[Dixielandjazz] Playing For Free

[Russ Guarino]

I once had a musician explain that he would rather stay home and watch a dark TV
screen than take a low priced gig or a freebie.  But there are situations where
a low priced gig or freebie makes sense. A public school student body assembly
is an example.

Russ Guarino

Steve barbone wrote:

> Tricky issue.
>
> Sometimes it is just fine to play for free, or for reduced rates. IMO, the
> test is: "Does it undercut the existing musical market"?
>
> If no, IMO, then free or cheap is often OK. Some Examples:
>
> 1) For a charity event where everyone has donated their services. Barbone
> Street does this a couple of times a year. However, I always pay the sidemen
> out of my leader fees earned on previous gigs and donate the band. By
> spending "my" money, I am sure to carefully evaluate the situation.
>
> 2) Where OKOM has never appeared before and a "NEW" gig is created. Some
> years back, a well known local OKOM band (not mine) booked a gig into
> Ortliebs Jazz Haus. Ortleibs is a famous Philadelphia venue for modern jazz.
> Way back when, Bird, Monk, Dizzy et al all appeared there. NEVER any OKOM.
> The leader booked a 7 piece band there for $350. He subsidized the sideman
> pay out of his own pocket so that several "stars" would come from NYC to
> play in the band. It was a GREAT BAND.
>
> Big hue & cry was raised by some other OKOM bands in the area. Like, "man,
> he is cheapening the market for OKOM bands there. Now we'll all have to work
> 7 piece gigs for $350."
>
> That was. IMO, specious reasoning. Because OKOM never had appeared there.
> The leader CREATED A NEW GIG for OKOM and did not undercut the existing
> market for OKOM gigs since there were none there previously. And nobody was
> holding a gun to the other bands heads and forcing them to play there.
>
> Playing fees vary widely with venue, event, etc. In a small jazz nightclub,
> you can't make a fortune with a 6 or 7 piece band. Simple economics. If only
> 50 people come out to hear you, or the venue only seats 100, you have to
> work cheap.
>
> The raison d'etre for these cheapos is that you usually book weddings,
> corporate events and other higher paying gigs through club dates. And jazz
> nightclub dates are usually the most creative and the most fun.
>
> The NYC OKOM scene is a perfect example of that. The TOP players in NYC
> often work for a mere pittance. ($25 to $50) Why? Because that's where the
> market is.
>
> You have Dave Ostwald's Gully Low at Birdland playing for the gate. When
> damn few fans show up, they play for coolie wages.
>
> But then there's Woody Allen at the Carlyle where the cover and drink fees
> are BIG. I suspect that band gets reasonably good money.
>
> Ask the others why they work cheap and they will tell you that they do it
> because they have to pay their rent and every $25 helps.
>
> It is a tricky issue. The working pros usually have to take all the gigs
> they can get in order to keep up. They're running as fast as they can just
> to stay in the same place. Some are lucrative, some are not.
>
> Bottom line? Just don't undercut the market or it will get worse. And focus
> on the development of that "New Audience", not giving away the music to the
> "Existing Audience".
>
> Cheers,
> Steve Barbone
>
>
>
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