Jazz Trombone F.A.Q.

11) How do you get to play with professional jazz groups?

Sam Burtis: Practice.

   Play w/EVERYBODY...ANYBODY you can who sounds good.

   Eventually, if you work at it and have talent...you're playing

w/professionals.

Jeff Adams: Study privately with someone who is working.  When you are ready they

will start moving you into paid performing experiences.

Alex Iles: Learn first what it takes to be a "professional" musician.

Most professional musicians have to support themselves doing something

as well as playing their instrument. That "other thing" might be musical, it might not

be. You can always work on becoming the best musician you can be, regardless of whether

or not if it is your main source of income. I have seen amateur musicians

who are much more connected and thrilled with the act of creating music [and in

many instances--BETTER] than seasoned [often jaded] professionals. This

scenario varies from situation to situation, person to person and place to place. What is

necessary to "make it" as a pro in New York is different that what is necessary in Austin,

Texas. What YOU want to do and what the market requires also varies much of the time.

Most aspiring professionals have developed these skills [and many

others] in preparing for a music career:

*well developed ears [ability to LISTEN AND HEAR in an ensemble AND as a

soloist]

*a sound that blends and/or stands out

*a strong sense of the two most important musical attributes; PITCH AND

RHYTHM

*a familiarity and knowledge of several repertoires, played in an

appropriate style.

*the right equipment to execute the music

*sight-reading ability

*arranging/composing ability

*ability to play other instruments and styles

*a personality that "fits" with other musicians on the scene, and

attracts them to you musically.

This list could be MUCH longer...

add to this... reliablilty, responsibility, general creativity and

flexiblity...and the established professionals you encounter will be

much more likely to think of you to include in their group's

performance...

It is a good idea to study with a real professional, not just in order

to schmooze gigs, but to really get to know them and hear them up close.

These kinds of lessons might take place informally in a rehearsal band

or while you are listening to a performance. Listen carefully for what

THIS person sounds like so that you may learn what YOU need to do to

play along side them [or sub for them]. By this, I do not mean perfect

imitation to the letter, but carefully observe HOW the player ARRIVED at those

qualities that makes him/her stand out, not only those qualities

themselves. For example, if a player with a sound you like says that he

practices long tones a certain way, incorporate parts of the routine to

develop your OWN great sound, not just to "sound

like" him/her.At some point, YOU have to address your playing honestly

and then set YOUR OWN agenda for what you need to practice.

Chris Smith: When I was “coming up” (I love phrases like that!), I’d go and listen to the

best groups in my area.

I’d imagine that I was up there playing with them. I’d try to figure out the changes to

the tunes, what the form was, whether or not I could handle the tempo, etc. etc. I was

preparing myself to play with these groups by doing this. If you can honestly hear yourself

being able to play well with a group of pros, then you are ready.

If not, go home and PRACTICE! I did 2 full years of practicing before I started

getting called for gigs.

When you are ready, try to get the word out that you’re looking to play. You might do

some “sitting in”, play a gig or two for free, go to jam sessions. Let people know in a

nice way that you are interested in playing. Obviously, this is the beginning of your education

in musical “rap” skills. If there’s a quintet with permanent members with one trombonist, you

shouldn’t go to his gig and sneakily tell the leader that you’re better and you’d like to play

with them.

A better approach would be to introduce yourself to that trombonist and let them know that

if he ever needs a sub, you’re available and interested.

And I should get back to my first paragraph for real clarity. Make sure you’re really ready

(or getting there quickly) before you start trying to play for money. If you aren’t, word will

get around and you won’t be getting called. Whereas if you are very near the proper skill

level and working on improving even more, you WILL get called back.