Its really quite simple. The duo got the gig because they are cheap or friends of the owner. What people will accept as musical entertainment is getting lower all the time.
A few years back a new Italian restaurant opened near me. A friend said "you have to check it out, they have a singer/piano player" So I went and in about 10 seconds I knew something was weird. Here's a guy sitting behind a curtain draped around what looked like a piano, singing, drinking and smoking. After a few songs I couldn't help myself so like in the Wizard of Oz I had to look behind the curtain. Here he is, sitting at a table with a CD player, ashtray (this is right before the no smoking rule) and a drink. Singing to CD backround tracks!!
Talk about PA quality. HA! A 6 channel Peavey mixer and one 12" speaker, on a stand facing backwards so he wouldn't be too loud in the dining area! Both pieces were left over from his band days in the 70's.
Guy was working there four nights a week and the customers liked it because he took their requests. Turns out I knew the guy from long ago and he used to have a band where he played guitar and did a lot of Sinatra. Told him I'd rather see him sitting on a stool with his guitar and doing something real and he laughed and said "why bother"
I can fine no restaurant work around here and the parties I do mostly could care less if I bring my keyboard or not. DJ'ing is whats expected these days and it makes me good $$$. Its amazing what they will pay to listen to CD's. Even the NH gigs are hiring DJ's
Still trying to keep the live thing going.

There are a lot of "pickers and grinners" working in Lexington. For years, the top money at patios and retaurants has been $150.00 for a 3-4 hour gig.

About 5 years ago, a bunch of folks came into the area and offered to do the restaurant gigs for $75.00 and that has been the scale for many of the 2nd tier places.


Most players have an acoustic guitar, and read lyrics and chords off of a music stand.
Their material is chosen because it fits their playing ability...three or 4 chords. It works for several reasons:

* About 10 years ago, a law was passed making it possible for any establishment claiming to sell 50% of their volume in food to get a very low-cost booze license. Previously, the licence was upwards of $75,000, depending on availabiity. All of a sudden, every corner establishment had a single or duo providing music. It was part of the mix, but not the draw.

* "Lowest common denominator". All the new places with booze licences didn't expect or get much from the entertainment. This opened up the field for the "three chord hoard/herd", and there are probably 200 in the area competing for 50 jobs. The result is price-cutting and back-stabbing on a major level.

Not many venues in the area use music or entertainment as a draw anymore.

I see where Rory is coming from. I used to travel to Nashville several times a month, and I heard great players working for nothing
on every corner.The guys working around here couldn't even cary these folks cases. Supply and demand, I guess.

But don't give up on live entertainment. All it takes is one. Went to a little after hours
place last Thursday and heard an outstanding young lady on piano who could really play, sing and entertain.

That made wading through the "slop" a little more tollerable. I just wish that choosing at least correctly performed, good to listen to music was more of a priority for local club owners.


Russ

P.S. Diki, you and I are thinking alike relative to solos and how to approach them....soloing with styles and the challenges there, etc. You nailed it!




[This message has been edited by captain Russ (edited 06-22-2009).]

About 5 years ago, a bunch of folks came into the area and offered to do the restaurant gigs for $75.00 and that has been the scale for many of the 2nd tier places.

This is the problem. For years, I loved playing in clubs and restaurants. I always had a big following and full dance floors. But these days I'm making 100 to 150 per hour in retirement communities and my private party fee is more than that and my calendar stays full. I still run into the old crowd and they're always asking where I'm playing. I tell them I can no longer justify playing in a night club. There's too much other stuff going on. Who would have thunk it?

Joe


[This message has been edited by captain Russ (edited 06-22-2009).][/B][/QUOTE]



------------------
Songman55
Joe Ayala

Joe, I'm, with you man...Same thing Gary has been telling me for a few years now. Never before have I been so tempted to drop the band stuff and just focus on my solo things...

Less stress, just as busy, better money, etc...

I know I'll finish out the year with the band but after NYE, things will be different, I think...

------------------
Bill in Dayton

[This message has been edited by Bill in Dayton (edited 06-22-2009).]

Doing solo work is tempting, but, man is it GREAT to play with others. That unspoken communication between players of like ability and attitude is awsome.

Solos are easier, but I'm not ready to go that route yet. Besides, the two other members of my group are my son (bass) and grandson( drums).


Maby someday...


Russ

[This message has been edited by captain Russ (edited 06-23-2009).]

You're right Russ, but the guys can't/won't rehearse which means new material is done on the fly. Yes, you CAN do it that way, but one shot a week at a tune is hardly enough to really develop it, so you all fall back on safe, predicable approaches.

The demand for bands like mine in Dayton is also shrinking. The 70+ crowds are thinning fast and clubs like my solo or duo stuff just as much...

My struggle with this is that I'm heading one way while the other guys seem to be going a different direction. By the end of the night have we kept the dance floor filled? Always...Are the guests really happy-sure seems so...one of my bandmates says "There sure are a lot of really good musical moments..." to me after most gigs...I agreeing with him less and less. I hear a band that knows exactly how to entertain our crowd that doesn't seem interested in keeping things fresh. They are perfectly content to pick tunes from the same 150 or so we've been playing all along. I'm not. Sure we have to keep things in the context of a dance band, but its less & less fulfilling for me.

To introduce a new tune, I'll usually send out the sheet music to everyone...with a video link or 2 of versions I like and want to build off of. I'll also include comments.
More than once, someone forgets about it...or someone looks at the sheet music realizes they know the tune and figures they're all set. Its frustrating...

They are solid guys...cause me no major problems, ever in over ten years of gigging with them. I think they like gigging now more than they do working on new music. Remember the thread about the sax guy and the issues with his soprano. There was never a word from him about improving or what sound do you want..it was just, to paraphrase, you're nuts-everybody sounds like this, etc...

Like I said, no decision has been made yet, but I'm leaning towards playing out all this years dates, then shutting down and making them all total free agents. Maybe finding a different sideman to do duos with would be super refreshing for me. Maybe putting together an acoustic duo and putting an act together with that is part of my future.

I can't just play the same stuff, the same way for the next 10 years.

Russ-Give me a call when you have a chance, you have my number...



------------------
Bill in Dayton

Bill, I really understand where you're coming from. 1/2 or more of my jobs are singles. The group jobs go well because we have no horns. I love horns, but the use of horn sections increases rehearsal time exponentially. That's no criticism of the players...just the nature of the task.


Just for fun, if the budget allows, I add a guitar, vibes or horn to my arranger jobs (sometimes both). These are folks I've known for years. If they're comfortable they play the head of the tune on the second turn. I come back on the bridge.
If it's a jazz gig, we "trade fours" or do extensions, modulations, etc. After a while, we're "joined at the hip" on the material without having to woodshed a lot.

Like you, I'm no longer interested in being a section player. Just don't have the time and the patience.

This way, I get a little of both approaches.


I do understand the hassles of working in groups.

But, what fun!


Russ