WEBVTT - Andrew Bird

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<v Speaker 1>Hi, I'm Nora Jones, and today I'm playing along with

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<v Speaker 1>Andrew Bird. I'm just playing alone.

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<v Speaker 2>Do Do Do Do Do Do Do Do Do Do

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<v Speaker 2>Do Do Do Do Do Do Do Do Do doo

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<v Speaker 2>with you do do do Do do doo.

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<v Speaker 3>I'm just playing long with you. I'm just playing in

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<v Speaker 3>lone with you.

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

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<v Speaker 2>Welcome to our show.

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<v Speaker 1>Hello and hello to you and you and you.

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<v Speaker 2>Our guest today is the endlessly talented multi instrumentalist and

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<v Speaker 2>singer songwriter Andrew Bird.

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<v Speaker 1>Oh He's so great. This was a fun one.

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<v Speaker 2>He's an incredible violin player. He's very skilled in using

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<v Speaker 2>a loop pedal, has a beautiful voice, and my favorite

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<v Speaker 2>is his whistling.

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<v Speaker 1>He whistles like nobody else and it's a big part

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<v Speaker 1>of his music. And we talked about that. And I've

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<v Speaker 1>never met Andrew Bird until this podcasts, but I've been

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<v Speaker 1>a fan for twenty years. We figured out, which is

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<v Speaker 1>crazy because I feel like I'm twenty but I'm not.

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<v Speaker 2>He's put out sixteen studio albums and that doesn't even

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

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<v Speaker 2>hear about his evolution from playing violin at a very

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<v Speaker 2>young age. Yeah all the way through yeah, yeah, all

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<v Speaker 2>the way through his finest work yet.

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<v Speaker 1>Yeah, he's a cool guy. And this was this is

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<v Speaker 1>a fun one, fun one.

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<v Speaker 2>This is our first violinists, which is I love because

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<v Speaker 2>you know, I played violin and viola when I was

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<v Speaker 2>littler and you know, through high school and stuff, and

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<v Speaker 2>it's like I felt like I got wedged into just

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<v Speaker 2>the technical level of it being so perfect all the time,

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<v Speaker 2>and like the competition of like it was all about

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<v Speaker 2>just getting the little metals and doing well in these

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<v Speaker 2>like performances, and it was never about enjoying it. And I,

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<v Speaker 2>you know, took a lot of fun out for me.

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<v Speaker 2>And I feel like that's kind of why I kind

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<v Speaker 2>of fell off of doing it. But I feel like

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<v Speaker 2>if I heard Andrew Bird when I was little and thought,

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<v Speaker 2>oh that's something I can do with violin, awesome, Like

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<v Speaker 2>I'll stay with it.

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

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<v Speaker 1>you can still play though, I've heard you. I heard

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<v Speaker 1>you on a little demo. Yep, I heard you can

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<v Speaker 1>still do it. Can you whistle?

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<v Speaker 4>I can?

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

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<v Speaker 1>give me, give me a song. I don't am like,

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<v Speaker 1>I don't know. Maybe we should save the whistling for.

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<v Speaker 5>The Oh it's my birthday.

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<v Speaker 1>I was so sad you did it, though, but I

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<v Speaker 1>did it inhaling and then I had too much air

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<v Speaker 1>and I couldn't. I couldn't exhale quick and you.

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<v Speaker 2>Why you could whistle in but not out. It's the

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<v Speaker 2>same me too, my friend.

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<v Speaker 1>For sure did you leave that word? I'm sure that

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<v Speaker 1>was me whistling in and here's me whistling out. I

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<v Speaker 1>can't do it. I've tried.

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<v Speaker 2>Try moving your tongue around.

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<v Speaker 1>Maybe we should get set your episode.

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<v Speaker 2>Oh god, I wish people could have seen what I'm

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<v Speaker 2>sure they could hear it.

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<v Speaker 1>There's nothing there's nothing better than mouth noise on a mic.

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<v Speaker 1>That's like an album titled Okay, Well, this episode is

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

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<v Speaker 1>episode than most and we had a really good time.

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

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<v Speaker 1>I'm not going to tell you mind.

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<v Speaker 4>Sit back.

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<v Speaker 1>There's a little surprise nugget in there. Please enjoy the

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<v Speaker 1>incredible Andrew Bird.

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<v Speaker 6>She's alone she's alone, lone lone DiDio. She's alone, She's alone, lone,

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<v Speaker 6>lone DiDio. Get along, Get along without her, get along,

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<v Speaker 6>get along without.

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<v Speaker 7>Him, lone did y.

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<v Speaker 8>Every Saturday night she came in with him, save or six.

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<v Speaker 9>In the back, tall period in a gym. Now she

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<v Speaker 9>comes in alone, long idyo.

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<v Speaker 8>Wheny lasses of keep you say any leaves and.

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<v Speaker 7>It makes you pay for you Jim.

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<v Speaker 9>That's it comes.

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<v Speaker 7>In alone, not idiot.

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<v Speaker 10>M hm.

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<v Speaker 11>Put the top down, skip down, yellow COVID up to

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<v Speaker 11>these way trees, sway never get.

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<v Speaker 12>Away, going ahead for the heels Montana, gotta get away

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<v Speaker 12>from these mad senate no.

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<v Speaker 7>Long Ever Saturday night she came in.

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<v Speaker 8>With him table six in the back, tall, be around

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<v Speaker 8>a gin. That's she comes in a lord MONDI any

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<v Speaker 8>losses and keep you sifle.

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<v Speaker 9>Any lease and he makes you pay for your gin.

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<v Speaker 13>Now she comes in long did he.

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<v Speaker 4>M hmm.

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<v Speaker 1>I love that song. That's from your new album. It

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<v Speaker 1>came out last year, came out.

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<v Speaker 4>I've lost all sense of time, but I think it

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<v Speaker 4>was last spring.

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<v Speaker 1>Yeah, okay. Did you write it all during the COVID

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<v Speaker 1>times or before?

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<v Speaker 4>Some of it before that one I think was written

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<v Speaker 4>during I was reading a lot of Joan Didion.

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<v Speaker 1>I was gonna ask, yeah, obviously, but yeah.

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<v Speaker 4>It also goes back to a story of a friend

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<v Speaker 4>of mine who used to work it. I'm sure you

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<v Speaker 4>know Baltazar. Yeah, I used to seat them. I heard, uh,

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<v Speaker 4>Joan Diddon and her husband. They had like a regular table.

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<v Speaker 1>That's kind of how I pictured it when I was

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<v Speaker 1>imagining what this was about, I was picturing her in

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<v Speaker 1>a restaurant. Yeah, it means the picture.

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<v Speaker 4>But then it was in I think two thousand and

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<v Speaker 4>three or two thousand and four, when she would seat

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<v Speaker 4>them as the major d you know, like uh, every

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<v Speaker 4>Saturday night and they had their they ordered the same thing,

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<v Speaker 4>got the same drinks, and then then they didn't come

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<v Speaker 4>in for like two months, and then she came in alone.

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<v Speaker 4>Oh gosh, that's right when all that was going down.

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

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<v Speaker 1>that's so heartbreaking.

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<v Speaker 4>I know.

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<v Speaker 1>Well, I love how the song paints it. Though you

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<v Speaker 1>know she would love this.

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<v Speaker 4>I wasn't sure it. I felt little guilty about it,

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<v Speaker 4>like I was violating her privacy in some way. But

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<v Speaker 4>given that there's that inside, I.

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<v Speaker 1>Feel like it's poetically pleasing to someone of her aesthetic.

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<v Speaker 1>You know, I think it's kind of beautiful.

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<v Speaker 4>But I mean I couldn't hear that story and not

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<v Speaker 4>do something with it because it affected me so much.

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

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<v Speaker 1>Which album?

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<v Speaker 4>Is this?

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<v Speaker 1>From?

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<v Speaker 4>My finest work yet?

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<v Speaker 1>The best album title ever? Do you feel like that

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<v Speaker 1>about every album though? In general?

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<v Speaker 4>Well? I was when you get to album number fifteen

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<v Speaker 4>or sixteen, You're like, who are we kidding?

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<v Speaker 1>Of course, why do I keep trying to because people.

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<v Speaker 4>Would always ask ask if this if is this your

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<v Speaker 4>definitive record or whatever? It was like, sure, sure it

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<v Speaker 4>is your bed.

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<v Speaker 1>How many albums have you put out?

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<v Speaker 4>Sixteen?

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<v Speaker 1>It's crazy? Sorry, Okay, that sounds good.

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

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<v Speaker 4>Do you.

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<v Speaker 8>Starting to question my manifest destiny?

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<v Speaker 9>I claim to this frontier.

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<v Speaker 8>Into the brink of the great disaster and just has

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<v Speaker 8>to be near.

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<v Speaker 9>The spence festive?

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<v Speaker 10>Is?

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

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<v Speaker 7>you can't hear.

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<v Speaker 9>Don't pertain you can't.

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<v Speaker 10>I can't hear it.

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<v Speaker 7>Turner resting.

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<v Speaker 14>Dig in.

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<v Speaker 7>Rather think it's warm, this sandmans.

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<v Speaker 14>Live.

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<v Speaker 7>Then you be exhuming by to.

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<v Speaker 8>Fave can say that she's indeed, rather call every.

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<v Speaker 7>Neither you know them.

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<v Speaker 9>She's a blast, and no one.

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<v Speaker 7>A blasting, no.

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<v Speaker 8>One wilom come and see the age of the risin

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<v Speaker 8>and sarche commotion and fear keeping all the rosin waters

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<v Speaker 8>on those rosin and all we hold Dear, I'm coming

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<v Speaker 8>to the brink of the great disaster and just hasn't

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<v Speaker 8>been near the spin spassorisis rad passier wisper.

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<v Speaker 15>Is death innoy. Don't pertain, you can't hear. Don't pertain,

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<v Speaker 15>you can't.

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<v Speaker 8>I can hear it.

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<v Speaker 7>Saner rosted.

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<v Speaker 8>Dang albertains wam this sirs.

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<v Speaker 1>Live?

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<v Speaker 9>Then you being soon bad to baba? Can't you say.

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<v Speaker 10>That she's indeed.

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<v Speaker 9>Look bad?

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

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<v Speaker 10>To know one.

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<v Speaker 7>Last No, h.

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<v Speaker 3>You cared here.

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<v Speaker 9>Do frits and you care?

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<v Speaker 4>Man?

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<v Speaker 1>That's fine.

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<v Speaker 4>Your way of playing piano is perfect for that song.

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

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<v Speaker 4>A little bit of like Memphis Dusty, you know, yeah,

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<v Speaker 4>it's I was working on it this morning and I

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<v Speaker 4>was like, oh, yeah, you're perfect.

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<v Speaker 1>You picked the perfect songs for us together, I think.

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<v Speaker 4>Yeah, I was thinking this one, and then Armchairs, which

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

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<v Speaker 4>it's such a long, linear song, you know it is,

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<v Speaker 4>but it's so beautiful and it's like a whole journey,

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<v Speaker 4>you know.

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<v Speaker 1>But I like songs like that.

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<v Speaker 4>Yeah, yeah, I remember recording that years ago, and I

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<v Speaker 4>was telling you earlier, I don't play piano because my

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<v Speaker 4>hand turns purple because I'm contort to play the violin

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<v Speaker 4>for so many years that when I turn it the

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<v Speaker 4>other way it cuts off circulation.

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<v Speaker 1>But it's horrible.

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<v Speaker 4>I had a very obsessed with how the piano should

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<v Speaker 4>sound on Armchairs with that kind of octave.

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<v Speaker 1>Yeah, I love it.

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<v Speaker 4>I just ended up playing it myself.

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<v Speaker 1>Because did you play it like two fingers?

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<v Speaker 4>I had to do overdubs. Is that sad? Like?

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<v Speaker 1>I kind of, no, it's not. I think that some

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<v Speaker 1>of my favorite piano parts in recorded history are from

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<v Speaker 1>people who don't normally play the piano.

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<v Speaker 4>You know.

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

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<v Speaker 1>sometimes in that way, It's.

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<v Speaker 4>True, like sometimes piano can go wrong. Pretty easily when

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<v Speaker 4>you have too much at your disposal. But that I

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<v Speaker 4>always love that. Think actually call it country Polotan style

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<v Speaker 4>of like the Nashville that octave melody.

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<v Speaker 1>Yeah, I think I know what you're talking about. I've

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<v Speaker 1>never heard it called that.

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<v Speaker 4>Did you say Peloton country?

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<v Speaker 1>Polatan country Polaitan? I thought I was thinking about the

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

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<v Speaker 1>like the like the Floyd Kramer kind of vibe, or

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<v Speaker 1>it's different.

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<v Speaker 4>Who's the guy? There was a piano player that in

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<v Speaker 4>the era of shel Silverstein, that kind of hippie era

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<v Speaker 4>of Nashville. It was named like Pig or something with

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

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<v Speaker 4>would do that kind of rolling octave thing that became

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<v Speaker 4>kind of part of that kind of thing that but

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

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<v Speaker 4>who's the best example of that sound. I think it's

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<v Speaker 4>kind of like a early seventies like beautiful production.

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<v Speaker 1>I love that. I must know what. I just don't

0:17:54.960 --> 0:17:57.240
<v Speaker 1>know exactly the term to put to the thing that

0:17:57.320 --> 0:17:59.119
<v Speaker 1>I probably know in my brain somewhere.

0:17:59.720 --> 0:18:02.560
<v Speaker 4>But the theme to armchairs is that.

0:18:07.680 --> 0:18:08.080
<v Speaker 1>I love it.

0:18:09.200 --> 0:18:11.159
<v Speaker 4>Yeah, should we do that one?

0:18:11.280 --> 0:18:15.280
<v Speaker 1>Yeah, let's do it? Okay, okay, oh in the beginning,

0:18:16.280 --> 0:18:17.760
<v Speaker 1>do you do the Ammian stuff or you want me

0:18:17.800 --> 0:18:20.159
<v Speaker 1>to do a little something? And then I mean I

0:18:20.200 --> 0:18:21.840
<v Speaker 1>could you would do it on violin? That would I

0:18:21.840 --> 0:18:23.320
<v Speaker 1>think that would be cool. And then let me do

0:18:23.400 --> 0:18:27.360
<v Speaker 1>the yeah, yeah, and then you can switch while I'm

0:18:27.440 --> 0:18:27.720
<v Speaker 1>doing that.

0:18:28.160 --> 0:18:30.000
<v Speaker 4>It's a loop that I can just queue up.

0:18:30.119 --> 0:18:31.160
<v Speaker 1>I think that would be cool.

0:18:31.680 --> 0:18:35.280
<v Speaker 4>Yeah, let me switch the other violin. Okay.

0:19:40.320 --> 0:19:43.040
<v Speaker 7>I dreamed you were a cosmin on.

0:19:47.560 --> 0:19:57.879
<v Speaker 8>The space between our chairs, and I was the cartographer

0:20:02.240 --> 0:20:11.600
<v Speaker 8>the tangles in your head. I sat a song and

0:20:11.840 --> 0:20:19.400
<v Speaker 8>silent sing. This is a one did everybody.

0:20:18.800 --> 0:20:23.080
<v Speaker 7>Don't know or everybody don't knows?

0:20:23.640 --> 0:20:24.399
<v Speaker 14>A song.

0:20:26.240 --> 0:20:33.920
<v Speaker 9>That suden sing And this is all good.

0:20:53.880 --> 0:21:02.120
<v Speaker 8>These looms that weave, the park of foot, the hanging

0:21:02.560 --> 0:21:17.600
<v Speaker 8>from a strand, darking empty rooms, a full vin candes

0:21:17.680 --> 0:21:29.200
<v Speaker 8>in hand, an awkward pase, a fatal fly time.

0:21:31.119 --> 0:21:32.760
<v Speaker 9>It's a crooked ball.

0:21:34.680 --> 0:21:36.840
<v Speaker 7>Times a crooked ball.

0:21:38.080 --> 0:21:38.399
<v Speaker 8>Time.

0:21:38.640 --> 0:21:41.400
<v Speaker 9>You need to learn to loot.

0:21:44.920 --> 0:21:59.280
<v Speaker 8>The ebb just like the flow, grab hole, love your bootstraps.

0:22:00.080 --> 0:22:05.320
<v Speaker 9>And pull our hell to gravity.

0:22:05.920 --> 0:22:11.560
<v Speaker 7>Feel sorry for you, Let you go.

0:22:14.280 --> 0:22:19.960
<v Speaker 8>As if you like the proper chemicals to know. Oh

0:22:22.480 --> 0:22:27.000
<v Speaker 8>the way I felt the last time you let yourself.

0:22:29.320 --> 0:22:31.520
<v Speaker 9>For days.

0:22:32.960 --> 0:22:37.800
<v Speaker 10>Lodime.

0:22:42.200 --> 0:22:57.560
<v Speaker 16>It's a cook in sounds, a cook in sounds a crooked.

0:23:19.520 --> 0:23:27.040
<v Speaker 8>Fifty five and three as years later at the bottom

0:23:27.160 --> 0:23:34.240
<v Speaker 8>of a jig and a cradle. Then arm chair calls

0:23:34.359 --> 0:23:45.600
<v Speaker 8>to you. Oh, the m share calls to you. Letting it, says.

0:23:47.320 --> 0:23:57.920
<v Speaker 9>Song Dy. We'll get back at them all with POxy

0:23:58.000 --> 0:24:05.359
<v Speaker 9>and a paraplus His ancient sea slugs begin to crawl

0:24:09.440 --> 0:24:19.840
<v Speaker 9>through the ragweed and bard wire. No, no, you didn't ride,

0:24:20.359 --> 0:24:21.280
<v Speaker 9>you didn't come.

0:24:25.160 --> 0:24:30.639
<v Speaker 17>It didn't cross your mind at all, going through the

0:24:30.760 --> 0:24:40.480
<v Speaker 17>ways way Savelian squab. You couldn't feed thing at all,

0:24:41.520 --> 0:24:43.880
<v Speaker 17>you fifty five and days.

0:24:45.080 --> 0:24:51.960
<v Speaker 2>So so.

0:25:01.600 --> 0:25:01.960
<v Speaker 10>There we go.

0:25:13.680 --> 0:25:14.919
<v Speaker 1>Yeah, that's so pretty.

0:25:16.480 --> 0:25:18.160
<v Speaker 4>It's like I said, it's sprawling.

0:25:18.600 --> 0:25:19.320
<v Speaker 1>It's sprawling.

0:25:23.920 --> 0:25:26.480
<v Speaker 4>That's it. That's the sound. That's the country politan sound,

0:25:26.840 --> 0:25:29.040
<v Speaker 4>is it here? I'm talking about country politan. I'm not

0:25:29.119 --> 0:25:32.440
<v Speaker 4>a music historian, but I have heard that phrase before.

0:25:33.040 --> 0:25:35.600
<v Speaker 1>I guess I have. Yeah, I think I know what

0:25:35.680 --> 0:25:39.920
<v Speaker 1>you're talking about. Now. Yeah, that's beautiful. I love this.

0:25:40.600 --> 0:25:41.240
<v Speaker 1>Do we do a gig?

0:25:41.320 --> 0:25:41.439
<v Speaker 10>Now?

0:25:42.280 --> 0:25:44.359
<v Speaker 1>Yeah? We should do some gigs.

0:25:45.119 --> 0:25:47.080
<v Speaker 4>I don't know why we haven't done one up until now.

0:25:47.320 --> 0:25:51.560
<v Speaker 1>I can't believe we've never met. Yeah. Yeah, I got

0:25:51.600 --> 0:25:53.359
<v Speaker 1>your first album in two thousand and three and I

0:25:53.520 --> 0:25:55.879
<v Speaker 1>was really into it, and I've been a fan for

0:25:56.200 --> 0:25:59.119
<v Speaker 1>It's twenty years ago. That's insane. I can't even believe that.

0:25:59.440 --> 0:25:59.600
<v Speaker 13>I know.

0:26:00.200 --> 0:26:03.520
<v Speaker 1>Yeah, I love it. Where did you come from? Where

0:26:03.520 --> 0:26:04.080
<v Speaker 1>do you come from?

0:26:05.359 --> 0:26:10.800
<v Speaker 4>I come from Fronts No. I U from Chicago Okay, yeah,

0:26:11.760 --> 0:26:16.440
<v Speaker 4>grew up there. My mom is an artist, and she

0:26:16.880 --> 0:26:19.240
<v Speaker 4>imagined all our kids playing classical music.

0:26:19.359 --> 0:26:20.000
<v Speaker 1>So wow.

0:26:20.359 --> 0:26:24.840
<v Speaker 4>I started suzuki when I was four, and I'm the

0:26:24.920 --> 0:26:26.320
<v Speaker 4>only one that kind of stuck with it.

0:26:27.040 --> 0:26:27.920
<v Speaker 1>How many siblings?

0:26:28.880 --> 0:26:29.920
<v Speaker 4>Three other siblings?

0:26:30.000 --> 0:26:31.040
<v Speaker 1>Okay, that's a big family.

0:26:31.200 --> 0:26:35.359
<v Speaker 4>Yeah, and yeah. It was like twice a week. I

0:26:35.400 --> 0:26:38.920
<v Speaker 4>would go to the group lesson and then the private lesson,

0:26:39.000 --> 0:26:41.200
<v Speaker 4>and my mom just she would she got a violin

0:26:41.359 --> 0:26:42.119
<v Speaker 4>to learn with me.

0:26:42.320 --> 0:26:44.960
<v Speaker 1>Oh my gosh, that's what they said, sweet bonding thing.

0:26:45.400 --> 0:26:47.480
<v Speaker 4>Yeah, so it's not an antagonistic thing.

0:26:47.480 --> 0:26:49.919
<v Speaker 1>Like yeah, you must practice, and then you're like, why

0:26:49.960 --> 0:26:54.000
<v Speaker 1>don't you practice? That's a really good idea. Actually, yeah,

0:26:54.040 --> 0:26:55.200
<v Speaker 1>I want to do that with my kids.

0:26:55.680 --> 0:26:57.720
<v Speaker 4>Yeah, I'm going to steal that it works when they're

0:26:57.760 --> 0:27:00.440
<v Speaker 4>really young. But like with my kid, like he doesn't

0:27:00.480 --> 0:27:03.240
<v Speaker 4>like me to play violin with it, like he wanted,

0:27:03.280 --> 0:27:06.720
<v Speaker 4>you know, he plays guitar and just now he's eleven,

0:27:06.880 --> 0:27:09.399
<v Speaker 4>Like he's letting me jam with him on violin, but

0:27:09.480 --> 0:27:11.520
<v Speaker 4>he's like, keep it cool, dad. He preferred me to

0:27:11.720 --> 0:27:15.359
<v Speaker 4>be inferior on the guitar with him, which I am.

0:27:15.880 --> 0:27:19.960
<v Speaker 1>It's pretty funny. Yeah, it's funny the dynamic that happens. Yeah,

0:27:20.240 --> 0:27:23.080
<v Speaker 1>but that's really cool. How long did she take? How

0:27:23.080 --> 0:27:24.960
<v Speaker 1>long did she play with you or did she stop

0:27:25.040 --> 0:27:26.520
<v Speaker 1>after soon after?

0:27:26.720 --> 0:27:26.880
<v Speaker 17>Yeah?

0:27:26.920 --> 0:27:30.240
<v Speaker 1>Okay, but that's still a really nice entry and a

0:27:30.359 --> 0:27:32.000
<v Speaker 1>nice way to bond with your parent.

0:27:32.280 --> 0:27:34.600
<v Speaker 4>Yeah, it was, it was, It was good. And I

0:27:34.640 --> 0:27:37.240
<v Speaker 4>remember I would always be like, okay, now now play

0:27:37.359 --> 0:27:40.040
<v Speaker 4>minu at one and this is all by ear, which

0:27:40.119 --> 0:27:41.080
<v Speaker 4>is the idea of Suzuki.

0:27:41.240 --> 0:27:42.800
<v Speaker 1>Okay. Yeah, I was going to ask because I don't

0:27:42.800 --> 0:27:44.680
<v Speaker 1>really I know of it, but I don't really know.

0:27:45.200 --> 0:27:48.160
<v Speaker 4>That's what I thought though, Yeah, which is a complaint

0:27:48.200 --> 0:27:49.720
<v Speaker 4>that people have about it, But I think it's like

0:27:49.800 --> 0:27:50.400
<v Speaker 4>the whole point.

0:27:50.600 --> 0:27:53.480
<v Speaker 1>Well, it's great for young kids, that's the whole point, right, Yeah.

0:27:53.480 --> 0:27:56.679
<v Speaker 4>And so I would be like, she'd say, play minuet one.

0:27:56.680 --> 0:27:58.720
<v Speaker 4>I'd be like, how does it go? And then she'd

0:27:58.800 --> 0:28:02.520
<v Speaker 4>like go, yeah, I ac should just get carried away

0:28:02.640 --> 0:28:05.800
<v Speaker 4>singing it for me and you. Yeah, And I'd be like,

0:28:06.040 --> 0:28:06.879
<v Speaker 4>I got it. I got it.

0:28:07.320 --> 0:28:10.960
<v Speaker 1>That's really sweet. But that's funny because suzuki is a

0:28:11.040 --> 0:28:12.520
<v Speaker 1>classical method.

0:28:12.800 --> 0:28:14.240
<v Speaker 4>Yeah, but there's folk tunes in there.

0:28:14.119 --> 0:28:16.440
<v Speaker 1>Okay, So as I say, it seems really good to

0:28:16.480 --> 0:28:19.440
<v Speaker 1>set somebody up for playing no in classical music.

0:28:19.920 --> 0:28:22.000
<v Speaker 4>It is key for me, Yeah, to get to get

0:28:22.080 --> 0:28:22.360
<v Speaker 4>up mix.

0:28:22.400 --> 0:28:23.560
<v Speaker 1>Your ear is huge, right.

0:28:23.800 --> 0:28:27.280
<v Speaker 4>Huge, so much so that my ear could always learn

0:28:27.359 --> 0:28:31.200
<v Speaker 4>things faster than my brain could with sight reading. So

0:28:31.920 --> 0:28:34.040
<v Speaker 4>but it got extreme when I would have to be

0:28:34.119 --> 0:28:37.400
<v Speaker 4>in an orchestra and I'd have to learn Strauss's Don Wallan,

0:28:37.440 --> 0:28:40.160
<v Speaker 4>which is like a page of black notes, you know,

0:28:40.480 --> 0:28:44.240
<v Speaker 4>and I couldn't really sight reader well enough. So I'd

0:28:44.240 --> 0:28:46.200
<v Speaker 4>get those tapes you could, Like I said, tapes. It

0:28:46.240 --> 0:28:48.200
<v Speaker 4>would loop and they would play the same passage over

0:28:48.200 --> 0:28:49.640
<v Speaker 4>and over again, and I would play it when I

0:28:49.680 --> 0:28:50.440
<v Speaker 4>went to sleep.

0:28:50.360 --> 0:28:51.120
<v Speaker 1>And that's how you learned it.

0:28:51.240 --> 0:28:51.920
<v Speaker 4>That's how I learned it.

0:28:52.160 --> 0:28:53.920
<v Speaker 1>That's cool. It kind of sets up the whole my

0:28:54.000 --> 0:28:56.600
<v Speaker 1>whole image of how you play and makes a lot

0:28:56.640 --> 0:28:57.000
<v Speaker 1>of sense.

0:28:57.360 --> 0:28:59.680
<v Speaker 4>Right, And then once I got out of music school,

0:28:59.680 --> 0:29:03.240
<v Speaker 4>I'm rarely had to read or needed or wanted to

0:29:03.320 --> 0:29:04.040
<v Speaker 4>read anything.

0:29:04.440 --> 0:29:06.560
<v Speaker 1>Reading is hard for me. My kids are taking piano

0:29:06.680 --> 0:29:08.680
<v Speaker 1>now and it's super simple, so I can read it.

0:29:08.760 --> 0:29:12.360
<v Speaker 1>But when it gets to two handed many notes, I'm like,

0:29:12.680 --> 0:29:15.320
<v Speaker 1>I learned that way, but not really since I was

0:29:15.760 --> 0:29:18.320
<v Speaker 1>eighth grade. Maybe I kind of started reading chord charts

0:29:18.320 --> 0:29:21.480
<v Speaker 1>after that and it's just right, so much easier for me. Yeah, yeah,

0:29:22.040 --> 0:29:25.200
<v Speaker 1>but did you were you in bands? And did you

0:29:25.240 --> 0:29:26.520
<v Speaker 1>go to college?

0:29:26.680 --> 0:29:29.000
<v Speaker 4>Yeah? I went to Northwestern Music School.

0:29:29.440 --> 0:29:32.520
<v Speaker 1>Is that a Is that a broad music school or

0:29:32.560 --> 0:29:33.600
<v Speaker 1>is it mostly classical?

0:29:33.880 --> 0:29:37.600
<v Speaker 4>It was mostly classical. They had a small jazz program,

0:29:37.880 --> 0:29:40.000
<v Speaker 4>but it wasn't very far along. You know. It's like,

0:29:40.720 --> 0:29:42.640
<v Speaker 4>don't play with vibrato because you won't get the gig,

0:29:43.120 --> 0:29:46.080
<v Speaker 4>you know kind of Yeah, that's funny, like they're very

0:29:46.160 --> 0:29:51.800
<v Speaker 4>like dogmatic. Anyway, it was, you know, we could talk

0:29:51.800 --> 0:29:53.320
<v Speaker 4>about that for I'm sure jazz.

0:29:53.400 --> 0:29:56.040
<v Speaker 1>Oh I went to jazz school. Yeah, but it's different

0:29:56.040 --> 0:29:59.800
<v Speaker 1>because I'm not a string instrument player, right, But that's funny.

0:30:01.040 --> 0:30:03.600
<v Speaker 4>But yeah, I was itching to get out of the

0:30:03.800 --> 0:30:07.640
<v Speaker 4>western music thing. And I was in school and I

0:30:08.640 --> 0:30:11.480
<v Speaker 4>did study jazz through ethnic musicology because there was a

0:30:12.320 --> 0:30:16.840
<v Speaker 4>fairly well known professor there that taught who studied jazz

0:30:16.840 --> 0:30:19.560
<v Speaker 4>as an ethne musicology thing. So we'd have to transcribe

0:30:19.720 --> 0:30:23.200
<v Speaker 4>col Trane's Blue Train and yeah, and various solos that

0:30:23.280 --> 0:30:24.440
<v Speaker 4>have to learn them.

0:30:24.640 --> 0:30:26.240
<v Speaker 1>And was that the first time you were into jazz

0:30:26.280 --> 0:30:28.479
<v Speaker 1>in high school or are you hearing it growing up?

0:30:29.120 --> 0:30:30.960
<v Speaker 4>I didn't hear it growing up. It took me a

0:30:31.000 --> 0:30:35.320
<v Speaker 4>while to find the stuff I liked. Yeah, because in

0:30:35.840 --> 0:30:39.720
<v Speaker 4>college they did just jump right into hard bop. Yeah,

0:30:39.840 --> 0:30:42.920
<v Speaker 4>it's like, here's giant Steps. It's like, wait, where's the

0:30:43.040 --> 0:30:44.720
<v Speaker 4>history that God us to giant Steps?

0:30:44.840 --> 0:30:46.480
<v Speaker 1>Yeah yeah, it's like there's a lot of things that

0:30:46.600 --> 0:30:49.920
<v Speaker 1>led to that. Yeah, yeah, that's that's funny. I remember

0:30:50.000 --> 0:30:53.880
<v Speaker 1>somebody telling me about Giant Steps. I went to Interlock

0:30:53.960 --> 0:30:55.600
<v Speaker 1>and Arts camp in high school.

0:30:55.360 --> 0:30:57.720
<v Speaker 4>For two years, and I went there for a summer

0:30:57.840 --> 0:30:58.040
<v Speaker 4>you did.

0:30:58.400 --> 0:31:01.760
<v Speaker 1>Yeah, we weren't there at the same time. But it

0:31:01.880 --> 0:31:03.080
<v Speaker 1>was fun, right. Did you like it?

0:31:03.280 --> 0:31:04.320
<v Speaker 11>No? You hated it?

0:31:04.480 --> 0:31:06.240
<v Speaker 1>I loved it. It was like the best went to

0:31:06.320 --> 0:31:09.440
<v Speaker 1>the school. Oh, I went to the summer okay, yeah,

0:31:09.880 --> 0:31:10.480
<v Speaker 1>summer camp.

0:31:10.840 --> 0:31:13.600
<v Speaker 4>Yeah, if you're in the orchestras were brutal.

0:31:14.080 --> 0:31:16.920
<v Speaker 1>Well, it seemed brutal. Actually, I get that because I

0:31:16.960 --> 0:31:18.720
<v Speaker 1>had a lot of class school friends. I was one

0:31:18.760 --> 0:31:21.000
<v Speaker 1>of very few jazz majors because they had a small

0:31:21.440 --> 0:31:23.160
<v Speaker 1>They had a great jazz program, but it was small,

0:31:23.840 --> 0:31:26.120
<v Speaker 1>and I would I loved going to hear the orchestra

0:31:26.200 --> 0:31:29.360
<v Speaker 1>every week, but yeah, it seemed kind of hard. But

0:31:29.440 --> 0:31:31.560
<v Speaker 1>I remember this girl who was another one of the

0:31:31.600 --> 0:31:34.040
<v Speaker 1>few jazz majors. She played Berry Sacks and she was

0:31:34.080 --> 0:31:36.600
<v Speaker 1>a character and she was like, I was like, what

0:31:36.680 --> 0:31:38.640
<v Speaker 1>are you listening to? Oh, I'm learning Giant Stuves And

0:31:38.680 --> 0:31:41.920
<v Speaker 1>I was like, oh, what's that cool? She's like, you

0:31:41.960 --> 0:31:44.360
<v Speaker 1>haven't heard of giant stuffs. I was like, you know,

0:31:44.520 --> 0:31:47.160
<v Speaker 1>I'm fifteen. Yeah, And it was kind of a funny

0:31:47.200 --> 0:31:49.280
<v Speaker 1>introduction to it as well, you know.

0:31:50.520 --> 0:31:53.400
<v Speaker 4>Yeah, yeah, it kind of all that. That's sort of

0:31:54.560 --> 0:31:57.880
<v Speaker 4>what we call jock jazz kind of world of like,

0:31:58.800 --> 0:32:01.400
<v Speaker 4>you know, it's technique. Yeah.

0:32:01.600 --> 0:32:03.640
<v Speaker 1>I like when I hear people play Giant Steps as

0:32:03.680 --> 0:32:07.720
<v Speaker 1>a ballad and it's actually really beautiful. Yeah, it's amazing.

0:32:09.680 --> 0:32:12.240
<v Speaker 4>I'm getting ready to make a jazz album so I'm

0:32:12.440 --> 0:32:17.200
<v Speaker 4>this is great timing, Oh wow, because I've always i mean,

0:32:17.240 --> 0:32:19.080
<v Speaker 4>my first couple of records were kind of in the

0:32:19.120 --> 0:32:22.760
<v Speaker 4>jazz idiom to some kind of an old timey version

0:32:22.800 --> 0:32:25.360
<v Speaker 4>of it. Yeah, it's like the long I've had a

0:32:25.440 --> 0:32:28.800
<v Speaker 4>long relationship with as a listener to jazz. It's just

0:32:28.920 --> 0:32:34.320
<v Speaker 4>my go to. Yeah, And the particular branch of the

0:32:34.400 --> 0:32:37.120
<v Speaker 4>jazz tree that I'm I've always loved is like the

0:32:37.640 --> 0:32:39.560
<v Speaker 4>you know you got the It starts with New Orleans

0:32:39.640 --> 0:32:43.520
<v Speaker 4>Sidney Pichet, Louie Armstrong, then the great tenor players like

0:32:43.600 --> 0:32:44.360
<v Speaker 4>Coleman Hawkins.

0:32:44.760 --> 0:32:45.920
<v Speaker 1>I love Coleman Hawkins.

0:32:46.120 --> 0:32:50.360
<v Speaker 4>Lester Young is my favorite. Yeah, and they go I'm

0:32:50.440 --> 0:32:52.600
<v Speaker 4>just kind of ignoring, kind of ignoring the Charlie Parker

0:32:53.280 --> 0:32:55.840
<v Speaker 4>part of the tree at this point and going straight

0:32:55.880 --> 0:32:58.400
<v Speaker 4>to like the mid fifties when those those guys were

0:32:58.480 --> 0:33:01.000
<v Speaker 4>kind of at the end of their career and making

0:33:01.080 --> 0:33:04.760
<v Speaker 4>really beautiful albums. Yeah, but it's mostly those tenor players

0:33:04.800 --> 0:33:08.680
<v Speaker 4>that I respond to more than it's like a voice.

0:33:09.040 --> 0:33:12.240
<v Speaker 1>They sound like a singer, yeah, because it's the read.

0:33:12.440 --> 0:33:15.960
<v Speaker 4>It's the read, it's the breath, and that the phrasing

0:33:16.040 --> 0:33:18.600
<v Speaker 4>that comes from it being a breath of air. I

0:33:18.680 --> 0:33:20.400
<v Speaker 4>think that lends to it, and then that kind of

0:33:20.520 --> 0:33:23.680
<v Speaker 4>rich tone, And that's when I'm trying to just just

0:33:23.760 --> 0:33:27.080
<v Speaker 4>in the last couple of months, like going back into

0:33:27.120 --> 0:33:30.040
<v Speaker 4>student mode a little bit, yeah, and trying to like

0:33:30.200 --> 0:33:32.200
<v Speaker 4>get to another level as an improviser.

0:33:32.520 --> 0:33:34.400
<v Speaker 1>Was that something you did a lot early on in

0:33:34.520 --> 0:33:37.240
<v Speaker 1>college when you were getting into that kind of zone.

0:33:37.560 --> 0:33:40.640
<v Speaker 4>I mean, generally, I never have been a great student

0:33:40.760 --> 0:33:43.080
<v Speaker 4>to music. I've always just got it in my bones

0:33:43.200 --> 0:33:45.120
<v Speaker 4>enough to, yeah, to get by.

0:33:45.360 --> 0:33:47.480
<v Speaker 1>Because you seem like a great improviser, especially when you

0:33:47.520 --> 0:33:50.600
<v Speaker 1>see you do the loopy stuff and it seems like

0:33:50.720 --> 0:33:51.840
<v Speaker 1>it's all improvised.

0:33:52.080 --> 0:33:54.680
<v Speaker 4>A lot of it is. But when it comes to

0:33:56.680 --> 0:34:00.000
<v Speaker 4>those like I can't tell you that that what's happened.

0:34:00.240 --> 0:34:03.880
<v Speaker 4>This passing chord is like a thirteen slus nine, like

0:34:04.280 --> 0:34:07.520
<v Speaker 4>neopolitan six whatever. Like I don't know what's happening in

0:34:07.920 --> 0:34:10.160
<v Speaker 4>music theory wise, and I don't really still don't feel

0:34:10.160 --> 0:34:12.400
<v Speaker 4>like I need to. I just get it in my bones.

0:34:12.920 --> 0:34:13.439
<v Speaker 4>I just play.

0:34:14.680 --> 0:34:19.160
<v Speaker 1>There is a lot of math in jazz chord progressions,

0:34:19.960 --> 0:34:21.920
<v Speaker 1>and it's nice to know a little bit of the

0:34:22.040 --> 0:34:24.440
<v Speaker 1>basics to feel like you, yeah, to feel like you

0:34:24.600 --> 0:34:27.879
<v Speaker 1>understand what you're doing. But yeah, there's also so many

0:34:27.960 --> 0:34:33.040
<v Speaker 1>great musicians who don't have that, and they're just as amazing.

0:34:33.160 --> 0:34:36.319
<v Speaker 1>So music is such a funny thing in that way.

0:34:36.600 --> 0:34:40.799
<v Speaker 4>It is, I think, because I guess I've been thinking

0:34:40.800 --> 0:34:43.879
<v Speaker 4>about this lately, like I don't want to learn enough

0:34:44.040 --> 0:34:45.839
<v Speaker 4>so much math that I would be able to play

0:34:45.920 --> 0:34:48.120
<v Speaker 4>something beyond what I hear in my head.

0:34:48.520 --> 0:34:50.480
<v Speaker 1>Yeah you know what I mean, or you know. I

0:34:50.560 --> 0:34:53.359
<v Speaker 1>feel like also some people learn it all and then

0:34:53.640 --> 0:34:54.920
<v Speaker 1>you get to the place where you've learned it and

0:34:55.000 --> 0:34:57.960
<v Speaker 1>you can kind of forget it. I think I'm similar

0:34:58.040 --> 0:35:02.040
<v Speaker 1>to you. I don't really little of a lax student

0:35:02.520 --> 0:35:07.120
<v Speaker 1>of the technical stuff, you know, but right I love

0:35:07.160 --> 0:35:10.120
<v Speaker 1>to go with the flow. I'm with you there, hence this.

0:35:12.160 --> 0:35:15.000
<v Speaker 1>And I grew up playing jazz. That was my main

0:35:15.120 --> 0:35:19.000
<v Speaker 1>thing until after I left North Texas. I went two

0:35:19.040 --> 0:35:21.080
<v Speaker 1>years to jazz school in college, and then I came

0:35:21.120 --> 0:35:23.520
<v Speaker 1>to New York and I went to the jazz clubs

0:35:23.520 --> 0:35:25.600
<v Speaker 1>and I loved it so much. But then I got

0:35:25.640 --> 0:35:30.279
<v Speaker 1>into like songwriting and other stuff, and I never had

0:35:30.680 --> 0:35:33.440
<v Speaker 1>a lot of chops and could never play fast in

0:35:33.560 --> 0:35:38.680
<v Speaker 1>that genre, you know. And because I'm the laziest practicer

0:35:38.920 --> 0:35:39.560
<v Speaker 1>on the planet.

0:35:41.440 --> 0:35:46.040
<v Speaker 4>I am too, honestly, Yeah, I'm just a free range practicer.

0:35:46.120 --> 0:35:47.640
<v Speaker 4>I don't stay on task.

0:35:48.360 --> 0:35:51.279
<v Speaker 1>Yeah, I'm too distracted. I'm like that. But I think

0:35:51.320 --> 0:35:54.080
<v Speaker 1>you know, it takes all kinds. I appreciate people who

0:35:54.120 --> 0:35:57.439
<v Speaker 1>can do that. Lock themselves in a room, I feel

0:35:57.440 --> 0:35:59.440
<v Speaker 1>like it interlocked. I remember a lot of people like that.

0:35:59.640 --> 0:36:04.640
<v Speaker 1>They were locked in their practice huts in the woods practicing. Yeah,

0:36:04.840 --> 0:36:07.160
<v Speaker 1>which I still that's the most sentimental sound to me,

0:36:07.320 --> 0:36:09.120
<v Speaker 1>Just a bunch of people practicing in the woods.

0:36:10.120 --> 0:36:13.040
<v Speaker 4>It's either it's most sentimental in the sound of madness.

0:36:14.400 --> 0:36:18.879
<v Speaker 1>Madness absolutely. So you're doing a jazz record. That's very cool.

0:36:19.640 --> 0:36:20.279
<v Speaker 13>Yeah, just.

0:36:21.760 --> 0:36:25.839
<v Speaker 4>The first one is going to be my favorite standards, Yeah,

0:36:27.120 --> 0:36:28.920
<v Speaker 4>and the second one is going to be more of a.

0:36:28.960 --> 0:36:31.439
<v Speaker 1>Free Okay, that makes sense.

0:36:31.600 --> 0:36:34.760
<v Speaker 4>Yeah, yeah, But I wanted to get through my favorite

0:36:34.800 --> 0:36:40.239
<v Speaker 4>old classic tunes, really good ones such as Body and Soul,

0:36:40.360 --> 0:36:43.640
<v Speaker 4>which is like I feel like that's again the Colemanhawkins

0:36:43.960 --> 0:36:48.359
<v Speaker 4>solo on that one is famous. Yeah, and it's it's

0:36:48.440 --> 0:36:51.000
<v Speaker 4>such a I heard. I've just got into it in

0:36:51.040 --> 0:36:53.880
<v Speaker 4>the last few years, and I was like, that is

0:36:53.920 --> 0:36:56.120
<v Speaker 4>about as good as it gets that's like the best

0:36:56.280 --> 0:36:59.200
<v Speaker 4>music I've ever heard is the way he plays on

0:36:59.320 --> 0:37:01.359
<v Speaker 4>that too. And that's what I mean about going into

0:37:01.400 --> 0:37:03.120
<v Speaker 4>student mode is like I want to I want to

0:37:03.120 --> 0:37:06.920
<v Speaker 4>figure out what he's doing. Yeah, and I'm not It

0:37:07.040 --> 0:37:10.440
<v Speaker 4>could take a couple more years to really maybe lifetime

0:37:10.480 --> 0:37:11.080
<v Speaker 4>to figure it out.

0:37:11.160 --> 0:37:14.880
<v Speaker 1>But well, I mean he was so good. But also

0:37:15.000 --> 0:37:17.000
<v Speaker 1>he's also just playing from his heart, which is I

0:37:17.080 --> 0:37:18.600
<v Speaker 1>think what it is.

0:37:19.080 --> 0:37:22.399
<v Speaker 4>Yeah as well, Yeah, totally that's the goal, right, Yeah,

0:37:29.800 --> 0:37:31.560
<v Speaker 4>I'm trying to connect also, like all these years of

0:37:31.640 --> 0:37:33.600
<v Speaker 4>just sitting on the cash writing songs, I have kind

0:37:33.640 --> 0:37:36.960
<v Speaker 4>of what I can whistle in my head is way

0:37:37.000 --> 0:37:39.239
<v Speaker 4>beyond what I can play on my violin. These days

0:37:39.719 --> 0:37:42.600
<v Speaker 4>used to be closer together. So that's kind of where

0:37:42.600 --> 0:37:45.840
<v Speaker 4>I'm at trying to connect. That's funny, what's in my

0:37:45.920 --> 0:37:46.680
<v Speaker 4>head to my instrument?

0:37:46.719 --> 0:37:46.959
<v Speaker 13>Again?

0:37:47.400 --> 0:37:49.680
<v Speaker 1>Where did the whistling come from? By the way, when

0:37:49.719 --> 0:37:52.960
<v Speaker 1>did you learn to whistle? Could you just always whistle? Well?

0:37:55.120 --> 0:38:00.160
<v Speaker 4>I don't know. I just do it incessantly, like non stop.

0:38:00.200 --> 0:38:01.080
<v Speaker 4>They would drive you nuts.

0:38:01.520 --> 0:38:05.400
<v Speaker 1>I love it. I can't whistle no, no, I know

0:38:05.480 --> 0:38:07.160
<v Speaker 1>they say you just put your lips together a little bit.

0:38:07.239 --> 0:38:10.600
<v Speaker 1>I've tried my whole life. I can whistle sucking in

0:38:10.719 --> 0:38:11.320
<v Speaker 1>a little.

0:38:11.080 --> 0:38:14.400
<v Speaker 4>Bit, but not out through the teeth at all.

0:38:15.200 --> 0:38:17.680
<v Speaker 1>I have teeth, You have teeth. Oh no, I can't

0:38:17.680 --> 0:38:20.360
<v Speaker 1>whistle through my teeth. Is that whistling?

0:38:20.480 --> 0:38:20.520
<v Speaker 4>Not?

0:38:20.600 --> 0:38:28.279
<v Speaker 1>Really? Just anyway, we can go over this later, you can. Yeah,

0:38:28.320 --> 0:38:30.440
<v Speaker 1>I feel like it's a It's just like I kind

0:38:30.440 --> 0:38:32.200
<v Speaker 1>of feel like it must be like singing, where you

0:38:32.480 --> 0:38:34.400
<v Speaker 1>just kind of are good at it. It's kind of

0:38:34.440 --> 0:38:36.440
<v Speaker 1>in you, or it's not. Maybe and you'd get better

0:38:36.520 --> 0:38:39.200
<v Speaker 1>at it, but yeah, maybe it's just something you were

0:38:40.200 --> 0:38:40.960
<v Speaker 1>born whistling.

0:38:41.960 --> 0:38:44.799
<v Speaker 4>I definitely was from an early age, and and it's

0:38:45.360 --> 0:38:48.160
<v Speaker 4>I didn't put it on albums at first because I thought,

0:38:49.000 --> 0:38:52.200
<v Speaker 4>you know, whistling so easy. Why would you do something

0:38:52.239 --> 0:38:55.120
<v Speaker 4>that's so easy? Or I was afraid it would just

0:38:55.880 --> 0:38:59.320
<v Speaker 4>be considered like a novelty thing. But then then it

0:38:59.360 --> 0:39:01.560
<v Speaker 4>seemed kind of weir You're to be whistling all day

0:39:01.600 --> 0:39:02.920
<v Speaker 4>long and then go in the studio or go on

0:39:03.000 --> 0:39:08.160
<v Speaker 4>stage and not whistle. I just it just seemed conspicuous

0:39:08.320 --> 0:39:08.840
<v Speaker 4>not to do it.

0:39:09.360 --> 0:39:12.239
<v Speaker 1>But it's so cool because your whole thing is really

0:39:12.400 --> 0:39:15.480
<v Speaker 1>unique and the whistling is part of what makes it unique,

0:39:15.640 --> 0:39:18.200
<v Speaker 1>and and then you don't whistle on every song, but

0:39:18.320 --> 0:39:20.520
<v Speaker 1>when it comes in, it's like it's.

0:39:20.400 --> 0:39:23.719
<v Speaker 4>So special, you know, And I think it's because it's

0:39:23.840 --> 0:39:26.719
<v Speaker 4>just it's part of you. I don't always intend for

0:39:27.040 --> 0:39:28.919
<v Speaker 4>I don't say, oh, here's where I'm going to whistle. Yeah,

0:39:29.120 --> 0:39:31.920
<v Speaker 4>but it's sometimes it's like my hands are busy playing,

0:39:32.520 --> 0:39:35.879
<v Speaker 4>and so to carry the melody, here's where the melody goes,

0:39:35.920 --> 0:39:38.960
<v Speaker 4>I whistle. And it's so it's so much just like

0:39:39.040 --> 0:39:40.520
<v Speaker 4>what i'd be doing when I was doing the dishes,

0:39:41.160 --> 0:39:43.560
<v Speaker 4>that it becomes more honest than anything else.

0:39:43.719 --> 0:39:46.480
<v Speaker 1>Yeah, it's just another way of getting at the melody. Yeah,

0:39:46.560 --> 0:39:50.040
<v Speaker 1>it's just you use what you got. Yeah, that's cool.

0:39:51.400 --> 0:39:52.000
<v Speaker 1>You want to try?

0:39:53.280 --> 0:39:53.959
<v Speaker 4>What is next?

0:39:54.600 --> 0:39:58.240
<v Speaker 1>I have? Is it Lusitaniaia?

0:39:59.600 --> 0:40:01.200
<v Speaker 4>Do you want do this one? Do it?

0:40:01.440 --> 0:40:01.480
<v Speaker 11>Like?

0:40:01.560 --> 0:40:02.399
<v Speaker 4>Do you know the there?

0:40:02.520 --> 0:40:03.239
<v Speaker 1>Yeah? I can do the.

0:40:04.719 --> 0:40:06.399
<v Speaker 4>I can do that part, yeah, the second verse?

0:40:06.440 --> 0:40:07.680
<v Speaker 1>Who sings that on your record?

0:40:08.400 --> 0:40:09.080
<v Speaker 4>Annie Clark?

0:40:09.480 --> 0:40:11.719
<v Speaker 1>I thought, so that's so funny. I was like, that

0:40:11.880 --> 0:40:14.840
<v Speaker 1>sounds like Annie. But then I didn't have time to

0:40:14.880 --> 0:40:18.840
<v Speaker 1>look it up, and I was like, no, that's not Annie, No,

0:40:18.960 --> 0:40:21.239
<v Speaker 1>that sounds like Annie. That's crazy. Yeah, I heard it.

0:40:21.440 --> 0:40:24.520
<v Speaker 4>We were touring together and when I wrote that song.

0:40:24.680 --> 0:40:33.359
<v Speaker 4>So that's awesome, all right, are you ready?

0:40:34.320 --> 0:40:47.200
<v Speaker 9>Well if you loosen.

0:40:47.200 --> 0:40:55.600
<v Speaker 18>Loubblops, they keep sinking all my ships old, then y'all

0:40:56.160 --> 0:41:00.040
<v Speaker 18>the one you sink my loose it say.

0:41:00.120 --> 0:41:05.000
<v Speaker 8>Here, but somehow.

0:41:06.320 --> 0:41:09.520
<v Speaker 7>Don't register tost pain.

0:41:11.000 --> 0:41:11.600
<v Speaker 14>At all.

0:41:13.080 --> 0:41:19.640
<v Speaker 9>Until it found. A cookie in vain is sull o

0:41:20.520 --> 0:41:23.160
<v Speaker 9>small remember the maid.

0:41:26.640 --> 0:41:26.920
<v Speaker 8>Whoa?

0:41:33.520 --> 0:41:36.120
<v Speaker 9>You lay your minds alone.

0:41:35.800 --> 0:41:35.880
<v Speaker 4>You.

0:41:38.960 --> 0:42:03.760
<v Speaker 9>Show you the reading, so we don't say it swell.

0:42:39.040 --> 0:42:45.480
<v Speaker 19>So we let our backbone slip until we are splits

0:42:45.840 --> 0:42:51.880
<v Speaker 19>from my finger tips and we will become a hazard.

0:42:52.200 --> 0:42:53.439
<v Speaker 9>And moray.

0:42:57.719 --> 0:43:02.239
<v Speaker 1>And we get charge out in the ray.

0:43:06.560 --> 0:43:13.360
<v Speaker 19>This sixty side, go home, go ahead, says Slin.

0:43:13.719 --> 0:43:16.600
<v Speaker 9>Dumb boy, there's no shame.

0:43:19.800 --> 0:43:20.400
<v Speaker 1>There's no.

0:43:22.320 --> 0:43:30.720
<v Speaker 19>Say goodyhead, say something number, there's no shame.

0:43:34.000 --> 0:43:59.520
<v Speaker 13>Oh you're laying mans against you, the holy bot, so.

0:44:07.680 --> 0:44:09.000
<v Speaker 8>We know that it is.

0:44:40.400 --> 0:44:45.040
<v Speaker 1>Yeah, that's a good one. It's I love your lyrics.

0:44:46.520 --> 0:44:51.640
<v Speaker 1>They're really uh. It's fun to dig into music this

0:44:51.760 --> 0:44:53.800
<v Speaker 1>way because you know, when you're listening, I can't. I

0:44:53.840 --> 0:44:57.239
<v Speaker 1>don't really tune in on every lyric all the time,

0:44:57.680 --> 0:45:00.600
<v Speaker 1>So to actually read them, it's beautiful.

0:45:01.160 --> 0:45:01.400
<v Speaker 4>Thank you.

0:45:02.239 --> 0:45:04.600
<v Speaker 1>Okay, So I assume Musitania is a ship.

0:45:06.080 --> 0:45:09.399
<v Speaker 4>Yeah, there's two ships in the song. There's the main

0:45:09.960 --> 0:45:17.279
<v Speaker 4>which was the Spanish American War was sunk in the

0:45:17.360 --> 0:45:20.800
<v Speaker 4>harbor in Cuba, and it's what what there was the

0:45:20.840 --> 0:45:23.640
<v Speaker 4>reason for us to go to war with Spain, and

0:45:23.719 --> 0:45:25.800
<v Speaker 4>the Lusitania was the reason for us to go to

0:45:25.880 --> 0:45:34.000
<v Speaker 4>war in World War one one jeez man. But so

0:45:34.120 --> 0:45:38.960
<v Speaker 4>it's like it's as a metaphor for like a conflict

0:45:39.040 --> 0:45:41.920
<v Speaker 4>in a personal relationship. So it goes from macro like

0:45:42.160 --> 0:45:47.839
<v Speaker 4>history to personal and you're laying minds along your show

0:45:47.920 --> 0:45:51.600
<v Speaker 4>or you know, creating these like uh, it's it's it's

0:45:51.800 --> 0:45:56.560
<v Speaker 4>imagining a couple. That's it's deliberate, deliberately wounding each other,

0:45:57.040 --> 0:46:02.880
<v Speaker 4>deliberately abating battleship. Yeah yeah, yeah, yeah. I don't need

0:46:02.920 --> 0:46:03.960
<v Speaker 4>to explain it too much, do I?

0:46:04.160 --> 0:46:06.360
<v Speaker 1>No, No, you don't explain it. But I just just

0:46:06.440 --> 0:46:08.279
<v Speaker 1>such a great word, lusitanium.

0:46:08.400 --> 0:46:13.600
<v Speaker 4>Yeah. It's also the name of the Roman name for Portugal.

0:46:14.000 --> 0:46:16.640
<v Speaker 1>Oh cool, Okay, I feel like I'm learning a lot.

0:46:16.840 --> 0:46:19.360
<v Speaker 1>You read a lot, I think? Am I right about that?

0:46:19.480 --> 0:46:20.200
<v Speaker 4>I do read a lot?

0:46:20.360 --> 0:46:20.560
<v Speaker 11>Yeah?

0:46:20.920 --> 0:46:23.920
<v Speaker 4>Yeah, especially as I get older, I read pretty much.

0:46:24.440 --> 0:46:27.680
<v Speaker 1>Yeah, keep it up. Most people are reading less these days,

0:46:27.880 --> 0:46:32.000
<v Speaker 1>so I love it. Yeah, most people just read their

0:46:32.040 --> 0:46:34.279
<v Speaker 1>phones more. I liked that one was that?

0:46:34.360 --> 0:46:37.279
<v Speaker 4>Okay, that was brilliant. Okay, it's so nice, dude. I

0:46:37.400 --> 0:46:39.680
<v Speaker 4>love singing with piano and I don't do it that often,

0:46:39.760 --> 0:46:43.080
<v Speaker 4>but it brings out something cool with the way I

0:46:43.200 --> 0:46:44.239
<v Speaker 4>sing that I like.

0:46:44.960 --> 0:46:48.200
<v Speaker 1>I love when you get all high and lonesome. You

0:46:48.320 --> 0:46:51.120
<v Speaker 1>have that quality sometimes in your voice, and it makes me.

0:46:51.280 --> 0:46:56.319
<v Speaker 1>It gives me chills. It's really really great. It makes

0:46:56.360 --> 0:46:58.360
<v Speaker 1>me want to do like an old country tune with you.

0:46:59.560 --> 0:47:02.520
<v Speaker 1>I know. Yeah, that's your next venture. Maybe we'll do

0:47:02.640 --> 0:47:04.080
<v Speaker 1>a country Let's do a country record.

0:47:04.160 --> 0:47:05.240
<v Speaker 4>Let's do a country record.

0:47:05.360 --> 0:47:06.239
<v Speaker 1>That would be really fun.

0:47:06.320 --> 0:47:09.319
<v Speaker 4>Yeah. I love the duet too.

0:47:10.000 --> 0:47:11.840
<v Speaker 1>Sometimes I notice that you have a lot of you

0:47:11.920 --> 0:47:14.160
<v Speaker 1>sing with a lot of different women, right or is

0:47:14.200 --> 0:47:15.360
<v Speaker 1>there one specific?

0:47:15.840 --> 0:47:19.680
<v Speaker 4>Yeah, No, it's mostly I just feel like after in

0:47:19.800 --> 0:47:22.759
<v Speaker 4>an album, like after three or four songs from the

0:47:22.800 --> 0:47:26.040
<v Speaker 4>same point of view, you're ready for someone else. Yeah,

0:47:26.200 --> 0:47:29.880
<v Speaker 4>too fresh, Yeah, because it just feels, no matter how

0:47:29.960 --> 0:47:33.280
<v Speaker 4>good a record might be, you get a little exhausted

0:47:33.360 --> 0:47:37.160
<v Speaker 4>from the same point of view. But and I like

0:47:37.360 --> 0:47:41.040
<v Speaker 4>what duets bring out in me. Plus there's there's when

0:47:41.040 --> 0:47:45.640
<v Speaker 4>I'm writing the song in my head, there's you know,

0:47:45.760 --> 0:47:49.040
<v Speaker 4>how like you're you're there's a conversation in your head

0:47:49.680 --> 0:47:52.480
<v Speaker 4>between self one and self two usually mm hmm. And

0:47:53.400 --> 0:47:55.560
<v Speaker 4>but since it's in your head, there's no need for pronouns,

0:47:55.640 --> 0:47:58.920
<v Speaker 4>it's just you talking to you. Yes, So at a

0:47:58.960 --> 0:48:01.920
<v Speaker 4>certain point, I'm like, wait, who's talking to whom? Who's

0:48:01.960 --> 0:48:04.520
<v Speaker 4>playing what role? And then I have to like consciously

0:48:05.480 --> 0:48:08.279
<v Speaker 4>step away and say, okay, this person, this could be

0:48:09.040 --> 0:48:12.080
<v Speaker 4>a little one act play. Yeah, you know, a conversation

0:48:12.160 --> 0:48:14.200
<v Speaker 4>between two people. And then I like to kind of

0:48:14.239 --> 0:48:16.720
<v Speaker 4>cast Yeah, those two people.

0:48:17.400 --> 0:48:17.759
<v Speaker 10>I like that.

0:48:18.040 --> 0:48:19.880
<v Speaker 4>But it's usually I figure that out after I've written

0:48:19.920 --> 0:48:20.560
<v Speaker 4>that kind of song.

0:48:21.000 --> 0:48:23.640
<v Speaker 1>I never think to write duets in that way.

0:48:24.239 --> 0:48:27.560
<v Speaker 4>Yeah, yeah, I mean, but do some songs come as

0:48:28.000 --> 0:48:29.319
<v Speaker 4>internal conversations? Now?

0:48:30.400 --> 0:48:32.520
<v Speaker 1>I bet they all do. Yeah, I feel like they

0:48:32.520 --> 0:48:35.440
<v Speaker 1>all do. But that's an interesting way to frame it,

0:48:35.640 --> 0:48:38.799
<v Speaker 1>you know, thinking about songwriting, I feel like everybody has

0:48:38.840 --> 0:48:40.680
<v Speaker 1>their own little way of doing.

0:48:40.480 --> 0:48:40.920
<v Speaker 11>It, you know.

0:48:41.239 --> 0:48:46.080
<v Speaker 4>Yeah, Yeah, I don't know what I'm doing until it's

0:48:46.120 --> 0:48:46.879
<v Speaker 4>almost done.

0:48:47.239 --> 0:48:49.800
<v Speaker 1>Yeah, but I think that's the best, most fun way.

0:48:49.719 --> 0:48:50.000
<v Speaker 8>To do it.

0:48:50.360 --> 0:48:53.320
<v Speaker 4>Yes, you know, Yes, And then that last twenty percent

0:48:53.400 --> 0:48:55.640
<v Speaker 4>you have to finish is hard.

0:48:56.040 --> 0:48:57.719
<v Speaker 1>Yeah, it can be stressful because you want it to

0:48:57.800 --> 0:49:01.680
<v Speaker 1>be great and you don't want it to be Yeah, incomplete, and.

0:49:01.760 --> 0:49:03.080
<v Speaker 4>You're using a different part of your brain.

0:49:03.160 --> 0:49:05.760
<v Speaker 1>You're like trying to Yeah, it's true. You're really creative

0:49:05.840 --> 0:49:08.440
<v Speaker 1>and like you're capturing everything in spurts and then you

0:49:08.560 --> 0:49:10.000
<v Speaker 1>have to sort of wrap it up.

0:49:11.760 --> 0:49:14.919
<v Speaker 4>I have to make sense to your audience at least

0:49:15.200 --> 0:49:20.239
<v Speaker 4>make some attempt too. Yeah, yeah, what else would you

0:49:20.280 --> 0:49:20.680
<v Speaker 4>like to try to?

0:49:22.000 --> 0:49:24.839
<v Speaker 1>Well, we could try ellips as if you don't mind

0:49:24.920 --> 0:49:27.800
<v Speaker 1>me playing along. Of course, we did it earlier and

0:49:27.800 --> 0:49:29.719
<v Speaker 1>it was kind of awesome for a second, but I

0:49:29.800 --> 0:49:32.799
<v Speaker 1>think we were talking over it. But I would love

0:49:32.880 --> 0:49:35.360
<v Speaker 1>to try that one because I think it's so cool

0:49:36.080 --> 0:49:39.719
<v Speaker 1>your loop situation. Did that start out of necessity or

0:49:40.040 --> 0:49:40.920
<v Speaker 1>how did that start?

0:49:41.600 --> 0:49:44.879
<v Speaker 4>Kind of? I so I got up to the point

0:49:44.920 --> 0:49:47.880
<v Speaker 4>of having a five piece band in the late nineties

0:49:48.600 --> 0:49:50.440
<v Speaker 4>and a lot of people. It was a lot of people,

0:49:50.840 --> 0:49:55.640
<v Speaker 4>and it was starting to I kind of felt like

0:49:55.680 --> 0:50:00.640
<v Speaker 4>my songs were getting inadvertently hijacked by the by the band,

0:50:00.680 --> 0:50:01.600
<v Speaker 4>as great as they were.

0:50:02.320 --> 0:50:04.480
<v Speaker 1>Well, when you have so many people on stage, everybody

0:50:04.520 --> 0:50:07.560
<v Speaker 1>has to have something to do, right, and it kind

0:50:07.600 --> 0:50:11.279
<v Speaker 1>of it can be hard to capture the same intimacy

0:50:12.560 --> 0:50:14.759
<v Speaker 1>you know otherwise, like why are you paying everybody to

0:50:15.280 --> 0:50:16.400
<v Speaker 1>lay out half the tune?

0:50:16.520 --> 0:50:19.040
<v Speaker 4>You know? So when you got when you've got a

0:50:19.960 --> 0:50:23.600
<v Speaker 4>big ear, you're a dat You become adaptable as a player,

0:50:23.760 --> 0:50:25.719
<v Speaker 4>Like you hear someone go in a certain direction and

0:50:25.800 --> 0:50:28.239
<v Speaker 4>you go with them even though that's not really what

0:50:28.520 --> 0:50:31.080
<v Speaker 4>we're how you heard it. So to get to that,

0:50:31.480 --> 0:50:35.160
<v Speaker 4>your question is like, I kind of disbanded the band

0:50:35.600 --> 0:50:37.520
<v Speaker 4>for a while and moved out to the middle of

0:50:37.600 --> 0:50:42.200
<v Speaker 4>nowhere for two years. And where is that Western Illinois, Okay,

0:50:43.480 --> 0:50:46.880
<v Speaker 4>near Dubuque, Iowa, near the Mississippi River.

0:50:47.400 --> 0:50:50.520
<v Speaker 1>Wow, so cold. It was cold.

0:50:51.400 --> 0:50:53.160
<v Speaker 4>It was cold and lonely, but it was it was

0:50:53.719 --> 0:50:56.120
<v Speaker 4>by yourself. I was by myself.

0:50:56.360 --> 0:50:57.000
<v Speaker 1>That's intense.

0:50:57.160 --> 0:51:00.719
<v Speaker 4>Yeah, it was intense. And I was twenty and I

0:51:00.760 --> 0:51:04.040
<v Speaker 4>remember talking to this guy who ran this local club

0:51:04.080 --> 0:51:05.920
<v Speaker 4>and he's like, this is the point where you should

0:51:05.920 --> 0:51:07.680
<v Speaker 4>be thinking about going to New York or LA in

0:51:07.760 --> 0:51:10.640
<v Speaker 4>your career and I'm like, nope, I'm going to going

0:51:10.680 --> 0:51:11.920
<v Speaker 4>to Dubuque the Highway.

0:51:13.000 --> 0:51:14.840
<v Speaker 1>Very strange choice.

0:51:15.760 --> 0:51:19.160
<v Speaker 4>But it was anyway, I brought one of these looping

0:51:19.200 --> 0:51:21.840
<v Speaker 4>puddles with me. Ah, And it wasn't like I was

0:51:21.880 --> 0:51:24.040
<v Speaker 4>going to replace the band. I wasn't thinking that. I

0:51:24.160 --> 0:51:27.440
<v Speaker 4>was just it allowed me to expand an otherwise linear

0:51:27.520 --> 0:51:32.200
<v Speaker 4>instrument into a one with multiple layers and demo on

0:51:32.320 --> 0:51:35.399
<v Speaker 4>the fly kind of. You know, I could play twenty

0:51:35.480 --> 0:51:38.320
<v Speaker 4>six seconds, which is enough to get in sixteen bars.

0:51:38.360 --> 0:51:41.280
<v Speaker 4>Maybe yeah, you could choose the verse or the chorus

0:51:41.320 --> 0:51:41.839
<v Speaker 4>one or the other.

0:51:42.160 --> 0:51:43.399
<v Speaker 1>That's pretty cool though.

0:51:44.480 --> 0:51:46.040
<v Speaker 4>And then I didn't think, oh that, I didn't think

0:51:46.040 --> 0:51:48.600
<v Speaker 4>this anyone would go for this live. But then I

0:51:48.719 --> 0:51:50.359
<v Speaker 4>was in a situation where I couldn't get a band

0:51:50.560 --> 0:51:54.040
<v Speaker 4>and I had to play solo and it went pretty well.

0:51:54.320 --> 0:51:56.560
<v Speaker 1>People love it. I think it's so fun for people

0:51:56.640 --> 0:51:59.400
<v Speaker 1>to watch you create something on the fly. You know,

0:52:00.120 --> 0:52:05.200
<v Speaker 1>feels like very very inside the process for people. For me,

0:52:05.400 --> 0:52:07.640
<v Speaker 1>even like even watching you do it earlier when when

0:52:07.760 --> 0:52:11.880
<v Speaker 1>we were checking the sound, it's it's kind of incredible.

0:52:12.120 --> 0:52:14.400
<v Speaker 1>And then it gets so big, you know, Yeah, it

0:52:14.400 --> 0:52:17.279
<v Speaker 1>becomes such a huge sound from one person.

0:52:17.320 --> 0:52:21.800
<v Speaker 4>Does It works with the violin to a point. It

0:52:21.840 --> 0:52:25.520
<v Speaker 4>works with this particular one because it fades out the

0:52:26.000 --> 0:52:28.560
<v Speaker 4>old ideas as you layer new ones in I like

0:52:28.640 --> 0:52:32.600
<v Speaker 4>that other ones layer everything at the same volume and frequency,

0:52:32.880 --> 0:52:34.719
<v Speaker 4>so they just build up the same frequencies and it

0:52:34.840 --> 0:52:40.640
<v Speaker 4>gets congested. Yeah, that's really creatively. It allows you to go.

0:52:40.960 --> 0:52:43.600
<v Speaker 4>You could end up somewhere completely different than where you started.

0:52:43.800 --> 0:52:48.040
<v Speaker 1>That is really Technology can be so creative.

0:52:49.640 --> 0:52:53.759
<v Speaker 4>As long as you keep it, keep it something kind

0:52:53.800 --> 0:52:57.000
<v Speaker 4>of fast and dirty like this, okay, because it's like

0:52:57.120 --> 0:52:59.640
<v Speaker 4>it's just like I don't like recording myself at home.

0:52:59.680 --> 0:53:01.240
<v Speaker 4>I don't if you feel that. I don't like pressing

0:53:01.280 --> 0:53:03.520
<v Speaker 4>play and record. But this is kind of like this

0:53:03.680 --> 0:53:06.000
<v Speaker 4>is like my four track demo thing. But it's like,

0:53:06.040 --> 0:53:07.600
<v Speaker 4>as soon as you want to move on to a

0:53:07.640 --> 0:53:09.719
<v Speaker 4>new idea, you have to erase the You can't get

0:53:09.800 --> 0:53:10.720
<v Speaker 4>precious about anything.

0:53:10.760 --> 0:53:12.600
<v Speaker 1>You have to That's what's cool about it. It's like

0:53:12.800 --> 0:53:15.600
<v Speaker 1>analog and spontaneous and improvising. Yeah.

0:53:15.719 --> 0:53:16.120
<v Speaker 11>I like that.

0:53:16.480 --> 0:53:16.680
<v Speaker 13>Yeah.

0:53:17.000 --> 0:53:20.880
<v Speaker 4>So this tune Ellipses is from Echo Locations, which is

0:53:20.960 --> 0:53:23.120
<v Speaker 4>a project I did a few years ago and continue

0:53:23.160 --> 0:53:27.440
<v Speaker 4>to do. And it's, uh, this is just something I

0:53:28.400 --> 0:53:31.120
<v Speaker 4>completely improvised. That's why when you asked to do it,

0:53:31.160 --> 0:53:32.600
<v Speaker 4>I had had to go listen to it again. Yeah,

0:53:32.920 --> 0:53:34.600
<v Speaker 4>it was like I could have done fifty of these.

0:53:34.920 --> 0:53:37.759
<v Speaker 1>It sounded like it was that's why I said, or

0:53:37.880 --> 0:53:40.640
<v Speaker 1>something like it. But I do love this recording of

0:53:40.719 --> 0:53:41.560
<v Speaker 1>it is great.

0:53:42.200 --> 0:53:43.160
<v Speaker 4>Well, let's just cool.

0:53:44.000 --> 0:53:46.120
<v Speaker 1>I'm gonna I wish I had a loop now. I

0:53:46.280 --> 0:53:47.759
<v Speaker 1>want to try that. I wonder if that would be

0:53:47.760 --> 0:53:51.480
<v Speaker 1>weird with the piano. I don't know.

0:53:53.320 --> 0:54:41.560
<v Speaker 10>Yeah, the lists as.

0:54:42.440 --> 0:54:44.200
<v Speaker 16>Least let a.

0:54:45.120 --> 0:59:34.240
<v Speaker 14>Sou out out same.

0:57:39.920 --> 0:57:42.720
<v Speaker 10>Book.

0:59:31.040 --> 0:59:35.720
<v Speaker 1>That was so fun. Yeah, that is so cool how

0:59:35.760 --> 0:59:39.680
<v Speaker 1>it fades slowly and it turns into something else completely. Yeah,

0:59:39.760 --> 0:59:42.760
<v Speaker 1>it's like a metamorphosis of that.

0:59:43.000 --> 0:59:43.760
<v Speaker 4>That is that.

0:59:43.880 --> 0:59:45.000
<v Speaker 1>I never thought about it that way.

0:59:45.520 --> 0:59:48.440
<v Speaker 4>Yeah, it's just fun to do these, uh, these sort

0:59:48.440 --> 0:59:53.720
<v Speaker 4>of polyrhythmic patterns. There's endlessly it's fun to play over.

0:59:54.280 --> 0:59:57.600
<v Speaker 1>What is your I'm not a good gear person, but

0:59:57.920 --> 1:00:00.360
<v Speaker 1>if we record it, I'll remember. What do you use?

1:00:00.400 --> 1:00:01.000
<v Speaker 1>What is that loop?

1:00:01.240 --> 1:00:04.600
<v Speaker 4>It's a line six D L for I just call

1:00:04.640 --> 1:00:05.360
<v Speaker 4>it the green box.

1:00:05.640 --> 1:00:07.160
<v Speaker 1>It's great, Okay, I'm getting one.

1:00:07.600 --> 1:00:08.240
<v Speaker 4>Yeah you should.

1:00:08.280 --> 1:00:09.400
<v Speaker 1>I don't know what I'm gonna use it with, but

1:00:09.520 --> 1:00:10.040
<v Speaker 1>I'll get one.

1:00:10.240 --> 1:00:11.280
<v Speaker 4>Yeah for it?

1:00:12.680 --> 1:00:14.440
<v Speaker 1>This was so fun? Can we do? Can we just

1:00:14.520 --> 1:00:16.440
<v Speaker 1>go on tour and or do something sometime?

1:00:17.720 --> 1:00:17.919
<v Speaker 10>Done?

1:00:18.040 --> 1:00:20.360
<v Speaker 1>That would be fun, let's do it. Do you ever

1:00:20.440 --> 1:00:24.200
<v Speaker 1>tour solo? Are you do? You always have different sort

1:00:24.240 --> 1:00:27.160
<v Speaker 1>of incarnations of what you're doing based on the project

1:00:27.200 --> 1:00:27.600
<v Speaker 1>you're doing.

1:00:27.920 --> 1:00:32.360
<v Speaker 4>Yeah, I'm somewhere between a trio and a quartet now,

1:00:32.520 --> 1:00:35.360
<v Speaker 4>but I've there was a time when I and those

1:00:35.960 --> 1:00:39.480
<v Speaker 4>those lonely isolated days out in the country where I

1:00:39.520 --> 1:00:42.120
<v Speaker 4>would just go straight from this bar and I was

1:00:42.160 --> 1:00:46.000
<v Speaker 4>living in load up my van and go on tour

1:00:46.080 --> 1:00:50.200
<v Speaker 4>by myself and wow, and I still and then other

1:00:50.240 --> 1:00:53.440
<v Speaker 4>times I would be on tour with the band and

1:00:53.520 --> 1:00:55.200
<v Speaker 4>then they would have to get back to their families

1:00:55.240 --> 1:00:56.560
<v Speaker 4>and I would just one night it would be a

1:00:56.560 --> 1:00:58.120
<v Speaker 4>full band, next night would be solow.

1:00:57.880 --> 1:01:01.440
<v Speaker 1>Oh wow, no matter what was happening out of necessity.

1:01:02.200 --> 1:01:04.160
<v Speaker 4>But I mean I could travel light in those days

1:01:04.200 --> 1:01:06.000
<v Speaker 4>when I was trying to build an audience.

1:01:06.440 --> 1:01:09.560
<v Speaker 1>Do you like did you looking back? I mean, obviously

1:01:10.040 --> 1:01:13.320
<v Speaker 1>you do what you do, but do you like traveling

1:01:13.480 --> 1:01:16.600
<v Speaker 1>alone like that? There must be some freedom to it.

1:01:16.680 --> 1:01:18.640
<v Speaker 1>And also do you get bored?

1:01:18.800 --> 1:01:20.320
<v Speaker 4>Then it was an adventure for sure?

1:01:20.560 --> 1:01:22.880
<v Speaker 1>Yeah, you don't really get bored musically if you have

1:01:23.000 --> 1:01:24.560
<v Speaker 1>the loop pedal like that, I feel like.

1:01:24.760 --> 1:01:29.240
<v Speaker 4>No, I would just be like so you know, legally drunk,

1:01:30.080 --> 1:01:33.600
<v Speaker 4>exhausted from like driving eight hours between shows and doing

1:01:33.600 --> 1:01:38.040
<v Speaker 4>all the work yourself, no tour manager, nothing. But it

1:01:38.160 --> 1:01:42.120
<v Speaker 4>was kind of like I was finally getting an audience

1:01:42.200 --> 1:01:44.080
<v Speaker 4>and I was just like, let's go.

1:01:44.320 --> 1:01:44.480
<v Speaker 14>You know.

1:01:44.560 --> 1:01:47.560
<v Speaker 4>I was just like, you feel like Robin Banks or something.

1:01:47.640 --> 1:01:50.080
<v Speaker 4>It was like, I feel like an outlaw, basically.

1:01:51.280 --> 1:01:52.120
<v Speaker 1>Going against the world.

1:01:52.560 --> 1:01:53.800
<v Speaker 4>Yeah, across the state lines.

1:01:54.080 --> 1:01:54.800
<v Speaker 1>That's pretty cool.

1:01:55.000 --> 1:01:57.320
<v Speaker 4>Merch money in one pocket, show you know, show money

1:01:57.360 --> 1:01:57.640
<v Speaker 4>in the other.

1:01:57.760 --> 1:01:59.240
<v Speaker 1>See I've never done that on my own.

1:02:00.040 --> 1:02:00.240
<v Speaker 2>Yeah.

1:02:01.840 --> 1:02:04.040
<v Speaker 4>But then always before I was about to have a

1:02:04.200 --> 1:02:09.080
<v Speaker 4>total either mental or physical breakdown, I would just in

1:02:09.160 --> 1:02:11.000
<v Speaker 4>time get the support I needed to keep.

1:02:11.280 --> 1:02:14.880
<v Speaker 1>Yeah you know that's great. Yeah, it's not sustainable forever.

1:02:15.480 --> 1:02:17.920
<v Speaker 4>But I still like the freedom of playing solo, like

1:02:20.160 --> 1:02:21.600
<v Speaker 4>and but it is a bit lonely.

1:02:21.800 --> 1:02:24.400
<v Speaker 1>Yeah, yeah, it can be lonely. I would imagine. Yeah,

1:02:24.600 --> 1:02:26.880
<v Speaker 1>well anything, if you do too much of it, you

1:02:27.000 --> 1:02:28.960
<v Speaker 1>get to where you want to do something else.

1:02:29.160 --> 1:02:29.360
<v Speaker 4>Yeah.

1:02:29.480 --> 1:02:33.240
<v Speaker 1>Musically I feel like, yeah, you know, but that's cool,

1:02:33.320 --> 1:02:38.120
<v Speaker 1>all right, let's do it's just a duo.

1:02:39.040 --> 1:02:39.240
<v Speaker 4>Yeah.

1:02:40.080 --> 1:02:42.640
<v Speaker 1>I've never done a solo, I mean since those early

1:02:42.760 --> 1:02:45.160
<v Speaker 1>days of restaurants, I haven't really done a lot of

1:02:45.200 --> 1:02:48.800
<v Speaker 1>solo shows because I don't. I could do like a

1:02:48.840 --> 1:02:52.480
<v Speaker 1>twenty minute set, but I I feel limited by my

1:02:52.640 --> 1:02:57.560
<v Speaker 1>lack of technique to do fast stuff. I guess like

1:02:57.640 --> 1:03:00.880
<v Speaker 1>I'm afraid it'll be all too similar tempos. And I

1:03:01.000 --> 1:03:03.400
<v Speaker 1>really feed off of other people. I have more fun.

1:03:03.880 --> 1:03:08.240
<v Speaker 1>I have a lot more fun playing that way. So well,

1:03:08.320 --> 1:03:10.360
<v Speaker 1>Thank you so much. It was so great to meet you.

1:03:11.040 --> 1:03:12.680
<v Speaker 4>My pleasure. I'm so glad you asked me.

1:03:13.040 --> 1:03:13.440
<v Speaker 10>I am do.

1:03:16.720 --> 1:03:19.800
<v Speaker 1>Oh that was so fun. Wow. He's really just so good,

1:03:20.320 --> 1:03:25.000
<v Speaker 1>so good, and so sweet and so like calming. I'm

1:03:25.120 --> 1:03:29.680
<v Speaker 1>calm doing, I'm soothed. His songs are beautiful. I love

1:03:29.760 --> 1:03:34.120
<v Speaker 1>that his songs are stories. They're really interesting. The lyrics

1:03:34.160 --> 1:03:38.720
<v Speaker 1>are just yeah, they're a storyteller, interesting lyrics. I wonder

1:03:39.040 --> 1:03:42.800
<v Speaker 1>what his brain is like on the inside. Thanks for

1:03:42.920 --> 1:03:46.960
<v Speaker 1>listening everyone, Thanks for being my friend. Sarah Ohda, I

1:03:47.000 --> 1:03:49.160
<v Speaker 1>thought you were telling them thanks, I was, and then

1:03:49.200 --> 1:03:50.840
<v Speaker 1>I switched it. I didn't know what to think to

1:03:50.880 --> 1:03:54.760
<v Speaker 1>anybody who's that weird. Thanks to all of you for listening.

1:03:54.880 --> 1:03:57.720
<v Speaker 1>We love you, love you, Thanks for listening.

1:03:58.120 --> 1:04:01.040
<v Speaker 2>Don't forget to subscribe to Nora owns is playing along

1:04:01.280 --> 1:04:03.560
<v Speaker 2>wherever you get your podcasts, so you never miss a

1:04:03.680 --> 1:04:04.400
<v Speaker 2>new episode.

1:04:04.840 --> 1:04:08.400
<v Speaker 1>This episode was recorded at Golden Hour Sound in Glendale, California,

1:04:08.720 --> 1:04:13.240
<v Speaker 1>by Eric Razinski, mixed by Jamie Landry, edited by Sarah Oda,

1:04:13.560 --> 1:04:18.640
<v Speaker 1>Additional engineering by Matthew Vasquez. Artwork by Eliza Frye, Photography

1:04:18.720 --> 1:04:22.640
<v Speaker 1>by Shervin Linez. Produced by Me and my Odo