This one's about fixing (musician booking). A question has arisen over our sometimes eccentric 'choices' of musicians. Usually this is because someone's on a retainer for a specific part and gets booked in for a slightly different part that doesn't perhaps play to their strengths.
Percussion 1: Kit, timbales -> Musician A
Percussion 2: Congas -> Musician B
Percussion 3: Bongo, bell -> Musician C
= Musician A gets 1st refusal, then B, then C.
Currently, there’s only a 1-step fixing procedure, which is essentially a retainer system to keep it as systematic and fair as possible. While it's alleviated anxieties on a management/professional level, it's raised queries on a production/musical level - similar to the D/E dilemma, of which we have a good musical understanding.
On C's recommendation, C & B swapped parts because C/A tend to take the lead and have a more structural approach, whereas B tends to follow and improvise freely - which is what part 3 (and Fiesta Latina) lend themselves more to. As Will has implied, it’s striking that delicate balance between loyalty vs. availability, and we've been too kind.
In this case, Will has expressed frustration because B shouldn’t have been booked in place of A. It’s equivalent to booking Rory as a lead vocalist when our regular lead male isn’t available, which has happened and is not recommendable because Rory's a backing vocalist (some, like Alexandra, do both etc.).
Will is saying that there should be a separate calling list per specific part, rather than 1 calling list for the percussion section as a whole. He also campaigns for an artistic involvement in the fixing, which is reasonable. The former we can take care of easily, but the latter needs to be implemented.
Therefore, we needed to build a 2nd element into the fixing procedure whereby we either ask a specific performer/producer for a recommendation or open it to the team, if the 1st choice for that particular part isn’t available.
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