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oxford
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« on: December 08, 2004, 02:17 AM » |
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Below is an online ad.
I see these now and then and was thinking; are there really drummers out there you can just call up before a gig to sit in? I mean, how will they know the song structure, etc? Are some of you pros that good that you can just show up and get through a gig or do you need a CD for a few days to work with?
...DRUMMER AVAILABLE for fill-ins. Don't cancel that gig if your regular drummer can't make it. Rock, blues, classic rock, classic metal. Paid situations only. Pro gear and chops. Information: XXX-XXXX
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Chris Whitten
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« Reply #1 on: December 08, 2004, 03:51 AM » |
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I know musicians who can turn up on the gig and somehow get through it without too many mistakes (too stressful). Others who can learn arrangements off a CD a couple of days before hand and put in a flawless performance.
Personally, I'd prefer at least one days rehearsal. It depends how easy....or more to the point 'classic', the material is.
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srodgers
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« Reply #2 on: December 08, 2004, 06:41 AM » |
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I did a fill in gig for a local original band. They burned me a CD with every song in their live set and I basically hammered on it for five days preceding the show. Three of those days, we all got together and practiced as a group.
It was stressfull but it was one of those challenges that I was glad I faced. It wasn't perfect but nobody in the crowd noticed. In fact they mentioned to me that their regular drummer speeds things up way too much live and apparently they appreciated that I didn't.
Stan...
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Shoeless
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« Reply #3 on: December 08, 2004, 06:57 AM » |
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I've done a hand-full of last minute (literally) sub gigs. Of course this couldn't work with an original band. They only thing you really need to know before the song starts is what's the feel and how's it start. Anything else, I.e breaks, breakdowns, accents, could be, but rarely are communicated before the song starts short of "there are some breaks so watch me".
Any band leader should be able to, as long as he's thinking that way, be able to effectively cue you. Though they are usually pretty forgiving that all the breaks and endings aren't going to work out the way they are used to. In fact the only thing you're really not going to know, without explanation before every song is how they end it. I've had band leaders just genericize (how do you like that word?) all the endings just so there's one less thing for you to worry about.
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Now let's go out there and melt some faces!
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Jon E
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This just in.....
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« Reply #4 on: December 08, 2004, 07:30 AM » |
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I consider myself a quick study, but have never really been hired out to "fill-in" work.
The last couple of bands I JOINED though through 4 sets worth of tunes at me. Two rehearsals later we were on stage with them.
Cheat sheet Mania!!
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paul
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« Reply #5 on: December 08, 2004, 08:41 AM » |
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Call me weird, but I love going in cold. I've done many gigs on short notice, and enjoy the challenge. I like not knowing what's coming next, learning new songs on the fly, and playing with people I don't really know.
A couple of years ago I got a call on a Friday night from an acquaintance. A band he knew was on stage in a nearby town, but their drummer was broken down on the highway, unable to get there. Within an hour I was onstage and ready to go. Introduced myself to the band and we cranked it off.
I played a jazz trio gig on New Year's Eve where we all me each other at the gig. Management asked for the same band the next year.
Strangest thing for me is playing with a band that expects you to count off songs that you don't know. After all, that's what the drummer does, right?
Usually I'll get the bass player to give me the cues for breaks, and sometimes they'll explain endings and intros beforehand. Most of the time I just try to open my ears wide and play.
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The presence of those seeking the truth is infinitely preferable to the presence of those who think they've found it. - Terry Pratchett My drum page |
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Bart Elliott
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« Reply #6 on: December 08, 2004, 08:58 AM » |
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A vast majority of the work I do is playing cold. Just showing up, a tune is called, I may or may not know the song, and away we go. I do some of my best playing in these situations. I believe this is largely to the fact that I'm really listening and playing the minimum needed. This is no time for fancy licks, just play the music ... which is what we should be doing all the time anyway!
I just got a major (permanent) gig, on percussion ... and was among 5 people up for the gig. Everything in the audition was cold. I had to play through a variety of styles, grooves and solos, and then had to come up with parts for two songs I've never heard before. And there was no run through ... it was cold, first take stuff. I was the only guy auditioning who was not living in the region where they WANTED the percussionist to be located ... but I still got the gig. It was the grace of God ... but I also think that my ability to play cold really helped me shine and stand out from the rest.
All of this to say ... being able to play cold is a very good thing. You can get a lot of work if you've developed this skill.
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Life is a beauty contest; whatever wins your heart ... wins your life.
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BigBillInBoston
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« Reply #7 on: December 08, 2004, 09:47 AM » |
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Good question...good answers  . I did a reasonable amount of this kind of stuff when I was younger. Personally, I found my jazz background really helped not only in jazz gigs but also in other styles cause playing improvised jazz really requires good listening and reacting skills. It also helps to have heard a lot of tunes and played a lot of styles. Then, in some cases, even if you don't know the song you can hear/feel where it is probably going. It certainly can be fun..and sometimes a bit nerve racking  . BigBill |
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JeepnDrummer
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Ding, fries are done!
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« Reply #8 on: December 08, 2004, 10:28 AM » |
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They only thing you really need to know before the song starts is what's the feel and how's it start. Anything else, I.e breaks, breakdowns, accents, could be, but rarely are communicated before the song starts short of "there are some breaks so watch me".
Any band leader should be able to, as long as he's thinking that way, be able to effectively cue you. Though they are usually pretty forgiving that all the breaks and endings aren't going to work out the way they are used to. In fact the only thing you're really not going to know, without explanation before every song is how they end it. I've had band leaders just genericize (how do you like that word?) all the endings just so there's one less thing for you to worry about.
Yeah, that's my take on it. I was called to play for a band that included a guitarist that was in my first band years earlier. I was familiar with his style, but 80 percent of the songs I had never played or really paid much attention to when I heard them prior. Like Jon, I consider myself a quick study. I wasn't given a tape or CD, but we managed to have a four hour practice. The gig turned out to be one of the best for me and the band received a lot of compliments. |
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Tony
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« Reply #9 on: December 08, 2004, 10:30 AM » |
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Cold call gigs are great! I make good money doing them, and like Bart says, they force me to listen more carefully. If you can handle these gigs, you are at a different level of drumming than most. Part of what seperates some drummers away from the pack.
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The techniques, though they play an important role in the early stage, should not be too restrictive, complex or mechanical. If we cling to them, we will become bound by their limitation. Any technique, however worthy and desirable, becomes a disease when the mind is obsessed with it.
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cavanman
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« Reply #10 on: December 08, 2004, 11:32 AM » |
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I'm like Bart and some of the others in that I often get called to play cold. I just recently did a benefit where there was no rehearsal and no real charts(just chords over words) to speak of for several of the acts that were coming to play for the benefit. The entire band had to figure things out with little help. All of those that used us were very happy with what they got and couldn't figure out how we pulled some things out of the hat. Now before this starts to sound like a self congratulatory "ode to me", let me say that I played alongside exceptional players who had at the very least, 20 years of professional experience (not just years playing the instrument) backing acts, singers, musicals, bands, etc. After all of those years of experiences, good and bad, with all of us in this throw together band having fallen down and shined at different times over those years, you start to assimilate some unspoken standards of what can happen in a tune. Therefore, I believe experience is the key to being able to do this type of cold playing (at least for me and all the players I know of here in L.A.). Experience married to a drive to be musical (and knowlegeable) in all styles is what gets me through these gigs. Granted there are going to be times where the music is so involved, complex or unpredictable - that no sub could come in and pull it off. There's just a lot of times where the people who have travelled many musical miles will be able to make it happen.  Jim |
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"I like-uh....dooo....da cha-cha..."
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ritarocks
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« Reply #11 on: December 08, 2004, 12:23 PM » |
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cold, baby.  Fortunately, this is one of my strengths as a drummer . This ability to play cold is something that was developed over time by playing jams and open mics over the years when you always play cold and don't even know the people you're playing with, sometimes even just meeting them onstage... Now I could never do a jazz or latin gig cold because I can't do one warm,  , but blues, funk, country or rock? I'll give it my best shot. Now, this is not to say I'm some cat, because I'm not, not even close. BUT I can tune into others, watching and listening INTENTLY, and just think about keeping it simple and solid which is all the job is. If its like Dream Theater or something with a lot of unpredictable changes that you would only know if you've heard it before, thats different of course,...but like "Mustang Sally" and all that stuff where you've either a)heard it before so you know where its going or b)can tell where its going, its on. |
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Jon E
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« Reply #12 on: December 08, 2004, 12:41 PM » |
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Though I consider myself familiar with lots of tunes and styles, "being familiar with" and "knowing" tunes are two different things. I would probably do best at playing cold for an oldies band. I'm just not too hip (or hop!) with today's music. Still, I guess I have a bit of a confidence issue (and always have really). I mean, WHAT IF I DON'T KNOW THAT SONG?  !!!    |
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dannydrumperc
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« Reply #13 on: December 08, 2004, 01:12 PM » |
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I did one gig a few weeks a go with a friend I've known for a lot of time. We have played together a lot before, but in completely different situations (rock cover bands - me: drums, he: keys). Never played with him what he was asking me to play.
It was at a restaurant where he have this steady. He was playing boleros mostly, with one or two merengues, cha-cha-chas rumbas-flamencas in-between. He was singing and playing piano, or guitar, while I played congas and shaker with a few other toys (barchimes, etc...). The only thing he said was the song he wanted to sing and the style. It wasn't difficult. I knew most of the songs (old stuff) and I wasn't asked to do too much 'cause of the context of the gig.
It was very nice and we played together at the same place the following week. The gig stopped because the owner said there was not enough budget for two musicians.
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If anybody knows where I can buy Contemporanea percussion let me know. Thanks!
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Danno
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« Reply #14 on: December 09, 2004, 01:52 AM » |
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I did one gig a few weeks a go with a friend I've known for a lot of time. We have played together a lot before, but in completely different situations (rock cover bands - me: drums, he: keys). Never played with him what he was asking me to play.
It was at a restaurant where he have this steady. He was playing boleros mostly, with one or two merengues, cha-cha-chas rumbas-flamencas in-between. He was singing and playing piano, or guitar, while I played congas and shaker with a few other toys (barchimes, etc...). The only thing he said was the song he wanted to sing and the style. It wasn't difficult. I knew most of the songs (old stuff) and I wasn't asked to do too much 'cause of the context of the gig.
It was very nice and we played together at the same place the following week. The gig stopped because the owner said there was not enough budget for two musicians.
I was reading this thread thinking, "Man, I could never play a gig cold', but you reminded me of the time I did years ago. This really talented guitarist/sequencer guy (dunno who he was) was playing this club, like a one-man-band gig. I thought he was really good so I got to talking with him at his first break, and long story short I played two sets with him that night - he had a kit set up already for his weekend "full band" gig. I think it was some of the best live playing I've ever done. We 'clicked' musically, and it was just off to the races for two hours. Really good music because we were both way into it, plus no pressure on me because no one was expecting a drummer anyway. The people in the club really enjoyed it. I started off just playing one song, but everybody wanted me to stay up there. It was a BLAST. |
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Mister Acrolite
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« Reply #15 on: December 09, 2004, 07:20 AM » |
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Man, playing gigs "cold" is how I learned to be a pro! It's a great way to develop the most important skills you need: watching and listening.
Obviously you need to have decent facility on the drums, and a good "vocabulary." And you need to have a sense of the musical style(s) the band plays. And you get those the same way: watching and listening. Get out and see live bands and see how the drummers approach the gigs. And as for the listening, always have a radio on nearby. Always. That way you've got a surface familiarity with a lot of songs, even if you haven't actually played them.
I encourage any drummer with professional aspirations to get into subbing, filling in, whatever you want to call it. I've said it before: you learn FAR more playing with others than you do practicing. Yes, practice is important, and you do need to have developed some basic skills before you dive into the deep end.
But I learned to play swing by taking swing gigs, playing with guys old enough to be my grandfather. It was great, because I was learning from the source - I ended up with a far better understanding of swing than many local drummers my age. I learned to play blues by playing in blues bands. And so on. It's a great form of on-the-job learning!
This guy has placed a smart ad. I always ran ads when I freelanced, but never thought of wording it the way he did - that was both clever and practical.
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I just found out most of the recordings I'm on were actually played by Bernard Purdie. my drummerworld page |
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BigBillInBoston
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« Reply #16 on: December 09, 2004, 07:57 AM » |
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I've said it before: you learn FAR more playing with others than you do practicing. Yes, practice is important, and you do need to have developed some basic skills before you dive into the deep end.
But I learned to play swing by taking swing gigs, playing with guys old enough to be my grandfather. It was great, because I was learning from the source - I ended up with a far better understanding of swing than many local drummers my age. I learned to play blues by playing in blues bands. And so on. It's a great form of on-the-job learning!
I could not agree more...Although my career track has follwed a little different progression than Mr A's...(my seriouis drumming ended right after college in the early 1970's) . As a high school and college kid I was presented with lots of opprtunities to perform and jam with lots of different people in lots of differernt styles. Nothing develops your "performance skills" like performing. BigBill |
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irishthump
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« Reply #17 on: December 09, 2004, 05:57 PM » |
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Man, playing gigs "cold" is how I learned to be a pro! It's a great way to develop the most important skills you need: watching and listening.
Well said, Mr A! It's true, it works wonders, maybe not for tachnique, but certainly for listening skills and musicianship in general. More importantly, it's a GREAT confidence builder. I've done a lot of depping and nearly ALL of it at short notice. And since I don't read music, I HAD to grow big ears!!! |
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"Free your mind, and your sticks will follow....."
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Terry
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« Reply #18 on: December 09, 2004, 07:09 PM » |
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The second band I went with came in that respect. I got a call to fill in and I went to the gig cold. It did however warm up fast, since it was a gig for private party with strippers. This type music is basic from place to place and so on. After the gig was over I was asked to join the band and stayed with them about five years. I also had an offer from the manager of the show girls to come to New York as the clubs drummer, but even though the money was good, I had to finish the last two years of high school first. I rained on my own parade.
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older, but still make music my way.
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KevinD
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« Reply #19 on: December 09, 2004, 07:26 PM » |
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It seems intimidating at first but I think there are some things one can do to prepare themselves for doing cold gigs. Depending on whether the circuit is weddings, socials/black tie affiars etc..or contemporary country or rock (unless originals) there are usually a number of standards that all of the players must know. These can be anything from Broadway show tunes, to Sinatra, to Real & Fake book selections along with classic tunes like "We are Family," "Mustang Sally" or "On the Road Again,"
It helps to know some of the standards so if you've got the main tunes down, a flub here or there on the others won't stand out as much.
Also having great reading chops helps too, you never know when they'll come in handy.
I think as drummers we have it easier compared to other instruments.
A few weeks ago I saw Oz Noy, a guitarist who plays an interesting blend of Jazz and fusion (kind of like TW/Lifetime, Jeff Beck with a little Wes Montgomery tossed in) that is laced with odd times, starts, stops and tempo changes. Anton Fig and Will Lee usually play with him. That particular night Will Lee wasn't available and another bassist came in, Oz handed him a book of tunes, he put it a stand (after opening it :-)and off they went, he read through the whole gig cold. They got by using a lot of eye contact, but it certainly sounded great and was pretty cool to watch the real pros work.
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