come back often and I get to know them. I get to know their wives and their children, even. Like, for instance, Bill Evans. I was out at his house in Jersey for dinner one time. But most of ’em I don’t. Even James Moody. I know him very well, but he has a bad habit. He kisses you when he meets you. (Chuckles) It’s a good habit, a bad habit, whatever you want to call it. Anyway, I have a good relationship with him because I treat him good, I treat him decently. I ’m that kind of guy, you know. I pay him. We get along. CSQ: Some of these guys—great artis ts—are temperamen ta l. M ingus, Miles. . . MG? Mingus was temperamental, Miles was temperamental. But Miles had a birthday party. He invited me. I didn’t go, but this kid who works here went. He went over to Miles and said, “ I bring you regards from Max.” He says, (affects M iles’ growl) “ Did he send me any money?” (chuckles). CSQ: Wynton played here, right? MG: Wynton Marsalis? He played here, yes. CSQ: Do you think he wanted to be part of the history of this place? MG: Well, he liked the place. He liked the sound of the room. CSQ: I t ’s got the vibes in here. MG: This room has the vibes. It has a sound, and it has a look. And it has the feeling of a jazz room that a lot of jazzmen like. CSQ: In your book, you talk about the time when Sonny Rollins played here and walked off the stage. He’d brought a white trumpet player with him from the West Coast. According to A l Dailey, Sonny’s piano player at that time, the guy had sounded great on the West Coast, but when he came in here with all the vibes from all the great musicians who have played in here, he got scared and couldn 't play a lick. Sonny couldn’t stand it. MG: (chuckling) That’s right, that’s a good story. CSQ: Do you think there’s guys who continue to play here even though they can maybe make more money do ing concerts? MG: I don’t think it’s a matter of choice, Dexter Gordon with Woody Shaw Woody Guthrie (right) it’s matter of just doing it. They don’t miss out on anything by playing here. They get money, too, you know. A guy like Wynton, they get a percentage, they get a guarantee like $7,000 a week against 70 percent of the door. We do good. We charge ten THE ANCIENT ART OF BIRTH CONTROL The CERVICAL CAP has been used successfully by women since the time of Cleopatra. It is more spontaneous and safe than most conventional contraceptives, yet it remains relatively unknown. Ancient Sumerian women made cervical caps from mud; molded opium, crocodile dung, bees wax, gold and silver haw also served as material for cervical caps. Casanova once offered a prospective low r one-half of a squeezed lemon to use as a cervical cap (the citric a d d served as a spermicide). The CERVICAL CAP is a thimble-shaped device tha t fits over the neck of the uterus and functions as a barrier to sperm. The cap can be left in place for a maximum of seven days, thus allowing for more j spontaneity. In addition, chemicals are not necessary. The CERVICAL CAP has l>een perfected over the centuries. Ancient women used the cervical cap. It’s safe. It’s effective. You can use i t too. ALTERNATIVE HEALTH CENTER 900 Boylston, Suite 3 Seattle, WA98104 (206)323-0880 Have a ball. Tai Chi reflex balls stimulate the acupuncture points in the hands and fingers, allowing the body's energy (chi) to flow freely. Get a set and have a ball! Great stocking stuffers. 516 15th Avenue East 323 -0936 Hours: Mon-Fri 11-6,Th 11-7/Sat 11-5 M o n ; i-i \ j \ i P C O TX/T p A IV y "BOOKED SOLID;a.k.a. books 5241 U. Way N.E. 522-8864 Left Bank Books 92-Pike 622-0195 32 Clinton St. Quarterly—Winter, 1987
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