What kind of trumpet gigs are out there?

Discussion in 'Trumpet Discussion' started by nestbeast, May 5, 2010.

  1. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Actually the boat may have already left...........

    Generally (what a miserable word), Newton's Law also applies to people. Objects in motion tend to stay that way and objects at rest stagnate.

    Players REALLY interested in playing find opportunities, the rest look for them.

    There are very few bookers looking to give away money. They have their regulars and breaking into that scene means having connections or making a name through your own hard work.

    I have been all over the world. When I moved to a particular area, before I even knew where to shop, I had something local lined up (mostly without pay). Those connections quickly moved to recommendations where money was available. It was ME GIVING first and the receiving part comes later.

    Your initial post gave us plenty of reasons why we should NOT consider you (I'm no Chet Baker, I have not just left Las Vegas or the LA studio scene, can fake my way through a jazz solo IF I HAVE TO, I don't even know of any places to sit in, Please don't respond if you gig with Winton, Wayne Bergeron, or Harry Connick - you get the picture, I've worked a variety of miserable jobs, etc.). Quite a few negatives - at least in your writing style. If we booked you, would we only get depressed because of all of the things that didn't work?

    What about a fresh look on YOUR life? Instead of starting with expectations and requirements, what about paying your dues locally. Play in church for free, find a local wind band - then play so people take notice. Take lessons from someone in that dying symphony orchestra - they probably have connections for whatever is available at all and it could be good for a recommendation. Bringing an uplifting experience to those around you makes them want to share you with their friends and acquaintances. Try it. It really does work.
  2. Markie

    Markie Forte User

    Jan 4, 2009
    Clarksburg, WV
    Pete sez:
    Any place that has music in it, whether live music or radio or Muzak or whatever, is almost certainly going to have blanket BMI/ASCAP licenses that allow any song to be performed there. As a performer you should pretty much never have to worry about whether or not you can play a certain song because of licenses/copyrights.
    Depending on where I play, it is generally the responsibility of the establishment to take care of this.
  3. Markie

    Markie Forte User

    Jan 4, 2009
    Clarksburg, WV
    mambo king sez:
    Don't EVER use backing tracks please. There are more than enough promotors trying to shaft us all without doing it to ourselves.
    Here's the problem:
    Finding people that will take the music seriously and behave and perform in a professional manner is hard to do. I've went through a bunch of musicians who have:
    Shown up drunk
    Try to hire their friends into the gig
    Refuse to play certain songs
    Show up at a gig in flip flops and ratty clothing while everyone else is dressed nice
    Drink up the money because the bar owner gave them a bar tab
    Use off color jokes on the patrons
    Refuse to practice the music and as a result, would suck at the gig
    Try to "take over" the gig
    Have basic confrontational issues with authority
    Cause fights
    Smell like pot
    Complain about the pay during a gig
    Slow to get back to work after a break
    Bad mouth the owner
    And my personal favorite, keyboard player passing out from being too drunk and falling against the drum set which caused the cymbal to fall against my trumpet
    Bactracks have been used for many decades and many very good musicians make a decent living using this method.
  4. veery715

    veery715 Utimate User

    Mar 6, 2007
    Ithaca NY
    What ROWUK said x 100

  5. TrumpetMD

    TrumpetMD Fortissimo User

    Oct 22, 2008
    I have never heard of this. I have never been asked to play these fees. It's up to the establishment to decide whether it wants to pay these fees.
  6. trickg

    trickg Utimate User

    Oct 26, 2003
    There's definitely some validity to what ROWUK said - I've done a lot of pro-bono stuff over the years because my end goal was never to make money. My end goal was always to make music first - if I get paid to do it, that's just a bonus.

    So, get yourself out there and get active first and foremost. You'll quickly develop a reputation for being reliable and doing a good job (hopefully - I don't have any of the quals that you listed, but I still get the job done.) and before long you'll get called for paid work. It's kind of a fine balance because you don't want to do too much pro-bono if you eventually want to get paid because you'll develop a reputation for that too.
  7. brassplayer

    brassplayer Pianissimo User

    May 6, 2009
    San Gabriel, CA
    Not to hijack the thread, but this is exactly the way it should be, IMO. The small choir I perform with at my church are all volunteers. Additionally, the Lectors/Eucharistic Ministers/Altar Servers, etc., who administer at the Services all donate their time as well.

    While I don't have a problem hiring a few professionals for special Masses, I think a majority of the Services should be administered by the Members themselves. After all, a Church is made up of its Congregation, not a bunch of hired hands.
  8. trickg

    trickg Utimate User

    Oct 26, 2003
    BP, I tend to agree. I get paid to play music all of the time, but I don't charge the church at all for my efforts as the drummer for their praise band, and the last six months have shown a marked increase in the amount of time, effort and my own personal money I put in toward those endeavors. I maintain my own drums, so between heads, cymbals, (I cracked one recently - covered under warranty, but I needed something to replace it while waiting for Sabian to replace it) sticks, and any other expendable, that by iteself is an expense. Then there is the money I put into a rig so that I could incorporate a click track and use in-ears - I've got $500 into that rig in various components, and nothing there is even that expensive.

    The last thing I devote to my church for that is time. Not only do I spend a fair amount of time preparing and practicing, but over the last several months I have been spending a fair amount of time in my home studio putting together loops and backing tracks to use as suplementation to the sound coming through the PA. Nothing fancy at the moment - mainly percussion effects, but it still takes time to put together in my home studio that was built partially with that task in mind.

    So, call it a sacrifice if you want, but to me it's time and money well spent. It furthers my knowledge of both live and recorded sound, and I continue to improve as a musician. Having said all of that, for Easter Sunday I was not at my home church - I was out making some cash playing trumpet for a paid gig at another church! :D
  9. Bruin

    Bruin Pianissimo User

    Mar 21, 2008
    Example re: marketing yourself and getting work -->
    YouTube - "Catwalk"
    Eric was just signed to a record label and his CD is a very good piece of work that's getting some very good reviews.
  10. Markie

    Markie Forte User

    Jan 4, 2009
    Clarksburg, WV
    From a legal perspective, it is the owner of the bar or eatery that is ultimately responsible for the license since it is the owner that's getting the ultimate reward from the use of the protected backtracks. The vast majority of places I play do not charge a fee when I use electronic backtracks(just played a big gig last night and no fee was levied).
    However, I've had some bar owners to charge (or deduct from the pay) a "fee" (a few cents per song and at most a couple of dollars per performance) since I used electronic backtracks.
    They used the term "license maintainence" on me and needless to say it makes a guy angry since the bar owner still has the cash in hand when they tell me this.
    Is it legal for a bar owner to charge a "license maintanence fee" to the musician?
    The little bit of research I've done suggests if they tewll you about it before the agreement is struck then its "probably legal"
    I hope the practice does not become pervasive.

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