1 00:00:00,600 --> 00:00:01,360 Speaker 1: Taking a Walk. 2 00:00:01,440 --> 00:00:04,400 Speaker 2: I don't leave the studio unless stuff is right. You know, 3 00:00:04,519 --> 00:00:06,080 Speaker 2: you just don't do that. You didn't do that in 4 00:00:06,120 --> 00:00:08,280 Speaker 2: those days. I mean even know if it was take 5 00:00:08,320 --> 00:00:10,160 Speaker 2: one hundred at three o'clock in the morning. 6 00:00:10,600 --> 00:00:13,040 Speaker 1: You know, in those days they had budgets, so you 7 00:00:13,039 --> 00:00:15,040 Speaker 1: could do that until it was right. 8 00:00:15,280 --> 00:00:17,600 Speaker 2: And the funny thing is, guys who would do that? 9 00:00:17,640 --> 00:00:22,079 Speaker 2: Who would gold the gambit? Thirty six takes, fifty takes whatever. 10 00:00:22,720 --> 00:00:25,400 Speaker 1: Most of the time they come back to the first 11 00:00:25,480 --> 00:00:26,520 Speaker 1: three takes we did. 12 00:00:26,640 --> 00:00:29,600 Speaker 3: Welcome to the Taking a Walk Podcast, the show where 13 00:00:29,600 --> 00:00:32,840 Speaker 3: your host Buzznight delves into the stories behind the music, 14 00:00:33,320 --> 00:00:37,960 Speaker 3: exploring their inspirations, experiences, and the latest projects of some 15 00:00:38,000 --> 00:00:41,839 Speaker 3: of the most iconic musicians of the day. Lenny Castro 16 00:00:42,240 --> 00:00:45,280 Speaker 3: is a true legend of the drumming world, known for 17 00:00:45,360 --> 00:00:50,120 Speaker 3: its exceptional versatility and rhythmic prowess. Over his illustrious career, 18 00:00:50,520 --> 00:00:53,920 Speaker 3: Lenny has collaborated with an impressive array of musical giants, 19 00:00:54,160 --> 00:00:58,240 Speaker 3: from Adel and the Rolling Stones to Toto and McCoy teyner. 20 00:00:58,680 --> 00:01:02,280 Speaker 3: His contributions to Flip mac and Eric Clapton projects have 21 00:01:02,440 --> 00:01:06,240 Speaker 3: solidified his reputation as a top tier session and live 22 00:01:06,319 --> 00:01:11,240 Speaker 3: drummer with a career spanning several decades. Lenny Castro's influence 23 00:01:11,560 --> 00:01:14,920 Speaker 3: extends beyond just his drum kid. His unique style and 24 00:01:14,959 --> 00:01:18,280 Speaker 3: ability to adapt to various genres and made him a 25 00:01:18,400 --> 00:01:21,680 Speaker 3: soft after talent in the music industry. Today, Buzz will 26 00:01:21,760 --> 00:01:26,280 Speaker 3: uncover the stories behind Lenny's notable collaborations, his approach to drumming, 27 00:01:26,640 --> 00:01:29,240 Speaker 3: and the insights he's gained from working with some of 28 00:01:29,280 --> 00:01:33,560 Speaker 3: the greatest artists of all time. Buzznight is joined by 29 00:01:33,640 --> 00:01:36,640 Speaker 3: Lenny Castro now on taking a Walk. 30 00:01:38,280 --> 00:01:41,520 Speaker 4: Thanks for being on the take Out of Walk podcast, Lenny, Hi. 31 00:01:41,560 --> 00:01:43,760 Speaker 1: How you doing, Buzz? Thank you for having me. 32 00:01:44,080 --> 00:01:48,600 Speaker 4: So what forms your interest in such diverse musical styles? 33 00:01:49,080 --> 00:01:52,919 Speaker 2: Well, Jesus, that's a hard thing to really nail down. 34 00:01:53,480 --> 00:01:57,760 Speaker 2: First of all, I'm a second generation musician. My father 35 00:01:57,880 --> 00:02:00,600 Speaker 2: was a piano player in the South circuit in the 36 00:02:00,640 --> 00:02:06,559 Speaker 2: fifties and the sixties, very heavily, but he wasn't really 37 00:02:06,560 --> 00:02:09,080 Speaker 2: in my life. Him and my mom divorced at an 38 00:02:09,080 --> 00:02:12,760 Speaker 2: early at my early age, but he gave me that 39 00:02:12,919 --> 00:02:18,880 Speaker 2: music gene that was I mean, quite a force, because 40 00:02:18,960 --> 00:02:23,000 Speaker 2: I mean it, I followed it through from three years 41 00:02:23,040 --> 00:02:27,239 Speaker 2: old all the way till now, you know. So it 42 00:02:27,360 --> 00:02:30,280 Speaker 2: started there with my dad giving me the music gene, 43 00:02:30,760 --> 00:02:33,880 Speaker 2: and then my step my stepdad and my parents having 44 00:02:33,880 --> 00:02:37,640 Speaker 2: an incredible vinyl collection, loving to listen to music, a 45 00:02:37,639 --> 00:02:41,280 Speaker 2: lot of music diverse. My mom, believe it or not, 46 00:02:41,680 --> 00:02:44,600 Speaker 2: aside from Latin music and what we heard on the radio, pop, 47 00:02:45,440 --> 00:02:50,919 Speaker 2: she loved real, honest to god country, Western, and I 48 00:02:51,040 --> 00:02:52,840 Speaker 2: got I got turned down to a lot of different 49 00:02:52,840 --> 00:02:55,560 Speaker 2: styles of music. Being born and raised in New York. 50 00:02:56,080 --> 00:02:59,720 Speaker 2: New York is a playground for music, you know, and 51 00:02:59,760 --> 00:03:04,720 Speaker 2: I learned to love every aspect of it, especially I'm 52 00:03:04,720 --> 00:03:05,440 Speaker 2: going to throw this in. 53 00:03:05,560 --> 00:03:08,400 Speaker 1: I'm a boobtube baby, So I really got to. 54 00:03:10,000 --> 00:03:14,640 Speaker 2: Appreciate and love theme songs, movie theme songs, commercials. My 55 00:03:14,720 --> 00:03:17,519 Speaker 2: mother said that at one point in my life, I 56 00:03:17,560 --> 00:03:20,200 Speaker 2: would just watch commercials. The commercials would finish, I would 57 00:03:20,240 --> 00:03:22,120 Speaker 2: go back to my room and play with my g 58 00:03:22,280 --> 00:03:25,120 Speaker 2: I Joes or whatever. Another commercial come, I'd come in 59 00:03:25,160 --> 00:03:31,440 Speaker 2: and listen to it. So the diversity of my musical palette, 60 00:03:31,560 --> 00:03:37,000 Speaker 2: it just goes from ompapap bands to classical music. And 61 00:03:37,080 --> 00:03:41,000 Speaker 2: it's a lot of to do with environment and and 62 00:03:41,520 --> 00:03:44,360 Speaker 2: like I said, you know, the music gene and being 63 00:03:44,400 --> 00:03:49,120 Speaker 2: in New York. You know, so, I mean, I you know, 64 00:03:49,240 --> 00:03:52,120 Speaker 2: I just kind of grew. I was in the right fertilizer, 65 00:03:52,880 --> 00:03:56,800 Speaker 2: and I grew. Let's put it that way. It's a 66 00:03:56,920 --> 00:04:00,760 Speaker 2: kind of strange, but you know, three grow in New York. 67 00:04:00,800 --> 00:04:05,440 Speaker 1: As they said, I love that. Now. 68 00:04:05,480 --> 00:04:09,000 Speaker 5: What's your favorite TV theme song? 69 00:04:09,200 --> 00:04:09,320 Speaker 1: That? 70 00:04:11,200 --> 00:04:11,840 Speaker 5: Do you have one? 71 00:04:11,920 --> 00:04:12,600 Speaker 1: Oh? Yeah? 72 00:04:13,120 --> 00:04:16,719 Speaker 2: The theme song to Peter Gunn, the theme song to 73 00:04:16,800 --> 00:04:21,320 Speaker 2: the Outer Limits, the original one, Dominic Frontiera. Oh my god, 74 00:04:21,560 --> 00:04:24,840 Speaker 2: those chords that he used just messed my head up 75 00:04:24,880 --> 00:04:27,239 Speaker 2: as a kid, I would like. I mean, not only 76 00:04:27,400 --> 00:04:31,720 Speaker 2: was the program incredible, but you know, talk about enhancing 77 00:04:31,920 --> 00:04:32,520 Speaker 2: the picture. 78 00:04:33,240 --> 00:04:34,039 Speaker 1: My god. 79 00:04:34,080 --> 00:04:36,520 Speaker 2: I mean, if he never wrote anything else in his life, 80 00:04:37,440 --> 00:04:41,960 Speaker 2: that was this, that was the stuff. That was the stuff. 81 00:04:41,960 --> 00:04:42,120 Speaker 1: Man. 82 00:04:42,200 --> 00:04:46,880 Speaker 2: Let me tell you themes like that. You know, Hogan's 83 00:04:46,920 --> 00:04:50,600 Speaker 2: Zero's themes, uh, you you name it. 84 00:04:50,640 --> 00:04:54,760 Speaker 1: You know. Of course the one and only Batman's theme. Uh. 85 00:04:54,800 --> 00:04:57,960 Speaker 1: Some amazing music was done in those days, especially. 86 00:04:58,640 --> 00:05:01,800 Speaker 4: So let's talk some famous first, if you would, Lenny, 87 00:05:03,240 --> 00:05:06,680 Speaker 4: first time you began making money playing music? 88 00:05:07,600 --> 00:05:10,240 Speaker 1: Ah, that was. 89 00:05:10,160 --> 00:05:14,480 Speaker 2: In the I was Oh gosh, I was fourteen years 90 00:05:14,600 --> 00:05:19,680 Speaker 2: old and I started working making money. As far as 91 00:05:19,920 --> 00:05:22,800 Speaker 2: music goes, with a Latin band with a gentleman by 92 00:05:22,800 --> 00:05:27,440 Speaker 2: the name of Johnny Cologne who was in the neighbor 93 00:05:27,520 --> 00:05:30,360 Speaker 2: He was a neighborhood guy in a Spanish Harlem, grew 94 00:05:30,440 --> 00:05:35,000 Speaker 2: up there, lived in the East River Projects, and he 95 00:05:35,040 --> 00:05:39,640 Speaker 2: was a trumbone player turned keyboard and singer. I don't 96 00:05:39,640 --> 00:05:42,400 Speaker 2: recall how I got the call for it, but I 97 00:05:42,440 --> 00:05:46,200 Speaker 2: do remember the audition and I had to go to 98 00:05:46,279 --> 00:05:49,280 Speaker 2: his apartment where he lived with his mother at the 99 00:05:49,320 --> 00:05:52,599 Speaker 2: East River Projects. I remember sitting there playing with the band, 100 00:05:52,600 --> 00:05:55,200 Speaker 2: blah blah blah. All of a sudden, a gentleman comes 101 00:05:55,200 --> 00:05:58,640 Speaker 2: walking into the apartment and he sits and we're playing, 102 00:05:58,640 --> 00:06:00,080 Speaker 2: and then all of a sudden, Johnny stopped it. 103 00:06:00,120 --> 00:06:02,520 Speaker 1: Says, Okay, what's going on? What do you hear? He says, Oh, 104 00:06:02,560 --> 00:06:04,159 Speaker 1: you didn't tell me I'm out of the band, and 105 00:06:04,200 --> 00:06:05,279 Speaker 1: you got a new cong ghato. 106 00:06:05,320 --> 00:06:08,039 Speaker 2: And I was like, oh my god, this is the 107 00:06:08,040 --> 00:06:09,560 Speaker 2: guy who had the job before me. 108 00:06:10,160 --> 00:06:11,000 Speaker 1: What an introduction. 109 00:06:11,920 --> 00:06:12,320 Speaker 3: Oh. 110 00:06:12,440 --> 00:06:13,679 Speaker 1: They got into an argument. 111 00:06:14,200 --> 00:06:16,719 Speaker 2: Downny got punched in the face and flew across the 112 00:06:16,760 --> 00:06:19,600 Speaker 2: living room. I packed my stuff up and I said, hey, 113 00:06:20,400 --> 00:06:23,120 Speaker 2: let me know where the first gig is and I 114 00:06:23,240 --> 00:06:26,120 Speaker 2: left and his mother came out with the frying pant 115 00:06:26,160 --> 00:06:31,200 Speaker 2: beating the guy on the head meant then a typical 116 00:06:31,240 --> 00:06:39,200 Speaker 2: Puerto Rican New York scene. But huh, I tell you, 117 00:06:39,440 --> 00:06:42,839 Speaker 2: life is incredible and then it gets crazy. So that 118 00:06:43,000 --> 00:06:46,800 Speaker 2: was my I started working with him making money. 119 00:06:48,040 --> 00:06:52,359 Speaker 1: At music. That was my first paining gig. Yeah. I 120 00:06:52,400 --> 00:06:55,040 Speaker 1: did a couple of little small jazz gigs here and there. 121 00:06:55,880 --> 00:06:56,120 Speaker 1: You know. 122 00:06:56,200 --> 00:06:58,880 Speaker 2: I did a New Year's gig at a Chinese restaurant 123 00:06:58,920 --> 00:07:03,080 Speaker 2: and paid such stupid money. It was ridiculous, you know, 124 00:07:03,839 --> 00:07:06,599 Speaker 2: and uh, you know, things like that. But that was that. 125 00:07:06,600 --> 00:07:10,120 Speaker 2: That one was my main paying gig. It actually got 126 00:07:10,120 --> 00:07:13,640 Speaker 2: me my first trip to the to get on the plane, 127 00:07:13,680 --> 00:07:16,840 Speaker 2: I had to go to Chicago with that band, and 128 00:07:16,840 --> 00:07:20,640 Speaker 2: that was like my first tour one day in Chicago. Wow, 129 00:07:20,680 --> 00:07:23,880 Speaker 2: so you know, but that was that. 130 00:07:23,760 --> 00:07:27,480 Speaker 4: Was How about another famous first first album that you 131 00:07:27,600 --> 00:07:28,360 Speaker 4: ever bought? 132 00:07:29,240 --> 00:07:33,760 Speaker 1: First time I ever bought Jimmy Hendrick. Are you experienced? Yeah? Wow, 133 00:07:33,920 --> 00:07:34,400 Speaker 1: you kidding. 134 00:07:34,960 --> 00:07:38,560 Speaker 2: I started making my own money, so I remember it 135 00:07:38,600 --> 00:07:41,640 Speaker 2: was either that album or the next album band the Gypsy's, 136 00:07:41,880 --> 00:07:44,280 Speaker 2: or the following album. I forget that I had to 137 00:07:44,280 --> 00:07:47,520 Speaker 2: put on layaway because I didn't have the money. So 138 00:07:47,880 --> 00:07:51,520 Speaker 2: it was a neighborhood psychedelic record shop, you know, with 139 00:07:51,560 --> 00:07:55,560 Speaker 2: the peculi oil, you know, its incense, you know, And 140 00:07:55,600 --> 00:07:57,280 Speaker 2: I said, man, you got to hold this of me. So, 141 00:07:57,440 --> 00:07:59,880 Speaker 2: I mean, Hendrick's Experience was the first album I bought? 142 00:08:00,080 --> 00:08:03,760 Speaker 5: Oh great, And definitely how about the first concert you 143 00:08:03,840 --> 00:08:04,360 Speaker 5: ever went to? 144 00:08:05,480 --> 00:08:05,920 Speaker 1: Wow? 145 00:08:06,600 --> 00:08:11,560 Speaker 2: I think it was Slicestone Slide the Family Stone with 146 00:08:11,800 --> 00:08:16,280 Speaker 2: Rare Earth opening at Madison Square Garden. That might have 147 00:08:16,320 --> 00:08:18,440 Speaker 2: been the first concert I went too. But there were, 148 00:08:18,560 --> 00:08:20,800 Speaker 2: you know, in my neighborhood, there were always concerts. There 149 00:08:20,800 --> 00:08:24,640 Speaker 2: was Jazz Mobile, which brought jazz musicians into neighborhoods. There 150 00:08:24,640 --> 00:08:28,160 Speaker 2: were block parties. There was always a lot of so 151 00:08:28,360 --> 00:08:33,200 Speaker 2: called street concerts, you know, and things like that always 152 00:08:33,200 --> 00:08:36,079 Speaker 2: going on. And there was always free concerts in Central Park. 153 00:08:36,679 --> 00:08:38,320 Speaker 2: But as far as like that kind of thing, I 154 00:08:38,320 --> 00:08:41,320 Speaker 2: think it was that one that might have been my 155 00:08:41,360 --> 00:08:43,520 Speaker 2: first concert that I actually bought a ticket and went. 156 00:08:44,280 --> 00:08:47,319 Speaker 2: And of course, you know, Sldestone was like two hours 157 00:08:47,400 --> 00:08:50,080 Speaker 2: late and the place almost burnt down. 158 00:08:50,160 --> 00:08:57,760 Speaker 4: So so what was that drum shop in New York 159 00:08:58,080 --> 00:08:59,040 Speaker 4: that you worked at? 160 00:08:59,080 --> 00:09:01,320 Speaker 5: And how did that experience shape you? 161 00:09:02,080 --> 00:09:07,199 Speaker 2: Frank Hippolito's Professional drum Shop on fiftieth and eighth Avenue 162 00:09:08,240 --> 00:09:14,520 Speaker 2: was the haven or any drummer who was, anybody, even internationally. 163 00:09:15,679 --> 00:09:16,520 Speaker 1: It was amazing. 164 00:09:17,440 --> 00:09:21,960 Speaker 2: I got to meet drummers like Denny Ciwell, original drummer 165 00:09:21,960 --> 00:09:24,200 Speaker 2: from Wings. That's where I first met him and then 166 00:09:24,280 --> 00:09:26,560 Speaker 2: later on caught up with him in La. 167 00:09:26,800 --> 00:09:30,160 Speaker 1: When I moved here, I hung out with Papa. 168 00:09:29,880 --> 00:09:35,559 Speaker 2: Joe Jones, Elvin Jones. I mean, any drummer that was, 169 00:09:35,600 --> 00:09:40,360 Speaker 2: anybody was there. Plus on top of them being like 170 00:09:40,640 --> 00:09:43,839 Speaker 2: the hub of the drum world, they also had a 171 00:09:43,920 --> 00:09:48,200 Speaker 2: drums a workshop where they do you know, the Campco 172 00:09:48,400 --> 00:09:49,680 Speaker 2: pedals with the sprocket. 173 00:09:49,840 --> 00:09:51,280 Speaker 1: I don't know if you're a drummer or not. 174 00:09:51,679 --> 00:09:56,920 Speaker 4: I'm not, but I'm sort of familiar with the Yeah. 175 00:09:56,000 --> 00:09:59,520 Speaker 2: The DW pedal has a sprocket on the bass drum pedal. 176 00:10:00,120 --> 00:10:03,880 Speaker 2: That idea was developed and invented and enveloped. 177 00:10:03,480 --> 00:10:07,120 Speaker 1: At that shop. Wow, the guys were you know. 178 00:10:07,559 --> 00:10:10,600 Speaker 2: What they were doing was they were converting tampco pedals 179 00:10:10,600 --> 00:10:12,760 Speaker 2: in those days and in the shop. 180 00:10:12,800 --> 00:10:13,840 Speaker 1: The shop invented it. 181 00:10:14,320 --> 00:10:17,760 Speaker 2: So I was privy too, just not only in all 182 00:10:17,840 --> 00:10:20,679 Speaker 2: here's drums, Here's catalogs. He's the stakes block, but the 183 00:10:20,720 --> 00:10:23,280 Speaker 2: making of the drums and the essence of the drums. 184 00:10:24,320 --> 00:10:26,480 Speaker 1: I saw them building a drum set. 185 00:10:26,320 --> 00:10:28,960 Speaker 2: For John Bonham when they were led Zeppelin was gonna 186 00:10:28,960 --> 00:10:30,200 Speaker 2: play Madison Square Garden. 187 00:10:30,200 --> 00:10:34,520 Speaker 1: They've built a lot of custom things. It was amazing. 188 00:10:34,880 --> 00:10:36,040 Speaker 1: It was an amazing place. 189 00:10:36,920 --> 00:10:40,120 Speaker 2: I used to sit and listen to guys like Papa 190 00:10:40,160 --> 00:10:43,680 Speaker 2: Joe Jones and Jim Chapin argue about who was the 191 00:10:43,720 --> 00:10:46,680 Speaker 2: first guy to take the low boy, which was the 192 00:10:46,720 --> 00:10:48,720 Speaker 2: original high hat and raise it up and. 193 00:10:48,640 --> 00:10:51,040 Speaker 1: Play, you know, historical things. 194 00:10:51,080 --> 00:10:56,120 Speaker 2: So in answering your question, I learned so much more 195 00:10:56,200 --> 00:10:59,360 Speaker 2: about drums in general and the guys who play them 196 00:10:59,400 --> 00:11:02,720 Speaker 2: and make them. Then I would have learned that. I 197 00:11:02,800 --> 00:11:05,600 Speaker 2: learned that more there than in any other college. And 198 00:11:05,679 --> 00:11:08,240 Speaker 2: I wanted to go to you know, some of the 199 00:11:08,240 --> 00:11:11,240 Speaker 2: big colleges Manhattan and this and that, but I. 200 00:11:11,240 --> 00:11:14,000 Speaker 1: Opted not to go. I really opted nothing to go. 201 00:11:14,120 --> 00:11:17,200 Speaker 2: And I went there for a few months, and that 202 00:11:17,280 --> 00:11:18,320 Speaker 2: where Militia found me. 203 00:11:19,320 --> 00:11:20,520 Speaker 5: Okay, so that was next. 204 00:11:20,559 --> 00:11:24,120 Speaker 4: Your big break came with Melissa Manchester at the age 205 00:11:24,160 --> 00:11:29,520 Speaker 4: of nineteen. And of course we're connected through the great 206 00:11:29,559 --> 00:11:33,720 Speaker 4: Emily Kagan, who books artists for me, who connected us 207 00:11:33,760 --> 00:11:38,800 Speaker 4: for this. And Emily's family is a complete force of 208 00:11:38,920 --> 00:11:40,840 Speaker 4: nature family around music. 209 00:11:41,720 --> 00:11:44,280 Speaker 5: Melissa's her aunt. Isn't that correct? 210 00:11:44,360 --> 00:11:46,400 Speaker 1: That is correct? That is Yeah. 211 00:11:46,559 --> 00:11:49,800 Speaker 4: So you got the big break with Melissa and it 212 00:11:49,880 --> 00:11:51,280 Speaker 4: was through the drum shop, right. 213 00:11:51,760 --> 00:11:52,200 Speaker 1: Yeah. 214 00:11:52,320 --> 00:11:54,040 Speaker 2: Well, you know, while I was working there, and I 215 00:11:54,080 --> 00:11:56,240 Speaker 2: had a great time working there, but the guys who 216 00:11:56,240 --> 00:11:59,360 Speaker 2: worked there were always telling me, don't get comfortable, don't 217 00:11:59,360 --> 00:12:01,640 Speaker 2: stay here. You got to get the hell out of here. 218 00:12:01,760 --> 00:12:04,320 Speaker 2: Don't be like us, blah blah blah blah, you know, 219 00:12:04,400 --> 00:12:07,480 Speaker 2: don't get stuck. So when they got the call, they 220 00:12:07,480 --> 00:12:10,280 Speaker 2: gave me the number, they said, here go audition. If 221 00:12:10,320 --> 00:12:12,120 Speaker 2: you don't make the audition, you can't come back and 222 00:12:12,160 --> 00:12:14,800 Speaker 2: work here. Get the job, get out of here. 223 00:12:15,679 --> 00:12:15,920 Speaker 1: You know. 224 00:12:16,600 --> 00:12:18,960 Speaker 2: It was a gentle kind of a boot in the ass, 225 00:12:19,160 --> 00:12:23,199 Speaker 2: but a necessary one, you know, because I could have 226 00:12:23,760 --> 00:12:26,120 Speaker 2: gotten comfortable and just said I'm just gonna stay here 227 00:12:26,520 --> 00:12:29,880 Speaker 2: and do some gigs in New York. But getting that 228 00:12:30,240 --> 00:12:33,880 Speaker 2: getting that that shot there, that that chance, and being 229 00:12:33,920 --> 00:12:37,480 Speaker 2: supported by the guys you know who I knew, my peers, 230 00:12:37,559 --> 00:12:40,680 Speaker 2: my fellow peers. They were gonna, dude, you can't stay here. 231 00:12:40,760 --> 00:12:41,959 Speaker 2: You got to get the hell out of here, you're 232 00:12:41,960 --> 00:12:45,000 Speaker 2: too talented for this. So I did, and I went 233 00:12:45,040 --> 00:12:47,160 Speaker 2: and I I auditioned, and I think it was about 234 00:12:47,240 --> 00:12:50,280 Speaker 2: eighteen guys. I don't know that audition. I got there 235 00:12:50,320 --> 00:12:53,280 Speaker 2: early because I was so nervous. So I beat the 236 00:12:53,320 --> 00:12:57,880 Speaker 2: crowd and got to be the number one in the 237 00:12:57,920 --> 00:13:00,959 Speaker 2: auditions and stuff like that, and within twenty four hours 238 00:13:00,960 --> 00:13:02,880 Speaker 2: I got the call, luckily. 239 00:13:03,679 --> 00:13:08,120 Speaker 4: So then that road, ultimately, among other things, led to 240 00:13:08,600 --> 00:13:11,920 Speaker 4: a session with the great Miss Diana Ross, didn't it. 241 00:13:12,200 --> 00:13:12,680 Speaker 1: Oh yeah? 242 00:13:12,720 --> 00:13:17,480 Speaker 2: Eventually I met through Melissa and the people that she 243 00:13:17,600 --> 00:13:21,599 Speaker 2: knew in LA, like Vinnie Ponzia, her producer. Vinnie introduced 244 00:13:21,640 --> 00:13:25,600 Speaker 2: me to Richard Perry and many other people. Plus playing 245 00:13:25,640 --> 00:13:30,160 Speaker 2: in LA, you know, relocated to LA and playing around 246 00:13:31,160 --> 00:13:33,160 Speaker 2: a lot of people got to see me, you know, 247 00:13:33,200 --> 00:13:35,880 Speaker 2: I was I was exposed to a lot of I 248 00:13:35,920 --> 00:13:38,760 Speaker 2: played the troubadour and there were so many other places 249 00:13:38,760 --> 00:13:43,120 Speaker 2: that I played here, So that got me in. So 250 00:13:43,480 --> 00:13:48,600 Speaker 2: of course when I met Richard Perry that he was 251 00:13:48,600 --> 00:13:51,880 Speaker 2: producing Diana at that time, and that led to me 252 00:13:51,880 --> 00:13:58,680 Speaker 2: meeting Jeff Picaro and the total link because actually I 253 00:13:58,760 --> 00:14:00,760 Speaker 2: met Steve Luke at their first ME and Luca. There 254 00:14:00,800 --> 00:14:03,680 Speaker 2: are old buddies. I mean we met each other when 255 00:14:03,679 --> 00:14:06,480 Speaker 2: I when we were nineteen years old. He's actually younger 256 00:14:06,480 --> 00:14:09,480 Speaker 2: than me by one year, but we've been buds ever 257 00:14:09,559 --> 00:14:12,680 Speaker 2: since that time. And I remember at that session, me 258 00:14:12,720 --> 00:14:15,640 Speaker 2: and Lucat there were finishing and Jeff Facarlo say, hey, man, 259 00:14:15,640 --> 00:14:16,200 Speaker 2: you guys. 260 00:14:15,960 --> 00:14:18,520 Speaker 1: Want a gig. I'm like, yeah, who's it wit? 261 00:14:18,640 --> 00:14:21,800 Speaker 2: And it says, well, Bob Skaggs is looking for percussionists 262 00:14:21,840 --> 00:14:24,440 Speaker 2: and a guitar player show up and so so sound 263 00:14:24,480 --> 00:14:26,240 Speaker 2: stay and boom. 264 00:14:26,320 --> 00:14:26,880 Speaker 1: That was that. 265 00:14:27,720 --> 00:14:31,400 Speaker 4: I feel like that's when I saw you play with 266 00:14:31,640 --> 00:14:33,120 Speaker 4: the Silk Degrees tour. 267 00:14:34,840 --> 00:14:37,440 Speaker 1: Probably yet And if I'm. 268 00:14:37,320 --> 00:14:43,520 Speaker 4: Not mistaken, Boz opened up for Little Feed on part 269 00:14:43,560 --> 00:14:44,120 Speaker 4: of that tour. 270 00:14:44,200 --> 00:14:45,320 Speaker 5: Does that sound familiar? 271 00:14:45,720 --> 00:14:48,680 Speaker 2: Yes, yes, yeah, And that's how I got to meet 272 00:14:48,680 --> 00:14:51,480 Speaker 2: Little Feed and I became I became really great friends 273 00:14:51,520 --> 00:14:53,680 Speaker 2: with them, and I became like their little brother because 274 00:14:53,680 --> 00:14:56,920 Speaker 2: I've fellen well, I've never heard that kind of music 275 00:14:56,960 --> 00:14:59,800 Speaker 2: in New York. I don't know why, but when I 276 00:14:59,840 --> 00:15:02,000 Speaker 2: heard them, I was like, oh my god, I think, 277 00:15:02,360 --> 00:15:05,640 Speaker 2: oh Cheapers. You know, it was a whole different realm 278 00:15:05,680 --> 00:15:10,360 Speaker 2: of groove. Ritchie Hayward was I mean, that whole band 279 00:15:10,440 --> 00:15:16,440 Speaker 2: was insanely funky, insanely funky. Oh yeah, it just killed me. 280 00:15:16,840 --> 00:15:19,760 Speaker 2: So yeah, during that bosk again, I remember that. I'm 281 00:15:19,800 --> 00:15:21,800 Speaker 2: glad you brought that up. It's been a while since 282 00:15:21,800 --> 00:15:22,480 Speaker 2: I thought her that. 283 00:15:22,560 --> 00:15:24,040 Speaker 5: In fact, I know where it was. 284 00:15:24,840 --> 00:15:28,320 Speaker 4: It was the University of Cincinnati field House. 285 00:15:30,800 --> 00:15:31,200 Speaker 5: Yeah. 286 00:15:31,280 --> 00:15:36,320 Speaker 4: And and I was introduced first to Little Feed by 287 00:15:36,400 --> 00:15:39,920 Speaker 4: some friends and didn't know, you know, their music at all, 288 00:15:40,080 --> 00:15:44,000 Speaker 4: and was completely knocked out because it didn't sound like 289 00:15:44,040 --> 00:15:46,800 Speaker 4: anything else. And then of course we were so knocked 290 00:15:46,800 --> 00:15:50,440 Speaker 4: out also by you know, Boz and you know the band, 291 00:15:50,560 --> 00:15:54,280 Speaker 4: and Silk Degrees was at its highest, you know level 292 00:15:54,360 --> 00:15:55,720 Speaker 4: there going up the charts. 293 00:15:56,120 --> 00:15:57,080 Speaker 1: That was the pinnacle. 294 00:15:57,200 --> 00:15:59,840 Speaker 2: Yeah yeah, I mean not because I was in the band, 295 00:15:59,840 --> 00:16:00,800 Speaker 2: but that band that he. 296 00:16:00,840 --> 00:16:02,960 Speaker 1: Had when I got in there was supreme. 297 00:16:03,760 --> 00:16:06,880 Speaker 2: Was unreal with Jeff there and Scotti Edwards on bays 298 00:16:06,960 --> 00:16:09,920 Speaker 2: and then Lucater, oh my god, and there was Steve 299 00:16:09,960 --> 00:16:12,359 Speaker 2: Pacaro and Jay Wendy on keyboards. 300 00:16:12,560 --> 00:16:13,080 Speaker 5: Legendary. 301 00:16:13,200 --> 00:16:14,800 Speaker 1: It was an insanely great band. 302 00:16:15,120 --> 00:16:19,200 Speaker 2: It was just sweet, sweet, sweet, sweet, sweet sweet unbelievable. 303 00:16:19,760 --> 00:16:22,840 Speaker 3: Yeah, we'll be right back with more than Taking a 304 00:16:22,880 --> 00:16:31,080 Speaker 3: Walk Podcast. Welcome back to the Taking a Walk Podcast. 305 00:16:31,480 --> 00:16:34,680 Speaker 5: Did you ever play in a session and while you 306 00:16:34,720 --> 00:16:35,720 Speaker 5: were in the midst of the. 307 00:16:35,720 --> 00:16:39,160 Speaker 4: Session you kind of went, man, I didn't really feel 308 00:16:39,200 --> 00:16:43,160 Speaker 4: this groove happening, And then when you finally heard the 309 00:16:43,240 --> 00:16:46,400 Speaker 4: music come out, you were like, oh, I was completely wrong. 310 00:16:46,520 --> 00:16:50,320 Speaker 5: This is incredible. Did that ever happen in any cases? 311 00:16:50,960 --> 00:16:51,320 Speaker 2: No? 312 00:16:51,440 --> 00:16:52,040 Speaker 1: Not really. 313 00:16:52,160 --> 00:16:54,520 Speaker 2: No, I've never played on anything that I couldn't cop 314 00:16:54,560 --> 00:16:57,320 Speaker 2: the groove. But I don't leave the studio unless stuff 315 00:16:57,360 --> 00:17:00,240 Speaker 2: is right. You know, you just don't do that. Do 316 00:17:00,280 --> 00:17:02,440 Speaker 2: that in those days. I mean even if it was 317 00:17:02,480 --> 00:17:05,479 Speaker 2: take one hundred at three o'clock in the morning. You know, 318 00:17:05,600 --> 00:17:08,160 Speaker 2: in those days they had budgets, so you could do 319 00:17:08,240 --> 00:17:10,879 Speaker 2: that until it was right. And the funny thing is, 320 00:17:10,920 --> 00:17:13,680 Speaker 2: guys who would do that? Who would go the gambit 321 00:17:14,720 --> 00:17:18,840 Speaker 2: thirty six takes, fifty takes whatever. Most of the time 322 00:17:19,440 --> 00:17:21,320 Speaker 2: they'd come back to the first three takes. 323 00:17:21,359 --> 00:17:24,679 Speaker 1: We did really life. 324 00:17:24,440 --> 00:17:27,879 Speaker 2: Lesson, studio lesson you know what I'm saying. But I 325 00:17:28,040 --> 00:17:30,160 Speaker 2: tell you one thing I got into ject. Jeff Facaro 326 00:17:30,320 --> 00:17:34,119 Speaker 2: was notorious for saying he would not want to go 327 00:17:34,280 --> 00:17:37,560 Speaker 2: past two takes, three takes. He would say, guys, my 328 00:17:37,680 --> 00:17:41,040 Speaker 2: shit's there. You guys got overdub. Come on, let we're 329 00:17:41,080 --> 00:17:44,199 Speaker 2: going to the bar. We'll go to Martoni's. And the 330 00:17:44,240 --> 00:17:47,840 Speaker 2: producer would go, you know, he's right, and they would 331 00:17:48,400 --> 00:17:52,919 Speaker 2: overdub the pace over the reports. But Jeff had a 332 00:17:53,200 --> 00:18:00,760 Speaker 2: unique talent and ways he knew about structuring too, you know, 333 00:18:01,200 --> 00:18:04,080 Speaker 2: how the chorus should lean forward a little bit, lean forward, 334 00:18:04,240 --> 00:18:07,520 Speaker 2: not get push forward, but just lean forward, and the 335 00:18:07,640 --> 00:18:10,800 Speaker 2: verses should maybe lean back. He had a natural knack 336 00:18:10,880 --> 00:18:16,119 Speaker 2: of knowing the essence of a song, you know, really 337 00:18:16,400 --> 00:18:19,840 Speaker 2: the composition, not only the composition, but getting into it 338 00:18:19,880 --> 00:18:21,480 Speaker 2: and then putting in the emotion. 339 00:18:22,400 --> 00:18:23,960 Speaker 1: You know, he was incredible. 340 00:18:24,680 --> 00:18:27,720 Speaker 2: But like I said, you know we I never left 341 00:18:27,720 --> 00:18:30,760 Speaker 2: the studio thinking well I didn't like that or this 342 00:18:30,800 --> 00:18:35,240 Speaker 2: and that and most everything just about it. I love, 343 00:18:35,720 --> 00:18:39,480 Speaker 2: you know, no matter how difficult the session was, you know. 344 00:18:40,119 --> 00:18:43,080 Speaker 4: Yeah, well, let me get your reaction to just a 345 00:18:43,200 --> 00:18:47,200 Speaker 4: few I'm sorry of the folks that you've worked with, 346 00:18:47,280 --> 00:18:50,560 Speaker 4: and just to tell me about the experience and certainly 347 00:18:50,600 --> 00:18:54,080 Speaker 4: what you remember about working I'll start with the great 348 00:18:54,119 --> 00:18:54,679 Speaker 4: Tom Petty. 349 00:18:55,760 --> 00:19:00,280 Speaker 2: Oh I miss him so I still you know, every 350 00:19:00,280 --> 00:19:01,720 Speaker 2: time I take a road trip, I love to go 351 00:19:01,800 --> 00:19:06,720 Speaker 2: camping and just go out, you know, these days. I 352 00:19:06,800 --> 00:19:09,840 Speaker 2: listened to his stuff religiously, the two albums that I did. 353 00:19:10,760 --> 00:19:12,199 Speaker 1: I'm so lucky to be on. 354 00:19:12,520 --> 00:19:16,520 Speaker 2: I don't know what to say, to tell you the truth, 355 00:19:16,760 --> 00:19:20,680 Speaker 2: I don't know what I did to deserve such such 356 00:19:20,720 --> 00:19:25,200 Speaker 2: a thing, you know, because his music is just unbelievable, 357 00:19:25,760 --> 00:19:27,399 Speaker 2: you know. I was yet, like I said, I was 358 00:19:27,480 --> 00:19:29,720 Speaker 2: lucky to do two of his albums. And what a 359 00:19:29,760 --> 00:19:32,880 Speaker 2: sweetheart of a man? Sweetheart of a man? 360 00:19:33,560 --> 00:19:34,439 Speaker 5: What two were you on? 361 00:19:34,560 --> 00:19:41,800 Speaker 2: Lenny Echoes and Wildflowers? Oh man, yeah, those are I mean, 362 00:19:41,840 --> 00:19:43,440 Speaker 2: I love all his other stuff, but I got to 363 00:19:43,480 --> 00:19:48,720 Speaker 2: say those two are the sweetest. I'm not not a 364 00:19:48,720 --> 00:19:52,480 Speaker 2: bragg or anything like that, but all his stuff is incredible, 365 00:19:52,640 --> 00:19:55,520 Speaker 2: and from the very beginning, from breakdown all the way 366 00:19:55,560 --> 00:19:55,960 Speaker 2: on up. 367 00:19:56,000 --> 00:19:56,240 Speaker 3: You know. 368 00:19:57,040 --> 00:20:01,280 Speaker 4: Yeah, we had Mike Campbell on the podcast and was recounting, 369 00:20:01,600 --> 00:20:04,520 Speaker 4: you know, just the great you know moments inside the 370 00:20:04,560 --> 00:20:07,080 Speaker 4: sessions and everything with Tom and you know. 371 00:20:07,680 --> 00:20:09,760 Speaker 2: Just yeah, just to be in the room with him 372 00:20:09,880 --> 00:20:13,199 Speaker 2: and Steve Feron and Mike and those guys, I was 373 00:20:13,480 --> 00:20:14,080 Speaker 2: right at home. 374 00:20:14,160 --> 00:20:17,400 Speaker 1: I was like, yeah, I belong here. This is kind 375 00:20:17,440 --> 00:20:18,359 Speaker 1: of right, you know. 376 00:20:19,359 --> 00:20:21,920 Speaker 2: And uh, well, and the great thing is every time 377 00:20:21,960 --> 00:20:26,040 Speaker 2: I saw Tom anywhere, either at the restaurant or or 378 00:20:26,280 --> 00:20:29,280 Speaker 2: backstage somewhere. He was always hey, link, come on, let's 379 00:20:29,320 --> 00:20:31,760 Speaker 2: let's sit let's sit around and talk and let's smoke one. 380 00:20:31,800 --> 00:20:33,560 Speaker 1: And you know, come on. 381 00:20:34,040 --> 00:20:36,640 Speaker 2: He was just a sweetheart of a guy, and he's 382 00:20:36,680 --> 00:20:37,240 Speaker 2: so missed. 383 00:20:37,840 --> 00:20:39,440 Speaker 5: How about working with Elton John. 384 00:20:40,400 --> 00:20:44,159 Speaker 2: Elton was a brief one. I did what was it? 385 00:20:44,200 --> 00:20:47,399 Speaker 2: I did something that he did with Olivia Newton John. 386 00:20:48,600 --> 00:20:51,679 Speaker 2: And you know, Elton is great, what a master. I 387 00:20:51,680 --> 00:20:53,359 Speaker 2: wish I would have done more with him. I would 388 00:20:53,359 --> 00:20:56,639 Speaker 2: have loved to have done more with them, but of 389 00:20:56,680 --> 00:20:58,240 Speaker 2: course he had Ray Cooper. 390 00:20:58,000 --> 00:21:01,360 Speaker 1: You know who's still doing the gig. I care. Yeah, Jesus, 391 00:21:01,480 --> 00:21:02,480 Speaker 1: you know what a diehard. 392 00:21:02,520 --> 00:21:05,800 Speaker 2: Nobody told me. Nobody told him. He's like told you know. 393 00:21:05,880 --> 00:21:09,560 Speaker 2: But you know, I've I've always wanted to do more 394 00:21:09,600 --> 00:21:12,360 Speaker 2: without But the time that I did spend was wonderful, 395 00:21:12,960 --> 00:21:15,720 Speaker 2: A very special thing to experience, you know, to be 396 00:21:15,760 --> 00:21:17,560 Speaker 2: in the presence of such greatness. 397 00:21:17,960 --> 00:21:20,360 Speaker 5: And how about working with Steely Dan. 398 00:21:20,840 --> 00:21:23,879 Speaker 2: Never worked with them. I never worked with them. I 399 00:21:23,920 --> 00:21:28,000 Speaker 2: always wanted to, but I never got that call. Really, 400 00:21:28,119 --> 00:21:30,600 Speaker 2: Jeff always was trying to I was trying to push 401 00:21:30,680 --> 00:21:32,800 Speaker 2: them Jeff was always, you know, telling them you gotta get. 402 00:21:32,760 --> 00:21:35,360 Speaker 1: Lenny, you gotta get Lenny. He was one of my. 403 00:21:35,359 --> 00:21:38,800 Speaker 2: Greater greater uh uh, you know. He would push me 404 00:21:38,840 --> 00:21:41,240 Speaker 2: all the time with armed people. But yeah, I met 405 00:21:41,280 --> 00:21:45,199 Speaker 2: the guys, I met them in the day, but I 406 00:21:45,240 --> 00:21:48,160 Speaker 2: never did get to play with them. I'm I always 407 00:21:48,200 --> 00:21:49,960 Speaker 2: wanted to, and of course I love their music. 408 00:21:50,720 --> 00:21:54,560 Speaker 4: How about working with Aaric Clapton on that small performance 409 00:21:54,600 --> 00:21:56,720 Speaker 4: that you worked with him on Tears in Heaven. 410 00:21:57,640 --> 00:22:01,239 Speaker 2: That was one of those unexped things man, that just 411 00:22:01,400 --> 00:22:04,480 Speaker 2: fell from this guy literally. I mean, we were in 412 00:22:04,520 --> 00:22:07,200 Speaker 2: the studio for a whole week doing the music for Rush, 413 00:22:07,840 --> 00:22:09,840 Speaker 2: you know, and we spent the whole time. 414 00:22:09,680 --> 00:22:11,280 Speaker 1: Together and it was great. 415 00:22:11,320 --> 00:22:13,240 Speaker 2: You know, when you spend that much time with people 416 00:22:13,760 --> 00:22:15,800 Speaker 2: in the studio, you get to really know them well, 417 00:22:16,640 --> 00:22:18,879 Speaker 2: you know. And I did other projects with him, but 418 00:22:18,960 --> 00:22:23,920 Speaker 2: that one project was really very special. So Friday, Friday 419 00:22:24,040 --> 00:22:28,000 Speaker 2: afternoon comes, we're finishing, we're packing up, and the guys 420 00:22:28,560 --> 00:22:30,640 Speaker 2: Eric's people come and say, listen, we got one more 421 00:22:30,720 --> 00:22:33,440 Speaker 2: We got a song that's the single, and we keep 422 00:22:33,480 --> 00:22:35,439 Speaker 2: on trying to put drums on it, but it's just 423 00:22:35,600 --> 00:22:39,080 Speaker 2: not working. What can you do with it. So I 424 00:22:39,119 --> 00:22:41,000 Speaker 2: go into the other studio where they were working. They 425 00:22:41,000 --> 00:22:44,679 Speaker 2: were using two studios at Village Recorders. So I go 426 00:22:44,760 --> 00:22:47,000 Speaker 2: over and I listen to the song and my heart 427 00:22:47,280 --> 00:22:50,639 Speaker 2: just hits the ground because I know exactly what he 428 00:22:50,760 --> 00:22:54,359 Speaker 2: was talking about, and I'm thinking, what am I doing? 429 00:22:54,400 --> 00:22:57,520 Speaker 2: What am I What's going on here? So I listened 430 00:22:57,520 --> 00:22:59,439 Speaker 2: to it and then I just turned to the engineer. 431 00:22:59,480 --> 00:23:04,320 Speaker 2: We're going to do four things, probably with shaker bells, gonga, 432 00:23:04,359 --> 00:23:06,480 Speaker 2: and I think there was I thought there was something 433 00:23:06,520 --> 00:23:06,919 Speaker 2: else I did. 434 00:23:06,960 --> 00:23:09,680 Speaker 1: It might have been three tracks, so I. 435 00:23:09,640 --> 00:23:11,720 Speaker 2: Ran to you know, we did their recordings and at 436 00:23:11,720 --> 00:23:14,600 Speaker 2: the end of my overdubs, Eric just walked up to 437 00:23:14,680 --> 00:23:16,399 Speaker 2: me and gave me a giant hug and said, you 438 00:23:16,440 --> 00:23:19,879 Speaker 2: saved it. You know what I did was I just 439 00:23:19,960 --> 00:23:23,159 Speaker 2: tied things together. It wasn't the type of tune that 440 00:23:23,280 --> 00:23:26,399 Speaker 2: was gonna take a spots or even acrosstick would have 441 00:23:26,400 --> 00:23:27,560 Speaker 2: been too much. 442 00:23:28,440 --> 00:23:30,400 Speaker 1: So what they did was they kept a base. 443 00:23:30,280 --> 00:23:34,480 Speaker 2: Drum from one of two or three drummers that they used, 444 00:23:34,840 --> 00:23:39,680 Speaker 2: I'm not sure who, and something else, maybe a highism, 445 00:23:40,400 --> 00:23:43,359 Speaker 2: and basically that was it, you know, And like I said, 446 00:23:43,680 --> 00:23:46,480 Speaker 2: I did not expect that you know, but I was 447 00:23:46,520 --> 00:23:47,240 Speaker 2: ready for it. 448 00:23:47,240 --> 00:23:52,119 Speaker 1: It was like, what can you do? Let me give me, 449 00:23:52,240 --> 00:23:53,560 Speaker 1: give me twenty minutes, fella. 450 00:23:54,400 --> 00:23:56,879 Speaker 2: I'm very proud of that one, very very proud of 451 00:23:56,920 --> 00:23:58,040 Speaker 2: that one that you know. 452 00:23:58,720 --> 00:24:00,520 Speaker 5: How about working with Stevie under. 453 00:24:01,119 --> 00:24:06,080 Speaker 2: Oh wow, that guy just you want to talk about 454 00:24:06,119 --> 00:24:10,000 Speaker 2: too much energy? Oh my goodness, it was. It's always 455 00:24:10,080 --> 00:24:14,399 Speaker 2: great working with him. But you're at the you're at 456 00:24:15,440 --> 00:24:17,840 Speaker 2: he just doesn't know about time. He'll tell you twelve o'clock, 457 00:24:17,880 --> 00:24:20,479 Speaker 2: mid nine, he shows up at three o'clock, you know, 458 00:24:21,640 --> 00:24:25,080 Speaker 2: but I always you know, how can you not have 459 00:24:25,119 --> 00:24:29,080 Speaker 2: fun playing with a guy like that? From Fingertips to 460 00:24:29,560 --> 00:24:32,479 Speaker 2: you know, to up till now. I was weaned on 461 00:24:32,560 --> 00:24:36,840 Speaker 2: his music, so when I got that gig, I was like, charge, 462 00:24:37,040 --> 00:24:40,080 Speaker 2: they're all over here, baby, I know exactly what's going down. 463 00:24:40,520 --> 00:24:43,000 Speaker 2: And I used to have just a wonderful, wonderful time 464 00:24:43,040 --> 00:24:45,880 Speaker 2: playing with him. You know, how can you not all 465 00:24:45,920 --> 00:24:49,680 Speaker 2: that great music? It was beautiful. It was an incredible 466 00:24:49,720 --> 00:24:52,679 Speaker 2: time for me, really really incredible time for me. 467 00:24:52,680 --> 00:24:53,400 Speaker 1: What a genius. 468 00:24:53,800 --> 00:24:56,560 Speaker 5: Oh man, he still has it too, you know. 469 00:24:56,800 --> 00:25:01,000 Speaker 2: Oh my god, you're kidding. Yeah, is bumper to Mary now? 470 00:25:01,000 --> 00:25:03,120 Speaker 2: And then he says hey man. He said, ah, come, 471 00:25:03,160 --> 00:25:04,639 Speaker 2: you don't play with me no more. He says, man, 472 00:25:04,680 --> 00:25:07,439 Speaker 2: you don't work enough. You work every now and then 473 00:25:08,160 --> 00:25:09,719 Speaker 2: I told I told her one time. He says, man, 474 00:25:09,760 --> 00:25:12,680 Speaker 2: you had this incredible solid gold brail watching you never 475 00:25:12,800 --> 00:25:16,600 Speaker 2: use it. And he just cracked up. He was, no, 476 00:25:16,800 --> 00:25:19,080 Speaker 2: that's just my way. And you know, I traveled my 477 00:25:19,160 --> 00:25:23,480 Speaker 2: own time. He gets two hours of sleep and he's 478 00:25:23,840 --> 00:25:28,640 Speaker 2: he's and he's up crazy, you know. So, I mean 479 00:25:28,680 --> 00:25:31,439 Speaker 2: I did this one thing for him, the tears, not 480 00:25:31,520 --> 00:25:35,600 Speaker 2: that tears from him, a song on the Woman in Red. 481 00:25:36,800 --> 00:25:38,680 Speaker 2: I did one thing. And while we were on tour, 482 00:25:38,760 --> 00:25:41,000 Speaker 2: he was recording that music. We were touring in Europe. 483 00:25:41,680 --> 00:25:44,199 Speaker 2: So we're in Hamburg, Germany, and after the show, you know, 484 00:25:44,400 --> 00:25:46,679 Speaker 2: he sends this guy says, see if he wants to 485 00:25:46,800 --> 00:25:49,200 Speaker 2: go into the studio, here's a studio here in Hamburg. 486 00:25:49,520 --> 00:25:51,840 Speaker 2: He needs something on one of his songs for the movie. 487 00:25:52,720 --> 00:25:55,400 Speaker 2: I said, well, shit, okay, well there goes my bar time, 488 00:25:55,520 --> 00:25:58,639 Speaker 2: you know. So I went to the went to the studio, 489 00:25:58,800 --> 00:26:01,240 Speaker 2: had a bunch of here is playing pinball. 490 00:26:01,280 --> 00:26:01,720 Speaker 1: I wait. 491 00:26:01,840 --> 00:26:04,399 Speaker 2: I would say I got it about maybe midnight. I 492 00:26:04,400 --> 00:26:06,959 Speaker 2: had to wait about two or three hours you know. 493 00:26:07,160 --> 00:26:09,639 Speaker 2: And finally, you know, I'm like Stevie, we got a 494 00:26:09,640 --> 00:26:13,520 Speaker 2: plane to catch. We got to show the dude. Come on, 495 00:26:13,720 --> 00:26:16,840 Speaker 2: you know. He says, Okay, come in, listen to the song. 496 00:26:17,720 --> 00:26:19,840 Speaker 2: And I turned to the edge and I says, once 497 00:26:19,880 --> 00:26:22,159 Speaker 2: I start playing, do not touch that red button. This 498 00:26:22,280 --> 00:26:24,320 Speaker 2: is gonna be one take because I got to get 499 00:26:24,320 --> 00:26:24,720 Speaker 2: out of here. 500 00:26:25,280 --> 00:26:26,400 Speaker 1: So boom, I did it. 501 00:26:26,760 --> 00:26:28,600 Speaker 2: And the only thing I had to really redo was 502 00:26:28,640 --> 00:26:31,440 Speaker 2: at the very very very end, he wanted a Kunga 503 00:26:31,560 --> 00:26:34,680 Speaker 2: roll out, and. 504 00:26:34,800 --> 00:26:37,720 Speaker 1: So I just had to redo that. Next morning, I'm 505 00:26:37,760 --> 00:26:38,440 Speaker 1: at the airport. 506 00:26:39,080 --> 00:26:42,960 Speaker 2: I hear somebody blasting their their ghetto blast and it's 507 00:26:42,960 --> 00:26:45,840 Speaker 2: Stevie going, hey, listen to this, man, you killed it. 508 00:26:45,960 --> 00:26:49,560 Speaker 2: But I says, yeah, but you know, I'm tired, man. 509 00:26:51,720 --> 00:26:56,639 Speaker 2: But Steevie's amazing. What a force, what a musical force. 510 00:26:56,760 --> 00:26:57,480 Speaker 5: Oh my god. 511 00:26:58,160 --> 00:26:58,680 Speaker 1: Yeah. 512 00:27:00,080 --> 00:27:03,440 Speaker 4: Then all right, so there's three more. I've categorized these 513 00:27:03,480 --> 00:27:06,680 Speaker 4: three that I wanted to ask about because they come 514 00:27:08,000 --> 00:27:10,719 Speaker 4: from a different era and with different skill sets. 515 00:27:11,359 --> 00:27:16,080 Speaker 5: First, Quincy Jones Quincy Wow. 516 00:27:16,240 --> 00:27:20,320 Speaker 2: Quincy Quincy's always cool man. Was everybody wants to work 517 00:27:20,359 --> 00:27:22,840 Speaker 2: with him. You know, what a genius. I mean, the 518 00:27:22,920 --> 00:27:25,960 Speaker 2: guy just had the feel for everything, you know. And 519 00:27:26,600 --> 00:27:28,480 Speaker 2: I really didn't do a lot of work with him, 520 00:27:28,480 --> 00:27:32,440 Speaker 2: but I did do one of the most expensive handclaps. 521 00:27:31,840 --> 00:27:32,359 Speaker 1: In the world. 522 00:27:33,119 --> 00:27:38,000 Speaker 2: He hired me Lewis Johnson from The Brothers Johnson the 523 00:27:38,000 --> 00:27:39,199 Speaker 2: bass player, and JR. 524 00:27:39,960 --> 00:27:40,280 Speaker 1: Jr. 525 00:27:40,400 --> 00:27:43,960 Speaker 2: Robinson, the drummer from Rufus. He hired the three of 526 00:27:44,040 --> 00:27:49,920 Speaker 2: us on a Saturday night at probably around ten pm. Now, 527 00:27:50,000 --> 00:27:53,320 Speaker 2: if you know Union rules, that's a triple and if 528 00:27:53,359 --> 00:27:55,600 Speaker 2: you go past midnight, it's a quadruple. 529 00:27:56,400 --> 00:27:58,480 Speaker 1: And all we were doing we all got there, we 530 00:27:58,680 --> 00:28:00,679 Speaker 1: go what are we doing? Oh man, you guys are 531 00:28:00,720 --> 00:28:03,720 Speaker 1: doing hand clap? I'm like what? 532 00:28:05,480 --> 00:28:08,199 Speaker 2: And the session went past midnight, and I tell you what, 533 00:28:08,480 --> 00:28:12,520 Speaker 2: that check that we got was ridiculous for hand claps. 534 00:28:13,080 --> 00:28:14,760 Speaker 1: But Quincy knew what he was doing. 535 00:28:15,320 --> 00:28:18,520 Speaker 2: He got the biggest hands in the business to do 536 00:28:18,560 --> 00:28:21,480 Speaker 2: hand claps. So I used those hand claps for Michael Jackson, 537 00:28:21,520 --> 00:28:25,199 Speaker 2: which he was working on and for his album. So 538 00:28:25,280 --> 00:28:27,560 Speaker 2: there on two I think the Dude or something like that. 539 00:28:27,640 --> 00:28:31,840 Speaker 2: So so we did sessions for both both days. But Quincy, 540 00:28:31,960 --> 00:28:34,359 Speaker 2: you know, the guy's just the greatest, you know, no, 541 00:28:34,800 --> 00:28:38,880 Speaker 2: you know his history and his musicality, speaks for itself, 542 00:28:39,600 --> 00:28:41,280 Speaker 2: you know, beautiful. 543 00:28:41,560 --> 00:28:45,880 Speaker 5: Amen, how about Wayne Shorter? 544 00:28:47,560 --> 00:28:51,120 Speaker 1: Now you're really hitting the vein. I had always wanted to. 545 00:28:51,280 --> 00:28:55,200 Speaker 2: I've always been a fan of Brother Report, Major, Zaul God, 546 00:28:55,720 --> 00:29:01,280 Speaker 2: you know, sitting right next to God, everybody, the whole band. 547 00:29:01,560 --> 00:29:04,960 Speaker 2: I got to know Jocko a little bit, but I 548 00:29:04,960 --> 00:29:06,760 Speaker 2: always wanted to be in the band that never got 549 00:29:06,800 --> 00:29:12,440 Speaker 2: that call. I always I tried for it. I tried 550 00:29:12,520 --> 00:29:14,960 Speaker 2: for it and I tried for it, but you know, 551 00:29:15,040 --> 00:29:16,840 Speaker 2: I got to know. I got to know the guys 552 00:29:16,840 --> 00:29:19,200 Speaker 2: in the band, and then I got the call to 553 00:29:19,440 --> 00:29:24,239 Speaker 2: uh to do I forget the Atlantis the album, and 554 00:29:24,320 --> 00:29:27,560 Speaker 2: I was just like, oh my god, I made it 555 00:29:28,960 --> 00:29:32,440 Speaker 2: to play with Wayne Shorter is just amazing in the studio, 556 00:29:32,800 --> 00:29:35,120 Speaker 2: and I got to do a tour with him. The 557 00:29:35,240 --> 00:29:40,120 Speaker 2: band was me, Tracy Wordworth on bass, Terry LYNK Carrington 558 00:29:40,240 --> 00:29:46,400 Speaker 2: on drums, and Jim Beard May Rest in Peace on keyboards. 559 00:29:46,960 --> 00:29:51,160 Speaker 2: It was an amazing band and just a magical, magical tour. 560 00:29:51,960 --> 00:29:55,360 Speaker 2: Was beautiful playing with him. That's about as close as 561 00:29:55,400 --> 00:29:58,000 Speaker 2: I got to Weather Report. But that's okay, you know, 562 00:29:59,800 --> 00:30:02,480 Speaker 2: but you know, again, being in the presence of such 563 00:30:02,600 --> 00:30:09,120 Speaker 2: greatness as it's amazing. It's amazing, but there's no time 564 00:30:09,160 --> 00:30:12,760 Speaker 2: for gawking or for for any star struckness. 565 00:30:12,240 --> 00:30:14,680 Speaker 1: Or anything like that. You just gotta go and do. 566 00:30:15,680 --> 00:30:18,480 Speaker 1: And well, I had a great relationship. 567 00:30:17,880 --> 00:30:19,800 Speaker 2: With him, and he used to love to talk about 568 00:30:19,840 --> 00:30:22,240 Speaker 2: movies and I'm a booptoo, baby, and we sit in 569 00:30:22,280 --> 00:30:25,040 Speaker 2: the back of the bus for hours talking about, you know, 570 00:30:25,280 --> 00:30:26,720 Speaker 2: all these old movies. 571 00:30:26,800 --> 00:30:31,600 Speaker 1: You know. He was he loved, he loved cinema. So 572 00:30:31,880 --> 00:30:34,760 Speaker 1: I love him a lot, miss him a lot. 573 00:30:35,000 --> 00:30:37,680 Speaker 2: Wish I could have done more with him. 574 00:30:38,680 --> 00:30:42,760 Speaker 4: I'm gonna name one more slouch from that kind of period. 575 00:30:44,120 --> 00:30:47,760 Speaker 5: I'm kidding McCoy Tyner, Oh. 576 00:30:47,520 --> 00:30:49,600 Speaker 1: McCoy, geez. 577 00:30:50,120 --> 00:30:51,840 Speaker 2: I never got to record with him, but I did 578 00:30:51,840 --> 00:30:55,600 Speaker 2: a tour wow, where George Benson was touring with him, 579 00:30:55,680 --> 00:30:57,280 Speaker 2: and George didn't have his band. 580 00:30:57,840 --> 00:30:59,360 Speaker 1: So he calls me up. He says, hey, man, I 581 00:30:59,360 --> 00:31:00,000 Speaker 1: need some more group. 582 00:31:00,560 --> 00:31:03,720 Speaker 2: You gotta come with me because I got a jazz 583 00:31:03,800 --> 00:31:06,160 Speaker 2: trio and it's just I need a little bit more. 584 00:31:06,640 --> 00:31:10,920 Speaker 2: So I got to play with McCoy's trio. I forgot 585 00:31:10,960 --> 00:31:14,520 Speaker 2: the guy's name. They were incredible, but I did. McCoy said, well, 586 00:31:14,560 --> 00:31:16,200 Speaker 2: you know, do a couple of songs with me and 587 00:31:16,320 --> 00:31:21,400 Speaker 2: Oh my god, ooh, him and Joe Sample. I have 588 00:31:21,480 --> 00:31:24,600 Speaker 2: to mention Joe because Joe was a major force in 589 00:31:24,640 --> 00:31:29,320 Speaker 2: my life. But playing with those two guys, I mean, 590 00:31:29,400 --> 00:31:35,520 Speaker 2: McCoy was just such a ferocity and vicious, just intense. 591 00:31:35,560 --> 00:31:39,040 Speaker 2: He motioned the way he played, Oh my god, I 592 00:31:39,080 --> 00:31:41,680 Speaker 2: mean it was almost distracting on stage because. 593 00:31:41,440 --> 00:31:44,120 Speaker 1: I would be like, what the hell is he doing? 594 00:31:44,200 --> 00:31:44,840 Speaker 1: Oh my god? 595 00:31:44,920 --> 00:31:47,120 Speaker 2: And I have to whoa whoa, whoa whoa. You gotta 596 00:31:47,160 --> 00:31:51,280 Speaker 2: play you gotta play her instruments. But McCoy, what a 597 00:31:51,280 --> 00:31:55,240 Speaker 2: lovely man, What a lovely man, very mister understated, very 598 00:31:55,880 --> 00:32:01,960 Speaker 2: low tone elos just a sweet guy, very very smooth cat. 599 00:32:02,240 --> 00:32:04,880 Speaker 1: You know, him and him and Joe Sample. I was 600 00:32:04,960 --> 00:32:07,440 Speaker 1: in I in the room with both of those knuckle heads. 601 00:32:07,560 --> 00:32:10,960 Speaker 2: Man, it was such a beautiful thing to see such. 602 00:32:10,800 --> 00:32:15,480 Speaker 1: Greatness in one room, you know. Man. Yeah, I had 603 00:32:15,560 --> 00:32:17,240 Speaker 1: to throw Joe Sample's name in there. 604 00:32:18,000 --> 00:32:20,600 Speaker 5: Oh I'm glad you did. A fan of his as well. 605 00:32:21,240 --> 00:32:21,920 Speaker 1: That's family. 606 00:32:22,080 --> 00:32:26,520 Speaker 2: That to me, it transcends anything, you know, just not 607 00:32:27,240 --> 00:32:30,120 Speaker 2: beyond just being musical guys, musical buddies. 608 00:32:31,480 --> 00:32:31,840 Speaker 1: We were. 609 00:32:31,880 --> 00:32:34,640 Speaker 2: We were pretty much family, him and I and he 610 00:32:34,720 --> 00:32:37,200 Speaker 2: did a lot for my career and for me musically too. 611 00:32:37,480 --> 00:32:38,040 Speaker 1: In my head. 612 00:32:38,360 --> 00:32:42,680 Speaker 5: So what are you working on these days, Lenny, Oh. 613 00:32:41,920 --> 00:32:43,160 Speaker 1: I'm doing a lot of fishing now. 614 00:32:46,080 --> 00:32:48,600 Speaker 2: Well, you know, since COVID, a lot of the studio, well, 615 00:32:48,640 --> 00:32:52,280 Speaker 2: the whole, the whole studio scene has changed pretty much. 616 00:32:52,400 --> 00:32:54,280 Speaker 2: I do a lot of stuff at home now. I 617 00:32:54,280 --> 00:32:56,760 Speaker 2: have a nice little studio. People send me files and 618 00:32:57,600 --> 00:33:00,440 Speaker 2: uh and I have a good time every and then 619 00:33:00,440 --> 00:33:04,160 Speaker 2: you know, I get some recording sessions. I haven't been 620 00:33:04,200 --> 00:33:06,200 Speaker 2: on the road too much. The last tour I did 621 00:33:06,280 --> 00:33:07,160 Speaker 2: was with John Mayer. 622 00:33:07,480 --> 00:33:11,920 Speaker 1: What a drag right. I love, oh God, love working 623 00:33:11,960 --> 00:33:15,160 Speaker 1: with him live and in the studio. I'm hoping maybe. 624 00:33:15,000 --> 00:33:18,280 Speaker 2: He's gonna do something more in the near future. And 625 00:33:18,320 --> 00:33:21,640 Speaker 2: then there's total. Those are the only two things I 626 00:33:21,680 --> 00:33:24,760 Speaker 2: go on the road with. You know, possibly I may 627 00:33:25,040 --> 00:33:26,840 Speaker 2: it depends on what the guys are doing. I may 628 00:33:26,880 --> 00:33:28,560 Speaker 2: go back on on the road with them next year. 629 00:33:29,720 --> 00:33:32,960 Speaker 2: But basically I'm kind of almost semi retired in away. 630 00:33:33,840 --> 00:33:35,000 Speaker 1: You know, I'm still playing. 631 00:33:35,040 --> 00:33:38,000 Speaker 2: I'm still doing some gigs at Jeff Florbur and Charisma, 632 00:33:38,400 --> 00:33:40,280 Speaker 2: Me and David Garfield. We play in town at the 633 00:33:40,280 --> 00:33:43,280 Speaker 2: Baked Potato and another place up in Venture of the 634 00:33:43,360 --> 00:33:44,800 Speaker 2: Grape and Catalina's. 635 00:33:46,920 --> 00:33:51,280 Speaker 4: So, Lenny and closing, I've had quite a few drummers 636 00:33:51,320 --> 00:33:55,480 Speaker 4: on on the podcast previously, so I'm fascinated by my 637 00:33:55,680 --> 00:33:59,240 Speaker 4: drummers and the mystique behind their work. 638 00:33:59,280 --> 00:34:02,040 Speaker 5: We've had us kunkle on and. 639 00:34:03,560 --> 00:34:08,200 Speaker 4: Kenny Aronoff, we've had him on as well. So what's 640 00:34:08,239 --> 00:34:12,600 Speaker 4: the one trait that you feel is central to every 641 00:34:12,640 --> 00:34:13,440 Speaker 4: great drummer. 642 00:34:14,880 --> 00:34:17,120 Speaker 2: Yeah, a drummer has to be very confident in his 643 00:34:17,239 --> 00:34:21,600 Speaker 2: stroke and everything that he's doing, and has to lead, lead, 644 00:34:21,920 --> 00:34:25,399 Speaker 2: but not push. You know what I'm saying, be a front, 645 00:34:25,440 --> 00:34:28,600 Speaker 2: say this is where the time is low. For example, 646 00:34:28,600 --> 00:34:31,840 Speaker 2: big band drummers, you gotta hold twenty five, thirty forty 647 00:34:31,840 --> 00:34:37,600 Speaker 2: pieces up. You gotta be man. You know confidence. You 648 00:34:37,640 --> 00:34:40,880 Speaker 2: can't be kind of sick against yourself. You gotta be 649 00:34:40,920 --> 00:34:43,360 Speaker 2: confidence in your stroke. You gotta be confident in what 650 00:34:43,440 --> 00:34:47,440 Speaker 2: your teacher taught you. You gotta be confident in fiber 651 00:34:47,480 --> 00:34:52,200 Speaker 2: of yourself to really and then be inventive and come 652 00:34:52,280 --> 00:34:53,320 Speaker 2: up with your own signature. 653 00:34:53,880 --> 00:34:54,600 Speaker 1: Very important. 654 00:34:56,600 --> 00:35:00,759 Speaker 5: Lenny, you're the man, so grateful to have John Man. 655 00:35:01,600 --> 00:35:03,440 Speaker 2: Thank you, thank you so much for having me. Man 656 00:35:03,480 --> 00:35:06,320 Speaker 2: It's quite an honor. Really, really, anytime you want to 657 00:35:06,320 --> 00:35:07,840 Speaker 2: do it, you need some more stories. 658 00:35:08,200 --> 00:35:10,880 Speaker 1: I got a million of them. Don't worry about. 659 00:35:10,640 --> 00:35:13,720 Speaker 5: It, all right, it may take you up on that, Leddy. 660 00:35:15,600 --> 00:35:18,040 Speaker 3: Thanks for listening to this episode of the Taking a 661 00:35:18,080 --> 00:35:21,960 Speaker 3: Walk podcast. Share this and other episodes with your friends 662 00:35:22,080 --> 00:35:25,560 Speaker 3: and follow us so you never miss an episode. Taking 663 00:35:25,600 --> 00:35:29,480 Speaker 3: a Walk is available on the iHeartRadio app, Apple Podcasts, 664 00:35:29,719 --> 00:35:32,000 Speaker 3: and wherever you get your podcasts.