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Speaker 1: Hi, I'm Nora Jones, and today I'm playing along with

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Speaker 1: Andrew Bird. I'm just playing alone.

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Speaker 2: Do Do Do Do Do Do Do Do Do Do

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Speaker 2: Do Do Do Do Do Do Do Do Do doo

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Speaker 2: with you do do do Do do doo.

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Speaker 3: I'm just playing long with you. I'm just playing in

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Speaker 3: lone with you.

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Speaker 1: Hey, I'm Norah Jones. With me as always is Sarah Oda.

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Speaker 2: Welcome to our show.

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Speaker 1: Hello and hello to you and you and you.

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Speaker 2: Our guest today is the endlessly talented multi instrumentalist and

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Speaker 2: singer songwriter Andrew Bird.

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Speaker 1: Oh He's so great. This was a fun one.

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Speaker 2: He's an incredible violin player. He's very skilled in using

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Speaker 2: a loop pedal, has a beautiful voice, and my favorite

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Speaker 2: is his whistling.

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Speaker 1: He whistles like nobody else and it's a big part

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Speaker 1: of his music. And we talked about that. And I've

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Speaker 1: never met Andrew Bird until this podcasts, but I've been

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Speaker 1: a fan for twenty years. We figured out, which is

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Speaker 1: crazy because I feel like I'm twenty but I'm not.

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Speaker 2: He's put out sixteen studio albums and that doesn't even

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Speaker 2: include the live albums and EPs. He's also released You'll

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Speaker 2: hear about his evolution from playing violin at a very

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Speaker 2: young age. Yeah all the way through yeah, yeah, all

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Speaker 2: the way through his finest work yet.

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Speaker 1: Yeah, he's a cool guy. And this was this is

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Speaker 1: a fun one, fun one.

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Speaker 2: This is our first violinists, which is I love because

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Speaker 2: you know, I played violin and viola when I was

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Speaker 2: littler and you know, through high school and stuff, and

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Speaker 2: it's like I felt like I got wedged into just

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Speaker 2: the technical level of it being so perfect all the time,

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Speaker 2: and like the competition of like it was all about

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Speaker 2: just getting the little metals and doing well in these

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Speaker 2: like performances, and it was never about enjoying it. And I,

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Speaker 2: you know, took a lot of fun out for me.

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Speaker 2: And I feel like that's kind of why I kind

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Speaker 2: of fell off of doing it. But I feel like

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Speaker 2: if I heard Andrew Bird when I was little and thought,

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Speaker 2: oh that's something I can do with violin, awesome, Like

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Speaker 2: I'll stay with it.

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Speaker 1: But I didn't know that, Yeah that's too bad. Well

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Speaker 1: you can still play though, I've heard you. I heard

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Speaker 1: you on a little demo. Yep, I heard you can

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Speaker 1: still do it. Can you whistle?

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Speaker 4: I can?

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Speaker 1: Let's hear you. But I mean you know, Andrew Bird, Well,

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Speaker 1: give me, give me a song. I don't am like,

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Speaker 1: I don't know. Maybe we should save the whistling for.

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Speaker 5: The Oh it's my birthday.

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Speaker 1: I was so sad you did it, though, but I

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Speaker 1: did it inhaling and then I had too much air

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Speaker 1: and I couldn't. I couldn't exhale quick and you.

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Speaker 2: Why you could whistle in but not out. It's the

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Speaker 2: same me too, my friend.

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Speaker 1: For sure did you leave that word? I'm sure that

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Speaker 1: was me whistling in and here's me whistling out. I

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Speaker 1: can't do it. I've tried.

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Speaker 2: Try moving your tongue around.

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Speaker 1: Maybe we should get set your episode.

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Speaker 2: Oh god, I wish people could have seen what I'm

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Speaker 2: sure they could hear it.

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Speaker 1: There's nothing there's nothing better than mouth noise on a mic.

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Speaker 1: That's like an album titled Okay, Well, this episode is

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Speaker 1: packed full of songs. Yeah, there's more music in this

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Speaker 1: episode than most and we had a really good time.

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Speaker 1: I think we do mostly. Yeah, it's all his songs. Well,

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Speaker 1: I'm not going to tell you mind.

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Speaker 4: Sit back.

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Speaker 1: There's a little surprise nugget in there. Please enjoy the

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Speaker 1: incredible Andrew Bird.

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Speaker 6: She's alone she's alone, lone lone DiDio. She's alone, She's alone, lone,

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Speaker 6: lone DiDio. Get along, Get along without her, get along,

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Speaker 6: get along without.

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Speaker 7: Him, lone did y.

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Speaker 8: Every Saturday night she came in with him, save or six.

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Speaker 9: In the back, tall period in a gym. Now she

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Speaker 9: comes in alone, long idyo.

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Speaker 8: Wheny lasses of keep you say any leaves and.

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Speaker 7: It makes you pay for you Jim.

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Speaker 9: That's it comes.

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Speaker 7: In alone, not idiot.

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Speaker 10: M hm.

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Speaker 11: Put the top down, skip down, yellow COVID up to

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Speaker 11: these way trees, sway never get.

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Speaker 12: Away, going ahead for the heels Montana, gotta get away

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Speaker 12: from these mad senate no.

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Speaker 7: Long Ever Saturday night she came in.

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Speaker 8: With him table six in the back, tall, be around

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Speaker 8: a gin. That's she comes in a lord MONDI any

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Speaker 8: losses and keep you sifle.

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Speaker 9: Any lease and he makes you pay for your gin.

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Speaker 13: Now she comes in long did he.

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Speaker 4: M hmm.

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Speaker 1: I love that song. That's from your new album. It

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Speaker 1: came out last year, came out.

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Speaker 4: I've lost all sense of time, but I think it

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Speaker 4: was last spring.

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Speaker 1: Yeah, okay. Did you write it all during the COVID

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Speaker 1: times or before?

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Speaker 4: Some of it before that one I think was written

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Speaker 4: during I was reading a lot of Joan Didion.

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Speaker 1: I was gonna ask, yeah, obviously, but yeah.

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Speaker 4: It also goes back to a story of a friend

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Speaker 4: of mine who used to work it. I'm sure you

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Speaker 4: know Baltazar. Yeah, I used to seat them. I heard, uh,

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Speaker 4: Joan Diddon and her husband. They had like a regular table.

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Speaker 1: That's kind of how I pictured it when I was

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Speaker 1: imagining what this was about, I was picturing her in

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Speaker 1: a restaurant. Yeah, it means the picture.

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Speaker 4: But then it was in I think two thousand and

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Speaker 4: three or two thousand and four, when she would seat

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Speaker 4: them as the major d you know, like uh, every

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Speaker 4: Saturday night and they had their they ordered the same thing,

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Speaker 4: got the same drinks, and then then they didn't come

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Speaker 4: in for like two months, and then she came in alone.

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Speaker 4: Oh gosh, that's right when all that was going down.

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Speaker 1: I read that book. Ye, you're magical, thinking, yeah, god,

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Speaker 1: that's so heartbreaking.

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Speaker 4: I know.

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Speaker 1: Well, I love how the song paints it. Though you

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Speaker 1: know she would love this.

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Speaker 4: I wasn't sure it. I felt little guilty about it,

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Speaker 4: like I was violating her privacy in some way. But

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Speaker 4: given that there's that inside, I.

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Speaker 1: Feel like it's poetically pleasing to someone of her aesthetic.

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Speaker 1: You know, I think it's kind of beautiful.

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Speaker 4: But I mean I couldn't hear that story and not

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Speaker 4: do something with it because it affected me so much.

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Speaker 1: You know, it's really beautiful. Yeah, this song is manifest?

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Speaker 1: Which album?

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Speaker 4: Is this?

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Speaker 1: From?

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Speaker 4: My finest work yet?

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Speaker 1: The best album title ever? Do you feel like that

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Speaker 1: about every album though? In general?

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Speaker 4: Well? I was when you get to album number fifteen

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Speaker 4: or sixteen, You're like, who are we kidding?

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Speaker 1: Of course, why do I keep trying to because people.

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Speaker 4: Would always ask ask if this if is this your

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Speaker 4: definitive record or whatever? It was like, sure, sure it

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Speaker 4: is your bed.

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Speaker 1: How many albums have you put out?

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Speaker 4: Sixteen?

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Speaker 1: It's crazy? Sorry, Okay, that sounds good.

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Speaker 8: I'm coming to the edge of the wildest canyon, my companions.

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Speaker 4: Do you.

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Speaker 8: Starting to question my manifest destiny?

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Speaker 9: I claim to this frontier.

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Speaker 8: Into the brink of the great disaster and just has

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Speaker 8: to be near.

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Speaker 9: The spence festive?

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Speaker 10: Is?

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Speaker 7: Why pass your whisper's death in your ear? Don't pertain,

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Speaker 7: you can't hear.

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Speaker 9: Don't pertain you can't.

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Speaker 10: I can't hear it.

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Speaker 7: Turner resting.

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Speaker 14: Dig in.

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Speaker 7: Rather think it's warm, this sandmans.

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Speaker 14: Live.

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Speaker 7: Then you be exhuming by to.

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Speaker 8: Fave can say that she's indeed, rather call every.

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Speaker 7: Neither you know them.

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Speaker 9: She's a blast, and no one.

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Speaker 7: A blasting, no.

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Speaker 8: One wilom come and see the age of the risin

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Speaker 8: and sarche commotion and fear keeping all the rosin waters

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Speaker 8: on those rosin and all we hold Dear, I'm coming

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Speaker 8: to the brink of the great disaster and just hasn't

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Speaker 8: been near the spin spassorisis rad passier wisper.

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Speaker 15: Is death innoy. Don't pertain, you can't hear. Don't pertain,

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Speaker 15: you can't.

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Speaker 8: I can hear it.

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Speaker 7: Saner rosted.

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Speaker 8: Dang albertains wam this sirs.

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Speaker 1: Live?

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Speaker 9: Then you being soon bad to baba? Can't you say.

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Speaker 10: That she's indeed.

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Speaker 9: Look bad?

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Speaker 7: Cheffy now I can'd damn kid, she's a blast.

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Speaker 10: To know one.

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Speaker 7: Last No, h.

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Speaker 3: You cared here.

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Speaker 9: Do frits and you care?

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Speaker 4: Man?

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Speaker 1: That's fine.

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Speaker 4: Your way of playing piano is perfect for that song.

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Speaker 4: I love that that. I don't know what'd you call it?

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Speaker 4: A little bit of like Memphis Dusty, you know, yeah,

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Speaker 4: it's I was working on it this morning and I

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Speaker 4: was like, oh, yeah, you're perfect.

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Speaker 1: You picked the perfect songs for us together, I think.

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Speaker 4: Yeah, I was thinking this one, and then Armchairs, which

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Speaker 4: is when I hardly ever played Sprawling. It's haunting, but

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Speaker 4: it's such a long, linear song, you know it is,

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Speaker 4: but it's so beautiful and it's like a whole journey,

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Speaker 4: you know.

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Speaker 1: But I like songs like that.

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Speaker 4: Yeah, yeah, I remember recording that years ago, and I

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Speaker 4: was telling you earlier, I don't play piano because my

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Speaker 4: hand turns purple because I'm contort to play the violin

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Speaker 4: for so many years that when I turn it the

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Speaker 4: other way it cuts off circulation.

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Speaker 1: But it's horrible.

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Speaker 4: I had a very obsessed with how the piano should

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Speaker 4: sound on Armchairs with that kind of octave.

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Speaker 1: Yeah, I love it.

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Speaker 4: I just ended up playing it myself.

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Speaker 1: Because did you play it like two fingers?

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Speaker 4: I had to do overdubs. Is that sad? Like?

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Speaker 1: I kind of, no, it's not. I think that some

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Speaker 1: of my favorite piano parts in recorded history are from

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Speaker 1: people who don't normally play the piano.

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Speaker 4: You know.

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Speaker 1: They're very simple, Yeah, and I like it's more melodic

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Speaker 1: sometimes in that way, It's.

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Speaker 4: True, like sometimes piano can go wrong. Pretty easily when

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Speaker 4: you have too much at your disposal. But that I

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Speaker 4: always love that. Think actually call it country Polotan style

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Speaker 4: of like the Nashville that octave melody.

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Speaker 1: Yeah, I think I know what you're talking about. I've

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Speaker 1: never heard it called that.

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Speaker 4: Did you say Peloton country?

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Speaker 1: Polatan country Polaitan? I thought I was thinking about the

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Speaker 1: exercise bike for a second country Politan. I've never heard that,

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Speaker 1: like the like the Floyd Kramer kind of vibe, or

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Speaker 1: it's different.

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Speaker 4: Who's the guy? There was a piano player that in

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Speaker 4: the era of shel Silverstein, that kind of hippie era

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Speaker 4: of Nashville. It was named like Pig or something with

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Speaker 4: his name. I don't know, a session guy, and you

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Speaker 4: would do that kind of rolling octave thing that became

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Speaker 4: kind of part of that kind of thing that but

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Speaker 4: more in the low low end. Yeah, I'm trying to think,

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Speaker 4: who's the best example of that sound. I think it's

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Speaker 4: kind of like a early seventies like beautiful production.

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Speaker 1: I love that. I must know what. I just don't

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Speaker 1: know exactly the term to put to the thing that

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Speaker 1: I probably know in my brain somewhere.

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Speaker 4: But the theme to armchairs is that.

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Speaker 1: I love it.

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Speaker 4: Yeah, should we do that one?

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Speaker 1: Yeah, let's do it? Okay, okay, oh in the beginning,

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Speaker 1: do you do the Ammian stuff or you want me

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Speaker 1: to do a little something? And then I mean I

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Speaker 1: could you would do it on violin? That would I

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Speaker 1: think that would be cool. And then let me do

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Speaker 1: the yeah, yeah, and then you can switch while I'm

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Speaker 1: doing that.

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Speaker 4: It's a loop that I can just queue up.

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Speaker 1: I think that would be cool.

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Speaker 4: Yeah, let me switch the other violin. Okay.

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Speaker 7: I dreamed you were a cosmin on.

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Speaker 8: The space between our chairs, and I was the cartographer

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Speaker 8: the tangles in your head. I sat a song and

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Speaker 8: silent sing. This is a one did everybody.

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Speaker 7: Don't know or everybody don't knows?

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Speaker 14: A song.

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Speaker 9: That suden sing And this is all good.

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Speaker 8: These looms that weave, the park of foot, the hanging

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Speaker 8: from a strand, darking empty rooms, a full vin candes

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Speaker 8: in hand, an awkward pase, a fatal fly time.

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Speaker 9: It's a crooked ball.

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Speaker 7: Times a crooked ball.

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Speaker 8: Time.

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Speaker 9: You need to learn to loot.

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Speaker 8: The ebb just like the flow, grab hole, love your bootstraps.

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Speaker 9: And pull our hell to gravity.

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Speaker 7: Feel sorry for you, Let you go.

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Speaker 8: As if you like the proper chemicals to know. Oh

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Speaker 8: the way I felt the last time you let yourself.

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Speaker 9: For days.

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Speaker 10: Lodime.

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Speaker 16: It's a cook in sounds, a cook in sounds a crooked.

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Speaker 8: Fifty five and three as years later at the bottom

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Speaker 8: of a jig and a cradle. Then arm chair calls

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Speaker 8: to you. Oh, the m share calls to you. Letting it, says.

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Speaker 9: Song Dy. We'll get back at them all with POxy

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Speaker 9: and a paraplus His ancient sea slugs begin to crawl

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Speaker 9: through the ragweed and bard wire. No, no, you didn't ride,

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Speaker 9: you didn't come.

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Speaker 17: It didn't cross your mind at all, going through the

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Speaker 17: ways way Savelian squab. You couldn't feed thing at all,

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Speaker 17: you fifty five and days.

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Speaker 2: So so.

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Speaker 10: There we go.

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Speaker 1: Yeah, that's so pretty.

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Speaker 4: It's like I said, it's sprawling.

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Speaker 1: It's sprawling.

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Speaker 4: That's it. That's the sound. That's the country politan sound,

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Speaker 4: is it here? I'm talking about country politan. I'm not

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Speaker 4: a music historian, but I have heard that phrase before.

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Speaker 1: I guess I have. Yeah, I think I know what

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Speaker 1: you're talking about. Now. Yeah, that's beautiful. I love this.

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Speaker 1: Do we do a gig?

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Speaker 10: Now?

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Speaker 1: Yeah? We should do some gigs.

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Speaker 4: I don't know why we haven't done one up until now.

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Speaker 1: I can't believe we've never met. Yeah. Yeah, I got

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Speaker 1: your first album in two thousand and three and I

303
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Speaker 1: was really into it, and I've been a fan for

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Speaker 1: It's twenty years ago. That's insane. I can't even believe that.

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Speaker 13: I know.

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Speaker 1: Yeah, I love it. Where did you come from? Where

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Speaker 1: do you come from?

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Speaker 4: I come from Fronts No. I U from Chicago Okay, yeah,

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00:26:11,760 --> 00:26:16,440
Speaker 4: grew up there. My mom is an artist, and she

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Speaker 4: imagined all our kids playing classical music.

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Speaker 1: So wow.

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Speaker 4: I started suzuki when I was four, and I'm the

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Speaker 4: only one that kind of stuck with it.

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Speaker 1: How many siblings?

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Speaker 4: Three other siblings?

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Speaker 1: Okay, that's a big family.

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Speaker 4: Yeah, and yeah. It was like twice a week. I

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Speaker 4: would go to the group lesson and then the private lesson,

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Speaker 4: and my mom just she would she got a violin

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Speaker 4: to learn with me.

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Speaker 1: Oh my gosh, that's what they said, sweet bonding thing.

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Speaker 4: Yeah, so it's not an antagonistic thing.

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Speaker 1: Like yeah, you must practice, and then you're like, why

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Speaker 1: don't you practice? That's a really good idea. Actually, yeah,

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Speaker 1: I want to do that with my kids.

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Speaker 4: Yeah, I'm going to steal that it works when they're

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Speaker 4: really young. But like with my kid, like he doesn't

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Speaker 4: like me to play violin with it, like he wanted,

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Speaker 4: you know, he plays guitar and just now he's eleven,

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Speaker 4: Like he's letting me jam with him on violin, but

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Speaker 4: he's like, keep it cool, dad. He preferred me to

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Speaker 4: be inferior on the guitar with him, which I am.

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Speaker 1: It's pretty funny. Yeah, it's funny the dynamic that happens. Yeah,

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Speaker 1: but that's really cool. How long did she take? How

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Speaker 1: long did she play with you or did she stop

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Speaker 1: after soon after?

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Speaker 17: Yeah?

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Speaker 1: Okay, but that's still a really nice entry and a

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Speaker 1: nice way to bond with your parent.

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Speaker 4: Yeah, it was, it was, It was good. And I

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Speaker 4: remember I would always be like, okay, now now play

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Speaker 4: minu at one and this is all by ear, which

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Speaker 4: is the idea of Suzuki.

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Speaker 1: Okay. Yeah, I was going to ask because I don't

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Speaker 1: really I know of it, but I don't really know.

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Speaker 4: That's what I thought though, Yeah, which is a complaint

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Speaker 4: that people have about it, But I think it's like

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Speaker 4: the whole point.

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Speaker 1: Well, it's great for young kids, that's the whole point, right, Yeah.

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Speaker 4: And so I would be like, she'd say, play minuet one.

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Speaker 4: I'd be like, how does it go? And then she'd

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Speaker 4: like go, yeah, I ac should just get carried away

353
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Speaker 4: singing it for me and you. Yeah, And I'd be like,

354
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Speaker 4: I got it. I got it.

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Speaker 1: That's really sweet. But that's funny because suzuki is a

356
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Speaker 1: classical method.

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Speaker 4: Yeah, but there's folk tunes in there.

358
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Speaker 1: Okay, So as I say, it seems really good to

359
00:28:16,480 --> 00:28:19,440
Speaker 1: set somebody up for playing no in classical music.

360
00:28:19,920 --> 00:28:22,000
Speaker 4: It is key for me, Yeah, to get to get

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00:28:22,080 --> 00:28:22,360
Speaker 4: up mix.

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Speaker 1: Your ear is huge, right.

363
00:28:23,800 --> 00:28:27,280
Speaker 4: Huge, so much so that my ear could always learn

364
00:28:27,359 --> 00:28:31,200
Speaker 4: things faster than my brain could with sight reading. So

365
00:28:31,920 --> 00:28:34,040
Speaker 4: but it got extreme when I would have to be

366
00:28:34,119 --> 00:28:37,400
Speaker 4: in an orchestra and I'd have to learn Strauss's Don Wallan,

367
00:28:37,440 --> 00:28:40,160
Speaker 4: which is like a page of black notes, you know,

368
00:28:40,480 --> 00:28:44,240
Speaker 4: and I couldn't really sight reader well enough. So I'd

369
00:28:44,240 --> 00:28:46,200
Speaker 4: get those tapes you could, Like I said, tapes. It

370
00:28:46,240 --> 00:28:48,200
Speaker 4: would loop and they would play the same passage over

371
00:28:48,200 --> 00:28:49,640
Speaker 4: and over again, and I would play it when I

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00:28:49,680 --> 00:28:50,440
Speaker 4: went to sleep.

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Speaker 1: And that's how you learned it.

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00:28:51,240 --> 00:28:51,920
Speaker 4: That's how I learned it.

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00:28:52,160 --> 00:28:53,920
Speaker 1: That's cool. It kind of sets up the whole my

376
00:28:54,000 --> 00:28:56,600
Speaker 1: whole image of how you play and makes a lot

377
00:28:56,640 --> 00:28:57,000
Speaker 1: of sense.

378
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Speaker 4: Right, And then once I got out of music school,

379
00:28:59,680 --> 00:29:03,240
Speaker 4: I'm rarely had to read or needed or wanted to

380
00:29:03,320 --> 00:29:04,040
Speaker 4: read anything.

381
00:29:04,440 --> 00:29:06,560
Speaker 1: Reading is hard for me. My kids are taking piano

382
00:29:06,680 --> 00:29:08,680
Speaker 1: now and it's super simple, so I can read it.

383
00:29:08,760 --> 00:29:12,360
Speaker 1: But when it gets to two handed many notes, I'm like,

384
00:29:12,680 --> 00:29:15,320
Speaker 1: I learned that way, but not really since I was

385
00:29:15,760 --> 00:29:18,320
Speaker 1: eighth grade. Maybe I kind of started reading chord charts

386
00:29:18,320 --> 00:29:21,480
Speaker 1: after that and it's just right, so much easier for me. Yeah, yeah,

387
00:29:22,040 --> 00:29:25,200
Speaker 1: but did you were you in bands? And did you

388
00:29:25,240 --> 00:29:26,520
Speaker 1: go to college?

389
00:29:26,680 --> 00:29:29,000
Speaker 4: Yeah? I went to Northwestern Music School.

390
00:29:29,440 --> 00:29:32,520
Speaker 1: Is that a Is that a broad music school or

391
00:29:32,560 --> 00:29:33,600
Speaker 1: is it mostly classical?

392
00:29:33,880 --> 00:29:37,600
Speaker 4: It was mostly classical. They had a small jazz program,

393
00:29:37,880 --> 00:29:40,000
Speaker 4: but it wasn't very far along. You know. It's like,

394
00:29:40,720 --> 00:29:42,640
Speaker 4: don't play with vibrato because you won't get the gig,

395
00:29:43,120 --> 00:29:46,080
Speaker 4: you know kind of Yeah, that's funny, like they're very

396
00:29:46,160 --> 00:29:51,800
Speaker 4: like dogmatic. Anyway, it was, you know, we could talk

397
00:29:51,800 --> 00:29:53,320
Speaker 4: about that for I'm sure jazz.

398
00:29:53,400 --> 00:29:56,040
Speaker 1: Oh I went to jazz school. Yeah, but it's different

399
00:29:56,040 --> 00:29:59,800
Speaker 1: because I'm not a string instrument player, right, But that's funny.

400
00:30:01,040 --> 00:30:03,600
Speaker 4: But yeah, I was itching to get out of the

401
00:30:03,800 --> 00:30:07,640
Speaker 4: western music thing. And I was in school and I

402
00:30:08,640 --> 00:30:11,480
Speaker 4: did study jazz through ethnic musicology because there was a

403
00:30:12,320 --> 00:30:16,840
Speaker 4: fairly well known professor there that taught who studied jazz

404
00:30:16,840 --> 00:30:19,560
Speaker 4: as an ethne musicology thing. So we'd have to transcribe

405
00:30:19,720 --> 00:30:23,200
Speaker 4: col Trane's Blue Train and yeah, and various solos that

406
00:30:23,280 --> 00:30:24,440
Speaker 4: have to learn them.

407
00:30:24,640 --> 00:30:26,240
Speaker 1: And was that the first time you were into jazz

408
00:30:26,280 --> 00:30:28,479
Speaker 1: in high school or are you hearing it growing up?

409
00:30:29,120 --> 00:30:30,960
Speaker 4: I didn't hear it growing up. It took me a

410
00:30:31,000 --> 00:30:35,320
Speaker 4: while to find the stuff I liked. Yeah, because in

411
00:30:35,840 --> 00:30:39,720
Speaker 4: college they did just jump right into hard bop. Yeah,

412
00:30:39,840 --> 00:30:42,920
Speaker 4: it's like, here's giant Steps. It's like, wait, where's the

413
00:30:43,040 --> 00:30:44,720
Speaker 4: history that God us to giant Steps?

414
00:30:44,840 --> 00:30:46,480
Speaker 1: Yeah yeah, it's like there's a lot of things that

415
00:30:46,600 --> 00:30:49,920
Speaker 1: led to that. Yeah, yeah, that's that's funny. I remember

416
00:30:50,000 --> 00:30:53,880
Speaker 1: somebody telling me about Giant Steps. I went to Interlock

417
00:30:53,960 --> 00:30:55,600
Speaker 1: and Arts camp in high school.

418
00:30:55,360 --> 00:30:57,720
Speaker 4: For two years, and I went there for a summer

419
00:30:57,840 --> 00:30:58,040
Speaker 4: you did.

420
00:30:58,400 --> 00:31:01,760
Speaker 1: Yeah, we weren't there at the same time. But it

421
00:31:01,880 --> 00:31:03,080
Speaker 1: was fun, right. Did you like it?

422
00:31:03,280 --> 00:31:04,320
Speaker 11: No? You hated it?

423
00:31:04,480 --> 00:31:06,240
Speaker 1: I loved it. It was like the best went to

424
00:31:06,320 --> 00:31:09,440
Speaker 1: the school. Oh, I went to the summer okay, yeah,

425
00:31:09,880 --> 00:31:10,480
Speaker 1: summer camp.

426
00:31:10,840 --> 00:31:13,600
Speaker 4: Yeah, if you're in the orchestras were brutal.

427
00:31:14,080 --> 00:31:16,920
Speaker 1: Well, it seemed brutal. Actually, I get that because I

428
00:31:16,960 --> 00:31:18,720
Speaker 1: had a lot of class school friends. I was one

429
00:31:18,760 --> 00:31:21,000
Speaker 1: of very few jazz majors because they had a small

430
00:31:21,440 --> 00:31:23,160
Speaker 1: They had a great jazz program, but it was small,

431
00:31:23,840 --> 00:31:26,120
Speaker 1: and I would I loved going to hear the orchestra

432
00:31:26,200 --> 00:31:29,360
Speaker 1: every week, but yeah, it seemed kind of hard. But

433
00:31:29,440 --> 00:31:31,560
Speaker 1: I remember this girl who was another one of the

434
00:31:31,600 --> 00:31:34,040
Speaker 1: few jazz majors. She played Berry Sacks and she was

435
00:31:34,080 --> 00:31:36,600
Speaker 1: a character and she was like, I was like, what

436
00:31:36,680 --> 00:31:38,640
Speaker 1: are you listening to? Oh, I'm learning Giant Stuves And

437
00:31:38,680 --> 00:31:41,920
Speaker 1: I was like, oh, what's that cool? She's like, you

438
00:31:41,960 --> 00:31:44,360
Speaker 1: haven't heard of giant stuffs. I was like, you know,

439
00:31:44,520 --> 00:31:47,160
Speaker 1: I'm fifteen. Yeah, And it was kind of a funny

440
00:31:47,200 --> 00:31:49,280
Speaker 1: introduction to it as well, you know.

441
00:31:50,520 --> 00:31:53,400
Speaker 4: Yeah, yeah, it kind of all that. That's sort of

442
00:31:54,560 --> 00:31:57,880
Speaker 4: what we call jock jazz kind of world of like,

443
00:31:58,800 --> 00:32:01,400
Speaker 4: you know, it's technique. Yeah.

444
00:32:01,600 --> 00:32:03,640
Speaker 1: I like when I hear people play Giant Steps as

445
00:32:03,680 --> 00:32:07,720
Speaker 1: a ballad and it's actually really beautiful. Yeah, it's amazing.

446
00:32:09,680 --> 00:32:12,240
Speaker 4: I'm getting ready to make a jazz album so I'm

447
00:32:12,440 --> 00:32:17,200
Speaker 4: this is great timing, Oh wow, because I've always i mean,

448
00:32:17,240 --> 00:32:19,080
Speaker 4: my first couple of records were kind of in the

449
00:32:19,120 --> 00:32:22,760
Speaker 4: jazz idiom to some kind of an old timey version

450
00:32:22,800 --> 00:32:25,360
Speaker 4: of it. Yeah, it's like the long I've had a

451
00:32:25,440 --> 00:32:28,800
Speaker 4: long relationship with as a listener to jazz. It's just

452
00:32:28,920 --> 00:32:34,320
Speaker 4: my go to. Yeah, And the particular branch of the

453
00:32:34,400 --> 00:32:37,120
Speaker 4: jazz tree that I'm I've always loved is like the

454
00:32:37,640 --> 00:32:39,560
Speaker 4: you know you got the It starts with New Orleans

455
00:32:39,640 --> 00:32:43,520
Speaker 4: Sidney Pichet, Louie Armstrong, then the great tenor players like

456
00:32:43,600 --> 00:32:44,360
Speaker 4: Coleman Hawkins.

457
00:32:44,760 --> 00:32:45,920
Speaker 1: I love Coleman Hawkins.

458
00:32:46,120 --> 00:32:50,360
Speaker 4: Lester Young is my favorite. Yeah, and they go I'm

459
00:32:50,440 --> 00:32:52,600
Speaker 4: just kind of ignoring, kind of ignoring the Charlie Parker

460
00:32:53,280 --> 00:32:55,840
Speaker 4: part of the tree at this point and going straight

461
00:32:55,880 --> 00:32:58,400
Speaker 4: to like the mid fifties when those those guys were

462
00:32:58,480 --> 00:33:01,000
Speaker 4: kind of at the end of their career and making

463
00:33:01,080 --> 00:33:04,760
Speaker 4: really beautiful albums. Yeah, but it's mostly those tenor players

464
00:33:04,800 --> 00:33:08,680
Speaker 4: that I respond to more than it's like a voice.

465
00:33:09,040 --> 00:33:12,240
Speaker 1: They sound like a singer, yeah, because it's the read.

466
00:33:12,440 --> 00:33:15,960
Speaker 4: It's the read, it's the breath, and that the phrasing

467
00:33:16,040 --> 00:33:18,600
Speaker 4: that comes from it being a breath of air. I

468
00:33:18,680 --> 00:33:20,400
Speaker 4: think that lends to it, and then that kind of

469
00:33:20,520 --> 00:33:23,680
Speaker 4: rich tone, And that's when I'm trying to just just

470
00:33:23,760 --> 00:33:27,080
Speaker 4: in the last couple of months, like going back into

471
00:33:27,120 --> 00:33:30,040
Speaker 4: student mode a little bit, yeah, and trying to like

472
00:33:30,200 --> 00:33:32,200
Speaker 4: get to another level as an improviser.

473
00:33:32,520 --> 00:33:34,400
Speaker 1: Was that something you did a lot early on in

474
00:33:34,520 --> 00:33:37,240
Speaker 1: college when you were getting into that kind of zone.

475
00:33:37,560 --> 00:33:40,640
Speaker 4: I mean, generally, I never have been a great student

476
00:33:40,760 --> 00:33:43,080
Speaker 4: to music. I've always just got it in my bones

477
00:33:43,200 --> 00:33:45,120
Speaker 4: enough to, yeah, to get by.

478
00:33:45,360 --> 00:33:47,480
Speaker 1: Because you seem like a great improviser, especially when you

479
00:33:47,520 --> 00:33:50,600
Speaker 1: see you do the loopy stuff and it seems like

480
00:33:50,720 --> 00:33:51,840
Speaker 1: it's all improvised.

481
00:33:52,080 --> 00:33:54,680
Speaker 4: A lot of it is. But when it comes to

482
00:33:56,680 --> 00:34:00,000
Speaker 4: those like I can't tell you that that what's happened.

483
00:34:00,240 --> 00:34:03,880
Speaker 4: This passing chord is like a thirteen slus nine, like

484
00:34:04,280 --> 00:34:07,520
Speaker 4: neopolitan six whatever. Like I don't know what's happening in

485
00:34:07,920 --> 00:34:10,160
Speaker 4: music theory wise, and I don't really still don't feel

486
00:34:10,160 --> 00:34:12,400
Speaker 4: like I need to. I just get it in my bones.

487
00:34:12,920 --> 00:34:13,439
Speaker 4: I just play.

488
00:34:14,680 --> 00:34:19,160
Speaker 1: There is a lot of math in jazz chord progressions,

489
00:34:19,960 --> 00:34:21,920
Speaker 1: and it's nice to know a little bit of the

490
00:34:22,040 --> 00:34:24,440
Speaker 1: basics to feel like you, yeah, to feel like you

491
00:34:24,600 --> 00:34:27,879
Speaker 1: understand what you're doing. But yeah, there's also so many

492
00:34:27,960 --> 00:34:33,040
Speaker 1: great musicians who don't have that, and they're just as amazing.

493
00:34:33,160 --> 00:34:36,319
Speaker 1: So music is such a funny thing in that way.

494
00:34:36,600 --> 00:34:40,799
Speaker 4: It is, I think, because I guess I've been thinking

495
00:34:40,800 --> 00:34:43,879
Speaker 4: about this lately, like I don't want to learn enough

496
00:34:44,040 --> 00:34:45,839
Speaker 4: so much math that I would be able to play

497
00:34:45,920 --> 00:34:48,120
Speaker 4: something beyond what I hear in my head.

498
00:34:48,520 --> 00:34:50,480
Speaker 1: Yeah you know what I mean, or you know. I

499
00:34:50,560 --> 00:34:53,359
Speaker 1: feel like also some people learn it all and then

500
00:34:53,640 --> 00:34:54,920
Speaker 1: you get to the place where you've learned it and

501
00:34:55,000 --> 00:34:57,960
Speaker 1: you can kind of forget it. I think I'm similar

502
00:34:58,040 --> 00:35:02,040
Speaker 1: to you. I don't really little of a lax student

503
00:35:02,520 --> 00:35:07,120
Speaker 1: of the technical stuff, you know, but right I love

504
00:35:07,160 --> 00:35:10,120
Speaker 1: to go with the flow. I'm with you there, hence this.

505
00:35:12,160 --> 00:35:15,000
Speaker 1: And I grew up playing jazz. That was my main

506
00:35:15,120 --> 00:35:19,000
Speaker 1: thing until after I left North Texas. I went two

507
00:35:19,040 --> 00:35:21,080
Speaker 1: years to jazz school in college, and then I came

508
00:35:21,120 --> 00:35:23,520
Speaker 1: to New York and I went to the jazz clubs

509
00:35:23,520 --> 00:35:25,600
Speaker 1: and I loved it so much. But then I got

510
00:35:25,640 --> 00:35:30,279
Speaker 1: into like songwriting and other stuff, and I never had

511
00:35:30,680 --> 00:35:33,440
Speaker 1: a lot of chops and could never play fast in

512
00:35:33,560 --> 00:35:38,680
Speaker 1: that genre, you know. And because I'm the laziest practicer

513
00:35:38,920 --> 00:35:39,560
Speaker 1: on the planet.

514
00:35:41,440 --> 00:35:46,040
Speaker 4: I am too, honestly, Yeah, I'm just a free range practicer.

515
00:35:46,120 --> 00:35:47,640
Speaker 4: I don't stay on task.

516
00:35:48,360 --> 00:35:51,279
Speaker 1: Yeah, I'm too distracted. I'm like that. But I think

517
00:35:51,320 --> 00:35:54,080
Speaker 1: you know, it takes all kinds. I appreciate people who

518
00:35:54,120 --> 00:35:57,439
Speaker 1: can do that. Lock themselves in a room, I feel

519
00:35:57,440 --> 00:35:59,440
Speaker 1: like it interlocked. I remember a lot of people like that.

520
00:35:59,640 --> 00:36:04,640
Speaker 1: They were locked in their practice huts in the woods practicing. Yeah,

521
00:36:04,840 --> 00:36:07,160
Speaker 1: which I still that's the most sentimental sound to me,

522
00:36:07,320 --> 00:36:09,120
Speaker 1: Just a bunch of people practicing in the woods.

523
00:36:10,120 --> 00:36:13,040
Speaker 4: It's either it's most sentimental in the sound of madness.

524
00:36:14,400 --> 00:36:18,879
Speaker 1: Madness absolutely. So you're doing a jazz record. That's very cool.

525
00:36:19,640 --> 00:36:20,279
Speaker 13: Yeah, just.

526
00:36:21,760 --> 00:36:25,839
Speaker 4: The first one is going to be my favorite standards, Yeah,

527
00:36:27,120 --> 00:36:28,920
Speaker 4: and the second one is going to be more of a.

528
00:36:28,960 --> 00:36:31,439
Speaker 1: Free Okay, that makes sense.

529
00:36:31,600 --> 00:36:34,760
Speaker 4: Yeah, yeah, But I wanted to get through my favorite

530
00:36:34,800 --> 00:36:40,239
Speaker 4: old classic tunes, really good ones such as Body and Soul,

531
00:36:40,360 --> 00:36:43,640
Speaker 4: which is like I feel like that's again the Colemanhawkins

532
00:36:43,960 --> 00:36:48,359
Speaker 4: solo on that one is famous. Yeah, and it's it's

533
00:36:48,440 --> 00:36:51,000
Speaker 4: such a I heard. I've just got into it in

534
00:36:51,040 --> 00:36:53,880
Speaker 4: the last few years, and I was like, that is

535
00:36:53,920 --> 00:36:56,120
Speaker 4: about as good as it gets that's like the best

536
00:36:56,280 --> 00:36:59,200
Speaker 4: music I've ever heard is the way he plays on

537
00:36:59,320 --> 00:37:01,359
Speaker 4: that too. And that's what I mean about going into

538
00:37:01,400 --> 00:37:03,120
Speaker 4: student mode is like I want to I want to

539
00:37:03,120 --> 00:37:06,920
Speaker 4: figure out what he's doing. Yeah, and I'm not It

540
00:37:07,040 --> 00:37:10,440
Speaker 4: could take a couple more years to really maybe lifetime

541
00:37:10,480 --> 00:37:11,080
Speaker 4: to figure it out.

542
00:37:11,160 --> 00:37:14,880
Speaker 1: But well, I mean he was so good. But also

543
00:37:15,000 --> 00:37:17,000
Speaker 1: he's also just playing from his heart, which is I

544
00:37:17,080 --> 00:37:18,600
Speaker 1: think what it is.

545
00:37:19,080 --> 00:37:22,399
Speaker 4: Yeah as well, Yeah, totally that's the goal, right, Yeah,

546
00:37:29,800 --> 00:37:31,560
Speaker 4: I'm trying to connect also, like all these years of

547
00:37:31,640 --> 00:37:33,600
Speaker 4: just sitting on the cash writing songs, I have kind

548
00:37:33,640 --> 00:37:36,960
Speaker 4: of what I can whistle in my head is way

549
00:37:37,000 --> 00:37:39,239
Speaker 4: beyond what I can play on my violin. These days

550
00:37:39,719 --> 00:37:42,600
Speaker 4: used to be closer together. So that's kind of where

551
00:37:42,600 --> 00:37:45,840
Speaker 4: I'm at trying to connect. That's funny, what's in my

552
00:37:45,920 --> 00:37:46,680
Speaker 4: head to my instrument?

553
00:37:46,719 --> 00:37:46,959
Speaker 13: Again?

554
00:37:47,400 --> 00:37:49,680
Speaker 1: Where did the whistling come from? By the way, when

555
00:37:49,719 --> 00:37:52,960
Speaker 1: did you learn to whistle? Could you just always whistle? Well?

556
00:37:55,120 --> 00:38:00,160
Speaker 4: I don't know. I just do it incessantly, like non stop.

557
00:38:00,200 --> 00:38:01,080
Speaker 4: They would drive you nuts.

558
00:38:01,520 --> 00:38:05,400
Speaker 1: I love it. I can't whistle no, no, I know

559
00:38:05,480 --> 00:38:07,160
Speaker 1: they say you just put your lips together a little bit.

560
00:38:07,239 --> 00:38:10,600
Speaker 1: I've tried my whole life. I can whistle sucking in

561
00:38:10,719 --> 00:38:11,320
Speaker 1: a little.

562
00:38:11,080 --> 00:38:14,400
Speaker 4: Bit, but not out through the teeth at all.

563
00:38:15,200 --> 00:38:17,680
Speaker 1: I have teeth, You have teeth. Oh no, I can't

564
00:38:17,680 --> 00:38:20,360
Speaker 1: whistle through my teeth. Is that whistling?

565
00:38:20,480 --> 00:38:20,520
Speaker 4: Not?

566
00:38:20,600 --> 00:38:28,279
Speaker 1: Really? Just anyway, we can go over this later, you can. Yeah,

567
00:38:28,320 --> 00:38:30,440
Speaker 1: I feel like it's a It's just like I kind

568
00:38:30,440 --> 00:38:32,200
Speaker 1: of feel like it must be like singing, where you

569
00:38:32,480 --> 00:38:34,400
Speaker 1: just kind of are good at it. It's kind of

570
00:38:34,440 --> 00:38:36,440
Speaker 1: in you, or it's not. Maybe and you'd get better

571
00:38:36,520 --> 00:38:39,200
Speaker 1: at it, but yeah, maybe it's just something you were

572
00:38:40,200 --> 00:38:40,960
Speaker 1: born whistling.

573
00:38:41,960 --> 00:38:44,799
Speaker 4: I definitely was from an early age, and and it's

574
00:38:45,360 --> 00:38:48,160
Speaker 4: I didn't put it on albums at first because I thought,

575
00:38:49,000 --> 00:38:52,200
Speaker 4: you know, whistling so easy. Why would you do something

576
00:38:52,239 --> 00:38:55,120
Speaker 4: that's so easy? Or I was afraid it would just

577
00:38:55,880 --> 00:38:59,320
Speaker 4: be considered like a novelty thing. But then then it

578
00:38:59,360 --> 00:39:01,560
Speaker 4: seemed kind of weir You're to be whistling all day

579
00:39:01,600 --> 00:39:02,920
Speaker 4: long and then go in the studio or go on

580
00:39:03,000 --> 00:39:08,160
Speaker 4: stage and not whistle. I just it just seemed conspicuous

581
00:39:08,320 --> 00:39:08,840
Speaker 4: not to do it.

582
00:39:09,360 --> 00:39:12,239
Speaker 1: But it's so cool because your whole thing is really

583
00:39:12,400 --> 00:39:15,480
Speaker 1: unique and the whistling is part of what makes it unique,

584
00:39:15,640 --> 00:39:18,200
Speaker 1: and and then you don't whistle on every song, but

585
00:39:18,320 --> 00:39:20,520
Speaker 1: when it comes in, it's like it's.

586
00:39:20,400 --> 00:39:23,719
Speaker 4: So special, you know, And I think it's because it's

587
00:39:23,840 --> 00:39:26,719
Speaker 4: just it's part of you. I don't always intend for

588
00:39:27,040 --> 00:39:28,919
Speaker 4: I don't say, oh, here's where I'm going to whistle. Yeah,

589
00:39:29,120 --> 00:39:31,920
Speaker 4: but it's sometimes it's like my hands are busy playing,

590
00:39:32,520 --> 00:39:35,879
Speaker 4: and so to carry the melody, here's where the melody goes,

591
00:39:35,920 --> 00:39:38,960
Speaker 4: I whistle. And it's so it's so much just like

592
00:39:39,040 --> 00:39:40,520
Speaker 4: what i'd be doing when I was doing the dishes,

593
00:39:41,160 --> 00:39:43,560
Speaker 4: that it becomes more honest than anything else.

594
00:39:43,719 --> 00:39:46,480
Speaker 1: Yeah, it's just another way of getting at the melody. Yeah,

595
00:39:46,560 --> 00:39:50,040
Speaker 1: it's just you use what you got. Yeah, that's cool.

596
00:39:51,400 --> 00:39:52,000
Speaker 1: You want to try?

597
00:39:53,280 --> 00:39:53,959
Speaker 4: What is next?

598
00:39:54,600 --> 00:39:58,240
Speaker 1: I have? Is it Lusitaniaia?

599
00:39:59,600 --> 00:40:01,200
Speaker 4: Do you want do this one? Do it?

600
00:40:01,440 --> 00:40:01,480
Speaker 11: Like?

601
00:40:01,560 --> 00:40:02,399
Speaker 4: Do you know the there?

602
00:40:02,520 --> 00:40:03,239
Speaker 1: Yeah? I can do the.

603
00:40:04,719 --> 00:40:06,399
Speaker 4: I can do that part, yeah, the second verse?

604
00:40:06,440 --> 00:40:07,680
Speaker 1: Who sings that on your record?

605
00:40:08,400 --> 00:40:09,080
Speaker 4: Annie Clark?

606
00:40:09,480 --> 00:40:11,719
Speaker 1: I thought, so that's so funny. I was like, that

607
00:40:11,880 --> 00:40:14,840
Speaker 1: sounds like Annie. But then I didn't have time to

608
00:40:14,880 --> 00:40:18,840
Speaker 1: look it up, and I was like, no, that's not Annie, No,

609
00:40:18,960 --> 00:40:21,239
Speaker 1: that sounds like Annie. That's crazy. Yeah, I heard it.

610
00:40:21,440 --> 00:40:24,520
Speaker 4: We were touring together and when I wrote that song.

611
00:40:24,680 --> 00:40:33,359
Speaker 4: So that's awesome, all right, are you ready?

612
00:40:34,320 --> 00:40:47,200
Speaker 9: Well if you loosen.

613
00:40:47,200 --> 00:40:55,600
Speaker 18: Loubblops, they keep sinking all my ships old, then y'all

614
00:40:56,160 --> 00:41:00,040
Speaker 18: the one you sink my loose it say.

615
00:41:00,120 --> 00:41:05,000
Speaker 8: Here, but somehow.

616
00:41:06,320 --> 00:41:09,520
Speaker 7: Don't register tost pain.

617
00:41:11,000 --> 00:41:11,600
Speaker 14: At all.

618
00:41:13,080 --> 00:41:19,640
Speaker 9: Until it found. A cookie in vain is sull o

619
00:41:20,520 --> 00:41:23,160
Speaker 9: small remember the maid.

620
00:41:26,640 --> 00:41:26,920
Speaker 8: Whoa?

621
00:41:33,520 --> 00:41:36,120
Speaker 9: You lay your minds alone.

622
00:41:35,800 --> 00:41:35,880
Speaker 4: You.

623
00:41:38,960 --> 00:42:03,760
Speaker 9: Show you the reading, so we don't say it swell.

624
00:42:39,040 --> 00:42:45,480
Speaker 19: So we let our backbone slip until we are splits

625
00:42:45,840 --> 00:42:51,880
Speaker 19: from my finger tips and we will become a hazard.

626
00:42:52,200 --> 00:42:53,439
Speaker 9: And moray.

627
00:42:57,719 --> 00:43:02,239
Speaker 1: And we get charge out in the ray.

628
00:43:06,560 --> 00:43:13,360
Speaker 19: This sixty side, go home, go ahead, says Slin.

629
00:43:13,719 --> 00:43:16,600
Speaker 9: Dumb boy, there's no shame.

630
00:43:19,800 --> 00:43:20,400
Speaker 1: There's no.

631
00:43:22,320 --> 00:43:30,720
Speaker 19: Say goodyhead, say something number, there's no shame.

632
00:43:34,000 --> 00:43:59,520
Speaker 13: Oh you're laying mans against you, the holy bot, so.

633
00:44:07,680 --> 00:44:09,000
Speaker 8: We know that it is.

634
00:44:40,400 --> 00:44:45,040
Speaker 1: Yeah, that's a good one. It's I love your lyrics.

635
00:44:46,520 --> 00:44:51,640
Speaker 1: They're really uh. It's fun to dig into music this

636
00:44:51,760 --> 00:44:53,800
Speaker 1: way because you know, when you're listening, I can't. I

637
00:44:53,840 --> 00:44:57,239
Speaker 1: don't really tune in on every lyric all the time,

638
00:44:57,680 --> 00:45:00,600
Speaker 1: So to actually read them, it's beautiful.

639
00:45:01,160 --> 00:45:01,400
Speaker 4: Thank you.

640
00:45:02,239 --> 00:45:04,600
Speaker 1: Okay, So I assume Musitania is a ship.

641
00:45:06,080 --> 00:45:09,399
Speaker 4: Yeah, there's two ships in the song. There's the main

642
00:45:09,960 --> 00:45:17,279
Speaker 4: which was the Spanish American War was sunk in the

643
00:45:17,360 --> 00:45:20,800
Speaker 4: harbor in Cuba, and it's what what there was the

644
00:45:20,840 --> 00:45:23,640
Speaker 4: reason for us to go to war with Spain, and

645
00:45:23,719 --> 00:45:25,800
Speaker 4: the Lusitania was the reason for us to go to

646
00:45:25,880 --> 00:45:34,000
Speaker 4: war in World War one one jeez man. But so

647
00:45:34,120 --> 00:45:38,960
Speaker 4: it's like it's as a metaphor for like a conflict

648
00:45:39,040 --> 00:45:41,920
Speaker 4: in a personal relationship. So it goes from macro like

649
00:45:42,160 --> 00:45:47,839
Speaker 4: history to personal and you're laying minds along your show

650
00:45:47,920 --> 00:45:51,600
Speaker 4: or you know, creating these like uh, it's it's it's

651
00:45:51,800 --> 00:45:56,560
Speaker 4: imagining a couple. That's it's deliberate, deliberately wounding each other,

652
00:45:57,040 --> 00:46:02,880
Speaker 4: deliberately abating battleship. Yeah yeah, yeah, yeah. I don't need

653
00:46:02,920 --> 00:46:03,960
Speaker 4: to explain it too much, do I?

654
00:46:04,160 --> 00:46:06,360
Speaker 1: No, No, you don't explain it. But I just just

655
00:46:06,440 --> 00:46:08,279
Speaker 1: such a great word, lusitanium.

656
00:46:08,400 --> 00:46:13,600
Speaker 4: Yeah. It's also the name of the Roman name for Portugal.

657
00:46:14,000 --> 00:46:16,640
Speaker 1: Oh cool, Okay, I feel like I'm learning a lot.

658
00:46:16,840 --> 00:46:19,360
Speaker 1: You read a lot, I think? Am I right about that?

659
00:46:19,480 --> 00:46:20,200
Speaker 4: I do read a lot?

660
00:46:20,360 --> 00:46:20,560
Speaker 11: Yeah?

661
00:46:20,920 --> 00:46:23,920
Speaker 4: Yeah, especially as I get older, I read pretty much.

662
00:46:24,440 --> 00:46:27,680
Speaker 1: Yeah, keep it up. Most people are reading less these days,

663
00:46:27,880 --> 00:46:32,000
Speaker 1: so I love it. Yeah, most people just read their

664
00:46:32,040 --> 00:46:34,279
Speaker 1: phones more. I liked that one was that?

665
00:46:34,360 --> 00:46:37,279
Speaker 4: Okay, that was brilliant. Okay, it's so nice, dude. I

666
00:46:37,400 --> 00:46:39,680
Speaker 4: love singing with piano and I don't do it that often,

667
00:46:39,760 --> 00:46:43,080
Speaker 4: but it brings out something cool with the way I

668
00:46:43,200 --> 00:46:44,239
Speaker 4: sing that I like.

669
00:46:44,960 --> 00:46:48,200
Speaker 1: I love when you get all high and lonesome. You

670
00:46:48,320 --> 00:46:51,120
Speaker 1: have that quality sometimes in your voice, and it makes me.

671
00:46:51,280 --> 00:46:56,319
Speaker 1: It gives me chills. It's really really great. It makes

672
00:46:56,360 --> 00:46:58,360
Speaker 1: me want to do like an old country tune with you.

673
00:46:59,560 --> 00:47:02,520
Speaker 1: I know. Yeah, that's your next venture. Maybe we'll do

674
00:47:02,640 --> 00:47:04,080
Speaker 1: a country Let's do a country record.

675
00:47:04,160 --> 00:47:05,240
Speaker 4: Let's do a country record.

676
00:47:05,360 --> 00:47:06,239
Speaker 1: That would be really fun.

677
00:47:06,320 --> 00:47:09,319
Speaker 4: Yeah. I love the duet too.

678
00:47:10,000 --> 00:47:11,840
Speaker 1: Sometimes I notice that you have a lot of you

679
00:47:11,920 --> 00:47:14,160
Speaker 1: sing with a lot of different women, right or is

680
00:47:14,200 --> 00:47:15,360
Speaker 1: there one specific?

681
00:47:15,840 --> 00:47:19,680
Speaker 4: Yeah, No, it's mostly I just feel like after in

682
00:47:19,800 --> 00:47:22,759
Speaker 4: an album, like after three or four songs from the

683
00:47:22,800 --> 00:47:26,040
Speaker 4: same point of view, you're ready for someone else. Yeah,

684
00:47:26,200 --> 00:47:29,880
Speaker 4: too fresh, Yeah, because it just feels, no matter how

685
00:47:29,960 --> 00:47:33,280
Speaker 4: good a record might be, you get a little exhausted

686
00:47:33,360 --> 00:47:37,160
Speaker 4: from the same point of view. But and I like

687
00:47:37,360 --> 00:47:41,040
Speaker 4: what duets bring out in me. Plus there's there's when

688
00:47:41,040 --> 00:47:45,640
Speaker 4: I'm writing the song in my head, there's you know,

689
00:47:45,760 --> 00:47:49,040
Speaker 4: how like you're you're there's a conversation in your head

690
00:47:49,680 --> 00:47:52,480
Speaker 4: between self one and self two usually mm hmm. And

691
00:47:53,400 --> 00:47:55,560
Speaker 4: but since it's in your head, there's no need for pronouns,

692
00:47:55,640 --> 00:47:58,920
Speaker 4: it's just you talking to you. Yes, So at a

693
00:47:58,960 --> 00:48:01,920
Speaker 4: certain point, I'm like, wait, who's talking to whom? Who's

694
00:48:01,960 --> 00:48:04,520
Speaker 4: playing what role? And then I have to like consciously

695
00:48:05,480 --> 00:48:08,279
Speaker 4: step away and say, okay, this person, this could be

696
00:48:09,040 --> 00:48:12,080
Speaker 4: a little one act play. Yeah, you know, a conversation

697
00:48:12,160 --> 00:48:14,200
Speaker 4: between two people. And then I like to kind of

698
00:48:14,239 --> 00:48:16,720
Speaker 4: cast Yeah, those two people.

699
00:48:17,400 --> 00:48:17,759
Speaker 10: I like that.

700
00:48:18,040 --> 00:48:19,880
Speaker 4: But it's usually I figure that out after I've written

701
00:48:19,920 --> 00:48:20,560
Speaker 4: that kind of song.

702
00:48:21,000 --> 00:48:23,640
Speaker 1: I never think to write duets in that way.

703
00:48:24,239 --> 00:48:27,560
Speaker 4: Yeah, yeah, I mean, but do some songs come as

704
00:48:28,000 --> 00:48:29,319
Speaker 4: internal conversations? Now?

705
00:48:30,400 --> 00:48:32,520
Speaker 1: I bet they all do. Yeah, I feel like they

706
00:48:32,520 --> 00:48:35,440
Speaker 1: all do. But that's an interesting way to frame it,

707
00:48:35,640 --> 00:48:38,799
Speaker 1: you know, thinking about songwriting, I feel like everybody has

708
00:48:38,840 --> 00:48:40,680
Speaker 1: their own little way of doing.

709
00:48:40,480 --> 00:48:40,920
Speaker 11: It, you know.

710
00:48:41,239 --> 00:48:46,080
Speaker 4: Yeah, Yeah, I don't know what I'm doing until it's

711
00:48:46,120 --> 00:48:46,879
Speaker 4: almost done.

712
00:48:47,239 --> 00:48:49,800
Speaker 1: Yeah, but I think that's the best, most fun way.

713
00:48:49,719 --> 00:48:50,000
Speaker 8: To do it.

714
00:48:50,360 --> 00:48:53,320
Speaker 4: Yes, you know, Yes, And then that last twenty percent

715
00:48:53,400 --> 00:48:55,640
Speaker 4: you have to finish is hard.

716
00:48:56,040 --> 00:48:57,719
Speaker 1: Yeah, it can be stressful because you want it to

717
00:48:57,800 --> 00:49:01,680
Speaker 1: be great and you don't want it to be Yeah, incomplete, and.

718
00:49:01,760 --> 00:49:03,080
Speaker 4: You're using a different part of your brain.

719
00:49:03,160 --> 00:49:05,760
Speaker 1: You're like trying to Yeah, it's true. You're really creative

720
00:49:05,840 --> 00:49:08,440
Speaker 1: and like you're capturing everything in spurts and then you

721
00:49:08,560 --> 00:49:10,000
Speaker 1: have to sort of wrap it up.

722
00:49:11,760 --> 00:49:14,919
Speaker 4: I have to make sense to your audience at least

723
00:49:15,200 --> 00:49:20,239
Speaker 4: make some attempt too. Yeah, yeah, what else would you

724
00:49:20,280 --> 00:49:20,680
Speaker 4: like to try to?

725
00:49:22,000 --> 00:49:24,839
Speaker 1: Well, we could try ellips as if you don't mind

726
00:49:24,920 --> 00:49:27,800
Speaker 1: me playing along. Of course, we did it earlier and

727
00:49:27,800 --> 00:49:29,719
Speaker 1: it was kind of awesome for a second, but I

728
00:49:29,800 --> 00:49:32,799
Speaker 1: think we were talking over it. But I would love

729
00:49:32,880 --> 00:49:35,360
Speaker 1: to try that one because I think it's so cool

730
00:49:36,080 --> 00:49:39,719
Speaker 1: your loop situation. Did that start out of necessity or

731
00:49:40,040 --> 00:49:40,920
Speaker 1: how did that start?

732
00:49:41,600 --> 00:49:44,879
Speaker 4: Kind of? I so I got up to the point

733
00:49:44,920 --> 00:49:47,880
Speaker 4: of having a five piece band in the late nineties

734
00:49:48,600 --> 00:49:50,440
Speaker 4: and a lot of people. It was a lot of people,

735
00:49:50,840 --> 00:49:55,640
Speaker 4: and it was starting to I kind of felt like

736
00:49:55,680 --> 00:50:00,640
Speaker 4: my songs were getting inadvertently hijacked by the by the band,

737
00:50:00,680 --> 00:50:01,600
Speaker 4: as great as they were.

738
00:50:02,320 --> 00:50:04,480
Speaker 1: Well, when you have so many people on stage, everybody

739
00:50:04,520 --> 00:50:07,560
Speaker 1: has to have something to do, right, and it kind

740
00:50:07,600 --> 00:50:11,279
Speaker 1: of it can be hard to capture the same intimacy

741
00:50:12,560 --> 00:50:14,759
Speaker 1: you know otherwise, like why are you paying everybody to

742
00:50:15,280 --> 00:50:16,400
Speaker 1: lay out half the tune?

743
00:50:16,520 --> 00:50:19,040
Speaker 4: You know? So when you got when you've got a

744
00:50:19,960 --> 00:50:23,600
Speaker 4: big ear, you're a dat You become adaptable as a player,

745
00:50:23,760 --> 00:50:25,719
Speaker 4: Like you hear someone go in a certain direction and

746
00:50:25,800 --> 00:50:28,239
Speaker 4: you go with them even though that's not really what

747
00:50:28,520 --> 00:50:31,080
Speaker 4: we're how you heard it. So to get to that,

748
00:50:31,480 --> 00:50:35,160
Speaker 4: your question is like, I kind of disbanded the band

749
00:50:35,600 --> 00:50:37,520
Speaker 4: for a while and moved out to the middle of

750
00:50:37,600 --> 00:50:42,200
Speaker 4: nowhere for two years. And where is that Western Illinois, Okay,

751
00:50:43,480 --> 00:50:46,880
Speaker 4: near Dubuque, Iowa, near the Mississippi River.

752
00:50:47,400 --> 00:50:50,520
Speaker 1: Wow, so cold. It was cold.

753
00:50:51,400 --> 00:50:53,160
Speaker 4: It was cold and lonely, but it was it was

754
00:50:53,719 --> 00:50:56,120
Speaker 4: by yourself. I was by myself.

755
00:50:56,360 --> 00:50:57,000
Speaker 1: That's intense.

756
00:50:57,160 --> 00:51:00,719
Speaker 4: Yeah, it was intense. And I was twenty and I

757
00:51:00,760 --> 00:51:04,040
Speaker 4: remember talking to this guy who ran this local club

758
00:51:04,080 --> 00:51:05,920
Speaker 4: and he's like, this is the point where you should

759
00:51:05,920 --> 00:51:07,680
Speaker 4: be thinking about going to New York or LA in

760
00:51:07,760 --> 00:51:10,640
Speaker 4: your career and I'm like, nope, I'm going to going

761
00:51:10,680 --> 00:51:11,920
Speaker 4: to Dubuque the Highway.

762
00:51:13,000 --> 00:51:14,840
Speaker 1: Very strange choice.

763
00:51:15,760 --> 00:51:19,160
Speaker 4: But it was anyway, I brought one of these looping

764
00:51:19,200 --> 00:51:21,840
Speaker 4: puddles with me. Ah, And it wasn't like I was

765
00:51:21,880 --> 00:51:24,040
Speaker 4: going to replace the band. I wasn't thinking that. I

766
00:51:24,160 --> 00:51:27,440
Speaker 4: was just it allowed me to expand an otherwise linear

767
00:51:27,520 --> 00:51:32,200
Speaker 4: instrument into a one with multiple layers and demo on

768
00:51:32,320 --> 00:51:35,399
Speaker 4: the fly kind of. You know, I could play twenty

769
00:51:35,480 --> 00:51:38,320
Speaker 4: six seconds, which is enough to get in sixteen bars.

770
00:51:38,360 --> 00:51:41,280
Speaker 4: Maybe yeah, you could choose the verse or the chorus

771
00:51:41,320 --> 00:51:41,839
Speaker 4: one or the other.

772
00:51:42,160 --> 00:51:43,399
Speaker 1: That's pretty cool though.

773
00:51:44,480 --> 00:51:46,040
Speaker 4: And then I didn't think, oh that, I didn't think

774
00:51:46,040 --> 00:51:48,600
Speaker 4: this anyone would go for this live. But then I

775
00:51:48,719 --> 00:51:50,359
Speaker 4: was in a situation where I couldn't get a band

776
00:51:50,560 --> 00:51:54,040
Speaker 4: and I had to play solo and it went pretty well.

777
00:51:54,320 --> 00:51:56,560
Speaker 1: People love it. I think it's so fun for people

778
00:51:56,640 --> 00:51:59,400
Speaker 1: to watch you create something on the fly. You know,

779
00:52:00,120 --> 00:52:05,200
Speaker 1: feels like very very inside the process for people. For me,

780
00:52:05,400 --> 00:52:07,640
Speaker 1: even like even watching you do it earlier when when

781
00:52:07,760 --> 00:52:11,880
Speaker 1: we were checking the sound, it's it's kind of incredible.

782
00:52:12,120 --> 00:52:14,400
Speaker 1: And then it gets so big, you know, Yeah, it

783
00:52:14,400 --> 00:52:17,279
Speaker 1: becomes such a huge sound from one person.

784
00:52:17,320 --> 00:52:21,800
Speaker 4: Does It works with the violin to a point. It

785
00:52:21,840 --> 00:52:25,520
Speaker 4: works with this particular one because it fades out the

786
00:52:26,000 --> 00:52:28,560
Speaker 4: old ideas as you layer new ones in I like

787
00:52:28,640 --> 00:52:32,600
Speaker 4: that other ones layer everything at the same volume and frequency,

788
00:52:32,880 --> 00:52:34,719
Speaker 4: so they just build up the same frequencies and it

789
00:52:34,840 --> 00:52:40,640
Speaker 4: gets congested. Yeah, that's really creatively. It allows you to go.

790
00:52:40,960 --> 00:52:43,600
Speaker 4: You could end up somewhere completely different than where you started.

791
00:52:43,800 --> 00:52:48,040
Speaker 1: That is really Technology can be so creative.

792
00:52:49,640 --> 00:52:53,759
Speaker 4: As long as you keep it, keep it something kind

793
00:52:53,800 --> 00:52:57,000
Speaker 4: of fast and dirty like this, okay, because it's like

794
00:52:57,120 --> 00:52:59,640
Speaker 4: it's just like I don't like recording myself at home.

795
00:52:59,680 --> 00:53:01,240
Speaker 4: I don't if you feel that. I don't like pressing

796
00:53:01,280 --> 00:53:03,520
Speaker 4: play and record. But this is kind of like this

797
00:53:03,680 --> 00:53:06,000
Speaker 4: is like my four track demo thing. But it's like,

798
00:53:06,040 --> 00:53:07,600
Speaker 4: as soon as you want to move on to a

799
00:53:07,640 --> 00:53:09,719
Speaker 4: new idea, you have to erase the You can't get

800
00:53:09,800 --> 00:53:10,720
Speaker 4: precious about anything.

801
00:53:10,760 --> 00:53:12,600
Speaker 1: You have to That's what's cool about it. It's like

802
00:53:12,800 --> 00:53:15,600
Speaker 1: analog and spontaneous and improvising. Yeah.

803
00:53:15,719 --> 00:53:16,120
Speaker 11: I like that.

804
00:53:16,480 --> 00:53:16,680
Speaker 13: Yeah.

805
00:53:17,000 --> 00:53:20,880
Speaker 4: So this tune Ellipses is from Echo Locations, which is

806
00:53:20,960 --> 00:53:23,120
Speaker 4: a project I did a few years ago and continue

807
00:53:23,160 --> 00:53:27,440
Speaker 4: to do. And it's, uh, this is just something I

808
00:53:28,400 --> 00:53:31,120
Speaker 4: completely improvised. That's why when you asked to do it,

809
00:53:31,160 --> 00:53:32,600
Speaker 4: I had had to go listen to it again. Yeah,

810
00:53:32,920 --> 00:53:34,600
Speaker 4: it was like I could have done fifty of these.

811
00:53:34,920 --> 00:53:37,759
Speaker 1: It sounded like it was that's why I said, or

812
00:53:37,880 --> 00:53:40,640
Speaker 1: something like it. But I do love this recording of

813
00:53:40,719 --> 00:53:41,560
Speaker 1: it is great.

814
00:53:42,200 --> 00:53:43,160
Speaker 4: Well, let's just cool.

815
00:53:44,000 --> 00:53:46,120
Speaker 1: I'm gonna I wish I had a loop now. I

816
00:53:46,280 --> 00:53:47,759
Speaker 1: want to try that. I wonder if that would be

817
00:53:47,760 --> 00:53:51,480
Speaker 1: weird with the piano. I don't know.

818
00:53:53,320 --> 00:54:41,560
Speaker 10: Yeah, the lists as.

819
00:54:42,440 --> 00:54:44,200
Speaker 16: Least let a.

820
00:54:45,120 --> 00:59:34,240
Speaker 14: Sou out out same.

821
00:57:39,920 --> 00:57:42,720
Speaker 10: Book.

822
00:59:31,040 --> 00:59:35,720
Speaker 1: That was so fun. Yeah, that is so cool how

823
00:59:35,760 --> 00:59:39,680
Speaker 1: it fades slowly and it turns into something else completely. Yeah,

824
00:59:39,760 --> 00:59:42,760
Speaker 1: it's like a metamorphosis of that.

825
00:59:43,000 --> 00:59:43,760
Speaker 4: That is that.

826
00:59:43,880 --> 00:59:45,000
Speaker 1: I never thought about it that way.

827
00:59:45,520 --> 00:59:48,440
Speaker 4: Yeah, it's just fun to do these, uh, these sort

828
00:59:48,440 --> 00:59:53,720
Speaker 4: of polyrhythmic patterns. There's endlessly it's fun to play over.

829
00:59:54,280 --> 00:59:57,600
Speaker 1: What is your I'm not a good gear person, but

830
00:59:57,920 --> 01:00:00,360
Speaker 1: if we record it, I'll remember. What do you use?

831
01:00:00,400 --> 01:00:01,000
Speaker 1: What is that loop?

832
01:00:01,240 --> 01:00:04,600
Speaker 4: It's a line six D L for I just call

833
01:00:04,640 --> 01:00:05,360
Speaker 4: it the green box.

834
01:00:05,640 --> 01:00:07,160
Speaker 1: It's great, Okay, I'm getting one.

835
01:00:07,600 --> 01:00:08,240
Speaker 4: Yeah you should.

836
01:00:08,280 --> 01:00:09,400
Speaker 1: I don't know what I'm gonna use it with, but

837
01:00:09,520 --> 01:00:10,040
Speaker 1: I'll get one.

838
01:00:10,240 --> 01:00:11,280
Speaker 4: Yeah for it?

839
01:00:12,680 --> 01:00:14,440
Speaker 1: This was so fun? Can we do? Can we just

840
01:00:14,520 --> 01:00:16,440
Speaker 1: go on tour and or do something sometime?

841
01:00:17,720 --> 01:00:17,919
Speaker 10: Done?

842
01:00:18,040 --> 01:00:20,360
Speaker 1: That would be fun, let's do it. Do you ever

843
01:00:20,440 --> 01:00:24,200
Speaker 1: tour solo? Are you do? You always have different sort

844
01:00:24,240 --> 01:00:27,160
Speaker 1: of incarnations of what you're doing based on the project

845
01:00:27,200 --> 01:00:27,600
Speaker 1: you're doing.

846
01:00:27,920 --> 01:00:32,360
Speaker 4: Yeah, I'm somewhere between a trio and a quartet now,

847
01:00:32,520 --> 01:00:35,360
Speaker 4: but I've there was a time when I and those

848
01:00:35,960 --> 01:00:39,480
Speaker 4: those lonely isolated days out in the country where I

849
01:00:39,520 --> 01:00:42,120
Speaker 4: would just go straight from this bar and I was

850
01:00:42,160 --> 01:00:46,000
Speaker 4: living in load up my van and go on tour

851
01:00:46,080 --> 01:00:50,200
Speaker 4: by myself and wow, and I still and then other

852
01:00:50,240 --> 01:00:53,440
Speaker 4: times I would be on tour with the band and

853
01:00:53,520 --> 01:00:55,200
Speaker 4: then they would have to get back to their families

854
01:00:55,240 --> 01:00:56,560
Speaker 4: and I would just one night it would be a

855
01:00:56,560 --> 01:00:58,120
Speaker 4: full band, next night would be solow.

856
01:00:57,880 --> 01:01:01,440
Speaker 1: Oh wow, no matter what was happening out of necessity.

857
01:01:02,200 --> 01:01:04,160
Speaker 4: But I mean I could travel light in those days

858
01:01:04,200 --> 01:01:06,000
Speaker 4: when I was trying to build an audience.

859
01:01:06,440 --> 01:01:09,560
Speaker 1: Do you like did you looking back? I mean, obviously

860
01:01:10,040 --> 01:01:13,320
Speaker 1: you do what you do, but do you like traveling

861
01:01:13,480 --> 01:01:16,600
Speaker 1: alone like that? There must be some freedom to it.

862
01:01:16,680 --> 01:01:18,640
Speaker 1: And also do you get bored?

863
01:01:18,800 --> 01:01:20,320
Speaker 4: Then it was an adventure for sure?

864
01:01:20,560 --> 01:01:22,880
Speaker 1: Yeah, you don't really get bored musically if you have

865
01:01:23,000 --> 01:01:24,560
Speaker 1: the loop pedal like that, I feel like.

866
01:01:24,760 --> 01:01:29,240
Speaker 4: No, I would just be like so you know, legally drunk,

867
01:01:30,080 --> 01:01:33,600
Speaker 4: exhausted from like driving eight hours between shows and doing

868
01:01:33,600 --> 01:01:38,040
Speaker 4: all the work yourself, no tour manager, nothing. But it

869
01:01:38,160 --> 01:01:42,120
Speaker 4: was kind of like I was finally getting an audience

870
01:01:42,200 --> 01:01:44,080
Speaker 4: and I was just like, let's go.

871
01:01:44,320 --> 01:01:44,480
Speaker 14: You know.

872
01:01:44,560 --> 01:01:47,560
Speaker 4: I was just like, you feel like Robin Banks or something.

873
01:01:47,640 --> 01:01:50,080
Speaker 4: It was like, I feel like an outlaw, basically.

874
01:01:51,280 --> 01:01:52,120
Speaker 1: Going against the world.

875
01:01:52,560 --> 01:01:53,800
Speaker 4: Yeah, across the state lines.

876
01:01:54,080 --> 01:01:54,800
Speaker 1: That's pretty cool.

877
01:01:55,000 --> 01:01:57,320
Speaker 4: Merch money in one pocket, show you know, show money

878
01:01:57,360 --> 01:01:57,640
Speaker 4: in the other.

879
01:01:57,760 --> 01:01:59,240
Speaker 1: See I've never done that on my own.

880
01:02:00,040 --> 01:02:00,240
Speaker 2: Yeah.

881
01:02:01,840 --> 01:02:04,040
Speaker 4: But then always before I was about to have a

882
01:02:04,200 --> 01:02:09,080
Speaker 4: total either mental or physical breakdown, I would just in

883
01:02:09,160 --> 01:02:11,000
Speaker 4: time get the support I needed to keep.

884
01:02:11,280 --> 01:02:14,880
Speaker 1: Yeah you know that's great. Yeah, it's not sustainable forever.

885
01:02:15,480 --> 01:02:17,920
Speaker 4: But I still like the freedom of playing solo, like

886
01:02:20,160 --> 01:02:21,600
Speaker 4: and but it is a bit lonely.

887
01:02:21,800 --> 01:02:24,400
Speaker 1: Yeah, yeah, it can be lonely. I would imagine. Yeah,

888
01:02:24,600 --> 01:02:26,880
Speaker 1: well anything, if you do too much of it, you

889
01:02:27,000 --> 01:02:28,960
Speaker 1: get to where you want to do something else.

890
01:02:29,160 --> 01:02:29,360
Speaker 4: Yeah.

891
01:02:29,480 --> 01:02:33,240
Speaker 1: Musically I feel like, yeah, you know, but that's cool,

892
01:02:33,320 --> 01:02:38,120
Speaker 1: all right, let's do it's just a duo.

893
01:02:39,040 --> 01:02:39,240
Speaker 4: Yeah.

894
01:02:40,080 --> 01:02:42,640
Speaker 1: I've never done a solo, I mean since those early

895
01:02:42,760 --> 01:02:45,160
Speaker 1: days of restaurants, I haven't really done a lot of

896
01:02:45,200 --> 01:02:48,800
Speaker 1: solo shows because I don't. I could do like a

897
01:02:48,840 --> 01:02:52,480
Speaker 1: twenty minute set, but I I feel limited by my

898
01:02:52,640 --> 01:02:57,560
Speaker 1: lack of technique to do fast stuff. I guess like

899
01:02:57,640 --> 01:03:00,880
Speaker 1: I'm afraid it'll be all too similar tempos. And I

900
01:03:01,000 --> 01:03:03,400
Speaker 1: really feed off of other people. I have more fun.

901
01:03:03,880 --> 01:03:08,240
Speaker 1: I have a lot more fun playing that way. So well,

902
01:03:08,320 --> 01:03:10,360
Speaker 1: Thank you so much. It was so great to meet you.

903
01:03:11,040 --> 01:03:12,680
Speaker 4: My pleasure. I'm so glad you asked me.

904
01:03:13,040 --> 01:03:13,440
Speaker 10: I am do.

905
01:03:16,720 --> 01:03:19,800
Speaker 1: Oh that was so fun. Wow. He's really just so good,

906
01:03:20,320 --> 01:03:25,000
Speaker 1: so good, and so sweet and so like calming. I'm

907
01:03:25,120 --> 01:03:29,680
Speaker 1: calm doing, I'm soothed. His songs are beautiful. I love

908
01:03:29,760 --> 01:03:34,120
Speaker 1: that his songs are stories. They're really interesting. The lyrics

909
01:03:34,160 --> 01:03:38,720
Speaker 1: are just yeah, they're a storyteller, interesting lyrics. I wonder

910
01:03:39,040 --> 01:03:42,800
Speaker 1: what his brain is like on the inside. Thanks for

911
01:03:42,920 --> 01:03:46,960
Speaker 1: listening everyone, Thanks for being my friend. Sarah Ohda, I

912
01:03:47,000 --> 01:03:49,160
Speaker 1: thought you were telling them thanks, I was, and then

913
01:03:49,200 --> 01:03:50,840
Speaker 1: I switched it. I didn't know what to think to

914
01:03:50,880 --> 01:03:54,760
Speaker 1: anybody who's that weird. Thanks to all of you for listening.

915
01:03:54,880 --> 01:03:57,720
Speaker 1: We love you, love you, Thanks for listening.

916
01:03:58,120 --> 01:04:01,040
Speaker 2: Don't forget to subscribe to Nora owns is playing along

917
01:04:01,280 --> 01:04:03,560
Speaker 2: wherever you get your podcasts, so you never miss a

918
01:04:03,680 --> 01:04:04,400
Speaker 2: new episode.

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01:04:04,840 --> 01:04:08,400
Speaker 1: This episode was recorded at Golden Hour Sound in Glendale, California,

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01:04:08,720 --> 01:04:13,240
Speaker 1: by Eric Razinski, mixed by Jamie Landry, edited by Sarah Oda,

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01:04:13,560 --> 01:04:18,640
Speaker 1: Additional engineering by Matthew Vasquez. Artwork by Eliza Frye, Photography

922
01:04:18,720 --> 01:04:22,640
Speaker 1: by Shervin Linez. Produced by Me and my Odo