"The Graduate"
With numerous connections
in the music industry, one wonders why Marcos had
his personal assistant go out of the way to contact the trio to perform
for Jonathan's graduation party. But the guys have learned
to never look a gift horse in the mouth - In fact
don’t look at a gift horse at all. (Lee once thought
he saw a magical gift horse, but it was probably
just a hallucination since the
horse was bouncing on a pogo stick with a bright
orange tattoo on his back of Mahatma Gandhi striking
Mayor McCheese with a cane.)
The trio arrives to the
Witt home late in the afternoon. Load-in goes very
quickly, since family and friends have yet to arrive
from the ceremony across town, the guys are able to move
quickly and unobstructed. The only thing that slows
them down a little is Matthew's candy dish munching.
Each time he walks by the bowls of M & M candies,
The Witt's staff
haven't noticed the rapid M & M depletion, as they are
busy putting the last minute touches on the food and
other decorations throughout the house. And speaking of decorations, the front
of the home has been adorned with a bright red new Mustang GT
Due to space limitations in the area where the guys
are to play, the staff has suggested that George
play Marcos' custom-made baby grand piano. They only
have to ask once - George eagerly tries out the
keys. He accepts with an "Oh Yeah! This will work."
His enthusiasm is only matched by Matthew's return
to the candy dish - "Oh Yeah! This will work too."
Lee is forced to set up in the darkness of the den
adjacent to the room that Matthew and George will be
playing in.
He is confident and courteous. He works the room
with a finesse that any politician would be envious
of. The difference is that all of his gestures,
hugs, and handshakes, seem genuine. He even stops
the band's playing to take a photo with the guys.
The music shifts to more spirited jazz as the
attitudes in room warm up to the guys. The only pause of the
evening comes when Jonathan addresses his guests. Marcos makes a point to thank the trio. The guys comment on his Grammys in the next room and ask if they can take a photo holding them, as if they had won them. Marcos laughs, but declines. He states it's against the Grammy rules. George laughs until Marcos convinces him this is true. "Really?" "Yes, really." "Really???" "Yes."Apparently the academy makes the Grammy recipients, sign a formal document stating that they will not allow other people be photographed holding your Grammy(s). < Read bylaws of academy here> There are also rules about not using it as a door stop, and you can not use it as a weapon in the event you stumble upon a prowler in the middle of the night and the only thing to bludgeon them with is your Grammy. George is disappointed at missing out on a great photo-op. Lee can't tell what's going on from the dark recesses of his adopted lair in the den. Matthew shirks it off, and fakes coughing as he secretly shoves in another fistful of M & M's. George launches the band into the final set. Lee's drumming is impeccable tonight -the piano mic gimmick works perfectly. Matthew's fingers are courageously walking up and down the neck of the bass like never before -he's discovered a freedom within this instrumental jazz that burns with a new intensity. These three have never played as tight as they are right now. At the end of the set, George hears a rumbling upstairs. The three realize that there's someone upstairs playing a drum set. Always looking for a way to involve an audience, George yells out to the drummer to bring his set downstairs. It turns out to be Jonathan's younger brother, Carlos. After taking a few moments to set up he is ready to go. A few measures in George is painfully aware that this is the worst idea he has had in a long time. Looking to 'go out on a high note', George encouraged Carlos to play it up. The problem is, the boy has no sense of volume. His strikes on the snare and toms are perfect, but they are ridiculously loud. The decibel level in the room triples, and guests (and Jonathan) scatter for safety into other parts of the home . Only the boy's mother, Miriam stays behind to support his sonic assault. Upon realizing this miscalculation, George only plays an obligatory amount of the piece and shuts it down.
Marcos comes out of hiding, and mentions that
Jonathan has left to go to another party. George thanks him for
allowing him to play his custom piano. The two begin
to ramble on and on about piano stuff. Steinways vs. Bosendorfer, the keyboard responsiveness of the
August Forester and on and on. Lee's back is hurting
and he secretly wishes that Carlos would do a drum
solo encore to cover up all this fruity piano talk.
The three pack up their gear and head to the
vehicles. Jonathan's car is gone from the front
entry, so loading goes very quickly. George returns
inside to say goodbye to Marcos and Miriam. Marcos
asks "So do you want that picture?" "Of the Grammy?
I thought we couldn't hold it." "You can't, but we
could make it look like I'm awarding it to you."
George is elated "That'd be perfect! Let me get the
guys." A few moments later Gabriela, the Witt's
personal photographer snaps the shot. George has his mock photo, Lee has a backache (and a new drum), and Matthew has a shirt pocket of half-melted M & M's. And to these guys, that's a pretty good night.
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