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YOUNG STARS ARE BORN: Kuo Po (above), 46, founded a vocal and performance training school for children in 2004. She says she doesn't miss singing in clubs.
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THE faint jazzy rhythm filters through the walkway in Red Dot Traffic - and a familiar voice carries the melody effortlessly.
The singing draws you into a room where a young audience aged between four and six is listening attentively to an exTalentime finalist belting out a jazz number.
'One more, teacher,' urge the wide-eyed students in unison.
The brassy-voiced teacher is Kuo Po, or KP, who in her heyday was one of the top club singers at places such as Peppermint Park, Atlantis, Club 392, Dada and Java Jive.
Says the 46-year-old who set up the Kids Performing school at Red Dot Traffic in 2004: 'I felt jaded after performing for 20 years. Then, I was also managing some clubs and artistes. The long hours eventually took a toll on me. I finally called it quits.'
The former executive director of the now-defunct Devils' Bar last performed at the former Live@5 music bar in 1998.
Kids Performing offers various courses such as vocal and performance training, priced between $320 and $750 for 10 sessions.
Although Kuo Po declines to reveal the school's annual turnover, she says it 'sees more than 100 students for each term'.
She is among the many veteran musicians who have traded their club gigs to teach music as it provides a stable source of income.
On average, a musician who works six nights a week at a nightspot earns between $3,500 and $5,000 a month.
But he stands to make an additional $1,000 or more a month on top of his club gigs if he teaches during his spare time.
One of those doing just that is former member of the 1970s band Black Dog Bone Sulaiman Abdullah who is now performing at The Bellini Room at St James Power Station.
He has been teaching for 10 years and now charges $240 for four 45-minute lessons a month. Currently, his income from his 12 students is about $3,000.
The 58-year-old trumpeter, who has a Grade 8 in music theory and Grade 5 in practical, says: 'Life as a musician may not provide the stability in terms of income as, say, a regular office job with fixed salary and bonuses. You need long-term planning on how you can supplement your income.'
The gig route gets tougher as you get older. Although there are more nightspots featuring live music today than 20 years ago, it is an uphill task for the older set to secure a club gig.
Being more experienced and technically more accomplished, they naturally come with a higher performance fee.
But they face stiff competition from the hungrier, younger crop of musicians and foreign talent.
Ex-Jive Talkin' drummer Tony Zee, 62, laments: 'Who wants to see an old man perform? The clubs prefer to engage a younger band or a foreign band that is willing to work for less.' This has led to some bar owners expecting the musicians to play three 45-minute sets for $100.
Forget it, says Dixie Ferdinands, 57, who used to be part of a 1980s band called Gypsy.
Having earned a Grade 6 in music theory from The Associated Board of the Royal Schools of Music, he now teaches music at the Eurasian Community House and says he draws a 'comfortable' income.
He explains: 'I love performing, but why sell yourself short when you have other options?'
After 40 years in the club scene, Zee quit in 2001 to teach music full-time. Presently, he is a drum instructor at Mandeville Music School at United Square.
While some of these ageing musicians gripe that there is no platform to showcase their talent in today's live entertainment scene, Mr Dennis Foo, chief executive officer of St James Power Station, begs to differ.
He says: 'Some veterans have made a comeback. They appeal to both older and younger audiences.'
He is referring to veterans such as Stephen Francis, Cedric Cork, Sulaiman Abdullah and William Scorpion who are currently performing at St James.
Guitarist Spencer Goh of the 1970s band Tony, Spencer and Terry, who is now in his 50s, found himself playing with younger musicians, and adapted well.
But there is one drawback in the life of a performer.
He explains: 'The reality kicks in once your contract ends. The pay cheque will sustain for about as long as that last chord you play.'
Goh, who took up a music course in Los Angeles' Guitar Institute in 1980, has been teaching at Yamaha Music School for 30 years while he was playing gigs too.
He adds: 'You can call the shots and dictate how many students you want to take on. But the club gigs are not permanent because the contract may not be renewed.'
Being household names in the music industry does pay some sort of dividend in their pursuit of a career in teaching.
One of Ferdinands' students, Ms Grace Quek, 26, was encouraged by her mother to take up guitar lessons from him six years ago.
Recalls the assistant account manager: 'My mother remembered Dixie as the great performer and musician. That was why she urged me to learn from him.'
Still, not all are as keen to go down the teaching route as it requires a great deal of patience.
But those who have done so say it comes with great satisfaction.
Says Francis, who started teaching three months ago in addition to his St James gig: 'There's the wonderful feeling of passing on your skill to an appreciative student. The experience harks back to the time when I was learning music.'
For Goh, the challenge has always been to help his students overcome the obstacles that he once faced.
But do they ever look back at the stage with a sense of wistfulness?
Kuo Po sums it up when she says: 'It's about sharing what I have learnt over the years. I don't miss the club gigs.
'The school is now my stage.'
caravm@sph.com.sg
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