Jeff Harshbarger, Kansas City bassist and the newest addition to the Jacob Fred Jazz Odyssey (JFJO), was recently profiled by Tim Finn of the Kansas City Star. I too had an opportunity to catch up with Harshbarger; the following questions were answered via e-mail over the last week…
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You’re only a few months into your new gig with JFJO (officially joined in April?). How it’s going?
It’s really great. The guys in the band are all great musicians, and they’ve been extremely welcoming. The work is also pretty rewarding. Not only are we knee deep into “Ludwig”, but we’re also prepping for an east coast tour immediately following the filming. Good thing I like new notes.
The JFJO has been around since 1994 and has become one of the most well-established groups working today – how’d you land the job?
Brian Haas [pianist] and I both performed as a part of Mark Southerland’s “Moonbears and Sisterwives” installation last fall in Kansas City, and hit it off instantly. He asked me to join JFJO in April, and I played my first gigs with the band a week later.
The “Ludwig” project premieres at the 26th Annual OK Mozart Festival on June 12, during which JFJO will perform new interpretations of Beethoven’s 3rd and 6th symphonies with the full 50-piece Bartlesville Symphony. Why Beethoven – and why these particular works?
Brian has had an affinity for Beethoven since his early development as a classical pianist. Programming these particular two symphonies seemed to make the most sense, the Third being very bombastic and brash, while the Sixth is lighter in nature.
[JFJO pianist] Brian Haas described the project as “Ellington’s Far East Suite meets the Flaming Lips,” complete with intricate arrangements, in-the-moment improvisations and big rock breakdowns. What’s it like approaching music that stands among the greatest ever composed – and imagining them in a new light?
It’s super fun. The re-interpretation of pre-existing material has been a part of the jazz tradition since the beginning of the art form. The challenge is to be respectful of the original work while bringing your own personality to the table. We have had many discussions of how to not let this devolve into “Beethoven with a beat” and everyone involved seems pretty excited at how its shaping up.
Beethoven – among other classical composers and their recorded legacy – is near and dear to a lot of classical fans. Are you anticipating any particular reaction from this community? What about the jazz crowd?
Most of my jazz compatriots have very eclectic tastes, and when I describe the project, they seem genuinely excited about it. I’m sure there are some who are hostile to the idea, but I don’t like everything, either, so that’s ok.
The JFJO website says that the project will also “channel the spirits of Led Zeppelin and Radiohead to transform the symphonies into contemporary music for the young and old alike.” That’s a huge feat. Do you foresee JFJO taking a similar approach to another classical composer in the future?
There aren’t any immediate plans for tackling any other composers. The plan is to eventually have arranged all nine of Beethoven’s symphonies.
You’ve played in trios, big bands, and just about everything else in between. Is this your first time performing with a full orchestra? What have rehearsals been like?
I grew up playing in orchestras through the public school system, and it was a regular part of my life until my early twenties. It’s been a while since I was part of one, but the rehearsal rehearsal process is exactly as I remembered it. The main difference is I’ve never stood in front of one before, so its a new and exciting perspective.
Between curating the “Alternative Jazz” series at Record Bar and co-founding Tzigane Music, an artist-run collective and record label that presents a lot of different performances – jazz, flamenco, Turkish music, classical, and dance – it must be exciting bringing together artists from wildly varying background and styles. How did these projects get started?
Usually one of my friends has a crazy idea or gets turned on by a new style of music that they’ve discovered, and then tries to talk a bunch of people into wrapping their lives around it for a while.
What’s the response been like?
At first it seemed novel, but as I’ve been involved in more and more projects, the absorption of a new style every couple of years seems to be a regular part of my life. Now instead of being asked “Why?” I get asked “What next?”
How do you feel artist-run operations will fit into the future of the rapidly-shifting music industry?
I think they have already become the cornerstone of the music industry.
Back in June 2009, you sat in with a blogger and a journalist on KCUR’s “Up to Date” program for a discussion, “The State of Jazz in Kansas City.” There were a lot of interesting comments and observations that came out of that session. Do you feel that the local scene has changed at all in the last year?
Yes, for the better. I’m seeing better crowds at venues, more coverage in the press, more new ensembles forming, and a great cross-pollination between disciplines. It’s an amazing time to be an artist in Kansas City
What about on a larger scale?
Once again, its a great time for music. I keep getting turned on to artists that blow my mind. I don’t think I’ve felt as excited about modern music as I do right now.
During the show, someone asked you what kind of respect you command outside of Kansas City when you tell people you’re a jazz bassist, to which you replied “I can’t ever buy a drink for myself.” Is this still true? What happens when you’re in Kansas City?
It’s still true. Globally, our culture is one of the most respected American exports, and listeners are quick to share their appreciation of performers. Locally, there are so many great musicians in so many styles that I feel honored to get any recognition at all. That being said, my drinks are expensive.
You’ve said many people see or hear jazz as “live action wallpaper.” As an artist and performer, do you feel that some people have already made up their minds about the music and are unlikely to change, or do you think there’s always the potential to capture a person’s attention?
There is always the potential to awaken someone’s interest. People change. I didn’t dig Neil Young until my late twenties. I couldn’t hear it. Now, he breaks my heart. Vice-versa, there’s a lot of stuff I enjoyed in my teen years that I’m just not that into anymore. I’m sure I am not alone in this. The thing is, as an artist, I can’t concern myself with whether or not I’m changing peoples’ minds about what is and isn’t good. I can only follow my own vision, and trust that there will be people out there that will enjoy it.
Jokes about jazz musicians being broke (or incapable of handling finances) are in great abundance. Some say it’s an “intentional economic sacrifice” to be a jazz musician – but there are some musicians who have managed to make a comfortable living playing jazz. And there are others who are drawn to the form for other reasons. Why do you do it?
I’ve never met anyone who was drawn to jazz for the money. If that is someone’s motivation for playing music, I would suggest that there are many easier paths to living comfortably. I’m very fortunate that I have been able to carve out a living as a musician. I do it because it feels good. Every time I’ve tried something else, I always come back to music. I never feel as relaxed as I do when I’m playing music I enjoy with the people that I love. That’s when I feel the most comfortable in my own skin.
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