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.