fasstrack

We spoke of this before, I know. Isn't it a MF of a piece? Through-composed and constantly moving. Orchestral jazz of the 30s was a bitch---just on a very high level. There was something that came out on LP when things actually still came out on LP---and it seems it wasn't all that long ago I got it, called "Jazz, the Arrangers". It had Fletcher, Duke, Gibson (can't remember the first name, shame on me) and others, all with great pieces of this caliber. The blowing was short, sweet, and meaningful and I love it for that and the whole attention to an exciting unfolding game plan. Great stuff....

Yo, Laz..... Tidal Wave is phenomenal. Radio Rhythm is a masterpiece, and I never could find out squat about the guy that wrote it, Nat Leslie. Dan Morgenstern surprisingly had no info, and Phil Schaap, as usual, flapped his gums but didn't know (or say) shit.... I played some of Don Redman's music in the early 80s with George Kelly's octet at the West End here in NY. We did some pieces that are on Tidal Wave, like Chant of the Weed (it was also featured in, of all places, a Betty Boop cartoon---back when she was a racy broad). I'm sorry I can't listen. I hope you play some of Fletcher's BG charts. He was really a musical giant, and to think he was gonna be, what a pharmacist? He got drafted into a musical career----the opposite almost of every musician I know, including the more successful ones, who want to play more but have to live.....

Lotta guys to add to that list: Eddie Diehl (I'm right across the street from his house in Poughkeepsie right now); Ray Crawford; the great and totally forgotten John Collins; the late Shawn Leavitt (he died young and was a great player when I knew him in the late 70s, early 80s); Joe Cohn; an amazing player named Tim Breen who scared the shit outta everyone who ever heard him (including his hero George Benson) then died at 56 a wreck from drugs; the late Dan Converse whose only sins seem to have been being a good player and getting cancer----just so many soldiers no one ever heard of except a few musicians---because---at least in part in some cases---they spent their lives making other people with bigger egos sound good. If there's even one guy on the scene today that could fill any of those shoes I'd love to hear it. Haven't yet. Ah, life is BS, to loosely quote the Book of Ecclesiastes. I guess the consolation is when you know you're good as well as those with ears to hear it. In the cases of the above and others there aren't too many of those kinda ears around these days (or any days)............. If I sound bitter......................well, I sound bitter.

Boy, can I relate. Trying to grease the wheels lately. With paint thinner. Re poverty:Feeling like shit is highly overrated.... :rsmile:

Actually, I dread playing that tune with most guys b/c they play wrong changes on the bridge, copying them, sheeplike, from guys they like who are also wrong. I happen to dig Vince, BTW, but Americans (myself incluided, or especially) really ruin Brazilian music. The feel of their clave is really their own, and unlike Afro-Cuban. It's just subtle and the ahead-of-the-beat but so nice phrasing, like when Elis sings is just something you have to grow up with. I heard (probably apocraphal) Jobim was pissed at Getz and Sinatra both for fing up the phrasing of his music---though I'm sure he was grateful as hell they recorded it and probably enjoyed their versions anyway. Getz really felt that music and adapted to me. Sinatra singing Gene Lees' lyrics after hearing Elis sing the original Portugese on Corcovado....well I love the Chairman but No Cigar. For Lees' lyrics either, though they're serviceable or better. 'Dindi' is a hell of a good lyric. 'I'd let you go away...if you'd take me with you'...But it still pales... I don't have those kinds of problems really. People do get out of line but only slightly. I usually know who to get anyway. I have no gigs now so it's six and one half.........

That's too funny, Chris. I'm slowly coming around to your way of thinking re our friend (and definitely his) Mr. S. I'm still a NY musician and don't wanna bite the hand what feeds re gig announcements----but I would amusedely muse that perhaps a shovel and a placement of said teeth in Mr. Schaap's mouth---not enough to hurt the man,. mind you, only enough to weigh down his frightfully annoying tongue wouldn't be a half bad idea. I used to be a fan and know him almost 30 years from my break-in gigs at the West End. Now I switch to anything with a signal within two minutes of Mr. Schaap's 'chin music' and figure safe conduct/actual music will take place around a 1/2 hour later. Often I have to plan again.....Evidently our loquatious friend hasn't picked up on the message he so often cites from Bird to Earl Wilson, when he told Wilson (meaning why not shut the $%^ up, Earl) 'music speaks louder than words'. Johnny Hodges died at the dentist. Route canal? Well, we all knew that one. Hey, Paul. Been in touch w/the Big Diehl. I oughtta be up that way sometime soon. Maybe we all can do dinner again.

Just me wanting to keep this alive for comments. Also see related comments on related matters at: http://www.organissimo.org/forum/index.php?showtopic=47994

You listen louder. It's almost impossible to maintain an exact personnel gig to gig. Probably it's easier if you're a well-known leader with young players eager to make a name or, better, committed to the music. Still something's (can't refuse offer, situation the player wants to broach or keep alive, a personal matter) always gonna come along and a sub will be called. This is not a bad thing. To an astute, seasoned, prepared, and open bandleader it's an opportunity for many things: You get to feel out a new person musicially and personally; what they can, can't, or won't handle. You reserve the right as bandleader to call the person again or move on. If it works out, and it usually does (in my long bandleading experience anyway) you have another name to add to the talent pool and they will have had one gig already to learn the material. Often today and of necessity, especially in these days of fewer stable-personelled working groups an improvising group at a very high level and with the greatest players can and do meet (as people and players) and hit on the bandstand and make damn good or even great music. Again, the greatest improvisors listen the loudest, are the most open and trusting, musicially speaking and are also, again at least musically, ready to surrender their smaller selves to the musical journey. It's also a given that they will know hundreds of tunes and possibly some or many of each other's. At that level the main thing is the listening and the openness. For me, I got used to changing partners long ago and love it. I enjoy shifting gears, thinking on my feet to adjust to new people and having new strengths come into play each time out. As a composer, in a showcase setting for my material I can't wait to hear what the newest bad mo fo in the band will bring to my pieces. I also want to hear and try my wings on their songs if they write. In what I call 'service music' i.e. gigs where it's important to reach people first and last with material they know (this is a large part of my gig income as I've been leading groups in the mornings and afternoons for the Jazz Foundation of America in schools and homes for the aged, etc. It's also something I believe in to the marrow and am proud and thrilled to be part of) professionalism, punctuality, knowledge of tunes in all keys without the music and a desire to want to do a great job for the audience, bandleader and JFA become very important. But listening loud, going with the flow in situations where the gig itself is fluid and can turn on a dime again are paramount. I'm so lucky to live in NY where the talent pool and level of professionalism are pretty much par---and make it so easy. Finally, the greats we know and love, especially 'back in the day' were all really good friends. That helps a lot as good music and friendship are like ham on rye. It's still that way a lot of the time. Hope some of this helps.

Yup, that's the link. Mea frickin' culpa. Thanks for the kind words BTW. There also are 9 full tracks at: www.soundclick.com/joelfass

http://www.myspace.com/joelfass Click on view all blog entries. Go to entry titled 11/12/08 (bandleader's diary) and please discuss if moved to. Thanks, Joel

3000 words spoken here. What a beautiful, wise, humanitarian of a person. What an open, adventurous player. He recently got me when he said in an interview that his favorite version of "Smile" was Jerry Lewis's ballad b/c "You know he felt it after the man lost his looks and everything". Absolutley the man I wanna see when passing through Chi-town. And in anticipation of you wiseacres' JL comments: "LAAAAAAAADDDDDYYYY!"

Thanks everyone. As far as this bothering me personally, that 'un's already 'long gone from Kentucky'. But it's good that most folks' reading here is that this is no bigger than the mind of the woman involved---in other words not very. Anyway, FWIW I'll be out of the driving racket soon as my playing-teaching schedule is picking up and I expect to be cooking by '09. But, since Chris has observed, when in a good mood I'm a 'silver lining' kind of guy and the driving experience, though largely a shit and stressful job, has given me exposure to many nice people---BTW including Dr. Billy Taylor, who I knew before as a neighbor. I got to to know him a bit beyond the driving and the more I know the more I like. Very personable, generous guy who accomplished a tremendous lot in this biz and ain't done yet. Since I'm back in the business I hope I can report soon we've interacted as musicians. And he was far from the only one I've enjoyed the company of. I guess maybe it's where I currently am in life, (when I was in a shit mood recently and for a long time I hated not only the job but also doing just about anything, socially, musically, or otherwise) but that cliche about getting back what you put out across the board can't be repeated enough---to myself, that woman, and all us knucklehead humanoids.

Paul: Thanks. Long time no hear from. It really was no big deal, and nowhere near made me crazy, only concerned and thinking---and this was a good place to put it from the thoughtful responses so far. . (And speaking of Big Diehls I spoke to Eddie the other day---Note:Paul and I met through my longtime buddy fellow jazz guitarist Eddie Diehl. The three of us had a nice dinner in |Poughkeepsie not too long ago).

Thoughtful offering as usual Tom. I thought the response to perceived racism coupled w/defensiveness (shutting me off after my first feedback and speaking only to her son) indicative of larger, more serious troubles, though clearly she had some less than stellar experiences with whites. Re her son: I wouldn't assume he's aware of any of that, though perhaps he is. What troubled me and pissed me off is, of course, that this malleable and open child is being telegraphed negative BS and denied the chance to draw his own conclusions. Oh well, he'll begin the never-ending trek toward adulthood after leaving home, one would hope.

I drive a local car service in the Bronx as a day gig. I picked up a woman and her son close to two hours ago and what ensued is still sticking in my craw. Want to sort it out and started a productive discussion if warranted. Said passenger was fine at first, playing learning games with the boy. I was tempted to join in. But dark clouds arrived after I made a turn she didn't like (my way was faster to the school). She told me how to go and her tone immediately turned edgy, saying things like "you go the way I tell you. Do you know what customer service is?, etc. Foolishly I--initially politely, then more assertively as she got ruder---engaged her (but went her way anyway). After a few such words were exchanged she first commented that if I'd just shut up and drive there would be no problem---again edgy and pissy. Then it descended a bit and annoyed me as she, still in evidently what she considered teaching mode, started lecturing her son about 'see what happens when people are poorly brought up and rude, etc'. I don't remember the comment that got on my last nerve but she must've hit one out of the park because I pulled over and politely asked her to leave the car---no charge as getting rid of her was payment enough. Here's where the magic words came: She had been talking to her son the whole time, about what a bad person I was, etc. Now she threw in the piece de resistance: "And you need to learn that he's doing it (all of the above accusations plus tossing her) because mommy's black." I shudda seen that one coming. My comment as she left (for myself I guess since it would have been wasted on her) was 'I hope you work out these issues'.... So what is this really about? I have been known to overreact and read more in to situations, being thoughtful, than they deserve. I don't feel bad for me, (being an artist if this continues to stew I can write a tune or something) but for her and her hurt, but I especially feel for the kid, who probably gets a steady diet of this from, IMO, damaged goods mommy. I guess if he's smart enough he'll figure it out eventually, but it's a drag that he has to overcome a stacked deck. There's the slightest of possibities that she got this a drop right, because my own prejudices (not against blacks but two other groups I've had lousy experiences with through the years and am trying to deal with that beast like we all should be) have been on my mind. Slightly crazy people can pick up on that. I've also been extra sensitive to pissed-off minorities (especially in shitty jobs) lately because I'm always dealing with the public and sometimes people set people off Hell, if I were they and dealing with constant disrespect, I'd be pissed off too---at a minimum. But I tend to doubt this was the story here. She obviously is troubled. But I see what I see and today's incident does trouble me. Is this just one slightly nutty lady whose food maybe went down the wrong way or indicative of any or all of the above alluded to? Your thoughts, ladies and gentlemen...................

Actually, I find I was wrong regarding Teddy's age: he's only a kid of 80. I wanted to to mention again Don Hahn. I think he played with, and was loved by Maynard for years. I heard about him years ago through a mutual friend but only heard him a few years ago. He's a great, mature lyrical bebop trumpet/flugeler and we had a nice rappoire, I thought. No piano, so there was a lot of room for counterpoint while-you-wait and generally. Catch him if you can in NY. He plays with Ari every week at Fat Cat. Music is great. You can become old friends with someone in 5 minutes on the stand if you listen and know the material. I think Teddy is out of sand and will do more things. Chris Byars was definitely a catylist. I hope to play with Charles again and expect I will. Yay octagenarians!

The band was at least 50% old friends, which made it all the nicer. I caught the end of Cohen's talk. (Actually a lot of talking went on b/c the guitarist was late and Chris was stalling like a MF. He can talk at length, but meaningfully I think). The little bit I heard seemed well meant and researched. I wanted to talk to Noal, b/c we have a mutual friend and I also admired his Web history of the Rochester, NY jazz scene---from whence came our friend, Ron Carter, the Mangiones, and Cohen himself. Also had something else to broach. I Decided to leave him his space though and hopefully will catch up with him later. Again, it was a great free event and I believe was recorded. Who knows......

I went to the Y last night and it was wonderful. Chris Byars and company did a great job bringing those charts to life again. Excellent players and treatment of difficult material on little rehearsal and Teddy sounded great. It's a rare privilege to hear stuff live like Gil's arrangement on "You Go to My Head", Teddy's "The Emperor", "Nature Boy", and "Green Blues", Mal Waldron's "Vibrations", Brook's "Showtime----especially since I had the CDs (RCA Jazz Arrangers Workshop and Teddy Charles Tentet. Chris is a hell of a musician, as is John Mosca, and they cared enough to put this together, did a bang-up job,---and it was free. Naturally I took it and ran like a thief.....

I wandered into Fat Cat with my guitar on Saturday. Ari Roland, a bassist, asked me to play the first set with him. Teddy, who was staying with Ari and was to be featured at Smalls that night, wandered in right after me. That impromptu group also included Don Hahn on trumpet/flugel, (great player) and a young tenor player whose name I wish I remember because he was good. The old man sounded great, just like the old records, but leaving more space. He has vitality and ideas to spare. You could sort of hear his brain. The little I spoke with him on break I found him very approachable and humble and having a great time just jamming with the cats. Someone told me he was 84. I should be so lucky......

A very great artist at his best----which was most of the time until the very last years when to me he went for the money and image pimping. Still, there were some great moments even there, if you care to look. (I thought Star People a great love letter to the blues in which MD played his ass off). His playing actually changed the landscape for trumpet, one of the leading instruments in jazz, and he made listeners and musicians see how important both a sound and letting some daylight in between the notes are. As a bandleader his approach---to serve as narrator, set a tone, surround himself with top talent and yield the clean-up spot to them---is a role model to all. Certainly it has been for me. FWIW: He probably could have been nicer. His autobio was, too often, an excercise in self-aggrandizing revisionism. His remarks about Duke Jordan, whose great intros for Bird were an equal if not greater contribution to that band, were unnecessary and full of shit to me. Ditto remarks about Hank Mobley, who was only mentioned once, to say how much he bored Miles. Other times it was moving indeed, as when he talked about his father. I guess what I mean is maybe he wasn't a good man, but he sure was a great one.

Amen. 'Sometimes nothing can be a great hand'.

http://www.soundclick.com/bands/default.cfm?bandID=645953 From 1995-2006. Demos, radio shows, live gigs.

Symphony #5. Also various piano music. There was a biopic based on his (controversial) autobiography "Testimony". Also called "Testimony" and starring Ben Kingley. Sample line (about some sort of composer's commie government perk): "First prize is a week with Stalin. Second prize, two weeks with Stalin..."

Why do those whitebread mfs always get the great women? Now excuse me while I continue reading "Portnoy's Complaint".....

I used to have on cassette something called "Everything Swings". Either it's Bean and Red Allen or what passes for my mind is playing tricks on me and it's Roy Eldridge instead. Either way great music.