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 hi.s 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 temperamenta 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) ■7 * it’s matterof 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 VINTAGE AND NEW MATERIALS FOR THE RESTORATION AND REPAIR OF YOUR OLD HOUSE OR BUILDING. S LIGHTING * HARDWARE i PLUMBING * MILLWORK SPECIALIZING IN: TURN-OF-THE-CENTURY LIGHTING IF YOU’RE THINKING ABOUT A TRIP NORTH, YOU’LL WANT TO STAY WITH US — IN THE REAL ALASKA! • PRIVATE CABINS • 60 MILES FROM ANCHORAGE • OUTDOOR SAUNA • HIKING • WILDLIFE • WILDFLOWERS • FINE FOOD AND DRINK Write or call for info HATCHER PASS LODGE Box 2655-C Palmer, AK 99645 (907) 745-5897 OPEN YEAR ROUND MON-SAT 9 - 5 : 3 0 9 0 1 N. SKIDMORE PORTLAND, OR 97217 5 0 3 - 2 4 9 - 0 7 7 4 40 Clinton St. Quarterly— Winter, 1987 D ifferen ce s You Can Hear People You Can Listen To -" T- —i -l -l El LiECnTROnniCI [^KyOCERa RCOUNTRT alternative G n sn ro u gm / audio research acoustics f e t o t a THRESHOLD T E A C . We didn't choose our name to be cute, we chose it to make our attitude about audio very plain. We are not like those stores who treat stereo like another group of home appliances. We aren't like those stores who are more interested in proving they know everything than they are in answering your important questions. We have the same attitude that got serious audio started in the first place, we love music and we want our home listening to be as much like the real thing as possible. So we listen. And listen some more. If a piece of audio gear sounds better than anything else for the money and if nothing else less expensive sounds as good, we put in our sound room. For you to listen to. For as long as you like. When you visit the Audio Alternative, you won’t be overwhelmed by high-pressure tactics and you won’t be overwhelmed by specifications and jargon, but be forewarned, you may very well be overwhelmed by just how much music you can get for your money. She Audio 8680 S.W. Canyon Road Portland, Oregon 97225 297-1127
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