[Harp-L] Standing around feeling stupid, average or pro

[David Fertig <drfertig@xxxxxxxxx>]

To meld into the average / pro issue: John's approach (stepping down for much of the set, and accepting part-pay) treats harp as a secondary instrument - which is fine!  Any instrument can be secondary, depending on the set up and music and players.   It's situational, not philosphical.  

So isn't it true that, at best, one always plays into the situation musically?  

That might mean merely chugging, screeching, tweeting, a full-on blues harp attack or an Adler-esque Arabesque, silence, (!?) ...  Whatever works - i.e., gets gigs, entertains audiences - is "Pro."  

Even if the skills are seen as average or less by self-appointed critics.  And trust me, my skills are average or less!  But if  one gets called back, isnt that enough? 

We all know players who have hot chops, can play all the famous licks, schticks, etc., yet are frustrated that other "lesser" players get gigs and they don't.   Hmmm.  There's a clue there, I think.   For those who want it.

When I sit in with a single (e.g., Chicago Red) I am tertiary, after his voice.   I step in very lightly, and step down between songs, and bookending in a set is a good way to do it, as John suggests.  And like John I take a  fraction of the pay (but always equal dinner and drinks!)

In our band I am treated as an equal, although I am the least skilled/trained/ experienced of the group.  And I take an equal share of the pay, since each player is essential to the band's whole sound, as much for our playing as our spirit.  

My percussion work evolved more to move the music than to keep me busy, I suppose if we had a separate percussionist I would either step down or just goof around on stage.   

After all, if you ain't having fun, DON'T BOTHER!!  Not for a muso's pay.

-Dave "Harmonica Player Ordinaire" Fertig
>>>I found a solution for standing around on stage with no harp-part
to play:   Play percussion!<<<

If you have any input into the set list, I always find it useful to group the
"harp songs" at the beginning or end of each set. This works quite
well. You are on stage for the harp parts and off stage for the others.

I should mention that when using this strategy in the past, I took a lesser cut
of the pay than the rest of the band because I felt that playing 1/2 or 1/3 the
time and getting the same cash flow wasn't fair to the guys that were
kickin' it out for the duration. My choice. Plus, if you're dealing with
a band which may be reluctant to take on a harp player, this is a good way to
open the door to the idea. I'm not playing for free, I'm just getting
paid proportionately.

The cool thing about grouping the songs this way is that it almost makes you an
"attraction". Sort of like: "We're gonna bring up our harp
player up now."

John Balding
Tallahassee, FL