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Speaker 1: Course Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora. Musician John

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Speaker 1: Batiste joins Team Supreme to rehash his journey from smalltown

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Speaker 1: Louisiana to musical director of The Late Show with Stephen Colbert.

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Speaker 1: Originally released March fourteenth, twenty nineteen, Just follow On, You'll

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Speaker 1: get it.

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Speaker 2: Suprema Supremo, Roll Call, Suprema su su Supremo, Roll.

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Speaker 3: Call, Suprema Supremo, Roll Call Supremo, Supremo, rolls all day Yeah,

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Speaker 3: well winter spring and summer.

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Speaker 1: Yeah, two band leaders of Late Night. Yeah, both started

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Speaker 1: out as drummer Supremo Supremo roll God. Who's sma, uh

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Speaker 1: Supremo roll You're both real talented?

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Speaker 4: Yeah Yeah, and the best band leader is Doc Severn

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Speaker 4: Suprema Supremo.

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Speaker 1: Roll I fell in my second line after the show. Yeah, yeah,

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Speaker 1: but have no fear.

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Speaker 5: Yeah Supremo, roll Call, Supremo, Supremo.

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Speaker 1: Roll.

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Speaker 6: Her name is Boss Bill, Yeah, right, as a Halogen,

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Speaker 6: Yeah Bill and a Steed and some Hollywood Africans roll Spremo,

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Speaker 6: roll call, Suprema so Supremo, roll call.

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Speaker 7: Yeah, and it's going down Yeah.

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Speaker 1: Thomson yeah, all right, now.

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Speaker 3: Supremo Supremo, role called Suprema Supremo.

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Speaker 1: Roll it's John Battie. Yeah, and I'm in the house.

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Speaker 7: Yeah.

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Speaker 1: We about to get down. Yeah, that's what we about.

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Speaker 5: Oh call Suprema su Supremo.

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Speaker 2: Roll call Suprema Suck, Suck Supremo, Roll call Supremo Supremo,

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Speaker 2: Roll call Supremo, Sun Supremo, roll call.

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Speaker 1: Ladies and gentlemen, Welcome to another episode of course some

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Speaker 1: Supreme Late Night the Late Night. Right.

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Speaker 8: Wait, he's starting already, He's starting already. Mother is Jamaica.

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Speaker 1: Shut. I knew I was going to have to play

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Speaker 1: thank you so rand Love make I love that. I

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Speaker 1: was going to say, I mean, I was going to

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Speaker 1: introduce our guests, but no, let's introd all right, well

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Speaker 1: let's let's just let's just keep it tradition, so we don't,

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Speaker 1: you know, scare off our viewers. Our guest today actually

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Speaker 1: needs no introduction, ladies and gentlemen. And there's not Late

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Speaker 1: Night Wars happening in this building yet. No. Our guest

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Speaker 1: today is I will say he's band leader supreme. Uh,

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Speaker 1: he is multi instrumentalist. You are a Juilliard graduate, And

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Speaker 1: I'll say that most of America currently now knows you

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Speaker 1: as the band leader for the number one show in

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Speaker 1: late night. Okay, no, no fake news, fake news no, no,

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Speaker 1: no snort nothing, h of course it's uh late Wait,

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Speaker 1: technically what is the show called. It's late Night with

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Speaker 1: Stephen Corbert Late show, the late show. There's like late

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Speaker 1: night late show later tonight. Yes, the show with Stephen Colbert.

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Speaker 1: Ladies and gentlemen, please welcome to Quest of Supreme the

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Speaker 1: one and only John Patize. That's all man, So Bill

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Speaker 1: going on, Bill, I'm having to see I have not

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Speaker 1: seen since uh the salon, the foods a lot of

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Speaker 1: your house. That was like, have you ever had him

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Speaker 1: on Sesame Street? I just asked him.

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Speaker 7: He got very upset because I grilled him about hasn't

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Speaker 7: he been on street?

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Speaker 9: He's like tailor, Man, I know this. I have talked

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Speaker 9: to him about this, and I'm working on it. Everybody

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Speaker 9: simmered down. I haven't been here in a long time.

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Speaker 9: Everybody's for question. I've been here for a ten minutes.

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Speaker 1: Just check it. Wait, can I ask you something? John?

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Speaker 7: This is the one.

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Speaker 1: This is the question I always wanted to know. Are

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Speaker 1: you silently because I know you have history way before

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Speaker 1: I knew of you, Like Lenny Kravis put me on

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Speaker 1: to you long ago, and you you You've actually inspired

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Speaker 1: some ideas I've had about how to put show presentations

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Speaker 1: on and everything. So I've known about you way before Colbert.

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Speaker 1: I mean you got hired by Colbert because of the

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Speaker 1: reputation that you were building. Yes, are you? Do you

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Speaker 1: get slightly annoyed when people come up to you and

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Speaker 1: just like, hey, Stephen, Colbert's guy, like without knowing the history,

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Speaker 1: like you just came out of nowhere to Yes, that

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Speaker 1: happened to you a.

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Speaker 10: Lot, it does, you know, Like I'll be going somewhere

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Speaker 10: and I'll run into somebody and they'll be like, hey,

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Speaker 10: you're the guy from Colbert. What's your name? And then

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Speaker 10: after a while they were like, oh, yeah, that's John Bettiste.

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Speaker 10: But it's still from from the Lake Show.

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Speaker 1: Right, I mean you could be from Colbert technically, yeah,

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Speaker 1: you're from it, but it's almost like, you know, I'm

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Speaker 1: Jimmy Fallon's drummer. Yes, and you.

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Speaker 7: Don't have the same issue too sometimes Yeah.

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Speaker 1: Because that's why.

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Speaker 10: It's it's cool to and as as you do when

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Speaker 10: you have other things that you do that kind of

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Speaker 10: paints a full picture.

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Speaker 1: I actually, all right, now that we're saying this, I

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Speaker 1: believe that's probably the real reason I stick to nineteen jobs,

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Speaker 1: because it's almost like, Hey, what am I my chef,

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Speaker 1: my cook guy today and my you know, music teacher

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Speaker 1: today and my like I always wanted to know. Is

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Speaker 1: that slightly irksome when people don't do the research and know, yeah,

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Speaker 1: your history.

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Speaker 10: Yeah, it's it's something that I think over time, people

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Speaker 10: and people still have been digging back into the catalog

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Speaker 10: of seeing things that we're done. But I think over time,

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Speaker 10: the more you do and the more you just keep

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Speaker 10: doing your thing and not letting any one thing define you,

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Speaker 10: the more that you can continue to kind of bring

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Speaker 10: people into what you do with your art or your creativity.

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Speaker 7: You know.

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Speaker 1: But what about the flip side?

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Speaker 9: Whereas what I was gonna say on the other side

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Speaker 9: was give you the megaphones that neither of you had

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Speaker 9: ever had PCT Right, I'm.

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Speaker 1: Gonna go out.

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Speaker 11: When I saw the last episode of Corbert Report, when

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Speaker 11: you guys did the line, yeah, that was the first

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Speaker 11: time I ever saw you, and I was like, oh shit.

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Speaker 11: And then I just did the research and I was like, Okay, yeah,

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Speaker 11: it's a way to bring new people in.

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Speaker 10: Absolutely it's amazing. I mean, oh good, just being on

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Speaker 10: a show that's kind of like this is fraternity and

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Speaker 10: it's hard to have any sort of malice or disrespect

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Speaker 10: to it, even if people just know you for that

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Speaker 10: right now. But I feel like I've always just been

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Speaker 10: somebody who likes to create and explore different things and

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Speaker 10: evolve and grow, and I'm always pushing myself to try

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Speaker 10: to find something else that's going to challenge me. So

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Speaker 10: the consistency of the show is one thing, but I

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Speaker 10: have to balance it out even just for me, not

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Speaker 10: even for the sake of people knowing that there's more

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Speaker 10: that I have to offer, but just for my own

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Speaker 10: well being as an artist. I got to keep pushing

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Speaker 10: and creating. So it gives me a chance to share

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Speaker 10: it with a lot more people.

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Speaker 1: How easy is it to do? Because I know that

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Speaker 1: there's many sides to John Fatiz as far as like

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Speaker 1: your like, you'll do traditional jazz records stuff with State Human,

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Speaker 1: You'll do different projects. What I primarily knew you for

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Speaker 1: were these sort of kind of musicals speak easy so

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Speaker 1: to sea where I'll say, you know, years before he

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Speaker 1: was on the show. He would word would get around

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Speaker 1: that there's gonna be a secret John Patisse show at

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Speaker 1: some nondescript random warehouse in Harlem or in Brooklyn or

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Speaker 1: in the Bronx somewhere, And it's almost like it's the

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Speaker 1: musical version of Well, only New Yorkers will get this

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Speaker 1: reference of like Sleep No More. Sleep No More is

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Speaker 1: kind of like a play where the fourth wall is

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Speaker 1: sort of exposed and you're part of the play. You

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Speaker 1: as the spectator. So you go to this like big

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Speaker 1: wide open space and then John and State Human basically perform.

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Speaker 1: There's no traditional stage, so there's almost like four setups

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Speaker 1: they you know, they'll they'll pick one side of the

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Speaker 1: corner where their music's set up, and then they'll march

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Speaker 1: to the other side of the room where there's other

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Speaker 1: music instruments set up. Like everyone gets a chance to

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Speaker 1: be the front row seat, and it's and it's immersive,

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Speaker 1: and they have like stuff hanging around you could play

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Speaker 1: instruments and all that other stuff and enjoining. It's like

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Speaker 1: I never seen a show in which the artists that

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Speaker 1: the audience is actually immersed in with the show. Are

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Speaker 1: you able to still do those secret Smurf shows at all?

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Speaker 6: Is it like.

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Speaker 1: It's it's it's hard. I mean, I'm sure, as you know.

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Speaker 10: The to keep the energy level up after doing the show,

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Speaker 10: I had to take the first six months when I

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Speaker 10: started doing Colbert just to figure out how to do

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Speaker 10: it and and figuring out how to balance everything else

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Speaker 10: that I have been doing with now my job on

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Speaker 10: the show. But then after I figured that out, I

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Speaker 10: started to focus more on recording things and be in

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Speaker 10: the studio because I was mostly playing live during that

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Speaker 10: time and exploring how to really present a real immersive

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Speaker 10: experience that brought people together so it work.

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Speaker 7: I saw it live in Philly when you did it. Oh,

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Speaker 7: you're in the lobby of the Kimmel Center. Yeah, that show.

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Speaker 7: It was an amazing show that was fun for free.

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Speaker 6: I was like.

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Speaker 7: This and the lily jumped in the crowd went around.

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Speaker 1: Yeah. I was wondering, like, how do y'all get paid, because.

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Speaker 10: Well, sometimes, like when we go on the road, we'd

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Speaker 10: do them after the show, so it would be we

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Speaker 10: would take the guarantee from the show and use that.

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Speaker 1: So you do a regular show, right, and then that's

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Speaker 1: like your Prince after party. Yeah, I never knew that.

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Speaker 1: I thought that was your bread and butter.

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Speaker 10: Well, at one point it was when we were in

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Speaker 10: New York. Right then we started to get known for that,

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Speaker 10: and then we got an agent, and then we went

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Speaker 10: on the road. And then we went on the road.

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Speaker 10: We didn't want to stop doing that because every venue

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Speaker 10: doesn't accommodate, right that that kind of performance. So it

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Speaker 10: was kind of like, okay, well we can just do

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Speaker 10: two shows right right. It's cool. It's cool to see

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Speaker 10: how people react to the music when you put when

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Speaker 10: you put it in a different context, because like you

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Speaker 10: if we play jazz, for instance, and it's in a

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Speaker 10: jazz club, it's much different than if like somebody sitting

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Speaker 10: next to you on the piano or somebody sitting behind

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Speaker 10: the drums and they can really see the interaction with

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Speaker 10: the rhythm section and stuff like that.

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Speaker 1: Does that does a plan sometimes backfire? Because you do

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Speaker 1: present this whole speak easy thing like it's it's like

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Speaker 1: you know, like sometimes it's almost like you're you're walking

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Speaker 1: into a set of an old like fifties burlesque, right,

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Speaker 1: So whoever like designs the stuff, and you know, sometimes

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Speaker 1: I'll see like people trying to sit on your piano

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Speaker 1: bench with you as your drink. Like, so, how you

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Speaker 1: know some drunk guy suddenly wants to sit in on

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Speaker 1: drums or know, Like, how do you guys control that situation?

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Speaker 10: It's it's it's a casualty of the situation, Like you

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Speaker 10: got to go into it expecting some people to get

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Speaker 10: super free. That's the way we're like, Oh, this cat's

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Speaker 10: about to get super free. And then when that happens,

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Speaker 10: you almost plan the show, Like the set morphs from

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Speaker 10: whatever it was gonna be to accommodate whatever happens. So

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Speaker 10: if that guy comes in grabs drumsticks or something, then okay,

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Speaker 10: well let's go into the drum circle that we had

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Speaker 10: planned for the next three songs down and put that right.

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Speaker 1: Now.

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Speaker 11: There's a question because I haven't I haven't seen one

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Speaker 11: of these, but they sound amazing, and I'm wondering, have

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Speaker 11: you ever done these at the schools?

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Speaker 1: Oh?

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Speaker 10: Yeah, yeah, not in New York actually, but we've done

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Speaker 10: them in schools we went to in Amsterdam, we actually

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Speaker 10: we did we did a show at the concert Gibaut,

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Speaker 10: which is like a concert hall there, and that was

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Speaker 10: just like a a traditional show. And then we went

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Speaker 10: into school and did basically kind of like this kind

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Speaker 10: of curated thing but in their auditorium. But that was

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Speaker 10: one thing we didn't. We also went into one of

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Speaker 10: the their equivalent of like the hood, and I got

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Speaker 10: I got them to put a piano in the middle

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Speaker 10: of the street, which I always loved that visual, just

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Speaker 10: having like instruments on the block, which I mean, I

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Speaker 10: know you you played. And that's kind of how we

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Speaker 10: started this whole kind of concept of immersion, which is

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Speaker 10: when we started playing on the streets and we play

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Speaker 10: in the subways in New York and we'll see how

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Speaker 10: people react when you see see the band come into

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Speaker 10: a cart and just set up for like thirty minutes

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Speaker 10: and play. It's like, Wow, these y'all not asking for money,

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Speaker 10: y'all not buss right because.

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Speaker 7: At the end you get to the next car cident

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Speaker 7: on ass That's how you get to be.

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Speaker 11: Honest, it's always it's always with the wary look when

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Speaker 11: somebody sets up on the trains.

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Speaker 1: It's like, wait, I know exactly, like the first five

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Speaker 1: minutes on the Hardest have you do that? Have you

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Speaker 1: done New York trains yet? Oh? Yeah, yeah, really I

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Speaker 1: always wanted to do that everyone, Yeah, we should do

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Speaker 1: that one day. Yeah yeah, if a train and just

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Speaker 1: I guess nothing shocking in New York City? Who was

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Speaker 1: It was like who are those two guys pen Station

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Speaker 1: or something like that, and like nobody knew, like nobody

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Speaker 1: noticed it that they were there.

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Speaker 7: Did it once?

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Speaker 1: Oh yeah, yeah, I saw just like shredding the violin

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Speaker 1: and like Bleaker Street and people are like, actually, come

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Speaker 1: to think of it. So I tried to once get

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Speaker 1: jay Z to come to one of your events. Has

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Speaker 1: he seen it yet? Not that not the he saw

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Speaker 1: traditional one damn because the thing was, uh, I got

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Speaker 1: him the halfway agreed to it. I had seen the

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Speaker 1: first time I saw you, was I guessed, or the

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Speaker 1: time in which uh jay was doing something at Carnegie Hall.

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Speaker 1: I'm still a bad beating. So I said, okay, this

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Speaker 1: is what I want to do. I said, what I

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Speaker 1: want to do? This actually after reasonable doubt slightly, this

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Speaker 1: is like when American Gangster was out. Yeah, and I

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Speaker 1: told him, I said, this is what we're going to do.

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Speaker 1: You're going to do someone on stage right, and then

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Speaker 1: we're going to march into the the four air the

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Speaker 1: p and then when you're done, you and just Blaze

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Speaker 1: are going to do the Encore and the Nose Bleeds.

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Speaker 1: And he looked at me like, I'm not doing that shit,

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Speaker 1: but he I convinced him at least to do. He

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Speaker 1: did his Encore and the Nose Bleed. And unfortunately, what

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Speaker 1: I didn't realize with with Carnegie Hall was that the

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Speaker 1: way that the balconies are built, if you're like under,

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Speaker 1: if you're sitting on the floor row, you can't see

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Speaker 1: what's happening right there. So and of course they're like, no,

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Speaker 1: you got you can't stand and you know, like it

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Speaker 1: stands at Carnegie Hall. It was rather frustrating for the

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Speaker 1: people on the who weren't in the news right right, Yeah,

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Speaker 1: I bet they have a close up view for once

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Speaker 1: exactly exactly. I was like, no, just give it, give

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Speaker 1: them to there. It's good.

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Speaker 10: So we're amazing.

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Speaker 1: I want to know your story, like where were you

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Speaker 1: born and how was music brought to your life?

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Speaker 10: Oh wow, So I was born in actually Metoie, Louisiana,

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Speaker 10: and I was raised in Kenner, Louisiana, between Kenner and

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Speaker 10: New Orleans.

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Speaker 1: I was like, there are other places besides me. These

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Speaker 1: are like.

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Speaker 10: Literally ten minutes outside of New Orleans. They're like suburbs

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Speaker 10: of New Orleans. But basically even though the airport is

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Speaker 10: in Kenner, it's called New Orleans International, Oh okay, so

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Speaker 10: it's like the New Orleans area. And my dad he's

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Speaker 10: a great bassist. My mother's not a musician, but she

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Speaker 10: has a really good ear. And my dad had six

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Speaker 10: brothers and they all played in the band together. And

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Speaker 10: from the six brothers, they're like thirty cousins. And at

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Speaker 10: the time when I was growing up, I was the

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Speaker 10: youngest of the cousins. Of all that Brude, Yeah, of

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Speaker 10: all of them when I was growing up, I was

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Speaker 10: the youngest, and there were two that were closer to

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Speaker 10: my age, and we started the junior band together. And

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Speaker 10: the three of us were drummers when we started the band.

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Speaker 10: But you can't have three drummers in the band. And

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Speaker 10: I'm the youngest, so obviously I'm gonna be the one

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Speaker 10: that switches instrument and the second youngest. He had to

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Speaker 10: switch the instrument because everybody wanted to play the drums,

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Speaker 10: so I switched to piano. Then it's around the time

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Speaker 10: it was like ten or eleven.

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Speaker 1: Adjustment.

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Speaker 10: It was I was already kind of like we would

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Speaker 10: pick out songs from video games, and all of us

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Speaker 10: would Mario when Sega came out. Sonic Oh, Sonic soundtrack

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Speaker 10: is amazing, maybe.

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Speaker 1: Or maybe not created by Michael Jackson, by the way,

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Speaker 1: I know, maybe or maybe not, we don't know.

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Speaker 10: Soundtrack is incredible, and street Fighter soundtracks from Street Fighter too,

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Speaker 10: all the way street Fighter Alpha, Final Fantasy seven like

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Speaker 10: we would play. We would legit transcribe the soundtrack and

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Speaker 10: play it on piano. So I kind of had a

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Speaker 10: little bit of piano chops. And then I was also

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Speaker 10: kind of, uh, you know, taking classical piano lessons but

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Speaker 10: not really taking them seriously. So I had a little

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Speaker 10: bit of a foundation, but when I switched to a piano,

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Speaker 10: I didn't really get serious about it until I was

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Speaker 10: like thirteen.

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Speaker 7: Did y'all play for other kids? Because it seems like

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Speaker 7: that would have been dope for other kids to like

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Speaker 7: enter the world of as instrumentation and stuff.

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Speaker 10: It was cool when we did a gig every year

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Speaker 10: at the Children's Museum. That was our first regular gig.

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Speaker 10: The band's called the Baptist Kids, and we printed these shirts,

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Speaker 10: uh it said purple and white shirts Baptist Kids, and

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Speaker 10: it had us on the shirt cartoon versions I remember

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Speaker 10: and we'll play. Our only gig for a while was

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Speaker 10: the Children's Museum in New Orleans every year, and we

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Speaker 10: played for kids at the museum game play the video

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Speaker 10: game Songs, and we played Marti Gross songs, Saints Go

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Speaker 10: Watch and then you know how uh, I.

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Speaker 1: Won't even say how important, but how And I know

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Speaker 1: that you're from Louisiana, so you gotta tread like how

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Speaker 1: burdensome is the idea of the tradition of New Orleans music.

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Speaker 1: Like I almost feel like if you come out the womb,

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Speaker 1: it's like you have to know every solo from Satimo.

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Speaker 1: You have to know it's true and is it right? Well,

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Speaker 1: I mean the thing is that you're I mean, I've

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Speaker 1: I've grew up in I mean, I've seen jazz nazis

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Speaker 1: all my life and.

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Speaker 9: That's a technical term, jazz nazis.

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Speaker 1: That's a real But I just really Steve is looking

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Speaker 1: at me right now. I asked the question, will you child?

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Speaker 1: But I mean there's I mean, the reputation of New Orleans.

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Speaker 1: I had to deal with Ellis Marcella's who I was

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Speaker 1: a kid. He told me give up, like you know,

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Speaker 1: he he just straight up told me to give up.

358
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Speaker 1: Like and I think that's what really pushed me to

359
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Speaker 1: not following because I went to school with Christian McBride,

360
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Speaker 1: Joey de Francesco, all these guys. So I was striving

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Speaker 1: to be a young lion. Yeah. Yeah, And I did

362
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Speaker 1: this masterclass with Ellis and he just like it was

363
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Speaker 1: past embarrassment and humiliation, like and you know, I was good,

364
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Speaker 1: you know what I mean, But it was just like,

365
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Speaker 1: you know, he like the tone of it. He like

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Speaker 1: the shirt I was wearing, like you're not a real

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Speaker 1: jazz cat, And like I just I gave up. I

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Speaker 1: didn't give up. I just like, well, you're right, go

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Speaker 1: let me go to what I really love, which which

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Speaker 1: is hip hop.

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Speaker 7: Did he have a circle back? I just I just

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Speaker 7: need to know.

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Speaker 1: Branford and I laugh at her all the time, don't

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Speaker 1: mind dad. So, but I'm asking you, uh, was your

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Speaker 1: being the youngest of it? Where you're was your family

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Speaker 1: the same way where it was just like you don't

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Speaker 1: get any respect from us until you learn like everything

378
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Speaker 1: from Maple leave Rat to all these old scrolls of

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Speaker 1: ye it was it was like.

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Speaker 10: It was it was an interesting mix of different flavors

381
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Speaker 10: of that. So, like, my family was coming from the

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Speaker 10: the Meters and it's like the funk tradition. So my

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Speaker 10: uncle was was one of the first keyboarders in the

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Speaker 10: Meters uh, and then my cousin Russell, he took over

385
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Speaker 10: in the Meters after Ziggaboo whose original drama Yeah so

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Speaker 10: zig that that was like my immediate family, and that's

387
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Speaker 10: kind of like what that's what I got from from

388
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Speaker 10: being around them, was kind of that tradition and just

389
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Speaker 10: almost vicariously because it was never like John play this,

390
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Speaker 10: this is how this beat goes, uh, the how these calls.

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Speaker 10: I would just be on stage as a kid, and

392
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Speaker 10: I'd be watching and kind of absorbing that. And that

393
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Speaker 10: was fun because that kind of influenced a lot of

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Speaker 10: how I look at performing for people in stage presence

395
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Speaker 10: and also just the communal aspect of music because they

396
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Speaker 10: would be playing and sometimes you know, you'd have musicians

397
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Speaker 10: just coming up on stage unannounced, and you know, it

398
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Speaker 10: would turn into this massive tribal groove and that was

399
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Speaker 10: one side of it. And then as I got older

400
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Speaker 10: and started getting into jazz, around thirteen and fourteen, there

401
00:24:36,240 --> 00:24:38,000
Speaker 10: was a camp that we all went to called the

402
00:24:38,280 --> 00:24:43,480
Speaker 10: Lewis Satchmo Armstrong Summer Jazz Camp. And that's when I

403
00:24:43,520 --> 00:24:46,320
Speaker 10: started getting exposed to what you're talking about. And I

404
00:24:46,520 --> 00:24:51,600
Speaker 10: was lucky because there were a few of the I

405
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Speaker 10: call them like the village Elders that were just like

406
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Speaker 10: so open minded. But they also came from the generation

407
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Speaker 10: where it was like, you know, people were hard on them,

408
00:25:02,280 --> 00:25:05,320
Speaker 10: but they were so open minded with us, Like Alvin Battist,

409
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Speaker 10: he would just he would teach us how to play

410
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Speaker 10: stuff that was way beyond our level, but he would

411
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Speaker 10: do it in these little baby increments, Like we'd be

412
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Speaker 10: playing Giant Steps, and he would teach us like two

413
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Speaker 10: notes at a time, and then after we got the melody,

414
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Speaker 10: he would just show us the harmony. And then after

415
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Speaker 10: it would take like a month, but then after a

416
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Speaker 10: month we'd be like twelve thirteen playing Giant Steps, but

417
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Speaker 10: we wouldn't know that we were playing Giant Steps right,

418
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Speaker 10: and that if I didn't have him and a few

419
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Speaker 10: others who were kind of more just like, Okay, I'm

420
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Speaker 10: not gonna come at it from a critical place. I'm

421
00:25:39,359 --> 00:25:41,680
Speaker 10: gonna come at it from a place of okay, everybody

422
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Speaker 10: has a voice. Learned this and then once we got older,

423
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Speaker 10: I played in his band, the Jastronauts, and that was

424
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Speaker 10: a band where it was like, if it's not different

425
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Speaker 10: and weird, then it's not right. He'd always say it's

426
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Speaker 10: you can be correct, but that don't make it right.

427
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Speaker 1: And I actually believe that he would say, because I

428
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Speaker 1: like unorthodox.

429
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Speaker 10: Oh yeah, it's the best. I mean, he had a

430
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Speaker 10: sitar player on one of the gigs when we're playing

431
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Speaker 10: a jazz club, and I was fifteen at the time.

432
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Speaker 10: I was like, wow, you can do that.

433
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Speaker 1: It just opened.

434
00:26:19,359 --> 00:26:23,239
Speaker 10: So because of people like him, I kind of lucked out.

435
00:26:23,280 --> 00:26:27,120
Speaker 10: I didn't get caught in the dogma that can kind

436
00:26:27,160 --> 00:26:27,760
Speaker 10: of grapple you.

437
00:26:28,280 --> 00:26:32,160
Speaker 1: Who were your uh your age peers at the time

438
00:26:32,240 --> 00:26:34,480
Speaker 1: that are notable now like who oh who is in

439
00:26:34,600 --> 00:26:35,080
Speaker 1: your circle?

440
00:26:35,359 --> 00:26:38,280
Speaker 10: So at the camp we were both we started a

441
00:26:38,359 --> 00:26:41,480
Speaker 10: band together and that became the band that's still his

442
00:26:41,600 --> 00:26:44,920
Speaker 10: band now, same members eighty percent of the band trombone

443
00:26:44,960 --> 00:26:48,720
Speaker 10: shorty Okay. So Troy and I were like, he's a

444
00:26:48,840 --> 00:26:51,120
Speaker 10: little older, but we were basically came at the same time.

445
00:26:51,880 --> 00:26:55,720
Speaker 10: Christian Scott he was also at the camp and also

446
00:26:55,800 --> 00:26:59,720
Speaker 10: we went to high school together. They're just It's a

447
00:26:59,800 --> 00:27:04,040
Speaker 10: real interesting I think because we had the same teachers,

448
00:27:04,440 --> 00:27:07,840
Speaker 10: but we all came out in different routes. It's a

449
00:27:07,880 --> 00:27:10,600
Speaker 10: whole nother you know, each person doing their own thing.

450
00:27:13,119 --> 00:27:20,400
Speaker 1: How important is as far as uh New Orleans as

451
00:27:20,440 --> 00:27:22,760
Speaker 1: a city, Well not how important is it, but how

452
00:27:23,680 --> 00:27:28,040
Speaker 1: uh explain to us or our viewers or listeners. Sorry

453
00:27:28,720 --> 00:27:29,719
Speaker 1: you're not on TV right now.

454
00:27:29,800 --> 00:27:30,000
Speaker 7: I know.

455
00:27:30,320 --> 00:27:35,879
Speaker 1: I'm so used to explain to our listeners the frequency

456
00:27:36,080 --> 00:27:42,200
Speaker 1: of of Well it's odd now to have music in nightclubs,

457
00:27:42,600 --> 00:27:46,040
Speaker 1: and when you're in New Orleans, every block still has

458
00:27:47,000 --> 00:27:50,160
Speaker 1: bands in it. Oh yeah, we were moving to North

459
00:27:50,280 --> 00:27:55,720
Speaker 1: We cop two houses in all get July two thousand

460
00:27:55,720 --> 00:27:59,240
Speaker 1: and five, July two thousand and five, and then Katrina

461
00:27:59,320 --> 00:28:01,840
Speaker 1: happened and then that was out the window. Like we

462
00:28:01,960 --> 00:28:04,919
Speaker 1: were going to go down and record game theory wow

463
00:28:05,520 --> 00:28:08,400
Speaker 1: in New Orleans, because the thing is New Orleans has

464
00:28:09,560 --> 00:28:12,320
Speaker 1: they still They're the last city left with like three

465
00:28:12,520 --> 00:28:20,480
Speaker 1: very distinctive jazz traditional jazz. Uh you know the zydog.

466
00:28:20,720 --> 00:28:24,840
Speaker 1: You have to explain zydogo music to me and how

467
00:28:24,960 --> 00:28:28,520
Speaker 1: that separates and then bounce music. Oh you know. So

468
00:28:28,760 --> 00:28:30,560
Speaker 1: they we were like, okay, this is this is a

469
00:28:30,600 --> 00:28:33,960
Speaker 1: city with three very distinctive styles to it, and we're

470
00:28:34,000 --> 00:28:37,080
Speaker 1: gonna move down there and figure our way into this

471
00:28:37,280 --> 00:28:43,560
Speaker 1: mess and then boom like it got ruined. But do

472
00:28:44,120 --> 00:28:47,840
Speaker 1: you guys even mix with each other? Like, first of all,

473
00:28:47,880 --> 00:28:50,920
Speaker 1: we're even allowed to listen to pop music as a kid?

474
00:28:51,600 --> 00:28:54,040
Speaker 1: Oh yeah, it wasn't frowned upon.

475
00:28:54,600 --> 00:29:00,200
Speaker 10: No, no. I was always listening to cash Money, right,

476
00:29:01,000 --> 00:29:05,800
Speaker 10: I mean there was a point where when you're walking

477
00:29:05,840 --> 00:29:09,920
Speaker 10: down the street, out of every car you will hearing

478
00:29:10,120 --> 00:29:13,320
Speaker 10: either cash Money or No Limit, like bumping.

479
00:29:13,480 --> 00:29:15,440
Speaker 7: That's the fourth that's the fourth element of New Orleans

480
00:29:15,480 --> 00:29:16,920
Speaker 7: that people forget about musically.

481
00:29:16,720 --> 00:29:18,000
Speaker 1: Right, well, bounce music?

482
00:29:18,120 --> 00:29:20,120
Speaker 10: Yeah, is that really?

483
00:29:20,200 --> 00:29:20,720
Speaker 7: Is that bounce?

484
00:29:21,880 --> 00:29:27,240
Speaker 10: It's in the same strain, the the the drake.

485
00:29:27,320 --> 00:29:34,880
Speaker 1: In my feelings, bet is New Orleans? Yeah, first of all,

486
00:29:35,240 --> 00:29:39,360
Speaker 1: is cash money and no Limit? Is that sort of

487
00:29:39,440 --> 00:29:41,560
Speaker 1: like the are you the one side or the other?

488
00:29:41,680 --> 00:29:43,760
Speaker 1: Is that like the Beatles and Rolling Stones.

489
00:29:43,400 --> 00:29:46,560
Speaker 10: At the time At the time, not anymore, but at

490
00:29:46,560 --> 00:29:49,240
Speaker 10: the time it was like, oh yeah, you got choose side.

491
00:29:49,280 --> 00:29:51,640
Speaker 7: You choose what side, you know, and cash money was

492
00:29:51,680 --> 00:29:54,480
Speaker 7: a little younger, right, So yeah, I.

493
00:29:54,520 --> 00:29:58,160
Speaker 10: Mean I always because I'm looking at it from a

494
00:29:58,280 --> 00:30:01,840
Speaker 10: musical perspective, I was wanted them to make something together.

495
00:30:02,320 --> 00:30:04,680
Speaker 10: I thought it would be crazy if they came together.

496
00:30:04,720 --> 00:30:06,240
Speaker 1: It never did.

497
00:30:07,080 --> 00:30:09,880
Speaker 10: I thought it it just would be so powerful because

498
00:30:09,920 --> 00:30:12,280
Speaker 10: it was just such an embodiment of music in the

499
00:30:12,360 --> 00:30:15,320
Speaker 10: city up until that point. There's so much in the

500
00:30:15,480 --> 00:30:18,960
Speaker 10: sound that came from all of the different elements, even

501
00:30:19,240 --> 00:30:22,280
Speaker 10: like the the zartacle and the second line tradition. You

502
00:30:22,280 --> 00:30:23,960
Speaker 10: could hear it in the rhythm of what they were doing.

503
00:30:24,360 --> 00:30:29,200
Speaker 1: So can you break down for us the difference between

504
00:30:30,400 --> 00:30:34,000
Speaker 1: the various music styles in New Orleans as far as.

505
00:30:33,960 --> 00:30:38,520
Speaker 10: Oh, yeah, yeah, So this is what we call the

506
00:30:38,600 --> 00:30:42,160
Speaker 10: second line, which comes basically from marching traditions. So you

507
00:30:42,320 --> 00:30:45,680
Speaker 10: have like the marching band tradition, which was a big

508
00:30:45,800 --> 00:30:49,000
Speaker 10: thing in early American culture, and then in New Orleans

509
00:30:49,400 --> 00:30:51,840
Speaker 10: that tradition was changed because you had the influence of

510
00:30:51,880 --> 00:30:56,480
Speaker 10: the African rhythmic culture and Congo Square was doing slavery,

511
00:30:56,600 --> 00:31:01,400
Speaker 10: which on Sunday. All of the different front rhythms and

512
00:31:01,520 --> 00:31:03,840
Speaker 10: traditions that they did in Africa they would carry on

513
00:31:04,520 --> 00:31:06,560
Speaker 10: in New Orleans and that was the only place in

514
00:31:06,680 --> 00:31:09,840
Speaker 10: America where that was continued. So then that rhythmic culture

515
00:31:10,560 --> 00:31:14,160
Speaker 10: seeped its way into the marching tradition and that became

516
00:31:14,240 --> 00:31:18,520
Speaker 10: second Line. So the base rhythm of second Line is

517
00:31:18,560 --> 00:31:28,680
Speaker 10: the it's like a bamboola rhythm. And that rhythm you

518
00:31:28,760 --> 00:31:31,960
Speaker 10: can hear it in zydaical music. You can hear it

519
00:31:32,400 --> 00:31:35,600
Speaker 10: and you hearing Cash Money's music. Even if you think

520
00:31:35,720 --> 00:31:41,760
Speaker 10: of of mm hmmm mm hmmm, hmm mm hmmm mm

521
00:31:41,840 --> 00:31:49,680
Speaker 10: hmmmmm mm hm, you find I mean that rhythm I

522
00:31:49,760 --> 00:31:52,080
Speaker 10: feel like is the thing that ties all of the

523
00:31:52,160 --> 00:31:52,880
Speaker 10: styles together.

524
00:31:53,400 --> 00:31:56,680
Speaker 1: Wait now I'm thinking about it. What we what rockers

525
00:31:56,720 --> 00:32:05,160
Speaker 1: would traditionally called the Bodley rhythm. So that's basically, yes,

526
00:32:05,320 --> 00:32:07,680
Speaker 1: that's where the basis of that rhythm comes from.

527
00:32:09,080 --> 00:32:09,600
Speaker 7: Louisiana.

528
00:32:10,400 --> 00:32:16,520
Speaker 10: No, but Bo Diddley that the the that's the same.

529
00:32:19,600 --> 00:32:22,760
Speaker 10: And and to me, when you start hearing that, that's

530
00:32:22,800 --> 00:32:24,560
Speaker 10: how you can tell, Oh, that's kind of like a

531
00:32:24,760 --> 00:32:27,680
Speaker 10: New Orleans influenced music. But the things that change it

532
00:32:27,760 --> 00:32:31,200
Speaker 10: are the instrumentation and the different different ways that people

533
00:32:31,280 --> 00:32:35,000
Speaker 10: sing or like the instrumentation issarticle with the accordion versus

534
00:32:35,080 --> 00:32:39,080
Speaker 10: like second line is with tuba and marching instrumentation. And

535
00:32:39,200 --> 00:32:41,920
Speaker 10: then you have bounced music, which is made actually you

536
00:32:41,960 --> 00:32:46,000
Speaker 10: could do it on NPC. So it's it's a range

537
00:32:46,000 --> 00:32:50,160
Speaker 10: of different songs that you can get but the same DNA.

538
00:32:50,640 --> 00:32:51,720
Speaker 7: But what's the first line?

539
00:32:52,400 --> 00:32:56,000
Speaker 10: The first line is the church. So second line is

540
00:32:56,240 --> 00:32:59,720
Speaker 10: basically in the funeral some people call jazz funeral. The

541
00:32:59,800 --> 00:33:01,720
Speaker 10: first line of the family that goes into the church,

542
00:33:01,760 --> 00:33:03,960
Speaker 10: and that's a slow, mournful song. And the the second

543
00:33:04,040 --> 00:33:06,320
Speaker 10: line is when you're coming out leave and you leave,

544
00:33:06,440 --> 00:33:07,360
Speaker 10: and it's a celebration.

545
00:33:07,720 --> 00:33:09,280
Speaker 7: Thank you John, like the whole world.

546
00:33:09,240 --> 00:33:12,440
Speaker 1: Didn't ye straight up, I never knew why I was

547
00:33:12,480 --> 00:33:19,000
Speaker 1: second line. I don't know. I didn't know that. I'm

548
00:33:19,040 --> 00:33:24,280
Speaker 1: telling you. I've seen a few, uh second line marches

549
00:33:24,440 --> 00:33:30,320
Speaker 1: for funerals. Yeah, and those are some extravagant productions, like

550
00:33:30,520 --> 00:33:35,400
Speaker 1: I've seen them. Damn. Are like hip it parade, throw

551
00:33:35,520 --> 00:33:39,280
Speaker 1: the casket in the air or whatever. Yeah, like they'll

552
00:33:39,320 --> 00:33:42,200
Speaker 1: take the casket and start our listeners can see what

553
00:33:42,240 --> 00:33:42,600
Speaker 1: I'm doing.

554
00:33:42,680 --> 00:33:45,400
Speaker 9: Yeah, fist pumpings.

555
00:33:45,560 --> 00:33:48,240
Speaker 1: They will fist pump it up. You know, like when

556
00:33:48,280 --> 00:33:49,800
Speaker 1: you get married and you sit in the chair and

557
00:33:51,080 --> 00:33:55,080
Speaker 1: they toss you up in the air like a pizza. Yeah,

558
00:33:57,960 --> 00:33:59,880
Speaker 1: you know what I'm talking about. Damn, Steve, you sleeping you.

559
00:34:00,160 --> 00:34:04,120
Speaker 1: You let me build the first time a minute. I'm

560
00:34:04,160 --> 00:34:08,439
Speaker 1: letting them, let me get some juice space. I appreciate something.

561
00:34:09,960 --> 00:34:12,719
Speaker 7: No, I.

562
00:34:14,239 --> 00:34:17,719
Speaker 1: Never knew how easy is it. I found out that

563
00:34:18,040 --> 00:34:23,880
Speaker 1: anybody can get a permit to have a parade in

564
00:34:24,120 --> 00:34:24,880
Speaker 1: New Orleans.

565
00:34:25,480 --> 00:34:29,080
Speaker 7: Like any launch for her wedding to anybody.

566
00:34:29,400 --> 00:34:32,200
Speaker 1: Yeah, I didn't know it was that easy. Oh yeah, yeah,

567
00:34:32,400 --> 00:34:33,960
Speaker 1: I mean it's city.

568
00:34:33,760 --> 00:34:35,680
Speaker 9: Hall and just you can hire a band for three

569
00:34:35,719 --> 00:34:37,640
Speaker 9: hundred bucks. You ever heard Hannibal Bursus thing when he

570
00:34:37,719 --> 00:34:39,960
Speaker 9: went to New Orleans. He's like he bought a band

571
00:34:40,000 --> 00:34:42,640
Speaker 9: for three They followed him around all night. Really, yeah,

572
00:34:43,040 --> 00:34:46,200
Speaker 9: So can I ask a real I'm saying.

573
00:34:46,440 --> 00:34:48,719
Speaker 7: Real, I'm not leaving New Orleans question then, because I'm

574
00:34:48,719 --> 00:34:49,920
Speaker 7: just gonna ask him since we didn't know what the

575
00:34:50,000 --> 00:34:53,320
Speaker 7: line was, what is my gros really about?

576
00:34:53,760 --> 00:34:53,920
Speaker 1: Oh?

577
00:34:54,000 --> 00:34:56,880
Speaker 10: My goodness. So that that's a little more complex.

578
00:34:57,000 --> 00:34:59,759
Speaker 1: Not not getting drunk, I'm know.

579
00:34:59,800 --> 00:35:03,760
Speaker 7: Whe it's a historical component. Yeah, people in some traditional

580
00:35:03,880 --> 00:35:06,320
Speaker 7: dress and you know and stuff. So I was always wondering.

581
00:35:06,560 --> 00:35:11,279
Speaker 10: See the thing is Marti Grass goes into the Trinidad

582
00:35:11,360 --> 00:35:16,040
Speaker 10: tradition and Brazilian traditions like an Afro Caribbean tradition and

583
00:35:16,120 --> 00:35:18,480
Speaker 10: people think it's just oh, we go to Bourbon Street

584
00:35:18,719 --> 00:35:28,319
Speaker 10: and we just get drunk, and yeah, exactly, I'm sorry,

585
00:35:28,719 --> 00:35:31,800
Speaker 10: but no, no, it's it's it's a very beautiful tradition

586
00:35:31,960 --> 00:35:35,840
Speaker 10: that's about people coming together and family and and keeping

587
00:35:35,920 --> 00:35:40,200
Speaker 10: traditions that have been centuries old alive. And that's just

588
00:35:41,040 --> 00:35:45,400
Speaker 10: the party is something that has it's morphed into and

589
00:35:45,640 --> 00:35:47,399
Speaker 10: you know, it's fine the party, but it's not only

590
00:35:47,560 --> 00:35:48,000
Speaker 10: just a party.

591
00:35:48,000 --> 00:35:49,120
Speaker 7: It's nice to know where it comes from.

592
00:35:49,239 --> 00:35:50,319
Speaker 10: That's yeah.

593
00:35:51,480 --> 00:35:55,600
Speaker 12: So how much Caribbean influences in all the types of

594
00:35:55,680 --> 00:35:56,319
Speaker 12: music that you just.

595
00:35:56,400 --> 00:35:57,040
Speaker 1: Told us about.

596
00:35:57,760 --> 00:36:02,040
Speaker 10: Oh, it's like a like a line. You come from

597
00:36:02,120 --> 00:36:05,960
Speaker 10: West Africa, go through the Caribbean. New Orleans almost like

598
00:36:06,000 --> 00:36:08,239
Speaker 10: the northern tip of the Caribbean. To me, in my mind,

599
00:36:08,280 --> 00:36:12,560
Speaker 10: I think of it as the same. So that rhythm

600
00:36:13,080 --> 00:36:17,080
Speaker 10: and even even the stories that you hear about reggae

601
00:36:17,320 --> 00:36:20,800
Speaker 10: and how they would be listening to New Orleans music

602
00:36:21,320 --> 00:36:24,319
Speaker 10: and it be a bootleg signal and they couldn't hear

603
00:36:24,520 --> 00:36:29,120
Speaker 10: all of the full uh rhythm and they took certain

604
00:36:29,200 --> 00:36:31,080
Speaker 10: parts of it thinking that that was the rhythm, and

605
00:36:31,200 --> 00:36:33,560
Speaker 10: that influenced the reggae, and then it's kind of it's

606
00:36:33,640 --> 00:36:34,759
Speaker 10: like a feedback loop.

607
00:36:35,800 --> 00:36:39,800
Speaker 1: Wow, I never saw. Yeah, that's amazing.

608
00:36:40,000 --> 00:36:43,800
Speaker 12: I mean, so New Orleans music influenced reggae, not the

609
00:36:43,880 --> 00:36:44,920
Speaker 12: other way around.

610
00:36:44,800 --> 00:36:48,000
Speaker 10: Or no, it's it influences each other because because the

611
00:36:48,080 --> 00:36:52,800
Speaker 10: New Orleans music came from that line of the culture

612
00:36:52,920 --> 00:36:57,400
Speaker 10: moving across and basically sitting in New Orleans and Congo

613
00:36:57,480 --> 00:37:00,560
Speaker 10: Squad being the hub where it kind of was fermenting.

614
00:37:01,600 --> 00:37:05,080
Speaker 10: And then you know, at the end of Flavor, when

615
00:37:05,080 --> 00:37:09,120
Speaker 10: you kind of have this release, it's okay to have

616
00:37:09,800 --> 00:37:12,839
Speaker 10: people making their music and sharing it with the world.

617
00:37:13,280 --> 00:37:15,919
Speaker 10: You get people like Louis Armstrong who come out, Buddy Bold,

618
00:37:15,960 --> 00:37:19,000
Speaker 10: all these geniuses. It's like you let the lid off.

619
00:37:20,040 --> 00:37:25,560
Speaker 1: Speaking of which I just recently discovered, our listeners owe

620
00:37:25,560 --> 00:37:28,560
Speaker 1: it to themselves to discover the music of Lord Kitchener

621
00:37:29,880 --> 00:37:36,680
Speaker 1: who he's he's he's king of sort of trinid Daddy.

622
00:37:37,000 --> 00:37:43,800
Speaker 1: He's part if any Lord Kitchener. I would say that

623
00:37:45,440 --> 00:37:52,360
Speaker 1: maybe the origins of disco isn't the music because with

624
00:37:52,600 --> 00:37:57,759
Speaker 1: the sock symbol, like it's it's traditional Trinidaddy music, which

625
00:37:57,800 --> 00:38:04,640
Speaker 1: is more like so it's part New Orleans rhythm and

626
00:38:05,160 --> 00:38:09,600
Speaker 1: the sock symbol thing with it, but lyrically. And now

627
00:38:09,800 --> 00:38:12,239
Speaker 1: his music's coming from the forties and fifties, So he's

628
00:38:12,280 --> 00:38:18,880
Speaker 1: in the tradition of uh kind of uh, who's the

629
00:38:19,000 --> 00:38:23,920
Speaker 1: humorous forties jazz guy lou Louis. He's in the tradition

630
00:38:24,040 --> 00:38:28,040
Speaker 1: of Louis Jordan or almost like the beginning of what

631
00:38:28,320 --> 00:38:32,120
Speaker 1: Luke and Two Live Crew were about. Like his songs

632
00:38:33,560 --> 00:38:37,560
Speaker 1: are quasi risk and wait can I can I play

633
00:38:37,600 --> 00:38:42,640
Speaker 1: one song of Yes? Okay, it's this is Lord Kitchener's

634
00:38:43,560 --> 00:38:48,440
Speaker 1: Kitchener maybe like Kitchener. Yeah, it's a mirror talking, so

635
00:38:48,840 --> 00:38:55,200
Speaker 1: possibly I could be saying, okay, wait, rural jury, Yes

636
00:38:55,920 --> 00:39:01,760
Speaker 1: there is another rural Yes, I have a questioned.

637
00:39:02,080 --> 00:39:04,279
Speaker 9: Yes, he's told you because in my head you're like

638
00:39:04,400 --> 00:39:06,239
Speaker 9: Yoda and you're like ninety five years old, because you

639
00:39:06,280 --> 00:39:06,759
Speaker 9: have that vibe.

640
00:39:06,800 --> 00:39:07,480
Speaker 1: But I don't think of that.

641
00:39:07,520 --> 00:39:10,040
Speaker 10: Old Oh no, thirty one?

642
00:39:10,520 --> 00:39:12,480
Speaker 7: No, what still really? See?

643
00:39:12,600 --> 00:39:14,560
Speaker 1: I thought that was a worthy question. He's an old

644
00:39:14,640 --> 00:39:15,479
Speaker 1: soul man, it's different.

645
00:39:15,560 --> 00:39:17,000
Speaker 7: Yeah, you must have a It must be a lot

646
00:39:17,040 --> 00:39:19,319
Speaker 7: of ageism for you, because I know them jazz cats

647
00:39:19,400 --> 00:39:21,160
Speaker 7: be like, man, you don't know nothing.

648
00:39:22,480 --> 00:39:26,920
Speaker 1: Yeah, I mean so I would think, I mean, you

649
00:39:27,280 --> 00:39:31,040
Speaker 1: you speak wise so and you seem.

650
00:39:30,880 --> 00:39:32,799
Speaker 7: To know you're the number is the number though, right,

651
00:39:32,880 --> 00:39:35,239
Speaker 7: Like sometimes they just like puts your thirty one now?

652
00:39:35,280 --> 00:39:38,000
Speaker 9: But could you know nothing but a number?

653
00:39:39,480 --> 00:39:41,040
Speaker 10: It ain't nothing, But I don't know number?

654
00:39:41,800 --> 00:39:45,880
Speaker 1: Okay, all right, you got two choices. My favorite is

655
00:39:46,360 --> 00:39:51,200
Speaker 1: My Wife's ninety, in which a yeah, in which he

656
00:39:51,960 --> 00:39:58,480
Speaker 1: kind of invertently gets with her girlfriend who steals his

657
00:39:58,680 --> 00:40:03,960
Speaker 1: wife's clothes. Or Muriel in The Bug, which is story

658
00:40:04,120 --> 00:40:08,800
Speaker 1: about a bedbug that happens to make its home in

659
00:40:08,920 --> 00:40:15,200
Speaker 1: the most unsavory place of this woman. Yeah, I feel

660
00:40:15,239 --> 00:40:18,200
Speaker 1: like the choice has been made. Yes, I'm putting both

661
00:40:18,239 --> 00:40:19,960
Speaker 1: of those in the quest of Mixed Supreme with this.

662
00:40:20,160 --> 00:40:21,800
Speaker 9: I love it when you intro to and give like

663
00:40:21,880 --> 00:40:23,000
Speaker 9: the lyrical.

664
00:40:24,360 --> 00:40:27,120
Speaker 1: Which one is this bedbugs?

665
00:40:31,080 --> 00:40:31,160
Speaker 9: Now?

666
00:40:31,160 --> 00:40:33,200
Speaker 1: I might have to do both because this is less

667
00:40:33,840 --> 00:40:38,080
Speaker 1: New Orleans tradition than the other song. But what screen?

668
00:40:41,440 --> 00:40:43,960
Speaker 1: First of all, that was an amazing ryan. Secondly, where'd

669
00:40:44,000 --> 00:40:44,400
Speaker 1: you find this?

670
00:40:44,880 --> 00:40:46,040
Speaker 7: Yeah? How old is this?

671
00:40:46,400 --> 00:40:48,560
Speaker 9: Who's like the person that hips you to this? That

672
00:40:49,000 --> 00:40:49,839
Speaker 9: says a lot about them?

673
00:40:51,320 --> 00:40:53,520
Speaker 1: I don't know, Like, uh oh, I was looking at

674
00:40:53,840 --> 00:40:56,680
Speaker 1: Calypso because I knew there was more than Harry Belafontie.

675
00:40:58,920 --> 00:41:02,840
Speaker 1: So that figure history. The beautiful thing about streaming is

676
00:41:03,120 --> 00:41:09,080
Speaker 1: that's one of the best. He has a traditional Well

677
00:41:09,120 --> 00:41:11,799
Speaker 1: I didn't know if he had albums out with lyrics.

678
00:41:12,160 --> 00:41:15,360
Speaker 7: Or he just he got one coming out with Kenny Gamble.

679
00:41:15,680 --> 00:41:18,560
Speaker 10: Oh snap, really, it's been working on it, Kenny.

680
00:41:20,000 --> 00:41:30,480
Speaker 1: Going out anyway, I got play what's my wife's This

681
00:41:30,600 --> 00:41:33,480
Speaker 1: one is murial in the bedbug? No, what's the next one?

682
00:41:33,960 --> 00:41:36,320
Speaker 1: My wife's ninety? Oh yeah, because I might have to

683
00:41:36,480 --> 00:41:40,759
Speaker 1: charge you with loss in me. All right. He's known

684
00:41:40,840 --> 00:41:44,320
Speaker 1: as the King of calypso this is nice, but the

685
00:41:44,400 --> 00:41:51,760
Speaker 1: lyrics are funny. She came for one night with kitchen.

686
00:41:52,360 --> 00:41:55,600
Speaker 1: She seems of a decent character. But when I woke

687
00:41:55,719 --> 00:41:59,040
Speaker 1: up in the morning, my wife, pretty ninety, was missing.

688
00:41:59,360 --> 00:42:00,760
Speaker 7: Come back with why.

689
00:42:05,040 --> 00:42:11,200
Speaker 1: Why this feels like a late night? I know, I know,

690
00:42:11,480 --> 00:42:16,920
Speaker 1: I know. So basically Kitch Kitsch's wife is away and

691
00:42:17,040 --> 00:42:19,160
Speaker 1: he's laying her girlfriend spend the night on the couch.

692
00:42:19,640 --> 00:42:19,840
Speaker 2: You know.

693
00:42:20,040 --> 00:42:24,480
Speaker 1: By the way, here's my wife's night clothes the house. Well,

694
00:42:24,760 --> 00:42:26,719
Speaker 1: he also sexes her down on the third and fourth

695
00:42:26,760 --> 00:42:34,200
Speaker 1: and fifth verse. I was like seven verses. Wow, I

696
00:42:34,360 --> 00:42:38,319
Speaker 1: am an immense fan of of of of kitchen. Well

697
00:42:38,440 --> 00:42:39,799
Speaker 1: that's yeah, Lord kitchen.

698
00:42:39,920 --> 00:42:43,520
Speaker 11: I'm wondering what the song negro by Injection is about.

699
00:42:43,719 --> 00:42:48,560
Speaker 1: Dog. It's exactly what you think. He goes there. I mean,

700
00:42:48,760 --> 00:42:56,840
Speaker 1: Jack's a lot of humor in politics. Yeah, yeah, that's sexy.

701
00:42:57,040 --> 00:43:03,920
Speaker 1: But yeah, a lot of you know, coming from uh Trinidad.

702
00:43:04,719 --> 00:43:07,520
Speaker 1: A lot of his music, the clips of music I

703
00:43:07,760 --> 00:43:11,320
Speaker 1: can hear sort of origins of New Orleans music and

704
00:43:12,400 --> 00:43:15,640
Speaker 1: in there and disco and other things like this was

705
00:43:15,840 --> 00:43:22,040
Speaker 1: in the fifties, so yeah, for listening get Boston. Uh yeah,

706
00:43:22,120 --> 00:43:27,080
Speaker 1: Lord around there right, no, right, in nineties.

707
00:43:27,480 --> 00:43:29,160
Speaker 7: Because all the ladies know they don't need to fear.

708
00:43:29,160 --> 00:43:31,160
Speaker 7: They really don't go past your knees. The bed bugs,

709
00:43:31,239 --> 00:43:36,000
Speaker 7: so I don't really really yeah yeah, record I had

710
00:43:36,040 --> 00:43:38,479
Speaker 7: bed bugs ones. It was awful. They go to your elbow,

711
00:43:38,520 --> 00:43:40,600
Speaker 7: to your knees, all the things.

712
00:43:41,640 --> 00:43:41,960
Speaker 9: Wow.

713
00:43:42,520 --> 00:43:45,000
Speaker 1: So your bad books weren't that clever to find that area?

714
00:43:46,160 --> 00:43:50,400
Speaker 1: Treasure treasure, treasure.

715
00:43:50,800 --> 00:43:52,959
Speaker 10: Wow, that was a great lyrical choice.

716
00:43:53,000 --> 00:43:54,120
Speaker 1: That was a great lyrical choice.

717
00:43:54,840 --> 00:43:57,840
Speaker 9: And lost and ninety are really rhyming today.

718
00:43:58,320 --> 00:44:00,640
Speaker 1: No, it's he's the best man it at that.

719
00:44:00,760 --> 00:44:02,120
Speaker 10: Lewis Jordan energy too.

720
00:44:03,080 --> 00:44:10,360
Speaker 1: Yes, absolutely, with the humor and all that stuff. You

721
00:44:10,920 --> 00:44:14,160
Speaker 1: recorded your first album when you were seventeen, correct, yes, yes,

722
00:44:14,400 --> 00:44:18,920
Speaker 1: what did you know? How much information did you gather

723
00:44:19,040 --> 00:44:23,200
Speaker 1: in those five years that you learned traditional jazz to

724
00:44:23,680 --> 00:44:25,880
Speaker 1: make a record? Like did you know what you wanted?

725
00:44:26,000 --> 00:44:28,239
Speaker 1: And how did it come to be?

726
00:44:28,800 --> 00:44:31,800
Speaker 10: I had been playing at a club in New Orleans

727
00:44:31,880 --> 00:44:35,560
Speaker 10: called the Snug Harbor, which is like our jazz club.

728
00:44:35,640 --> 00:44:39,040
Speaker 10: It's like you had the balcony where you can look

729
00:44:39,120 --> 00:44:41,719
Speaker 10: down at the bandstand, and then you had the bottom level,

730
00:44:41,719 --> 00:44:44,799
Speaker 10: which is like forty people down there. And I've been

731
00:44:44,880 --> 00:44:47,640
Speaker 10: leading bands there from the time I was fifteen, and

732
00:44:47,719 --> 00:44:52,240
Speaker 10: I kind of figured out what I wanted in the sound,

733
00:44:52,320 --> 00:44:55,080
Speaker 10: and I was composing music and things like that. So

734
00:44:55,239 --> 00:44:57,680
Speaker 10: by the time I was seventeen, I wanted to document

735
00:44:57,800 --> 00:44:59,840
Speaker 10: the stuff I had figured out by playing at Snug

736
00:45:00,719 --> 00:45:05,440
Speaker 10: Okay and also just document the different musicians that I've

737
00:45:05,480 --> 00:45:09,879
Speaker 10: been playing with at that time. So that was really

738
00:45:10,120 --> 00:45:15,360
Speaker 10: for me, a documentation of something that I wanted to

739
00:45:15,480 --> 00:45:17,120
Speaker 10: look back on because I was about to move to

740
00:45:17,200 --> 00:45:19,480
Speaker 10: New York. I moved to New York when I was

741
00:45:19,560 --> 00:45:24,560
Speaker 10: seventeen in two thousand and four, and that's when the

742
00:45:24,640 --> 00:45:25,800
Speaker 10: record was finished.

743
00:45:26,440 --> 00:45:29,000
Speaker 7: You moved to New York when you was seventeen, Yes,

744
00:45:29,680 --> 00:45:33,560
Speaker 7: for Julia, yeah wow, and your parents never got to

745
00:45:33,640 --> 00:45:35,880
Speaker 7: do Man, what was that like for you today? Was

746
00:45:35,920 --> 00:45:37,080
Speaker 7: that the first time you've been to New York when

747
00:45:37,120 --> 00:45:37,640
Speaker 7: you were seventeen?

748
00:45:38,040 --> 00:45:40,400
Speaker 10: Well, I was listening to Yeah, Well, I've been to

749
00:45:40,520 --> 00:45:45,879
Speaker 10: New York one time before. Then in two thousand and two,

750
00:45:46,880 --> 00:45:51,280
Speaker 10: we played Summer Stage with Troy and I tromon short

751
00:45:51,680 --> 00:45:52,920
Speaker 10: and we played the Apollo.

752
00:45:54,400 --> 00:45:58,240
Speaker 7: You weren't seventeen, you was like fifteen fourteen, and when.

753
00:45:58,120 --> 00:46:01,520
Speaker 10: We did that, that was the something yep and and

754
00:46:01,640 --> 00:46:03,880
Speaker 10: we played Summer Stage and we played the Apollo, and

755
00:46:03,920 --> 00:46:05,279
Speaker 10: that was the first time I ever been in New York.

756
00:46:05,840 --> 00:46:07,879
Speaker 10: And then a couple of years after that, I moved

757
00:46:07,880 --> 00:46:11,760
Speaker 10: to New York. But I had been listening to Actually,

758
00:46:13,080 --> 00:46:15,359
Speaker 10: I've been listening to a lot of records that you made,

759
00:46:16,680 --> 00:46:18,239
Speaker 10: and that was one of the reasons I wanted to

760
00:46:18,280 --> 00:46:21,640
Speaker 10: go to New York because I was I went off

761
00:46:21,719 --> 00:46:22,200
Speaker 10: for sure.

762
00:46:22,960 --> 00:46:25,480
Speaker 1: I went to to say this lead.

763
00:46:26,960 --> 00:46:30,000
Speaker 10: I went to Berkeley the summer after I've been to

764
00:46:30,080 --> 00:46:33,839
Speaker 10: New York for it's like a summer that summer program yeah,

765
00:46:34,360 --> 00:46:35,640
Speaker 10: it's like a five week thing.

766
00:46:36,200 --> 00:46:37,440
Speaker 1: I got rejected.

767
00:46:40,239 --> 00:46:43,840
Speaker 9: Because Ellis Marsalis was on the community that.

768
00:46:46,239 --> 00:46:50,160
Speaker 1: I didn't make it to the summer program Juilliard. I

769
00:46:50,160 --> 00:46:51,640
Speaker 1: couldn't afford to go. What year did you go to

770
00:46:51,640 --> 00:46:55,919
Speaker 1: the summer program? That was three? Okay, I'm older than here. Yeah,

771
00:46:56,640 --> 00:46:59,480
Speaker 1: oh wow, that's cool. You went to you it's like

772
00:47:00,200 --> 00:47:03,279
Speaker 1: years before that. Yeah, oh you went there. Yeah. I

773
00:47:03,320 --> 00:47:05,480
Speaker 1: didn't go to Berkeley, but to that you actually had

774
00:47:05,520 --> 00:47:08,959
Speaker 1: a childhood and then a teenage and I also played music.

775
00:47:10,800 --> 00:47:14,920
Speaker 9: I like my science teacher. I like your science teacher.

776
00:47:15,160 --> 00:47:16,719
Speaker 9: Most of the time, I'm like your CPA. Now I'm

777
00:47:16,760 --> 00:47:21,799
Speaker 9: like your but I forgot Wait the joke John every

778
00:47:21,840 --> 00:47:24,800
Speaker 9: time he sees me if I comb my hair, he

779
00:47:24,920 --> 00:47:27,279
Speaker 9: never recognizes me. Listen, So like this is true on

780
00:47:27,400 --> 00:47:28,480
Speaker 9: three or four occasions.

781
00:47:28,680 --> 00:47:30,919
Speaker 5: This is wrong, you're doing it wrong.

782
00:47:31,000 --> 00:47:35,839
Speaker 1: But this is this is wrong. Listen every time. Listen.

783
00:47:36,480 --> 00:47:40,280
Speaker 1: He and I really meant when we worked on Hamilton. Okay,

784
00:47:40,960 --> 00:47:44,720
Speaker 1: so during the Hamilton mixing process and the recording process,

785
00:47:45,280 --> 00:47:48,520
Speaker 1: he had like long ass hippie hair. He was like, uh,

786
00:47:48,800 --> 00:47:52,680
Speaker 1: what's his name? With the latter the comedian not thinking

787
00:47:52,800 --> 00:47:55,680
Speaker 1: me the actor. We were he's supposed to do this show.

788
00:47:55,800 --> 00:47:58,239
Speaker 1: Seth rog why am I paying twenty five thousand dollars

789
00:47:58,239 --> 00:48:03,840
Speaker 1: pyramid right now? Seth brow his hair, He had a

790
00:48:03,840 --> 00:48:07,399
Speaker 1: Seth Brogan vibe about him. And then and then when

791
00:48:07,520 --> 00:48:09,840
Speaker 1: Hamilton was finally finished and we all took like the

792
00:48:10,239 --> 00:48:14,080
Speaker 1: master photo together, like my accountant came out. He had

793
00:48:14,120 --> 00:48:18,640
Speaker 1: this nice haircut and a suit and I shook his hand, O,

794
00:48:18,840 --> 00:48:20,560
Speaker 1: nice to meet you. A mirror and he looked at

795
00:48:20,600 --> 00:48:24,880
Speaker 1: me like, motherfuck it's me. So that's funny. But that

796
00:48:25,040 --> 00:48:28,600
Speaker 1: was like two and a half years ago. Months ago.

797
00:48:28,960 --> 00:48:32,200
Speaker 1: I was at six months ago. Six months.

798
00:48:33,040 --> 00:48:36,759
Speaker 9: I've been doing this for years, Like we've been to Minneapolis,

799
00:48:37,440 --> 00:48:41,640
Speaker 9: were all these places together he's been on. Yeah, So

800
00:48:41,840 --> 00:48:44,240
Speaker 9: six months ago at a wedding, I was wearing glasses

801
00:48:44,560 --> 00:48:47,120
Speaker 9: like that like makes me a whole different person. I

802
00:48:47,239 --> 00:48:49,359
Speaker 9: was wearing a suit and glass. I walked up to him.

803
00:48:49,520 --> 00:48:51,879
Speaker 9: I was like, yo, and he was like a mirror.

804
00:49:01,719 --> 00:49:02,040
Speaker 10: I like.

805
00:49:06,120 --> 00:49:07,800
Speaker 7: It actually made sense in the conversation.

806
00:49:16,200 --> 00:49:20,040
Speaker 1: She wasn't here for that show. I haven't been here

807
00:49:20,080 --> 00:49:20,760
Speaker 1: for six months.

808
00:49:20,960 --> 00:49:23,520
Speaker 7: A black woman or an Indian American woman, like.

809
00:49:26,920 --> 00:49:27,120
Speaker 10: You know.

810
00:49:29,239 --> 00:49:33,279
Speaker 1: Jamaica. His mom's black, not by By Black, but the

811
00:49:33,320 --> 00:49:37,120
Speaker 1: step brother was like black Black, Yeah you can write

812
00:49:37,360 --> 00:49:37,760
Speaker 1: some peace.

813
00:49:38,480 --> 00:49:45,000
Speaker 10: Yeah, I gotta get something. Can I love cooking? A

814
00:49:45,080 --> 00:49:48,359
Speaker 10: few things you can make really red beans and rice,

815
00:49:48,680 --> 00:49:52,760
Speaker 10: yes with Don Dows, sauce without part, yeah something.

816
00:49:53,080 --> 00:49:55,959
Speaker 1: Are you going to the house right now? She's herself.

817
00:49:56,200 --> 00:49:58,279
Speaker 7: Can you pronounce that word again? Because nobody does that right.

818
00:49:58,360 --> 00:50:00,920
Speaker 10: I'm doy like you knew how to say that.

819
00:50:02,320 --> 00:50:09,239
Speaker 1: Sausage first line and sausage and yeah wait, I was

820
00:50:09,280 --> 00:50:13,240
Speaker 1: gonna say uh. And lo was my man that always

821
00:50:13,320 --> 00:50:15,080
Speaker 1: cooks outside of his gigs.

822
00:50:14,880 --> 00:50:18,400
Speaker 10: All Carmen Ruffings and the barbecue Swingers.

823
00:50:19,239 --> 00:50:20,200
Speaker 7: Where they do shows.

824
00:50:21,400 --> 00:50:23,800
Speaker 1: Kermit En he plays.

825
00:50:24,000 --> 00:50:27,320
Speaker 10: He did a thing at a club called Vaughn's and

826
00:50:27,600 --> 00:50:30,440
Speaker 10: he'd have every Monday night in the in the in

827
00:50:30,600 --> 00:50:33,600
Speaker 10: the gig a big old pot of red beans and

828
00:50:33,719 --> 00:50:36,920
Speaker 10: rice sitting there and you just go self served.

829
00:50:37,160 --> 00:50:41,040
Speaker 1: Dude. I love Kermit Ruffins music, but I really love

830
00:50:41,160 --> 00:50:42,320
Speaker 1: Kermit Ruffings cooking.

831
00:50:43,600 --> 00:50:44,280
Speaker 10: It's amazing.

832
00:50:44,360 --> 00:50:50,160
Speaker 1: It's yeah when like I he and he cooks out front, yeah,

833
00:50:51,200 --> 00:50:52,880
Speaker 1: like not even in the back where it's just like

834
00:50:52,920 --> 00:50:55,680
Speaker 1: for the musicians. He cooks the food in the front,

835
00:50:55,840 --> 00:50:58,120
Speaker 1: in the front. I'll be back sir, this pot while

836
00:50:58,120 --> 00:51:02,000
Speaker 1: I go play the solo real quick. My good fellas like,

837
00:51:03,520 --> 00:51:06,120
Speaker 1: I want to go yes week New Orleans.

838
00:51:06,280 --> 00:51:12,160
Speaker 10: Yes, yes, Kermit Roffins rebirth alone. So okay, why did

839
00:51:12,239 --> 00:51:15,680
Speaker 10: you choose Julliart? So I was I wanted to come

840
00:51:15,760 --> 00:51:18,480
Speaker 10: to New York. I went to Berkeley before, and I

841
00:51:18,520 --> 00:51:20,319
Speaker 10: had gotten the scholarship to go there, and I thought

842
00:51:20,320 --> 00:51:21,880
Speaker 10: I was gonna go. Okay, I got that out the way.

843
00:51:21,920 --> 00:51:23,879
Speaker 10: I got one more year high school. Then I figured

844
00:51:23,880 --> 00:51:26,040
Speaker 10: out what I want to do. I wasn't even sure

845
00:51:26,080 --> 00:51:27,759
Speaker 10: if I wanted to go to college, but I was like,

846
00:51:28,120 --> 00:51:31,160
Speaker 10: if I can get to New York. Because actually I

847
00:51:31,239 --> 00:51:33,640
Speaker 10: was listening to those records that you made, and I

848
00:51:33,719 --> 00:51:34,840
Speaker 10: was reading the line of notes.

849
00:51:35,000 --> 00:51:35,520
Speaker 1: What I used to do.

850
00:51:35,600 --> 00:51:42,120
Speaker 10: I used to go to Blockbuster Video. In Blockbuster they

851
00:51:42,200 --> 00:51:45,960
Speaker 10: had a used c D ben and I used to

852
00:51:46,080 --> 00:51:54,759
Speaker 10: get sorry sorry, I used to get all of the

853
00:51:54,920 --> 00:52:00,960
Speaker 10: U c ds and and listen to them down whatever

854
00:52:01,000 --> 00:52:03,160
Speaker 10: it was, just to get some different sounds happening.

855
00:52:04,200 --> 00:52:09,720
Speaker 7: Damn John tell him, wasn't that wasn't.

856
00:52:12,520 --> 00:52:15,160
Speaker 10: The ones the ones that I bought some of them.

857
00:52:15,200 --> 00:52:17,360
Speaker 10: I bought a Tower record, So actually.

858
00:52:17,920 --> 00:52:22,439
Speaker 1: No, it was a U c d MG Music Club.

859
00:52:22,440 --> 00:52:23,440
Speaker 1: And I didn't pay for that one, so.

860
00:52:24,920 --> 00:52:27,760
Speaker 9: Anyone else want to Yeah, mine came from my roommate

861
00:52:27,800 --> 00:52:30,160
Speaker 9: record I haven't.

862
00:52:30,920 --> 00:52:33,320
Speaker 1: I worked that game. Theory came outside and paid for

863
00:52:33,360 --> 00:52:33,560
Speaker 1: that one.

864
00:52:33,600 --> 00:52:39,160
Speaker 10: Either things fall apart. I bought, uh, like water for

865
00:52:39,320 --> 00:52:42,479
Speaker 10: chocolate is the one that I was. So I bought

866
00:52:42,600 --> 00:52:46,200
Speaker 10: Dangerous Michael Jackson and like water for chocolate at the

867
00:52:46,239 --> 00:52:46,799
Speaker 10: same time.

868
00:52:47,600 --> 00:52:48,840
Speaker 1: Wow, that's random.

869
00:52:50,760 --> 00:52:52,960
Speaker 10: It was a range of stuff that was it was

870
00:52:53,040 --> 00:52:55,239
Speaker 10: happening to the bend. Is just it's the gift that

871
00:52:55,360 --> 00:52:56,080
Speaker 10: keeps on giving.

872
00:52:56,480 --> 00:53:00,560
Speaker 1: I see, well, most most people I know. I know

873
00:53:00,640 --> 00:53:06,000
Speaker 1: that Christian McBride chose Juilliard because Miles Davis went to Juilliard.

874
00:53:06,560 --> 00:53:10,399
Speaker 1: So usually like jazz cats that go to Juilliard, which

875
00:53:10,480 --> 00:53:13,360
Speaker 1: is it's not weird of itself because in education is

876
00:53:13,400 --> 00:53:16,120
Speaker 1: in education. But I do know that Miles Davis is

877
00:53:16,200 --> 00:53:20,320
Speaker 1: going to Juilliard is a big reason why most jazz

878
00:53:20,440 --> 00:53:23,719
Speaker 1: cats mess with Juilliard because otherwise they will all just

879
00:53:23,840 --> 00:53:26,359
Speaker 1: go to the New school. But a vibe, right, It's

880
00:53:26,400 --> 00:53:29,160
Speaker 1: like it's one of the music schools.

881
00:53:29,280 --> 00:53:32,480
Speaker 10: It's a classical, right, I mean, it comes from that tradition,

882
00:53:32,680 --> 00:53:39,920
Speaker 10: so it has that like Lincoln Senna like, yeah, you know, did.

883
00:53:39,840 --> 00:53:41,880
Speaker 1: You enjoy it? You got your masters from that, that

884
00:53:41,960 --> 00:53:43,359
Speaker 1: means you'd served six years there.

885
00:53:43,600 --> 00:53:49,240
Speaker 10: Yes, sir, I was doing stuff that I wasn't supposed

886
00:53:49,280 --> 00:53:53,640
Speaker 10: to do, which made me take time off in the middle.

887
00:53:54,200 --> 00:53:56,480
Speaker 10: But then I went back basically because my mom was like,

888
00:53:57,680 --> 00:54:01,280
Speaker 10: you have one year left at the time, finish the degree.

889
00:54:01,880 --> 00:54:04,279
Speaker 10: Just go and finish it. But I was doing all

890
00:54:04,440 --> 00:54:07,560
Speaker 10: types of touring, and basically I kind of developed my

891
00:54:07,719 --> 00:54:11,160
Speaker 10: work ethic by going to Julliard and then playing all night,

892
00:54:11,280 --> 00:54:14,359
Speaker 10: and then touring on the weekends, and then coming back

893
00:54:14,880 --> 00:54:17,120
Speaker 10: and then on the breaks doing all kinds of stuff,

894
00:54:17,200 --> 00:54:19,720
Speaker 10: putting it together. So it was a really great experience

895
00:54:19,800 --> 00:54:22,520
Speaker 10: to kind of figure out how to do a bunch

896
00:54:22,600 --> 00:54:24,320
Speaker 10: of stuff at the same time.

897
00:54:26,440 --> 00:54:30,320
Speaker 1: And pretty much you when did you finally get your degree?

898
00:54:31,080 --> 00:54:35,120
Speaker 10: It was twenty eleven, so I started in two thousand

899
00:54:35,120 --> 00:54:35,440
Speaker 10: and four.

900
00:54:37,440 --> 00:54:39,719
Speaker 7: So did you slide in some acting glasses while you

901
00:54:39,760 --> 00:54:40,040
Speaker 7: were there?

902
00:54:40,280 --> 00:54:40,480
Speaker 5: Yeah.

903
00:54:41,320 --> 00:54:45,719
Speaker 10: I loved that school because there's so much that you

904
00:54:45,800 --> 00:54:51,120
Speaker 10: can do to kind of cross pollinate acting and dancing.

905
00:54:51,600 --> 00:54:54,480
Speaker 10: There's an orchestra, there's the drama division that you can

906
00:54:54,600 --> 00:54:57,239
Speaker 10: kind of put these all these different things together that

907
00:54:57,840 --> 00:55:00,840
Speaker 10: I was always interested in that. That's one of the

908
00:55:00,880 --> 00:55:06,680
Speaker 10: reasons that why I went. I read Miles autobiole truth right,

909
00:55:07,000 --> 00:55:10,759
Speaker 10: It's just something about Juilliard and also being in New

910
00:55:10,840 --> 00:55:12,960
Speaker 10: York and and checking out a lot of the people

911
00:55:13,040 --> 00:55:16,680
Speaker 10: who are online of knows that I liked the music,

912
00:55:16,840 --> 00:55:18,719
Speaker 10: lived in New York at the time, or played in

913
00:55:18,800 --> 00:55:21,959
Speaker 10: New York a lot. It just all seemed to make sense.

914
00:55:22,480 --> 00:55:26,120
Speaker 10: Just all Arrow's pointed, Well, go to Juilliard. If you

915
00:55:26,200 --> 00:55:29,759
Speaker 10: make it through school, that's great. If not, you'll be

916
00:55:29,840 --> 00:55:33,320
Speaker 10: in New York where everything that you like is happening.

917
00:55:33,640 --> 00:55:38,840
Speaker 1: So can I naturally assume that perhaps Juilliard's where you

918
00:55:39,040 --> 00:55:42,759
Speaker 1: met the other band members of Stay Human? Yeah, yeah, yeah,

919
00:55:42,760 --> 00:55:44,840
Speaker 1: I figured as much. So, Okay, how did you guys.

920
00:55:44,680 --> 00:55:54,160
Speaker 10: For well, the the drummer and bassist Joe Selle, Yeah, Cowboy, Yeah,

921
00:55:55,520 --> 00:55:58,040
Speaker 10: Joe with the hat. We we met in high school.

922
00:55:58,560 --> 00:56:02,000
Speaker 10: He was visiting, uh, he's visiting New Orleans at the

923
00:56:02,080 --> 00:56:08,760
Speaker 10: jazz Fest actually, and I was cutting my theory class,

924
00:56:08,800 --> 00:56:11,759
Speaker 10: I think it was, and I was walking around town

925
00:56:11,960 --> 00:56:14,640
Speaker 10: in the French Quarter because our school was in Noka,

926
00:56:14,760 --> 00:56:17,240
Speaker 10: was near the French Quarter, and he was walking around

927
00:56:17,320 --> 00:56:20,000
Speaker 10: and he had a stick bag, and he recognized me

928
00:56:20,840 --> 00:56:22,799
Speaker 10: and came up and said, hey, man, do you want

929
00:56:22,800 --> 00:56:24,200
Speaker 10: to play? And I was like, yeah, let's go.

930
00:56:24,440 --> 00:56:27,319
Speaker 1: So, hey, how you doing? How you doing? Let's play?

931
00:56:28,080 --> 00:56:31,960
Speaker 10: Almost no words. We walked and didn't really speak after that,

932
00:56:32,239 --> 00:56:34,160
Speaker 10: and we walked to my class that I was cutting

933
00:56:34,160 --> 00:56:36,040
Speaker 10: and I was like, hey, I have a guest, and

934
00:56:36,200 --> 00:56:40,400
Speaker 10: we played a song for the class. And then the

935
00:56:40,560 --> 00:56:43,360
Speaker 10: next year he moved to New York to go to

936
00:56:43,400 --> 00:56:45,440
Speaker 10: the Manhattan School of Music. I moved to go to Juilliard,

937
00:56:45,520 --> 00:56:46,960
Speaker 10: and that's when the band came together.

938
00:56:48,120 --> 00:56:54,560
Speaker 1: That's one experience that I regret really never having. I've

939
00:56:54,640 --> 00:56:56,439
Speaker 1: never been like a jammy guy.

940
00:56:58,280 --> 00:57:00,279
Speaker 10: You don't like the jam What do you mean called

941
00:57:00,280 --> 00:57:00,600
Speaker 10: the roots?

942
00:57:00,719 --> 00:57:00,919
Speaker 7: Damn?

943
00:57:05,600 --> 00:57:08,080
Speaker 1: You used to? I avoid them ships.

944
00:57:08,440 --> 00:57:09,320
Speaker 7: Now it's work, I got it.

945
00:57:10,560 --> 00:57:13,279
Speaker 1: No, it's like it's it's expected, you know, because my

946
00:57:13,400 --> 00:57:14,480
Speaker 1: legacy's on jamming.

947
00:57:14,680 --> 00:57:17,000
Speaker 7: But I don't know, like you created albums off of that,

948
00:57:17,160 --> 00:57:18,120
Speaker 7: like phrenology.

949
00:57:19,000 --> 00:57:22,360
Speaker 1: It's just like, well for me, I don't like jam

950
00:57:22,480 --> 00:57:25,000
Speaker 1: sessions because someone has to be the.

951
00:57:25,040 --> 00:57:28,040
Speaker 7: Bad guy say it's time for you to go all right,

952
00:57:28,080 --> 00:57:29,600
Speaker 7: that's you or no you can't.

953
00:57:29,840 --> 00:57:32,920
Speaker 1: Yeah, because there's again, I have two microphones, so I'm

954
00:57:33,000 --> 00:57:36,000
Speaker 1: the guy that's like, you know, trying to tell the

955
00:57:36,040 --> 00:57:40,160
Speaker 1: saxophone player, don't solo over Tarik, like play a riff,

956
00:57:40,840 --> 00:57:45,960
Speaker 1: play like it's it's it's it becomes like you think

957
00:57:46,040 --> 00:57:49,600
Speaker 1: I'm a pain in the ass here. Imagine me on

958
00:57:50,040 --> 00:57:51,720
Speaker 1: a job that I'm you.

959
00:57:51,760 --> 00:57:53,840
Speaker 7: Know, like sometimes we see you back then.

960
00:57:55,840 --> 00:57:59,560
Speaker 1: Exactly. So maybe it's like I have to be the

961
00:57:59,600 --> 00:58:01,640
Speaker 1: bad guy. But more than that, it's just like I

962
00:58:02,440 --> 00:58:04,680
Speaker 1: like Kirk does that easily. Like Kirk goes up to

963
00:58:04,760 --> 00:58:08,360
Speaker 1: the whoever the guest band is on the show and

964
00:58:08,520 --> 00:58:11,360
Speaker 1: they talk about their their guitars and is this a

965
00:58:12,360 --> 00:58:14,600
Speaker 1: you know, sixty three Stratt and da da da da,

966
00:58:14,640 --> 00:58:17,960
Speaker 1: and then they start doing you know, riffs together and

967
00:58:18,600 --> 00:58:20,880
Speaker 1: I don't know, I never like and sometimes that happens,

968
00:58:20,920 --> 00:58:22,920
Speaker 1: like I feel, oh god, I feel horrible because Chris

969
00:58:23,000 --> 00:58:27,080
Speaker 1: Dave has been calling me like all week he's been

970
00:58:27,120 --> 00:58:31,040
Speaker 1: doing this presidency Robert Glaser. No, well, technically I was

971
00:58:31,080 --> 00:58:34,080
Speaker 1: out of town, so no disrespect Chris, of course, But

972
00:58:34,320 --> 00:58:37,960
Speaker 1: I just I don't know why I don't have musicians.

973
00:58:37,960 --> 00:58:42,040
Speaker 7: If you've ever jammed without being the boss, maybe that's

974
00:58:42,040 --> 00:58:42,600
Speaker 7: the problem.

975
00:58:43,040 --> 00:58:43,280
Speaker 10: Huh.

976
00:58:43,640 --> 00:58:44,680
Speaker 7: Let somebody else.

977
00:58:45,080 --> 00:58:52,440
Speaker 1: John, Like I think if it comes to like music collectors,

978
00:58:52,480 --> 00:58:56,240
Speaker 1: like record collectors, beeper, like that's my zone. But I've

979
00:58:56,360 --> 00:58:59,200
Speaker 1: never been the like I the thing is one I

980
00:58:59,440 --> 00:59:01,960
Speaker 1: don't I'm not one of those like do you know

981
00:59:02,080 --> 00:59:06,040
Speaker 1: like the oh this this Steinway was nineteen thirty nine,

982
00:59:06,560 --> 00:59:08,720
Speaker 1: Like I don't know what my drums are, like yeah,

983
00:59:08,800 --> 00:59:13,080
Speaker 1: oh this is made of wood or mahogany wood or yeah,

984
00:59:14,520 --> 00:59:18,000
Speaker 1: yeah that's not me. I don't know how you're not

985
00:59:18,080 --> 00:59:21,200
Speaker 1: a gear head. No, I don't think it's either you

986
00:59:21,560 --> 00:59:23,919
Speaker 1: know what else. I'm really not a vinyl head, even

987
00:59:23,960 --> 00:59:26,280
Speaker 1: though I have all those records. Yes I'm not.

988
00:59:26,760 --> 00:59:29,280
Speaker 7: No, he means like the material, the vinyl, and then no, no,

989
00:59:29,560 --> 00:59:30,920
Speaker 7: I just meant like, you know.

990
00:59:31,200 --> 00:59:36,520
Speaker 1: You're not like Steve. Yeah, like Steves everyone thinks like

991
00:59:37,240 --> 00:59:38,040
Speaker 1: it sounds better.

992
00:59:38,760 --> 00:59:43,200
Speaker 7: Oh oh you're not one of those. Good for you,

993
00:59:43,280 --> 00:59:46,040
Speaker 7: Amir for coming out, because you know people will be scared.

994
00:59:45,800 --> 00:59:49,160
Speaker 1: To say that I love vinyl because that's the thing

995
00:59:49,240 --> 00:59:51,760
Speaker 1: that me and my dad bonded on as when I

996
00:59:51,840 --> 00:59:53,280
Speaker 1: was a kid, like going to the rest of us.

997
00:59:53,680 --> 00:59:56,920
Speaker 1: I like record shopping, but I was never like I

998
00:59:57,000 --> 01:00:01,720
Speaker 1: don't know which turn people around October November, like, do

999
01:00:01,840 --> 01:00:04,680
Speaker 1: you recommend Christmas? Yeah? Can you recommend what turntable I

1000
01:00:04,720 --> 01:00:11,280
Speaker 1: should get? And I'm like an iPhone? So you guys

1001
01:00:11,400 --> 01:00:16,520
Speaker 1: just basically within five minutes you were like, hey you

1002
01:00:16,640 --> 01:00:19,640
Speaker 1: played did you do that earlier in the day, earlier

1003
01:00:19,640 --> 01:00:22,720
Speaker 1: in your life? Like you like the roots were more now, dude,

1004
01:00:22,800 --> 01:00:25,880
Speaker 1: I start. My dad threw me into his oldies act,

1005
01:00:27,280 --> 01:00:30,080
Speaker 1: like Tariq was the first person of my age that

1006
01:00:30,920 --> 01:00:32,840
Speaker 1: I played with it even then, like my parents looked

1007
01:00:32,880 --> 01:00:35,280
Speaker 1: at you know, he was you not you. Mom. Mom

1008
01:00:35,360 --> 01:00:36,800
Speaker 1: listens to the show and gets mad that I was

1009
01:00:36,800 --> 01:00:42,120
Speaker 1: throwing under the bus. Mom loved Tariq, Dad not so much.

1010
01:00:42,600 --> 01:00:50,000
Speaker 1: So yeah, I love it. It's just you know, I

1011
01:00:51,200 --> 01:00:53,280
Speaker 1: wish I could.

1012
01:00:54,600 --> 01:00:58,640
Speaker 7: Enjoy it. I don't know, Yeah, I guess I don't

1013
01:00:59,200 --> 01:00:59,640
Speaker 7: that press.

1014
01:01:01,200 --> 01:01:03,560
Speaker 11: But you say it's on like not having a roadmap, right,

1015
01:01:03,640 --> 01:01:06,000
Speaker 11: because we kind of went over this with Bobby McFerrin.

1016
01:01:06,880 --> 01:01:09,680
Speaker 1: Hey, I love having roadmaps. Oh yeah, I just.

1017
01:01:09,800 --> 01:01:12,720
Speaker 7: I'm McFerrin with the juliar John No, he's everything.

1018
01:01:13,440 --> 01:01:15,320
Speaker 9: But would you say that when when the music becomes

1019
01:01:15,360 --> 01:01:17,800
Speaker 9: a profession, the jamming aspect of it all to like

1020
01:01:17,880 --> 01:01:20,040
Speaker 9: hang out and jam with friends thing kind of comes down.

1021
01:01:20,440 --> 01:01:22,800
Speaker 9: I feel like that, like, yeah, I'm in music all

1022
01:01:22,880 --> 01:01:25,000
Speaker 9: day long. I like going and like playing for the

1023
01:01:25,120 --> 01:01:27,160
Speaker 9: sake of playing. Is a little different now than it

1024
01:01:27,320 --> 01:01:28,840
Speaker 9: was when I was twenty two.

1025
01:01:29,680 --> 01:01:32,840
Speaker 10: I feel like when you're younger and you're jamming is

1026
01:01:33,000 --> 01:01:38,080
Speaker 10: almost like practice, whereas at this point I feel like

1027
01:01:38,360 --> 01:01:43,000
Speaker 10: we have to have an objective exactly like roadmap or

1028
01:01:43,120 --> 01:01:46,000
Speaker 10: just a concept like we're jamming in order to figure

1029
01:01:46,040 --> 01:01:50,240
Speaker 10: out the purpose. Yeah this is the sound because I feel.

1030
01:01:50,080 --> 01:01:55,560
Speaker 1: Like, yeah, but tell that to Prince who, yeah, like

1031
01:01:55,760 --> 01:01:58,320
Speaker 1: six hours you know, fuck the show, He'll give you

1032
01:01:58,400 --> 01:02:02,000
Speaker 1: six hour jam session, which is probably my only inspiration

1033
01:02:02,120 --> 01:02:06,600
Speaker 1: from he do it all right, I'll come that was

1034
01:02:06,680 --> 01:02:08,680
Speaker 1: for a reason they weren't doing that for the show,

1035
01:02:08,760 --> 01:02:10,400
Speaker 1: like figuring out the parts of the show and stuff

1036
01:02:10,440 --> 01:02:14,000
Speaker 1: like that. At least that's what Prince like really enjoys jam.

1037
01:02:15,160 --> 01:02:17,080
Speaker 1: He doesn't like talking to people, So you've rare the

1038
01:02:17,160 --> 01:02:20,360
Speaker 1: jam with Wow. I mean I don't like jamming or

1039
01:02:20,440 --> 01:02:21,040
Speaker 1: talking to people.

1040
01:02:21,080 --> 01:02:25,040
Speaker 10: It ben's on the people, right, because some people don't

1041
01:02:25,120 --> 01:02:25,840
Speaker 10: know how to jam.

1042
01:02:27,200 --> 01:02:30,080
Speaker 1: So do you what if you're in a situation and

1043
01:02:30,240 --> 01:02:33,920
Speaker 1: again you are you present a situation which people can

1044
01:02:34,080 --> 01:02:38,640
Speaker 1: randomly walk up and play you do you have to

1045
01:02:38,680 --> 01:02:42,400
Speaker 1: be the bad cops sometimes and like like no more

1046
01:02:42,440 --> 01:02:43,200
Speaker 1: cow bell, thank you.

1047
01:02:44,440 --> 01:02:48,800
Speaker 10: Sometimes there's been times where it just crosses the line

1048
01:02:49,120 --> 01:02:52,000
Speaker 10: and then you have to you have to shut it down.

1049
01:02:52,040 --> 01:02:54,840
Speaker 10: But I feel like a thing that I find joy

1050
01:02:54,960 --> 01:02:59,040
Speaker 10: and is taking something that's just like would otherwise be

1051
01:02:59,320 --> 01:03:04,280
Speaker 10: disastrous and making music out of it. Like, oh snap,

1052
01:03:05,240 --> 01:03:09,680
Speaker 10: this person is playing the piano. They're not trained. Well,

1053
01:03:10,280 --> 01:03:11,520
Speaker 10: let's make this into something.

1054
01:03:12,480 --> 01:03:14,600
Speaker 1: See that's what Bob mcpherrn said when I asked him

1055
01:03:14,600 --> 01:03:19,720
Speaker 1: about Heckler's He's like, the way that I extinguish it

1056
01:03:20,200 --> 01:03:24,720
Speaker 1: is just incorporating whatever they're doing. Yeah, ah see, I

1057
01:03:25,040 --> 01:03:30,040
Speaker 1: hate that. I'm a control freeing Oh wow, that's happening

1058
01:03:30,160 --> 01:03:33,800
Speaker 1: right now. Okay, let's see what we can do with that.

1059
01:03:35,200 --> 01:03:40,200
Speaker 1: Are these with random drunk audience people are like musicians.

1060
01:03:40,280 --> 01:03:42,000
Speaker 1: You might ass random drunk musicians or.

1061
01:03:42,160 --> 01:03:46,440
Speaker 10: Super free arrange it's arranged. It can be anything, because

1062
01:03:46,480 --> 01:03:49,280
Speaker 10: sometimes it can be you can you can have a

1063
01:03:49,320 --> 01:03:55,720
Speaker 10: great musician who is is technically there but doesn't understand

1064
01:03:56,680 --> 01:04:00,280
Speaker 10: the spirit of the moment or what's happening. Okay, and

1065
01:04:00,400 --> 01:04:03,600
Speaker 10: then that can change what's happening, and you have to

1066
01:04:03,680 --> 01:04:07,320
Speaker 10: go with that. Otherwise the band, the sounds this disconnected.

1067
01:04:12,720 --> 01:04:15,600
Speaker 1: So describe to me the day that you got the

1068
01:04:15,680 --> 01:04:22,400
Speaker 1: phone call that you're being considered for the night show.

1069
01:04:23,280 --> 01:04:25,160
Speaker 10: Oh yeah, late Night with.

1070
01:04:26,680 --> 01:04:27,080
Speaker 7: Late Night.

1071
01:04:29,520 --> 01:04:31,840
Speaker 1: I'm sorry, Steven, I love you man all right? So

1072
01:04:32,720 --> 01:04:34,720
Speaker 1: where were you? What was the day when you got

1073
01:04:34,760 --> 01:04:40,040
Speaker 1: the phone call for the Late Show with Stephen cober So.

1074
01:04:40,960 --> 01:04:47,000
Speaker 10: I was in the studio and I got a phone

1075
01:04:47,040 --> 01:04:50,520
Speaker 10: call from Stephen himself saying, I'm about to go on

1076
01:04:50,680 --> 01:04:54,160
Speaker 10: vacation for ten days and when I come back, I

1077
01:04:54,280 --> 01:04:57,920
Speaker 10: want to sit and have a conversation with you. And

1078
01:04:58,040 --> 01:04:59,600
Speaker 10: he didn't tell me what it was about, but I

1079
01:04:59,760 --> 01:05:01,120
Speaker 10: kind of figured what it was about.

1080
01:05:01,280 --> 01:05:03,200
Speaker 7: Y'all knew each other already at this point.

1081
01:05:03,280 --> 01:05:06,280
Speaker 10: I'd been on the Colbert Report a couple of times,

1082
01:05:07,120 --> 01:05:10,200
Speaker 10: and after the second time we kind of had become

1083
01:05:10,840 --> 01:05:12,720
Speaker 10: friends in a way where we could talk and I

1084
01:05:12,920 --> 01:05:13,760
Speaker 10: call him sometime.

1085
01:05:13,880 --> 01:05:14,560
Speaker 1: But he was not.

1086
01:05:16,640 --> 01:05:19,840
Speaker 10: He wasn't at any way at the Colbert Reports offering

1087
01:05:19,920 --> 01:05:22,840
Speaker 10: me the job. But I've been seeing in the news

1088
01:05:23,320 --> 01:05:26,080
Speaker 10: everything was leading to him taking over for Letterman, and

1089
01:05:26,640 --> 01:05:29,919
Speaker 10: I didn't hear there was a band yet. I figured, okay, well,

1090
01:05:30,280 --> 01:05:31,960
Speaker 10: if there's a band, we may have heard about it,

1091
01:05:32,080 --> 01:05:34,320
Speaker 10: or at least it's not solidified because they haven't announced it.

1092
01:05:34,800 --> 01:05:37,480
Speaker 10: So when he called me, I figured, okay, he wants

1093
01:05:37,520 --> 01:05:40,880
Speaker 10: to talk about that. So he goes off the grid

1094
01:05:41,240 --> 01:05:43,680
Speaker 10: for about ten days, no phone or anything, and I

1095
01:05:43,760 --> 01:05:46,200
Speaker 10: have thinking about it for ten days. Is this something

1096
01:05:46,280 --> 01:05:48,600
Speaker 10: that I think he called me because he knew, okay,

1097
01:05:48,720 --> 01:05:52,520
Speaker 10: think about this because when we come back, you're gonna

1098
01:05:52,520 --> 01:05:54,960
Speaker 10: probably have to make a decision quickly, which is what happened.

1099
01:05:55,240 --> 01:05:57,360
Speaker 10: We sat down and he talked to me about his

1100
01:05:57,560 --> 01:06:00,720
Speaker 10: vision for the show, and that was like a a

1101
01:06:00,840 --> 01:06:04,040
Speaker 10: pretty long conversation. Then I was introduced to the staff,

1102
01:06:04,120 --> 01:06:06,800
Speaker 10: which was gonna move from the Cobet Report to the

1103
01:06:06,880 --> 01:06:10,440
Speaker 10: late show, and I was, you know, walked around the

1104
01:06:10,480 --> 01:06:14,360
Speaker 10: office and met everybody, and then after about two or

1105
01:06:14,360 --> 01:06:18,840
Speaker 10: three hours, he's like, okay, so let me know something

1106
01:06:18,880 --> 01:06:22,560
Speaker 10: you want to do and we'll call you in a

1107
01:06:22,840 --> 01:06:26,040
Speaker 10: few next few days to you know, see where.

1108
01:06:25,920 --> 01:06:28,000
Speaker 1: You're at with it. Who else was in the running?

1109
01:06:28,040 --> 01:06:29,280
Speaker 1: Do you know? Well?

1110
01:06:29,360 --> 01:06:33,080
Speaker 10: He told me after this is like after we had

1111
01:06:33,160 --> 01:06:35,640
Speaker 10: done a few shows, a few test shows, came to

1112
01:06:35,760 --> 01:06:39,160
Speaker 10: the dressing room, and he says, I don't know if

1113
01:06:39,200 --> 01:06:47,400
Speaker 10: you knew this, but Alvis Costello was, Steve would have left.

1114
01:06:48,400 --> 01:06:54,080
Speaker 10: He's like, Alvis Costello was basically I'd given him the gig.

1115
01:06:54,280 --> 01:06:57,120
Speaker 10: But this is before I met you. Wait, Steve, did

1116
01:06:57,160 --> 01:06:57,560
Speaker 10: you know this?

1117
01:06:58,640 --> 01:07:00,440
Speaker 1: I was going to go work for them. I knew it.

1118
01:07:02,800 --> 01:07:06,640
Speaker 1: Steve reduced some Elvis records. Yeah, seriously, No, I didn't.

1119
01:07:06,640 --> 01:07:08,000
Speaker 1: I didn't. I didn't. I don't think.

1120
01:07:07,880 --> 01:07:10,960
Speaker 7: If you had to make the decision, Steve, yes.

1121
01:07:11,120 --> 01:07:13,160
Speaker 12: Oh that would be Yeah, that would be a tough decision.

1122
01:07:13,600 --> 01:07:16,200
Speaker 1: I would let Steve do it. I'm just kidding.

1123
01:07:16,440 --> 01:07:19,440
Speaker 10: Thank god, John, Wow, you would have had to split.

1124
01:07:22,080 --> 01:07:27,440
Speaker 1: I mean I would understand, I would, yeah, you know.

1125
01:07:28,880 --> 01:07:31,040
Speaker 10: Oh man, I'm sorry here.

1126
01:07:32,880 --> 01:07:34,280
Speaker 1: So he was he was up there.

1127
01:07:36,120 --> 01:07:41,560
Speaker 10: Like yeah, yeah, but with his band or I'm not sure,

1128
01:07:41,720 --> 01:07:47,080
Speaker 10: but apparently he flinched and Colbert had it in the

1129
01:07:47,160 --> 01:07:50,320
Speaker 10: back of his mind. After we ad met and that

1130
01:07:50,840 --> 01:07:55,160
Speaker 10: Colbert port Love Right performance, he was like, I'd be

1131
01:07:55,200 --> 01:07:57,240
Speaker 10: cool to spend some time on stage with this guy.

1132
01:07:58,000 --> 01:07:59,920
Speaker 10: He wasn't aware of it before then, but then.

1133
01:08:00,040 --> 01:08:01,400
Speaker 1: Yeah, I was about to say, did he go to

1134
01:08:01,480 --> 01:08:02,280
Speaker 1: any of the No.

1135
01:08:02,680 --> 01:08:06,280
Speaker 10: No, he's actually one of his producers went to one

1136
01:08:06,360 --> 01:08:10,000
Speaker 10: of those and what y'all doing we.

1137
01:08:10,080 --> 01:08:13,760
Speaker 1: Were talking about at the beginning, Yeah, right, But this

1138
01:08:13,920 --> 01:08:17,760
Speaker 1: also proves the point that there's Ronald McDonald's and then

1139
01:08:17,760 --> 01:08:22,800
Speaker 1: there's Ray Crocs. And for every figurehead that you think, like,

1140
01:08:22,920 --> 01:08:25,719
Speaker 1: did Steve Gobert go to these shows, it doesn't matter

1141
01:08:25,960 --> 01:08:28,960
Speaker 1: because it only matters to the five people the Ray Crocs,

1142
01:08:29,280 --> 01:08:32,160
Speaker 1: the five people there in Steven's ear about this is cool.

1143
01:08:32,280 --> 01:08:35,200
Speaker 1: You should check it out right. It's never the person

1144
01:08:35,280 --> 01:08:37,439
Speaker 1: that the Kanye is that I have. The idea is

1145
01:08:39,680 --> 01:08:42,599
Speaker 1: it's the fifty people and Kanye's ear that he takes

1146
01:08:42,640 --> 01:08:43,880
Speaker 1: them from anyway, So go ahead.

1147
01:08:44,400 --> 01:08:48,400
Speaker 10: So that that that was when we've done some test shows,

1148
01:08:48,439 --> 01:08:51,320
Speaker 10: he said, you know, and and Elvis he flinched. He said,

1149
01:08:51,360 --> 01:08:52,600
Speaker 10: you know, I don't know if I want to have

1150
01:08:52,720 --> 01:08:58,880
Speaker 10: a boss. And then Stephen says, okay, well that's okay,

1151
01:08:59,479 --> 01:09:02,479
Speaker 10: hangs up, the phone, calls me and it's like, hey,

1152
01:09:03,439 --> 01:09:06,880
Speaker 10: do you do you want to have this conversation. Come

1153
01:09:06,960 --> 01:09:09,200
Speaker 10: back in ten days. We have the conversation. He calls me.

1154
01:09:09,240 --> 01:09:09,720
Speaker 1: The next day.

1155
01:09:09,800 --> 01:09:12,920
Speaker 10: After we have this conversation, I meet the staff and

1156
01:09:12,960 --> 01:09:17,040
Speaker 10: he says, you know, I want to you officially have

1157
01:09:18,080 --> 01:09:22,439
Speaker 10: been named the band leader of the Late Show. Congratulations,

1158
01:09:22,920 --> 01:09:27,200
Speaker 10: we start on this date, and you should start rehearsing

1159
01:09:27,240 --> 01:09:27,639
Speaker 10: your band.

1160
01:09:28,520 --> 01:09:29,840
Speaker 1: Did you human yet?

1161
01:09:30,600 --> 01:09:36,000
Speaker 10: So? Stay Human was basically for months and not only

1162
01:09:36,040 --> 01:09:37,800
Speaker 10: Stay he was a wild thing in the air where

1163
01:09:37,800 --> 01:09:40,960
Speaker 10: people were coming to me and telling me that I

1164
01:09:41,200 --> 01:09:45,000
Speaker 10: should call Steven, telling me you should be the band.

1165
01:09:45,080 --> 01:09:47,320
Speaker 10: The band was like, man, we had just finished like

1166
01:09:47,360 --> 01:09:50,040
Speaker 10: a nine month tour and they were like, we didn't

1167
01:09:50,040 --> 01:09:53,559
Speaker 10: have anything on the books. And the band was like, man,

1168
01:09:53,640 --> 01:09:56,760
Speaker 10: you should call Steven. You cool with Steven, right, you

1169
01:09:56,800 --> 01:09:59,040
Speaker 10: should call Steven. You should get that gig. Man, that

1170
01:09:59,040 --> 01:10:01,760
Speaker 10: would be great. We should lay that get He's so cool,

1171
01:10:01,920 --> 01:10:05,960
Speaker 10: it'd be so great. And I was just like, I

1172
01:10:06,080 --> 01:10:08,200
Speaker 10: don't know. I just don't know if that's something that

1173
01:10:08,240 --> 01:10:11,080
Speaker 10: I want to do. We just finished my first real

1174
01:10:11,280 --> 01:10:14,439
Speaker 10: tour and like we have some momentum. I feel like

1175
01:10:14,520 --> 01:10:16,800
Speaker 10: we could we have signed a label deal yet with

1176
01:10:17,040 --> 01:10:20,519
Speaker 10: just like all this stuff that and all this stuff was, yeah.

1177
01:10:20,400 --> 01:10:21,800
Speaker 7: I hadn't signed a label deal.

1178
01:10:21,960 --> 01:10:25,160
Speaker 10: No, I'm just putting out independent, just put it on

1179
01:10:25,240 --> 01:10:27,200
Speaker 10: the internet, no marketing know anything.

1180
01:10:27,360 --> 01:10:27,720
Speaker 1: Did you think?

1181
01:10:27,800 --> 01:10:29,280
Speaker 7: Let me just ask one question to the both of y'all,

1182
01:10:29,400 --> 01:10:31,600
Speaker 7: what's the difference you signed on to the the to

1183
01:10:31,800 --> 01:10:34,720
Speaker 7: Jimmy when how about how long have you been with him?

1184
01:10:35,920 --> 01:10:42,680
Speaker 1: We agreed in April of two thousand and eight. That's

1185
01:10:42,760 --> 01:10:45,639
Speaker 1: ten years, and it took about yeah, it took about

1186
01:10:46,920 --> 01:10:48,680
Speaker 1: seven months to really make it real.

1187
01:10:48,800 --> 01:10:51,680
Speaker 10: Steve, that's like three four three years. It's the fourth year.

1188
01:10:51,800 --> 01:10:51,960
Speaker 1: Now.

1189
01:10:52,240 --> 01:10:55,240
Speaker 7: Did you ever think to maybe make a call, because

1190
01:10:55,520 --> 01:10:57,680
Speaker 7: I'm okay you made a call.

1191
01:10:57,800 --> 01:11:02,720
Speaker 10: In fact, I reached out, but we met before we

1192
01:11:02,800 --> 01:11:04,960
Speaker 10: could even connect on the phone. The first night of

1193
01:11:05,040 --> 01:11:11,280
Speaker 10: the show, Alex Soros had a birthday party, and you

1194
01:11:11,479 --> 01:11:14,160
Speaker 10: basically laid the He laid the whole science of the

1195
01:11:14,280 --> 01:11:18,599
Speaker 10: gig down at at this part at the Boom Boom Room.

1196
01:11:21,760 --> 01:11:24,799
Speaker 10: It was the second time that I talked to Abandon.

1197
01:11:24,880 --> 01:11:27,840
Speaker 10: The first person I talked to was was Schaeffer. Chevy

1198
01:11:27,960 --> 01:11:29,800
Speaker 10: Chase introduced me to Schaeffer and.

1199
01:11:34,200 --> 01:11:34,519
Speaker 1: Wait, you.

1200
01:11:36,000 --> 01:11:38,559
Speaker 10: I wasn't cool with Chevy really, but I had dinner

1201
01:11:38,560 --> 01:11:40,439
Speaker 10: with him a couple of times from a mutual friend

1202
01:11:41,840 --> 01:11:45,000
Speaker 10: and he was like, you should, and he plays piano,

1203
01:11:45,640 --> 01:11:47,600
Speaker 10: so we bonded over the piano.

1204
01:11:49,160 --> 01:11:52,639
Speaker 1: For a minute before they got the deal.

1205
01:11:53,080 --> 01:11:56,840
Speaker 13: Chevy Chase, Chevy Chase plays piano. This is why you're

1206
01:11:56,880 --> 01:12:00,200
Speaker 13: here because I never knew that Bill Evans this is

1207
01:12:00,200 --> 01:12:04,439
Speaker 13: his idol. Wow, wait Chevy Chase comedy.

1208
01:12:04,600 --> 01:12:09,479
Speaker 1: Yes, okay, So did he introduced you to Paul?

1209
01:12:10,320 --> 01:12:12,920
Speaker 10: Yeah? Because I didn't know Paul, but obviously I wanted

1210
01:12:12,920 --> 01:12:14,680
Speaker 10: to talk to him when this was kind of in

1211
01:12:15,160 --> 01:12:20,640
Speaker 10: the running, and I went We went to p J.

1212
01:12:20,880 --> 01:12:24,720
Speaker 10: Clarks up in Lincoln Center and and he and he

1213
01:12:24,880 --> 01:12:29,360
Speaker 10: told me his experience. And then Mira we we met

1214
01:12:29,439 --> 01:12:32,040
Speaker 10: on the first night of the show at Sorols and

1215
01:12:32,120 --> 01:12:34,600
Speaker 10: he told us about how y'all do all of the

1216
01:12:34,640 --> 01:12:37,080
Speaker 10: stuff with the talk back mike and the leftop, and

1217
01:12:37,880 --> 01:12:41,080
Speaker 10: I mean, I kind of just I sought everybody out.

1218
01:12:41,520 --> 01:12:46,040
Speaker 10: I called Branford and we linked up when he was

1219
01:12:46,120 --> 01:12:49,160
Speaker 10: in town doing It's like a Bill Witherston at Carnegie.

1220
01:12:49,160 --> 01:12:51,640
Speaker 10: It was all like, right around the beginning of the season, Well,

1221
01:12:51,680 --> 01:12:52,080
Speaker 10: I'm having a.

1222
01:12:52,080 --> 01:12:55,960
Speaker 7: Brain fart, who's post Bradford from Philly And I.

1223
01:12:56,000 --> 01:13:01,800
Speaker 10: Went to see Kevin played with Dave Holland at the Vanguard, which, oh,

1224
01:13:01,840 --> 01:13:04,040
Speaker 10: we're playing the Vanguard next week, shout out. But uh

1225
01:13:04,840 --> 01:13:08,160
Speaker 10: so the Vanguard with Dave Holland.

1226
01:13:08,320 --> 01:13:11,800
Speaker 1: State human Uh yeah, hell yeah, I'm coming. Yeah, it

1227
01:13:11,920 --> 01:13:12,679
Speaker 1: might be sold.

1228
01:13:12,439 --> 01:13:19,400
Speaker 10: Out nor Riscal way back.

1229
01:13:19,600 --> 01:13:29,599
Speaker 1: I know, ye, she was with us first anywhere. I'm

1230
01:13:29,640 --> 01:13:30,759
Speaker 1: going to the winner circle.

1231
01:13:32,080 --> 01:13:33,719
Speaker 7: That's not true. You're a winner.

1232
01:13:33,880 --> 01:13:39,639
Speaker 1: I was playing. Go ahead, Elvis, just send me an email.

1233
01:13:39,680 --> 01:13:52,080
Speaker 1: I gotta okay. So you're basically saying that you went

1234
01:13:52,280 --> 01:13:54,439
Speaker 1: and sought out. Wow, you did it in ways that

1235
01:13:55,200 --> 01:13:57,519
Speaker 1: I didn't even think of. I think maybe I talked

1236
01:13:57,560 --> 01:13:59,559
Speaker 1: to Branford for like one second. Hit up.

1237
01:13:59,600 --> 01:14:01,080
Speaker 7: Do you know he's still around?

1238
01:14:01,200 --> 01:14:01,880
Speaker 10: Yeah? Doctors?

1239
01:14:02,280 --> 01:14:05,200
Speaker 1: Well he played with us, but I didn't. The thing was,

1240
01:14:05,360 --> 01:14:08,880
Speaker 1: it's like we literally we weren't going to take it,

1241
01:14:09,360 --> 01:14:14,720
Speaker 1: and I just doing those eight months from April to

1242
01:14:15,040 --> 01:14:21,040
Speaker 1: to what September? I just figured, Okay, I know we're

1243
01:14:21,080 --> 01:14:22,720
Speaker 1: not going to take this gig because the money was

1244
01:14:22,800 --> 01:14:23,320
Speaker 1: getting good.

1245
01:14:23,560 --> 01:14:24,799
Speaker 7: Leave it alone. It's just numbers.

1246
01:14:25,080 --> 01:14:25,720
Speaker 1: What your math?

1247
01:14:25,760 --> 01:14:29,080
Speaker 11: It's you said eight months April to September, that's like

1248
01:14:29,160 --> 01:14:31,280
Speaker 11: five Oh are you nerd.

1249
01:14:33,320 --> 01:14:45,280
Speaker 1: Any words? I mean I said September, but I guess

1250
01:14:45,320 --> 01:14:48,320
Speaker 1: we told him it's real maybe in November. So I'm

1251
01:14:48,400 --> 01:14:52,760
Speaker 1: just saying that. In my mind, I thought, Okay, you're

1252
01:14:52,800 --> 01:14:54,760
Speaker 1: gonna say no, but at least you're gonna have a

1253
01:14:54,920 --> 01:14:57,400
Speaker 1: friend in late night so that when the Roots released records,

1254
01:14:57,720 --> 01:15:00,400
Speaker 1: you could be the musical guess. And that's all we

1255
01:15:00,520 --> 01:15:02,639
Speaker 1: wanted because we were making good money at that point,

1256
01:15:03,400 --> 01:15:09,040
Speaker 1: and you know, I I guess he kind of didn't

1257
01:15:09,040 --> 01:15:11,200
Speaker 1: take no for an answer, But in my mind, I

1258
01:15:11,400 --> 01:15:15,000
Speaker 1: just thought by that point a lot of acts that

1259
01:15:15,120 --> 01:15:20,400
Speaker 1: we were opening for back in ninety four ninety five,

1260
01:15:20,760 --> 01:15:24,400
Speaker 1: like we're now they're now opening for us, like and

1261
01:15:24,600 --> 01:15:28,000
Speaker 1: no disrespect, I you know, I love but it I

1262
01:15:28,040 --> 01:15:31,679
Speaker 1: would hate when our management would let run DMC open

1263
01:15:31,760 --> 01:15:34,960
Speaker 1: for us, and I'm like, they're fucking run DMC like

1264
01:15:35,040 --> 01:15:37,320
Speaker 1: they need the headline, And even run DMC was like, nah, dog,

1265
01:15:37,439 --> 01:15:40,160
Speaker 1: we just do this hour, get our money be out,

1266
01:15:40,400 --> 01:15:43,880
Speaker 1: and you know, like they didn't care about like whatever

1267
01:15:44,320 --> 01:15:46,960
Speaker 1: romantic things I had in my head of us being legends.

1268
01:15:47,000 --> 01:15:48,960
Speaker 1: They just like give us the money stuff.

1269
01:15:49,040 --> 01:15:50,760
Speaker 7: Not for nothing, y'all, but like, for real, have you

1270
01:15:51,000 --> 01:15:52,960
Speaker 7: y'all too soaked up this moment where we just we

1271
01:15:53,160 --> 01:15:55,439
Speaker 7: just mentioned all these past band leaders and this is great,

1272
01:15:55,439 --> 01:15:57,360
Speaker 7: but this is the first time like the two brothers

1273
01:15:57,439 --> 01:16:00,640
Speaker 7: have really been helming the the band leader thing on

1274
01:16:00,640 --> 01:16:03,920
Speaker 7: the late night like the same time at the same time,

1275
01:16:03,960 --> 01:16:05,960
Speaker 7: at the same time, at the same time on the

1276
01:16:06,280 --> 01:16:08,599
Speaker 7: two competing shows, not on the late L L Late

1277
01:16:08,880 --> 01:16:14,760
Speaker 7: and the Late Ya want to say, well, let.

1278
01:16:14,720 --> 01:16:17,679
Speaker 1: Me finish my point. My point was. My point was basically,

1279
01:16:20,439 --> 01:16:21,720
Speaker 1: and I had Bill in mine when I did this,

1280
01:16:21,840 --> 01:16:25,160
Speaker 1: let me finish my point. My point was pretty much that, uh,

1281
01:16:26,240 --> 01:16:32,240
Speaker 1: I just I didn't want to be in that run

1282
01:16:32,320 --> 01:16:34,439
Speaker 1: dem see position. I just thought, like, Okay, it's two

1283
01:16:34,439 --> 01:16:36,960
Speaker 1: thousand and eight, man, what if we're not a thing

1284
01:16:37,040 --> 01:16:42,080
Speaker 1: in two thousand and fifteen, we'll be running We'll be

1285
01:16:42,200 --> 01:16:47,000
Speaker 1: run DMC opening for Drake or like like we could

1286
01:16:47,040 --> 01:16:50,120
Speaker 1: ever do that anyway. I'm just saying that that was

1287
01:16:50,200 --> 01:16:52,439
Speaker 1: part of my Okay, let's let's just go here and

1288
01:16:53,200 --> 01:16:56,000
Speaker 1: get safe and we'll just go somewhere quietly to die.

1289
01:16:57,640 --> 01:17:01,720
Speaker 1: And that's what I thought. Well, I never I never

1290
01:17:01,960 --> 01:17:05,920
Speaker 1: once thought that it would be beneficial. So in your head,

1291
01:17:06,160 --> 01:17:10,160
Speaker 1: after you got all this information, what were the pros

1292
01:17:10,600 --> 01:17:11,639
Speaker 1: and what were the cons?

1293
01:17:12,960 --> 01:17:18,439
Speaker 10: Honestly, I was I was looking forward to touring more.

1294
01:17:19,080 --> 01:17:23,920
Speaker 10: But I really Steven actually kind of really convinced me

1295
01:17:24,200 --> 01:17:27,559
Speaker 10: because not by what he said. I just really liked

1296
01:17:27,640 --> 01:17:30,679
Speaker 10: him because I wasn't familiar with the Cobert Report before

1297
01:17:30,760 --> 01:17:33,360
Speaker 10: I was on the show, so I didn't know anything

1298
01:17:33,439 --> 01:17:38,599
Speaker 10: about him or his whole ethos, of the whole kind

1299
01:17:38,640 --> 01:17:41,000
Speaker 10: of sat tire that he came from in that tradition.

1300
01:17:42,520 --> 01:17:44,280
Speaker 10: But when I met him and talked to him, we

1301
01:17:44,479 --> 01:17:46,080
Speaker 10: just had a lot of things that I felt like

1302
01:17:46,200 --> 01:17:48,640
Speaker 10: were in common and his objectives for the show, what

1303
01:17:48,800 --> 01:17:51,360
Speaker 10: he wanted to do in the world in general, with

1304
01:17:51,760 --> 01:17:54,559
Speaker 10: everything that he had been doing. I was really compelled

1305
01:17:54,640 --> 01:17:57,599
Speaker 10: to do it because of that, and I also thought, well,

1306
01:17:58,200 --> 01:18:02,560
Speaker 10: at the time, I was only six, so I was like,

1307
01:18:03,200 --> 01:18:04,200
Speaker 10: why do you laugh every time?

1308
01:18:05,160 --> 01:18:07,080
Speaker 7: Because that's just amazing. It's like, what do you do

1309
01:18:07,200 --> 01:18:07,680
Speaker 7: after this?

1310
01:18:08,000 --> 01:18:09,519
Speaker 1: I remember where I was at twenty six, and it

1311
01:18:09,600 --> 01:18:10,800
Speaker 1: definitely was not on late night.

1312
01:18:10,720 --> 01:18:14,559
Speaker 7: Television paying leadal like He' not just playing I'm.

1313
01:18:14,479 --> 01:18:21,000
Speaker 10: Just I just an appointment, right, It was?

1314
01:18:21,240 --> 01:18:22,000
Speaker 7: It was, It was.

1315
01:18:22,400 --> 01:18:28,800
Speaker 10: It was such a a great vision that he showed us,

1316
01:18:28,840 --> 01:18:31,800
Speaker 10: and I mean, you know this is before Trump, but

1317
01:18:32,640 --> 01:18:34,519
Speaker 10: it was just the idea that was, let's make a

1318
01:18:34,640 --> 01:18:36,200
Speaker 10: show about people.

1319
01:18:38,040 --> 01:18:40,560
Speaker 12: So did you draw any parallels between his concept for

1320
01:18:40,640 --> 01:18:42,679
Speaker 12: a show and what you've been doing the music?

1321
01:18:42,920 --> 01:18:46,200
Speaker 10: Absolutely, I mean there's something we talked about in the

1322
01:18:46,560 --> 01:18:52,840
Speaker 10: first initial conversation about the show, calling the show the

1323
01:18:53,040 --> 01:18:56,800
Speaker 10: joy machine, I guess a machine that you get into

1324
01:18:57,760 --> 01:19:01,720
Speaker 10: and you basically create joy and you pump it out

1325
01:19:01,880 --> 01:19:02,720
Speaker 10: through the airwaves.

1326
01:19:03,600 --> 01:19:04,880
Speaker 1: My word is a joy machine.

1327
01:19:05,000 --> 01:19:07,160
Speaker 7: That's my word. I tell people all the time. Joy

1328
01:19:07,240 --> 01:19:10,040
Speaker 7: is the ultimate level. Like happiness is cool, joy is man,

1329
01:19:11,040 --> 01:19:14,320
Speaker 7: Wait one, how did you how did you do not

1330
01:19:14,520 --> 01:19:14,760
Speaker 7: know this?

1331
01:19:15,280 --> 01:19:17,880
Speaker 1: And Steve, how did you know this? I was just

1332
01:19:17,920 --> 01:19:19,120
Speaker 1: trying to insult her. I didn't know.

1333
01:19:21,240 --> 01:19:21,280
Speaker 12: It.

1334
01:19:21,720 --> 01:19:23,280
Speaker 7: Real thing, like me and my dad, we have a

1335
01:19:23,320 --> 01:19:26,759
Speaker 7: whole thing about joy And how really that didn't just happened.

1336
01:19:28,200 --> 01:19:30,720
Speaker 7: Happiness is fleeting, but joy is forever. Even when you're mad,

1337
01:19:31,000 --> 01:19:32,720
Speaker 7: it's still with this sense of this joy is.

1338
01:19:32,760 --> 01:19:35,479
Speaker 1: Just you're trying to be a dick. You're backfired on.

1339
01:19:36,120 --> 01:19:37,440
Speaker 9: That's actually actually.

1340
01:19:39,200 --> 01:19:41,160
Speaker 1: That was an introverted all.

1341
01:19:41,560 --> 01:19:43,640
Speaker 7: Wow, I would love to be that person. Se like

1342
01:19:43,720 --> 01:19:45,639
Speaker 7: to bring joys work.

1343
01:19:46,080 --> 01:19:49,439
Speaker 1: That's so good, that's so okay. I'm curious to know.

1344
01:19:50,439 --> 01:19:54,439
Speaker 1: I'm curious to know what your daily schedule is now,

1345
01:19:55,000 --> 01:19:56,559
Speaker 1: and I want to know if it's similar to mine.

1346
01:19:56,920 --> 01:19:59,240
Speaker 1: First of all, how often do you guys have to

1347
01:19:59,439 --> 01:19:59,840
Speaker 1: do you guys?

1348
01:20:00,040 --> 01:20:00,160
Speaker 10: Ever?

1349
01:20:00,320 --> 01:20:02,040
Speaker 1: Back up? Guests that come on the show.

1350
01:20:02,360 --> 01:20:07,240
Speaker 10: Yeah, yeah, we back up guests sometimes fragmented parts of

1351
01:20:07,320 --> 01:20:10,960
Speaker 10: the band back up. I guess like the last thing

1352
01:20:11,080 --> 01:20:16,080
Speaker 10: we did I played not with the band with Nas

1353
01:20:16,960 --> 01:20:20,559
Speaker 10: mac Miller when he man, yeah.

1354
01:20:22,760 --> 01:20:25,040
Speaker 14: Wow, last performance on TV.

1355
01:20:25,320 --> 01:20:29,320
Speaker 1: Damn yeah yeah wow yeah man.

1356
01:20:29,640 --> 01:20:33,160
Speaker 10: Yeah, we we we do it a fair amount. In

1357
01:20:33,280 --> 01:20:37,080
Speaker 10: season one we did it a lot, okay, but and

1358
01:20:37,160 --> 01:20:39,040
Speaker 10: we also did a lot of sittings, and then after

1359
01:20:39,760 --> 01:20:42,080
Speaker 10: about a year and a half we kind of scaled

1360
01:20:42,160 --> 01:20:43,880
Speaker 10: back on that and now we're just.

1361
01:20:45,360 --> 01:20:59,120
Speaker 1: It's hard. I'll start first, well, okay, the thing is,

1362
01:21:00,280 --> 01:21:04,720
Speaker 1: it's because I always want my fantasy's like, YO want

1363
01:21:04,760 --> 01:21:07,439
Speaker 1: my idols to sit in with me. And the thing

1364
01:21:07,640 --> 01:21:12,840
Speaker 1: is is like my idolds are I'm being generous if

1365
01:21:12,880 --> 01:21:16,679
Speaker 1: I say sixty, they're more like sixty five, seventy seventy

1366
01:21:16,720 --> 01:21:21,120
Speaker 1: five and years old and setting their ways. And the

1367
01:21:21,200 --> 01:21:23,760
Speaker 1: thing is to be the position that we're in right now.

1368
01:21:24,240 --> 01:21:27,720
Speaker 1: Oh trust me, we're birds of effects. I believe that

1369
01:21:28,200 --> 01:21:29,760
Speaker 1: to be in the position that we're in right now

1370
01:21:30,160 --> 01:21:33,120
Speaker 1: is a bunch of fast thinking thinking, fast thinking fast

1371
01:21:33,560 --> 01:21:37,320
Speaker 1: man and someone that gets what man, So we want

1372
01:21:38,120 --> 01:21:42,880
Speaker 1: who's who's the cat that uh right? No, no, no, no,

1373
01:21:42,920 --> 01:21:52,920
Speaker 1: no class dead. So you know, wait, who's ill of

1374
01:21:52,960 --> 01:21:57,160
Speaker 1: the dead? I got a great example. I got a

1375
01:21:57,200 --> 01:22:01,680
Speaker 1: great example. There's two examples. Who's the guy who's the

1376
01:22:01,720 --> 01:22:04,720
Speaker 1: guy that sings the theme to mister Belvidere and the

1377
01:22:04,840 --> 01:22:12,600
Speaker 1: all the all detergent throwing to bro We can all utilize.

1378
01:22:13,479 --> 01:22:17,960
Speaker 7: I wanted to know mister Belvedere come ons a double

1379
01:22:18,760 --> 01:22:19,200
Speaker 7: like he.

1380
01:22:20,960 --> 01:22:26,840
Speaker 1: Leon Redbon, so Leon Redbone? He's about was he like

1381
01:22:26,920 --> 01:22:29,799
Speaker 1: seventy eight? Now how do you get the gig? Because Jimmy,

1382
01:22:30,320 --> 01:22:35,760
Speaker 1: that's the thing like oftentimes, like random ideas will come

1383
01:22:36,160 --> 01:22:39,720
Speaker 1: and then the unfortunate thing is like the perception of

1384
01:22:40,040 --> 01:22:44,080
Speaker 1: oh the roots can do anything. Is that hurts us

1385
01:22:44,120 --> 01:22:48,960
Speaker 1: so much because I'm a dog and smoking mirror a human? Yeah,

1386
01:22:49,040 --> 01:22:53,120
Speaker 1: with with with with smoking mirrors. I mean, anything can happen.

1387
01:22:53,240 --> 01:22:57,240
Speaker 1: But oftentimes we'll get thrown. Occasionally we'll get thrown a

1388
01:22:57,320 --> 01:23:01,479
Speaker 1: curveball where it's like, oh, I want you know, I

1389
01:23:01,560 --> 01:23:03,680
Speaker 1: want to hear the guy that's singing the all the

1390
01:23:03,720 --> 01:23:07,280
Speaker 1: commercials from the seventies and and the mister Belvedere theme.

1391
01:23:07,479 --> 01:23:11,000
Speaker 1: It's like, in theory, it's seems like a good idea. Yeah,

1392
01:23:11,120 --> 01:23:14,479
Speaker 1: but it's like I'm the one that has Usually these

1393
01:23:14,479 --> 01:23:17,040
Speaker 1: people are like seventy nine, eighty years old, right, so

1394
01:23:17,120 --> 01:23:19,639
Speaker 1: it's like he's sixty nine. How old is he sixty nine?

1395
01:23:19,680 --> 01:23:24,759
Speaker 1: Trust me, he's more like eighty nine. And it's like, okay,

1396
01:23:25,040 --> 01:23:27,759
Speaker 1: so at the counter of three, we're going to start dope,

1397
01:23:27,800 --> 01:23:30,639
Speaker 1: b bro, You're throwing to China, devote the vote rope

1398
01:23:30,840 --> 01:23:34,920
Speaker 1: whatever the lyrics are to mister velvit. And it's like

1399
01:23:35,160 --> 01:23:37,479
Speaker 1: they might not be that quick, you know what I mean.

1400
01:23:38,280 --> 01:23:41,519
Speaker 1: And oftentimes they'll be like what dude, and they'll just

1401
01:23:41,560 --> 01:23:50,160
Speaker 1: look at the camera like, oh man, who's the guitar player?

1402
01:23:50,240 --> 01:23:54,040
Speaker 1: And uh reitha Wranglin was singing respect to him and

1403
01:23:54,400 --> 01:24:00,559
Speaker 1: the Blues brothers. Uh oh oh, Mcutar Murphy, No, Mcott Murphy.

1404
01:24:01,120 --> 01:24:05,519
Speaker 1: One time, Mad Guitar Murphy. You remember how aunt esther

1405
01:24:06,560 --> 01:24:09,800
Speaker 1: and Friday when she was the Jove's witness, the way

1406
01:24:09,880 --> 01:24:20,680
Speaker 1: she said fuck you, Well, the funniest moment in our

1407
01:24:20,840 --> 01:24:23,679
Speaker 1: history of that show of sit ins. M Guitar Murphy

1408
01:24:23,920 --> 01:24:27,040
Speaker 1: again up there in age or whatever. Didn't want to

1409
01:24:27,040 --> 01:24:29,120
Speaker 1: wear in the ears or anything. So I'm like trying

1410
01:24:29,160 --> 01:24:34,519
Speaker 1: to tell him, okay, the next song yeah, and he

1411
01:24:34,680 --> 01:24:39,320
Speaker 1: just looked at me and he's just like fuck and

1412
01:24:39,439 --> 01:24:42,960
Speaker 1: he took his guitar and walked off to walk off

1413
01:24:46,320 --> 01:24:49,439
Speaker 1: over here over to you.

1414
01:24:51,280 --> 01:24:51,679
Speaker 9: Stories?

1415
01:24:52,040 --> 01:24:54,960
Speaker 1: What's your favorite? What stories are you allowed to tell?

1416
01:24:55,479 --> 01:24:56,439
Speaker 10: You can speaking in.

1417
01:24:58,640 --> 01:25:01,559
Speaker 14: We had jazz week that was yeah, we're talking about

1418
01:25:01,600 --> 01:25:02,719
Speaker 14: some good oldies.

1419
01:25:03,479 --> 01:25:09,240
Speaker 1: Wow that it's only like twelve seconds of Tod and

1420
01:25:09,320 --> 01:25:10,000
Speaker 1: Jimmy Heath.

1421
01:25:11,920 --> 01:25:16,040
Speaker 10: To the Heath Brothers Brothers. That week it was the

1422
01:25:16,120 --> 01:25:24,679
Speaker 10: Heath Brothers, Wayne Shorter, Wow. Roy, Roy haynes Man, Yeah,

1423
01:25:25,320 --> 01:25:25,720
Speaker 10: he can know.

1424
01:25:25,840 --> 01:25:27,559
Speaker 7: He's good. Roy is good.

1425
01:25:28,000 --> 01:25:31,839
Speaker 10: Roy played over Steven on a bumper.

1426
01:25:32,200 --> 01:25:38,599
Speaker 7: Yeah, eighty five, eighty five at least, right, he's ninety two.

1427
01:25:40,840 --> 01:25:45,400
Speaker 1: We get fired from music director job late.

1428
01:25:48,840 --> 01:25:51,880
Speaker 10: He played over the bumpers at last, you know, like

1429
01:25:52,000 --> 01:25:56,040
Speaker 10: twelve fifteen seconds coming in and then you stop and

1430
01:25:56,120 --> 01:25:58,439
Speaker 10: then the show goes on, propels you into the next

1431
01:25:58,479 --> 01:26:01,439
Speaker 10: act of the show. So Roy is playing and he's

1432
01:26:01,479 --> 01:26:05,400
Speaker 10: in the middle of just this fiery solo, and like

1433
01:26:05,960 --> 01:26:08,320
Speaker 10: all of us on stage are like, man, this is amazing.

1434
01:26:08,880 --> 01:26:11,559
Speaker 10: But I'm like, how do I get him to stop?

1435
01:26:13,120 --> 01:26:19,280
Speaker 1: And I'm like waving my hands, no, no, oh, you

1436
01:26:19,360 --> 01:26:19,840
Speaker 1: were coming in.

1437
01:26:21,439 --> 01:26:24,559
Speaker 10: How do I get him to stop, So what did

1438
01:26:24,600 --> 01:26:24,760
Speaker 10: you do?

1439
01:26:30,080 --> 01:26:30,720
Speaker 7: What did you do?

1440
01:26:31,400 --> 01:26:35,360
Speaker 10: So at one point he realized it, but it was

1441
01:26:35,439 --> 01:26:39,680
Speaker 10: about thirty seconds in and Stephen was like, did I

1442
01:26:39,840 --> 01:26:43,640
Speaker 10: just hallucinate? Did y'all just hear that? You know, he

1443
01:26:43,680 --> 01:26:47,080
Speaker 10: incorporated into the bit. But it's just the sittings are

1444
01:26:47,200 --> 01:26:47,920
Speaker 10: very difficult.

1445
01:26:48,640 --> 01:26:57,080
Speaker 1: How how distracting? Can I ask? How distracting is noodling? Oh,

1446
01:26:57,320 --> 01:27:03,880
Speaker 1: I hate to the show noodling? Okay, so it's guitar player.

1447
01:27:04,880 --> 01:27:07,120
Speaker 1: I'm not throwing Jimmy under the bus at all. Jimmy

1448
01:27:07,560 --> 01:27:09,400
Speaker 1: is very distracted by noodling.

1449
01:27:09,560 --> 01:27:11,840
Speaker 4: So just cooking noodles on the side of the stage.

1450
01:27:15,600 --> 01:27:18,960
Speaker 4: It's just like your guitar, but you're not playing the

1451
01:27:19,040 --> 01:27:21,160
Speaker 4: song even if the amp is off.

1452
01:27:21,240 --> 01:27:23,720
Speaker 1: You know, sometimes guitar players will sit there and like

1453
01:27:25,280 --> 01:27:27,560
Speaker 1: practice a little bit, but Jimmy can still hear the

1454
01:27:29,800 --> 01:27:34,799
Speaker 1: So oftentimes I have to remind people like any tuning,

1455
01:27:36,640 --> 01:27:40,600
Speaker 1: any tuning, or you're basically supposed to be a frozen

1456
01:27:40,840 --> 01:27:46,080
Speaker 1: statue while the show's going on, and oftentimes one little

1457
01:27:46,280 --> 01:27:51,479
Speaker 1: like a or accidents happen, you know what I mean.

1458
01:27:52,320 --> 01:27:57,240
Speaker 1: But it has the potential to throw his concentration game off.

1459
01:27:57,680 --> 01:28:01,880
Speaker 1: It's like if you're shooting, uh a three point shot

1460
01:28:02,000 --> 01:28:04,360
Speaker 1: with five seconds left in the game and suddenly your

1461
01:28:04,400 --> 01:28:08,280
Speaker 1: mom's on the side, Hey, hey, hey, you know, distract

1462
01:28:08,840 --> 01:28:12,920
Speaker 1: and it can throw off the game. So I'm saying,

1463
01:28:13,160 --> 01:28:18,320
Speaker 1: how when mistakes like that happen, is there fear in

1464
01:28:18,360 --> 01:28:20,599
Speaker 1: your heart, like, oh God, this is the end of mine.

1465
01:28:21,640 --> 01:28:25,519
Speaker 10: It's we've gotten good at at at moving around because

1466
01:28:25,560 --> 01:28:30,000
Speaker 10: we still move around the theater and and and and basically,

1467
01:28:30,120 --> 01:28:32,200
Speaker 10: we'll be playing in the balcony one break, or we'll

1468
01:28:32,200 --> 01:28:35,200
Speaker 10: be playing and you know, we'll go to the there's

1469
01:28:35,240 --> 01:28:38,200
Speaker 10: a two tiers, so we'll go to the balcony on

1470
01:28:38,360 --> 01:28:40,400
Speaker 10: the stage side, or we'll go to the balcony on

1471
01:28:40,920 --> 01:28:43,240
Speaker 10: the audience side, or we'll go in the aisles or

1472
01:28:43,720 --> 01:28:46,200
Speaker 10: and and we have a lot of percussion instruments and

1473
01:28:46,320 --> 01:28:48,760
Speaker 10: tambourines make a lot of noise when you pick them up.

1474
01:28:50,400 --> 01:28:52,680
Speaker 10: So we've gotten good at it, so we don't have

1475
01:28:52,800 --> 01:28:55,960
Speaker 10: as many hiccups anymore. But we got a note early on,

1476
01:28:56,560 --> 01:29:00,840
Speaker 10: like in the first year, we got an email. I

1477
01:29:00,920 --> 01:29:05,719
Speaker 10: get the email and it's like, so during the show,

1478
01:29:06,360 --> 01:29:08,800
Speaker 10: would like it if the band area could be as

1479
01:29:08,920 --> 01:29:15,840
Speaker 10: quiet as possible and I was like, oh, okay, but

1480
01:29:15,960 --> 01:29:18,120
Speaker 10: the energy was like during the show, I knew it

1481
01:29:18,280 --> 01:29:21,560
Speaker 10: was coming because I think somebody dropped the tambourine and

1482
01:29:21,680 --> 01:29:24,280
Speaker 10: Steven looked over. He didn't say anything, but he looked

1483
01:29:24,280 --> 01:29:29,880
Speaker 10: over like he's like, hmm okay. And then next day, Oh,

1484
01:29:31,439 --> 01:29:34,360
Speaker 10: what what time do you have to be there? Normally, well,

1485
01:29:35,360 --> 01:29:36,840
Speaker 10: it's changed production.

1486
01:29:36,640 --> 01:29:39,720
Speaker 1: Meeting or it's Marissa the production meeting person. What time

1487
01:29:39,760 --> 01:29:40,400
Speaker 1: do you have to be there?

1488
01:29:40,400 --> 01:29:42,160
Speaker 14: In the more so, I technically don't work at the

1489
01:29:42,200 --> 01:29:44,920
Speaker 14: Late Show anymore. I worked just for John, but I

1490
01:29:45,000 --> 01:29:46,960
Speaker 14: worked there for three years. I actually worked the premiere

1491
01:29:47,120 --> 01:29:49,639
Speaker 14: of the Late Show and the premiere of the Tonight Show.

1492
01:29:51,960 --> 01:29:53,200
Speaker 7: Took the information, and.

1493
01:29:55,520 --> 01:29:57,920
Speaker 14: So this is like a colliding of two worlds right

1494
01:29:57,960 --> 01:30:02,280
Speaker 14: now a little a little bit. Yeah, but production meeting

1495
01:30:02,360 --> 01:30:04,439
Speaker 14: starts at ten thirty, So back when I was an

1496
01:30:04,439 --> 01:30:07,479
Speaker 14: employe at CBS had to be in around ten. John

1497
01:30:07,560 --> 01:30:10,560
Speaker 14: usually gets in around The schedule change is depending on

1498
01:30:11,200 --> 01:30:12,439
Speaker 14: how you feel with the band.

1499
01:30:12,560 --> 01:30:14,760
Speaker 1: How often you do live in Manhattan? Please tell me

1500
01:30:14,840 --> 01:30:16,240
Speaker 1: you do? I used to.

1501
01:30:16,360 --> 01:30:17,160
Speaker 10: I don't anymore.

1502
01:30:17,320 --> 01:30:19,760
Speaker 1: No, you Lioklyn, Brooklyn used to.

1503
01:30:19,760 --> 01:30:21,880
Speaker 14: Live two blocks away in Brooklyn.

1504
01:30:21,920 --> 01:30:23,400
Speaker 7: Look at him, Yeah, I belong in Brooklyn.

1505
01:30:23,640 --> 01:30:26,439
Speaker 1: Yes, I still maintain they want me to live at

1506
01:30:26,479 --> 01:30:27,519
Speaker 1: thirty one Rock.

1507
01:30:27,640 --> 01:30:29,960
Speaker 10: Oh yeah, yeah, Oh for sure.

1508
01:30:30,240 --> 01:30:32,360
Speaker 14: John would roll out of bed and walk to work

1509
01:30:32,439 --> 01:30:34,280
Speaker 14: in probably fifteen seconds. That's how close here.

1510
01:30:34,360 --> 01:30:34,759
Speaker 1: Awesome.

1511
01:30:35,280 --> 01:30:36,080
Speaker 7: Now it's like an hour.

1512
01:30:37,560 --> 01:30:41,960
Speaker 10: I'll so I just wanted to get outside of it. Yeah.

1513
01:30:42,080 --> 01:30:44,599
Speaker 10: And also I want I want to put a studio

1514
01:30:45,000 --> 01:30:46,719
Speaker 10: because I have so many things that I want to record.

1515
01:30:46,800 --> 01:30:48,479
Speaker 10: I'm putting the studio at the bottom floor, so I

1516
01:30:48,520 --> 01:30:50,120
Speaker 10: can kind of just roll out of bit and go

1517
01:30:50,200 --> 01:30:52,040
Speaker 10: to the studio and then go to work.

1518
01:30:52,400 --> 01:30:55,120
Speaker 7: Can I ask you just to rate your millennialism? What

1519
01:30:55,240 --> 01:30:56,360
Speaker 7: part of Brooklyn do you live in?

1520
01:30:57,080 --> 01:31:00,599
Speaker 10: So it's like Clinton Hill, Fort Green Borders.

1521
01:31:00,800 --> 01:31:03,160
Speaker 7: What's what you think, Bill, that's like a little stage five?

1522
01:31:07,640 --> 01:31:09,080
Speaker 10: Great your millennium.

1523
01:31:10,040 --> 01:31:11,559
Speaker 11: He's living around the area where I used to live

1524
01:31:11,600 --> 01:31:13,760
Speaker 11: when I first moved to Brooklyn and got priced out.

1525
01:31:14,040 --> 01:31:21,040
Speaker 7: Oh you gentified? Can as you never read any of

1526
01:31:21,120 --> 01:31:24,360
Speaker 7: the the cons of because we all know that Steven

1527
01:31:24,439 --> 01:31:26,559
Speaker 7: is so involved in the politics side of things. Does

1528
01:31:26,600 --> 01:31:28,200
Speaker 7: that ever come at you in any type of way?

1529
01:31:28,600 --> 01:31:34,400
Speaker 10: You know it It doesn't, But it's definitely aligned to

1530
01:31:34,600 --> 01:31:39,280
Speaker 10: tread in the sense that you have your identity, but

1531
01:31:39,400 --> 01:31:41,800
Speaker 10: your identity is so closely related to the show and

1532
01:31:41,880 --> 01:31:42,800
Speaker 10: the content of the show.

1533
01:31:43,560 --> 01:31:46,639
Speaker 1: So people watching the show probably know what they're getting into.

1534
01:31:47,240 --> 01:31:49,560
Speaker 10: Yeah, but I don't know if you know.

1535
01:31:49,920 --> 01:31:51,320
Speaker 7: That's true. But I didn't know if you get those.

1536
01:31:51,840 --> 01:31:54,439
Speaker 7: I'm sure he still gets mean emails and hate stuff.

1537
01:31:54,479 --> 01:31:57,760
Speaker 7: I'm talking about Steven, not John saying. Yeah, people still

1538
01:31:57,800 --> 01:31:59,320
Speaker 7: don't like it. They know what he's saying. They don't

1539
01:31:59,400 --> 01:31:59,519
Speaker 7: like it.

1540
01:31:59,840 --> 01:32:01,960
Speaker 1: I love it myself, but I feel like, if you're

1541
01:32:02,000 --> 01:32:05,240
Speaker 1: watching Stephen Colbert, you know what you're getting.

1542
01:32:05,320 --> 01:32:05,680
Speaker 7: Oh you do?

1543
01:32:10,960 --> 01:32:12,680
Speaker 1: So anyway, what's the cafeteria like that?

1544
01:32:13,920 --> 01:32:14,640
Speaker 9: Yeah?

1545
01:32:14,920 --> 01:32:20,439
Speaker 1: Yeah, Yeah, There's so many things I want to ask

1546
01:32:20,479 --> 01:32:24,880
Speaker 1: about this show. First of all, what what's the degree

1547
01:32:25,000 --> 01:32:27,320
Speaker 1: level of the of the theater? How cold is it?

1548
01:32:27,479 --> 01:32:27,599
Speaker 7: Oh?

1549
01:32:28,040 --> 01:32:29,800
Speaker 1: Man, damn me.

1550
01:32:31,000 --> 01:32:34,000
Speaker 14: It's like i'd say, probably fifty eight degrees.

1551
01:32:34,240 --> 01:32:36,719
Speaker 10: Yeah, you can see your breath still cold.

1552
01:32:37,240 --> 01:32:39,280
Speaker 14: Yeah, they've kept it cold. They say that they keep

1553
01:32:39,320 --> 01:32:42,360
Speaker 14: it cold to make people make people laugh, right, and

1554
01:32:42,560 --> 01:32:44,160
Speaker 14: back in the day they kept it cold because the

1555
01:32:44,240 --> 01:32:46,599
Speaker 14: lights were so hot. Now they're LEDs. They don't produce

1556
01:32:46,640 --> 01:32:47,000
Speaker 14: any They.

1557
01:32:46,960 --> 01:32:49,160
Speaker 7: Always got a reason, they say, to strip levels of

1558
01:32:49,240 --> 01:32:51,559
Speaker 7: the nipples hard. It's always exactly exactly.

1559
01:32:54,800 --> 01:32:56,559
Speaker 14: You got to wear a winter jacket when you're in there.

1560
01:32:56,680 --> 01:33:01,080
Speaker 1: We we should say that the CBS Theater letterman was

1561
01:33:01,120 --> 01:33:04,040
Speaker 1: there first. Yeah, and he started normally it should be

1562
01:33:04,240 --> 01:33:06,800
Speaker 1: sixty eight degrees, yes, and then when the lights come on,

1563
01:33:07,479 --> 01:33:09,880
Speaker 1: then it's hot. But as she said, now it's led.

1564
01:33:10,160 --> 01:33:14,120
Speaker 1: It doesn't there's no heat uh emanated from it. And

1565
01:33:14,360 --> 01:33:18,719
Speaker 1: now it's like fifty eight degrees.

1566
01:33:18,960 --> 01:33:20,719
Speaker 10: That's not that's ballpark.

1567
01:33:20,800 --> 01:33:23,120
Speaker 14: But I think around there the other.

1568
01:33:23,120 --> 01:33:28,960
Speaker 10: Day it was factually recorded at fifty eight because that

1569
01:33:29,080 --> 01:33:31,400
Speaker 10: was fake news. How big was the theater though there

1570
01:33:31,560 --> 01:33:35,920
Speaker 10: was a it's about a five hundred seater.

1571
01:33:35,960 --> 01:33:37,439
Speaker 14: Really tall ceilings. There's a big dome.

1572
01:33:37,800 --> 01:33:41,439
Speaker 7: It's five hundred seats, bigger than another woman. Yeah, the

1573
01:33:41,560 --> 01:33:42,680
Speaker 7: ceiling is that's what he has.

1574
01:33:43,800 --> 01:33:46,559
Speaker 1: No, No, because in my mind I thought you guys

1575
01:33:46,600 --> 01:33:50,160
Speaker 1: were playing for like ten thousand people. No, it seems large.

1576
01:33:49,840 --> 01:33:54,559
Speaker 10: As like a little like four ninety something looks big

1577
01:33:54,600 --> 01:33:55,120
Speaker 10: on cameracks.

1578
01:33:55,200 --> 01:33:57,760
Speaker 14: The dome is. The dome is pretty massive. But yeah,

1579
01:33:57,880 --> 01:33:59,920
Speaker 14: seat wise, it's I think it's under five hundred.

1580
01:34:00,080 --> 01:34:05,320
Speaker 1: Yeah, damn, okay, it's nice. You guys have to warm

1581
01:34:05,400 --> 01:34:07,400
Speaker 1: up at the beginning. Oh yeah, are you tired of

1582
01:34:07,439 --> 01:34:11,479
Speaker 1: marching out and doing It's like a it's it's good

1583
01:34:11,560 --> 01:34:14,800
Speaker 1: for the band if we keep it fresh. So if

1584
01:34:14,880 --> 01:34:15,920
Speaker 1: we we change it.

1585
01:34:17,479 --> 01:34:22,040
Speaker 10: Exactly, so you gotta you gotta come out and you

1586
01:34:22,200 --> 01:34:25,040
Speaker 10: have to do something that you don't even know how

1587
01:34:25,080 --> 01:34:27,840
Speaker 10: it's going to turn out. It's almost like a way

1588
01:34:27,920 --> 01:34:30,559
Speaker 10: for us to warm up ourselves, not even just the house.

1589
01:34:31,439 --> 01:34:35,080
Speaker 10: So we've recently been we've been doing sunny rollins Saint Thomas.

1590
01:34:36,040 --> 01:34:42,200
Speaker 10: Oh okay, yeah, but sometimes we used to go out

1591
01:34:42,240 --> 01:34:44,920
Speaker 10: and it would just be like, here's here's the groove,

1592
01:34:45,000 --> 01:34:50,720
Speaker 10: let's play sky in G and then we'll modulate on Q.

1593
01:34:51,040 --> 01:34:54,400
Speaker 1: To be flat. Right, So you guys have your your

1594
01:34:54,479 --> 01:34:57,759
Speaker 1: code speaker. Yeah, okay, since you're playing in close quarters.

1595
01:34:57,840 --> 01:35:01,400
Speaker 1: I will say that for the roots, at least these

1596
01:35:01,520 --> 01:35:06,240
Speaker 1: last nine years brought us so close together in a

1597
01:35:06,320 --> 01:35:10,680
Speaker 1: way that is scary, where we can now literally have

1598
01:35:10,920 --> 01:35:18,280
Speaker 1: conversations with each other musically, which I mean just our

1599
01:35:18,520 --> 01:35:23,559
Speaker 1: our our level of code speak, certain certain reference lines,

1600
01:35:23,640 --> 01:35:27,880
Speaker 1: and Mark plays something we know, you know, third row

1601
01:35:28,479 --> 01:35:31,240
Speaker 1: five seats in polka dot shirt.

1602
01:35:32,000 --> 01:35:34,480
Speaker 7: Not anymore because he's married.

1603
01:35:35,280 --> 01:35:36,200
Speaker 1: Exactly look.

1604
01:35:37,640 --> 01:35:40,120
Speaker 7: Touch he can't look they.

1605
01:35:42,520 --> 01:35:46,240
Speaker 1: Heard that my fault mark, But I mean it's hypothetical.

1606
01:35:47,040 --> 01:35:51,679
Speaker 1: But the point is that there's at least there's about

1607
01:35:51,720 --> 01:35:55,200
Speaker 1: thirty things we can communicate with each other without saying

1608
01:35:55,320 --> 01:35:57,400
Speaker 1: a word to each other. I could literally play something

1609
01:35:57,479 --> 01:36:00,800
Speaker 1: on the tambourine or or or the symbol or something

1610
01:36:01,360 --> 01:36:03,560
Speaker 1: if I want Kirk's attention, I know what riff to

1611
01:36:03,600 --> 01:36:06,160
Speaker 1: play if I want the horns, and there's something I

1612
01:36:06,280 --> 01:36:10,040
Speaker 1: do a rhythm on the fourth. So are you guys

1613
01:36:10,120 --> 01:36:13,000
Speaker 1: at that zen moment now where you guys know each

1614
01:36:13,040 --> 01:36:13,280
Speaker 1: other that?

1615
01:36:13,400 --> 01:36:17,720
Speaker 10: Well, yeah, it's it's some wild, just coldes that we

1616
01:36:17,840 --> 01:36:22,200
Speaker 10: got happening with, especially with the band who the guys

1617
01:36:22,200 --> 01:36:24,920
Speaker 10: who were part of the band before the show. We

1618
01:36:25,080 --> 01:36:27,439
Speaker 10: brought some of that in because we developed a lot

1619
01:36:27,479 --> 01:36:32,439
Speaker 10: of colds when we would play on the subways. Because

1620
01:36:32,479 --> 01:36:36,280
Speaker 10: when we play on the subways, you couldn't always say

1621
01:36:36,400 --> 01:36:41,280
Speaker 10: something to the cat, here comes thugs, let's go right, yeah,

1622
01:36:42,560 --> 01:36:45,640
Speaker 10: you know what I mean. So it's like taking that

1623
01:36:45,960 --> 01:36:48,840
Speaker 10: and then also playing together every days. It's been a

1624
01:36:48,960 --> 01:36:52,200
Speaker 10: lot of little things that when we play a venue

1625
01:36:52,320 --> 01:36:55,439
Speaker 10: now it just feels like, oh, we're running now. We

1626
01:36:55,520 --> 01:36:58,360
Speaker 10: took the weight to off our ankles. It's like, oh,

1627
01:36:58,560 --> 01:37:02,040
Speaker 10: this is like way easier than it used to be.

1628
01:37:02,240 --> 01:37:04,840
Speaker 1: All right. One of my final questions, are you tired

1629
01:37:04,880 --> 01:37:07,800
Speaker 1: of people asking you how long is this going to

1630
01:37:07,840 --> 01:37:09,040
Speaker 1: be for? Oh?

1631
01:37:09,160 --> 01:37:10,640
Speaker 7: My goodness, how long it is gonna be for?

1632
01:37:11,479 --> 01:37:13,960
Speaker 1: Well? I mean, I mean.

1633
01:37:16,240 --> 01:37:20,360
Speaker 10: Question, Hey, yeah, I gotta get.

1634
01:37:20,479 --> 01:37:22,360
Speaker 7: You got to ask every man, every thirty year old man,

1635
01:37:22,400 --> 01:37:24,320
Speaker 7: that question, how long you're gonna be here for? Because

1636
01:37:24,360 --> 01:37:25,040
Speaker 7: you know y'all like to.

1637
01:37:26,040 --> 01:37:31,920
Speaker 10: I mean, I tell you what. The the first part

1638
01:37:31,960 --> 01:37:35,800
Speaker 10: of the contract is five years. Okay, so I'm there,

1639
01:37:36,200 --> 01:37:40,080
Speaker 10: there you go, and the rest we'll see. I mean,

1640
01:37:40,160 --> 01:37:42,160
Speaker 10: I love doing it. I don't have plans to leave,

1641
01:37:42,200 --> 01:37:45,280
Speaker 10: and so it's just it's hard to know because we're

1642
01:37:45,360 --> 01:37:47,760
Speaker 10: actually doing the show almost every day. And it's like,

1643
01:37:47,800 --> 01:37:49,040
Speaker 10: you gotta be thinking about that.

1644
01:37:49,200 --> 01:37:51,160
Speaker 7: Because you can't now you can't do projects like you

1645
01:37:51,240 --> 01:37:53,120
Speaker 7: did the season of tre May and stuff like that.

1646
01:37:53,240 --> 01:37:54,920
Speaker 7: But you want to do you want to still do

1647
01:37:55,080 --> 01:37:55,640
Speaker 7: things like that.

1648
01:37:57,640 --> 01:38:00,360
Speaker 1: There's another question I asked, wait, digit can you does

1649
01:38:00,520 --> 01:38:04,479
Speaker 1: each band member, well, it's this as does each band

1650
01:38:04,560 --> 01:38:09,800
Speaker 1: member have their own backup sub just in case you

1651
01:38:09,880 --> 01:38:12,040
Speaker 1: get a call about blah blah blah being in the

1652
01:38:12,120 --> 01:38:14,680
Speaker 1: hospital or wow, someone's.

1653
01:38:15,280 --> 01:38:17,040
Speaker 10: I'm I'm never subbed.

1654
01:38:18,400 --> 01:38:20,280
Speaker 1: I'm just damn y'all love each other too.

1655
01:38:21,160 --> 01:38:26,080
Speaker 10: It was like, I'm just trying to think of what

1656
01:38:26,160 --> 01:38:27,880
Speaker 10: would happen if we needed.

1657
01:38:27,640 --> 01:38:29,880
Speaker 1: A sub So if somebody's sick, they just.

1658
01:38:31,200 --> 01:38:34,720
Speaker 7: Yeah, nobody been sick. What kind of what y'all doing?

1659
01:38:35,439 --> 01:38:36,200
Speaker 1: Kind of health regiment.

1660
01:38:37,800 --> 01:38:41,920
Speaker 10: I've been sick on stage before. Steven's also been sick

1661
01:38:42,000 --> 01:38:42,880
Speaker 10: on stage before.

1662
01:38:43,840 --> 01:38:46,639
Speaker 1: With y'all, it's kind of the show has to go on. Yeah,

1663
01:38:46,800 --> 01:38:51,200
Speaker 1: I found I finally found a drummer that like, when

1664
01:38:51,280 --> 01:38:54,080
Speaker 1: I closed my eyes, I was like, holy shit, I'm

1665
01:38:54,160 --> 01:38:56,040
Speaker 1: playing drums? Who is that?

1666
01:38:56,439 --> 01:38:56,559
Speaker 7: Who?

1667
01:38:56,600 --> 01:38:59,760
Speaker 1: Did I just ask you about? Raised? Raised drumm? Willie

1668
01:38:59,800 --> 01:39:05,800
Speaker 1: Jones Jones? I want him to be. I want him

1669
01:39:05,840 --> 01:39:09,120
Speaker 1: to be. Do you just want vacation? No, well, I

1670
01:39:09,200 --> 01:39:11,360
Speaker 1: mean just in case you get a call or something like.

1671
01:39:11,479 --> 01:39:15,160
Speaker 1: That's the thing. It's it's things gonna happen. You know,

1672
01:39:15,320 --> 01:39:17,559
Speaker 1: when my father passed away and I had to rush

1673
01:39:17,640 --> 01:39:19,880
Speaker 1: to to take care of stuff and Philly, I need

1674
01:39:19,960 --> 01:39:22,000
Speaker 1: someone to send him for four days, and I had

1675
01:39:22,080 --> 01:39:22,439
Speaker 1: that person.

1676
01:39:22,640 --> 01:39:26,800
Speaker 12: But there's other things to your job besides drumming, like his.

1677
01:39:28,439 --> 01:39:30,240
Speaker 1: Yeah, but at the end of the day, it's it's

1678
01:39:30,240 --> 01:39:32,800
Speaker 1: still I know that there's a lot that revolves, but

1679
01:39:32,920 --> 01:39:35,320
Speaker 1: the way that the circle is now the way that

1680
01:39:35,479 --> 01:39:41,080
Speaker 1: I planned it. You know, I could as long as

1681
01:39:41,160 --> 01:39:43,479
Speaker 1: those twelve seconds are straight going in and going out.

1682
01:39:43,880 --> 01:39:46,640
Speaker 12: My point is that your guys jobs involved more than

1683
01:39:46,680 --> 01:39:47,440
Speaker 12: just musicianship.

1684
01:39:47,479 --> 01:39:49,320
Speaker 1: You have to be charismatic, you have to be funny.

1685
01:39:49,800 --> 01:39:52,120
Speaker 1: But there's Treek, see, there's.

1686
01:39:52,120 --> 01:39:56,120
Speaker 7: There's you got tore though, right, But John, Who's.

1687
01:39:56,160 --> 01:39:58,960
Speaker 1: Who's the second most charismatic person in the group? Just

1688
01:39:59,040 --> 01:40:01,080
Speaker 1: in case, what would you say would do that?

1689
01:40:01,840 --> 01:40:05,000
Speaker 14: That's not like John, you got energy this like could

1690
01:40:05,040 --> 01:40:06,920
Speaker 14: step in and be the front man.

1691
01:40:07,840 --> 01:40:08,080
Speaker 1: Yeah.

1692
01:40:09,280 --> 01:40:10,360
Speaker 10: We I don't think we've ever.

1693
01:40:10,680 --> 01:40:11,320
Speaker 1: I don't mean forever.

1694
01:40:11,400 --> 01:40:14,679
Speaker 10: I just mean like a show school would do that because.

1695
01:40:14,880 --> 01:40:18,760
Speaker 7: Now I think we're messing them up because get sick,

1696
01:40:19,280 --> 01:40:20,200
Speaker 7: you know, I feel.

1697
01:40:19,960 --> 01:40:25,360
Speaker 1: Like we're getting energy has evil face.

1698
01:40:26,560 --> 01:40:30,599
Speaker 10: I was thinking, even even in situations where someone has

1699
01:40:31,200 --> 01:40:33,880
Speaker 10: missed shows, we don't get a sub We just played

1700
01:40:33,920 --> 01:40:37,719
Speaker 10: with with the band without like like like Lewis Cato

1701
01:40:38,479 --> 01:40:41,080
Speaker 10: plays the bass and then when he was out for

1702
01:40:41,120 --> 01:40:43,479
Speaker 10: a while, we just did shows where there was no base,

1703
01:40:44,439 --> 01:40:46,080
Speaker 10: with no drugs. We have Tuba as well.

1704
01:40:46,800 --> 01:40:47,559
Speaker 1: So, I mean.

1705
01:40:49,120 --> 01:40:50,479
Speaker 10: It would be interesting to do this.

1706
01:40:50,640 --> 01:40:52,640
Speaker 7: I don't I think this is dangerous. I don't know.

1707
01:40:52,680 --> 01:40:55,560
Speaker 7: But you should just play, you should plan for it.

1708
01:40:55,680 --> 01:40:59,040
Speaker 10: But yeah, I gotta think about that. It's almost seven

1709
01:40:59,160 --> 01:41:01,000
Speaker 10: hundred shows six What.

1710
01:41:01,080 --> 01:41:05,080
Speaker 1: Are you guys on, Alex We're on number No, we are,

1711
01:41:05,880 --> 01:41:08,560
Speaker 1: We're about we're coming up on two thousand. We're on

1712
01:41:08,680 --> 01:41:09,640
Speaker 1: eight hundred something right now?

1713
01:41:09,760 --> 01:41:09,880
Speaker 10: Right?

1714
01:41:10,360 --> 01:41:11,360
Speaker 1: Are we in the nine hundreds?

1715
01:41:11,439 --> 01:41:13,200
Speaker 12: Yeah, we're nine to fifty on the Tonight Show and

1716
01:41:13,240 --> 01:41:15,800
Speaker 12: we did like nine seventy on the first one.

1717
01:41:16,120 --> 01:41:19,000
Speaker 1: Oh shit, I forgot about. But who's late Night?

1718
01:41:19,320 --> 01:41:19,519
Speaker 7: John?

1719
01:41:19,640 --> 01:41:21,960
Speaker 10: Got about the first A John?

1720
01:41:21,960 --> 01:41:23,080
Speaker 7: What's a Hollywood African?

1721
01:41:23,680 --> 01:41:23,840
Speaker 1: Oh?

1722
01:41:23,880 --> 01:41:24,200
Speaker 10: My good?

1723
01:41:24,320 --> 01:41:24,840
Speaker 14: Nice segue?

1724
01:41:25,080 --> 01:41:25,400
Speaker 7: You like that?

1725
01:41:27,120 --> 01:41:27,320
Speaker 1: Well?

1726
01:41:27,960 --> 01:41:33,160
Speaker 10: So in entertainment, Jean Michelle Boskia, who I've been researching

1727
01:41:33,240 --> 01:41:36,200
Speaker 10: for the last year because I'm doing a musical sinspired

1728
01:41:36,240 --> 01:41:40,479
Speaker 10: by his life for Broadway. I've been researching him and

1729
01:41:40,600 --> 01:41:42,840
Speaker 10: that's one of his paintings from eighty three.

1730
01:41:43,240 --> 01:41:45,120
Speaker 7: Is called fuck Why did not?

1731
01:41:45,280 --> 01:41:45,360
Speaker 10: Now?

1732
01:41:45,400 --> 01:41:46,120
Speaker 7: I feel ignorant?

1733
01:41:46,160 --> 01:41:48,120
Speaker 1: See? I thought she was trying to lead into something.

1734
01:41:48,160 --> 01:41:48,720
Speaker 1: I thought you knew that.

1735
01:41:48,760 --> 01:41:54,120
Speaker 10: Well that's the title, yeah, that title? But title the

1736
01:41:54,200 --> 01:41:56,600
Speaker 10: title of my album that when we just put an

1737
01:41:56,600 --> 01:42:00,439
Speaker 10: album out called Hollywood Africans. But the idol is a

1738
01:42:00,520 --> 01:42:04,519
Speaker 10: homage to Jean Michelle Bosquas nineteen eighty three painting where

1739
01:42:04,560 --> 01:42:07,719
Speaker 10: he's kind of it's an indictment of the entertainment industry

1740
01:42:07,840 --> 01:42:11,120
Speaker 10: and the way that there's a marginalization of African American

1741
01:42:11,240 --> 01:42:14,000
Speaker 10: entertainers and how they have to wear a mask while

1742
01:42:14,960 --> 01:42:16,280
Speaker 10: creating all these different things.

1743
01:42:16,400 --> 01:42:19,400
Speaker 1: Code speaking, Yeah, we talked about code speaking on the

1744
01:42:19,400 --> 01:42:21,680
Speaker 1: show last week. It was the funniest thing ever on

1745
01:42:21,800 --> 01:42:25,160
Speaker 1: y'all show because, uh, the actress that used to be

1746
01:42:25,240 --> 01:42:30,880
Speaker 1: in The Hungry Games and now in Amanda. Yeah, yeah,

1747
01:42:31,360 --> 01:42:38,680
Speaker 1: I forget it. Amanda. She was trying to explain what

1748
01:42:38,800 --> 01:42:48,320
Speaker 1: code speaking was at each other, like someone gets it? Well,

1749
01:42:48,439 --> 01:42:54,840
Speaker 1: you know, uh, you know, are there any other Have

1750
01:42:54,960 --> 01:42:55,759
Speaker 1: we covered everything?

1751
01:42:56,000 --> 01:42:56,040
Speaker 7: No?

1752
01:42:56,240 --> 01:42:59,840
Speaker 1: We don't everything. Is there something that you missed? Uh?

1753
01:43:00,240 --> 01:43:04,000
Speaker 12: No, it's just so ultra interesting, you know to hear about.

1754
01:43:06,160 --> 01:43:11,360
Speaker 1: Wow, Steve, what what was that way to wrap it up? Steve?

1755
01:43:11,840 --> 01:43:14,160
Speaker 7: Can I just ask I have to do this for

1756
01:43:14,400 --> 01:43:16,479
Speaker 7: just because I'm a female and somebody's going to want

1757
01:43:16,479 --> 01:43:16,680
Speaker 7: to know.

1758
01:43:17,479 --> 01:43:22,439
Speaker 10: You sing, Hey, I'm in a relationship, talk.

1759
01:43:22,360 --> 01:43:28,120
Speaker 7: About all right? I am your marriage dude, don't know

1760
01:43:28,240 --> 01:43:30,240
Speaker 7: you always do that beauty.

1761
01:43:30,320 --> 01:43:34,520
Speaker 1: People like people relationship.

1762
01:43:34,920 --> 01:43:37,320
Speaker 7: They hit you too when I ask you about your personal.

1763
01:43:37,560 --> 01:43:40,800
Speaker 1: When they when you when one one guest of ours

1764
01:43:40,960 --> 01:43:42,240
Speaker 1: was like, damn why she had to put me in

1765
01:43:42,240 --> 01:43:42,840
Speaker 1: the autar like that?

1766
01:43:46,560 --> 01:43:54,719
Speaker 7: Nobody heard that one. Wow, thank you taking congratulations.

1767
01:43:54,479 --> 01:43:58,080
Speaker 1: And thank you John for the the the Late Night

1768
01:43:58,120 --> 01:44:02,519
Speaker 1: Wars edition John, go ahead, Oh yeah, all we need

1769
01:44:02,680 --> 01:44:10,280
Speaker 1: is what's his name formerly of mactub Oh, I can't

1770
01:44:10,280 --> 01:44:14,360
Speaker 1: think of his name face but I can't uh Afro,

1771
01:44:16,600 --> 01:44:21,639
Speaker 1: He's a He's Reggie something.

1772
01:44:22,000 --> 01:44:26,519
Speaker 9: Reggie watch watch Oh yeah, another late night music director.

1773
01:44:27,720 --> 01:44:32,280
Speaker 1: Yes, we need to have the a late night symposium

1774
01:44:32,360 --> 01:44:34,920
Speaker 1: with all the Yeah. That would be so yeah, that

1775
01:44:35,000 --> 01:44:42,200
Speaker 1: would be dope. Love Fred Armison, right, yes, yes, another drummer.

1776
01:44:47,040 --> 01:44:48,519
Speaker 1: Or we like to thank you for being on the show.

1777
01:44:50,120 --> 01:44:50,640
Speaker 7: Than you.

1778
01:44:51,120 --> 01:44:55,360
Speaker 1: Shout out to you always come back to tonight show.

1779
01:44:55,439 --> 01:44:58,120
Speaker 1: Check out John's new album on streaming on Pandora right now.

1780
01:44:59,280 --> 01:45:01,559
Speaker 7: Yes, and then go look at the look at the painting.

1781
01:45:02,080 --> 01:45:03,800
Speaker 1: I do have a lot of and I do have

1782
01:45:03,880 --> 01:45:05,439
Speaker 1: a question of course. Go ahead, Steve.

1783
01:45:06,240 --> 01:45:10,200
Speaker 12: You guys have a rehearsal room there, like yeah, yeah,

1784
01:45:10,840 --> 01:45:12,360
Speaker 12: it are.

1785
01:45:15,640 --> 01:45:18,800
Speaker 14: Seen both so yeah, you know ours it is pretty

1786
01:45:18,880 --> 01:45:21,840
Speaker 14: much the same size. Yours is a little Yours is

1787
01:45:21,920 --> 01:45:23,760
Speaker 14: better because you have an actual mixing board in there

1788
01:45:23,760 --> 01:45:28,200
Speaker 14: and you can record straight into We don't have that

1789
01:45:29,520 --> 01:45:30,840
Speaker 14: to get hooked up.

1790
01:45:30,960 --> 01:45:33,040
Speaker 1: Wait a minute, time out, I gotta extend this show

1791
01:45:33,080 --> 01:45:36,360
Speaker 1: for three minutes. Wait a minute. You guys do that

1792
01:45:36,520 --> 01:45:40,719
Speaker 1: show and don't document any ideas that you have during rehearsal.

1793
01:45:40,880 --> 01:45:44,400
Speaker 14: Oh yeah, we do voice memos on the iPhone, you know,

1794
01:45:44,640 --> 01:45:49,240
Speaker 14: wow with an organized dropbox system.

1795
01:45:52,240 --> 01:45:58,040
Speaker 1: Again technology killing. I'm saying, get a little recording system

1796
01:45:58,520 --> 01:46:02,520
Speaker 1: inside your rehearsal room. Yeah, and then you can document.

1797
01:46:03,280 --> 01:46:06,120
Speaker 10: See I thought you meant in the office, because I

1798
01:46:06,200 --> 01:46:07,200
Speaker 10: have that in the office.

1799
01:46:07,479 --> 01:46:12,160
Speaker 1: No, we are. Our dressing room is our studio. We

1800
01:46:12,280 --> 01:46:15,960
Speaker 1: made We made Elvis Costell's album inside of that dressing

1801
01:46:16,040 --> 01:46:18,480
Speaker 1: room like places in real studios.

1802
01:46:18,680 --> 01:46:22,479
Speaker 7: Yeah, and always kind of debunked the like it's also

1803
01:46:23,200 --> 01:46:25,400
Speaker 7: that's your just one dressing room. There's y'all got like five,

1804
01:46:25,680 --> 01:46:26,760
Speaker 7: like I just y'all have.

1805
01:46:26,920 --> 01:46:29,920
Speaker 9: It's you we got to It's like it's like a

1806
01:46:30,160 --> 01:46:32,240
Speaker 9: gym locker room there, I.

1807
01:46:32,240 --> 01:46:35,679
Speaker 10: Mean, because we have we have there's the two dressing rooms,

1808
01:46:35,760 --> 01:46:39,280
Speaker 10: and then one of them is the band one half

1809
01:46:39,360 --> 01:46:41,360
Speaker 10: of it is the band rehearsal room. And then I

1810
01:46:41,439 --> 01:46:43,519
Speaker 10: have the office, but that's on the other side of

1811
01:46:43,560 --> 01:46:46,080
Speaker 10: the building. So that's where like the drums and the

1812
01:46:46,120 --> 01:46:50,800
Speaker 10: recording equipment are, but in the band area. I never

1813
01:46:50,920 --> 01:46:53,000
Speaker 10: thought to put a recording situation.

1814
01:46:53,160 --> 01:46:56,759
Speaker 1: Yes, that way, and get you, get you a Steve,

1815
01:46:57,320 --> 01:47:01,280
Speaker 1: get you a Steve. And then when you and then

1816
01:47:01,479 --> 01:47:03,800
Speaker 1: have a computer on stage where everyone's in here, and

1817
01:47:03,880 --> 01:47:06,000
Speaker 1: then oh, yeah, you have.

1818
01:47:06,160 --> 01:47:08,439
Speaker 10: That, but we just played the voice memos through it.

1819
01:47:10,400 --> 01:47:14,840
Speaker 10: We record the voice and we play them that.

1820
01:47:14,880 --> 01:47:15,879
Speaker 1: You don't need an engineer.

1821
01:47:16,520 --> 01:47:17,439
Speaker 10: Just let's drop it.

1822
01:47:18,600 --> 01:47:22,200
Speaker 7: I'm sorry. Last random question, Can the Roots appear on

1823
01:47:22,360 --> 01:47:25,040
Speaker 7: that show? And if you if your album could appear

1824
01:47:25,040 --> 01:47:26,280
Speaker 7: on the other show, could you'll ever be on the

1825
01:47:26,320 --> 01:47:26,679
Speaker 7: same show?

1826
01:47:27,200 --> 01:47:31,280
Speaker 1: Sad we have uh Jon Batiste on the Tonight show.

1827
01:47:31,760 --> 01:47:37,280
Speaker 1: Whether there's no who's the new Less Moons of Yes, yeah,

1828
01:47:37,640 --> 01:47:41,519
Speaker 1: we don't hang out y'all, y'all y'all country without a president.

1829
01:47:41,880 --> 01:47:46,080
Speaker 10: Well you have the step in, but we don't have

1830
01:47:47,240 --> 01:47:48,280
Speaker 10: No one has been brought in.

1831
01:47:50,240 --> 01:47:54,080
Speaker 1: I definitely know that, uh the Roots aren't welcome to

1832
01:47:54,160 --> 01:47:58,120
Speaker 1: anything on CBS, including the Grammys during the Less Moons

1833
01:47:58,160 --> 01:48:02,280
Speaker 1: period because the the proximity of the Late Night Wars

1834
01:48:02,439 --> 01:48:03,320
Speaker 1: was like a thing.

1835
01:48:03,240 --> 01:48:03,720
Speaker 10: In his head.

1836
01:48:03,840 --> 01:48:13,280
Speaker 1: Oh wow, day, I want it, you want it, you

1837
01:48:13,400 --> 01:48:17,320
Speaker 1: want it. No, I'm just saying that I have zero qualms.

1838
01:48:17,720 --> 01:48:21,320
Speaker 1: And you know, Stephen and Jimmy have done that. They

1839
01:48:21,360 --> 01:48:25,680
Speaker 1: did want each other shows before. Oh okay, and to me,

1840
01:48:26,080 --> 01:48:27,760
Speaker 1: one of the greatest things, like I would love to

1841
01:48:27,840 --> 01:48:31,280
Speaker 1: do in April Fool's Day where it's like both those

1842
01:48:31,320 --> 01:48:36,439
Speaker 1: straight they're so stupid, but that would do. Would show

1843
01:48:36,640 --> 01:48:41,000
Speaker 1: Remember that Charlie Brown, I think Brown battle.

1844
01:48:41,520 --> 01:48:44,000
Speaker 14: That was so we weren't allowed to post that though,

1845
01:48:44,040 --> 01:48:45,560
Speaker 14: but maybe we'll take it out of the archives and

1846
01:48:46,040 --> 01:48:49,519
Speaker 14: on Instagram, the Late Night War situation.

1847
01:48:51,280 --> 01:48:54,160
Speaker 1: He don't like you. I'm sorry, I don't know it was.

1848
01:48:55,400 --> 01:48:59,439
Speaker 14: I'm wasn't us to do it.

1849
01:48:59,600 --> 01:49:02,439
Speaker 1: Yeah, don't, I don't.

1850
01:49:03,280 --> 01:49:07,680
Speaker 12: I'm not saying to look like I'm supposed to know

1851
01:49:07,800 --> 01:49:09,800
Speaker 12: what's going on on the Lord Michael's level.

1852
01:49:10,280 --> 01:49:13,880
Speaker 1: Again, this is what happens when executives and lawyers and

1853
01:49:14,080 --> 01:49:20,559
Speaker 1: red tapes get involved. Let's take it out of the cool.

1854
01:49:20,680 --> 01:49:24,640
Speaker 1: We had a we had a like Lucy Lionis.

1855
01:49:29,240 --> 01:49:32,800
Speaker 14: Via text message and it started out, how did it

1856
01:49:32,880 --> 01:49:33,360
Speaker 14: start off?

1857
01:49:33,360 --> 01:49:37,240
Speaker 1: I think the James or James James.

1858
01:49:37,400 --> 01:49:40,320
Speaker 14: So Megan Trainer was on the show promoting the Peanuts

1859
01:49:40,360 --> 01:49:42,720
Speaker 14: movie and uh, go.

1860
01:49:42,840 --> 01:49:47,760
Speaker 1: Back, wait to look on your face. That was like,

1861
01:49:48,240 --> 01:49:50,479
Speaker 1: I wish the audience could see your face right now,

1862
01:49:50,960 --> 01:49:53,639
Speaker 1: all of our viewers. Yeah, John's taking a picture.

1863
01:49:55,920 --> 01:49:57,600
Speaker 5: Stories like that's what.

1864
01:49:59,160 --> 01:50:01,840
Speaker 9: I don't remember can Train on the Peanuts movie.

1865
01:50:02,680 --> 01:50:07,280
Speaker 14: Soundtrack song song on it? But long story short, we

1866
01:50:07,439 --> 01:50:10,080
Speaker 14: go back and she texted me and she was like,

1867
01:50:10,120 --> 01:50:12,280
Speaker 14: I'm at tonight's show and I used to intern there

1868
01:50:12,400 --> 01:50:15,240
Speaker 14: back in two thousand and I don't know something something,

1869
01:50:16,560 --> 01:50:20,000
Speaker 14: So she recorded James. Uh or no, I recorded John

1870
01:50:20,200 --> 01:50:23,120
Speaker 14: playing the Peanuts theme song on the piano and texted

1871
01:50:23,160 --> 01:50:25,559
Speaker 14: over to her. Five minutes later, we get a text

1872
01:50:25,600 --> 01:50:27,200
Speaker 14: from James. He's playing it back.

1873
01:50:28,720 --> 01:50:34,680
Speaker 7: It looks like black Charlie Brown, a little bit of like.

1874
01:50:36,760 --> 01:50:40,040
Speaker 14: He was like, okay, let's go. So John's like, all right, well,

1875
01:50:40,080 --> 01:50:42,360
Speaker 14: we got to send one back. So we record John

1876
01:50:42,400 --> 01:50:46,160
Speaker 14: and he throws this like bluesy flavor and it's like

1877
01:50:47,160 --> 01:50:50,840
Speaker 14: I tried the level up. So then James sends back

1878
01:50:50,880 --> 01:50:54,639
Speaker 14: one again and his is even more insane. Than John's

1879
01:50:54,960 --> 01:50:56,240
Speaker 14: and we're like, all right, we're stepping it up.

1880
01:50:56,280 --> 01:50:56,560
Speaker 1: Let's go.

1881
01:50:56,680 --> 01:50:59,360
Speaker 14: So we go to the rehearsal room, like, tell the band,

1882
01:50:59,479 --> 01:51:02,040
Speaker 14: all right, guys, we're gonna send another video to them.

1883
01:51:02,479 --> 01:51:05,640
Speaker 14: We're gonna reveal you when the camera pans around. So

1884
01:51:05,680 --> 01:51:08,840
Speaker 14: I got my iPhone. John starts a little intro and

1885
01:51:08,880 --> 01:51:11,880
Speaker 14: then then we pan around. The band comes in and

1886
01:51:11,960 --> 01:51:13,439
Speaker 14: we're like, all right, we got them, we got them,

1887
01:51:13,520 --> 01:51:16,880
Speaker 14: send it back. We send it back, probably about like

1888
01:51:17,120 --> 01:51:19,479
Speaker 14: two hours past. We're like, all right, we won Like

1889
01:51:19,560 --> 01:51:20,639
Speaker 14: pretty much, they can't.

1890
01:51:20,720 --> 01:51:21,680
Speaker 7: They have nothing on us.

1891
01:51:22,360 --> 01:51:24,840
Speaker 14: Get a text message and it's a close up of

1892
01:51:24,880 --> 01:51:28,800
Speaker 14: a mirror and they're in the studio and they start

1893
01:51:28,840 --> 01:51:30,080
Speaker 14: playing the Peanuts theme song.

1894
01:51:31,720 --> 01:51:32,240
Speaker 7: I'm pretty sure.

1895
01:51:32,240 --> 01:51:33,200
Speaker 14: I'm pretty sure Keith.

1896
01:51:33,120 --> 01:51:33,960
Speaker 7: Filmed this or something.

1897
01:51:34,880 --> 01:51:37,680
Speaker 14: The phone pans back, the studio is full with the

1898
01:51:37,760 --> 01:51:40,600
Speaker 14: audience and they're all doing the Charlie Brown dance and

1899
01:51:40,720 --> 01:51:44,280
Speaker 14: this is probably this was about i'd say, two minutes

1900
01:51:44,320 --> 01:51:45,479
Speaker 14: before we were supposed to go.

1901
01:51:45,520 --> 01:51:46,080
Speaker 1: On stage, and.

1902
01:51:48,680 --> 01:51:49,400
Speaker 7: What are we gonna do?

1903
01:51:49,840 --> 01:51:49,960
Speaker 2: Then?

1904
01:51:50,000 --> 01:51:50,560
Speaker 7: What are we gonna do?

1905
01:51:51,160 --> 01:51:55,880
Speaker 14: So we go on stage and you got I don't

1906
01:51:55,880 --> 01:51:57,840
Speaker 14: want to say who I thought one. I mean, you

1907
01:51:57,920 --> 01:51:59,960
Speaker 14: guys like went around the house and everyone was cheering

1908
01:52:00,040 --> 01:52:00,240
Speaker 14: going to.

1909
01:52:00,960 --> 01:52:07,280
Speaker 1: March to the audience. I don't know, I'm gonna.

1910
01:52:07,040 --> 01:52:08,719
Speaker 7: Say I think the Roots.

1911
01:52:08,880 --> 01:52:10,800
Speaker 14: The Roots kind of had it down though with the

1912
01:52:10,880 --> 01:52:14,240
Speaker 14: Charlie Brown dance in the audience that was that was tight.

1913
01:52:14,360 --> 01:52:16,640
Speaker 14: But so we brought it to Steven and we were like,

1914
01:52:16,920 --> 01:52:17,639
Speaker 14: we did this thing.

1915
01:52:17,720 --> 01:52:18,439
Speaker 7: It was so random.

1916
01:52:18,479 --> 01:52:20,080
Speaker 14: It's funny how it turned out, you know, like the

1917
01:52:20,280 --> 01:52:23,360
Speaker 14: late night bands are friends, and he was like, oh,

1918
01:52:23,640 --> 01:52:24,840
Speaker 14: this is a great idea. Do you know what we

1919
01:52:24,880 --> 01:52:27,479
Speaker 14: should do. We should get we should do ours over

1920
01:52:27,800 --> 01:52:30,400
Speaker 14: and get everyone to wear Charlie Brown T shirt and

1921
01:52:30,640 --> 01:52:33,040
Speaker 14: do something like crazy like that, but then have the

1922
01:52:33,680 --> 01:52:35,840
Speaker 14: to have John and the band march out of our

1923
01:52:35,920 --> 01:52:38,840
Speaker 14: theater and into the tonight show theater. I joined them

1924
01:52:38,920 --> 01:52:41,519
Speaker 14: on stage and make it like a charity thing around Christmas.

1925
01:52:42,360 --> 01:52:45,040
Speaker 14: So this is twenty fifteen and.

1926
01:52:47,720 --> 01:52:48,639
Speaker 1: Three years of fast.

1927
01:52:49,479 --> 01:52:53,360
Speaker 7: We might bring it back Dan, which is dead, which

1928
01:52:53,439 --> 01:52:53,760
Speaker 7: is big.

1929
01:52:55,000 --> 01:52:57,280
Speaker 10: He's done make it happen.

1930
01:52:57,800 --> 01:53:01,360
Speaker 1: We will make it happen. I never knew what happened

1931
01:53:01,400 --> 01:53:01,519
Speaker 1: with it.

1932
01:53:01,640 --> 01:53:04,840
Speaker 14: I thought, sitting on my computer, wait, but we didn't

1933
01:53:04,840 --> 01:53:05,080
Speaker 14: put it.

1934
01:53:05,080 --> 01:53:07,160
Speaker 1: On Twitter or Instagram or anything.

1935
01:53:07,439 --> 01:53:12,280
Speaker 14: They told us anything with it this Christmas, bring it back.

1936
01:53:12,439 --> 01:53:15,720
Speaker 1: All right, we shall bring it back. Continue, Let's do it.

1937
01:53:15,880 --> 01:53:18,439
Speaker 14: No, it's not late night friendship.

1938
01:53:18,560 --> 01:53:26,120
Speaker 1: That's the jokes. Continue always. Mister Rogers was still here.

1939
01:53:26,200 --> 01:53:29,679
Speaker 1: Second starter war between me and mister Rogers. Some bloods

1940
01:53:29,680 --> 01:53:35,720
Speaker 1: and crips between Street and mister Rogers. Johnny Costa, Yes,

1941
01:53:36,439 --> 01:53:41,479
Speaker 1: John Costa, Yeah, all right, well on behalf of our

1942
01:53:41,520 --> 01:53:45,280
Speaker 1: all questions. Thank you, all right, thank you, John, Patissa

1943
01:53:45,720 --> 01:53:50,599
Speaker 1: Amerson don't know this, y on, behalf of Sugar Steve

1944
01:53:50,720 --> 01:53:55,280
Speaker 1: and Boss Bill and and and and Boss Bill and

1945
01:53:55,439 --> 01:53:58,599
Speaker 1: unpaid Bill. I forgot unpaid bills like I wasn't even here.

1946
01:53:58,800 --> 01:54:02,960
Speaker 1: I know and Bill for this week. Yes you are

1947
01:54:03,080 --> 01:54:08,240
Speaker 1: overdue Bill. I'm what's Fontcolo? He's not here doing his

1948
01:54:08,320 --> 01:54:13,639
Speaker 1: basement or something. He's definitely like Matt finishing the stairway. Okay,

1949
01:54:13,960 --> 01:54:17,200
Speaker 1: well this is quest love of course, Love supreme, and

1950
01:54:17,400 --> 01:54:20,320
Speaker 1: we will see you on the next go round. And

1951
01:54:20,360 --> 01:54:43,160
Speaker 1: I'm with I was waiting for purchased all of Kyoto's

1952
01:54:45,040 --> 01:54:47,720
Speaker 1: all his scoring music. He it was like a Japanese

1953
01:54:48,800 --> 01:54:53,760
Speaker 1: with the roots. Yeah, he said with us, Yeah, I

1954
01:54:53,880 --> 01:54:58,280
Speaker 1: forgot that. Yeah, you win. And all we did was

1955
01:54:58,320 --> 01:55:02,320
Speaker 1: his songs. Wow, what drink I want to get?

1956
01:55:02,400 --> 01:55:05,760
Speaker 10: Yokoshima mourat Yeah yeah.

1957
01:55:05,640 --> 01:55:11,240
Speaker 1: Man, all right, we're out, We're out, We're out.

1958
01:55:12,520 --> 01:55:18,240
Speaker 10: John H.

1959
01:55:24,080 --> 01:55:27,800
Speaker 1: Course Love Supreme is a production of iHeartRadio. This classic

1960
01:55:27,880 --> 01:55:34,080
Speaker 1: episode was produced by the team at Pandora. For more

1961
01:55:34,120 --> 01:55:38,120
Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

1962
01:55:38,560 --> 01:55:40,240
Speaker 1: or wherever you listen to your favorite shows.