Re: [Harp-L] NEED HELP Jamming Etiquette/Open Mic


On Jun 5, 2010, at 1:07 PM, Abner wrote:

Thank you for this list.

I was wondering if you guys/gals have a list on how one should run an Open Mic.

I have never taken the time to write one down, but this has been discussed on harp-l (as well as other lists) numerous times. It usually comes up every other year. The easiest way to do a jam is to have an open jam. More on that later.

I play at an Open Mic down here in S. Florida. Don't get me wrong I love it. And being a non musician and having less than 2 years of playing ( at Open Mic) these guys/ gals have been great.

That, in itself, is the MAIN issue. If you're comfortable, good stuff will (eventually) come out.

But I find that some players play more songs than others.

Play more or play ON more? This is usually the result of a 'good ole boys' clique. Shortly after coming to S.W. Fla., I started looking around for places to play. Having been a member of the Pittsburgh jazz society, I (naturally) assumed that the Sarasota, Charlotte, and Lee county jazz societies were the place to start. Sarasota was a washout, Charlotte wasn't much friendlier and Lee extended a warm hand.

So, when you're in a particular area, there will be established musicians, most know each other, have played together before. May even be tennis partners. This tends to result in a mutual admiration society clique.

Or, others are told there time is up after just a few songs.

There are several reasons for this. They may be good players but their sound doesn't fit the material. They could be questionable players and don't fit in for that reason. There are other 'friends' there and the jam master is catering to THEM. They are jealous and your abilities scare them. The moocho mucho players are pushy..push their way in, snow job their way in.

There seems to be no rhyme or reason.

Aaaaah, but there IS.

The guys/gals that run the Open Mic are great people but I don't think they ( or myself) know how to properly set up an Open Mic.

They may be getting influence from other players.

I know there is something wrong. And since there are so very few for me to attend ( none) I don't know how to help improve the system.

Things are falling apart all over down here. At least on this side of Fla.

That is if it's even my place to do so.

Why ISN't it your place? You're trying to help. Eventually, if everyone is happy, the jam prospers. In 1999 I fell into a jam down here that had been going since 1975. It was the oldest established permanent floating jazz jam in Fla. It finally fell apart in 2006.

Yes, I do hear people get upset when they get pulled off and others play longer.

See, the 'pulling off' part is a hard deal to work with. We allowed anyone who COULD play on a tune to DO so. While no one was getting 'pulled', we WOULD control how they played. Since there were always enough players, no one could monopolize the tune. Sometimes to get everyone in, one person took a head, another a bridge, another an improv, another an interlude. Depended on whom showed up. But EVERYONE gets to play. That's the LAW. Otherwise why have a jam in the first place.

I have even heard from players after playing a long set asking ( pleading) for the next player to come up.

Then THESE players are gold. Example: Once at a spah jazz jam, Will Galison was playing, had done what he wanted to, said what he wanted to say, and really wanted someone to come up and take the tune out. On another occasion, Rob Paparrozzi was playing on a tune that (ironically) I had called, and was waving his hands (almost wildly) for me to come up and take the tune out.
This is the mark of a true professional. Someone who is comfortable in their position and doesn't have to prove to the world how great they are by hogging the stage. People like them and Randy Singer, Mike Peloquin, Jason Ricci. True pros.

Or, players that come once but are 4 th on the list and get jumped ahead becouse they have to leave.

Ok, THIS one is a pet peeve of mine. Here you are dedicating several hours (and expense) of YOUR life while some other schmutz gets priority. Meanwhile it's costing you to BE there. Why? because they have to go somewhere? Baloney. If they have to go somewhere so badly, then they should go THERE and not burden us with their presence.

I call this the 'funeral schtick'. You can learn a lot about people at funerals. There's the guy who has known the deceased for YEARS, yet, he shows up at the viewing, is looking at his watch, and within 45 minutes he has booked. Can't hang around for the invocation, can't give this poor dead guy 68 minutes of his precious time.

(This happen to me two weeks ago and the mother of the person running the open mic got up set and wanted to know why i was pulled off. I did go back up after the player left, but by then i had to get back into the grove.)
They don't buy drinks or food and we don't see them for months and it happens again.
I have heard from players that won't come back becouse of this.

Exactly. But then you are going to have to own up to the fact that there are people out there who aren't going to measure up to your expectations. There are pushy people out there. Example: I was once slated to give an interview and had waited around for an hour when another player (basically) pushed ahead of me. The interviewer didn't stop it right then, so I left. Later, he asked me why I left. My answer? "You had your chance". Like what? My time isn't worth anything? What am I? Chopped Liver?

Now my concern, (and this is why I need your help ) is if they don't bring in people to buy food or drinks there won't be anymore Open Mic hence no place for me to play my harp.

That's EXACTLY what happens. How about this one. A player sits through 1, then 2 sets, and finally gets to play..OR they can't fit the player in. Example: The restaurant is expensive. When the band starts there are 260 people eating. After the first set (which is all piano, bass, drums, in low tones), the jam starts. The crowd is now now to 130. By the end of the first BREAK, the crowd is 65. By the end of the second set, it is 33. Third set starts at 9. By 9:15, 16 people in the rest. By 9:30, 8 people. THEN the fellow who had been sitting there with his girlfriend gets to play? BIG DEAL. Do you think this guy is coming back? For THIS embarrassment? I don't think so.

We have an axiom in the business. When the number of people on the band stand exceeds the audience, it's time to take a hike.

As I stated before I'm not a musician and not a great player , and most of the good players ask me to play with them if I lose the Open Mic I lose a place to improve.

Just like we lost Vaudeville. With Vaudeville, you could do the same act for YEARS but there were so many venues that you never got over- exposed. Meanwhile you could hone your craft to a fine wire knife edge.

I will be 50 years old this year, after two years of surgery and years of being in pain this is my once a week place to enjoy life.

I feel you man..I really do. I could write a book on the whyfors and wherefors of 'harping for survival'.
smokey-joe 

All your help will greatly be appreciated like always.
Thank you all in advance.


Abner (BluEyes) living and enjoying life in S.E Florida


On Jun 5, 2010, at 11:14 AM, Tobe <wonderwhy@xxxxxxx> wrote:

Another musician and I have been running an open jam once a week for more than then years. For what it's worth here's the handout that we give to people who want to play:

All musicians are welcome, no matter what level. Don’t be shy. This is your chance to play before a live audience.



Before the music starts.

1. If you want to play, talk to the persons who run the stage.

2. It’s an effort to set up and take down the equipment. Ask how you can help.

3. Until the sound-check starts, don’t play. If you want to warm up, do so off stage.

4. When you are asked to check your sound, play at the level you expect to use during the performance. Just do what the sound person says to do. Don’t play while another musician is checking the level for his or her instrument.

5. If another group is playing ahead of you, don’t come onto the stage to set up your equipment while another group is playing. Let them remove their equipment before starting to set up yours.



After the music ends.

1. Remove your gear as quickly as possible.

2. If you are on the stage when the music is over, lend a hand in clearing the stage.



During the performance.

1. Be thoughtful and courteous to the other players.

2. Each band has a leader. Be clear about who the leader is before the music starts.

3. If there is to be a singer, the singer is the leader unless there is a prior agreement.

4. The leader picks the song, the key, when it starts and when it ends. Suggestions are welcome, but the leader decides.

5. Play when it is your turn. Or to put it another way, don’t play when it is not your turn. When to play varies from song to song and from instrument to instrument, so please understand that these are only general guidelines. Watch the leader for a signal.

6. Rhythm instruments usually play throughout the song. Rhythm instruments include: drums and bass. Guitar, keyboard and other percussion instruments can also be rhythm instruments. Most ensembles have a rhythm guitar player. He or she is usually the person who sets and maintains the rhythm.

7. Unless there is a prior understanding with the leader, lead instruments only play solos or to support the singer between the phrasing of a song. If you play a lead instrument, do this sparingly and be aware that other lead players are also playing between the phrases. Be conscious of each other. Lead instrument include: lead guitar, harmonica, flute, banjo, mandolin, keyboard, sax, trumpet, bowed strings, clarinet, etc.

8. Don’t judge your own sound level. Many players think that they are playing just right when they are too loud. Ask somebody else about your sound level.

9. Stay off the stage when not playing, setting up or taking down. Visitors are welcome on the stage, but only between performances.



Overall

Remember that the main goal is to have fun. Experience has shown that we will all have more fun when everybody knows and follows the rules. And one last thing that may be the most important rule: when you are in the groove and the instruments are talking to each other, nothing else matters and all rules might just fly away like the music.







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