Well, to quote the great line uttered by could interviewe Al Pacino in the Godfather III:

I keep trying to get out, and 'they' keep pulling me back in'.

Sadly, your intrepid reporter must publicly observe a few things about the state of jazz today: The music is alive and well, but various weasels and greedmeisters are still doing all they can to exploit, demean, misrepresent and ultimately kill it.

The impetus for this entry after 4 years silence is that I was personally burnee---kicked in the metaphoric stomach---by a fledgling blogger who I granted an interview to gratis. The creep (I figured him for a nice person. Like the song goes: 'Yes, I was wrong---again I was wrong...). I told him he could interview me, but here is my only condition:

I will talk about my mentors---the 'tribal elders' of jazz---for 90% of it. Then, if  there's time left I'll tell the nice people what I'm up to career-wise.

He agreed, and on a handshake and no contract (HUGE mistake, as you will see) we piled into several hours of material wherein I happily remembered Clarence C. Sharpe, Chris Anderson, Barry Harris, Tommy Turrentine, Bill Finegan and my mentor and teacher the late, great John Foca.

I was especially honored and thrilled to have a 'bully pulpit' to tell folks of these great men and what they stood for----music, brotherhood and a celebration of LIFE on and off the stand.

When I called this guy to find out when this would be online---as he PROMISED it would be---he very coldly replied 'It won't run. Didn't hang together as an interview. I'M MOVING ON TO OTHER PROJECTS!!!'

Bear in mind this is a 28-year-old man who, though not 'poor' but, as my black friends are fond of calling it, 'po' who happens to have a disability. Before we even met I saw his crowd-sourcing plea for funds to help him move and kicked in $30. I couldn't really afford it, but WTF? He's a fellow human in the brotherhood of man, etc.

In an email exchange he further 'salted the wound' not inferring but DIRECTLY STATING my motives in talking about these giants was self-inflation (since they all liked and helped me---not to mention they helped countless others).

I asked 4 times for this mean jerk to email a file so I could place it elsewhere. His sensitivity-loaded response?

'I DELETED it'!!

No further words need be written about the matter. You are smart and know the pain the guy put me through, not to mention the utter disrespect for the giants I attempted to speak on.

So how does one survive in the 'jazz' biz in the face of full frontal assaults like the above----which seem to occur weekly (sometimes daily); lack of work; owners exploiting one; seeming segregation of musicians; women artists STILL catching hell and getting hit on----I COULD go on, but I'll stop and give my answer:

You find a 'non'jazz' venue to survive off of, and make music, calling it......music.

George Benson was able to secure his egress from the thankless, low-or-no pay jazz world by singing. I happen to think his debut vocalizing effort, Breezin', was a class act on all levels: good songs, George playing a hollow-body guitar with no 'effects', just that crisp 'Benson' sound, excellent singing, excellent singing along with the guitar, great work on This Masquerade by all, special mention going to the late Jorge Dalto.

George now tours as a pop artist, pleasing way more people and making way more money than he ever did in cash-starved jazz. I say 'salud, Mr. Benson!!'---ESPECIALLY since he sits in on jazz gigs at every opportunity.

Right on, George Benson!

As for myself my 'ticket out' (I'm quoting the Welcome Back Kotter theme song---from the frickin' SEVENTIES---it's come to THAT, LOL!) will be songwriting. I wrote from an early age, probably messing around and finding pleasing, orderly sounds as early as age ten, CA.

I have some irons in the fire and my fingers crossed, and that's all on that. This is NOT about self-promotion, rather it IS about 'reflection'---as the blog's name tells you.

In jazz today 'Things ain't what they used to be'. I know people ages ago said the same thing, but I only know my own life experience, and in IT IMO things could not be much worse generally. The good news, though, there are pockets of very positive activity and respect for musicians in many places worldwide.

All that's missing? $. (Sigh).

The bad news: self-interested 'journalists' ONLY promoting 'names' who will put THEM on the map; politician musos who try to control scenes and only hire those who will advance THEIR positions---in fact purposely shutting out (from PAYING GIGS) players way better than their 'boys'; exploiting owners who ill-treat and/or underpay 'the cats'---while professing to be jazz supporters; segregation on and off the stand (some really nice 'trad' groups I very much enjoy have members who are fine players and people---and are all 'white as sheets'); 'composers' writing 'math puzzles' they deeem hip---which have lousy or non-existent melodies that can neither be sung or even whistled, not to mention finger-snapped to---then these suspect offerings are praised as deep and innovative by critics betting this will be the 'next big thing'---the better to ride the Gravy Train.

But to me the worst offense: selfish, egoistical performers only interseted in themselves and showing audiences how much smarter they are than the frickin' PAYING CUSTOMERS supporting their sad derrieres.

Is anyone getting into jazz as a profession willingly (read: NOT under duress) OWED success, money or recognition? HELL no, life has never been fair, never will be but it is up to each of us in all endeavors and professions to make out=r reputations doing excellent work and being class acts as people---and to not wait for the phone to ring then complain when it doesn't, but be PROACTIVE!!

Jazz musos and lovers: Know that joy, brotherhood and superb music is taking place right here--not in River City, LOL!, but the Big Mango.

Wonderful musicians such as guitarist Ed Cherry, pianist Terry Waldo, guitarist-pianist-composer-club owner Saul Zebulon Rubin, bassist-songwriter Sean Smith and a different fine guitarist weekly (disclosure: all close personal colleagues) take care of business, 'increase the peace' and spread good vibes multiple times per week in bistros like Smalls, Fat Cat, the Django, Grain, Analogue, Walker's Restaurant---and many more, including in places I'm only finding out about now in Williamsburg, Brooklyn.

So, yes, much work remains to be done. Women still get hit on and not much respect by the 'unfair' (LOL) gender, etc.

But like the man said 'Better days'....

Joel Fass
Bronx, NY
1/7/16

Free intellectual content on the Internet: Freeloading or entitlement?

In the times I grew up in we were taught that when possible one must earn one's keep by working and that decent people ought to pay for services rendered. Like millions of Americans I believed that to be so, still do, and always will.

However, as technology---- particularly the very digital technology I use to type and disseminate these words----grows and becomes more accessible by the moment an interesting conundrum has also arisen: We, as a society, have increasingly become slaves to convenience. Convenience has called to us like Lorelei---and we, for the most part have answered the call. Convenience: how the very word relaxes and soothes us! But if we think past our immediate needs we may well have an epiphany of sorts and realize that on the Web what is convenient (and also increasingly free) for us may represent the toil and in fact be the intellectual property of others.

I am a musician. I write music. I have expenses and like getting paid for my good works. I also live in 2012, watch youtube videos free, use that venerable institution the public library free, among other things. Fortunately I am also human (a wonderful fate considering the alternatives) and was born with the ability to reflect on my own actions and those of others. So to cut to the chase:

This age of widely available digital technology is a double-edged sword. It's an unprecedented source of exposure. I write this for public view, and decline carving it into a tree (probably illegal in NY anyway) so the public can view it, thus giving my ideas exposure. Should I pay for this privilege? Should you pay to read it? My conclusion: to the first question, yes. If Google asked for a subscription fee and it was affordable I would pay---in a heartbeat. The second question is the debate I'm hoping this post will give impetus to.

The younger generation (uh oh, here he goes (;) seems to be getting the message that music, art (my main concerns, let's face it, but we could go on and on) are on the Web for the taking. Sticking to the music industry this has had a devastating effect  particularly on record companies. They have downsized, cut to the bone, tried to keep up with the wave of change---or perish. On the jazz end of it it's become harder and harder to get signed. Even popular rock groups have taken to giving CDs away as promotion and instead selling T-shirts at concerts. I've heard more than one person say of late that the CD itself is dead---throw the dirt over it and call the priest if you've a mind.

I say: not so fast! The other side of the coin is that this is a golden opportunity for self-reliance. If one feels the CD is still viable as an artistic statement and saleable (choke) commodity----and I not only do, but, damn it all, am trying to raise cash on the Web to make my dream come true---I say do it! Musicians can self-promote on the Web through social media and sell product on CD Baby, mail order, or gigs. Do it! Break your ass, beg for money, do what it takes to bring your vision into the world and even make a buck from it. If you are no good or reluctant at promotion (I'm guilty of that myself) there are professionals to help you along the path and grants to ask for, etc.

A thornier issue seems to be whether intellectual content already on the Web should be free. Should, for a shining example, the writers (or their heirs) of the songs showing up on youtube performances and getting thousands of hits be compensated? I ask you, gentle reader: do you pay your doctor for an office visit (OK, does your HMO, but still....)? How many attorneys will take your case pro bono? Can you shop for free most places? Now, take a leap of faith and imagine a world without access, except in your head, to your favorite songs, symphonies, etc. If this imagined scenario went on for a month I promise many of you would cry uncle and rethink taking in the many rewards of music gratis. I believe, starting with the more sensitive and certainly better-heeled souls, folks---perhaps in surprisingly large numbers--- would be willing to pay something. Like many things it is a matter of re-education. I might suggest we musicians continue going into schools---the younger the children as audience in said schools the better---to perform and show that music 1. does not originate from a computer, and 2. that live music is exciting, stimulating, and worthwhile. These youngsters will be adults before we know it, and might think to pay something for something they love---even on the Web. Plant the seeds.

A good friend is the son and executor of the estate of a songwriter whose songs are known and loved worldwide. Internet theft (yes, I said theft) has so crippled royalties that the man has put his home up for sale while, at age 78 and not in great health, he figures out how to survive. Is that real enough?

One problem seems to be that ASCAP (the American Society of Composers, Authors, and Publishers), of whom I am a member since 1995 has negotiated a pitiful deal with Youtube re royalty collection. I found out because I have a song co-written with the late Jimmy Norman on Youtube (You're my Foundation) as well as many other sites. (Truth in journalism: I put the song on Youtube myself--- for neither royalties nor exposure, but to give my side of what I felt to be a misattribution of credit. Its appearance on other sites are probably the work of the singers who appeared on the recording. There is also a video about the project on the site of the Jazz Foundation of America---fine by me because we wrote the song for them to call attention to their good works). I called ASCAP to inquire as to how many hits on Youtube would be necessary for myself or Jimmy Norman's heirs to collect royalties. The answer was astounding: 480,000 views to collect $7! As stated, that song was put up by myself, and perhaps there are conflict-of-interests there, so let's take it beyond my own self-interested carping. What of the songwriters no longer around to stick up for their intellectual propery rights? Do their heirs deserve to be denied income? What about the performers who are clandestinely recorded via cellphone, etc. and their work put up on Youtube or other sites? Do they have any say? Technically, yes, they do. Youtube has a policy that any artist request that a performance be removed will be honored. That's a start, but there's much road ahead to be trodden. I believe the time is now for people in the music business to band together, put aside whatever differences, and concentrate on putting the feet of ASCAP and BMI to negotiate deals with Youtube and other sites to fairly compensate artists for their work.

Regarding video streaming: Along with many other colleagues I play often at Smalls. Smalls is a jazz club of international reputation. Spike Wilner is the co-owner. Spike, a pianist of 25 years experience in the business (we met around 1991), is visionary about the future of Smalls and musician-club owner relations. A self-professed archivist, he has recorded and disseminated shows at Smalls for some years now. In some cases, when, asked, the musicians have been compensated. The audio archive remains free to the public. Mr. Wilner convened a meeting this week and invited regular performers to an open-ended discussion at the club. Local 802 (the NY chapter of the United Federation of Musicians) sent two delegates, one of whom was the seasoned bassist Bob Cranshaw, the other Todd Weeks of the jazz committee. Both spoke. A hot topic was intellectual property and right for musicians to be compensated for performance on the webstream. The webstream was free for a long time. Spike---thinking of the long-term survival of the club as well as better compensation for the musicians who play there---recently imposed a nominal subscription fee ($20 a year, the cost of attending one evening at Smalls and staying to hear three groups with no one hustling drinks on the customer). Sadly, the results have been----well, disappointing. Few takers at $20. It must be said again, though, that the sword absolutely cuts both ways, as one veteran saxophonist waltzed off with a Japanese tour due to someone watching and digging on the Smalls video stream.

I would like to open the discussion to readers on the comments area. Am I, Spike Wilner, my friend the estate executor Cassandras, cursing the times and refusing to see the sun? Is it reasonable to ask for small yearly subscriptions to webstreams? Should an honor system be used? Ought there to be a nominal subscription fee for services like Youtube to pool monies to compensate composers and performers? What are your thoughts?

Chris Anderson Remembered

I want to use this space in the coming months to reflect on musicians I've known and loved.

I start with Chris, since we are both Romantics, and he influenced---and continues to influence---my thinking on ballads and especially rubato playing. When he had space he was unequaled. He was also one of the warmest, most genuine, and most honest people I've known.

Chris was a diminuitive man with a pixie smile and elfin sense of humor to match. When punchlines drew near his voice would get ever higher pitched, until the top of his range was reached. Then he'd squeal with delight.


Chris had plenty of reasons not to laugh: blindness, a clubfoot that required walking on crutches, and bones so brittle that broken limbs left him hospitalized for too much of his life. But he was tough, got around nationwide, did his gigs, was loved by his friends. Barry Harris----himself pretty snappy as a jazz pianist---was perhaps Chris's biggest fan, and featured Chris on almost all of his once-yearly concert events. There would be Chris in a white suit, surrounded by a sea of faces in Barry's choir---playing A Time For Love. It must be mentioned that his friend the NY-based actor Al Sutton did a wonderful job of looking after Chris.

And that elfin humor was put to good use acknowledging with dark but funny resignation his physical and emotional states. Once, interviewed on WNYC, the host---after listening to a brooding piece of solo piano---told Chris in earnest:

'Chris, you bring out the blue in me'.

'Well, why should you feel better than I do?'

Another time he begged off a gig I offered him because he wasn't feeling up to it. To cheer him up I started to tell him that he was a survivor, but---sensing an opportunity for gallows humor---he interrupted with:

'You're not gonna tell me how godamn strong my spirit is, are you?'

I could see him wincing and rolling his eyes---over the phone I could see it......

To me the essence of Chris's artistry---and uniqueness---was his solo rubato style. He played with groups his whole career, including traditional piano trios, but had to edit his tremendously different harmonic approach so bass players could keep up. But solo rubato was Chris's playground. He knew the tunes he picked---every nuance of the original melody, lyric, composer's intent---so intimately it gave him license to go on some wild excursions. Those excursions featured long spaces in unexpected places, chord changes that were pure Chris Anderson yet rooted in the familiar, a light, almost fragile touch, a blues sensibility that found its way into ballads---and worked. What really made him unique, even among pianists, was that he improvised orchestrally. Most postwar jazz pianists dealt with right hand single-line approaches. Bud Powell was as intimidating an influence on pianists, it would seem, as Charlie Parker on alto players. Even Bill Evans, another great harmonic player, dealt with this in his solos, and worked the chordal soloing in as he went. His arranging, which was brilliant, took place in his rendition set-ups--also often rubato. It's been said that sitting in movie houses all day as a sightless child was what caused Chris to memorize scores. He always said he was fascinated by arrangers like Nelson Riddle. Chris's intros could---and should---be scored. They were unique, perfect rendition set-ups, and could be heartbreaking on ballads.

I recommend Solo Ballads 1 and 2 (AlSut) as primers. Love Locked Out (Mapleshade) gives us the   opportunity to hear Chris sing---in a voice that sounds like to me a cross between early Bob Dylan and the delta blues singers. Also, to hear Chris in a wonderful group led by altoist Frank Strozier, try Strozier's Long Night (originally on Jazzland). Chris's chorded solo on The Need for Love is primo Chris---and pure beauty.

Opening Remarks

My name is Joel Fass. I am a guitarist-composer based in NYC. I was born 57 years ago in Brooklyn, NY and still call NY my home.

To read more about my vitae and hear many performances go to www.myspace.com/joelfass or www.smallsjazzclub.com (go to 'audio archive', select the guitar icon and click on my name enter my name in the search box to hear group and solo shows dating back to 2009).

Now that I've gotten that over with I pledge not to use this space as a vanity blog, but a way to reach out to people and share views. Music, prose, and quotidian interaction are all opportunities for humans to communicate.

The main thing irking me about our current world (particularly in my hometown of NYC---though I am told it is a worldwide phenomenon): the obsession of people with gadgets they seem to prefer engaging with to actual communication with others. In my view it seems to point to a dissatisfaction with the external world. I saw a fellow on the train yesterday that had the whole 9: headphones, iphone, kindle. He couldn't decide, seemingly, which to fixate on first. I worry about young people particularly, and that they will end up bereft of social skills having inhabited as their main social lodging a cocoon-like cyber-world. Remember the song It's Only a Paper Moon?..............

As a musician I am keenly aware of the need for social interaction in our society. I would go so far as to call this a near-primal need. I played my first gig at age 14 at a local temple. I have seen many people come together and be lifted out of dismal moods in my many years playing before the public. I don't put much faith in politics or religion as it is commonly known. I only know that music, friendship, and a belief in human potential work for me.

Sadly, the self-absorption/disconnect syndrome I generally lament has permeated much of the music world, including that of jazz. Long solos often without much purpose or engagement with either the audience or the composition being played---well, I think there's been enough of that. And by no means does that apply to everyone playing, but IMO it does often enough to be disconcerting. I think the greatest musical artists are humanitarians and communicators in their art---not to mention ingenious self-editors---as exemplified by Louis Armstrong, Lester Young, Charlie Parker, Stan Getz--- or in pop music Stevie Wonder, Donnie Hathaway, the Beatles---and I should include here the world-class guitarist-songwriter-singer Toninho Horta. I strive toward this in my own work even as I grow and mature creatively. The two are mutually supportive IMO.

Along with communication and warmth I champion purpose in musical art. Another way to put it might be: don't waste peoples' time. 'Woodshed' and think things through enough in advance of performance that there is clarity along with spontaneity. Audiences are not mind-readers and should not be asked to be. In this connection I believe composition to be a real pathway to meaning and purpose in improvising.

Finally, I would like to mention some of my peers,---and betters---many not all that well-known outside of music circles---whose work I think should be heard live or at least on recording (only a partial list): Guitar: Saul (Zebulon) Rubin; Joe Cohn; Ed Cherry; James Chirillo; Michael Howell; Ray Macchiarolla; Sean Harkness. Piano: Burt Eckoff; Johnny O'Neal (also a smooth singer and good entertainer), Tardo Hammer, Ray Gallon. Bass: Tim Givens, Sean Smith (also a fine songwriter); Ari Roland. Trombone: Britta Langschoen; Mike Fahn (valve trombone). Trumpet: John Eckert; Kerry McKellan; Don Hahn. Composition/Arranging: Glenn Mills; Frank Griffith; Donald Brown; Sarah Jane Cion; Joel Forrester; Neil Kirkwood . Songwriters: Ellen Weiss; Bruce Gordon; Barrett Zinn. (Special mention should be made of the late Jimmy Norman. We co-wrote one song and I know what he could do). Vocalists: Shawnn Monteiro, Deanna Kirk.

Hope this was a decent opening chorus. More to come when I have something to say......