Establishing yourself in a new scene.

Since 2001 I have lived and worked in 3 different states; North Carolina, Michigan, and presently Texas, all with varying amounts of success. I grew up in North Carolina and was able to get a small amount of work in high school playing mostly church services (thank you Bible belt), and occasionally subbing for the more established trumpet players in town on jazz gigs. As I entered my undergraduate, I got a little more work through school affiliations but nothing really exciting, mostly pit orchestras, blues bands (my first road experience), and weddings. It wasn't till I left school the first time that I started to figure out what I needed to do to get the attention of the people who were making a living playing music. Here are a couple things I figured out that enabled me to both have fun and pay my bills.

1. Find out who in your town is booking work and make sure you're on their radar.

You can do this several ways. The best way is to go to one of their gigs with your horn and sit in. You might have to go several times before they notice you or invite you up, but be persistent, then play your ass off and hang around afterwards. Being able to do "the hang" is essential.

One thing I did when I was NC was send sort of a "press packet" to one of the main working musicians/booking agents in the area. In hindsight, this seems like a passive aggressive way of getting someone to notice you. Face to face interaction is better in my opinion.

2. Find out who the main person in town is on YOUR instrument and get a lesson...

...and pay them well. This is another way to get on someone's radar. Even if you feel like you may be a better player (getting work is hardly ever about talent...another topic all together) than this other person, offer them a hundred bucks and let them hear you play. If they like what they hear and they like you personally, they may call you if they ever need a sub.

3. When you start to get work, make sure you show up prepared, looking good and on time.

This is really 90 percent (maybe even more..) of what it takes to be successful. With professional musicians, it's assumed that you're going to show up and play well. It's the other 90% that people fold on and civilians (non-musicians), booking agents and bandleaders notice!

4. Hit up any and all jam sessions.

Most freelance musicians have the ability to play jazz to some degree (versatility...). Jam sessions are a good way to meet musicians and to let them hear you. In my own case, since I'm a jazz trumpeter, this has always worked well for me. Also, hang out after everything's said and done and meet people. Don't be afraid to introduce yourself and be personable.

Also, don't be "that guy" and call Inner Urge at some insane tempo or Giant Steps in 7. You don't need to shock anybody with your abilities. Just show them that you can play some music.

5. Working for free/low money.

This is a touchy subject amongst working musicians. I would say most think that you should never take a gig that doesn't pay what you feel you're worth and that it's a disservice to the other musicians in your area if you work for cheap. I get that, however, I think there's a time and a place for taking any and every gig that comes your way. If you're new in town, you almost have to take everything that comes your way to get you foot in the door so to speak. Once you're established, you have the freedom to pick and choose what you want to do.

There's also the balance of artistic gratification over monetary gain. I take gigs all the time that I know will be very musical situations with musicians that I respect even though the money may be on the low side. On the other hand, in a situation where the money SHOULD be right (a wedding reception for example), I don't think it's unreasonable to expect a certain fee range. If that fee range is not met, then I think about how enjoyable the gig would be. If it's a lose-lose situation, then I probably would pass.

My point is...there is a time and place in your career, or residency in a new area where one has to weigh these options. I think a good rule for ones self is to never take a gig where you think you're being payed less than what you're worth, and that includes a combination of monetary and artistic compensation. We musicians generally know what the money will be like on the gig (ALWAYS ask!), so you know what you're getting into. There's no reason to complain about an unenjoyable, low money gig that YOU agreed to...."you make your bed, you gotta lie in it".

6. If you enjoy teaching, contact local schools and set up a private studio.

This is an easy one. Band directors love it when their students study privately. Again, set a fee that you are comfortable with (In this town, it's 40 bucks an hour in the schools. Your towns acceptable fee may be higher or lower.) and focus on being a competent teacher.



I think the best thing you can do when trying to get established is to be seen as often as possible by the working musicians in your area. Go out to restaurants, clubs, jam sessions, etc., buy a drink and be on these peoples radar. You never know when they'll get a call that they can't do. If you're fresh in their memory, you may be the person getting the call.

The key to success...

...in the music industry as a freelance musician is versatility. We all know what the word versatility means, but what does it mean to you as a musician? Since I'm familiar with the trumpet, let's take a look at what I think it means to be a versatile, working trumpet player.

1. Are you a good sight reader?

2. Can you be convincing in a multitude of stylistic situations? (brass quartet/ quintets, pit orchestras, wedding cover bands, small jazz groups, big bands (lead and ride chairs), improvising fanfares, latin bands, rock bands, backing up a vocalist, playing in church, etc...

3. Do you know a lot of music? This can be standard cover band material (My Girl, Sir Duke for example), jazz standards, hymns, tunes like Hava Nagila (the song that the Hora is danced too), Happy Birthday, Auld Lang Syne, The Star Spangled Banner, The Eyes of Texas (if you live in TX), etc.

4. Can you make it happen in the studio when the red light comes on? We all deal with nerves but at some point you have to learn how to produce when it's time. Time is money.

5. Can you compose/arrange/transcribe?

6. Can you transpose on the spot? What about from a hymnal?

7. Are you a competent, effective private lessons teacher?

8. Do you know how to go about booking music for various events? (weddings, parties, clubs)

9. Do you have the chops to make it through a 4 hour wedding band gig or a 4 hour jazz gig?

And perhaps the most important...

10. Are you a likeable human being that shows up to the gig looking pressed, not under the influence and ON TIME???

Some of these apply to all instruments where others pertain just to trumpet playing, but I think you get the point. There are many more I'm sure, but these 10 points have been the most important to me. What do you think??

More to come...

Another musicians blog...

I've never been the kind of person that felt like they had a wellspring of knowledge about any particular topic, other than how to build a campfire with your hands or talking endlessly about obscure jazz records that "are soooo killin'". With that being said, I do think I'm good at certain things pertaining to the music industry, namely how to survive and pay your bills. While I'm always learning from people who are higher up the food chain than myself, I have managed to continually find work as a trumpet player, educator, and as a composer/arranger since 2002. I want this blog to be of service to the "me's" of ten years ago; Musicians who love to play, but don't really know how to go about making a living doing it.