Wave (Jobim) Analysis using Barry Harris Method

[goldenwave77]

The teacher can't choose the students.

But this fellow De Grosso, and Roni Ben-Hur, are pretty fair players, it seems to me.

And I don't know about David Baker's cello, but he is (or was) a pretty decent trombonist, I believe.

As for cello, I find it amazing that he's both a string player and a horn player. Not all that common, I would think.

[fasstrack]

The teacher can't choose the students.

But this fellow De Grosso, and Roni Ben-Hur, are pretty fair players, it seems to me.

And I don't know about David Baker's cello, but he is (or was) a pretty decent trombonist, I believe.

As for cello, I find it amazing that he's both a string player and a horn player. Not all that common, I would think.

Do you mean Pasquale Grasso? He could be one of the greatest ever if he worked on a few things. He has the guitar covered to an extraordinary level, but there are other things. Pasquale is still young and a very sweet guy. He's already making his mark. I told him he's the new Chuck Wayne---and I knew Chuck well. I think his crowd---and they are my friends and excellent players---a bit retro. They are trying to keep a flame alive that doesn't need keeping. Charlie Parker's work speaks for itself and will always be there on record. I find self-limiting musicians a hinderence to themselves and music generally. Some older guys still live in the past---more understandable. But when you're living in someone ELSE'S past....I don't get that part.

On a personal level, my problem with bebop is not the music or the great artists who originally created it. It was a musicians music, reviled largely by the public and that still is the case. The swing era music that proceeded it may not have been as advanced harmonically or even rhythmically, but the players entertained audiences---they HAD to. Geniuses like Bird and (perhaps especially) Bud Powell played more amongst and for themselves. Not Bird so much, his music had so much humanity. But I've read where Sonny Rollins spoke of going to thr Apollo, and the big crowds were for Dinah Washington---Bird and his followers drew far less. They paid dearly for their refusal to be accepted as less than the great artists they were.

Bud was ill and kind of in his own world. Monk, oddly enough, was first put down as too radical, then later as too conservative---but his music had all the elements to reach people, especially humor and melody.

To me the great role model of that era was John Birks Gillespie. He was the organizer while Bird was out getting high---and eventually he decided he (Dizzy) had had enough. He also was a brilliant entertainer w/o even TOUCHING the horn. People (critics) put his work with Joe Carroll down, but he played great trumpet once he sang Swing Low Sweet Cadillac. He was a VERY important figure.

But people still don't 'get' bebop---sad, but true. And the young cats trying to sound like 1950---it's all good and I wish 'em well. Gonna be a lonely life and they are gonna need to be kept---or sport 2nd careers as gentleman bank robbers.

Seriously, my own head is somewhere else entirely, it's on making melodies and lyrics of my own and using my gifts, such as they are, to bring out the American Song Book. That's hard enough in the age of iphones when no one even has a clue about Stevie Wonder or the Beatles anymore, and let's not even get INTO Duke or Cole Porter.

I ramble, I know...

[christianm77]

@goldenwave - yes, I agree with much of what you have to say.


When you talk about rhythm I understand what you mean does not refer to the simple accuracy of rhythm (which is finely developed in many many players these days) but rather it's sensibility - I hear clock time in many of today's players, not body time, but clock time - that's to do with education, recording and modern playing environments.

Anyway, this is what I mean when I say 'jazz is dead' - as in a discontinuous tradition, now, certainly for me. The social environment that made 'jazz' happen is no longer extant. Perhaps in some places in New York still. What people call 'contemporary jazz' to me is not 'jazz' in the sense that Dizzy played it. But the term is problematic anyway - Parker didn't regard his music as jazz for instance.

I've had a taste of the what I recognise as the actual jazz tradition - from Barry Harris, a little bit playing for dancers and so on... And I would say that the music that talented young musicians who have come out of jazz education is NOT generally the same thing at all in any social sense, even when they play an old standard. That's not to say it can't be good on it's own terms.

When aims to be a recreation of these old traditions - as in much of the music I have played - it remains a shadow of the original, always doomed to suffer by comparison. It's an artistic dead end, and I say this as someone with a Charlie Christian tribute project :-)

As the social environment went into decline, the education environment expanded vastly. No coincidence of course.

So if 'jazz' is dead - what do we have now? Well we have our own time, culture and our own reference points. There's lots to do! I'll even call my music jazz if it helps with getting gigs, but will jettison if not. I don't care.

Anyway, please try and grasp the nuance of my statement. I'm not interested in starting another jazz is dead flame war - but I imagine few would disagree that the social environment of the music has changed irrevocably and this has changed the music too.

[christianm77]

Do you mean Pasquale Grasso? He could be one of the greatest ever if he worked on a few things. He has the guitar covered to an extraordinary level, but there are other things. Pasquale is still young and a very sweet guy. He's already making his mark. I told him he's the new Chuck Wayne---and I knew Chuck well. I think his crowd---and they are my friends and excellent players---a bit retro. They are trying to keep a flame alive that doesn't need keeping. Charlie Parker's work speaks for itself and will always be there on record. I find self-limiting musicians a hinderence to themselves and music generally. Some older guys still live in the past---more understandable. But when you're living in someone ELSE'S past....I don't get that part.

Can I ask you a question - is it possible in your opinion for a young player operating now (in NY) to get even a tenth of the grease on their playing that Benson, Grant Green or Wes are swimming in?

(I think this is what PG needs. Everything else is there. I hope he finds it somehow.)

And, what's the f**king point of being a jazz guitarist if not?

[christianm77]

I just get eyes glazed over on this forum at the time devoted to analyses/fancy nomenclature of things so simple to figure out on one's own---guru-free. (For the record, I've known and adored Barry since '76 and we speak on the phone regularly. He said he would come to my gig last week to hear my songs. Guess he couldn't get a ride). .

I've seen you come on this forum and name drop a whole bunch, and do so entertainingly...

And I've heard you rail against 'fancy nomenclature.' Well, like it or not the Mixolydian, for example, is a label that most players of my generation understand, so it's fancy mostly to you. It's not a term I care for myself, but it is understood. Barry teaches the 'dominant scale' - same thing... Anyway, Whatever.

But here's my question to you - HOW would YOU teach it? Because it all comes across as ... negative.

You do teach - so HOW, and what do you recommend beyond giving the student a bunch of records and tell them to work it out themselves? (Which is NOT the worst idea on the world, I must point out ;-))

[destinytot]

Can I ask you a question - is it possible in your opinion for a young player operating now (in NY) to get even a tenth of the grease on their playing that Benson, Grant Green or Wes are swimming in?

(I think this is what PG needs. Everything else is there. I hope he finds it somehow.)

And, what's the f**king point of being a jazz guitarist if not?

Being good means nothing when a person's afraid to be bad.

[christianm77]

Being good means nothing when a person's afraid to be bad.

Nice!

[destinytot]

Nice!

Some say, "Be thick-skinned." I say, "Be sensitive, but grow a set of teeth."

[goldenwave77]

Honestly, a lot of the academic jazz products strike me as being like Medieval Thomists, or Yeshivniks, or Talmudic Scholars, using a language that only they know and care about. Many of them haven't come up through the school of hard knocks, that winnowed out the untalented, and the less than fully committed.

Everybody knows the story of Charlie P. being thrown off the bandstand when he was 16 or 17, and he was already a local phenomenon in a very hot musical city (KC). He could recover, continue training and working, and 5-6 yrs. later he is very good, and 5 yrs. after that, he's ready to change the way people thought. I don't even see where people go to get the actual on the job training, that allows musicians to develop. Where is the "University of Art Blakey" (the Jazz Messengers)? I suppose Wynton M. and some others have tried to fill this role, but it's like art and museums. Someone once said that art museums should be called "Art Mausoleums" because if something is happening, on a grass roots level, we don't need a museum to go see it.

Maybe the European public and musicians will carry forward the tradition.

[fasstrack]

Can I ask you a question - is it possible in your opinion for a young player operating now (in NY) to get even a tenth of the grease on their playing that Benson, Grant Green or Wes are swimming in?

(I think this is what PG needs. Everything else is there. I hope he finds it somehow.)

And, what's the f**king point of being a jazz guitarist if not?

The point is that's the way he plays---now. Pasquale is from Italy. In a way I'd rather he NOT copy the black American players, b/c that's not HIM. I've heard my share of white players of all instruments trying to sound (and even in some cases---laughably---TALK black).

I've been friends with Pasquale since he and brother Luigi arrived on these shores in 2009. The first time I heard him jamming at Fat Cat (from where I write) with Ari Roland I said 'geez, who the f is THIS?! He was already sounding like he does now----confident, long lines (some borrowed from a main influence, Bud Powell), beautiful touch and seated in classical position using a footstool. We went into the back room and jammed and taught each other shit. THAT'S what it's about.

I must have played with Pasquale dozens of times since then: jamming with Ari and co., at Fat Cat pretty much every week, sitting in at Walker's and Analogue. We kind of have a mutual admiration society: he digs my swing and spacing and I'm amazed at his general accomplishment and class-actness on guitar.

Pasquale is not after 'grease', and why should he be? How many more boring Wes/Grant/Benson imitators do we need? He is a sincere young man from near Bolognia (sp?), works very hard on his craft and on his way to being IMO an all-time great. He swings in his own way and more and more is becoming a way better listener and responder. He reminds me more of Chuck Wayne (a mentor of mine very early on) in his guitar mastery and lighter approch to swing, and maybe part of his role is that keep THAT going. It really does take all kinds. He will find his own improvisational voice as well, I am convinced of this. Remember, he's still a very young man, and like all true artists dissatisfied with his playing and trying to ratchet it up.

On another, but closely related subject: I think now that jazz is an international language many cultures are discovering their OWN roots and heritage and that it's not so cool to be American imitators. I cannot imagine anything healthier than this for this music's growth...

[fasstrack]

We're actually in agreement, on a lot of this. (responding to Joel Fass)



Honestly, a lot of the academic jazz products strike me as being like Medieval Thomists, or Yeshivniks, or Talmudic Scholars, using a language that only they know and care about. Many of them haven't come up through the school of hard knocks, that winnowed out the untalented, and the less than fully committed.

Everybody knows the story of Charlie P. being thrown off the bandstand when he was 16 or 17, and he was already a local phenomenon in a very hot musical city (KC). He could recover, continue training and working, and 5-6 yrs. later he is very good, and 5 yrs. after that, he's ready to change the way people thought. I don't even see where people go to get the actual on the job training, that allows musicians to develop. Where is the "University of Art Blakey" (the Jazz Messengers)? I suppose Wynton M. and some others have tried to fill this role, but it's like art and museums. Someone once said that art museums should be called "Art Mausoleums" because if something is happening, on a grass roots level, we don't need a museum to go see it.

Maybe the European public and musicians will carry forward the tradition.

Schools are a racket. Period. And many instructors know very little. I heard one guy who was the head of the guitar department at a prominent European school. His playing and tunes were pitifully unmusical.

The sad truth is because there are so few gigs students---already poorly instructed by know-nothing teachers will be themselves teaching in Horse Breath, Nevada----and passing bum info on yet FURTHER. I was VERY lucky to get bandstand tough love and ass-kicking from real gentlemen of jazz. I just don't know where these younguns are going to get their faces in the real thing...

[christianm77]

The point is that's the way he plays---now. Pasquale is from Italy. In a way I'd rather he NOT copy the black American players, b/c that's not HIM. I've heard my share of white players of all instruments trying to sound (and even in some cases---laughably---TALK black).

I've been friends with Pasquale since he and brother Luigi arrived on these shores in 2009. The first time I heard him jamming at Fat Cat (from where I write) with Ari Roland I said 'geez, who the f is THIS?! He was already sounding like he does now----confident, long lines (some borrowed from a main influence, Bud Powell), beautiful touch and seated in classical position using footstool. We went into the back room and jammed and taught each other shit. THAT'S what it's about.

I must have played with Pasquale dozens of times since then: jamming with Ari and co., at Fat Cat pretty much every week, sitting in at Walker's and Analogue. We kind of have a mutual admiration society: he digs my swing and spacing and I'm amazed at his general accomplishment and class-actness on guitar.

Pasquale is not after 'grease', and why should he be? How many more boring Wes/Grant/Benson imitators do we need? He is a sincere young man from near Bolognia (sp?), works very hard on his craft and on his way to being IMO an all-time great. He swings in his own way and more and more is becoming a way better listener and responder. He reminds me more of Chuck Wayne (a mentor of mine very early on) in his guitar mastery and lighter approch to swing. It really does take all kinds. He will find his own improvisational voice as well, I am convinced of this. Remember, he's still a very young man, and like all true artists dissatisfied with his playing and trying to ratchet it up.

I don't know if I expressed myself very well. I'm not talking about imitating the stylings of forgone players. I'm not talking about race either, although I do feel it's related to the African side of the music... It's another word for feel, experiential time feel, beyond simply being in time and playing the right notes and rhythms.

I can't explain it, I just feel it from some players (of any race etc). No doubt it's entirely subjective and debatable.

But there are some well known players who have it less for me.

Pasquale is surely in the best possible position to develop this in his playing as he is such a talent and being based in the jazz capital of the world. I'm just curious as to whether you think that there still exists a framework for that to happen - really I am talking about apprenticeship. I've seen videos of him playing with other like minded musicians of a similar age. I would hope he is also playing with much more experienced players.

On another, but closely related subject: I think now that jazz is an international language many cultures are discovering their OWN roots and heritage and that it's not so cool to be American imitators. I cannot imagine anything healthier than this for this music's growth...

ABSOLUTELY - I believe this is what I am trying to work a little way towards in my own music with the album I have just recorded with my group. More on this anon.

There is part of me that wants to record a contemporary NY style jazz album or a straight bop album for example, but this is pretty well covered by people in NY.

[fasstrack]

I've seen you come on this forum and name drop a whole bunch, and do so entertainingly...

And I've heard you rail against 'fancy nomenclature.' Well, like it or not the Mixolydian, for example, is a label that most players of my generation understand, so it's fancy mostly to you. It's not a term I care for myself, but it is understood. Barry teaches the 'dominant scale' - same thing... Anyway, Whatever.

But here's my question to you - HOW would YOU teach it? Because it all comes across as ... negative.

You do teach - so HOW, and what do you recommend beyond giving the student a bunch of records and tell them to work it out themselves? (Which is NOT the worst idea on the world, I must point out ;-))

I've had a bellyfull of being called a 'name-dropper' here. I happen to be a well-trained, well-respected NY musician who came up in the 70s and 80s and got to play with some outstanding musicians. That's how I learned, I also paid Jimmy Raney (very little) for lessons, also studied with Chuck Wayne and Barry Galbraith and arranging with Bill Finegan, John Carisi and Manny Albam. I really don't give a shit if anyone here thinks I'm a name-dropper or what else they think (about me). I know who and what I am---strengths and (many, many) weaknesses, and have many real, non-cyber friends who know me well. So kindly give me a break.

Regarding teaching, the most important thing is to bring the other person out, not philosophize or show what a badass you THINK you are. A teacher's role IMO is to give basic musical information everyone needs while trying to read the student and best help him or her become the best player---through their influences and what they have inside---possible. I've taught children---and loved it. They're so untainted. I was able to teach a (VERY bright) 10-year-old how to voice lead playing chords. Honestly I haven't had an 'advanced' student in some time, and I think I prefer working with students less weighed down by 'knowledge'. If I WERE to teach advanced players again I'd do the same as with the children: make sure they are rounded musicians in repertoire, time, reading (I'm not a good reader). I'd make sure they studied the masters. I'd check to see that they get an improvisational flow, weed out 'gibberish', try to teach them to go from one idea to the next logically and compositionally, so the listener can glimpse and glean this.

One time in a lesson with Raney (I was 25) I showed him a chordal passage and asked what he thought. 'That's like asking me what I think of the word "the"'. Like I said, I'm well-trained.

The nomenclature thing bugs me b/c there's always a simpler way to explain things. Simple metaphors, singing phrases, etc. Why use big words when directly descriptive ones do the job way better? The modal names, etc. are available in many books. They're also of ZERO use in helping one become a working musician. I (and perhaps it's my own limitation) prefer to focus on teaching tunes and using the melody as reference point for improvising. It was good enough for Monk, Miles, Pres---etc.

I have a lot of admiration for Wynton Marsalis, finding him to be a sort of jazz Carl Sagan, breaking things down in very understandable ways. I guess I'm not a theory guy. I sucked at math as a boy and still suck at it.

But, again, it is IMPERATIVE for any good teacher to read the student and adapt one's approach to bring that student out. Teaching IMO is a service, NOT a forum to air out one's philosophy or hang one's ego. If I push anything personal at all it's songwriting. I happen to think it's a great way to discover one's ideas and musical tendencies while expressing oneself. There is then a pool of ideas the student has him or herself created to build more complex musical edifices on. Rock, blues and pop are great for this and I still enjoy teaching and playing those forms.

It's also a BUSINESS. I can't tell you how many guys hear me play on the street (yes, I still busk) and say they want to study---then never call. Talk being cheap I let the student have one lesson at my rate of $60---no strings---to see if they like my teaching, then inform them that they must pay for a month of lessons in advance. If they're serious they will. If they can't afford lessons, sorry. I taught plenty of people for nothing or next to nothing. No more Mr. Nice Guy. Music is my livelihood.

I'm moving from NYC (I'm burned out from the joint) to Hatfield, PA in March----to be closer to Philly and still be within striking distance from NY to see my friends and do good enough paying gigs to justify travel expenses. I'm sure I'll be teaching in a local music store.

Sorry to get so pissed about the name-dropper thing. I'm just tired of hearing it is all. Hope you understand, Christian...

[fasstrack]

really I am talking about apprenticeship. I've seen videos of him playing with other like minded musicians of a similar age. I would hope he is also playing with much more experienced players.

He plays with Paul Gill, an excellent bassist in his 50s, he's played with Leroy Williams, Barry, 62-year-old me---many, many guys older and more experienced in NY. I don't know if he played with Joe Cohn. Those two are so self-deprecating they'd cancel each other out. But Joe is a freak and a genius and would kick his ass---like he's kicked MINE countless times...

[bossa]

Hi Guys, can you tell me why Barry was against Modal Jazz? Miles, Coltrane, Russel?

Thanks.

[christianm77]

Hi Guys, can you tell me why Barry was against Modal Jazz? Miles, Coltrane, Russel?

Thanks.

TBH I just don't think he likes it very much.

Functional harmony and the continuation of Western tradition of that is an important part of his art, I just don't think he's even been terribly interested in abandoning that.

There are today many jazz muscians I know who are primarily interested in songs and changes, not just older people.

Anyone?

[bossa]

Pardon my ignorance but what's the problem with modal? Why many people dislike?

[christianm77]

It's a different way of organising improvisation to conventional functional harmony as used in standards. Some people aren't into it.

But some people don't dig standards too much...

The use of modal stuff on standards has muddied the waters a bit. Barry has nothing to do with that stuff :-)

Finally scales are not modes....

[AlsoRan]

Hey bossa,

Check out this link to a thread on modes here on our forum. It will give you some insight into how some long time musicians feel about modes.

The trouble with Modes!

[grahambop]

That's great, but you have to give me a break for not having a f**king clue who you are ;-)

I don't live in NY. I have very few reference points as to who you are and how you play beyond what you say here....

I am curious to hear your playing, but I find it hard to track town..

Joel has a soundcloud page, just search on Soundcloud for Joel Fass.

Likewise, on Soundclick.

[Vladan]

Something went wrong ... Retyping ...

There's nothing wrong with modes, or modal music.

Modal music people may dislike as a genre, like I dislike soft-rock-fussion, hair-spandex heavy metal, the most of disco ...

Use of scales and modes over changes, people say they dislike because they do not understand good enogh what it is.


Sent from VladanMovies @ YouTube

[destinytot]

Hi Guys, can you tell me why Barry was against Modal Jazz? Miles, Coltrane, Russel?
Thanks.

@10m15s:

[lawson-stone]

I've had a bellyfull of being called a 'name-dropper' here. Fuck that noise! I happen to be a well-trained, well-respected NY musician who came up in the 70s and 80s and got to play with some outstanding musicians. That's how I learned, I also paid Jimmy Raney (very little) for lessons, also studied with Chuck Wayne and Barry Galbraith and arranging with Bill Finegan, John Carisi and Manny Albam. I really don't give a shit if anyone here thinks I'm a name-dropper or what else they think (about me). I know who and what I am---strengths and (many, many) weaknesses, and have many real, non-cyber friends who know me well. So kindly give me a break.

Regarding teaching, the most important thing is to bring the other person out, not philosophize or show what a badass you THINK you are. A teacher's role IMO is to give basic musical information everyone needs while trying to read the student and best help him or her become the best player---through their influences and what they have inside---possible. I've taught children---and loved it. They're so untainted. I was able to teach a (VERY bright) 10-year-old how to voice lead playing chords. Honestly I haven't had an 'advanced' student in some time, and I think I prefer working with students less weighed down by 'knowledge'. If I WERE to teach advanced players again I'd do the same as with the children: make sure they are rounded musicians in repertoire, time, reading (I'm not a good reader). I'd make sure they studied the masters. I'd check to see that they get an improvisational flow, weed out 'gibberish', try to teach them to go from one idea to the next logically and compositionally, so the listener can glimpse and glean this.

One time in a lesson with Raney (I was 25) I showed him a chordal passage and asked what he thought. 'That's like asking me what I think of the word "the"'. Like I said, I'm well-trained.

The nomenclature thing bugs me b/c there's always a simpler way to explain things. Simple metaphors, singing phrases, etc. Why use big words when directly descriptive ones do the job way better? The modal names, etc. are available in many books. They're also of ZERO use in helping one become a working musician. I (and perhaps it's my own limitation) prefer to focus on teaching tunes and using the melody as reference point for improvising. It was good enough for Monk, Miles, Pres---etc.

I have a lot of admiration for Wynton Marsalis, finding him to be a sort of jazz Carl Sagan, breaking things down in very understandable ways. I guess I'm not a theory guy. I sucked at math as a boy and still suck at it.

But, again, it is IMPERATIVE for any good teacher to read the student and adapt one's approach to bring that student out. Teaching IMO is a service, NOT a forum to air out one's philosophy or hang one's ego. If I push anything personal at all it's songwriting. I happen to think it's a great way to discover one's ideas and musical tendencies while expressing oneself. There is then a pool of ideas the student has him or herself created to build more complex musical edifices on. Rock, blues and pop are great for this and I still enjoy teaching and playing those forms.

It's also a BUSINESS. I can't tell you how many guys hear me play on the street (yes, I still busk) and say they want to study---then never call. Talk being cheap I let the student have one lesson at my rate of $60---no strings---to see if they like my teaching, then inform them that they must pay for a month of lessons in advance. If they're serious they will. If they can't afford lessons, sorry. I taught plenty of people for nothing or next to nothing. No more Mr. Nice Guy. Music is my livelihood.

I'm moving from NYC (I'm burned out from the joint) to Hatfield, PA in March----to be closer to Philly and still be within striking distance from NY to see my friends and do good enough paying gigs to justify travel expenses. I'm sure I'll be teaching in a local music store.

Sorry to get so pissed about the name-dropper thing. I'm just tired of hearing it is all. Hope you understand, Christian...

This is clear, honest, direct and makes complete sense. Thanks for saying all of this. I think I have a better sense of who you are and where you're coming from.

[fasstrack]

Joel has a soundcloud page, just search on Soundcloud for Joel Fass.

Likewise, on Soundclick.

That Soundclick page is old. Best things on it: Vicki Doney and Steve Ash's demo of my song Not a Bad November; a solo rendition of Last Night When We Were Young; me and Ralph LaLama playing a 1-minute reprise of Last Night; my song the River Flo (dedicated to the late Flo Kennedy) had weird sound---it was recorded gratis at an audio school----but good feeling. I love John Eckert's trumpet solo and the way the groove really kicks in behind him.

The rest of the Soundclick tracks were from a 2004 date that didn't come out too well, so I tabled any CD aspirations. I didn't play too well, John and Ralph played good solos. The bass and drums got off-rhythm on The Man Who Cared Too Much, and anyway I've improved the tune since.

Nice pics of Sarah Cion, her then-2-year-old daughter Lara and myself over her house that same year, anyway.

I don't know what's on Soundcloud? Never check. I think maybe Baby Won't You Please Come Home and You'll Never Walk Alone?

My Jan. 27th gig with 2 singers ('Elaina' and Marcelino Feliciano) and Tardo Hammer, John Eckert, Tim Givens, Evan Sherman and moi performing my songs with lyrics will be on their archive soon, I think. That was a good gig, and very representative of what I try to be about these days: using the guitar to write and bring out the melody playing. If you visit that or the audio archive I will actually get a small check for my tunes at the end of 2017.

Not buying the house yet, though...

(ROFLMAO)

Thanks for your interest

[fasstrack]

TBH I just don't think he likes it very much.

Functional harmony and the continuation of Western tradition of that is an important part of his art, I just don't think he's even been terribly interested in abandoning that.

There are today many jazz muscians I know who are primarily interested in songs and changes, not just older people.

Anyone?

Bassist Ari Roland (who I met when he and William Ash were 12) will ONLY play bebop heads or pre-1950 standards at his unofficial jam at Fat Cat---on which I've participated scores of times since 2009.

Ari is an intense player who always bows his solos. Regulars at the session (all of whom have the exact mindset of Ari) include Pasquale, Stefano Doglioni (bass clarinet, and quite good), Keith Balla (occasionally Taro Okamato), drums, more rarely Sascha Perry, piano.

I love all these guys, but the self-limiting approach kind of drives me bananas. No bossas EVER, don't even THINK about playing in 3, pop tunes? Who he?

One time I called the MFs out on this---with tough love. I said 'you guys are living in the past, and it's not even your OWN past!'

Ari:

'Whose past are we living in, then?'

'Barry Harris's'.

Laughter for a full 3 minutes.

Ari says

'OK, for Joely let's play How High the Moon as a bossa. In THREE!' (Joking about the 3 part). As it turns out they played it as a SAMBA, and after my solo swung it.

Then a series of running jokes began:

Ari: 'OK, now for our friend Joely let's play Girl From Ipanema in B and in 3'.

They did! And every guy made sure to quote every bebop head they knew, while I quoted Jobim. Hilarious stuff.

After the session I told Ari:

'I want you to learn ONE Jobim tune (he claimed to not know any) by next week, or I SWEAR I will kick your ass in full view of Yaala (his wonderful bride, and a fine singer) and Avri (his 3-year-old son).

The next week I see Ari at Fat Cat (where else?).

'Did you learn that Jobim tune? COUGH IT UP, MOTHERFUCKER!!'

Coda: Wednesday night someone told my my man Ilya Lushtak was working some joint on Houston St. I love Ilya, so I shot over. There was Ilya, Phil Stewart, Eric Alexander and----ARI ROLAND. HE PLAYED AN ENTIRE BOSSA NOVA!!

Then the ball-breaking began:

'What, you'll play a bossa for Eric but not for me? 'Cause
he's BIGGER?'

'I want a RECORDING of this! Ari playing an ENTIRE BOSSA!!' (Eric DID record it and it's on youtube, including me sitting in for most of the 2nd set).

I love those guys, and am gonna miss my NY cronies...

So, yeah, plenty of young'uns are playing the GASB repertoire, not merely old farts like myself.

(ROFLMAO!)...