Up until now I have always been a sideman or section player. Never a soloist or solo artist. I’ve almost always played lead or was the principal, so I’ve been able to put my own interpretation on things to the extent it’s appropriate. But I’ve never been the leader or featured artist.

Until recently.

I find that in Part 2 of my musical life I am more called to be the one standing out front with the rest of the musicians backing me. This is not a natural thing for me. I’ve never been a Christian Lindbergh or Urbie Green, I’ve always been the one in the section backing them up. It’s a whole different vibe being the center of attention. And frankly, while I like the attention I feel more comfortable in a section.

What’s expected of a soloist or front person that is different from what is expected of a sideman? How does a lifelong section player become comfortable out front? And what should I avoid? Even what I wear and look like is expected to be different. I’m sure there are soloist “chops” but I don’t know what they are. I'm also curious about what power or influence I have as a soloist or featured artist.

Any advice out there from folks who have done it?

For me it's been about communication - when I'm soloing I'm responsible for the direction the concert takes not just musically, but pacing and talking as well. I try to introduce the audience to an idea about the piece I'm playing, if it's more contemporary, or the differences in playing on trombone vs. original instrumentation if it's a transcription, or something I like about a piece of a story of my relationship to the music if it's standard rep.

As a concerto soloist for me it's been about winning the orchestra over as much as the audience. If everyone is in the same page and feels valued the music can sing in a different way.

How you present yourself is important, but at the same time look at Dave Taylor! He wouldn't mind me saying that he doesn't dress up - it's his personality and conviction that carry the day more than anything. The key to it then maybe is honestly - can you pull off the persona that you're inhabiting from a true place within yourself? Can you find the part of yourself that is interesting to others and communicate that through music and non-music?

These are some of the thoughts I've developed in 20 years of solo recitals.

Watch Frank Sinatra videos.

I think the real skill is being able to make the audience feel special, and that they got to see something special, and that the soloist wasn't on the stage for themselves, but instead to give the audience a special experience. The audience can tell if the soloists interaction with them is genuine. And they can tell if the interaction of the soloist with the ensemble is genuine.

I've been to recitals and concerts of some of the best trombonists of all time, and I'll be damned if the ones that had the most emotional impact and lasting impression weren't the ones that also had the most mistakes and left everything out there. People don't want to see and hear a robot, they want to see and hear something human and beautiful.

I've also been to recitals where the soloist talks about every piece, and tells the audience what they should listen for, and others where the soloist says absolutely nothing. I think if the pieces are programmed right and the musicianship is up to snuff, you don't need to talk to the audience very much. Dizzy Gillespie did talk a fair bit, but he had charisma. So if you do talk, it has to be a part of the performance. Not a "insert chop break here" situation.

One of the best "front man" of all time was Maynard Ferguson. Yes, he had monster trumpet chops but I don't that's what made his great in front of his band. He always visibly exuded joy in his performances. For him, it probably came fairly naturally - his exuberance is even visible when he was a young whippersnapper with Kenton. But that does seem to be something that can be practiced and trained. Theater people probably know more about it than most musicians.

Are you talking about being a "guest artist" or are you running a band or booking a show as the leader?

Your post sounded like you're being hired as a guest artist so I'll chime in on that.

I've had the chance to do a little of that and the expectations from the group seemed to be the same as when subbing in with a section. Don't be a dick.

I pissed on one opportunity when I was very young by trying to be too, "It supposed to be this way here. We need to go faster here. Slower here. ..." It was a community band. After one rehearsal the conductor (rather kindly I'd say) chatted with me and said the group wasn't really up to the level for the piece and that they decided not to program it.

After that I learned to just play my part (yes it a concerto, but it's still just my part of the whole) and listen to the conductor. Any musical needs get addressed in private when asked about them.

On the flip side of my earlier anecdote, I played with a different community group not too many years ago and after the rehearsals one of the guys came up and said that I was so much easier to work with than "Blah Blah (local hotshot) " who had done the same rep a couple years earlier. The difference was I played my part and didn't try to take control more than I was asked to. I did my job well and made their job as easy as I could.

If you're the soloist and there's a conductor/music director, try to make sure that all the changes that you want (tempo, dynamics, style) all go through him/her. That shows respect for their role.

Depending on the musical style - most commercial features are rhythm section driven, but if it's more classical and there are multiple tempo changes, prepare for potential slight lags in getting the band/orchestra to follow your tempo. It depends of course, on the skill level of the conductor and the group, but playing with a large group can be like steering a battleship, while piano accompaniment is more like a speedboat. It's amazing what a difference a really good conductor makes, but you seldom get to have one of those as a trombone soloist.

In the same vein, I've also learned that especially when playing with a student or community ensemble, it's really important to be able to play your part at uncomfortable tempos. An accelerando can go beyond where you want it to for instance. Just be super prepared, and also find places where you can lead it back to where you want the tempo to be. Also, rehearsal time is always limited - if you can meet alone with the conductor and work through as many of these details as you can, that will really make things a lot smoother.

As far as dress, I usually wear something similar to what the group will be wearing, but maybe with a slight twist - a white shirt, long tie with a black suit if they're in all black for instance. Female musicians have more choices on this front I think - one bonus to partially make up for the fact that they usually have to spend so much more than the men on their formal wear choices.

I'm sure that I could come up with more tips, but I'll stop here. Good luck!

Jim Scott

I've got no tips on how to get comfortable, but talking to the audience is the biggest difference to me. Juggling a few different needs - thanking the venue, the staff, name-checking other soloists in the band, plugging the venue's next gig, telling jokes/stories to give yourself/the band a breather between numbers - is an entirely different wheelhouse to playing well.

I'm only just starting out doing a few like this myself and find writing down those points I need to touch on, as well as people's names, on a piece of paper on the stand is a life saver.

[quote="harrisonreed"]I think the real skill is being able to make the audience feel special, and that they got to see something special, and that the soloist wasn't on the stage for themselves, but instead to give the audience a special experience.

...

I've also been to recitals where the soloist talks about every piece, and tells the audience what they should listen for, ... did talk a fair bit, but he had charisma. So if you do talk, it has to be a part of the performance.[/quote]
I think this was always the part I was missing. I used to think it was viruosity and that was what I thought I brought. But I think the side effect I was ignoring was the stage presence. But more to that is it what Harry mentions here.

I know I tended to do it for myself. But reading Harry's post here, I get it. I think was wrong. He gets it I think.

a servant leader. A performer. An entertainer.

Make the people glad they bought the tickets and showed up to listen and be moved. I think I get it now.