fasstrack

He definitely won't be going PUBIC. Let's split the difference with PUBLIC. '....'(what Puck's last line was).

Good review by Stanley. I wish he would be as terse and un-showoffy in his own work. I like his News column best, and he tailors his prose accordingly. That's what a pro does. In other news I would add that Kastin is better at gathering and presenting historical data than making his subject here come alive-a shame since she sure seemed lively as hell to me. Stanley also didn't ask the obvious pressing question that I've already beaten to death in these Nica threads: why no offspring interviews? Why no Barry Harris? I've not a stitch against Joel Forrester, I like him and his music-and he WAS her friend. But Barry has lived at that house longer actually than Monk-and his feelings for Monk and Nica run very strong and deep. Maybe he bowed out of all 3 projects to protect her privacy. Instead of me repeating myself I am going to ask him since we are in touch. But I am going to watch over HIS privacy and ask if it's cool to go pubic. And I guess I should also not assume this is as important to others here as me.

You have:[url=h That's IT. At least at my end. Did you mean to talk about Hannah Rothschild's book? Can't get it Stateside yet-save for Kindle, and I never touch the stuff. She's worth waiting for though, a damn good writer. The DVD she did (Jazz Baroness, I think) is wonderful. It's up on youtube free but I want to buy it like a mensch, not steal it. Nica's really having her posthumous day, eh? 3 books if you include Kelley's masterful Monk bio and a DVD. I met her and was at the house. Barry Harris is still there. I fear Hannah (and Mr. Kastin too) got on the wrong side of Barry and Nica's daughters-and what a waste of the 2 best resources. Still way worth it. The Nica I wish I knew has returned so we can have a 2nd look. I know we wont treat her 'high hat' like that bastard racist power hoarder Walter Winchell did.

And the thrilling conclusion: moved to a much better corner-off the Christopher St. IRT sta. Same bat-guitar, same bat-amp (now hidden in a bag) and the earnings potential is way up I can see. People are stopping, they seem more into it than on Bleeker, where the only music to the tourists was the sound of Gelatto lashing against the palette. I screwed up not having a CD for sale b/c 1st tune a lady asked. There's an alto player w/dibs on the spot at night so I will move when he arrives. No one from a block assoc. will complain- the bulls will only break balls out of meanness-but I refuse to even house such thoughts in the venerated Buddhist Dharma tradition. Now to that Ibanez: it sounds too metallic, too DOBRO-LIKE (;. Got to find a better string. Maybe half-rounds. And if I really work that corner this summer I will have a good acoustic before long. I'm so frickin' happy now I better watch out my (Chosen) people don't excommunicate me! If so on to shiksa land...and pastrami w/mayo.

....'for $25 I want her naked' Know that one? Courtesy of Belle Barth.

How about I get a Dodo? With money.

Aaaannde@. a complete washout. Made $2. No one can hear me. Had to leave anymay. Game plan: go back to the set-up I know and love, maybe find a less residential spot. Put amp in bag, maybe get a wireless set-tp. I shouldda saved and got the Martin. This guitar is unworthy of me: a player w/a rep. for blocks around...

A dobro? I'll leave that to the dobrists. (they have DOBRISTS?) With all due respect to the instrument and its tradition I have no interest in a steel sound. Wood resonates. Metal is-metal. Not my thing at all. I don't even like bright-sounding guitars. When they slam those first-position chords its like when sanitation clangs the cans into each other. I used to like brighter elecs. when younger, and had 2 Guilds that were wonderful.

Well, I've been on that corner for 3 years. I believe in street music. It's entrepreunorial (sp) for one thing. And it performs a needed service. Since I mostly play melody I'm exposing people-including children-to a wide swath of American music, some international too. The main thing is I'm not i-anything, so those paying attention see that humans make music, and that it's a job. And I get great appreciation. Everyone knows and smiles at 'the people's guitarist'. I keep the amp low, but it's needed. Bleeker is a tour bus and truck route-loud as hell. Summers the money is made at night, so I'll move to a less residential spot-closes to 7th Ave.-and hope for the best. I had no problem for 3 years, and the guys at the precinct know it's my livelihood, and that I'm a gentleman. The reason for the purchase of the acoustic was to have one-and something light to knock around with. The sound w/the Godin and that little Microcube is the best I've had in 47 years of playing, and it's heartbreaking that this may end. BTW when my ship comes in I'm getting a Martin. A high-end one.

I loved the all-mahogonies. My one reservation: not loud enough w/o a mic, and I sort of believe in let an acoustic be an acoustic. The Ibanez is not in the same qualitative ballpark, but it has guts and basically a dark sound. Put half-rounds on that bad boy and it's good to go. And it'll age. I have no illusions, though. It's no Martin.

Now I'm in that world full force. I was making some paltry money w/street playing and driven off my corner by evil forces---ostensibly b/c I use a (very quiet) amplifier. Now I have to use an acoustic, lose my sound which is part of my DNA, and half the busines since people can't hear me across the street. But I did find a cheap Ibanez that gets the job done and gives me something like the dark, woody sound I cherish. And guitars have to be played to mature. This ($300!) find was after a long depression over not being able to afford a Martin, somewhat allayed b/c a maker/repairman in the Village I respect said that the suits at Martin did a despicable to a world-class product: they made a cheaper guitar to keep up with Taylor. Bad and stupid move, b/c besides embarrassing themselves and rightfully looking greedy, just why? Taylors do not sound like Martins. They are bright, and if that's your desire buy one. I have to admit I played the new $900 Martins---and loved the O series especially. They played and sounded magnificent. But the aforementioned Rick Kelly swore they fall apart after a year: glued-on necks, no laquer (that I did see, can't miss it), cheap parts, etc. I defer to Mr. Kelly's wisdom. He laughed at my Ibanez choice, dismissing it as a $100 guitar w/o laquer--and my head went down for a minute to fit the dunce cap. But I have to play it, and I'll make it work. And it can't be argued the miracle in cheap guitar-making technology. Truly remarkable. That said, as long as I'm now playing it I'd like to take advantage of the acoustic's unique properties. I play pop music anyway and my sound is close to acoustic w/the Godin you see in the picture. But now it would be nice to really listen and revisit what people have done in the blues, gospel, folk traditions. I remember writing about how I lost a gig w/Big Joe Turner for playing too 'jazzy'. Well, it's late for that, but since I play much of my solo repertoire using the bottom strings like piano pedals it would be nice to put some of those big sounding (but more basic) chords on top. I like the hymns I've seen, and that might be a good place to start.

Anyone who could possibly feel Wayne Shorter stopped exploring at any point should look into an ear transplant. Exploring is what he does. It's in his DNA. Even when he plays tunes from his '60s book they are transformed each time---or at least that's what he goes for, win or lose.

I'm asking Spine NOT to post it i have 'issues' w/all this stuff going up m/o consent or pay. He'll take it down if asked. If it's good enough to put Who will buy what's already free? (or 'this wonderful morning (; ). If it's below my standard then I'm torn btwn. artistic candor and embarrassment. Again 'no tickee, no wash'-forgive the racism of that archaic expression. Phil Schaap (I know, I know-sigh) is as inveterate an archivist as Spike, but the tapes-at least m-10 of which I am on, along w/my many betters on this valuable ad hoc lore are housed offline-making it an occasiom when and old West End show or interview is run.

Wow. I'm moved and humbled. But please do not expect anything approaching perfection despite everyone's talent and best intentions. I only sat w/the singers yesterday and not w/the band yet-w/a very ambitious program. The odd train wreck will happen in the best of...etc. But I believe in the material and performers-and myself, so we'll do our best... that's the beauty of this jazz thing. there will also be many gorgeous moments of feeling that can never happen again which can't possibly be rehearsed or scripted... i can't wait. Uh oh

Wow. I'm moved and humbled. But please do not expect anything approaching perfection despite everyone's talent and best intentions. I only sat w/the singers yesterday and not w/the band yet-w/a very ambitious program. The odd train wreck will happen in the best of...etc. But I believe in the material and performers-and myself, so we'll do our best...

CALLING ALL ROMANTICS (REDUX) A themed song cycle by guitarist/composer Joel Fass NEW VOCAL AND INSTRUMENTAL SONGS PAIRED WITH RESET FAVORITES WITH A HAND-PICKED BAND AND 2 GUEST VOCALISTS! ON THE THEMES OF IDEALISM (AND ITS DISCONTENTENTS); LONGING FOR YOUTH/CHILDREN'S DREAMS; SELF-BETTERMENT; ESPECIALLY 'GETTING UP AND GETTING ON' JOEL FASS, ACOUSTIC/ELECTRIC GUITAR, SONGWRITER MIKE FAHN, VALVE TROMBONE RADAM SCHWARTZ, PIANO/KEYBOARD TIM GIVENS, BASS CLIFFORD BARBARO, DRUMS GUEST VOCALISTS: MILES GRIFFITH (STAR OF WYNTON MARSALIS'S PULITZER-WINNING BLOOD ON THE FIELDS) ELLEN WEISS (SONG STYLIST, SONGWRITER OF SCOPE AND DIMENSION) SEAN HARKNESS, VOCAL ARRANGEMENTS, PROVIDER OF SIBELIUS CHARTS, CO-MUSICAL DIRECTOR SAT, MAY 19 4-7 PM SMALLS 183 W. 10TH ST. NY, NY (212)252-5091

Another broken heart to match a light on Broad... No, scratch that. Make it light from the MILKY WAY! As seen from the SOUTHLAND. Phew! (panting)... THAT was close...

Nice looking gal. What are you, holding out on the rest?

CALLING ALL ROMANTICS (REDUX) NEW VOCAL AND INSTRUMENTAL SONGS PAIRED WITH RESET FAVORITES WITH A HAND-PICKED BAND AND 2 GUEST VOCALISTS! ON THE THEMES OF IDEALISM (AND ITS DISCONTENTENTS); LONGING FOR YOUTH/CHILDREN'S DREAMS; SELF-BETTERMENT; ESPECIALLY 'GETTING UP AND GETTING ON' JOEL FASS, ACOUSTIC/ELECTRIC GUITAR, SONGWRITER MIKE FAHN, VALVE TROMBONE RADAM SCHWARTZ, PIANO/KEYBOARD TIM GIVENS, BASS CLIFFORD BARBARO, DRUMS GUEST VOCALISTS: MILES GRIFFITH (STAR OF WYNTON MARSALIS'S PULITZER-WINNING BLOOD ON THE FIELDS) ELLEN WEISS (SONG STYLIST, SONGWRITER OF SCOPE AND DIMENSION) SEAN HARKNESS, VOCAL ARRANGEMENTS, PROVIDER OF SIBELIUS CHARTS, CO-MUSICAL DIRECTOR SAT, MAY 19 4-7 PM SMALLS 183 W. 10TH ST. NY, NY (212)252-5091

Hope I spelled hls name right. Thought it might be Polmus. Anyway I had the, um, honor of being fired by him some 31 years ago. All good b/c the leader liked me and my replacement couldn't play. I've become real interested in pop tunes for my repertoire and b/c I teach songwriting now. I know Saue the Last Dance. Not a bad tune and kind of a sweet lyric. What else? Any pretty ballads?

Saved ChSistians?! Oh SHIT! THAT'S why!! Cue Emily Latella-very underemployed lately-to put down the Mop n Glo and the hoagie she was sneaking to raise her head and declaim 'Oh. That's VERY DIFFERENT. NEVER MIND...

One last thing. People can DISCUSS all they want. That's human. It's the JUDGING-also human-that's the proverbial slippery slope. More importantly my or your expressed consternation has 0 effect on anyone's choices of ANY kind. Anyway I'm trying to follow the example of Charlie Parker cooling out Earl Wilson's blathering on TV by saying 'music speaks louder than words'. Not there yet, but I did write a tune: Louder Than Words. So it resonated for me. I won't get into why here, but of late I've been around more 'saved' Chsistians than I hope to see for many years. Talk about some judgemental MFs. I guess that's why I'm a bit touchier on this now. You know, here's $5. Get saved and have the fucking Kool Aid. OVER THERE. Leave me out of your fucking fantasy, and especially: judge me? Step right up. But it's on YOU...

I have no thoughts about something I haven't heard. I took one of HH's recent 'events' out of the 'berry. Uneventful, ergo unceremoniously returned. I have no 'business', have never been afraid to speak my mind (maybe that's why?), and the few 'connections' are breaking their asses just staying connected. I would never ask for anything, and doubt I'd get it or the clubhouse door'd swing magically open for the asking. God bless the child. Also FYI George Benson sits in all over the place-gratis. You can hardly get him to sit down. If that's not a statement... Probably after he's gone ('after he's gooone a-waaa-ay') bootlegs galore will surface, the better to enrich the scum-sucking leeches recording him on the sly.

Oh, and I quite disagree re 'personalizing'. It's when you talk about people you DON'T know that it's feeble and speculative, even vicarious. I try to keep to what and who I DO know-or (what I) believe I know. 'When you believe in things you don't understand-then you suffer...Superstition ain't the way...'

Pt. 2:...from these proceedings. Rewind to a conversation w/an even older friend-again re Pass who was doubtless panting after all this discourse. The MF's 'thing' is play that gtr.-not succumb to the annoying costs of fame. This time I was the heavy-musing on what Joe might sound like had he took a breather and dug a bit deeper. He was the greatest, but WAS phoning it in at least a little. My friend who is wise and a succsessful pop gtrst. (the other guy is a jazz gtr. great always held back by that mouth and other winning ways-though a great guy in the end) had this take: 'you're going from gig to gig w/o time for 'The Metamorphosis'' Now I'm not saying this applies to the folks spoken of here. We're not inside the other guy's soul, as I told Stanley Crouch as he cleaned the clock of Miles's career choice inbetween the short work he was making of a big-ass fish. If I put y'all down for the putting down I'm phony and a holier-than-thou sort of the ilk I despise. So-'I don't want to put anyone down...'