Post 581: MAY AND SHAYE - 'THRILLER RAG'

Thriller was one of the rags composed by May Aufderheide. She wrote it in 1909. May was also the composer of 'Dusty Rag', which is still a favourite with our bands.

I think May would have greatly enjoyed hearing Tuba Skinny, in 2017, adding Thriller Rag to their repertoire. As so often, we have to thank the videomaker RaoulDuke504 for recording their performance for us. You can watch it BY CLICKING HERE.

I believe the sheet music starts with the instruction 'Not Fast', but Shaye Cohn chooses to ignore this and play the piece at a pretty quick tempo. I don't think May Aufderheide would have disapproved of the effect this achieves. Such a tempo certainly provides the basis for 'thrills'.

In fact, although the whole band plays well, I think this performance is in particular a tour de force by Shaye herself.

The four-bar Introduction (from 10 seconds into the video until 14 seconds) is possibly the most thrilling part of all. Shaye leaps to the high Ab and rapidly tumbles down through arpeggios on the Ab diminished chord.

The Thriller comprises two 16-bar themes. Tuba Skinny play through Theme A twice, during the second of which (at 34 seconds) Shaye introduces some interesting variations. When they come to Theme B (54 seconds), Shaye frequently plunges down to the Ab below the stave; and yet then leaps up two octaves to the Ab above the stave for more of those descending arpeggios (e.g., 1 minute 08 seconds). This is something very difficult to do on a cornet, especially at this speed. I am not even sure I have heard Shaye do such a thing before. It's a sign that she is at the height of her powers and full of confidence.

By the way, from all I have said, you may have inferred correctly that the band plays Thriller Rag in the key of Ab - the key in which May Aufderheide composed it. But some bands (certainly here in England) have taken to playing it in F, which is - in a sense - cheating but makes it a good deal easier on the lips!

Also notice how well Shaye directs the performance. In addition to making it clear which instruments are to take 16-bar solos, there are at least six other discreet signals:

2 mins 10 secs: All the 'front line' to join in.

3 mins 09 secs: Return to Theme A.

3 mins 29 secs: Switch to Theme B - finger pointing down:

3 mins 43 secs: Washboard to play the 'break'.

4 mins 03 secs: Front line to play the break.

4 mins 08 secs: Final chorus (leg extend signal).

Post 516: HOW TO MANAGE A JAZZ BAND

It's tough being a band manager. That's why I think it's the duty of all members of a band to support their manager in every way they can and to appreciate his efforts on their behalf.

What do you think is the most important skill a band manager needs? Playing an instrument outstandingly well? Wrong. If you want to run a band that attracts plenty of worthwhile gigs, your business skills are likely to be more important than your musical skills.

In my view, here's what a band manager needs.

1. Man management

Recruit the right musicians and keep all members of your band content and well-behaved - and happy to be part of the team.

2. Customer-relation skills

Courteous and meticulous attention to customers' comments and correspondence.

3. Common sense

For example, don't waste time quoting a fee the client obviously can't afford. Don't play music inappropriate to the occasion.

4. Musical expertise

Obviously essential, but less important than business skills.

5. Optimism

Don't be disheartened by knocks and setbacks. Always smile and look cheerful on stage.

6. Policy

Costume, style, repertoire, etc. Read my blog post about this by clicking here.

7. Willingness to devolve

Let other members of the band be the Musical Director and the Announcer if they are better qualified for these duties.

8. Business and marketing skills

Publicise your band in the most effective ways. And always have business cards available. 

9. A sense of humour

An obvious help - especially in the jazz world.

Here's another bit of advice. Communicate with your audience!

I remember a classical music concert at the Wigmore Hall in London. At the start, amidst applause, the musicians walked on to the stage, and without a word took their seats, played their two pieces, bowed and went off. After the Interval, exactly the same procedure occurred.

The musicians were some of the best in the world. Their playing was sublime. But throughout the two hours of the concert, nobody spoke one word to the audience. This is a convention with some classical music performers, but I think it is a pity. 

I have attended some classical concerts where the musicians have told the audience something about the music and have given a few other bits of information about themselves and where else they will be playing. On one occasion The Wihan String Quartet pleased the audience with a question-and-answer session.

In traditional jazz, too, when you have been booked to give a formal concert and your audience is politely seated, listening attentively to all you play, I think it is important for the band leader - or someone acting as spokesperson/announcer - to have a few words with the audience between tunes.

Speaking to the Audience:
Kenny Ball was a jazz musician who
set a good example.

This is good for achieving a rapport and is also helpful in letting the audience know something about the tunes, the history of our music and about the band.

It is inexcusable to take no notice of the audience between the end of one tune and the start of another, as I have occasionally seen bands do. Why do some bands not even tell the audience the titles of tunes with which they may be unfamiliar?

Remarks to audiences don't have to be profound or scholarly. They can be relatively trivial. For example, you could say which towns the musicians come from. You could say where you have been performing recently. You could tell them it's the banjo player's birthday. Little scraps like this help to establish a good relationship.

And don't feel compelled to tell jokes. There's no need to do so unless your timing and delivery are good and the jokes are of a kind that will not give offence.

Speaking to an audience is not easy. So regard this as another skill you need to develop. It may even be worth practising things you will say.

Something else to avoid is the poor discipline we often witness. Between tunes, members of the band on stage talk among themselves and guffaw at each other's comments - while the audience is left with no idea what is going on.

And there's no excuse for the band members to argue among themselves about what to play next, while the audience sits waiting. From the audience's point of view, this kind of behaviour is irritating. But some bands are guilty. Cut it out!

Post 449: BAND-LEADER'S HEADACHES

I have written before about how hard it is to be a good and successful band-leader. Special skills are needed, as well as the capacity to remain cheerful and optimistic even when things are going against you. I think it is very important for all musicians to be supportive of their leaders. It is the leaders who obtain the gigs and who have all the hard work behind the scenes.

I would not want the job. I don't consider myself capable.

However, I receive an occasional request (perhaps once a year) to provide a band for an event; and I do my best to oblige.

I was once asked at about a month's notice to provide a band for a birthday party to be held during a Bank Holiday (i.e. a national holiday here in England). I contacted some fine musicians and they all agreed to play. So I replied to the enquirer that I would provide a band. But in the week that followed, two of the musicians found they could not play after all. Oh dear.

I struggled to find replacements. As the gig was on a Bank Holiday, when there is a great demand for bands, most other musicians were already booked. Two string bass players were available but I obviously could not use both of them. It was almost impossible for me to recruit a satisfactory balance of instruments.  Eventually I managed to put a band together, though it involved one player kindly switching from his usual instrument to his 'second' instrument which he had not seriously played for a couple of years.

Luckily, in the end, The Pops Coffee Cappuccinos worked well together and the gentleman and his guests were very happy with our music. We were warmly received and made to feel part of the party. In addition to being well supplied with drinks, we also enjoyed the bonus of an excellent meal.

But the experience had given me a further reason for admiring our regular band-leaders and sympathising with the headaches that are part of their job.

Post 438: AT THE JAZZ BAND CONCERT - PLAYING REQUESTS

It often happens - especially at less formal gigs - that bands receive requests from the audience to play particular tunes.

Should the band play requests or not?

I have come across bands who have a fixed playlist to which they adhere rigidly, refusing to take any requests. On the whole, I think this is a pity. However, I can appreciate that the musicians in such cases want to sound as competent as possible and want to be heard at their best, especially if they have a well-prepared, well-rehearsed programme.

Sometimes a band receives a request that seems crazy in the circumstances. For example, a trio comprising clarinet, guitar and string bass is asked to play South Rampart Street Parade - a number that requires a big band and, ideally, at least one powerful trombonist. Or you have a request to play Stranger on the Shore (a clarinet feature) at a time when there is no clarinetist in the line-up. The person making the request is thinking of the pleasure he derived from recordings and is unable to grasp the limitations of the instruments in front of him.

Surprisingly, I have seen some musicians attempt to oblige even when 'asked for the impossible' in this way; but the result is more often than not disappointing. So it is better to deflect such requests and explain why they are impractical.

An irritating experience that I'm sure many musicians will recognize is this: someone comes up to you and requests a tune; you agree and start playing it for him. Then you notice that he has wandered off into the distance and is in animated conversation with somebody, neither of them bothering to listen. What is the point of such requests? I have no idea. Maybe such people simply wish to show off to their friends that they actually know the name of at least one tune!

I have been present on occasions when a band has been requested to play a tune that is obviously not in its repertoire. Two or three of the musicians say they vaguely know it and the band agrees to 'give it a go'. The result has usually been messy and it would have been better if the band had simply declined the request. I accept that audiences seem to admire these brave attempts but on the whole I do not think it is good for a band in public performance to be seen struggling.

The tunes most often requested (in my experience) are When The Saints Go Marching In, Sweet Georgia Brown, Stranger on the Shore, Twelfth Street Rag and Tiger Rag. All bands can play these very readily - they have had to do so hundreds of times. Some musicians groan when they are asked to play When The Saints yet again; but it is their job to please the public, so their best tactic is to blot out memories of all previous performances and do their best to play the tune in a fresh and appealing manner.

On the whole, I think bands have to put the customer first and should welcome requests. But they should also be prepared to say a polite 'No' rather than risk making fools of themselves.

Post 300: ARRANGING JAZZ BAND MUSIC - THE THREE METHODS

Before a band plays a tune, it needs to have some idea of how to tackle it. In which key will it play? Who is going to state the melody in the first chorus? Who is likely to take solos, and when? Are we going to do anything unusual, such as playing a verse after a chorus?

A correspondent in the USA has asked me to say something about how musicians answer these questions.

There are three ways in which the questions can be answered. Most bands use METHOD ONE (On The Fly) for most tunes and METHOD TWO (Head Arrangements) for a few tunes. Very few bands use METHOD THREE (Orchestration).

METHOD ONE: ON THE FLY

There is no preparation. Someone picks a tune and a key; someone beats it in; and away they go. Musicians who often play together know well what everyone is expected to do. During the playing, the Leader may signal to individuals to take a chorus or half-chorus or middle eight, and may indicate whether some particular sort of backing to solos (e.g. stop chords or offbeats) is to be provided. The Leader can even signal a change in key: fingers representing the number of flats [down] and sharps [up] are a popular way of doing this. The Leader may signal a return to the first theme (usually by pointing upwards or by tapping his hand on the top of his head). The Leader will usually signal the out-chorus. If there is to be a tag, this is likely to arise spontaneously, with one player leading it and the others instantly joining in. This method is used and works very well for 90% of all tunes performed by traditional jazz bands. It often has great results. It is particularly suited to 32-bar standard tunes.

METHOD TWO: HEAD ARRANGEMENT

Before the performance, the band is likely to have rehearsed the tune or at least to have agreed who will do what and when. All the members of the band have to remember in their heads what has been agreed: hence the expression 'head arrangement'. Head arrangements are more likely to be used with complex tunes, rather than with straightforward 32-bar standards. A specimen head arrangement is as follows. I'm using the tune She's Crying For Me (Santa Pecora, 1925) and I'm showing you the head arrangement currently being followed by one of my local bands.

She's Crying for Me
1. Theme A : 16 Bars in F minor. Ensemble. Once.
2. Theme B : 16 bars in Ab. Ensemble. Twice - second time at Bar 15 merging into BRIDGE.
3. Bridge : Start on Bar 15 of Theme B; add 4 bars transition to F.
4. Theme C : 12 bars in F. Ensemble.
5. Theme C: Trumpet 12-bar solo with offbeats from rhythm section.
6. Theme C : Piano 12-bar solo, ending with transition to Ab.
7. Clarinet solo Ab on Theme B (16 bars).
8. Trombone solo on first 8 bars of Theme B.
9. Ensemble final 8 bars of Theme B.
10. 2- bar tag (trombone). All in on final note.

Most bands have in their repertoire a few tunes at least  that involve a head arrangement, though I know of one adequate and entertaining band that does not bother with any and sticks entirely with METHOD ONE.

METHOD THREE: ORCHESTRATED

Parts are printed or written out for the instruments and these will either have been learned by heart or will be on music stands in front of the players. This is particularly necessary with big bands where the effects can be terrific when, for example, the parts of the reed players are scored in close harmony.

I have seen this method used only occasionally by conventional traditional jazz bands: mostly it is used by beginners who have purchased some 'dixieland arrangements'. These published arrangements are good and will usually include provision for improvised solos: the orchestrator prints the chord sequence and leaves you to create your own solo. In traditional jazz, METHOD THREE has a place but it should be used sparingly. It can take some of the 'soul' and spontaneity out of the music.

Jazzers in the Seventeenth Century using METHOD THREE

======================
FOOTNOTE
The book Playing Traditional Jazz, by Pops Coffee, is available from Amazon.

Post 281: KEEPING THE MUSIC ALIVE - A YOUNG MAN'S VIEW

When you come across an Englishman who is still in his early 20s and who enjoys playing traditional jazz and has strong opinions about it, you have to sit up and take notice.

Laurence  Marshall (sousaphone, trumpet, washboard, whistles, trombone, vocals) while still at school in Scarborough (on the north-east coast of England) organised the young group that calls itself The Jelly Roll Jazz Band. They are still playing together a few years later.

I found the opinions of this young man well worth noting.

I sort of got into trad jazz around the time I was getting into the Bonzo Dog Doo-Dah Band. I was into magic and art and stuff, and I think trad jazz is just good fun.

We initially set up the band for a church fayre. As I wanted to play sousaphone, I borrowed a tuba and wrote out some march cards with tunes on that I'd picked out from listening to bands and from what sheet music I could get hold of. We soon started busking - I eventually bought a sousaphone. We did a lot of busking, and trad was perfect as the repertoire we played was happy and upbeat and lots of people know the tunes in the backs of their heads. It always made us some pocket money and it's very fun music to play as you can do whatever you want really. 

I don't think it's particularly intellectual or academic music, which draws me even more to it. It is about making a good vibe, and as buskers we're good at that - we have a laugh and muck around and enjoy the more abstract instruments such as the spoons and washboard. So really it wasn't that I got into trad: it got into me.

It is just a music which I think suits certain people, as I feel it definitely has an ethos to it. We all get a lot of enjoyment out of playing it, and listening to other people who like doing the same sort of stuff as us. 

I now play full-time - mainly old jazz, r'n'b, and novelty music as well as everything else. I like to stay open to a lot of music, unlike a lot of trad fans. I've had people walk out of trad jazz clubs because there was a violin in the band. I think this is the reason a lot of young people don't get into trad - because of some of the narrow-minded older people who work hard to put people off. These people have no ownership of it. Although they came up through a trad revival in the fifties, this was all just copied. Neither the fans nor the musicians had anything to do with the origins of the music, and in fact did little to develop the genre. This is why fans should be open to creativity and development within the genre. Otherwise they are pinning it down, saying it has been made so now let's box it up and look at it in a reminiscent way, back to when we had "our" revival. 

But if trad is to attract a younger audience, young musicians playing this style must be celebrated and the ways they change and embrace the music must be encouraged, or we are just trying to remake a remake. I think a big thing for clubs would be to lose the word 'jazz', as a lot of people misinterpret that as meaning atonal, eyes-down, non-entertaining and non-inclusive. But trad is the opposite to that, and it seems popular as a jazz sub-genre because there are many young people who enjoy the associated fashions and swing dancing. 

As a musician I enjoy the accessibility and the room for self-expression. I enjoy the effects and trickster ways in which you can play your instrument, and the ways in which gags and a bit of goofing around only add to the music. 

This is a bit of a rant, but I think that the trad community needs ranting at, as although what I have said is not true of everyone (I have had wonderful times and seen nothing but encouragement from many clubs), it does apply to those who are stuck in their ways and do not offer a welcoming, open audience for bands, new fans and dancers and who therefore may put off young people. I suspect many of these kinds of people don't want young people in 'their' clubs, but without breaking down age barriers and integrating, the music will be buried with its audience. 

We should all love trad together and embrace how the music is living and breathing now in our modern society, so that we can all share a lot of stories of past gigs, future ideas and silly lyrics, and have a good knees-up.

What a lot of wisdom from young Laurence!

Post 238: THE BIZARRE AUDIENCE

Why is it that many people like to talk - often at the tops of their voices - while some of the world's greatest and most creative musicians are playing sublimely only a few yards away? Audiences would not do this at a concert of classical chamber music. (And traditional jazz, in my view, is a branch of chamber music.)

Yes, members of traditional jazz audiences can be strange. I am reminded of audience behaviour I have noticed in the past.

You often come across someone who gives a band-leader a 'request' and then walks away, gets into a conversation and doesn't bother to listen when the band plays the tune.

I'm also surprised that some people who claim to be 'jazzers' or 'jazz buffs' are unable to recognise even the most common tunes from the traditional jazz repertoire.

A revealing incident occurred when I was playing in an English pub with just three other musicians: we were clarinet, cornet, banjo, string bass.

A gentleman called out, 'How about giving us South Rampart Street Parade?' Our leader replied, 'It's really a big band number. It's a tune that needs a trombone - and we haven't got one. If we try it, it won't sound good. And in any case we've never played it together before.'

So we ignored the request and played the next tune in our programme - The Darktown Strutters Ball. When we finished it, the same gentleman stood up, applauded loudly and said, 'There you are! You can play South Rampart Street Parade! Don't ever tell me again that you can't play it!'

I'm also often surprised when there is some really poor playing and yet the audience applauds heartily. For example, some member of the band takes a 32-bar solo chorus in which he obviously makes a few mistakes, hits some horrible notes, loses the harmony for a bar or two and knows very well that the sounds he is making are far from what he is attempting to make. And yet the audience still applauds at the end of the solo. It seems to be ritualistic rather than truly appreciative.

Similarly, when at the end of a mediocre performance I hear people giving it high praise, I sometimes wonder whether we have been listening to the same music. What exactly have they been hearing?

Conversely, isn't it strange how unresponsive some audiences can be, even when terrific traditional jazz is being played?

Friend and fellow trumpet player Richard Boswell from the south of England asked me to have a look at a YouTube video of Rod Mason's Band playing Grandpa's Spells in Germany. The year was 1986. It is a lively well-drilled and well-arranged performance, technically brilliant. And yet, as Richard pointed out, the audience (of whom we see quite a lot) looks uninterested, uninvolved and unresponsive. They almost look as if they are attending a funeral. (To be fair, there is just a hint at the end of the video they they were at least going to applaud.)

Click here to see the video.

All this reminds me of an incident that occurred in April 1993. I was in New Orleans for the French Quarter Festival with a party of 40 jazz fans (members of The Ken Colyer Trust) from the U.K. Quite a few treats were included in our programme. One of these was a Sunday Jazz Brunch in a top hotel - the Westin. Right beside us, as we dined, a superb band led by Clive Wilson was providing rich entertainment. His band included some of the very best musicians playing traditional jazz anywhere in the world at that time.

But I noticed that very few people in the restaurant - even among our own party - were paying attention to the music. There came a point when Clive launched into West End Blues and gave us the full Armstrong version - effortlessly (it seemed) playing that amazing opening cadenza and then even playing beautifully all the high-note stuff in the later choruses. It is no exaggeration to say it was sensationally good. Yet, at the end, nobody took any notice. I was the only person in the entire restaurant who applauded. 

Clive Wilson

When the band took a break, I had a word with Clive, mainly to say how sorry I was and to offer a kind of apology on behalf of all the customers. Clive graciously told me not to worry. He said the musicians were accustomed to that sort of thing.

It is a measure of how much the incident disappointed me that I still remember it so well.
==============
Footnote:

Henry - a banjo and keyboard player in Princeton, New Jersey, has emailed me to say his band (The Hot Taters) does its best to hold the audience's attention by marching in at the start (and out at the end) and by wearing flamboyant capes, masks and hats. He says the audience responds to this and the musicians consequently play better; and everybody enjoys themselves more:

Post 211: TELEPHONE BANDS

Maybe you have heard the expression 'telephone band'. Even if you haven't, you can probably guess what it is. There are plenty of telephone bands operating in the field of traditional jazz.

What happens is that a bandleader builds up a list of traditional jazz musicians in his region (several for each instrument) but does not decide on the personnel for a particular gig until after he accepts the booking.

He then phones round among the musician contacts, taking into account the need to have a balanced band, with the appropriate range of instruments, and also considering which musicians live nearest to the venue, thereby avoiding long-distance travel. The chances are that all the musicians on his list are already players in other bands, so he can book them only if they do not already have a gig on the date in question.

Such bandleaders and agents are in a sense 'fixers'.

Even some well-known bands are in effect 'telephone bands'. You may notice frequent changes of personnel. This is because the leader has a pool of musicians from whom to choose.

Usually it is musicians who have gained wide experience and met many players over several years who decide to run one or more telephone bands. One - or more? Yes, we have a famous fixer in England who sometimes puts out two or three telephone bands to play in different places on the same date - for example on New Year's Eve, when there is great demand.

Obviously a telephone band is a strange animal, because musicians can find themselves playing a gig with others they have never met before.

Such bands will not have had a rehearsal and the tunes they play will probably all come from the straightforward core repertoire. It is unlikely that any of the musical arrangements will be very complex. But audiences tend not to notice these things.

However, the standard of a telephone band can be high. This is because such musicians are usually very experienced and competent. With a few brief words, they can agree the way a tune is to be treated. (For example, the leader might whisper: 'Play A - B - C - then back to B and stick on B').

They can even look like a regular band, especially if the leader requests them all to turn up in shirts of the same colour.

The musicians themselves derive pleasure from meeting, listening to and working with each other. They can learn much and also with good teamwork produce some high-quality music.

There are dozens of telephone band performances in England every week; and I guess the same must be true of most other countries where traditional jazz is played.

If you are thinking of setting yourself up as a bandleader, this is one way of going about it.

By the way, a telephone band is in some ways similar to a 'pick-up band', though not quite the same. Pick-up bands are put together for special projects, such as a providing a backing group for a recording, or accompanying a singer on a tour. They are likely to be technically highly-skilled; and they are also likely to rehearse seriously together before undertaking the work.

Post 72: ENDING THE TUNE

A musician who is uneasy about confusion in bands when they are bringing tunes to an end has suggested I write on this topic. I'm happy to do so, for reasons that will become obvious.

I don't enjoy hearing bands ending a tune in a messy way - and I'm sorry to say this happens all too often. At worst, some of the players in the band think they are on the Out-Chorus and play an 'ending' while others keep going into another Chorus. The result is a shambles. Another type of messy ending occurs when one or two clever-dick players at the end of the tune take it upon themselves to play a few extra notes or start a two-bar or four-bar 'tag', forcing the other players to snatch up their instruments and try (unsuccessfully) to give the impression this was intended.

So this is a topic every band should talk about. A policy should be agreed.

The simplest solution is the 'chopped' ending. I like this. For example, every player stops dead on the first or third beat of the 32nd bar in a 32-bar Out-Chorus. This always has an impact, it sounds dramatic and it impresses the audience. Listen to the end of this performance for example: Click on here.

But if you must add something, then everybody needs to know that there will be a 2-bar or 4-bar tag (usually through the chord sequence IIm  -  V7  -  I), or even possibly that the final eight bars will be repeated. These endings should be polished at a rehearsal. Or at least they should be discussed and agreed in advance.

Of course it's essential that all members of the band know when the Out-Chorus is happening. The simplest solution is for one musician (most often the trumpet player) to give an indication by raising his instrument and ensuring that all can see it. (When playing seated, sticking out a leg has become a fashionable signal.) But there are more subtle methods. You can surely devise one with your colleagues easily enough.

Sometimes a problem is caused when a singer is delivering the lyrics in what might or might not be the final Chorus. Do we play one more instrumental Chorus after the singer, or do we bring the song to a conclusion on the singer's final note? Someone must clearly decide and signal. 

Another idea is to get away occasionally from the conventional barn-storming Out-Chorus ending. This requires pre-planning or discussion. How about devising a quiet low-octane ending (possibly with only two or three instruments playing the final 16 bars)? It can be very effective and give the audience a pleasant surprise.

Several famous tunes have acquired special codas and endings that have become an almost obligatory part of the performance. Think of Screamin' The Blues, Bouncing Around, Black Cat on the Fence, Joe Avery's Piece, Panama Rag, Perdido Street Blues, Pasadena. And there are a few tunes in which the Coda is by convention a repeat of the Introduction, examples being Bogalusa Strut and Clarinet Marmalade. If you are playing such tunes, you probably know what is required. But in such cases there's no harm in checking first that all members of the band are clear about what they have to do at the end.

Most bands these days play a great fun ending to Climax Rag (an ending which, incidentally, could be used with many other tunes). Everyone needs to know it's coming and that the little 2-bar phrase will be played twice - no more, no less:

Click here to enjoy it.

Post 47: SUPPORT YOUR BAND-LEADER!

It is hard to understand why anybody would want to be a leader or manager of a traditional jazz band. I can think of eleven tricky and demanding things they have to do, usually for a negligible financial reward. They must:

1. recruit a team of good musicians who can be relied upon both to play and behave well and also to turn up punctually for gigs.

2. have considerable man-management skills, both in dealings with customers and with members of the band.

3. spend time and money on publicity, advertising and band promotion.

4. seek and chase after all possible offers of gigs.

5. negotiate terms with bookers.

6. cajole musicians into attending rehearsals; and cajole musicians into playing some gigs for almost nothing or for just one free drink.

7. communicate well, so that all the musicians know exactly where and when the gigs will take place.

8. decide on and establish policies for such things as band costume and repertoire.

9. devise play-lists for performances.

10. write out chord charts or music for musicians who may need them.

11. handle the finances of the band, and obtain the agreed fee from the booker (not always easy) and pay the musicians.

On top of all this, it helps if the leader has a strong and pleasant personality and can use this in communicating with audiences.

Despite all these demands, there are - thank goodness - plenty of people who have set themselves up as band-leaders and obviously enjoy the work.

The point I want to make today is this. I think we should all give strong support to our band-leaders. Respect them for all the hard work they do to keep the music alive.

On very rare occasions, I have heard of a musician criticising or arguing with his leader. In my opinion, this is a mean thing to do.

If a musician would prefer to do things differently, he should try setting up his own band; then he would discover how hard it is to be a Leader.

Post 34: BAD MANNERS

Today I am Mr. Grumpy.

The Band is playing Margie. They have started with a couple of ensemble choruses. Now it's the turn for the clarinet player to give us his 32-bar improvised solo. But, as soon as he begins, the trumpet player turns to talk to the trombonist, and a moment later they both guffaw with laughter at some private joke, distracting our attention from the music. I can tell you that, in England, this sort of thing frequently happens.  I don't know whether it's the same in other countries.

It is bad manners. I suspect it is even one of the reasons why some people lose interest in attending traditional jazz performances.

It is bad manners to both the audience and the other members of the band, because the message it gives is 'The music these other chaps are playing is so uninteresting that we might as well talk among ourselves.'

Even the 'private joke' aspect is bad manners. If there is something really funny to be said, it should be said between tunes and shared with the audience.

I'm getting all this off my chest because a correspondent (who is not himself a musician) told me how irritating it can be to an audience.

Of course, talking is excusable if it is simply the leader quietly giving an instruction, such as 'Take the next chorus'; but even this can be done discreetly, usually with a signal rather than words.

In a certain great young American band (you know the one I mean) the only words you may notice are signals such as 'Threes!' (rhythm players to play only the first three beats of each bar) or 'Top!' (go back to the first theme).

Players should concentrate on the music - and that includes listening appreciatively to their colleagues. If they expect the audience to listen, surely the members of the band should set an example? We need to demonstrate that we care about the music.

But to end on a slightly less grumpy note, I must tell you about one recent occasion when 'talk' within a band was both excusable and amusing.

It was a gig in a hall where nobody was listening to the band. The entire 'audience' was at the other end of the hall, watching a football match on a giant TV screen. But the band had been booked to play. So they soldiered on. Confronted by such indifference, the string bass player - a very droll fellow - while still pumping out the bass line behind the clarinet solo said to the rest of the Band in a weary, plaintive voice: 'What is the meaning of life? Why are we all here? What is God's purpose for us on Earth? Perhaps life has no meaning.'

By the way, the very best audiences for traditional jazz are bovine.

You will know this if you have ever seen this famous video:
Click here to watch.