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“Bobby Gordon Plays Joe Marsala: Low Register” Another great Bobby Gordon cd on Arbors. He’s a great interpreter of 'thirties swing music in particular by clarinet leaders.     Bobby Gordon-clarinet Randy Reinhart-trumpet Keith Ingham-piano, celeste and arrangements Russell George-violin James Chirillo-guitar Vince Giodano-bass Arnie Kinsella and Steve Little-drums

I like to tell my students that when they solo they're a guest of the song and to treat their host with respect. As a soloist you're there to enhance the song, not to use it exclusively for harmonic gratification. A tune's identity is more than a set of chord changes. Charles McPherson, who in addition to being one of the great instrumentalists is also IMO one of the best verbalizers about jazz. From one interview: "See, here we go with, “There’s a lot of ways to be a typewriter,” because a lot of people chase chord changes. But harmony and chord changes are just there as collateral. They tell you what group of notes might be valid for the moment, but they don’t tell you what’s the best note for the moment. Your eyes can tell you right notes if you know harmony, but your ears — if you got some — will tell you the best notes out of the many right notes. It’s up to the melodic ear to eke out the greatest four or five notes for the moment. That’s when the phrasing and rhythm comes in.... ... But Bird and Dizzy played so well and so correctly that it was very easy for the younger players to start treating chord changes as the greatest thing of all. There’s a danger there because chords are not the “reason why.” Chords shouldn’t be the jumpstart of your creation. Your jumpstart of creation is your melodic ear and rhythm. The chords are there, they’re like parts of speech. Nouns, verbs, prepositional phrases, adverb phrases: they’re meaningless on their own, but they’re there to create sentences, paragraphs and stories. But parts of speech are not the reason for your creation. When you get ready to speak your thoughts and express your feelings, you’re not saying, well now let me use a noun or a verb or an adverb. It’s the same when you play an A minor seven. An A minor seven has no dignity unto itself. It just is what it is. The A minor seven is just acting as part of speech, helping you express your emotion. A lot of the players after bebop on became top heavy with the harmony. Now we have a bunch of players who will basically chase chord changes, that’s all it is. If they’re grammatically correct, they think they’re great, you know? And that’s part of it, of course. At least you’re in the ballpark if you outline the changes. But that ain’t the main event!"