What popular music used to be, when it was tuneful. When popular music actually modulated from key to key… Broadway. Sinatra was a bridge. Jazz players couldn’t afford to buy the rights to play the songs, so they would use the chord changes and write alternative melodies. When I was a kid [[life story]], I was obsessed with an album by Dizzy Gillaspie, Diamond Jubilee. The tune I loved the most was Ornithology. The line just blew my mind. In my trombone lessons with Jim Griffiths on Carlock, I told him I wanted to learn how to play Ornithology, and he was like… That tune is pretty hard. But we could learn How High the Moon. It has the same chord changes. Ornithology comes from How High the Moon. That’s actually called a contrefact: Well-known examples of contrafacts in jazz include the Charlie Parker/Miles Davis bop tune Donna Lee, which uses the chord changes of the standard Back Home Again in Indiana, Thelonious Monk's jazz standard "Evidence", which borrows the chord progression from Jesse Greer and Raymond Klages's song Just You, Just Me (1929). The Gershwin tune "I Got Rhythm" has proved especially amenable to contrafactual recomposition: the popularity of its "rhythm changes" is second only to that of the 12-bar blues as a basic harmonic structure used by jazz composers. John Coltrane got his Giant Steps harmonic progression from the bridge of Have You Met Miss Jones (Rogers and Hart).