Just finished reading Bill Bruford's EXCELLENT autobiography - probably the best I've read & I've read quite a few. When he got to the part about what brought the original U.K. band to an end, it brought back some fun memories. After a gig, bassist John Wetton got into the limo with Bruford and stated that unless Allan Holdsworth played the same solos every night, he didn't want to work with him again. To me, that's like a house painter complaining that Picasso doesn't paint within the lines. I was reminded of one of the early bands I put together back in the Top 40 Cover Band era. One day I show up for rehearsal to find The Judge and Jury waiting for me. They were upset that I wasn't playing Clapton solos note for note. They didn't like my '60 Tiger Stripe Gretsch 6122 going through my blackface Bandmaster -" it doesn't look right and that's probably why you aren't getting the solos right. " If I agreed to buy a LP and a Marshall and promised to play the solos note for note, I could stay. They only forgot two somewhat important things: my vocal range enabled us to do a wide range of material, which made us a draw; I was the guy who got us the well-paying gigs. 'Bye , fellas. Jump a head a few decades. I've got $10k of holiday gigs booked and no band. I go through my roster of talent and check my notes on past problems( wife/girlfriend will make my life miserable for months if I book him for New Year's; player X won't share a room; player Y disappears during load in/out, etc. ) I line up a bottom end I've played and gotten along with before but my usual go-to keyboardists are all unavailable so I have to audition someone new. We track down a guy we've never seen or met but comes recommended. Shows up for rehearsal with good gear, can play and has a really good vox. I'm thinkin' this should be a snap. Bass player suggests we start with that chestnut of chestnuts, Evil Ways - easy key, good community sing & all that. Everything starts out fine . I notice the keys is playing it straight to the record so I start using chord substitutions to fill it out and not be bored. Sounds great & the we're smiling with the groove - everyone, that is, except the keyboard player. Song ends and the guy goes ballistic on me, as though I'd just nailed his third leg to a tree with a staple gun. " What the F are you playing, man. That's wrong. That's not how the song goes. I thought this was supposed to be a rock gig, not some spaced out jazz jam. People won't pay you to play like that, man. ETC,ETC" The guy's really built up a head of steam now and the three of us have our eyes buggin out of our heads and our jaws on the floor as we watch this guy basically foam at the mouth and come unglued. At some point his brain has caught up with his mouth as we can see that it's suddenly dawning on him that he might just have overstepped the boundaries here. He demurs, quiets down to a mumble and says " That's OK, man. Actually, I prefer to play violin but I only need $50 from the gig anyway." Right - NEXT.