Features
How To Be Better At Jams
Guitarist and educator George Price provides some valuable advice for playing out.
(as written for The Atlanta Blues Society newsletter, Spring 2004)
One of the very best ways to get involved in the music scene, for fun or profit (hopefully both), is to go participate in jam sessions. The benefits are numerous: you get to hear, and possibly play with, musicians across the full range of talent and experience; you have a chance to show your skills to players who might hire you; you get an evening full of learning opportunities; you get yer ya-yas out without having the hassles of forming & maintaining a band; and many more. Such jams are hugely popular at the moment, and in the Atlanta area you can find several to choose from on every single night of the week. This article is intended to help make your jam experiences more pleasant and productive for you and everyone else.
Leave Your Temper At Home
There are bound to be a few moments ahead that could test your patience. We all have to cope with such moments, so do you. Please don’t make things worse for all of us by being a jerk. If you need medication, take it or stay home. Now, on to the fun stuff.
Listen before deciding to join
It’s possible that you’re not in the right place at the right time. Will you fit in with the tastes of the audience? If you’ll be jamming with the house band, are you compatible?
Don’t Be Too Cocky
A bit of humility will serve you well. You probably have known players who thought they were better than those around them. Whether they were or not, the attitude is a major turnoff. Show some sense.
Don’t Be Intoxicated
This should be obvious. I personally find that I lose a lot of my performance edge before I even feel a buzz, so I don’t drink before jamming. Perhaps you won’t get called up until late in the evening, try not to let yourself get toasted before showtime. Remember that you’ll be remembered, good or bad.
Talk To People
Jams build a community, a family of players and fans. Talk to other musicians and see what you have in common musically. This will help you decide what to do onstage, and who to do it with.
Learn the House Rules
While you’re talking to the players, find out how things are done at that particular jam. Who is the host? Is there a signup sheet? Should you bring in your amp, or use what’s onstage? Where should you stash your cases? Are there “forbidden songs”? Can I choose who I jam with, or even bring my existing band? If the jam isn’t run the way you’re used to, or the way you think it should be, too bad. You’re a guest! Join the game as it is, or don’t, but don’t pollute the place with your grumblings. If you think your way is better, by all means go host a jam of your own. You just may be right, but it’s harder than you think. Don’t be surprised if there are delays. Relax, commit yourself to having an enjoyable evening even if you don’t get to play (which happens on rare occasions).
Know Some Songs
Well, duh! Blues classics include Stormy Monday in G, Pride & Joy in E, Red House in A or B, etc. Other genres have their classics too, know the appropriate songs ahead of time. Be prepared to play in a different key than you expected, too. Furthermore, having an actual songlist that you can show other players will help pick songs BEFORE you get onstage, a very good thing. It doesn’t have to be a complete list, but the more the better. If nothing else, this list will stimulate ideas for other songs. It will show the other players (who you might be interested in working with elsewhere) what you can do, and that you are prepared and professional. It’s also not a crime to use printed lyrics onstage; lots of good song ideas get rejected onstage because the singer doesn’t remember all the lyrics. Sometimes simple chord charts are helpful to the other players too, but make sure they’re very simple and legible in bad light.
Singers, Know Your Keys
Musicians have a hard time understanding how singers can possibly not know what key they want to perform a song in. Singers will save a lot of precious stage time (and usually a lot of frustration & embarrassment) by knowing ahead of time what key you prefer for a given song. A good tactic for a singer is to spend some time with an accompanist finding your ideal keys, and if possible bring that player out to the jams with you. Pro-level tip: For a nominal wage (usually hourly) a musician will chart your arrangements, so you can take paper to the jams. If you make this good investment, be prepared for two things: the jammers might not read very well, and you might lose or damage your papers (bring photocopies, not originals).
Tune to a Tuner
Your ear isn’t as good as you think it is, especially in a noisy bar. Even if it is, it doesn’t matter how in-tune your instrument is if it isn’t tuned to the same pitch as the others. Try to tune before you get called onstage; an experienced host will usually inform you that you’re up next before the current set ends. ALSO: be sure your tuner is set to A=440, and NEVER let the audience hear you tune! If you didn’t tune before getting onstage (shame on you), use the tuner pedal (silent) or a clip-on tuner with your volume OFF.
Get Ready to Have Fun!
You’ll have a lot to think about, but don’t get too intense. You’re not defusing a bomb. Lighten up, get your grin on! Remember that most people, even musicians, listen more with their eyes than their ears. If you don’t look like fun, you won’t be. Onstage, more than anywhere else, you are what you appear to be.
LISTEN and Watch
I have endured way too many hideous train wrecks onstage that could’ve been avoided simply by a bit of listening, signalling, or planning. “Failure to communicate” is the number one problem at jams! If you’re leading, don’t just assume everyone hears what’s in your head. Tell the others the song (duh!), the key, and anything unusual. Count out loud into intros. Here’s a sample: “Pride & Joy in E, I’ll take the first 4 bars of intro, soloists from left to right, everybody solo two verses. Ready? 1, 2, 3…” Use visual signals, such as an upraised fist to signal an approaching cut. If the drummer’s punching a note early, punch with him. A decent bassist can lead you right into the chord changes, if you listen. If you are the drummer or bassist, you must listen too. Stay Alert, keep your eyes open (literally) for cues from other players, especially whoever’s singing. Even before the song, don’t be shy about agreeing on chord changes (especially the last four bars of “Stormy Monday”). Another common failure is the intro to “Red House”, so if you’re leading remember to count out loud in bar 4.
Common Problems
Tempo is usually messed up two ways: the opening count is faster than it should be, or the speed creeps upward during the song. Usually both happen, thanks to adrenaline. I’ve found it helpful and tactful to ask the drummer to not let ME speed the song up; in most cases, he’ll be careful about the tempo after that. But if you disagree on tempo, remember: the tempo is whatever the drummer plays. Do not get into a tug of war, you’ll only make the song and everyone hearing it suffer. Likewise, if you and the bassist aren’t hitting the same chord, obey the bass. If you can discretely help him, great, but otherwise you must follow. That may feel painful, but not as bad as the mess you’ll make being stubborn.
Respect the Equipment
Musicians who let others use their amps, drums, etc are going way out on a limb hoping nobody will break the precious equipment they need to make their living with. Be gentle with sticks, heads, amps, etc. Don’t thwack the bass too hard, don’t dent the snare heads, don’t turn the amp way up (in fact, try not to adjust the amp at all). Many players won’t host jams at all due to bad experiences with people abusing their gear.
Play to the Audience
This not only means playing what they will like to hear, but also playing physically AT them, not just turning to the other musicians and ignoring the audience.
Play the Spaces
It’s a sad unfunny joke that the last note we usually learn is the rest. Don’t feel you have to fill every possible second with notes. When playing solos, use some space. Pause for breath even if you don’t need to. The human listener feels subtly uncomfortable with solos that don’t have human breath pauses every few seconds. Make a statement, use a dramatic pause, and make the next statement. Think of rests as notes. Don’t try to show off all your speed & chops, show your good taste and sense instead. Remember it’s not how fast you talk, it’s what you say. Throughout the song, the more you play the less room you leave for others.
Be Aware of your Host
The jam host must control volume, content, time and behavior, and sometimes has the duty to pull the plug on a group of players. It may or may not be your fault; sometimes there are other offstage factors. It’s your duty to keep an eye out for signals from the host, and to be receptive to them. Remember they have to juggle all the above, while at the same time dealing with club owners and everyone else in the place.
Know When To Quit
Don’t let your solos or your songs go on too long. Two verses are plenty for a solo. Keep an eye on the clock, and on the host.
You’re Not Finished Yet
Accept your applause, thank the other players, and get your stuff offstage quickly so the next team can begin. But, don’t be in a big hurry to go home yet. Have business cards (or at least pen & paper) ready to trade. Network with other players, fans, etc. Stick around and check out the remaining players; often the last set is “all-stars”. Thank your host before you leave.
Experienced Jammers, Bring Fresh Songs
OK, so you’ve been doing the jams a while, and you’re comfy with all the points above. Now please remember to let us hear something new every now & then. I’m currently co-hosting 3 jams a week at different venues, and I see many of the same faces night after night, year after year, repeating the same songs. Change it up every now & then, for your benefit as well as ours.
It’s ok to make up a song on the spot. Again, try to settle the changes before you go onstage. Example: “Let’s do a 12-bar in A minor, but instead of D use D minor, and instead of E use F. Over a rumba beat. OK? Just chords through the first verse, then let’s solo 2 verses each from left to right. Ready, 1… 2… 3… “
Or, take a familiar song and completely twist it. “OK, how about ‘Mustang Sally’ turned into a slow 6/8 jam, all minor, and I’ll play the vocal line on my guitar?” Whatever, just do something original. How many times have I heard people say “if I have to hear ‘Pride & Joy’ one more time, someone’s gotta die”…
Misc.
Buy STUFF! The jams come & go because of lack of support. Have a beverage (after your turn, some alcohol is OK), get some food. Tip the band, they’re risking a lot; if they sell merch, get some. Have a pencil for names & numbers, AND a Sharpie for quick charts. Thank whoever’s equipment you used. And my favorite jam tip from a reader: ask a fellow jammer or host if they know any *other* good tips not mentioned here.
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Some of these ideas won’t work in every situation; I leave it up to the reader’s judgement to use them when possible. In general, keep a light heart and have a good time, while respecting those around you musically and personally, and you’ll be fine.
I hope to see you at the jams soon!
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