Part of the job?

[Kenny]

Earlier this week I had an interesting coversation with the proprietor of a (non-jazz) inner-city venue.

We got talking, with admiration, about a certain well-loved individual in the blues scene.

During breaks by his band(s), this bloke makes it his business to get around the whole joint to pass a few words with every punter or group thereof.

Not just his mates, mind you. Everybody. He sees it as part of his job. It's called being a professional.

Tis a pity that more jazz players don't do likewise, especially given the average length of breaks! ;D

[isaacs]

Very interesting post Kenny. That it works for this guy is great, and it's part of how he interprets being "professional". I'd be wary of generalising that into a meritorious code of conduct though. It's an individual thing, and one individual can alternate between both sides of the coin. There are times when I am convinced the music in the ensuing set has been better because I have sat focussed in the band room during a break. And times where inane small talk during a break has dissipated my focus and that has impinged on the next set. So since ultimately the quality of the music is the acid test of professionalism then there are certainly times at least for me where the most professional thing to do would be NOT to mingle. Other times I have felt the contact with audience members is important and has enhanced the music and helped me feel "up" about the whole thing.

But it is not unreasonable to view the thing like a concert and to quarantine a certain amount of mingling, there is a sense in which the ritual of concert manners can enhance things for both performers and audience. I remember playing a jazz club in St Petersburg in 1996 and I was hanging loose in the room as the doors were about to open. The proprietor shooed me away. He said I shouldn't be in the room when the audience enters, that I should arrive on stage "as if from Heaven" (I wish!). Some may find that precious, and it is not a surprising approach in Europe or Russia, but there is nonetheless some merit in it I think, at least as an option. It's best not to see it in black and white, and play it by ear! Hang loose in the room with the punters, sit tight in the band room with the band, whatever works for you at the time, and a jazz audience should be able to accept either!

[Kenny]

Good points, Mark.

I guess it depends on the gig and the venue and the kind of music.

A raucous pub-like gig - the Paul Williamson Hmmond Combo at the Rainbow on Monday nights, for example - is a different species to a concert.

I don't mean to generalise, but am simply making the point that a little more "out-reach" from the jazz scene wouldn't go astray.

I have seen too many players rap with their buddies at Bennetts Lane while the paying "strangers" around them wait. And wait. And wait.

In those cases, it's not a matter of whether the players talk but to whom. In the small room, yapping away to your pals but ignoring someone who has paid to see you and is sitting just a few inches away is rude. And in the small room it is obvious. Better by far to go for a walk around the block or whatever.

Some warmth and a few "thanks for coming"s could win repeat gig-goers and sell a few more albums.

[isaacs]

Also very good points Kenny. As you would realise, I'm trying to do the "whole coin" trip, rather than pushing one side. But if there is a general lop-sidedness it doesn't hurt to give one side a shove, and hopefully the Middle Way is found.

[belindablah]

...and kenny, it takes a certain personality to be one who i s comfortable/ likes to go out and greet the people in the break who have paid and come to hear you play. Though I watched someone in Japan do exactly what you mentioned - went round the whole room and thanked every single person for coming to the gig.. thing was - it did look like part of the job..not at all natural.
Sometimes at the end of the gig the bandleader would bid punters farewell standing at the door as they left on their wayout .

By the same token, I have only seen musicians everywhere more than happy to chat with punters that approach musicians. Apparantly musicians dont bite.

I'm not into long breaks - one of the reasons i dont usually last more than one set if i go out to hear music.

[Vicki H Bbbb]

OOOhhhh yuk yuk yuk, it is bad enough LOOKING at musicians let alone talking to them in between the breaks. Please can I have a "don't talk to me during breaks" sign for my table?

Please? Honestly crikey, you have to applaud every flipping number, listen to every note and then be nice to them in the break? aaaaargh! No thanks, I am far too horrible for that.

[Kenny]

Sheesh - just trying to Get Things Moving. Maybe the lack of animation in the jazz world is why I'm listening at the moment to nothing but western swing, bluegrass and Grateful Dead - as well as a bunch of old-time jazz.

[happy]

good on you. kenny, I think your point is well made. Personally I have to agree with belinda that I sometimes find it very difficult to speak to an audience. When I'm at a gig, I usually find that I am either too nervous (yes, nervous, even after a good 25 years performing) or too preoccupied with making sure everything is running smoothly.

Often it is not easy to move smoothly from the intense focus of performance to the easy relaxed banter of entertainment. (its a bit like trying to carry on a relaxed conversation if you are doing a long-haul drive in the rain in the dark, or while small children are going psychotic around you)

From what I've seen, American musicians are much better at this sort of thing, and I think its partly cultural. As I have commented elsewhere in the past on the subject of networking, I believe that it really does come naturally to some people and not to others. (not that you can't work to improve, of course)

That said, I also agree that musicians can be cliquey and self-important, although many of us appear to be that way when we are actually shy and socially challenged, happy to hide away in the company of fellow musicians who understand our foibles, and the difference between one's on- and off-stage personalities.

[happy]

oh, and I usually find just smiling at people to be quite possible and effective!!!!! ;D

[Kenny]

happy said:

oh, and I usually find just smiling at people to be quite possible and effective!!!!! ;D

Yep, that'll do it.

Besides which, WTF would I know?

According to a resolute poster on the old board, the problems with jazz have one prime cause - public radio announcers!

[Iron guts]

were just like anyone us muso's, sometimes we feel sociable and others not. Its definately not part of the job but then its best never to be rude if you can help it. Yes that sounds strange coming from me for those of you who know me.
One thing that is dangerous is when you are cordial to someone then find yourself being talked at for the whole break about total shit. At least that can make the break shorter!
I gotta say after a set of intense music I want to drink and be with mates, not strangers, surely thats not too rude.
Coupla weeks ago I got stuck in a break talking with a particular punter about a concert I'd seen and his dribble put me in a real shit mood cause I couldn't escape him without being rude. Its those experiences that make you very wary of the punter in the break.

[Kenny]

Sheesh - next time out I'll wear my freaking hair shirt and masking tape.

[Kenny]

And otherwise go nude ...

[punter]

hey come on kenny you put it out there, don't go getting all sniffy when people respond in an honest way. and what do you mean lack of animation in the jazz scene? do musicians have to be animated to make great music? sometimes they are animated and sometimes they're not and there's no correlation with level of animation to quality of output. ever been to a ben monder gig?

[Kenny]

Not getting sniffy, just havin' me some fun.

Actually, I appreciate the posts of happy and Mr Guts for giving me insights into how they see these sort of issues. Honestly.