Chris Fitzgerald sent me a detailed critique of "Noble Accents" which I'll share with you all. This is dated October 21, 2003. Yes, indeed, and thank you! This song, from Steve Grovers Monk-award winning Blackbird Suite, is something of a standard here in Maine. Grover is a really fine composer with an original voice, and his aesthetic is oriented toward no frills jazz. Thats a rare combination. In short words, Tim was sick. This doesn't reflect what he can do. Thank you very much, Chris. No excuses, but FWIW, the majority of the date was much more free so this was the tune for walking. Grover and I were playing a lot then and I felt that the hook-up was good. Hes a musician. I was using the AMT S-25 VERY close. Im not sure, though, how much of what youre hearing derives from the fact that this file was burned off the radio. God knows what kind of compression they used etc. The mic was about 2" off the bass, close to the F-hole (at the engineers request) on the treble-side. There was NO monitoring so I had NO say in the sound. The engineer wanted to use some kind of mid-level mic and, having dropped all that dinero on the AMT, I talked him into giving it a shot. We were all in one big room, so I wanted narrow-focus, high-rejection if you please. Sound points, well said, and I need to spend serious time integrating them. FWIW I remember asking Grover, years ago, some questions along those lines and his only response (with a wink) was, Play what the composer intended. Thanks for your comments on intonation. I could wamble and say that this was before I started doing all this work with Cecil, but the simple truth is, Im going to be wrestling with intonation my whole life. God, I hate that. Sometimes I ask. Sometimes I call people on it particularly if they ignore it when I ask. With this band, I just played. It certainly is easier to be adventurous when people lay a foundation for you. Q. These solos strike me as kinda "bassy" and not enough (here it comes -- ready?) "horny." Yes/no/so? Interesting. It seems you may be on a different track from what I was thinking and it seems that exploring the point could be fruitful. To me, the question of bassiness or horniness centers primarily, although not exclusively, on this question: Would it sound lame, today, coming from a tenor, bone or piano? (Dont get me started on guitars, either.) Lame might mean that the harmonic vocabulary is antiquated, focusing on outlining chords in a basic way. Lame might mean a lack of rhythmic variety like, say, quarter notes only? Lame might mean an inability to play meaningfully at the appropriate tempo (although this is by no means exclusive to bassists). By that standard, Oscar Pettiford is usually horny and Jimmy Garrison is bassy (when you can hear him at all). Mais non, THIS is what Im here for. Thanks again, Chris.