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Distinguished SOTW Member, Forum Contributor 2014
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Discussion Starter · #41 ·
Thanks for everyone's input. I think we have it sorted out.
 

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I agree with Saxmanjack. You are worrying too much over a one-off gig. Just enjoy being a sideman for a night and do your best. The "name brand" guy is probably mostly interested in the rhythm section to back him up not sax. He probably doesn't really care what you are playing as long as you aren't stepping all over him. Play minimally to accompany him and don't try for the attention you usually get. Just be friendly. Network with the big shot a little. The experience could help your musical career. If he is really good you might absorb something artistic from the experience also. Have fun rather than being miserable.
Not quite the words that came to mind, but this is exactly what came to my mind.
 

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It's rock star behavior, plain and simple. This "name-brand player" thinks his or her fame is so huge that, OF COURSE everyone should already know their parts, note-for-note. If this were Blues or Rock, then maybe. For Jazz? Not so much.
 

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Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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It's rock star behavior, plain and simple.
Some Rock stars. Fats Domino, Chuck Berry would expect you to know the parts (especially as they weren't written down ofd course). Others pay for rehearsal when you are expected to learn a show (e.g. Joe Jackson, Richard Thompson etc.)
 

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Much of it is harmony parts with the lead line. Great arrangements just very specific to his tunes.
Somehow I missed this post earlier on in the thread. If this is the case, then yeah, I'd want to know the parts I'm expected to play.

Anyhow, how'd it get worked out?
 

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Discussion Starter · #48 ·
It played out as I expected. The band received charts and recordings. Quick run through of the material 2 hours before the show with the artist to hash out set-list. He just wanted the group to play the charts (Regardless of any live videos) - keeping it simple but wait for cues to move from section to section. I played 3 original tunes out front with the group and came back at end to play over some Pop Medley - poorly trading 4's which was exciting (but difficult to hear myself - also expected)

I figured early on that this artist travels all over the country (World) with his show and rarely has another horn player involved. After reading early SOTW post on this issue, I took myself out of the mix. He was very pleasant, said nice things about our stuff. Clearly his focus was on keeping the audience engaged and making sure those that hired him were happy. Can't blame him as he's a self promoting, independent artist.

No harm, no foul. I do have a new respect for smooth jazz. This guy could REALLY play and was well trained, polished sound, refined appearance, great rapport, and slick arrangements. During the closer, we were trading 4's taking it outside a bit with no issues (At least for him - I was wiggling my fingers hoping for the best :) )

Definitely going to steal some of his stuff.
 

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Either written parts should be presented or payment made for your time transcribing and/or learning.

Anything else is not professional IMO
Unless the gig is as it sounds to me. Listen to the songs and learn where to fill the holes.
 

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Unless the gig is as it sounds to me. Listen to the songs and learn where to fill the holes.
I'd say this comes under being paid for your time transcribing and/or learning. Don't forget the original question is asking what working pros do. For all working pros I know, time = money. Although I may often do things pro bono if I want to, I don't expect other pros to learn something without being paid for rehearsal or learning in their own time.
 

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That's what rehearsals are for. Better yet, paid rehearsals. I agree with that. But, "listen to these tunes" should not be extra pay on top of what you're already making. Unless, yes, there is a serious amount of lifting that is required for the gig.

How do you know if you even want to play the gig if you haven't listened to the persons tunes?
 

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It played out as I expected. The band received charts and recordings. Quick run through of the material 2 hours before the show with the artist to hash out set-list. He just wanted the group to play the charts (Regardless of any live videos) - keeping it simple but wait for cues to move from section to section. I played 3 original tunes out front with the group and came back at end to play over some Pop Medley - poorly trading 4's which was exciting (but difficult to hear myself - also expected)
Great. Sounds like all went well (aside from difficulty hearing yourself) and it was a good experience. Thanks for sharing!
 
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