tromj

I know at least one or two fine player who were good enough to get their foot in the door of doing Broadway shows, and got one show, but were not able to translate that into an ongoing career on Broadway precisely because of the issues Tony brought up. And I know a lot of good but no great players who work regularly on Broadway because they show up on time, show respect to their colleagues and the music, and know how to foster a positive work environment.
It's no different in the Club Date (casual) scene in NYC, which is where I do most of my work. There are a lot of great players, better than me, who wish they worke as often as I do. I am not saying I am anything special, but I know that contractors like that I come to work with a smile on my face, and some of these other guys make you feel like they are doing you a favor playing the gig.

B15M

I don't know if an audition is a good idea or not. The way things are now it sets up a closed shop.

ROGERIO

TK,

This scenario is true everywhere... I think we have all experienced this. Even as an amateur player, I do gigs with a lot of great talent but sometimes I just want to grab some of them and tell them to keep their mouths shut.

Obviously, we don't stop being human beings when engaged in music making. And I'm talking about the social aspect... the conversing, the assistance, critisism, and the ability to reflect on the music just made etc. If a person is a pain or maybe just a little abrasive - it's really hard to like making music with them. Politics, Religion and Money seem to be topics of great energy...

I play with 2 individuals that couldn't be farther apart in their personal beliefs. One is super right wing and the other is way out in left field. Why they feel they need to use the music scene as a platform for their belief system is beyond me. I don't mind them sharing their views... always curious and respectful of that... but you know what... if I don’t ask you out for coffee to discuss after the 5th time you bring it up… then leave it in the case.

In regards to auditions, there is always the risk of abusing the "good ol boy network"... but for the most part... I think it's great that Broadway still operates this way. Good for you guys!

Rogerio

MJ

What do you mean there?

B15M

If you only get in by a recommendation and people only invite their friends how does an outsider get in?

Didn't you ever hear of the "good old boys network"?

MJ

From what I can tell you probably have to do a couple of these things to get your foot in the door.

1. Move to NYC

2. Play your ass off

3. Be nice

4. Meet the guys who are already doing it or the contractors who do the hiring

5. Repeat #s 2 and 3.

kadleck

Well, I'm not sure the term "good old boys network" applies to getting Broadway gigs. The contractors that I work for have databases full of hundreds of trumpet players to choose from. Often times, a conductor will request a certain player, which then bumps everyone else down a notch on the list. I can't even count the number of times I was passed up because either the conductor wanted someone different, or because another show closed and those out-of-work players went to the top of the list. It's just the way it goes.

I see new faces on every instrument each year. If anything, the older players are rapidly being replaced by younger folks.

If shows ever go to the practice of having auditions for chairs, I'll be more than happy to try out. It probably won't result in better orchestras, and you'll hear a whole lot more complaining coming from the pit.

beartrumpet74

It seems to me that in many ways a "network" of accepted performers within any genre of music can be a good thing and a bad thing, but with regard to this particular thread..I think it is a very very good thing.

If you want to get into the broadway scene bad enough, you'll find a way. In addition, I think some weeding out of difficult to work with types is extremely important. I spent many years on the road with the U.S. Navy Band across multiple continents, and living day in and day out with people can put a strain on a performers ability to do a given show to thier best at times. Broadway musicians are doing a show anywhere from 5-9 times a week.... the same show...over, and over, and over, and over, and over, and over... get the point?

If you have a real difficult person to deal with it can really screw up the show, because the performers may be on show #2345265465365656356, and they can be easily distracted my social things going on around them regardless of how professional they are....

Having a network in place ensures that people with long term experience in the business the opportunity to weed out difficult musicians so that harmony among the performers on any given show can be at it's best.... Music is a lot like other lines of work in that, if you can't get along and play nice with others it will eventually catch up to you.....
Everytime I hear someone complaining about some things being non-audition I get a little peeved.... What makes you different than anyone else? We all have to learn to network and find a place within a difficult field why should you be any different?

This way has worked for a LONG time, and I think it will work well in the future. Just take the time to network with other musicians, and you may find out that the system provides many more benefits to all involved than you realize....AND that it developed into a system for a reason....

Just my 2 cents
Peace
Matt

Siegtrmpt

I'm back to full time playing and teaching after 20 years as a part time pro/hobbyist. Frankly, I wouldn't do this except for the fact that I have other things going that don't require a lot of time and also provide the stability that our family with two preteens needs. Most everyone I know who freelances succesfully has a good job or a spouse with a good job and has other business interests that provide the money that is needed to have a comfortable life.

DLoeffler

A year ago, I was fortunate to be able to attend a master class by Greg Wing. For those not familar with Greg, he as played all over the world with people like Tom Jones, Paul Anka and Buddy Rich, just a couple of unknowns (ha ha!!). The first thing he said in the master class was the following:

"The music business is a people business. It is not a business about music."

This was a shocking revelation for many people in attendance because all they wanted Greg to do was to play high. He said he got all the jobs, in the bands listed above, and played in Vegas for 15 years based on word of mouth. Greg went on to state that the conversation usually centered on whether he was a good guy, easy to get along with, stuff like that. The playing aspect didn't even come into play until after he played a couple gigs.


I think that sometimes people forget that they are actually auditioning every time they play, whether it is a community band or a broadway play. And, everyone knows the limits of everyone else. Therefore, why do you want to have to put up with bad attitudes?

So, I really wonder where someone is coming from when they want to start having auditions for the area in which they live. Especially when it appears that there may be some personality issues that other players, conductors, and booking agents just don't want to deal with, which causes someone to not get called.

There is a player in my area that is a good player. However, he is also one of these people that is downright irritating to the point that people will not call this player even if they NEED someone on trumpet. Instead, they will go without or get someone that is not as good, but will be able to cover the part.

I will add this - A friend and I have tried to get this player to loosen up and just treat people with a little respect. Not just the other trumpet players, but the whole band and the booking agent. Unfortunately, he just doesn't seem to get it. He seems to think he should be hired just because he plays well. All I can say is that he shot himself in the foot and it will take years to fix the damage.

Even though this is the music business, think of it like this: If you work in an accounting firm and you have an accountant that is an absolute jerk to co-workers and clients to the point that good employees and clients are leaving, you get a bad reputation with potential employees and potential clients. Who wants to work with a jerk and who wants to hire a jerk? I believe booking agents look at it the same way.

Sorry for the long windedness (is that a word?) of this post. Don't forget, as Greg Wing said, "The music business is a people business".