Joined: 18 Apr 2011 Posts: 403 Location: St. Louis, MO…or wherever the Ship I’m on is!
Posted: Wed Oct 15, 2014 11:50 am Post subject: Cruise ship gigs, worth it?
Hey guys. I'm thinking of applying to a number of cruise ship lines. I have an audition with Lime Entertainment on the 21st, they were almost immediate in their response. This is probably not a good sign. Does anybody have any insider information they'd be willing to share about the experience? Is it economically a viable choice? Is it worth trying? _________________ TPT: Nova LA
CRN: Getzen 1950’s W/5.5in bell
FL: Jupiter 1100R
‘Pieces:
TPT: 34-throat shallow double-cup, Chet Baker’s Custom Schilke, Bach Corp 3, Bach Mt. Vernon 6C, Ken Titmus BF Custom(s).
CRN: NY Giardinelli 7SV.
FL: Yamaha Bobby Shew
One update - I've been told that some cruise lines are paying better for very qualified musicians. Still not what the coddled and spoiled cast are paid, but it is an improvement. _________________ Tim Wendt
it can be fun though both professionally and personally! _________________ ron meza (deadbeat jazz musician) & (TH 5 post ghost neighborhood watch ringleader)
waiting for Fed-Ex to deliver a $50 trumpet to my door. shipping was prepaid by seller of course!
http://ronmeza.com http://highdefinitionbigband.com
Joined: 17 May 2011 Posts: 1886 Location: Saint Louis MO
Posted: Wed Oct 15, 2014 7:41 pm Post subject:
Honestly, I don't know why I haven't thought of this before for you... Go ask Kyle about it. Also, a lot of those cruise ship charts go up to around F. _________________ ~Zack
Lead Piece: Custom PickettBrass
Jazz Piece: Custom Curry TC
Legit Piece: Yamaha Shew Jazz (18 Drill)
Joined: 02 Jun 2014 Posts: 517 Location: Liverpool, UK
Posted: Thu Oct 16, 2014 3:52 pm Post subject:
I took an audition with an agent this summer. It was an interesting learning process for me in an unfamiliar style. However I can't take up this kind of work now as my old career is luring me back.
I've always stayed out of pro playing since I feared that once it became a job it wouldn't be as enjoyable.
What really concerns me are stories of low pay or disrespect from the employers. It's such a pity musicians are disrespected like that, considering the skill levels involved and how long it takes to become really good. _________________ https://payhip.com/sheetmusicplayalong
Absolutely worth it.
It's intense, it's a grind, it will build your endurance, it will make you think LONG AND HARD about the life of a traveling musician.
I don't regret it for one second. The sights, food, and socializing were great aspects as well.
Orchestra director was a completely toxic person, but that happens.
Give it a shot!
Joined: 18 Apr 2011 Posts: 403 Location: St. Louis, MO…or wherever the Ship I’m on is!
Posted: Thu Oct 16, 2014 11:47 pm Post subject:
My biggest concern is range requirements. When I really go for it, I only have a high D about 60% of the time. High C is about 100%, as long as I'm not completely wasted. It takes about 3 solid hours for me to grow tired, and I've played doubles before in the past. I'm a soloist, not a high note guy. I own a dozen different mutes, can growl, and really play fast and intricate solos. I just hope some cruise line has a place for a jazz soloist trumpet player. _________________ TPT: Nova LA
CRN: Getzen 1950’s W/5.5in bell
FL: Jupiter 1100R
‘Pieces:
TPT: 34-throat shallow double-cup, Chet Baker’s Custom Schilke, Bach Corp 3, Bach Mt. Vernon 6C, Ken Titmus BF Custom(s).
CRN: NY Giardinelli 7SV.
FL: Yamaha Bobby Shew
Joined: 17 May 2011 Posts: 1886 Location: Saint Louis MO
Posted: Thu Oct 16, 2014 11:53 pm Post subject:
trumanjazzguy wrote:
My biggest concern is range requirements. When I really go for it, I only have a high D about 60% of the time. High C is about 100%, as long as I'm not completely wasted. It takes about 3 solid hours for me to grow tired, and I've played doubles before in the past. I'm a soloist, not a high note guy. I own a dozen different mutes, can growl, and really play fast and intricate solos. I just hope some cruise line has a place for a jazz soloist trumpet player.
Make sure you ask Kyle. He did this for years. _________________ ~Zack
Lead Piece: Custom PickettBrass
Jazz Piece: Custom Curry TC
Legit Piece: Yamaha Shew Jazz (18 Drill)
My biggest concern is range requirements. When I really go for it, I only have a high D about 60% of the time. High C is about 100%, as long as I'm not completely wasted. It takes about 3 solid hours for me to grow tired, and I've played doubles before in the past. I'm a soloist, not a high note guy. I own a dozen different mutes, can growl, and really play fast and intricate solos. I just hope some cruise line has a place for a jazz soloist trumpet player.
I think it'd be all about how well you can control your "jazz" urges.
Let me explain.
IMO, the best way to explain "jazz" on a cruise ship would be think of it as a very high & tight society gig, where you only want to play things that the pax can dance to without being distracted. If you're playing a solo and start going wild & crazy & playing outside...you're going to alienate the majority of the pax. And there's a good chance they will give negative comments on those solos in their after-cruise comments forms.
On my last contract, and only after the many continued childish rantings of the pianist (who considered himself to be a hard-core bob & fusion player) did the Cruise Director agree to have him lead a special "Jazz Jam Session" in one of the smaller bars on an afternoon when the ship was at sea. That meant the pax were all on board with nothing else to do but walk around the ship & drink (more $ for the ship).
It was announced & advertised for several days & a big deal made of it. It was to be the pianist, bass, drums & one of our two reed players. They had had a few short rehearsals to work on the tunes the pianist wanted to play.
The time comes, the band is there and maybe a dozen pax. Band plays the first tune, the solos were wild, and the crowd gives a smattering of applause. Most left after that tune. By the end of the 3rd tune, crickets could be heard.
It was a dismal failure. The drink revenue for that time in that bar was disastrous, and as it's been explained, ships are about nothing else except revenue from pax. If something doesn't make money for the ship that "thing" won't happen again.
Pax are there to dance, drink, eat & enjoy themselves, not to be impressed with how many original chorus' you can do on "Giant Steps." You're not there to educate anyone about jazz - you're there to submissively entertain.
This, of course, is not to be confused with the dedicated "Jazz Cruises," but my suspicion on those is the ship musicians are all given that time off & the music is played by the special hired-on featured bands. _________________ Tim Wendt
Joined: 14 Jan 2005 Posts: 7770 Location: Des Moines, IA area
Posted: Fri Oct 17, 2014 6:16 am Post subject:
trpthrld wrote:
Pax are there to dance, drink, eat & enjoy themselves, not to be impressed with how many original chorus' you can do on "Giant Steps." You're not there to educate anyone about jazz - you're there to submissively entertain.
This is the Gospel in more venues than just cruise ships. Ya gots ta play what the peeps wanna hear, or often times be a background beneath what they're doing.
I used to consider it a point of pride that I'd always made a living on land and never had to do a ship gig. But, now I sometimes find myself thinking, "I really haven't slept with enough Eastern European dancers, I should've done a cruise ship gig when I was younger..."
More seriously though, it's about the only "entry level" gig left. There's certainly something to be learned on that kind of job... _________________ Kevin
Joined: 18 Apr 2011 Posts: 403 Location: St. Louis, MO…or wherever the Ship I’m on is!
Posted: Mon Oct 20, 2014 6:35 pm Post subject:
Lol, audition tomorrow. No way in hell can I play these parts. A written double "A" I have to hit out of nowhere. I top out at an unstable high D. There are articulated E's and F's all over the place. If this has taught me anything, it's that if you can't scream, you can't play on a cruise ship. If I never even get to solo, how am I supposed to do the audition? _________________ TPT: Nova LA
CRN: Getzen 1950’s W/5.5in bell
FL: Jupiter 1100R
‘Pieces:
TPT: 34-throat shallow double-cup, Chet Baker’s Custom Schilke, Bach Corp 3, Bach Mt. Vernon 6C, Ken Titmus BF Custom(s).
CRN: NY Giardinelli 7SV.
FL: Yamaha Bobby Shew
Joined: 18 Apr 2011 Posts: 403 Location: St. Louis, MO…or wherever the Ship I’m on is!
Posted: Mon Oct 20, 2014 6:38 pm Post subject:
And, for the record, I don't play outside changes very often, because I find it untasteful and I don't like sounding dissonant. You can create great solos and play every note inside the realm of tonality. _________________ TPT: Nova LA
CRN: Getzen 1950’s W/5.5in bell
FL: Jupiter 1100R
‘Pieces:
TPT: 34-throat shallow double-cup, Chet Baker’s Custom Schilke, Bach Corp 3, Bach Mt. Vernon 6C, Ken Titmus BF Custom(s).
CRN: NY Giardinelli 7SV.
FL: Yamaha Bobby Shew
If you had a solid a and could argticulate es and fs with any time, then you wouldn't be looking for a cruise ship gig. Take the stuff down and try to play with a good sound.
Joined: 08 Feb 2006 Posts: 833 Location: Chicago, IL
Posted: Mon Oct 20, 2014 8:36 pm Post subject:
Trumpetmannj wrote:
If you had a solid a and could argticulate es and fs with any time, then you wouldn't be looking for a cruise ship gig. Take the stuff down and try to play with a good sound.
Trust me, having those notes does not guarantee gigs. If it did I'd be working more than I am (not complaining, I'm getting a good bit of work). If I'm missing out on a "can play some reasonably high notes reliably" sign up sheet somewhere, point me there and I'm in. What has gotten me gigs is doing the best I can to be reliable, and "paying my dues" when appropriate. The high notes can be helpful, but have never been a deciding factor. Maybe I am trying to break into a different scene than you are talking about, but, I think we are talking about the same thing.
Some fantastic players and great people do and have done the cruise ship thing. There is something respectable to me about anybody who can make a living in music. It's a challenge a lot of us here face, and I choose to be respectful especially to those who work hard to make a living in performance.
Joined: 25 Aug 2007 Posts: 2018 Location: Charleston, SC
Posted: Mon Oct 20, 2014 10:05 pm Post subject:
CRoberts8 wrote:
...Some fantastic players and great people do and have done the cruise ship thing. There is something respectable to me about anybody who can make a living in music. It's a challenge a lot of us here face, and I choose to be respectful especially to those who work hard to make a living in performance.
Very good point and very well said. _________________ Jonathan Milam
Trumpets: 18043B, 18043*, 18043 Sterling Silver +, 18037 SterlingSilver+, Benge 4x, Olds: '34 Symphony, '47 Super, '52 Recording
Flugle: Strad 182
Puje: American Belle
Cornet: Olds Recording & Super
Joined: 22 May 2007 Posts: 2655 Location: Anacortes, WA
Posted: Tue Oct 21, 2014 3:16 am Post subject:
Quote:
And, for the record, I don't play outside changes very often, because I find it untasteful and I don't like sounding dissonant. You can create great solos and play every note inside the realm of tonality.
_________________
I could start a whole thread about just this. I'll leave it at that. _________________ Richard
Joined: 30 Oct 2012 Posts: 1838 Location: Austin/New York City
Posted: Tue Oct 21, 2014 5:53 am Post subject:
trumanjazzguy wrote:
And, for the record, I don't play outside changes very often, because I find it untasteful and I don't like sounding dissonant. You can create great solos and play every note inside the realm of tonality.
Dissonance exists in the "realm of tonality". _________________ www.mikesailors.com
Joined: 30 Oct 2012 Posts: 1838 Location: Austin/New York City
Posted: Tue Oct 21, 2014 5:54 am Post subject:
trumanjazzguy wrote:
Lol, audition tomorrow. No way in hell can I play these parts. A written double "A" I have to hit out of nowhere. I top out at an unstable high D. There are articulated E's and F's all over the place. If this has taught me anything, it's that if you can't scream, you can't play on a cruise ship. If I never even get to solo, how am I supposed to do the audition?
Your first mistake is that you think that anything creative is happening on these ships. These cats don't care if you can improvise. They want people who can read parts. _________________ www.mikesailors.com
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