CostelloNews.com

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Here's Rozy's account from the eclistserv

Quote:
-The funny part of all this is that Elvis really *did* tell us he wouldn't be playing, but his words didn't deliver the message he intended, so we completely misunderstood. Let me explain--
Mary and I were first in line at about 4pm since the show was GA (the guy sitting inside the club entrance thought we were nuts). Doors were scheduled to open at 6:30. Elvis came to the club alone at about 5pm, and was apparently in a good mood. He signed albums for a couple people waiting at the curb, then walked over to us. He took my arm as he said hello and asked how we were (!) Mary gave him a gift (I'll let her tell you about that) and then he said he had to go in. No problem so far...
In the meantime, Mike V and Jeff (with the EC glasses) joined us in line, so they also witnessed what happened as EC left the club. It was after 6pm when he stormed out the front door and got into the waiting car. His mood had obviously changed. He sat there for a second with the door open, then got out of the car. We thought he forgot something inside the club, but instead, he came over to us again and said that he wanted us to know that the show was not as advertised--that there would only be 2 numbers and that there had been a major f**kup. We thought he meant that *he* would only be doing 2 numbers, so we weren't too upset. (We later realized that he was telling us that the whole show was literally just 2 numbers... ) We couldn't imagine just then what the major f**kup had been, except to think that his participation in the show had been cut down to 2 songs, and that was the reason he was upset. When Mary reminded him that we had flown in from Chicago, he said he knew and that he was really sorry. Then he left. We thought he was going to dinner or to pick up Diana or whatever, but we didn't think he was leaving for the evening.
When we finally got in the club, the guy wanted to seat us in the back! No pal, I don't think so. Not after we waited in line for almost 3 hours, crazy as we are! So we did get front center after all. Prior to the show, not a word was said by anyone associated with the club that EC wouldn't be there, so we were still completely unaware of what had happened. The show started a little past 8. I don't know much about jazz, but I enjoyed the music and the quartet obviously enjoyed each other's company--lots of smiles from Bill Frisell (who was the only one of the 4 who kept his eyes open during the show...) After the 2nd number, it looked like Frisell was going to remain on stage to accompany EC, but then he too left and the lights came up. Lots of questioning looks on audience faces and then a disturbance by the kitchen door--someone in the audience had gone after Gary Peacock!
An unusual evening for sure, but I'm not sorry I went. Mary and I had a great time--we both love NYC-- and it's always fun seeing fellow listers even without getting to see EC.
I just wonder why EC couldn't go ahead with his part of the show without Gary...
Rozy (who had been hoping for something from Deep Dead Blue last night)

We also went to the Lee Konitz show at the Iridium Tuesday night... Apparently during the argument Gary Peacock got in EC's face and said "we don't backup no rock stars!" Elvis stormed off and never came back. After the show, some people started shouting rip-off and more than half the place was given a refund... very ugly scene. Somehow this EC quote from a Conan O'Brien skit the other night seems appropriate...

"I love music because it unites people- brings them together. It enables me, a human being, to communicate with you- you f***king a**hole."

EC is in many ways a wonderful artist. But Gary Peacock is on a far higher plane as a musician than EC. I can readily see how Peacock would find it demeaning to serve as back-up to Costello. The anger at Peacock is, I think, largely misplaced. EC should have swallowed his pride and gone on without Peacock, especially given that he knew so many were there to see him.

hey everyone. my comment on the fiasco at 'iridium' involving peacock and costello is directed mainly to the person who says peacock is 'on a far higher plane as a musician than EC.' this is my first time writing an internet rant and hopefully the last, but this particular event has pissed me off so much, i cannot hold back. what makes a great musician? do you have to play a particular style to be a great musician? do you have to have great technique? is one style of music more valid and meaningful than another? if so, in what way? what is the purpose of music? as a creative musician myself i've thought alot about these issues as they are very relevant at the present time. are we supposed to look down on artists like herbie hancock, marc ribot, pat metheny, and brad mehldau because they play covers of pop rock musicians? i hope not. being appreciative of all styles of music can be of great benefit to a jazz musician in many musically creative ways. elvis costello is one of the greatest pop/rock songwriters in history. i don't think anyone knowledgable about the genre would refute this. so many of his songs have given great joy to millions. many of his tunes are also quite provocative lyrically and really challenge the listener. is this not the 'higher' calling of music? to bring joy and to challenge? he has recorded w/ bill frisell and lee konitz (the other band members w/ peacock). so, by association, peacock has already dredged himself through the swamp that is pop/rock. awwww. poor baby got his hands dirty. peacock's attitude is the worst kind of musical elitism: thinking that technique and theoretical knowledge trumps emotion and feel. any truly creative artist in any field knows that you have to have both. apparently peacock only has respect for 1/2 of the equation. mr. peacock, you make me wanna puke. i will never again support anything you're involved in. by the way, when you ditched on the 3rd sets you were supposed to play at the 'iridium' (you didn't know about it my ass) and left the cool musicians holding the bag, your sub on saturday night smoked your ass. thank you dennis irwin. i only hope that peacock is somehow reading this right now so that the slightest shred of actual tolerant, creative sensibility may penetrate his disgustingly uptight, elitist attitude. somehow, i don't think it would.

I'm sympathetic with your concerns about Peacock's elitism -- in fact, insofar as he was indicting pop/rock in refusing to play with EC it's arguably inconsistent with the fact that he endlessly plays "standards", which really were the pop tunes of their time. It would be absurd to think the standards jazz artists generally play are somehow more elevated than the pop tunes currently being written -- this is something that some great jazz artists(like Mehldau and Metheny) recognize. But I must point out that you are way off base if you think Peacock only respects "technique and theoretical knowledge". Listen to any recording of Peacock with Jarrett's trio, and you will hear everything you could ever want from a musician -- technique and theoretical knowledge, yes, but also inspiration, immense creativity, emotion, and much more. Of course you are right to recognize that Peacock has technique and theoretical understanding over EC. What places him on a higher musical plane than EC is not these alone, but the combination of all the variables cited -- which make him a consummate musician. Mehldau and Metheny share this. EC doesn't. That's my point. Nonetheless, as I say, EC is a wonderful artist. As you say, he brings pleasure to millions. I agree that that's accomplishment enough.