When I went to work for Tom T. Hall I was originally hired to play steel guitar, dobro and acc. rhythm. Many players here double or triple on instruments so its not a big deal, and it doenst generally cost jobs to those deserving. In studio work, a really great player on an individual instrument will usually be made room for, but the general modus operandi for touring is that whatever needs doing, someone covers it. There's no way to reproduce many artists recordings onstage without some quality utility players present(TTH's and Tammy Wynette's band being good examples)and trust me on this, the artist wants it like the record.
In The Storytellers, the lead guiarist also played fretted dobro(his own), acc rhythm, harmonica and sang harmony. The fiddler also played 5 string banjo(mine), mandolin, acc rhythm and trumpet. Dean Hall played lead, rhythm, fretted dobro(Tom's), opened the show and sang harmony on his Dads show as well. I played steel, dobro(barred and fretted-my own), 5 string banjo, mando, acc. lead and rhythm, and tick-tack bass on my C6 neck. The keyboardist doubled on strings, and T. had at his disposal his 5 string banjo, acc. guitar, harmonica(his own)and a pocket full of picks. We were one busy bunch out there, and were decidedly banjo and dobro-poor
We called it the "Tom T. Hall School of Country Music", but we got the job done. Robert Bowlin is a fine player on fiddle and the rest, as well as Tom, Jimmy Murrell and Dean on their respective instruments. I was in familiar territory with Tom's music so it all worked out well, luckily.
A situation like that or Tammy's excellent band notwithstanding, Ive noticed a disturbing trend in the utility player quality-factor over the years which has me concerened not only for jobs but for musical integrity. Tommy Tedesco, arguably the wordls most prolific studio musician, hauled a bunch of stuff to every session he attended, right down to the balilika he used on "Dr. Zhivago" Im guessing, but he really understood and could play those instruments enough to capture each ones individual voice and he usually maintained the standard tunings associated with those instruments. If he tuned a few to standard 6 string guitar tuning from time to time it is forgivable in the weight of his work load. However, tuning multiple instruments to standard 6 string guitar tuning seems to be, while still not the norm, noticably on the rise especially in Nashville.
Remembering Jerry Douglas's influence in the 80's & 90's on dobro and the 5 string banjo's re-introduction into mainstream country music in the wake of "Oh, Brother", I believe that those 2 things sold more dobros and banjos than anything else I can think of in modern times, and some aspiring studio musicians were quick to take notice. During that time I sold a number of both instruments to some of my steel playing peers, but never an instruction book although a number of times I remember telling the buyer(usually brand new to the instrument)that in the case of banjo especially, the Scruggs book might be a good investment as well. It usually fell on deaf ears.....one fellow opted for the Deering 6 string Git-Jo and subsequently laughed all the way to the bank, notwithstanding the over-abundance of excellent banjoists available locally. Most folks like that are a jack of all trades and master of none, and usually have a fairly short shelf-life. I put in my time with the Scruggs book as well as Flatt & Scruggs records and The Black Album, Price, Jones recordings etc, but many newbies forsake the work for the $$. That my friends is one reason we're in the shape we are today, musically speaking.
Ive never seen such bad playing as Ive seen emanating from the Opry stage on the occassion that one of the "new, pretty, pink tennis shoe bands" with racks full of instruments renders a less than average performance of their artists latest recording. Its one thing to have to cover the record, but back when, I seem to remember folks were hired because they could play, not because they could learn to play.
Maybe in 30-40 years those who now occupy certain chairs will blossom into virtuosos, but I remain skeptical.
My condolences to you on losing your job, but take comfort in the fact that your replacement now has more gear to load in and out than you do. That'll cut into his "twinkin' time"
simply because your judging the player compared to what a band might need or want.
