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("Take Five") I knew it would probably be my last gig at The Bad Apple, at least with this band. The show was scheduled to start at 10 pm. A few hours before the show's start, Celeste and I drowned ourselves in 80s rock classics at a local Karaoke club, letting go of all our inhibitions. We walked home, grabbed my sax, and taxied over to The Bad Apple. I confirmed the rumors of my departure from Nowhere Land (my choice for the name of this particular 'nothing' band). The band members were disappointed yet understanding. I requested that they kindly put all of the songs I was going to play in the first set. I pulled my horn out and fit it together, talking over the form of some of the songs with Vedim, one of the bass players, and Nat the guitarist. Meanwhile, Celeste was taking some photos of the band and The Bad Apple. Mark, true to form, was anxious to get going, anxious to the point of peevishness. One of our band members, the second bass player (they switch, depending on the song) hadn't shown up, increasing Mark's angst. People were filling The Bad Apple. All of the seating had long been filled, and now people were stuffing into corners and crowding the bar, ordering their drinks and then standing, waiting for the show to start. After waiting a few more minutes, we began the show. "Cortez," a Neil Young cover, began the set. I played harmony, dancing around the melody, Mark's acoustic guitar and voice. Eventually, it was time to play "Take Five." We switched to Liam on bass, and before he could strap on his axe, Se had started beating out a solo 5/4 meter. People in the crowd then began to turn their heads in curiosity. Nat, the guitarist, nodded to Liam and they both started in with the catchy "Take Five" rhythm section riff. The crowd instantly recognized this--if not the exact name and melody of the tune, at least that it was familiar--and unanioumsly and instantly snapped to attention. After a few measures, I came in with the sax riff, the signature for this song, and the crowd erupted with approval and excitement. Twice through the head and I begin an open solo. The crowd was riveted on me. I closed my eyes and just felt the groove. I felt free to sing whatever I wanted through my horn. I could feel the energy of crowd and band. It was impossible not to thrive on it. My expression flowed effortlessly out of my soul and through my horn. Minutes went by. Everybody's attention was still welded to the unassuming sax player in front of the band. At one point, I played out a long clear note as long as my lungs would sustain it. It lasted for an eternity, with every second the tension building and building. The band and the crowd were all looking at me with a half smile on their faces, wondering what was going to happen next. With the very last wisp of air, I barked out a high note and let it fall away. Then I continued to ease the tension. After several minutes, I began to play the head again and then nodded as I directed the final retard and ending. The cymbols crashed, one second of silence, and then The Bad Apple exploded with applause. I had to take two bows. I couldn't help but laugh, sheepishly, shy from all the attention. One last song, Red Barron, and the first set and I were done for the night. Instantly, Mark ran up to me with a smile glittering in his eyes and emphatically begged me to reconsider quiting the band. "I know that most of the people here tonight won't come back to see us play if you're not here. They loved you!" Meanwhile, Se was expressing his amazement about my playing and the engergy that existed during Take 5. "As long as you play like that, Scott, you can play with me ANY time." Celeste told him that it was the Karaoke that loosed me up. "For sure! That's mandatory before every show, then." I packed up my horn and shook hands as Celeste and I slid out the front door. Celeste threw her arms around me and congratulated me well into the next morning. I take her opinion much more seriously that any of the others. She's so good to me. I'm such a lucky bloke (can you tell I've been spending time with Brits?). The chemistry was perfect: I was feeling the energy, the band was feeling it, I was loosened up, I was playing well, there was a good crowd. The vibe was there. It reminded me of the energy at the gig I played at the prison or on stage with Mike Connell. What a rush! What a Rush! Take Five--Scottro [2002-05-26]
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