I’m checking out a new venue in Mount Ranier, MD called Artmosphere – meeting up with Sharif and maybe just hanging out for a bit. It’s a pretty nice space – I’m sitting here now watching a jazz trio jam away. They’ve got a really nice PA system, big chunky JBLs that ought to be able to put holes in the opposing walls. I’m about to try their quiche. The waitress can’t do math, but I tip well anyways because… I just do. Besides, I like letting her know I’m not holding a grudge.
The bass player is sort of bad ass. Not in his playing, but I like seeing an instrument that’s obviously seen so much life. It’s chipped and battered and the worn away finish shows exactly where the player rests his hands in between sets. He’s a younger guy and I can’t imagine he’s done all that damage to his bass on his own, but it’s beautiful as the evening sun filters in, highlighting the reds in the depths of the wood.
It was a long day at the store today. It must be nice to work at something as small as RMC or as focused as Guitar Centre or something. Today I’ve fielded questions about Brazilian percussion instruments, electric jazz amplifiers, 1920’s banjo-mandolins, why you shouldn’t buy wooden drums on your own in Ghana, how to get a 40 year-old harp that almost out-weighs me to Switzerland… I sold a $1500 accordion and had someone return at 15-button autoharp.
All in all, not a bad day.
And in between customers I get to play the Alvarez Masterworks MF350C that I’m absolutely in Love with. The beauty of something that glides like that, that sings like that on the high-end and growls down in the belly… I want to slip backwards into satin sheets and play it in the dark.
Indian Rosewood makes me moan.