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By Randy Singer
PART 3
PRACTICAL EXAMPLES
In our brave new world, there are many unemployed great musicians who wish
to blame their ills on the outside world. However, many of the reasons to explain
these ills can be found on the inside.
The cliche of the ill-schooled and irresponsible musician
does not contribute to our collective reputation and the supply of available
gigs. Many gigs have been lost to DJ’s because agents and clients have
been burned too many times by inconsiderate musicians. Also, DJ’s have
found a way to entertain all ages as they usually come prepared for any circumstance
or song request. Not to mention, some DJ’s charge as much as a whole
band or more!!
For those who are highly musically proficient, the lack of
business sense can cripple your musical dreams and derail your destiny. There
are scores of musicians with talent, experience, and a solid reputation just
begging for a job, but find themselves spending too much time at home when
they would prefer to be gigging.
Here are four true case studies that have worked around the
obstacle of insufficient gigs for prepared musicians in times of need.
TRUE CASE STORY #1
A few years back, while scanning the classifieds, I noticed an audition for
a guitar player for a classic rock/society band. I answered the ad, said I
did not play guitar, but I was the best harp player who knew all the songs
and could make them come alive. I coaxed them into letting me audition. I auditioned,
did a great job and they hired me on the spot (my harmony singing helped me
nail the gig). I continue to work for them to this day performing at upscale
events, anniversaries, pubs/bars and yacht clubs in South Florida.
The lesson learned is to see yourself as a musician, not just a _________(
fill in the blank with your instrument).
TRUE CASE STORY #2
I was at a Songwriters Night here in Miami when a new artist took the stage
and played a hauntingly beautiful song. I knew in my heart that it was perfect
for a harmonica solo so I took it upon myself to speak to his producer, Desmond
Child (one of the biggest producers in the world). I introduced myself and
told him that I had an idea for his song utilizing my harmonica and if he
allowed me in the studio to show him this idea, he would be pleased. Otherwise,
he could throw the track out and would not have to pay me for the session.
He agreed and I called his office to schedule the session.
When I arrived, they rolled tape and I overdubbed my
part. As I had hoped, they loved it and used it on the CD thereby receiving
union scale. This led to other sessions including Billy Meyers, Steven Marly
and Julio Iglesias (for whom I have done 6 sessions. Lesson learned is to
be bold when your heart says “Go”.
TRUE CASE STORY #3.
In 1995, I had just moved to South Florida and went looking for gigs. Since
I worked as a sound man in NYC, I got a gig doing sound in a popular jazz
club called the Van Dyke. In addition to learning lots of great new songs,
meeting the awesome musicians and studying proper stage etiquette, I had
the opportunity to sit in frequently. Toni Bishop, the star vocalist, took
a liking to me and my harmonica and featured me on her evenings. I continued
to work for the club for a few years, doing sound,learning and sitting in.
She eventually opened her own state-of-the-art jazz club on
Las Olas in Ft. Lauderdale (featuring weekly national entertainment like Chick
Corea, Larry Carlton, etc.) and hired me to be in the house band - not as a
sound man, but as a musician. Lesson here is to get as close as you can to
the outskirts of your dreams and prepare yourself until you are invited to
participate.
TRUE CASE STORY #4.
Working with songwriters is a great way to make music. In Nashville, back in
the '80s, I had the opportunity to gig with an unknown guitar player/songwriter,
playing for tips in songwriter hangouts and pizza parlor open-mike nights.
When he got his record deal, he called me to play harp with him in the studio.
His name is Garth Brooks and the rest is history.
Being a "songwriter sidekick" has led to my performances with artists
like Emmylou Harris, Pam Tillis and Marty Stuart. And I am quite sure that
we can learn much from Kirk "Jellyroll" Johnson. When he is performing
on the stages and studios of Nashville, he is the epitome of professionalism,
grace and musicality. Lesson here is to be friendly to everyone. You never
know who anyone may be.
Read Part Four
Best wishes.
Randy Singer
www.randysinger.com
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