You have to hand it to solo artists. They carry a heavy load — the spotlight's always on them. Not only do they get the credit for a good performance, they also take the fall for a bad one. The glory — or the blame — is theirs alone.
That's not to say that solo artists never need help. Madonna is a solo artist, yet she has dozens of people backing her up onstage. In fact, the term solo artist is frequently a misnomer; quite often the soloist requires the services of a backing group or accompanist. It's true of Madonna — and it might be true of you.
Let's say you work as a solo singer and guitarist in small clubs. One day you land a gig opening for an arena act and decide that you want a bigger sound, befitting the larger space. Or perhaps you have an upcoming showcase and want to present an especially polished package for the industry types in the audience. Maybe you just like the sound of a full band but can't stand being in one. Regardless of your circumstances, you'll need to learn how to hire side musicians and keep them happy.
FINDING THEM
Word of mouth is the most common way of finding musicians. If you live in a major metropolitan area or a smaller town that has a vibrant music scene (like a college town), chances are good that you'll know or meet a lot of other musicians, and those musicians know even more musicians. If you live in an area with a small scene, the talent pool might be shallower. Regardless of where you operate, use your contacts among musicians to find players. Ask around about those who play your style of music. Find out who's reliable — and who to avoid.
Go to clubs and check out the scene. When you see and hear players you might like to hire at some point, introduce yourself after the gig; gauge their interest in working for you. Collect their names, phone numbers, and e-mail addresses. That way, you create a roster of potential supporting players you'll have at the ready. Having a number of musicians to choose from can help you cut down on last-minute scrambling.
Don't network just with other musicians; club managers, booking agents, artists' agents, and managers are also good sources. The American Federation of Musicians (AFM) might also be a useful option, depending on how active the union is in your area. Lloyd Moss, a session guitarist in Los Angeles, says that dealing with union musicians is only as complicated as writing a few extra checks. “In L.A., you can make any gig a so-called union gig by writing three checks: one to the musician, one to pension, and one to health and welfare,” Moss says. “It all adds up to the same amount of money.” AFM rules and benefits vary depending on the union local — for example, not all have health and welfare benefits — so be sure to check with your local union office to find out the procedures for hiring a union player.
MAKING THE PICK
Most artists don't have the luxury of conducting auditions before hiring. It's difficult to get musicians to audition for a run-of-the-mill gig. In general, auditions are held only for high-profile tours and for bands looking for a permanent member. If you've done your homework and seen prospective side players live, you should have a good idea of how they play. If you've narrowed your choices down to just a couple of musicians, you might get away with scheduling a brief audition to compare and contrast. You could also schedule a jam session, just to see how the prospective hires mesh with your concept.
Sometimes the type of gig and what you can pay will automatically limit your choices. Side players with solid reputations and several years of gigging under their belts obviously command a higher fee; they're also more likely to be picky about the quality of the gig. A gig for tips and beer at the local Bull 'n' Brew can be a tough sell to a veteran musician trying to make a living. On the other hand, a younger player looking to gain some live playing experience might jump at the chance.
Musical genre also affects your choice. If your bag is tightly structured pop, you'll want to hire someone who knows the style well and can play precisely what you want. If your music allows more room for improvisation, you might have a little more latitude in deciding who to pick. Occasionally, combining players from different musical backgrounds can add a new flavor to your set and make the experience more exciting for you. You have to trust the abilities of the people you hire, whether they'll be reading sheet music or playing on the fly.
PAYING UP
The bottom line is money — as in, how much can you pay? Once you have the players (or realistically, even before you've hired them), you must have a budget. The major considerations are how much you're being paid and the size of the band. Most of the side musicians I've spoken with expect club gigs to pay the least (only $50 to $75 per player, in most cases); showcases should pay a little extra ($100 and up) because they carry the potential of a bigger payoff. Weddings, corporate events, and private parties should pay more (anywhere from $150 to $1,000 per player, depending on the gig and the depth of the pockets funding it).
Other pay variables include how far the musicians will have to travel, the amount of setup and teardown time, the length of the gig, and the amount of preparation and rehearsal required. If you're trying to line up players for touring, you'll have to figure in daily expenses such as food and lodging, also known as a per diem. Frankly, unless you have some serious money lined up, hiring side musicians for a long tour is probably an exercise in futility. The best you can reasonably expect — provided you can line up a few solid gigs with decent guarantees — is to arrange a short tour at venues not more than a few hours' drive away. Even with that, you'll probably have to go with a stripped-down lineup until you can get a label or management to put up the money.
PREPARING FOR THE GIG
With your musicians secured, you need to get them up to speed for your set. Well before the gig, give them a CD or tape of the songs they'll be playing. Joel Maitoza, a session drummer in the San Diego area, has performed at numerous club dates, private parties, and showcases in his 28-year career. “Normally, I ask for a tape of the songs I'll be playing at least three or four days beforehand,” Maitoza says. “If I can get a tape a week prior and get in one rehearsal, then that's even better. If there aren't a lot of changes and such that you have to work out in rehearsal, a good drummer should just be able to walk in and do it.”
That may be fine for drummers, but guitarists and players of other melodic instruments often need more prep time, especially if the music is at all complicated. Some musicians like to lift their parts from the tape or CD, but many prefer receiving prepared charts as well. These might be chord charts or fully notated parts, depending on the player. That brings up the question of sight-reading: if you have notated music that needs to be read off the page, ask the musicians if they read before you hire them. Many fine musicians play by ear or read only number and chord charts. Don't assume that all musicians read music.
As with auditions, convincing side players to rehearse can be an ordeal. Nevertheless, try to get in at least one rehearsal before you play. Sometimes, scheduling headaches bring about creative solutions. Shelley Doty is a Bay Area guitarist and leader of the Shelley Doty X-tet; the X refers to the mathematics variable, indicating that the ensemble's size and personnel change from gig to gig. Given the group's nature, Doty has years of experience hiring side musicians. “I think I hold the record for introducing rhythm sections to each other onstage,” she says.
When it comes to rehearsals, Doty likes to get together with the bassist and drummer at least once. “If I can't, I get together with the new person — usually it's the bass player — and we rehearse pitches and chord changes,” Doty says. “I understand the importance of a rhythm section that is locking, but if this is the only way to work it, I have to teach the drummer and the bass player separately.”
Make it clear up front whether rehearsals are paid separately or are part of the agreed-on fee for the performance. If several rehearsals are necessary, you might need to pay your players extra. According to Moss, money issues should be discussed at the outset. “It's very important to set up the financial guidelines before you play — or even rehearse. Get them in writing,” Moss says. “If you're going to have a couple of rehearsals, are the rehearsals paid? Is there going to be cartage [an additional fee for transporting large or heavy gear] if I have a lot of equipment? Will I be paid for gas? When are they going to pay me?” It's not an issue of trust or mistrust. It's just business. When everyone involved understands the financial arrangements from the beginning, there's less chance of conflict or hard feelings down the road.
SOMETHING ON THE SIDE
In the beginning, hunting down good musicians to back you up will be a trial-and-error process. You will undoubtedly come across a few bad apples. In the end, though, you might just meet some amazing players, and, in the process, enrich your musical life.
