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The worst thing about playing music is...

i'd say other musicians are the best thing about playing music.

The friendships I've made over the years with other musicians, and with others connected with musicians, have certainly been one of the most enjoyable aspects.

Agree that if one of the worst things about music is other players then why bother going out to do gigs or jam with others? May as well just stay at home and practice....

As for the sax player story, I have a number of experiences of horn players getting up to blow over some jazz changes, making a complete f**k up of it and then getting off stage to the misguided adulation of their equally incompetent friends, hangers-on etc and thinking they've blessed the band/audience with their Coltrane-esque presence.

So, no sympathies for poor old Mike! Being 100% ready means being able to transpose on the spot.
 
The friendships I've made over the years with other musicians, and with others connected with musicians, have certainly been one of the most enjoyable aspects.

Agree that if one of the worst things about music is other players then why bother going out to do gigs or jam with others? May as well just stay at home and practice....

As for the sax player story, I have a number of experiences of horn players getting up to blow over some jazz changes, making a complete f**k up of it and then getting off stage to the misguided adulation of their equally incompetent friends, hangers-on etc and thinking they've blessed the band/audience with their Coltrane-esque presence.

So, no sympathies for poor old Mike! Being 100% ready means being able to transpose on the spot.

Also, the bandleader may not have been intentionally setting up the sax for a fall - he may well have been looking to establish contact with another musician for future projects and could have been simply 'auditioning' his skills.
 
I've never found anything all that bad about playing. My worst nights are still better than no nights at all. If I had to choose somthing it would the tear down and load out with a big heavy old bass rig and I've owned some monstrously heavy stuff over the years. Thank God for modern lightweight combos.
 
Reminds me of a story about Oscar Petterson one of my teachers told me. He said that Petterson often would play songs in whatever key fancied him at the moment he started the song. He would not call out the key. He would just go, and the band followed him. He had a damn good band.
 
To put another person in their place to make a fool of them or to establish superiority for yourself over them is abominable behavior. Especially from a bass player. Our role should be one of supporting other musicians, not tearing them down.

This is not teaching anyone a valuable lesson. To chide someone or prove a point is not valuable. The lesson that is learned is negative in nature and only makes Mike more callous, not better.

Sorry if I sound like a Pollyanna Pureheart for saying that, but I really hate the thought of people trying to defend or mitigate the bandleaders actions in the story. There's no excuse for that crap. It represents the very pinnacle of douchebaggery.
 
The worst thing? It depends on who/what you are, to some degree. For me, it is the gift/curse of perfect pitch. Without it, there would be no sense of duty to keep on playing. I would have never gone and done many things, and might be a happier, more fulfilled person, today.

There have been recent thoughts of liquidating the gear, and getting on with my life, what little there truly is of it, at 47, with a grim economic outlook, and no family to speak of, but just when I think that I may finally be able to do such a thing, the phone rings, and the e-mail jumps. Gig opportunities are like that first hit of your illicit substance of choice; you start to get into the vibe, and you want more. Maybe that is the key to making great art; never being satisfied. You truly do have to suffer for your art.

Music was resented, when young, because it kept me from doing so many other things, like Cub Scouts, and actually living a normal childhood. Music was a chore forced upon me by a devout parent, who saw my raw talent, and wanted it properly channeled. Once I started to take it on my own terms, as an adult, it got better, but was still like a high-maintenance mistress who did not put out enough. I learned how to slap the bitch around, a little (I do not do that to real women; just a metaphor, here). Indeed, she may have even saved my life, 2 years ago, but here I have been hanging, with life sucking more than ever, and she's scarce, despite a willingness towards devotion, on my part.

In 1986, I wrote a song that was a rationalization for taking your own life, but was always unwilling to perform it live, for fear of feeling it too much, and being too in the moment with it. There are no original projects for me, but the fear is gone, now.

If all of this were for a grander purpose, then it would be worth it, but my heart of hearts tells me otherwise. There is no hope, only memory. I seem to recall that being a Level 42 lyric.

Music fills one's head with dreams, and all sorts of other things, but in the end, is so destructive to those who make it, on some level.

Thus, I have bared my soul, hopefully to a population that somehow understands the depths from which these words have come. The frightened little boy inside stands naked, in pouring rain, while the cynical older man hopes that the next lightning flash is the strike that ends his suffering.

If I had it to do over again, I wish that I had never played a note, and was tone-deaf.
 
... other musicians or at least, that's what my best music teacher told me. He also backed that up with a story I'm going to share.

This took place in the early 00's in a Jazz bar in Dublin, Ireland. My teacher and his friend, a saxophonist of decent ability whom we will call Mike, went along to see a jazz band that the said friend was a big fan of. Now, prior to the main act, there was an improvisation session that anyone could join in if they thought they were good enough so my teacher's friend had brought his sax.

The evening began well and both my teacher and mike took part in the improv with laudable results. Being pretty fired up by his preformance, Mike then decided to ask the band leader of the main act if he could join them for one number. Seemingly bemused, the band leader (a bassist) told Mike he was welcome to play with them but asked him if he was 100% certain he was ready for it. Mike nonchalantly replied that he was and the bassist told him to take his place so onto the state he sauntered.

Now, the tune they were to play was in the key of B flat minor so Mike expected nothing out of the ordinary as he lifted the sax to his lips. The band leader took his place at the front of the band and counted in the tune "a-one, a-two, a one-two three E FLAT!". Instantly, the pianist, guitarist and the bassist switched into the new key and poor Mike was left to attempt to find his place. He promptly failed and had to leave the stage in a dejected mood.

Now, I don't know for sure that that story is true but my teacher was fairly adamant that it was. Either way, it really does illustrate how nasty musicians can be to each other. Granted, Mike probably set himself up for the fall but I think it was a bit mean to do that to him all the same.

Anyone else ever encountered anything like this?

I know Thelonious Monk used to do this. It's a muso thang. I wouldn't be surprised if this story were true. A lot of the Dublin jazz scene is cerebral to the point of non musicality. Not all of it tho'.
 
For me, the worst thing about playing music is having to deal with the constant barrage of wayward women trying to "score" with me after each gig. I'm okay with two or maybe three of them coming up to me after the show, but it seems that there are at least 20 or so over-excited females who practically knock me down as soon as I step off of the stage every time my band performs somewhere. Some of them try to get a piece of my clothing, and I end up having to buy more clothes every month, which jacks up my VISA balance.

Can't a guy just play some music without having to constantly put up with this??? I'm more than just a piece of meat, ya know.
 
SactoBass said:
For me, the worst thing about playing music is having to deal with the constant barrage of wayward women trying to "score" with me after each gig. I'm okay with two or maybe three of them coming up to me after the show, but it seems that there are at least 20 or so over-excited females who practically knock me down as soon as I step off of the stage every time my band performs somewhere. Some of them try to get a piece of my clothing, and I end up having to buy more clothes every month, which jacks up my VISA balance.

Can't a guy just play some music without having to constantly put up with this??? I'm more than just a piece of meat, ya know.

... Better than a bunch of guys trying to rip your clothes off! Always gotta think positive! :D
 
The worst thing? It depends on who/what you are, to some degree. For me, it is the gift/curse of perfect pitch. Without it, there would be no sense of duty to keep on playing. I would have never gone and done many things, and might be a happier, more fulfilled person, today.

There have been recent thoughts of liquidating the gear, and getting on with my life, what little there truly is of it, at 47, with a grim economic outlook, and no family to speak of, but just when I think that I may finally be able to do such a thing, the phone rings, and the e-mail jumps. Gig opportunities are like that first hit of your illicit substance of choice; you start to get into the vibe, and you want more. Maybe that is the key to making great art; never being satisfied. You truly do have to suffer for your art.

Music was resented, when young, because it kept me from doing so many other things, like Cub Scouts, and actually living a normal childhood. Music was a chore forced upon me by a devout parent, who saw my raw talent, and wanted it properly channeled. Once I started to take it on my own terms, as an adult, it got better, but was still like a high-maintenance mistress who did not put out enough. I learned how to slap the bitch around, a little (I do not do that to real women; just a metaphor, here). Indeed, she may have even saved my life, 2 years ago, but here I have been hanging, with life sucking more than ever, and she's scarce, despite a willingness towards devotion, on my part.

In 1986, I wrote a song that was a rationalization for taking your own life, but was always unwilling to perform it live, for fear of feeling it too much, and being too in the moment with it. There are no original projects for me, but the fear is gone, now.

If all of this were for a grander purpose, then it would be worth it, but my heart of hearts tells me otherwise. There is no hope, only memory. I seem to recall that being a Level 42 lyric.

Music fills one's head with dreams, and all sorts of other things, but in the end, is so destructive to those who make it, on some level.

Thus, I have bared my soul, hopefully to a population that somehow understands the depths from which these words have come. The frightened little boy inside stands naked, in pouring rain, while the cynical older man hopes that the next lightning flash is the strike that ends his suffering.

If I had it to do over again, I wish that I had never played a note, and was tone-deaf.

You sound so desperately unhappy - I really hope you were just at a low point when you wrote this. For me, the worst part about being a musician (too grand a title for my feeble talents) is simply the difficulty of finding the right band. So few people seem to want to make the effort these days. Perversely, LOTS of people want to upload noodling videos to Youtube but just trying to find a few people willing to make the effort to bring a decent live band into being is nigh on impossible. My last 'band' fell apart after just one so-so gig and now I'm scouring the usual places looking for contacts but no luck yet. I suppose living in a semi-rural small town doesn't help but do city-dwellers find it any easier? I don't know. Come on Plankspanker - count your blessings - I'm sure you have some!
 
To put another person in their place to make a fool of them or to establish superiority for yourself over them is abominable behavior. Especially from a bass player. Our role should be one of supporting other musicians, not tearing them down.

This is not teaching anyone a valuable lesson. To chide someone or prove a point is not valuable. The lesson that is learned is negative in nature and only makes Mike more callous, not better.

Sorry if I sound like a Pollyanna Pureheart for saying that, but I really hate the thought of people trying to defend or mitigate the bandleaders actions in the story. There's no excuse for that crap. It represents the very pinnacle of douchebaggery.

You are just wrong about what was going on, what the motivation was. Actually, it Doesn't Matter what the motivation was. Even if it was meanness, it was a great test. Life is tough sometimes, and actually dangerous, and only Western culture/society and technology keeps you from really knowing that in your gut. Will You survive, overcome, and become great, or will you crumble whenever you are tested because your feelings are hurt and that makes it not worth the struggle? Masters of all crafts are plugged into the reality of survival of the fittest. This test was normal. It's not personal.
 
It's like I always say " when someone sits in with a band they have never played with, someone is going to suck, either the guy sitting in is going to be better then the guy they are sitting in for, or the guy sitting in will, but either way someone will look bad" That is why when I'm at a paying gig no body sits in. It's just better tha way!
 
Sounds like a pretty typical jazz gig to me. Jazz musicians can be an evil, cliqueish group. (sp?)

You sound so desperately unhappy - I really hope you were just at a low point when you wrote this. For me, the worst part about being a musician (too grand a title for my feeble talents) is simply the difficulty of finding the right band. So few people seem to want to make the effort these days.

For me it's band mates who crap out. I sometimes wonder if I'm the only person in the world that actually wants to *play* instead of talking about work or getting high or just cancelling practice because it's a nice day.
 
If you can't transpose the song up a fourth on the spot, then no, you are not ready to cut it as a horn player in a jazz band. Sorry. In big cities especially, jazz and classical are cut-throat businesses.

My father is a trumpet player. The way they do a lot of symphony auditions goes like this: They narrow it down to two guys are equally freaking spectacular in every way. Then they ask them to play 100 high Cs in a row. The guy who goes the longest without cracking wins.

If you're going into a field of music where technical perfection rules the day, you had better be ready for what that entails. Namely, ruthlessness in the pursuit of perfections and a lot of egotistical A-holes who have achieved that perfection.

Personally, I think it's a fool's errand to try to be the world's best player. There will always be someone who's faster, tighter, etc. etc. But if you want to compete in that world, you gotta know how to swim with the sharks and not get eaten.