#highnote

Pronouns: She/He/They (genderfluid) Parents: Fluttershy and High Note Siblings: none Bio: One of the oldest of the mane six's children. She acted as an older sister to all of them being sort of a mom friends figure even though she didn't spend too much time with them because of the age difference. Andante is actually quite social compared to her mother. She loves talking to people, and making them feel welcomed. She does so in a calm way in simple gestures. Andante does have her best friend Pappy. They have been friends for the longest time, and are open and honest with eachother, probably the closed of friendships. Andy doesn't care much for what others think of her, expect of course for who she cares about. She also has some self-esteem issues from being bullyed in her youth. It has had lasting affects on how she views herself. She always has Paps to tell her how great she is and to talk out how she's feeling. She has a very loving family, who are all very open with eachother and respect eachother's space. Her parents have always been supportive of Andante, and they all occasionally sing together privatey.  Cutiemark: Shows her talent to use her voice to calm others, she great at singing or seaking in soothing sounds 

Morgan’s equal in the enterprise was of a different temperament and demeanor. Pianist George Cables was verily revered by his peers and employers. Possessed of an impeccable technique and a broad grasp of the Great American Songbook, he immediately found common ground with Morgan and the pair recorded repeatedly in the format. Cables also had ample experience dealing successfully with ego-enslaved collaborators. He was Art Pepper’s favorite pianist and participated in the altoist’s final recording sessions in 1982, also as a duo. Morgan and Pepper shared several biographical parallels including an approach on their horns that was indelibly indebted to Charlie Parker.

The Bird fealty is evident throughout the concert in both Morgan’s phrasing and the bop-canted program, but he brings an improvisational acumen strong and personal enough to regularly resist rote derivation. Cables toggles from tight and bouncy accompaniment to vibrant lead and back again, all the while preserving playful deference to his partner. The opening jaunt through “Now’s the Time” is rich encapsulation of their rapport with Morgan launching into aerated vertical flights that mix clean melodic lines with fleet bursts of reed and fingering effects while Cables retains an implacable tonal center with interlocking hands. 

“All the Things You Are” drops a gauzy balladic shroud that’s further enhanced by the somewhat murky fidelity of the source tape. Blowing amorously and draped by Cables’ rolling chords, Morgan revels in the malleability of his horn’s upper register. The piano improvisation that follows is proportionally adroit and with Cables utterances of satisfaction audible prior to a brief eruption of applause. Richly communicative renderings of “A Night in Tunisia,” “’Round Midnight” and “Confirmation” reference other prominent bop signposts prior to the duo’s denouement with a surprising medley merger of Wayne Shorter’s “Nefertiti” and a final Bird bon mot, “Billie’s Bounce.” Morgan may have been cad in various of his personal dealings, but in the company of Cables his musical perspicacity comes through loud and clear.