Session musicians are instrumental and vocal performers available to work on short-term live or recording projects. They require versatility to perform in different genres and the ability to learn parts quickly through sight reading and ear training. While session musicians rarely achieve fame, their work includes backing tracks for recordings, live performances, advertising jingles, and film/TV music. Digital recording technology has reduced costs but also studio work for musicians, as producers can now handle more aspects themselves using computer software.

1. Music Performance & Ensemble
Session Musicians
Chris Baker
www.musicstudentinfo.com

2. Session Musicians

3. What are Session Musicians?
Session Musicians are instrumental and vocal performers who
are available to work with others at live performances or
recording sessions.
Session Musicians are not permanent members of a musical
ensemble.

4. What skills do they require?
• Versatility is one of the most important skills of session
musicians.
• Session Musicians may have to perform in a range of different
settings.
• Session musicians are expected to learn parts rapidly.
• Session Musicians should be skilled in both sight reading and
ear training.

5. Does the term apply to ALL music genres?
The term is applied not only to those working in contemporary
musical styles such as rock, jazz, country, R&B and pop but also
classical music.

6. What TYPE of work do they do?
• Session musicians are used in any situation where musical
skills are needed on a short-term basis.
• In recording studios to provide backing tracks for other
musicians in recording studios.
• For Live Performances.
• Recording for Advertising (Jingles)
• Recording for Film and Television.
• Performing for Theatrical Productions (PIT work)

7. Session Musician History
• In the 1920s and 1930s record companies had their own
"studio bands"
• They turned out records of the latest pop hits.
• They were made up of jazz and dance band musicians.
• They were members of regular working bands and divided
their time between studio work.
• They worked on recordings as well as broadcasting.
• They worked in studios during the day.
• They worked on live performances in the evenings.

8. Session Musicians “Notoriety”
• They rarely achieve popular celebrity.
• In some cases they have to negotiate a “name check” on an
album.
• Notable exceptions John Paul Jones and Jimmy Page, who
were session musicians before Led Zeppelin.

9. Notable Session Bands
Booker T & The MGs were the house band at Stax records in Memphis
during the 1960s an 1970s playing behind Otis Redding, Sam and Dave,
Isaac Hayes and The Staple Singers.
The Wrecking Crew based in Los Angeles, recorded hundreds of hit
songs and albums since the 1960s.
The Funk Brothers were session musicians who performed Motown
Records recordings from the late 1950s to the early 1970s.
Muscle Shoals Rhythm Section is a group of Alabama-based musicians
who have backed up some of the most storied acts of the 60s and 70s.

10. Session Musicians In The UK
• LCGC (London Community Gospel Choir) have provided
singers for sessions consistently for the last 30 years.
• Monopolized by a very small group of players who perform
on most of the “serious” work (Film, Theatre & Television)

11. Session Musicians on Session Musicians UK
Beverley Skeete Vocals Sung on ... Walk on By (Gabrielle), It's Raining Men (Geri
Halliwell), Return of the Mack (Mark Morrison), Millennium, Let Me Entertain You
(Robbie Williams) "You have to do what the song requires. Even if you're not a huge
fan of the music”
Pino Palladino Bass Played on ... Wherever I Lay My Hat (Paul Young), Get Here
(Oleta Adams), Alone with Everybody (Richard Ashcroft), Surprise (Paul Simon),
Endless Wire (the Who) "It's important to be able to reinvent what you do. When the
call came to play with the Who I was working with Erykah Badu and D'Angelo, and I
had to change my whole style”
Karl Brazil Drums Played on ... All the Lost Souls (James Blunt), We Sing, We Dance,
We Steal Things (Jason Mraz), Songs for You, Truths for Me (James Morrison)
“It doesn't matter how good you are, you're only on stage for two hours max; the rest
of the time you're at airports or on buses together, so you have to get on."

12. Session Musicians on Session Musicians
Simon Clarke Instrument: Saxophone Played on ... (as a member of the Kick Horns)
Parklife (Blur), Screamadelica (Primal Scream), Connected (Stereo MC's), Want One
(Rufus Wainwright), Firin' in Fouta (Baaba Maal) “That made all the difference. There's
lots of passionate people in music and they all work differently”
Milton McDonald Instrument: Guitar Played on ... Spiceworld (Spice Girls), Light My
Fire (Will Young). Tours: Ray Davies and Take That. "Doing this work is 50% ability, and
then all the other stuff: social skills, the ability to listen with an open mind” “Then
when I'm busy I'm busy all the time: my children don't see me, and it's hard to have
any kind of home life."

13. How to become a Session Musician
1. Get really good on at least one instrument.
2. Learn to read Music! (you will often get called in at short
notice and asked to quickly provide whatever music the
producer requires. You may have little or no time to
practice)
3. Record a Demo (you have to promote yourself)
4. Create a Resume.
• To promote yourself to potential clients.
• Any musical education you have received.
• Any work you have done as a session musician.
• Be sure to constantly update this section as you complete more gigs.
• A picture of yourself: For television work, you may be hired as much for your "look" as your
playing ability.

14. How to become a Session Musician cont.
5. Hire a Session Fixer - you may want to introduce yourself and
try to get on the books with a session fixer.
• Session Fixers are like agents, they are hired by people who are
looking for session musicians.
•If a session fixer helps you find a gig they will take a percentage
of your earnings as commission.

15. The effects of digital recording technology
on session musicians
It has ended the session industry as it used to be.
•Previously you had to go to a a recording studio with very
expensive equipment which would cost you £100 per hour.
•If you wanted a instruments you needed to hire someone who
could play it first or second time.
•These people were also expensive, but cheaper than spending a
whole day with someone who was less expensive but not as
good a musician, trying to get a useable take.

16. The effects of digital recording technology
on session musicians cont.
• With tape you had to arrange the music carefully and record
each sound in exactly the right place in the arrangement or
composition.
• It was possible to edit multi-track tape and “fly” material in
from other sources, but it was easier and quicker to correct
from the start.
• Digital recording systems mean you can sit at home with a
laptop and spend as much time as you like.
• it’s now not costing you £100 per hour!

17. The effects of digital recording technology
on session musicians cont.
• You can also cut-and-paste, edit, tweak and move stuff
around to you heart’s content.
• You can also record first and arrange afterwards: a revolution
in procedure that liberates the composer from the constraints
of linear tape-based recording.
For further information I recommend www.jaystapley.co.uk

18. Response to the effects of digital recording
technology
• Many upper & middle price studios have closed.
• There is a increase in home based Pro-tools studios.
• Several musicians offer “remote” sessions from their own
home studios.
• Musicians work by exchanging files of their performance via
the internet, offering the ability to work quickly, cheaply &
Internationally.

19. Has digital technology made being a
Session Musician easier? Pro’s
• Session Musicians can collaborate online.
• SM’s can make professional-standard recordings at home.
• SM’s can record first and compose afterwards.
• SM’s can repair faults in performances that were otherwise
good.
• All these things were difficult/impossible with tape systems.

20. Has digital technology made being a
Session Musician easier? Con’s
• Record executives believe that “you can do it all on a
computer?”
• Budgets have fallen dramatically.
• Producers have the ability to change what the musician
played but also the basic sound used.
• In turn, SM’s have less control over what is released in their
name.
• An incompetent producer can make SM’s sound like the
worst musician in the world.
• It is rare for musicians record together in a large live room.

21. Good Luck !