[Dixielandjazz] a sensible set list

[domitype and Associates]

Yeah, you have to gauge the audience for every gig, even if it is just the
“once a month” at the local pub. Things can change, and if you find a tempo
or beat that gets them dancing, run with it for a while! One of the older
bands I play in would take a 3/4 song and then shift to 2/4 to “jazz it
up.” I noticed that we were upsetting the dancers who really wanted an
extended waltz. I finally managed to convince the leader to keep it in 3/4
for the whole song, the dancers loved it.

Also, familiarity is a good thing to think about. The average audience
probably doesn’t want to hear the most obscure early Jazz tune ever
recorded, they want the hits. If you are playing for a “sit down festival
crowd” - that is the time to bring out the old odd ones!

I am not exactly an expert, only been playing Trad Tuba since the late
1970s, but I do watch the audience and dancers while I play ;-)

David Richoux

On Wednesday, February 20, 2019, <alevy at alevy.com> wrote:

> My nickel's worth (inflation),
> I played restaurants and clubs for about 30 years.
> Mostly with a quartet consisting of Trpt., Sax, Piano
> and drums. (That's Piano not Keyboard!)
> What is more, there was a time I booked 3 or 4
> bands for various locations,under my name, at the
> same time using sub-leaders.
>
> None of the above means I know what I am doing
> but here is what worked for me.
>
> I never used pre-conceived ideas for sets nor set
> lists. Instead I would eyeball the audience. That was
> for age groups, attention (are they eating or waiting)
> etc. I had to get a feel for what would grab their attention
> and get a reaction. If I saw tables with older people I
> knew a nice slow ballad would make it happen.
>
> A short story. I worked with a big band in Houston. I was
> called by a buddy on Long Island that the U. of H. was
> looking for a "Mew York" style band (whatever that means)
> for their New York Festival. I turned the phone number over
> to the leader I was working with. (mistake number one)
> The gig was on the Mexican border about 3 1/2 hours south
> of Houston. (Oh well) 5 sax, 4 trpts, 4 bones, 4 rhythm +
> three or four vocalists. I suggested he ask for $22,000.00.
> Nope! he signed a contract for $100.00 per man + travel expenses
> (another $100.00) and paid hotel.
>
> O.K.it would be an experience. I drove down with the drummer and
> one of the singers. (we split the cost) and I found a great Oriental
> buffet, half way to the gig. It was so good that we stopped there on
> the way home also.
>
> The party planners booked two bands. Two stages. We set up on one
> and the "authentic New York Latin group" set up across the way.
> I learned that they were flown in at the school's expense, free boarding
> and $1,000.00 per man! They weren't even New Yorker's but I never told.
> They were warming up with a two chord mambo and I kinda joined them
> from across the hall. My band leader, whom shall remain nameless, almost
> had a heart attack."Don't Do That!" I stopped. - The hall was empty,
> just people setting up tables, some security and us.
>
> We set up stands, lights, audio, microphones, music books and left for
> dinner. - 3 hours prior to the affair.
>
> When the dinner party / dance began the leader called "The Lady In Red".
> He wanted to show the Latin group what we could do.
> O.M.G.
> I screamed "No!"  Those guys will play modern day salsa with electronic
> gear, lights,
> special effects and more!.
>
> I played this dreary chart in high school, 1948.
>
> We played "The Lady In Red" with no calves, no maracas, no bongos, no
> timbale!
>   Yikes!
>
> Through out the first set I pleaded "play a ballad". There were lots of
> folks who
> looked like alumni and perhaps we could get them to dance.
> So, it was a disaster. He had to show me that he knew more of what to do.
>
> Our second set. The ballroom is full of lively people. The decor is paper
> machete
> images of the Empire State Bldg., the Statue Of Liberty, a mock up of
> Tines Square... on and on! He calls "Chicago" not the standard but from the
> Broadway show. Also - get ready with "All That Jazz"
> From the piano bench: Nooooooooooooooooo!
> Try "New York New York", you know, the sinatra tune.
> Nothing doing. He refused. Our audience reacted with a large round of
> indifference.
> I gave up and just followed directions for the rest of the night.
>
> I know that best, I am a trouble maker.
>
> End of the night: about thirty couples at tables talking.
> The other band left an hour earlier.
>
> Our guys were packing up.
>
> I didn't ask - I decided to play "Polka Dots And Moonbeams"
> nice relaxed pace. Don't you know - I had people getting up
> to dance. The bass player joined in, the drummer stopped
> packing up and joined in, a tenor man asked "can I?" and
> off we went into musician heaven.
>
> After "faking" a few more tunes, I like doing one or at most
> two choruses and then segue, we were getting requests!
>
> End result: after "closing time" we played for an extra hour
> taking requests and tips!
>
> That hour, for me, made the whole trip worth while.
>
> Back to the subject (in the subject heading).
> The quartet I headed in the 50's and 60's was primarily a "show" band.
> We played two dance sets and two shows a night. The shows consisted
> of an emcee, a comic, a singer, a dance team. a stripper and a female
> impersonator. Many names acts broke in their new material with us.
> The guys were good readers. We rehearsed the acts at a dinner table,
> singing our parts, picking out the "difficult" parts. That meant key
> changes,
> tempo changes, endings, intros and on like that. We had five or more
> acts, with three to five songs each - full rehearsal usually 15 to 30
> minutes.
>
> Dance sets - at last:
>  My sax player claimed he couldn't fake tunes, he lied.
> I was used to someone who could, so I started writing
> charts in spiral books for the 4 instruments.
>
> So, now we could fake a tune or two and then, at the same tempo
> turn to the "book" and sound more organized.
>
> I had arrangements in many tempos from ballads to peabodys,
> show tunes to ragtine, t.v. themes to be-bop.
>
> After a while you learn the "grabbers" and I chose them at the end of the
> set.
> You know - like "The Saints Go Marching In" or What A Wonderful World".
> As a matter of fact i don't know if we ever played either of those, just
> using
> the titles for examples.
>
> I will tell you this, I know that the drummer and I sat all the time
> and the other two could stand at will. I would only "stand" if
> I decided to do A Jerry Lee or Little Richard impression.
>
> I am a "ham" so despite my lousy voice I would sing. When the spirit hit me
> I would do impressions of George Shearing, Erroll Garner, Frankie Carle,
> Ray Charles, Nat Cole, Matt Dennis and others.
>
> In conclusion (at last) Check your audience. Try to put yourself in their
> shoes. Then, please them and most importantly please yourself.
>
> P.S. I still have those combo charts and they still work.
> Unfortunately,I don't.
>
> Cheers,
> Al
>
>
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