Sunday:
I flew in on a rather bumpy flight, and met up with Tim Drakert from Helena Montana and Tyrone Lancaster from Las Vegas. I met these guys online prior to the workshop, and offered them a ride down to Norwich since I had to have a large vehicle in order to get the bass I rented from Upton Bass in Stonington, CT. On the ride down, we shared stories about music and talked about some of the artists that we each listen to. Ty recommended Kurt Rosenwinkel, and Tim talked a bit about some of the Brazilian music he listens to. We arrived at the spa after getting lost in Norwich (which is surprisingly easy to do) and shared a beer and dinner at the Ascot lounge at the Spa. It was a tiny place with seats for maybe 12 people. I couldn't help but notice how tired Ty was. He showed up at the airport in Las Vegas with 4 guitars since he wasn't sure what his options would be for carrying one onboard the plane. He ended up bringing a beautiful red Bergatino electric hollow body. After dinner, Tyrone went off to his room, and Tim and I drove on to Mystic, where we each had a low budget room at the Econolodge.
Monday:
Tim and I were up at 8:00. We stopped for a quick cup of coffee to go and then drove back up to the spa. Tim and I chatted some our on the way about the demographic we thought would attend the workshop. After our arrival at the Spa, we registered for the workshop. Tim was able to get into his room right away. Unfortunately, I needed to wait until my was cleaned before I could get into my room. After registration was complete, Tim and I headed out to a patio to play some music together. Tim called Occasional Summer, a tune that he wrote. He gave me a copy of the chart. (It wouldn't be the first time.) As more people arrived, they gradually found their way out to the patio, and joined into our jam. I met more people including Jerry from Nashville, Drew, and others. We played several of the tunes that we prepared for the clinic including Bright Size Life and Question and Answer. The morning session was an orientation, and we got to met Pat briefly before lunch was served. Lunch was salmon and was delicious. After lunch we went back to the main room, where we went over the tune Bright Size Life. Pat talked mostly about solo concepts and a little about how the tune was structured. After a short break, we were all asked to play for Pat. It was an interesting experience. Guitarists were allowed to go up on "stage" in groups of 8, and each person took a chorus of A minor blues. Partway thru this exercise, a strange individual walked into the room and up to Pat. He started to shout at him and said "Pat Metheny, you are a liar and a wimp!" The jam somehow continued on, and the guy was taken from the room by Dave and Tom, the organizers of the clinic. The whole scene took place while my good friend Tim was trying to play for Pat. While Tim seemed to take it in stride. I was disappointed that Tim didn't get a chance to shine. Following the afternoon session, we were given our parts to the work that Pat Metheny wrote for the clinic. From there we broke up for some personal time, and to play with some visiting musicians from the Heart School, a music school in Hartford Connecticut. At 5:30 there was a cocktail hour that featured the workshop participants along with some of the Heart School guys. I played with Ty, Tim, Jerry, John and several others. After the jam, we had dinner (steak) and then went back to the main room to listen to Pat and his Trio (Antonio Sanchez on drums and Christian McBride on bass) give a concert. It was an incredible experience to hear the three of them play in such a small venue. It was an intimacy that you get from a small room and 3 virtuosic musicians that know each other well. They played tunes from the workshop that they would cover later including Soul Cowboy, Bright Size Life, Message To a Friend, Question and Answer, and James plus several other tunes. Their performance was only about 60 minutes. That version of the Pat Metheny Trio had not played together for a while, and you could tell that these guys were excited to play together again. After the trio performance I played a little more with Tim and then headed off to my room and to bed.
Tuesday:
I got up on Tuesday and went for a run outside. There is a road, or rather a highway, that runs along the east side of the spa. I ran for about 25 minutes and then got ready for the day to start. I played with Tim after breakfast and then headed in to hear the morning session with Pat on the tune Soul Cowboy. Pat made several comments about listening. He also talked about how established players have "earned the privilege" to go outside when they solo. Outside in this context means stretching the song harmonically and rhythmically in order to build tension during a solo. Pat also talked about thematic development during solos. He likened it to telling a story and keeping the story on the same subject. For example, "I got up this morning. I ate breakfast. Then I caught the bus." vs "I got up this morning. My cat has spots. I really enjoy listening to Shakespeare on thursdays when it is raining." One question that I asked Pat was in regards to the tune Soul Cowboy in particular. I can hear that tune in my head in terms of the melody, and I can also hear that tune as changes. One problem that I have is that I cannot hear them both at the same time. I asked Pat if he had any suggestions as to how to be able to do that. Pat response was that keeping the melody in mind while soloing is a very good idea. It can help establish a theme, and you can elaborate on the melody as you solo. He didn't really address my question about how do you manage to keep both the sound of the changes and the sound of the melody going in your head on a complex chart like Soul Cowboy. (Well, it really isn't complex as much as it just has some odd harmonic and rhythmic displacements.) One comment that I found interesting was that Pat seemed to indicate that the end of the head of Soul Cowboy really makes no sense in terms of any kind of harmonic analysis. He basically just said "It just sounds good." I'd have to agree with that! Pat also discussed the importance of listening to people you are playing with and to make adjustments in your playing rather than marching on thinking that you are right and trying to get everyone to sync up with you. He mentioned that when Casper (the drummer that I played with the day before) and I played together as part of the *audition* on Monday, that one of us was on 1 and 3, and the other person was on 2 and 4. Casper and I later agreed that this was most likely due to the fact that he and I were both pretty freaked out about playing with Pat Metheny! After lunch, we headed back into the room for a master class with Christian McBride. He is very fun to listen to. Christian is not only one of the greatest bass players ever, he is also quite an authority on sports. He has his own satellite radio sports program. I was struck by his virtuosic ability on the bass. Bass is not an easy instrument to play. I have also noticed that when bassists solo, the term solo is always qualified; it's seems to always be referred to as a BASS solo and not just simply a solo. Christian plays solos. No bass required. He plays interesting things melodically and harmonically and plays all over the bass at any tempo and in any feel. His pitch is outstanding, and he nails the upper register stuff with such ease, it is amazing. In his session, Christian talked a lot about good time. He did some exercises where he set up a metronome and played along with it. He then had someone come up and hold the metronome and off the click but kept the light going. Those in the session could could see the flash of the light, but Christian could not. He was pretty good at keeping time going without hearing the click. I asked Christian a question about subdividing time (counting or feeling triplets or eight notes instead of quarter notes), and his response was that subdividing was necessary at slower tempos, however it can too often be used as an "MO". While I am not quite sure what he meant by that term, I got out of the session that having good time comes from learning to internalize the beat. After the master class, we went into our first rehearsal for a piece that Pat wrote for the entire group. It was pretty clear pretty quickly that the group was going to need to do significant work in order to get that piece ready perform. Pat exercised a great deal of restraint and diplomacy in giving feedback to the members of the workshop. He really tried to encourage people, but at the same time made it clear that if he was going to perform something with us, he was going to give 110% to make sure it was as good as it could be and expected us all to do the same. The rehearsals were similar to what you might expect for a small symphony. We left the rehearsal with a comment from Pat that went something like, "If I put down the serious coin that you guys did to be here, I would probably be up until at least 2am trying to get my part down." Fortunately for me, with one huge exception, the bass part was fairly easy. The only issue I had with the easy stuff was that in several different sections the meter, which was supposed to be in 3 or 6/8, felt to me more like 2 or 4. Another difficult thing was that there were several sections where the form is made up of 9 bars of 3. For some reason, I was feeling those bars as |3-3-2|3-3-2| or 2 bars of 8. For example think of two dotted quarter notes followed by to eight notes (daah, daah, dee dee). The really hard section, which would end up being the major challenge in the piece for me was a 32 bar section of straight ahead (be-bop) swing at 316+ beats per minute. To make this even more of a challenge, the harmony was 16 bars of Dd/F followed by 8 bars of D and then 8 bars of Db/F again. Db is a really horrible key for bass players. There are no open strings that you can play that are in that key since the bass has E,A,D, and G strings and the key has Eb, Ab, Db, Gb! Keeping in tune in that key is a problem. Also, you cannot use open strings to shift or take a little break for your left hand so keeping from getting tired and having your hands cramp up is also an issue. Anyway, after the group rehearsal on Tuesday we broke up for smaller jam sessions (which I didn't do because there were other bassists there that could help out and my hands were starting to hurt.) After the sessions wrapped up, we headed outside for the second cocktail hour. I played with several folks on several tunes. Memorable ones include Darn that Dream, as well as various tunes from the workshop. Tim had asked me to play Blusette, which I didn't have in the right key (he prefers G, and I had it in Bb). I seemed to mess that up each time we played it.
The Tuesday evening concert featured Mick Goodrick, author of the book "The Advancing Guitarist." Mick is an interesting guy. He claims that he has "stage absence". It is funny, but also kind of true. He is a tremendous musician, but is very understated. Upon looking at him, you would not imagine him to be the great jazz guitarist that he is. Following the evening concert, we did a little bit of jamming. I think that might have been when Tim gave me the second copy of Occasional Summer. I couldn't find the chart he gave me before. That evening most of the guitarists spent the evening… and early morning hours… shedding their parts for the show on Thursday evening.
Wednesday:
After breakfast on Wednesday, the large group split up so that several of the musicians that were interested in hearing Mick and Pat talk about their duo playing could met in the main room. The bassists went to the "conservatory" for a session with Christian. Apparently, Christian didn't get the message and ended up showing up about 40 minutes late. While we waited for Christian, I worked with the bass players on Pat's song. I went over some challenging rhythmic stuff and help the other guys count it out. We also discussed some ambiguities in the score where it was pretty clear that Pat was writing for Guitar. In these parts, the written bass part didn't really communicate what Pat seemed to want. After about 40 minutes, Christian showed up and met us all. He then asked each of us to play something for him so that he could figure out where we were. He asked Ian to go first. Ian is related to Steve, who is from Colorado and runs the the Telluride festivals. Ian had a look of fear in his face, so I jumped in and offered to go first. I tried to play some of Bright Sized Life, which didn't really fly. Then I played some funky blues like in D, and tried to walk a bass line for a little bit. It is a good thing to have a piece ready so that you can respond to the "just play something for me" question, as Bob, one of the other bass players, pointed out later! The other guys played various things ranging from an original solo thing to moon dance, to something that none of us could really identify. We were all at pretty different levels, ranging from those that could play to those that were working on some basics like playing even time and reading music and chords.
After breakfast on Wednesday, the large group split up so that several of the musicians that were interested in hearing Mick and Pat talk about their duo playing could met in the main room. The bassists went to the "conservatory" for a session with Christian. Apparently, Christian didn't get the message and ended up showing up about 40 minutes late. While we waited for Christian, I worked with the bass players on Pat's song. I went over some challenging rhythmic stuff and help the other guys count it out. We also discussed some ambiguities in the score where it was pretty clear that Pat was writing for Guitar. In these parts, the written bass part didn't really communicate what Pat seemed to want. After about 40 minutes, Christian showed up and met us all. He then asked each of us to play something for him so that he could figure out where we were. He asked Ian to go first. Ian is related to Steve, who is from Colorado and runs the the Telluride festivals. Ian had a look of fear in his face, so I jumped in and offered to go first. I tried to play some of Bright Sized Life, which didn't really fly. Then I played some funky blues like in D, and tried to walk a bass line for a little bit. It is a good thing to have a piece ready so that you can respond to the "just play something for me" question, as Bob, one of the other bass players, pointed out later! The other guys played various things ranging from an original solo thing to moon dance, to something that none of us could really identify. We were all at pretty different levels, ranging from those that could play to those that were working on some basics like playing even time and reading music and chords.
After our mini-audition, we went back into the piece that Pat wrote with Christian leading us thru it. Christian spent time with each individual point out some of the things that we needed to work. We got to the end of the piece, but skipped a pretty major section that involved a double time swing with a tempo around 300. It was a killer section for me as it was basically just me and Casper (the drummer that I had time issues with the first day) playing under Pat. Following lunch, we all met back up in the main room for a session by Antonio Sanchez. Antonio is an incredible musician and person. He has a great sense of humor, and talks a great deal about how he learned so many lessons along the way. One great story that he had was about an 8th semester bebop class that he had at Berkley. The story went that he came into the session with a huge drum kit doing all of the crazy licks and fills that he knew. Gradually, as the session continued, his instructor removed pieces of his drum set one at a time until all he was left with with a kick drum, a snare drum, a high hat, and a ride cymbal; then the instructor asked him to solo. This was a really interesting thing that I didn't think I would hear from anybody at a Pat Metheny clinic. It was basically about taking things out of your playing and the fact that you can say a lot more with a lot less. The idea of the week was the simple concept of taking an idea, and developing it. It was something that Antonio does extremely well. While the drum clinic was probably the least applicable to me on an instrumental level, it was great in a general musical sense.
Following Antonio's session, we took a quick break and then had our second large group rehearsal on the piece that pat wrote. The second session was better than the first, but still not all that great. We struggled to get thru the entire chart. The solos sounded pretty bad, with the exception of a few players. I think we all knew that things were not going that well. When the session was over, we broke for our usually jam sessions (which I didn't do), and we went out to the patio for the happy hour jam. It was a fun evening to play with several good cats. The other bass players that were brought in from the Hart School were excellent players, and were fun to listen to. They both were playing Upton basses, though one of the basses was in much better shape than the other. The two bassists were Matt and Alex, and they had two drummer named Dane and another drummer I cannot remember. It was very cool to hear that combo play with Tom the music director for the National Guitar Workshop.
Wednesday evening was the student concert. This was a fun event, but most of the people there were pretty stressed about their performance the next day. It was my weakest performance(s) of the week. I feel like I messed up fairly badly on several individuals tunes. We didn't have time to really prepare the charts that we were playing, and yet it seemed that the guys that I played with wanted to do some pretty elaborate arrangements. I played with two local guitarists who's names I cannot remember on a chart that I cannot remember. It was a fairly simple chart, but they wanted some kind of C pedal tone thru the intro of the piece. The next thing that I did was Darn That Dream with a guitarist named Alex. He did a nice job, but again didn't really have his piece arranged. I played it OK, but I didn't do several harmonic substitutions that he wanted. I suggested that he consider writing an arrangement of the tune for guitar and bass outlining specifically what changes he wanted. There were several pieces that were played throughout the evening that were very good, but not quite Pat style jazz. It was fun to listen to them. There was on experimental piece by a guitarist from Canada that featured Will, the trombonist at the clinic. Will did an outstanding job, and it was fun to listen to him. The evening ended with two pieces that I played on. First was Red Porpoise Road, which had Tim, Myself, Ty, Will, Casper and "Mosey". Mosey is an incredible keyboardist from Spain. The chart went fairly well although we had some difficulty on the form. Ty took a good solo. And it was really just cool to play with some of the guys that I met at the clinic. The last tune that I played was Occasional Summer by Time Drakert (aka Max Hatt). It was also the THIRD time that Tim gave me a copy of the chart. He is a nice guy, but I think I was either starting to irritate him, or worry him... or both. He said to me something to the effect of "Man, you must really drive your wife nuts!" If he only knew how true that is! It was truly incredible to play with Tim. He is an outstanding musician, and I really enjoyed finally getting to meet him. His playing on solo nylon string guitar was a nice contrast to the tsunami of electric guitar twang that flooded the halls of spa all week. Not that I hate electric guitar, mind you. It is to me, however, a little bit like lemon. Too much is really too much. Tim also has great maturity and sensitivity in his playing, and really really listens to others, which is unusual for someone that plays as much solo acoustic as he does. He gets music and it is a joy to hear him play. The concert wrapped up with Tim's tune around 11pm and we all went home fairly tired.
Thursday:
Thursday was a busy day for us all. I started the day with a run in the workout room in the spa. It was more boring than the run along the highway, but a bit safer too. I wasn't in a great mood for some reason that morning, but the run seemed to help a little bit. After breakfast, the guitarists had a session specifically with Pat to talk about the tune that he wrote and go over various solos. At the same time, the bassists and drummers met together with Antonio and Christian. Christian overslept a bit, and Antonio ran the practice with us for a while. After Christian got there, it was time to go over the fast swing part in the chart. I was really struggling with the section, and Christian pointed out that I was working way too hard. My right arm was flapping around, and my left hand fingers were not staying close to the strings at all. He demonstrated by playing the line with his trademark minimal effort. He made it look so easy, I was embarrassed by what I was doing. He had me play the part again and held onto my right arm keeping it still. I know better than to do those things, and spent years in music school learning NOT to do them. Bad habits in my right and left hand have creeped back into my playing probably because of the fact that I do mostly slower big band charts. I was not feeling so good about my playing going into the dress rehearsal. I walked to my room, and then back to the main hotel and along the way, I got the idea of doing "double--talking" the bass line. To me, double-talking a bass line is playing the line by repeating each note twice. The end result is that your left hand doesn't move as much. Also, I focused on trying to keep my right forearm as relaxed as possible. I also decided to get a banana strawberry smoothie at the juice bar in the spa thinking that the potassium might help the cramping that I was feeling in hands as well as in my sides. Going into the dress rehearsal, I was unsure if I was going to be able to play the section. Things seemed to go pretty well, and when it was time to play that part I went for it. It was not all that unlike that scene in "The Incredibles" where Dash starts running on water. The double talking worked perfectly. Pat looked up and smiled at the rhythm section that, earlier in the week, was falling all over itself. He seemed genuinely pleased and even commented later that the rhythm section made great strides during the week. In fact, he like it so much he decided to extend the solo another 32 bars making it a total of 96 bars, or a minute and a half of playing at 316+ bpm. After the session was over, there were a few people that played in the jam sessions, and the happy hour, but due to weather it was moved inside. I played Solar that evening, which I thought I remember since I recorded in a while back. After the happy hour it was time for dinner and I made it a point to sit next to Casper and try to just "sync" with him and get to know him a little better. Casper was born in Denmark, and lives in New York. He has a PhD in immunology, and works for a pharmaceutical companies doing some sales, and talking to physicians. He really wants to be a professional jazz drummer, and is planning on leaving his current job to pursue music full time once his wife establishes her company. When it came time for the gig, I was feeling pretty good. Christian looked at me and said "You pumped, Man?!" and did the muscleman gesture with his arm. I looked at him and said "Man, I am gonna be like silk." He laughed pretty hard at that. The performance went a little better than the dress rehearsal. The fast part was even a bit faster, and WE NAILED IT. It was a really great feeling of accomplishment. After the piece was over, Christian, Pat, and Antonio were all very complementary as were a number of people in the audience and in the group as well. It was great. We all gather for a drink(s) in the lobby afterwards, and then headed off to our rooms to collapse after a long hard week of work. We still had one more day of the workshop, but I think everyone fell a great sense of relief that the piece was done and we pulled it off.
Thursday was a busy day for us all. I started the day with a run in the workout room in the spa. It was more boring than the run along the highway, but a bit safer too. I wasn't in a great mood for some reason that morning, but the run seemed to help a little bit. After breakfast, the guitarists had a session specifically with Pat to talk about the tune that he wrote and go over various solos. At the same time, the bassists and drummers met together with Antonio and Christian. Christian overslept a bit, and Antonio ran the practice with us for a while. After Christian got there, it was time to go over the fast swing part in the chart. I was really struggling with the section, and Christian pointed out that I was working way too hard. My right arm was flapping around, and my left hand fingers were not staying close to the strings at all. He demonstrated by playing the line with his trademark minimal effort. He made it look so easy, I was embarrassed by what I was doing. He had me play the part again and held onto my right arm keeping it still. I know better than to do those things, and spent years in music school learning NOT to do them. Bad habits in my right and left hand have creeped back into my playing probably because of the fact that I do mostly slower big band charts. I was not feeling so good about my playing going into the dress rehearsal. I walked to my room, and then back to the main hotel and along the way, I got the idea of doing "double--talking" the bass line. To me, double-talking a bass line is playing the line by repeating each note twice. The end result is that your left hand doesn't move as much. Also, I focused on trying to keep my right forearm as relaxed as possible. I also decided to get a banana strawberry smoothie at the juice bar in the spa thinking that the potassium might help the cramping that I was feeling in hands as well as in my sides. Going into the dress rehearsal, I was unsure if I was going to be able to play the section. Things seemed to go pretty well, and when it was time to play that part I went for it. It was not all that unlike that scene in "The Incredibles" where Dash starts running on water. The double talking worked perfectly. Pat looked up and smiled at the rhythm section that, earlier in the week, was falling all over itself. He seemed genuinely pleased and even commented later that the rhythm section made great strides during the week. In fact, he like it so much he decided to extend the solo another 32 bars making it a total of 96 bars, or a minute and a half of playing at 316+ bpm. After the session was over, there were a few people that played in the jam sessions, and the happy hour, but due to weather it was moved inside. I played Solar that evening, which I thought I remember since I recorded in a while back. After the happy hour it was time for dinner and I made it a point to sit next to Casper and try to just "sync" with him and get to know him a little better. Casper was born in Denmark, and lives in New York. He has a PhD in immunology, and works for a pharmaceutical companies doing some sales, and talking to physicians. He really wants to be a professional jazz drummer, and is planning on leaving his current job to pursue music full time once his wife establishes her company. When it came time for the gig, I was feeling pretty good. Christian looked at me and said "You pumped, Man?!" and did the muscleman gesture with his arm. I looked at him and said "Man, I am gonna be like silk." He laughed pretty hard at that. The performance went a little better than the dress rehearsal. The fast part was even a bit faster, and WE NAILED IT. It was a really great feeling of accomplishment. After the piece was over, Christian, Pat, and Antonio were all very complementary as were a number of people in the audience and in the group as well. It was great. We all gather for a drink(s) in the lobby afterwards, and then headed off to our rooms to collapse after a long hard week of work. We still had one more day of the workshop, but I think everyone fell a great sense of relief that the piece was done and we pulled it off.
Friday:
Friday started with preparations for checking out. I packed up my stuff, and head up to the hotel for Breakfast. Spirits were high and everyone seemed to really enjoy the week. After breakfast, we all headed back into the main room for the final session with Pat. This was basically a question and answer (format, not the song of the same title) session with him. He talked more about people he played with, and about developing solos, etc. I got a chance to ask him who the tune James was written for, and he respond "Kinda James Taylor." I mentioned to him that I had often wondered if it was Bob James, and he said no, but that Bob James had played it. He also commented that Bob James wrote an intro for it... and called it Bob. After that, we wrapped up with photos and autographs. I was able to get some pictures signed for an old friend Greg, and also was able to get Pat, Antonio and Christian to sign the piece that Pat wrote for the group. Pat signed the front page, and Christian and Antonio signed the section of the piece where Casper and I did the swing. After the workshop wrapped up, I packed up my stuff and drove with Tim and Ken to Stonington to return the bass I rented. I briefly visited Upton Bass, and saw some of the basses that they had in their shop. It was cool to see the variety of instruments. I learned that the bass that they rented to me was $6500. It was a nice instrument, but that seemed a bit steep for that bass, which was gently used.
Friday started with preparations for checking out. I packed up my stuff, and head up to the hotel for Breakfast. Spirits were high and everyone seemed to really enjoy the week. After breakfast, we all headed back into the main room for the final session with Pat. This was basically a question and answer (format, not the song of the same title) session with him. He talked more about people he played with, and about developing solos, etc. I got a chance to ask him who the tune James was written for, and he respond "Kinda James Taylor." I mentioned to him that I had often wondered if it was Bob James, and he said no, but that Bob James had played it. He also commented that Bob James wrote an intro for it... and called it Bob. After that, we wrapped up with photos and autographs. I was able to get some pictures signed for an old friend Greg, and also was able to get Pat, Antonio and Christian to sign the piece that Pat wrote for the group. Pat signed the front page, and Christian and Antonio signed the section of the piece where Casper and I did the swing. After the workshop wrapped up, I packed up my stuff and drove with Tim and Ken to Stonington to return the bass I rented. I briefly visited Upton Bass, and saw some of the basses that they had in their shop. It was cool to see the variety of instruments. I learned that the bass that they rented to me was $6500. It was a nice instrument, but that seemed a bit steep for that bass, which was gently used.
It was then off to the airport where Tim and I checked in. We sat in a restaurant and had a beer and lunch and listened to the CD of the performance that was recorded the night before. Pat had stayed up until 4:30am mixing the chart. Tim and I also got caught up on some of the news of the week, which was mostly about Hurricane Irene, which was set to pound the east cost from NC all the way up to New England. It was a good time to be getting out of Connecticut. After lunch, I had the chance to sit in the airport and listen to Tim play while we waited for our flight. The airport was not the best acoustic environment, but I did enjoy hearing his guitar and got some pretty cool black and white pictures of Tim playing.
Now I am sitting on a plane and will shortly begin to descend back into Minneapolis to my normal life. I miss my wife and my kids terribly and want to share with them what a great time I had.
It was a very expensive trip for me to take. But, I think in the end, it is one that I will never forget and was well worth the cost. And, if I do happen to forget the details of this trip like I forgot the 3 copies of Occasional Summer that Tim gave me over the course of the week, at least I will have this document to remind me.
Miles Porter
26 August, 2001
