
Absolutely, not all gigs or venues are created equal! So just use good judgement and don't sell yourself short.
And lastly, for repertoire, check out Sonny Rollins trio, Lee Konitz "Motion", Chet Baker/Mulligan Quartet, Elvin Jones Trio w/Jimmy Garrison and Joe Farrell and many other pianoless instrumentations if you're going that route. There's tons of great material and repertoire for you to draw from and get great tunes and arrangements from!
 
ThomsonKneeland said:
Also check out nursing homes, that would be a great community oriented activity to present music that might really appeal to their generation and the world they grew up in (Sinatra, Louis Armstrong, etc). And I am sure there are local coffeehouses and all that would be amenable to you guys doing some gigs.
But don't simply think of gigs as "freebys". Always make sure you value yourself and more importantly, give the music the value it deserves! I play in people's homes all the times, and I just played a hospital (non-profit institutition) about a month ago and make a good portion of my income doing gigs like that. But always at a union wage.
Absolutely, not all gigs or venues are created equal! So just use good judgement and don't sell yourself short.
And lastly, for repertoire, check out Sonny Rollins trio, Lee Konitz "Motion", Chet Baker/Mulligan Quartet, Elvin Jones Trio w/Jimmy Garrison and Joe Farrell and many other pianoless instrumentations if you're going that route. There's tons of great material and repertoire for you to draw from and get great tunes and arrangements from!

Out of curiosity, how do you make money playing gigs like that? I would usually think playing in a hospital would not pay, but you said you make income in gigs like that? I will definately check out those groups!
Thanks
 
This is a picture of me.
Demians.jpg
I'm stupid, barely know 6 tunes (including two blues) and what I'm NOT doing is getting some friends of mine who are in the same boat together to go get a gig. What I am doing is sitting in with a tenor player from Chicago who (at this point) had 30 or so years of playing mainstream jazz under his belt. The guy on piano lived in NYC in the 50s and had the dubious distinction of playing with Bird at a jam session. Etcetera.

Here is a picture of me two years later.
Allstars.jpg

That tenor player took me under his wing and that piano player yelled at me every session when I played the wrong changes, both of those experiences helped me develop as a musician and gain enough of standing on the local scene that I could put a group together that could walk into a club and ask for, if not top dollar, at least the going wage. AND give the folks something worth listening to....

Seek out players with more experience and you will grow as a musician. Continue to insulate yourself with your peers and stagnate.
 
Ok so I ave been looking through some standards and other songs and I came up with a little lit of what I like seperated by decades:

Earlier

Bye Bye Blackbird- 1926

Mack The Knife- 1928

When You're Smiling- 1929

All of Me- 1931

Dream a Little Dream- 1931

It's Only a Paper Moon- 1933

Summertime- 1935

Over The Rainbow- 1939

1940s

Don't Get Around Much Anymore

Autumn Leaves

1950s

Satin Doll

Misty

1960s

Take 5

The Shadow of Your Smile

What a Wonderful World

No I realize that nearly all of these songs would be better with a vocalist, so maybe I should look into that? I don't want the group to get to big here. Am I headed in the right direction here or not o much?
 
Am I headed in the right direction here or not so much?

Only in that you've shown intent to become a jazz musician. Otherwise you have some wrong ideas about how to go about it. You've gotten some good advise here. Take it. If you can't find good players who will tolerate you take some lessons with a good jazz player of any instrument....hell, even if you do find good players take the lessons.
 
jeff arddun said:
Only in that you've shown intent to become a jazz musician. Otherwise you have some wrong ideas about how to go about it. You've gotten some good advise here. Take it. If you can't find good players who will tolerate you take some lessons with a good jazz player of any instrument....hell, even if you do find good players take the lessons.

I keep that in mind... I was talking about the music though. Thanks
 
I keep that in mind... I was talking about the music though. Thanks

I know exactly what you were talking about. Those are all good tunes to learn. Those specific tunes don't matter one iota though. Pick one and learn it inside out in all keys. This will give you an idea of the amount of work you have to do to cut even a $50 and a fish restaurant gig. You're trying to go too far too fast without laying down the ground work.
 
Sorry, to read you saying you have jazz experience but don't know what to pick for a setlist seems very odd. Anybody who has done any serious study knows that most of those tunes are standard repertoire. Maybe it's me but I'm have no interest listening to a bunch of guys with their heads buried in the leadsheet trying to hang on to the changes for dear life.

If your out to just bang out a gig, fine but I wouldn't call it a quality attempt at creating music. Maybe if you do the work and try to reinterpret them in some fashion but that takes serious amount of time and effort.

If you're going to gig on leadsheets you might as well pick a theme for the setlist and play something not so common. Are you there to just throw mud on the wall or are you trying to say something?
 
I feel like this thread is going in a wierd direction... I was wondering which musician would be more benificial (only one answer to that one at this point) but I think I am going to go with the Barri sax player. I then asked what music you would suggest to feature a bass, drums, trombone and barri without a large piano part. Then I made a list of standards that I personally like. So really, I am asking for music other then this that does not have a large piano influence. Thank you.
Chris
 
I feel like this thread is going in a wierd direction... I was wondering which musician would be more benificial (only one answer to that one at this point) but I think I am going to go with the Barri sax player. I then asked what music you would suggest to feature a bass, drums, trombone and barri without a large piano part. Then I made a list of standards that I personally like. So really, I am asking for music other then this that does not have a large piano influence. Thank you.
Chris

If you think this was weird wait till you take it into the real world. Look at the staggering variety of jazz ensembles over the years and you see very quickly there is no useful answer to your question. The question itself shows your naivety and people are just telling you what you really need to know rather than what you think you need to know. Do you realize that one guy watching this thread played with Bill Evans and knows every tune ever written? Maybe if you ask a good question he'll respond.

It's not about what songs you play or the instrumentation so stop worrying about that. It's about individuals communicating through a common literature in a similar language so find the most accomplished players who will have you and try not to piss them off too much.
 

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