Lisa Henry


You Got the Gig, Now Show Up!!!
Here's a novel idea. When you agree to do a performance, SHOW UP FOR THE GIG!

Sounds simple enough, doesn't it? Yet, just in the past year, I -- and many of my colleagues -- have had the awkward and embarrassing task of having to apologize to a client or club owner and then explain why a member of the group has not shown up. The excuses are endless:

"I thought you were gonna remind me."

"I wrote down the wrong date."

"I got called out of town to do something else."

"Another gig came through for some bigger bread; I thought you'd understand."

And there's my all-time favorite:

"Aw man, I forgot."

Yes, there are some "cats" who don't show up, don't call, and who don't give you an apology afterward. And to say this behavior is unacceptable and unprofessional is only the beginning. It goes far deeper. It's the kind of thing that affects the economics of our entire jazz community. Allow me to explain.

When a leader books a job, it has probably taken weeks, months, maybe a full year to get the client to the point of signing a contract and putting down a deposit. (And you can add on a few extra months if the client had to be "heavily persuaded" to hire a jazz band, as opposed to a Top 40 cover band!) Now it's the day of the gig, and one of the band members is a "no show." Here's what's at stake:

BREACH OF CONTRACT. By all rights, the client could demand their deposit back if the composition of the band is not what he/she contracted.

FORFEITURE OF PARTIAL PERFORMANCE FEES. If the contract said "trio with vocalist" and the piano player doesn't show up, the client could insist on renegotiating the fee since everyone is not present.

REPUTATION OF THE LEADER. By not showing up for the gig, the absent musician has instantly put the leader's reputation at risk, possibly making it more difficult to book work with this client in the future. Moreover, this one client may tell other prospective clients about this negative experience with hiring a jazz band. If the leader cannot get work, then he/she cannot put other musicians to work.

EVERYONE ELSE'S LIVELIHOOD. "Once bitten, twice shy." There may now be a hesitance on the part of the client to ever hire a jazz band again. And if clients don't hire jazz bands, we can't make a living and feed our families. It's as simple as that.

These are just a few examples of how one person's behavior can impact an entire community's livelihood. As a jazz community, let's make a collective pact to be better professionals in 2002 and beyond. Make a personal commitment that your actions will reflect positively on the jazz community, and start by putting these tips in your gig bag:

1) Buy a calendar and write down all of your gigs. Be sure to include basic information, such as location of performance, start and stop times, dress and compensation.

2) Make Mondays your day to review and confirm gigs that are on your calendar for the week. Note any changes with the details of the gig (i.e. time changes, etc.)

3) If you are not near your calendar, and are asked about your availability for a gig, politely respond: "Let me check my calendar and get back with you." Then do so and give the person an answer within 24-48 hours.

4) If you are holding a date for a "possible" gig and a "definite" gig comes through for the same date, give a courtesy call to the leader or client of the first gig. Let them know that you have a definite gig opportunity, but wanted to check with them to see if you need to continue holding the date. Usually, they'll give you a definite yes or no on the spot. If not, you can give them a definite time by which you need an answer. 24-48 hours is more than sufficient, especially if you have been holding the date for two weeks or longer.

5) Network with other musicians who play the same instrument you play. If something comes up that is "beyond your control," you can offer to send a substitute musician in your absence. (Note: Be sure to let the band leader know about your situation and choice of a sub immediately, preferably before the gig. Remember, it is the leader's call to accept or reject the substitute musician you have suggested. If the job is a big band job that requires strong chart-reading skills, and you suggest a musician who primarily plays by ear, or has no experience in big band settings, the problem is still not solved).

6) Don't make a habit of canceling a gig just because another that pays $100 more came up at "the last minute." This behavior will cost you your reputation along with that $100 or more in the long run. This is still a business where your word is your contract, especially between musicians. If people can't trust you to keep your word, you probably won't get called for much work.

7) Remember the "Golden Rule." How would you feel if, after working for months to secure a gig, the piano player was a "no show"?

8) And lastly, please meditate on this: As jazz musicians, we stand on the shoulders of great jazz pioneers who suffered, starved and died to play this music. They were men and women who endured lousy working conditions, low pay, racism and a whole list of other deplorable obstacles that we modern day players can't begin to imagine. We have the luxury of contract riders that dictate comfortable working conditions because those who came before us did not.

Because of those pioneers who, among many things, showed up for their gigs, we can perform the jazz we love. Being professional -- and showing up for the gigs we have agreed to perform -- honors the legacy of the jazz pioneers and the legacy of the music.

Lisa Henry is a professional jazz singer, recording artist and an award winner at the Thelonious Monk International Jazz Competition. Contact her at rochellebow@yahoo.com.



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