Know Your Business (John Adams)

"Well it happened again tonight...while I was out, a band-leader left me a message about a gig that I will not be able to do. It is no big deal, but how will I handle it? Since I am already booked anyway, I could avoid calling him back in the morning and assume that he will move on to others on his list. In the many years that I've worked as a musician, I've come to realize that being a professional and responsible musician requires more of me than simply playing an instrument well. Every time I interact with colleagues, whether on the phone, over email, in a letter or in person, I send out important signals about my level of professionalism and dedication that can make or break the relationship. So it's worth my time to think about how I represent myself in these kinds of situations. If you're asking yourself, "Why bother?" then read on.

PAY ATTENTION TO DETAILS
There is a fine line between being ridiculously detail-oriented and being able to handle details well; get to know where that "line" is by crossing it a few times. Don't be so far from that "line" that you never know where it is. Be a little "nerdy," actually write stuff down! Remember that a one-time event is, in many ways, the equivalent of your first day on a new full-time job; not much will be "old-hat." Do not assume things, and be willing to ask questions of the person contracting you to play. Many of the things dealt with below are the application of this over-arching principle.

BE PERSONABLE
I know that it takes many personalities to make the world go around and to some degree you should just be yourself. I am not suggesting that you act like you are about to try to replace Vanna White on "Wheel of Fortune!" However, an easy-going attitude, an up-beat demeanor, and a sense of humor, go along way toward making others around you, especially strangers, feel comfortable. Frankly, because of some people's natural tendencies, they will have to work harder to exhibit those positive qualities. Each of us has natural strengths and weaknesses, but part of growing up is learning how to deal with and even develop our weaknesses.

Personable qualities are exhibited in many different ways, including your style on the phone, your out-going message on your voice-mail, the ways you leave messages for others, your hand-shake, looking people in the eye, how you converse, how you talk about others, and the topics you bring up and joke about. You even communicate an attitude by your body language when you play - even if you don't mean to.
One specific word about voice-mail messages: when I was in college and for awhile afterward I sometimes had fun leaving funny or strange out-going messages on my machine. One day years ago a musician friend was kind enough to let me know that he had recommended me for gig and the leader had actually called him back and said, "Is John all right? He sounded sick on his answering machine." Now I am sure I was having a great time with whatever that message was at the time, and it was not the end of the world that I did not get that gig and never worked for that leader, but I inadvertently embarrassed the friend who recommended me. At the very least a weird out-going message conveys that the person is not very experienced.

KEEP GOOD RECORDS
Using a daytimer, or palm-pilot or some other computer scheduling program is essential to handling the many details involved with professional work. Also the use of databases for phone numbers and email addresses (and/or physical addresses) is also strongly recommended. It takes awhile to enter and maintain that data, but in the long run, it saves time and effort. Like time looking for phone numbers, looking for where you wrote down directions, etc. Regarding records, one of the most common errors is that of "double-booking;" accepting an engagement and then forgetting you did so and then later on accepting something else at the same time. Eventually the error will come to light, maybe when you don't show up for one of the engagements, or maybe when the leader of the gig you forgot to write down calls you to give you some extra details and you experience that wonderful sinking feeling in your stomach as you realize what you have done.
I use a combination of all of the above to keep track of my schedule and other data, and in my daytimer, next to each each gig or on the adjoining page are as many details as I need (and more) such as names, start and end times, address, phone numbers, attire, specific equipment or style issues, etc.

PREPARE FOR THE UNEXPECTED
This is another related point...until you have played professionally for awhile, you will not realize all of the variables related to a gig that can go wrong. Getting lost, traffic hassles, car trouble, forgetting an important piece of equipment or attire, and the list goes on. Have the venue's phone number and/or the contact person or leader's cell number with you. If something happens to delay you or make you cut it close, those on site will appreciate knowing you are on on the way, or what is happening. Just this past weekend I left for a gig that would normally be 15 - 20 minutes away in the evening. I left in plenty of time, but as soon as I got to the freeway I knew I was in trouble; there had been an accident and part of it was shut down. I slogged my way to the side-streets, but it seemed that every alternate route I tried was congested. I even ran into the middle of a Greek food festival on one street! About ten minutes before the time I was supposed to start I called the venue and asked them to convey a message to the band-leader for me about where I was. I wound up arriving at the time we were supposed to start but because I had called, everyone was relaxed about it. Also, you can never have too many phone numbers on hand. One night, while I was on the way to a gig I was leading, one of the players I had hired called me and said the early-gig he had was running late and asked what he should do. By the time I got to my gig I had already made some calls and a replacement was on the way and we started on time.

Regarding equipment, one day recently a friend of mine had an important engagement in a town five hours away. The fellow he had hired to bring the PA-system and play guitar left his guitar back at home. Do you think that guitarist will ever do that again? He may start chaining his guitar to his legs on the days he has a gig! Depending upon how elaborate the equipment needs are, I might make a checklist ahead of time, and/or pre-load some or all of my gear in the car well in advance so in my haste to leave I do not forget something. My car is actually partly a mobile equipment mini-warehouse, with crates full of cables, stand-lights, mics, and connectors of every type. I have "saved" more than one gig that I was not the leader of, just by having that stuff in my car for others to use.

BE STRAIGHTFORWARD IN YOUR COMMUNICATION
Recently a student failed to show up for a lesson we had scheduled (only her second one) and never called to explain. I called her twice, the first one along the lines of, "I may have made a mistake on my end, but I thought you were coming for a lesson, etc." I have never heard back and am then left to my own conclusions. Now I am aware that there are a host of possible good explanations, all of which I would be understanding of. But if she never calls me to explain, do you think I will feel good about future professional interactions with her?

A great book says somewhere, "Let your 'yes' be 'yes' and your 'no' be 'no.' " If you cannot do something then say so, if you need help with something speak up, if you need more time to work on your availability for a gig let them know, if you are supposed to give someone an answer by tomorrow, then call them tomorrow, even if you don't have the answer yet. They will appreciate hearing from you and it may bide you some more time. In any case it will avoid hurt feelings and confusion.

BE ON TIME
I will never forget one my teachers saying, "Every young musician eventually learns that leaders or venues can always find someone else who plays just as well (or well enough) and who can also be on time and wear the right thing." It was blunt and true. No musician I know is perfect in this regard, but if you establish a "track record" of being reliable and punctual, then if something happens that delays you, those you are working for and with will know something is wrong. Remember the story of the boy who cried "Wolf".

Anyone can be late once in awhile by accident. I have noticed that some players always cut it to the last minute and some always allow extra time; it has no bearing on where the gigs are related to where they live.

BRING WHAT IS RIGHT FOR THE GIG
Generally speaking, rhythm-section players are some the most widely used instrumentalists in the world, with a staggering amount of options for equipment and styles. But even horn and string players, and/or those that do only "classical" music, must also have some flexibility with not only their playing but also with their instrument set-up to fit each situation: large orchestra, chamber group, pops concert, jazz-band, string section work, or solo recital, etc. One extreme example of having the right gear for any situation is that one of the top-call studio bassists in Nashville has a large trunk that is handled for him by a cartage company, which contains around 25 different electric basses. I guess he would have some sonic variety available to him!

Basically to be adequately prepared for what I do as a bassist and band-leader, I have two acoustic basses and three electric basses, each with a different string set-up and sound, four bass amps (of various sizes), and two PA-systems, and an assortment of mics, pedals and preamps. Do not worry about trends, just try to gradually collect good quality instruments over time, and learn to maintain and adjust them well.

PLAY WHAT IS RIGHT FOR THE GIG
A bassist (unnamed to protect the guilty) who is widely known for his blazing technique was on his first tour with jazz-legend Stan Getz. On the first two Fridays of the tour Stan paid the other band members and did not pay the bassist until Saturday. When he finally got up the courage to ask Stan, "Why don't I get paid with the rest of the band?" the retort was, "When you start playing with the band, you will get paid with the band." Here again I say what should be obvious, but many young players approach every performance as a practice-session for whatever style or technique they are into at the time. A savvy professional can adapt his playing to each situation and find joy in doing so. Ultimately a mature player gradually shifts his focus from, "How did I play?" to, "How did the performance go; did we play well together?"

One thing that amazes me is that young players think that they can sound fine on a type of gig that they have never tried, heard, or seen before. Frankly many jazz students think that because much popular music is simpler than jazz, they can do it without working on it. Trust me, if you don't work on a style, any style, you will not sound good on it, until you do. Perhaps the only factor related to its complexity is how long it may take to master the style. One factor about being a well-rounded player is that in order to get there, you have to be willing to take criticism and learn from others in a given group.

One great way to prepare for different types of gigs is to GO to different types of gigs, even ones that are not your cup of tea. Though you will perhaps always have your favorites, some styles will grow on you, especially when you start to get the hang of them. By attending different types of gigs, perhaps tagging along with your teacher, you will also observe many of the other facets of this article at work.

WEAR WHAT IS RIGHT FOR THE GIG

In the majority of professional playing situations, there will be some kind of dress code, spoken or unspoken. If you want to be hired back, wear what is appropriate. This also applies to overall personal appearance and hygiene; it will do you no good to have an immaculate tuxedo if your hair looks like you stuck your finger in a light-socket! If you can't deal with the attire and appearance issues then don't accept the gig. Generally, men must own a tuxedo (with tux shirt and black bow tie), at least one good dark suit, a couple of ties and dress shirts and black shoes (brown shoes as an option for suits). Women need to own a variety of dressy outfits, including something that is formal, all-black and floor-length. Women have a much greater range of styles from which to choose, but should generally opt for conservative, rather than flamboyant, low-cut or see-through attire. Many organizations consider it in poor taste for women to wear sleeveless blouses, or lace, and a number of orchestras have in recent years formally declared a ban on perfume (since it makes it difficult for wind and brass players to breathe).

PREPARE MUSICALLY AND PHYSICALLY
One night I actually fell asleep while playing a ballad with a group. I woke up and realized I was looking at the floor and was holding one note and everyone in the band was staring at me! The irony here is that while it is one sign of success when you are busy, but if you are too busy the quality of what you present may go down, (not to mention, the increased potential for mistakes in other areas). This is not always feasible, but try to balance your life and work. Learn how to take short "cat-naps." If there is music to practice for a given gig, plan ahead and practice it. Do your best to be well-prepared and well-rested for each gig.

I've been a professional bassist for 26 years and I’ve learned that if you are simply open-minded and observant, you can learn a lot. The fact is that we all learn by a combination of good advice, observation and making mistakes. But a wise person learns far more from others than from trial and error, and the fool just doesn't really learn much at all.

I hope that these things become your internal motivation, part of how you approach everything, even when a given situation does not require it. As the saying goes, integrity means doing the right thing, even when nobody is looking.

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This article will be published in an upcoming issue of "Bass World," the I.S.B. Journal."

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