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I skipped the lengthy critical preface (to the Penguin edition) because the book is so long, but will have to read it once I finish. There's plenty of other nasty Dombey behavior. I'm about 200 pages in and have been struck by a) the way he bailed out Walter Gay's uncle just to show the young son "the power money has over people" and subsequently b) assigned Walter to fill a position in Barbados, where he is likely to die young because of the virulent diseases there. [Walter being a young man who has a thing for the neglected daughter.] From what I can tell, the critical preface, among other things, relates various characters to Dickens's early life.
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I love Mary Lou, but playing that solo she reminds of Al Haig when he was trying to play in a "contemporary" way - the line never gets going and is built around repeated patterns. For her best playing I always go back to the '30s and '40s. She was always, harmonically, the hippest of the hip, but to my ears she never successfully made the rhythmic transition from swing to bebop to post-bop. the energy us unfeigned - this was where she was comfortable. and here; she was picking up the harmonies, post-Tatum, but when it came to line she needed the old-style feel:
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