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| My favorite sitting in moment, Fall 2012 at Hamilton (L-R) Bucky Pizzarelli, Randy Sandke, Monk Rowe, Peter Appleyard. |
A musician’s definition of “sitting in” is to
participate in a working group, as a guest, usually to play a couple of songs.
This usually occurs at the invitation of someone in the band. I have done my
share of sitting in over the years, and more recently have been the inviter.
The experience can be a valuable learning tool, requiring a player to
demonstrate adaptability as well as performance skills.
We should make a distinction between sitting in and a
jam session. Jam sessions are loose gatherings of musicians, probably without a
set list, often with no defined leader, basically a group sit in. The situation
we are discussing here is when an individual temporarily joins an established
musical group. Sitting in should not be a complicated affair, but there are
definitely some things to do, and not do, when it comes to functioning as a
guest with a working band. I’ve listed some below.
DO listen to a group play a few tunes before you
decide that you could make a decent contribution. This listening includes
observing the chemistry of the group, their volume, the intensity, and the
length of the individual solos the members play. This will serve you well if
you end up playing with them, as you can become as close to a member as possible.
DON’T assume that any particular group will adjust their performance to your
style of playing.
Secondly, find a way to introduce yourself and
perhaps facilitate an invitation. For instance, if there’s a fellow saxophone
player in the group, you might introduce yourself by saying “I really enjoyed
your chorus on [insert relevant name] song,” or “your tone on that ballad was
really enjoyable.” You may introduce yourself as a saxophonist and see what transpires
from there. Don’t take offense if you broach the subject about sitting in first
and receive a “no thanks.” There’s more than one reason that a band would not
have people sitting in, and it may not be personal.
DO listen for cues from the person who invites you to
come up and play. For instance the leader of the group may say, “we’ll call you
up during the next set to play a song” or “to play one or two songs.” This
wording is chosen on purpose because it leaves them the option — if they don’t
particularly like the way you play — to have it end fairly soon. A band leader
or band member will rarely say, “come up and play the whole next set with us.”
If they don’t know who you are or how you play that is too large a gamble. Your
responsibility in this regard is to not overstay your welcome. If a band leader
says “come up and play a tune,” and you do so, at the end of that song you
should make the motions of exiting, saying “thanks, that was a real pleasure.”
At that point you may be invited to play another. If not, everybody’s
comfortable with the situation. DON’T stand there expecting to play more when
you were invited to play one song.
This is a really important DO: have five to ten songs
ready that you have done your homework on, that you know you can successfully
pull off. These songs should be appropriate for the genre, whether they be
classic jazz, bebop, or blues, depending on the group you are hoping to join.
Upon invitation, DON’T get up to the bandstand and, upon being asked the
question “what would you like to play” answer “whatever you want,” or even
worse, “I don’t know.” If a bandleader is polite enough to offer you the choice
and you turn it down you are missing an opportunity. If the leader then calls a
tune you don’t know, you will be in the unenviable position of saying, “I don’t
really know that.” This is definitely the wrong way to start the experience of
sitting in. With blues groups this is somewhat different. Most blues are based
on the twelve-bar form, and sitting in can be an easier process. I have played
with blues bands where they call a tune that I don’t know, and the guitar
player will simply say “it’s a shuffle in G.” A musician familiar with the
genre can usually function pretty well in this circumstance. But jazz gigs are
different. There’s a standard group of songs that you should choose from and be
able to play without a “Real Book” in front of you.
Watch for cues on the bandstand when you start
playing. The members of the group will usually give visual or physical cues
about who’s going to take a solo, when it gets passed on, if there’ll be
trading four-bar solos with the drums, and all those things that go into the
etiquette of a jazz performance. If the band has a singer, make sure you DO NOT
COMPETE WITH THEM. Vocalists abhor this. Adding unwanted background licks may
terminate your welcome. The only exception is in the blues; in those
two-measure spots where blues lyrics end and comments are made by horn players
or guitarists.
If you’ve been invited to sit in sometime during the
set, especially if you’re a horn player, have your instrument out and ready to
go. I recall occasions where I have invited someone to sit in and when I called
them up they said, “okay, I’ll go out to my car and get my horn.” There goes
the momentum. Conversely, don’t stand next to the stage waiting for your cue.
Allow the leader to bring you up when appropriate, but be ready.
After you leave the stage, DON’T immediately depart
the club. This is rude. Hang out and speak to the members on their break and
try to cement your relationship. At this time, it’s fine to offer your business
card to someone in the band. You might preface this with “if you ever need a
sub or care to make a referral for a gig you can’t do, I’d be happy to give you
my card.” Above all, DON’T take this moment to approach the club owner to
suggest that your band be booked at this venue. This is a classic attempt at
gig-stealing; a surefire assurance you won’t be welcomed into the circle of
local musicians.
Lastly, don’t think of sitting in as a competition.
The gunslinger mentality that we read about in jazz history books, such as
those heady days of all-night jazz jams in Kansas City is mostly gone. In that
era, young players would blow into town and set up a confrontation, trying to
make their reputation overnight. The object of sitting in now is to introduce
yourself to fellow musicians or gain a bit of onstage experience if you are
just starting out. If you are prepared and handle it well, it might lead to a
gig. Think of it as being a visitor in someone’s home or a guest at a meeting.
Make your contribution. Don’t overdo it. Don’t overstay. And lastly, don’t
overplay.
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