Monday, November 7, 2016
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
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
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