I posted some time ago on proper jam etiquette. Recently, I experienced both the ups and the downs of jam sessions. It seems that sometimes the jam session organizers treat participants on two levels- one level for their friends/fellow band members, and a second level for musicians with whom they are unfamiliar. Regrettably, this actually happened to me at a jam session some weeks ago- the leader made it clear that he preferred his friend and intimated that I was not a ’real’ musician before I have even played a note. This continued throughout the session- he treated me as a hanger-on, showing clear preference to his friends.

However, on Tuesday, some of my colleagues and I attended a jam session at a local blues club and found a much more welcoming atmosphere. While I freely admit blues is not really my specialty, anyone who has been playing jazz as long as I have will usually have no problem fitting in to the style, and it is highly entertaining. I was invited up by one of the groups, and played a tune with them.

My point is that for jam set leaders, organizers and participants, it is important to treat all comers equally. For participants, my earlier post holds true- don’t be pushy, don’t try to be the ’star’ and do your best to fit in- especially until you are familiar with the repertoire and the various styles of the other participants. This is especially true if you are playing with an established group, as I was on Tuesday.

For set leaders, it is important to clearly delineate who should do what, but it is also important to make sure that all the participants feel welcome and without the belittling that occurred in my case. I am well aware that some musicians have a holier-than-thou attitude- I took a master class from Miles Davis once and he had the biggest attitude I have ever encountered. However, it is incumbent on all jam set leaders to do their best to incorporate all visiting musicians into the set so that everyone has a chance to play.
For established musicians (particularly those who play regularly), i would recommend that you give younger/less experienced players chances to gain said experience. This is a rule that I have tried to follow in y own career, as it was the generosity of fine musicians letting a young kid sit in to learn that began my own career.

Ultimately, it is the younger players who will carry on the music after we are gone, so it is important that musicians not feel like second-class citizens, no matter their playing ability. One can give constructive criticism without being overbearing, and I think some musicians have forgotten that.