You are performing 3 sets of jazz at a local restaurant for $75 a man. Drummer does not like what he is hearing and let's the band know, using low volume angry words. No cursing but stern in nature. Ok or violation of stage etiquette?
A follow up conversation went nowhere, in both of our opinions. He told me he thought I was "thin skinned" and over sensitive." He also said he thought it was not at all inappropriate of him to tell us that we needed to play better. He said that had he known we were going to play so poorly, in his opinion because we were not trying hard enough, then he would have stayed home that night.
He has a masters in jazz performance. I have just started playing jazz in the past 3 years, but have loved jazz all my life. Links in my sig for anyone interested in sound or video samples.
As an edit, I'll add the experience level of the band members, so you can get an idea of how diverse we are in that area.
Me: played jazz trumpet up through high school, never got as far as improvisational soloing. Listened to jazz my whole life. Started playing jazz with the bass about 3 years ago, including enrolling in a local jazz workshop. Learned to read bass clef for the first time, been working on that ever since. Also learned basic jazz theory, and continue to try to get my head around that, albeit without formal lessons.
Guitarist: has played jazz for years, attended numerous Aebersold jazz camps, played in several jazz combos. Mid 50's in age. Never got a music degree, does take lessons with local legend and Army band veteran Rick Whitehead
Drummer: as said, masters in jazz. Was a vibes player during that time, had his own group, was way more accomplished as a vibes player, generally led his own groups during that time. Knows form of lots of songs, backwards and forwards. Has given me lots of help with theory, but does not seem to understand how much I don't know. Decided to switch to drums a few years ago.
Sax player: currently in a masters program for jazz performance. has undergrad music degree, many years performing. is the kid of the group, my guess is that he is 28 or so. Very nice guy, has always been supportive of anything that I do, accepts my level of playing and encourages me to grow. Very fun to play music with. And the guy can play sax!
To address a couple questions that have come up in the thread, and thanks to all who have chimed in so far, this drummer is our regular guy. He has taken on a leadership role. His main instrument is vibes, but he put those down years ago. He was more accomplished as a vibes man and band leader, and is used to being the guy who is running the show, both on stage and off, as far as the music goes. He knows his stuff and I have learned a lot from him, he has given me much assistance through our year and a half together, and has been patient with me as I try to get more up to speed, which is really impossible given the difference in our education levels and musical training. But he is a fiery guy at times and makes no apologies when it comes to putting on a quality performance. Normally, I am all about that approach, as long as it also preserves the dignity of the band and the individual members.
And, as is often the case in groups that I have played with, I have secured all our gigs and have single-handedly kept us working steadily almost since day one. Its hard work, the type that nobody else is willing or able to do. In a divorce, I will be keeping the gigs, or at least that would be my plan if things don't get better...
Here is the text of an e-mail he sent out after the gig:
"Bandmates,
I have reflected on my comments during and after the third set, Saturday night at Petworth, and I am no less disappointed at how the band performed, nor how it seemed that a solid effort was not being given. Perhaps the poor turnout among patrons played a part, perhaps individual fatigue contributed, but hopefully it wasn't because it was the best effort of which we are capable.
I've come to wonder whether certain things can ever change in TDJB . . . with or without rehearsals. I would, however, recommend addressing the following at a minimum:
We need to revisit the idea of solos being "tied in a bow" at the end, in such a way that one soloist doesn't continually "step on" the next. Most of the solos Saturday night were just rambling and note-y; ending with a "whimper," or meandering into the beginning of the next soloist's first chorus.
We need to (ONCE AND FOR ALL) figure out why we can't seem to correctly play "A-A-B-A" form, without altering it to "A-A-B" once the melody has been stated and is no longer a guideline. We must internalize 4-, 8-, 12-, 16-, 24-, and 32-bar structures.
There is a wide rage of notation-reading skills in our band, and that's not unusual for any group. As a group, we are obviously not a sight-reading band, and therefore it is evermore necessary for us to REHEARSE! What I don't understand is why we can't seem to follow the charts of simple tunes, and Ron's offering of "And I Love Her" was about as simple as a chart can be.
We must do better, because Saturday's gig, the majority of it anyway, was bush-league . . . at best!"
