School For DJ's

The L.A. DJ & Music Exchange

By Jon Kriss

   Charlie Parker. To Jazz enthusiasts, this name is synonymous with innovative style and technique. To many west coast based DJ's, the same description applies, but to a different person.

        This Charlie Parker started his company over four years ago in response to increasing demand for professional DJ services. His shop is stocked with a powerful array of equipment for both sales and rentals. What makes his establishment different from the others are two key differences. Charlie designs his own light-weight portable systems. Today's typical set up weighs in at about 400 to 500 lbs. However, his units average only 160 to 170 lbs., and that includes the dolly to roll it in with. His philosophy is that a "pro" should spend his or her energy entertaining, not hauling. Typical set up time is under ten minutes, and as Charlie says, "the lady DJ's love it". In addition to his custom gear, he runs a "School For DJ's".

    Class meets once a month, and a variety of topics are covered. For example, the style and format for a wedding reception are a far cry from a high school reunion dance. Which disc should one tote around - are they the same for every gig? Questions such as these and many others are answered.

    Charlie feels that there are many basic do's and don'ts in today's marketplace. Always have a tux for a wedding. Always have "New York, New York" and "the Hokey Pokey" in your disc collection. Never let the Bride or Groom program your music!

    "In the L.A. Marketplace, the competition is tough. You have to be professional and knowledgeable to make a living. An average gig is about four hours, at a rate of $395. Most guys do at least two or three gigs a week, some as many as 10. About 75 percent of the work is wedding receptions and associated before and after events. You have to know how to take control and lead the audience - what order to do the bridal toss, the garter, the whole thing. What records do you start with, how do you musically set the mood and tempo of the party, how do you get and audience on the dance floor when they are still sitting down? These are things that will get you referrals, the backbone of your business".

    The rest of your mobile business is your Christmas parties and yearly reunions, and lastly frat and high school. The former being about 15 percent of your jobs, and the latter being about 10 percent. The only time serious scratching and beat mixing come into play is during that small percentage of available gigs. Being able to emcee a room filled with various age groups and tastes in music is far more important than being able to beat mix a 12 minute tune. "Record collection is important" says Charlie. "I personally own about 1,000 LP's and about 1,000  45's. The amount I carry to a gig is far less, however. I usually take one bin of 45's and one of LP's only, making very few additions and deletions from gig to gig. I stress the need for 45's, however, because once again the weight is always a factor". On Maintaining a record collection, his ideas may surprise people. "I spend only about 10 dollars a month on new 45's, and have been doing so for years. I've found that, contrary to what most people think, you do not have to have every #1 record. First off, most don't stay on the charts for any length of time, and secondly, a lot aren't really hot to dance to. If a tune has been #1 for three or four weeks, then add it to your collection. It's important to be able to fill 90 percent of your request, but you don't always need the exact tune every time. For example, Someone might request 'White Wedding' by Billy Idol, so the thing to say is that your sorry you don't have that-will 'Mony, Mony' do? That will keep everybody happy, and save on your back and pocketbook.".

   The main intent of Charlie's school is to turn out better DJ's, both by education of technical know-how, and exchanging ideas between its class members. He has had many a seasoned veteran tell him they've learned something at one of his classes, and that makes him feel good. He feels that there's no competition among his fellow DJ's, and that they are all working together towards a common goal - to better the industry by phasing out the image of "just a guy who acts like a jukebox", and replacing it with a entertainer who is truly respected as an artist. Every DJ needs to develop a certain style, and with Charlie Parker's help, that goal may be more easily reached.