With a minimum 72 hour notice I can be fully prepared to perform as many as 35 published songs note-for-note. This includes matching both the nuances of the player I'm subbing for as well as complex timing features specific to that player. The adage "One Size Fits All" will NEVER apply.
Session work can be extremely stressful for an artist. For this type of work I make every effort to ensure that I'm not adding to that stress by arriving prepared (and early), engendering support for the effort as a whole and by being as focused as is humanly possible on my part and the overall project.
Whether it's short-notice substitution work, multi-gig touring, or local gigs, you'll find me locking-in with the drummer as well as stepping into the groove of the players. I follow the maxim of "heard but not seen" when it comes to partnering with the drummer to create a solid platform for the rhythm section.
I've been described as a nuanced player who cares more about the overall song than the dominance of the bass.
I've played small houses with local bands and arenas with national acts. I've got a number of high profile TESTIMONIALS to attest to this fact.
From lean axe-only gigs to full-bore wall of speakers - I've got the equipment to handle it all. Check out my rig photos for more info.
All sessions can be done "on-the-card" with AFM rates at the nominal "sideman" cost or by separate contract. Accreditation is optional unless the services are under AFM contract.
Travel, accommodations, and meal per diem's will be delineated through a separate contract. Please provide me with any/all relevant material at least 72 hours prior to the session(s).
This material can be in the form of sheets (complete score please), tabs, or any popular audio medium (.mp3, .mp4, etc.). All materials should be preceded by a standard NDA which I will sign and return prior to receipt of the materials.
All substitution work must be booked a minimum of 72 hours in advance of any performance - no exceptions - with contracts provided by the artist or management representative. The contract can be verbally approved by me over the phone but must be delivered exactly with the conditions previously specified. Any exceptions to this contractual rule may result in a possible delay of services.
For out-of-town performances the only gear I supply for substitution work are my own custom mold in-ears and a Mike Lull M5 (5 string) bass. For local sub work without a backline I can supply a minimum of the above along with an Eden Electronics WT550 amp and one (1) Eden Electronics D410XLT speaker cabinet.
Sufficient insurance to cover replacement costs in case of damage or loss is the sole responsibility of the artist or management representative for out-of-town performances. Specific work conditions (equipment provided, travel, accommodations, etc.) should also be supplied well in advance of any performance dates.
I'm more than amenable to play as a full band member where the project meets or exceeds my minimum pay requirements.
I book all performances on a first-come/first-served basis regardless of competing costs, i.e. I take the first gig that can meet or exceed my minimum for that type of performance even if I receive a better offer after accepting the first.
Please contact me directly for access to my booking calendar.
[Text Item 3]
[Text Item 4]
[Text Item 5]
[Text Item 6]
I take pride in my work and in the work of those that I perform with. To that end I offer my professional guarantee:
My approach is "no ego". You're paying the bills and, as such, you're in control of your project or your event.
Pete stepped in for John Siegler after he sprained his wrist on tour along with a couple of vacation dates for Klyde Jones. It's truly amazing how quickly he can learn a strong set and make it look easy.
We utilized Pete's talents on a couple of dates for our 30th Anniversary Tour. I remember glancing over his way several times thinking it was really John Pierce playing. Very solid player.
Pete Martin substituted for Graham Maby several times, most notably in order for Graham to be present at the birth of his first child. I found him to be eminently proficient and an excellent stage mate.
Pete was one of a handful of protégés of mine back in the late '90s. I utilized him as a contract sub in the studio when I was on the road. He always did his homework.
Pete has come through for us on many occasions, both planned and unplanned, as a sub for Larry Junstrom. He's fun to work with, professional to a fault, and mixes well with the band.
I used Pete on a couple of gigs when Matt Bissonette needed a break. He may not be the flashiest player out there but he's flexible and gets the job done.