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Topic: Artist Gigs - Creativity Drain? |
Jody Cameron
From:
Angleton, TX,, USA
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Posted 12 Oct 2007 8:55 pm |
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Does anyone else find it a drain on your creativity to play with an artist that does the same 90 min. show every night; songs in the same order, same jokes, but worst of all, playing the same licks off the records every night?
I have worked with three different established artists that actually allowed me to play - the others want it like their records note-for-note.
I feel like I'm forgetting a lot of good stuff I used to know, because I'm not actually having to think much when I play.
I'm greatful for the gig I have and the pay is great, but I'm just getting tired, I think.
Wondering if it's "just me"?
Thanks, JC |
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Charles Davidson
From:
Phenix City Alabama, USA
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Posted 12 Oct 2007 9:17 pm
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Jody,I know the feeling,but I guess it beats the alternative[not having a job]don't you know.
_________________
Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC ! |
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Jody Cameron
From:
Angleton, TX,, USA
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Posted 13 Oct 2007 1:05 am
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Charlie, you are absolutely right about that.  |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 13 Oct 2007 5:22 am
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| Quote: |
| ...others want it like their records note-for-note. |
That's their insecurity showing. 
(Either that, or they're "control freaks".) |
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Mat Rhodes
From:
Lexington, KY, USA
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Posted 13 Oct 2007 7:51 am
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Jody, it seems like those are the only types of gigs I've done for the last 6 years. I kind of resented having to do the same thing over and over again without any variation. But as long as I didn't forget who I was playing for, audience members never complained about good, consistent results. I think the same rules apply to acting. I don't believe Broadway plays become successful by every actor deciding to "do his own thing" if it wasn't what the playwright intended.
Now that I'm sort of in the pilot's seat of my own combo, I can say that I personally prefer consistency from the musicians I work with. It sounds better even though it may be "boring" to the ones who have to play it. If they're improvising all the time, then the results are kind of hit or miss. And that tends to stress me out a bit. I wouldn't say playing the same thing is a drain as much as it's an exercise in discipline.
A solution I would recommend if you haven't done so is to write your own tunes at home if you have the time. Come up with your own licks for your own songs. At least you'll have some outlet for it. |
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Mike Shefrin
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Posted 13 Oct 2007 8:19 am
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| Playing the same stuff over and over in exactly the same way, can get monotonous, and is a reminder that being a musician is a job like any other. It's hard work. I think that's why I enjoy playing jazz gigs where I have the freedom to improvise, and a song sounds different every time the band plays it. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 13 Oct 2007 8:21 am
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It's one thing to get the hooks cleanly,
it's another to mimic the solos on the record
note for note.
The only way the guy on the record
got to learn that line was by playing a lot of them
at gigs and jams.
Any artists that doesn't trust;
his sidemen to play well being themselves,
or their fans to like them not being exactly the record,
isn't very secure in their OWN chops
to put the songs over.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many! |
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Mat Rhodes
From:
Lexington, KY, USA
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Posted 13 Oct 2007 8:37 am
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| Quote: |
Any artists that doesn't trust;
his sidemen to play well being themselves,
or their fans to like them not being exactly the record,
isn't very secure in their OWN chops
to put the songs over. |
Interesting...
If the artist became successful by having a "signature sound", and he's paying his musician employees to deliver that sound at every show, then the musician should do his job if he agrees to the terms. Insecurity has nothing to do with it. The majority of the audience paid to hear and see the artist, not his steel player's new take on an old familiar solo or lick.
When you show up at your day job and your boss asks you to have a report on his desk by 3:00 PM, do you tell him you're going to go on sales appointments instead? |
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Dick Wood
From:
Springtown Texas, USA
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Posted 13 Oct 2007 9:38 am
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Unfortunately I won't be able to have that report on your desk by 3:00pm because I have to leave early so I can make it to my other boring job.
I couldn't agree more Jody but my problem is that we play so much top 40 my licks have become worn out because todays country only tends to have a little gliss here and there which isn't challenging to any great degree. |
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Susan Alcorn (deceased)
From:
Baltimore, MD, USA
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Posted 14 Oct 2007 9:58 am
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| When someone else is paying you, of course you have to play what they ask for, but I've never liked the term "artist" gig. Just because someone has a contract with a label and a bus, that doesn't make them, in my eyes, an "artist", nor is someone playing in a beer joint, busking in a subway, or playing for free not an artist. Often it's the other way around. |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 14 Oct 2007 11:35 am
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| Susan Alcorn wrote: |
| but I've never liked the term "artist" gig. Just because someone has a contract with a label and a bus, that doesn't make them, in my eyes, an "artist", nor is someone playing in a beer joint, busking in a subway, or playing for free not an artist. Often it's the other way around. |
From Time magazine 1973 "Inside Pop Records"
Glossary of terms
Artist: Any performer, regardless of ability. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 14 Oct 2007 5:36 pm
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Likely the artists who has a signature sound,
picks sidemen that resemble that sound naturally.
But to expect them to do exact imitations of
the record's solos is just anal retentive, micro management.
Sure a big band with charts needs to have the horns correct etc.
But when they stand up for their arranged solo space,
they still play as they feel at the time.
This keeps fire and life in a band big or small.
And a firy hot band works more and blows away fans.
Otherwise the gig becomes rote for the players
and the audience too.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many!
Last edited by David L. Donald on 15 Oct 2007 4:29 am; edited 1 time in total |
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Webb Kline
From:
Orangeville, PA
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Posted 14 Oct 2007 7:36 pm Note 4 Note
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I've done a lot of it both ways. But I've never understood how an artist can think that having a bunch of players sitting around on stage with their chins in their hands makes them sound better. For sure, some songs and parts of songs demand that, but like Donald says, "a fiery hot band blows away fans." If i have my way, I want the chemistry happening that creates that reciprocal magic between the band and the audience.
That's not to say that I don't try to map out tasteful fills and solos at home--I do. But, you have to admit that every time you have some new hot player join you in stage, it lights a spark in everyone else, and regardless of whether or not your band jams or plays note for note, that new blood kicks everyone into high gear and the energy is contagious. An artist who puts the damper on that kind of energy is self-defeating in my opinion. |
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Marc Friedland
From:
Fort Collins, CO
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Posted 14 Oct 2007 7:43 pm
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Jody,
First off, congratulations on such a good gig, and the opportunity to play pedal steel for a living.
Here’s how I deal with a situation you describe, and maybe hopefully my approach will show a helpful alternative to others in a similar situation.
I play in a band that plays primarily rockified “new country” between 80 to 100 gigs a year. We have very exact arrangements, leaving no room for changing things, except for the rare occasion of stretching out a tune with maybe an extra go-around of solos. And yes, much of the talking and jokes, etc, are the same as well.
I will do my best at copying an important signature line or intro, and I am permitted the luxury of creating my own fills and solos if I choose, of course staying true to the feel and attitude of each particular song. It’s a good thing for me that I’m permitted that luxury, because I admit that I would probably not qualify for a job in a tribute band or in a band that required me playing the “exact” steel parts that were on the original recording. In some instances I’m simply not proficient enough to copy and execute parts played by Paul Franklin and others at his level, and even if I could, I choose not to take the time needed to memorize every subtle nuance, and then practice it enough to “own it.” A large portion of the enjoyment I receive from playing music is expressing myself within a band environment and having it sound and work well, and reciting someone else’s expression doesn’t always fit that definition to me. I’m not at all making a judgment of good or bad, right or wrong, simply stating what works for me. And yes, of course I understand the need to play whatever your boss says is correct, and it’s not my intention to indicate anything to the contrary.
Example:
Honky Tonk Attitude, recorded by Joe Diffy with pedal steel by Paul Franklin.
We don’t play it as often any more, but it was one of our set openers for a few years.
I’ve worked out 2 different solos for the psg break.
One of them is like the original, but slightly customized, and the other one has a similar aggressive attitude, but is basically my own creation, and I usually didn’t make a decision as to which one to play until just before playing it.
This approach of having 2 different valid options might be useful to those who may suffer from the repetitive, boring aspect of the “work” side of playing numerous gigs with the same songs, night after night.
Marc |
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Jody Sanders
From:
Magnolia,Texas, R.I.P.
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Posted 14 Oct 2007 8:47 pm
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| Hi JC. I know the feeling. When I was in that position, my chops suffered. The band I am with now, if there is a signature lick that identifys the song, they want me to play it, otherwise, I'm on my own. They treat me good, pay me good, work me 2 to 3 nites a week and I am home every nite. Jody. |
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Bob Hoffnar
From:
Austin, Tx
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Posted 14 Oct 2007 10:52 pm
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What I do when I'm on tour with a band where I play the same thing every night is focus on the phrasing and see how much music I can get out of my 3 notes or whatever. I come back from the road with weaker chops but find myself playing more concisely and musical which is a big benefit. I enjoy playing exact parts in some bands if the music is great. If the band and music blows it doesn't matter what I play. I still get frustrated.
I think if I was playing the same thing every night and I didn't like the music it would be like a living hell. Unless the money was right. Alot of money can really change ones perspective !
_________________
Bob |
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