Melbourne's sax players come out of a jazz scene that still gigs weekly, which shows up in a particular way: ask for a quiet dinner set and you will get someone who can actually play one. That is not true everywhere. The same player will usually also do the loud job over a DJ, so the question to answer first is which of the two nights you are buying.
The city's rooms push you towards this booking more than most. Laneway bars, warehouse conversions in Collingwood and rooftop terraces all have tight space and often a noise condition on the venue, and one horn with no drum kit behind it fits where a band simply cannot.
Top picks are the acts in this category in Melbourne, with the most visible client reviews first, then rating; premium listings break remaining ties.
The job decides it more than the player does. Two short acoustic sets through arrivals is the modest version, and late night work alongside a DJ until the venue's curfew is the dearest, because it is a longer night and a harder one. Almost nothing here carries a rating, so treat the figures on this page as the going Melbourne rate and not as a league table.
It is the most common version of this booking in Melbourne, and the skill is in restraint. A player who blows over every track is wallpaper by ten, while a good one aims at the peaks and steps back for the rest. Ask how they pace a night and whether they have worked with your DJ or at your venue before.
It can be, and the honest players will say so before you book. In a narrow room an alto or soprano played at talking level works where a tenor through a speaker does not, and a few will skip amplification altogether. Describe the space and roughly how many people will be in it, and the volume gets decided before anyone arrives.
Not for the aisle and the signing, since the instrument carries across a garden on its own. Backing tracks change that, because they need a battery speaker, and so does anything in a big open space with traffic nearby. Ask what the player runs when there is no outlet in reach.
Two suppliers who have swapped a message about keys and timing sound like one act. Two who meet at eight o'clock sound like a musician playing over a stranger's set.
A tenor at full volume in a narrow Fitzroy bar buries every conversation in it. Tell the player the shape of the space and they will pick the instrument and the level before they arrive.
A rooftop in October drops fast after sunset and the instrument goes out of tune with it. Ask what the player needs if the set runs outdoors into the evening, and have an indoor fallback for the last set.