A final word: I hope you have enjoyed perusing this gallery at your own pace. And thank you for letting me talk about jazz and Jim. Both are dear to my heart and they seem connected to psychoanalytic work. Each analyst is unique as is each jazz musician, and each person in the world. It is up to us analysts to treasure, respect, and hear all the variations on any theme. Especially with on the spot improvisations something meaningful emerges.

Psychoanalysis and jazz musicianship share the goals of autonomy and freedom.Scat singing can describe matters beyond words. Music critic Will Friedwald has written that Louis Armstrong’s scatting, for example, “has tapped into his own core of emotion”, releasing emotions “so deep, so real” that they are unspeakable; Friedwald says that his words bypass our ears and our brains and go directly for our hearts and souls.

We end with two songs. The first one is called “Goodbye” – it was Benny Goodman’s sign off. Here is Jim’s arrangement featuring Joe Lovano. Listen to their interpretations and maybe you will think of the termination phase of an analysis with its mixed feelings of joy and sadness. And then listen to Ella Fitzgerald’s version of “How High the Moon,” a perfect example of scat singing. Jim was one of her accompanists. Listen to how she free associates! As in psychoanalysis, themes are reworked and reviewed in final phase of termination.