Chapter 24: Playing Opportunities

Solo Work

As piano players, we have an advantage over most other instrumentalists when it comes to solo work, in that we can play the melody, harmony (chords), and rhythm of a song all at once, creating an authentic “solo piano” arrangement. If you are also a vocalist, the piano is the ideal accompaniment instrument for the voice across a wide range of popular styles.

If you are new to playing solo gigs, a good place to get started would be an “open mic” session at a local club or coffee house, particularly if they have a piano already set up. The musicians at these events are mostly singer-songwriters, and you normally get to do either one, two, or three songs depending on the time available. This can be a good way to get some performance experience, before moving on to other types of work. Invite some friends along so you have some built-in support!

A lot of clubs, bars, and restaurants have solo piano players, and most (but not all) of them are also singers. The style of music will vary depending on the venue. Hiring just one piano player is more economical than hiring a full band, which is also in the solo performer’s favor. Check out the venues in your area, the musical styles they feature, and the nights of the week when they have music. You can inquire directly with the management at the club, or through the agent if the club uses one. Submit a promo pack with a brief bio, photo, and music CD of your playing. You can also get to know the players currently playing, and ask if they need “subs” at any time. Of course, before doing all this, you need to be fluent in the style(s) needed, and to have sufficient “repertoire” under your fingers.

At a higher level of solo work, there is the “hotel circuit.” Some of my students have played at the Beverly Hills Hotel “Polo Lounge,” which is perhaps the best hotel gig in the Los Angeles area. These high-end gigs are normally found either by personal recommendation or referral, or through the hotel management or an agent. To have a shot at this type of gig, you need to be very personable and presentable, and have a good repertoire of pop and jazz standards, show tunes, and “popular” classical music.

To get the better-paying solo gigs, it is often advisable to register with an agent in your area. They will need your photo, bio, and demo CD, plus a repertoire list of tunes that you know in different styles. This can be the gateway to solo work opportunities for private parties, weddings, corporate functions, and so on. You can also advertise your own services in publications and on the internet. Networking with other musicians, and doing some of these gigs on a “sub” basis for someone else, is also a good way to get started.

Bookstores are also another venue to consider for solo (as well as band) work. Most bookstores don’t pay the musicians anymore (unless there’s a grand opening for a new store location), but playing there can be good publicity, and you get to sell your CDs if you have any (whether or not the store actually distributes them). Many stores don’t have a lot of room for the musicians, which again favors a solo performer or duo rather than a full band.

Shopping malls and retail stores also hire piano players, normally just solo piano (without vocals). The upscale clothing store Nordstroms frequently has pianists playing background music, mostly a mixture of light classical and standards. I must admit that the pianists I have heard in Nordstroms have been rather “busy” for my taste—I keep wanting to get them a T-shirt which says “Arpeggios R Us”! (No disrespect intended if you’ve done a Nordstroms gig… honest!) Shopping malls also have piano players, often on a seasonal basis (i.e., playing Christmas carols during the shopping season before the holidays).

Joining or Forming a Band

Many musicians start playing in bands with friends, often at a young age. However, what happens when you want to join or form a band, and you’re missing some (or all) of the band members? Well, in fact there are several options available for you to expand your “network” and meet new musician friends. Local music stores and rehearsal studios are good places to start. Sometimes they will be able to refer or recommend players, and/or they will have a bulletin board available for you to post your ads: “bass player wanted for 21st century punk band,” or similar! Also, if you can find any local schools or colleges offering music ensemble classes, this can be a good way to meet and network with other musicians. (I have students who have done this as preparation for “playing out” with different bands.)

Of course, the internet offers many ways for people in all walks of life (including musicians!) to get in touch. One of the best known sites in this area is Musicians Contact Service (www.musi cianscontact.com) which runs “musicians wanted” ads from all parts of the U.S., as well as some in Canada. Also here in Los Angeles, we have the Recycler paper, which contains free ads for virtually everything, including “musicians wanted” ads. Their website (www.recycler.com) now has listings for other major cities across the U.S. In addition, Music Connection (a bi-weekly West Coast music magazine) has similar ads, including “Keyboardists Wanted” and “Keyboardists Available.” Check out other newspapers and magazines in your area to see if they run musicrelated ads.

If you’re placing an ad for one or more players, be specific about what you’re looking for. You should state what the music style is, and where the band is located (especially if you’re on a website or in a publication serving multiple areas). For example: “Country/rock band looking for bass player. Los Angeles area. Call Dave at 999–999–9999, [email protected].” Or, if you’re looking to find a band or playing situation, here’s an example: “Piano player seeks working blues or R&B band. Atlanta area. Mike 999–999–9999, [email protected].” When you’re receiving replies to your ad, or replying to someone else’s, do your best to evaluate them over the phone (not just via email) before setting up a meeting or rehearsal. These days it is typical to exchange music examples (as MP3 files) in these situations, so be prepared to provide these should the need arise.

Whether you have a band or are looking for one, you should also think about what style or styles you want to play, and whether you’re going to do cover tunes (i.e., other people’s songs), your own original tunes, or some mixture of both. All the band members need to be “on the same page” regarding what songs you are playing, otherwise the situation is probably not going to work. Some bands play cover tunes by one other band only, and are known as “tribute bands.” For example, here in Los Angeles, we have “Led ZepAgain” (Led Zeppelin tribute), “Cinema Show” (Genesis tribute), and so on. I play in a Steely Dan tribute band called “Doctor Wu,” and we are in friendly competition with another Los Angeles-based Steely Dan tribute band called “Pretzel Logic.” I enjoy playing in the Doctor Wu band, and it’s a fun way to “keep my chops up”! Your band will also work better if you have broadly similar ability levels among the players. Ideally, you should strive to be with players a little better than you, so that you can improve and gain from their experience. Conversely, if you are the best musician in your band, then you may get frustrated with the other players and end up looking for a different situation. Also, you should try to make your band’s rehearsal time as productive as possible (poorly organized and unproductive rehearsals are a common problem with amateur and semi-pro bands). Set a target for each rehearsal—such as learning three new songs, or going through a set list for an upcoming gig— and stick to it!

Band Work

So now that you have a band, where are you going to “play out?” Well, some of the same venues we mentioned earlier (for solo work) are also suitable for bands. If you play original rock, you need to hit the clubs that cater to that world (in Los Angeles, that would be the rock clubs along the Sunset Strip, such as the Whisky and the Roxy). If you play rock/pop/R&B covers, this opens up a wider range of possibilities to play at clubs, bars, and restaurants, particularly on the weekends. “Acoustic” straight-ahead jazz normally finds a home in coffee houses, bookstores, hotels, and jazz clubs/restaurants. Some jazz clubs are what I call “listening” rooms, where the crowd is there specifically to see and hear the artists, and in other jazz clubs, the musicians are there more as sophisticated “background music” for the customers in the restaurant. “Electric” (contemporary fusion) jazz is performed in the clubs specifically catering to this style, and these are normally “listening” rooms where people come and pay attention! My contemporary jazz band (Mark Harrison Quintet) plays at the Baked Potato and La Ve Lee, two of the best-known electric jazz clubs in the Los Angeles area. These venues regularly attract foreign tourists and out-of-town visitors.

Tribute bands can also find work at rock clubs, which will sometimes have a “tribute band night” (often on a weekend) featuring several bands on one bill. Outdoor events such as festivals, seasonal concerts, and arts & crafts shows are also options for cover bands, tribute bands, and jazz bands. These events are often coordinated by “city offices” or corporate sponsors. Do a Google search on “outdoor concerts” and “festivals” in your area, and see what you come up with!

If your band wants to earn some more serious cash by playing at private parties, weddings, and functions/casuals, then you need to raise the bar in terms of your repertoire, stylistic versatility, and appearance. You’ll need to learn a range of pop standards from the 1950s to the present day, as well as some jazz and “classic” vocal standards. At least two (and preferably three or more) of your band members need to be singers, and if you have more than one lead singer (i.e., one male and one female), that is an advantage. You may also need to learn some songs for a particular gig, for example, the bride and groom may request you to play some specific songs for a wedding. You also need to have good “showmanship” and communication with your clients, and be dressed appropriately (normally tuxedos for the guys, and evening dress for the ladies). A lot of this higher-end work is done through agencies or referrals, although I know some musicians (including the sax player in my jazz quintet) who have set up their own agencies and websites specifically for this purpose, putting together bands as needed for their clients. If you’re prepared to do all the work, and compete hard for the gigs, the rewards can be substantial!

Studio Tips

There are three main stages to recording a CD: track ing (recording), mixing , and mastering . With today’s technology, it is feasible to do all of these stages in a home studio environment. However, unless you are a solo artist working with synthesizers and “electronica,” you are likely to need professional studio help during one or more of these stages. This is due to the limitations of home studios when recording acoustic instruments and full-band lineups, as well as the engineering skills needed to track, mix, and master your music to a professional standard. Although some musicians are also good engineers, in my experience this is the exception, as the skills of engineers and musicians (though related) are not the same. The following comments assume that you are making a self-produced and self-financed CD; there has been a huge growth in these “independent” recordings in the 21st century, in all musical styles. Of course, if you are lucky enough to be signed to a major label, then some of the following constraints may not apply!

Most professional-level studios charge by the hour or by the day (typically ten hours). If you’re recording a band CD “from scratch,” you’re probably looking at a realistic maximum of four or five tunes per day when tracking, meaning at least two full days studio time for a CD of up to ten songs. Overdubs (extra parts added once the main tracks are in place) for vocals, instrumental solos, and any other parts, could also take a full day or more. These are basic minimums if you are on a budget, and, of course, your CD could take much more time depending on the nature of the project.

Before you take your band in to record, make sure you are thoroughly rehearsed, as a professional studio is a rather costly place to be wasting time! Your band should get to the studio in plenty of time to set up any equipment (especially the drummer, as the drum kit normally takes the longest to set up, mic, and sound check in the studio). All players in your band will have headphones on when “tracking.” Make sure you can hear enough of yourself and everyone else in your headphones. The engineer should be able to adjust your “headphone mix” as needed.

When all the tracking is done, then it’s time for mixing. This is when all of the individual tracks (piano, guitar, bass, drums, vocals, etc.) are balanced and combined into a stereo master (left and right) by the mixing engineer. For the “average” band CD (if there is such a thing!), you should allow a minimum of 2–3 hours per song for mixing. Of course, this will be more if your mixes are complex and involve a lot of layers. You don’t have to do the mixing at the same studio you “tracked” at. A lot of commercial CDs are tracked and mixed at different studios.

Since the late 20th century, hard disk-based recording systems (such as ProTools) have taken over from tape-based systems in many studios. These systems provide more flexibility and editing options in all stages of the recording process. Artists can also bring tracks they have created in their home or project studios into the “main studio” to dump into ProTools as a starting point for their songs.

When all the mixing is done, it’s time to “master” your record. This is the final “icing on the cake” that will make your CD sound professional and radio-ready! Some less experienced musicians make the mistake of missing out the mastering step, and just pressing CDs from the mixes. This may be OK for demos, but is not recommended for a full CD! Mastering is often done at special “mastering studios,” with the room and equipment specifically set up for that purpose. Mastering involves: overall level adjustments to make the whole CD consistent (and suitable for radio broadcast), overall EQ or tone color adjustments (for example, raising the level of the highest and lowest frequencies in commercial pop styles, to make the sound “pop out” when played on different systems), “topping and tailing” (cleaning up the beginnings and endings of the tunes as needed), and track spacing (determining the time between songs on the final CD).

When you have mastered your recording, then you finally need to manufacture your CDs to sell at gigs and over the internet (as well as any other distribution channels which are available). There are many companies offering CD manufacturing services for independent musicians, and one of the best-known is DiscMakers (www.discmakers.com). DiscMakers will take your master disc, band photos, text, and any design suggestions, then design your CD artwork and cover inhouse for your approval, before delivering bar-coded shrink-wrapped CDs on time and at a good price. I have used DiscMakers for two independent CDs, and would not hesitate to use them again. Another company very helpful to independent musicians is CDBaby (www.cdbaby.com). Their website is perhaps the best-known online store to buy and sell independent music on the internet. My CDs are on CDBaby, and I know a lot of other independent musicians who have CDs on there too!