[Dixielandjazz] Band Loyalty

[Stephen G Barbone]

On Mar 24, 2011, at 8:45 AM, dixielandjazz-request at ml.islandnet.com  
wrote:

> Bert Brandsma <mister_bertje at hotmail.com>
>
> This is an interesting topic.
> The problem has several points of view.
> - Having musicians play exclusively in one band only works if the  
> band has enough gigs to offer.
> - Jazzclubs that want bands without subs, should start with paying  
> bands professionaly.
> Both matters are kind of utopia and always have been so.
> The reason why even name leaders like Benny Goodman had a different  
> band every few months lies partly in the unstability in employment,  
> I think.They might have had regular dates for a while, but then  
> suddenly there was a time with nothing.
> You can't expect professional musicians to do nothing when the band  
> has no work.
> Then there is another matter, some musicians get bored after playing  
> too long in one band, so for people like that it is healthy to some  
> degree to change.
> Building really a good band with people like that is very difficult,  
> so a band leader has to be carefull with whom he wants to work.
> Playing exclusively in one band might work for amateurs, not for  
> pros, I'm afraid.

I'm with Bert on this topic. It doesn't work for professionals.

A pro cannot say to a booker, yeah I'll play in your band as a  
sideman, but if the Two Beat Stompers (my regular band) gets a gig in  
the meantime, I'll cancel yours. Once you take a booking, you are  
obligated to make the gig, with rare exceptions.

Like sometimes, one of my regulars will come to me and say; "I've got  
a chance to make $500 with XYZ band on April 10. Will you release me  
from my $250 gig with Barbone Street for that day?" Naturally I say  
yes and we use a sub. A pro performs to make a living and so I will  
always release one for a date when a high payer comes along.

I would also point out that my band has no regular residencies, and a  
small core of "regular" fans who follow us. We play a wide variety of  
venues and thus not too many folks expect to see certain sidemen. In  
fact, I doubt there are a lot of fans out there who regularly follow a  
particular band even though we'd like to think that they do.  Then  
again, when our regulars do see us with banjo tuba instead of guitar  
string bass they get a kick out of the difference in sound.

Plus, I front several bands under the name Barbone Street and several  
configurations. So I work fairly regularly with a rotating group of 10  
to 15 musicians. Thus the music is ALWAYS good. We do all head  
arrangements, never rehearse, etc., etc., we just play a lot of gigs.  
And since my sidemen are mostly old guys who have been pros for 50  
years or so, they know what they are doing musically.

And speaking of rotating personnel, the late Derf Nolde had a 25 or 30  
year residency at the Temperence House in Newtown PA. Every Sunday.  
And he rotated personnel. Usually he and the bass player were the only  
constant. Clarinets included, me, Jon Weber, Kenny Davern, Dan  
Levinson, Jerry Rife, Joe Midiri Orange Kellin, etc; trumpets included  
Dan Tobias, Mac McClaeb,  Bob Leive, Randy Reinhart, Al Harrison, Ed  
Polcer, etc. Trombones included: Glen Dodson, Alex Watkins, Clarence  
Watson, Dale DeFoe, Randy Reinhart, Paul Midiri etc. Drummers  
included: Tony Di Niciola, Mike Piper, Joe Mongillo, Jim Lawler, Dave  
Mohn, etc.

I don't think anyone who ever went there, and the audience included  
regulars who went every week, ever left disappointed. The band went  
under the name, Derf Nolde and his Keystone Five. IMO, The rotation of  
personnel is what made the music vibrant and interesting.

Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband