[Dixielandjazz] Hanging out with the big timers

[Stephen G Barbone]

> "Phil Wilking" <philwilking at bellsouth.net> wrote
>
> As for what he sees that others don't, could it be that Mr. Marsalis
> remembers that many of the legendary giants of jazz actually started  
> out by
> hanging around adult musicians - carrying instrument cases and running
> errands, in exchange for lessons - and he wants to continue the  
> tradition?
>
> As for why more youngsters don't grab that opportunity with both  
> hands AND
> feet, there are so many more mindless distractions (video games,  
> etc.) now
> than 100 years ago that most of them probably are unwilling to make  
> the
> effort. Learning music is real work, some physical but more mental.  
> On a
> percentage of total population basis, how many adults in this  
> country, much
> less children, are willing to make an effort now for future benefit?

I think you nailed it with your first paragraph above. It reminded me  
of a story Billy Taylor likes to tell about when he was a teen  
wannabe. He stopped by a little jazz club in NYC owned by a friend of  
his dad's. After introducing himself to the owner, he was invited to  
play something and so he played "Lullaby in Rhythm", with the rhythm  
section of the house trio.

He notices that the piano player sitting out, is looking at him a  
little funny. (Unbeknownst to Taylor It was  Clarence Profit composer  
of the tune he just played). Not bad says Profit, lets go over to my  
friends pad, some guys over there would like to hear you. Oh wow,  
thinks Taylor, I'm a hit.

They go into the apartment and Profit says I've go a piano player here  
guys, give him a listen.(Taylor still did not know his escort was  
Profit,  didn't know this was James P Johnson's apartment and didn't  
know that the 6 or so guys there were all piano players)

So Taylor starts to play a Teddy Wilson like China Boy. About 16 bars  
into the tune, a guy gets up (Willie the Lion Smith) and says let me  
have some of that. Taylor is astonished at what the Lion does with the  
tune. Then another guy gets up to relieve Lion and proceeds to amaze  
Taylor with unbelievable left hand energy. (James P Johnson).

By that time, Taylor is beginning to realize that these piano players  
are the big timers and he has a lot to learn.

Finally, Willie The Lion Smith asks a guy Taylor's age (Thelonious  
Monk) to play. Monk starts playing Tea For Two sounding very much like  
Art Tatum (Yeah, he could do that according to Taylor and later Monk's  
band mate Johnny Griffin) James P Johnson yells out, Come on Monk play  
yourself and so he does.

Then Taylor was introduced to all these legends. He went back often  
with Monk to sit at the feet of JPJ, WTLS, Profit and others and like  
Monk he never forgot the first lesson he (and Monk earlier) had   
learned from these legends . . . Play Yourself.

Monk, of course, went on to become a legend and make his apartment  
available to all those who seriously wished to learn about jazz. As  
did Billy Taylor.

As to why that doesn't happen today. Perhaps regarding OKOM, it is  
because there are few, if any, OKOM legends left? (How many there were  
when I was a kid) Perhaps it happens more often than we know in more  
modern genres of jazz where the current jazz legends are?

Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband