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Speaker 1: Taking a Walk.

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Speaker 2: I think we, as human beings, we forget that. You know,

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Speaker 2: you were talking about soul music. Soul music is not

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Speaker 2: as genre because we are souls. We are spirits living

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Speaker 2: in this avatar, you know. And I think we sometimes

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Speaker 2: forget that. Not to get too super spiritual, sometimes we

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Speaker 2: forget that we're all children of God.

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Speaker 1: Welcome to the Taking a Walk Podcast.

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Speaker 3: We're your host.

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Speaker 1: Buzz Night talks with musicians about their latest work and

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Speaker 1: their inspirations. Today, Buzz heads to the bright lights of

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Speaker 1: Broadway for a slight left turn. He heads to use

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Speaker 1: Sonia Studios in Manhattan, the home base for producer Extraordinary

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Speaker 1: Scott Jacoby. Scott has guarded awards from platinum selling albums

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Speaker 1: and his top the charts throughout the world. John Legend, Coldplay,

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Speaker 1: Vampire Weekend, and a host of others have partnered with Scott.

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Speaker 1: Buzz will also delve into a project celebrating some of

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Speaker 1: Broadway's biggest songs with three time Grammy nominated vocal powerhouse

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Speaker 1: Ryan Shaw and acclaimed pianist, composer and a ranger Ray Angry,

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Speaker 1: best known for his work with the Roots. Ryan's voice

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Speaker 1: has been called so big, so churchy, and unmistakably Southern,

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Speaker 1: full of fire and conviction and exploding with emotion. By

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Speaker 1: The Washington Post. Billboard hails him as a massive talent

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Speaker 1: with a huge voice, and Ray Angry has made his

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Speaker 1: mark as a musical innovator, collaborating with icons, pushing the

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Speaker 1: boundaries of genre. Together, Ryan and Ray have teamed up

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Speaker 1: for their new album Off Broadway, a bold reimagining of

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Speaker 1: Broadway hits, blending R and B, soul, jazz, rock, reggae, house,

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Speaker 1: and classical influences. Join us now as Buzz Night takes

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Speaker 1: a musical journey with Scott Jakobe, Ryan Shaw, and Ray

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Speaker 1: Angry right here on the Taken a Walk Podcast.

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Speaker 4: So we've got a special Taken Walk episode here, kind

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Speaker 4: of a behind the creators episode, and we're here at

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Speaker 4: Usonia Studios, and we've got the man who was part

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Speaker 4: of bringing this all certainly together, the producer extraordinaire Scott Jacobi. Scott,

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Speaker 4: thank you for being on Taking a Walk.

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Speaker 5: So pleased that you guys are here.

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Speaker 6: This is a privilege for me and so thanks for

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Speaker 6: all coming making the trip so excited.

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Speaker 4: So how did you become involved with this great project

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Speaker 4: to take us through that sure.

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Speaker 6: Well, I have known Ray and Ryan individually going back

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Speaker 6: a number of years through various sort of music channels,

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Speaker 6: and both in both cases a huge fan of them

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Speaker 6: as people and them as talented individuals, you know. And

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Speaker 6: I was working with Ryan on his new solo project

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Speaker 6: and was invited to see a show between with with

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Speaker 6: Ray and Ryan at at fifty four below in Manhattan,

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Speaker 6: and my wife and I went, and I was buzzing

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Speaker 6: the whole evening. It was just it was so special

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Speaker 6: and to see you know, is one of those moments,

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Speaker 6: you know, as incredible as Ray and Ryan are individually,

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Speaker 6: to see them together, something explosive happened and the show

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Speaker 6: was called from from Broadway to Soul. And seeing that,

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Speaker 6: I just saw a you know, an opportunity to have

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Speaker 6: a a in record form, you know, a a an

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Speaker 6: album of Broadway songs done in a style that would

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Speaker 6: just work for.

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Speaker 5: For Ray and Ryan.

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Speaker 6: So so I spoke to Elizabeth Heally, both.

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Speaker 5: Of their managers, the following day.

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Speaker 6: I was so excited to speak to her and said,

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Speaker 6: you know, had this idea, explained it to her and

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Speaker 6: uh and it got its way to to Ray and Ryan,

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Speaker 6: and then it quickly materialized into doing doing an album.

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Speaker 6: We can get into that in a bit, but that's

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Speaker 6: that's really how it was. How it started. It was

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Speaker 6: so inspired that night, was saying to my wife, God,

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Speaker 6: this would be incredible, this would be so good. We

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Speaker 6: can do a whole album and do it this way

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Speaker 6: and that way. So that's how it started.

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Speaker 4: It's fair to say it was a lightning bolt moment

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Speaker 4: in time, right it was.

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Speaker 6: I mean, at this point in my life and career,

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Speaker 6: you know, I've really focused on doing the things that

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Speaker 6: are truly meaningful to me, that I find musically and

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Speaker 6: personally rewarding, and uh, fortunate enough to have a lot

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Speaker 6: of incoming work. But there's a whole different thing when

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Speaker 6: when it's almost you come up with an idea or

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Speaker 6: a concept, and it's it's almost outgoing in a way

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Speaker 6: that like I say, hey, what do you think of this?

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Speaker 6: It's a much different thing than someone's saying I want

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Speaker 6: to work with Scott Jakobe. That this is like me

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Speaker 6: saying I'd like to work with you guys, And so

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Speaker 6: you put yourself out there in that way. But I

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Speaker 6: think doing projects that it just goes back to the

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Speaker 6: original sort of spirit that brought me to the music

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Speaker 6: world in general. It's just like, I freaking love music,

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Speaker 6: want to do it all the time and be involved

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Speaker 6: in different ways. There's so much music that inspires me.

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Speaker 6: Let's make some and so that's that's where it came from.

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Speaker 6: That was a bolt of energy.

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Speaker 4: What was the first moment when you were then in

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Speaker 4: the studio with the guys, What was that like? Take

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Speaker 4: us back to that moment and how it felt.

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Speaker 5: Well, that was really special.

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Speaker 6: There were a number of steps in between that, because

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Speaker 6: like you know, you could argue the magic happened that

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Speaker 6: well in a few days, but are in our day

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Speaker 6: of tracking, you know, the basic tracks for the album,

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Speaker 6: which which took place in one day. Ray had said, yeah, man,

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Speaker 6: these guys are going to be amazing the musicians. I

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Speaker 6: think we can do it in one day, and I'm

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Speaker 6: more conservative. I was like it might take two or

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Speaker 6: three and raise like, no, man, I think I think

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Speaker 6: they got this, and I was like, all right, better

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Speaker 6: safe and sorry whatever. Anyway, of course it happened in

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Speaker 6: one day, and but there, you know, in order to

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Speaker 6: kind of like I always feel like, in order for

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Speaker 6: magic to happen, you have to sort of set up

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Speaker 6: the circumstances. So the number of things that happened before

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Speaker 6: walking into the studio are choosing musicians, doing arrangements, and

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Speaker 6: that's where Ray and Ryan, you know, had had a

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Speaker 6: day together or maybe maybe more. We're kind of looking

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Speaker 6: at each tune saying, hey, here's this tune. How are

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Speaker 6: we going to do this, How are we going to

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Speaker 6: approach this, What genre is this going to be? How

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Speaker 6: are we going to freak this? How are we going

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Speaker 6: to make this hours? You know, I think that's a

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Speaker 6: lot of the magic too. So is the song selection,

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Speaker 6: you know, and you know, songs start from inspiration. The

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Speaker 6: song's always king. The song has to come first. It's

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Speaker 6: lyrical content, the melody, all that stuff. So once you

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Speaker 6: pick those, then you're off and running. It's onto other things.

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Speaker 6: But Ryan had to pick from a huge list of

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Speaker 6: potential candidates of you know, however, many years of Broadway,

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Speaker 6: which songs were most inspiring to him in different ways,

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Speaker 6: and that's where that's where it started. But the day

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Speaker 6: of the recording, you know, it's just like, you know,

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Speaker 6: we're in a relatively small space here. There are a

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Speaker 6: lot of people around, a lot of moving parts. There

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Speaker 6: was a lot of setup to that too. I came in,

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Speaker 6: you know, day before, spent the whole day making sure

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Speaker 6: people could basically just walk in and play and it

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Speaker 6: was going to sound good. That's that's part of that setup.

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Speaker 6: And then all of this is just to allow for

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Speaker 6: the magic that happens on that day, which hopefully it does.

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Speaker 6: It doesn't always, but it definitely did.

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Speaker 4: So then tell me when it finally is completed, the

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Speaker 4: project is sealed and delivered, and when you first hear

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Speaker 4: it in that environment as a finished product from your perspective,

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Speaker 4: how does that end up feeling?

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Speaker 3: Well?

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Speaker 6: I mean, that's that's a true reward because you know,

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Speaker 6: everything associated with all of the steps before involve work

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Speaker 6: and thinking, you know, and planning and skills and talents,

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Speaker 6: and then the part that's just the listening part and

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Speaker 6: experiencing something you don't have to draw.

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Speaker 5: Upon any of that.

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Speaker 6: So it's just like you're you're essentially kind of getting

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Speaker 6: all of the all of the good without the challenges,

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Speaker 6: and so I find it rewarding. And I also like

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Speaker 6: I was there, it's it's great that we're doing this

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Speaker 6: podcast right now. Last night it's a full circle moment

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Speaker 6: because Ryan and Ray performed essentially the whole album last night,

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Speaker 6: and and and the show served as a record release,

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Speaker 6: and that was a full circle moment to see it.

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Speaker 5: The band was incredible.

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Speaker 6: Ray and Ryan were amazing and and so that was

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Speaker 6: a thrill on its own. And my brother and his

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Speaker 6: wife were there, and my folks were there, and they

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Speaker 6: were looking over at me. I don't you know, I'm

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Speaker 6: not conscious of what I'm doing, but like I was

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Speaker 6: just so in the zone of enjoying this, and that

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Speaker 6: sort of is what it is to kind of like

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Speaker 6: answer your question, because it's just like you hear back

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Speaker 6: something that didn't exist, you know, however, many months ago.

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Speaker 6: And it's the greatest pleasure. And just to see this

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Speaker 6: talent on stage and to see people resonating with the

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Speaker 6: music and with the songs and with the way that

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Speaker 6: we've reinterpreted them, it's just it's worth everything.

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Speaker 4: Well, the reason I know it was a successful event

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Speaker 4: is Ryan and Ray had to be peeled off the ceiling.

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Speaker 4: There's still fluting on air from it, I.

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Speaker 5: Can tell understandably.

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Speaker 6: Yeah, everyone was who was there, I think everyone it

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Speaker 6: was a special thing to behold.

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Speaker 5: It really was.

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Speaker 4: Well, congratulations on the project and once again thanks for

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Speaker 4: having us here.

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Speaker 5: Yeah, a pleasure to have you. Thank you, Thank you, Buss.

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Speaker 4: Ray, thanks for being on. Taking a walk before we

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Speaker 4: get started here with the proceedings, I want to ask

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Speaker 4: you if you could take a walk with someone living

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Speaker 4: or dead, possibly someone in the music side of things,

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Speaker 4: but doesn't have to be. Who would it be and where.

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Speaker 7: Would you take a walk with him?

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Speaker 8: I would say, for me, it's I would have to

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Speaker 8: bring back two people.

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Speaker 9: Honestly, for me, it's my two favorite singers of all time,

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Speaker 9: and I can't say that I love one more than

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Speaker 9: the other, both for different reasons, but they sort of

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Speaker 9: complete my musical psyche, if you will, And that would

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Speaker 9: be Donny Hathaway and Sam Cook. And where we would walk,

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Speaker 9: I would kind of like to start walking through their

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Speaker 9: childhood neighborhood and then somehow end up like in the woods,

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Speaker 9: so I can hear all the real dirt and nobody

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Speaker 9: else is around to know what we're talking about. Dirt,

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Speaker 9: the real dirt, yeah, you know, the but you know,

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Speaker 9: like their their beginnings, like where they started, what were there,

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Speaker 9: what were their influences? You know, and you can kind

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Speaker 9: of hear it. But those two artists really sort of

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Speaker 9: don't sound like anybody. And I know Sam Cook grew

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Speaker 9: up in the church, and I don't think Ganni grew

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Speaker 9: up in the church, but they are. But they have

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Speaker 9: such a unique Those are two arts that sort of

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Speaker 9: really changed the game. Like there was artist that back

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Speaker 9: in the day that used to make a living trying

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Speaker 9: to imitate Sam Cook, like that was their thing. They

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Speaker 9: would imitate Sam on records or backgrounds or how he

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Speaker 9: did certain things, and that was their whole livelihood. So

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Speaker 9: when you have an artist like that, I want to

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Speaker 9: just see, like what was in his mind and how

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Speaker 9: he grew up and you know, just some of those stories.

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Speaker 4: Yeah, good, good one, Ray, what do you think. I

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Speaker 4: know you've got a smile on your face.

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Speaker 3: Well, I was.

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Speaker 2: It's just such a It's such an important question because

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Speaker 2: what you put out into universe is very important. What

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Speaker 2: you said of your mouth is important. So that's great

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Speaker 2: that Ryan had too. So since he had two, I

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Speaker 2: gotta I gotta follow the the you know what I mean,

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Speaker 2: follow the energy. This might to some people, this might

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Speaker 2: be very weird, but it makes sense to me. The

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Speaker 2: first person I would pick would be Duke Gallington, and

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Speaker 2: the second person I would pick would be b York

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Speaker 2: now Here's I was thinking about this and it occurred

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Speaker 2: to one thing occurs to me about music. In order

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Speaker 2: to exist as an artist, in order to exist in

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Speaker 2: this world, we often have to exploit our art in

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Speaker 2: order to fit in and to be heard. So when

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Speaker 2: you take away the exploit of nature of music, of

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Speaker 2: the music industry, and you get to the root of

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Speaker 2: just the music and where that comes from, which is

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Speaker 2: to me, you know I've been saying to Ether or

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Speaker 2: you know, for people whose spiritually can say that's God.

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Speaker 2: And so for me, Duke Ellington represents the epitome of

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Speaker 2: someone truly dedicated to the the art of musical expression.

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Speaker 2: And it's not really based on any particular genre because

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Speaker 2: I do feel like, you know, he was, you know,

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Speaker 2: coming up when he came up, you know, you know,

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Speaker 2: working within the frameworks for which he could work.

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Speaker 3: Or he had all the social.

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Speaker 2: Issues that he had to deal with, but then also

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Speaker 2: dealing with the band members and also as an artist,

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Speaker 2: wanted to express himself, wanting to be in the symphony hall,

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Speaker 2: wanted to not be in the club, but wanted to

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Speaker 2: be on a bigger scale, which he to me, he's

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Speaker 2: bigger than life, you know, and it's unfortunate when artists die,

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Speaker 2: then they become bigger than life, and then where they're living,

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Speaker 2: they can't really see or express that. Not to say

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Speaker 2: that he didn't see that, but but to me, b

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Speaker 2: York represents the modernization and the economic genius that an

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Speaker 2: artist has to have in order to create their own world.

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Speaker 2: And so I love bew York for that. I mean

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Speaker 2: I could have said Prince, but I love bew York

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Speaker 2: because she started out singing jazz as a little kid.

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Speaker 2: She Dow Jazz Records, and then she expanded, I mean,

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Speaker 2: you know, she expanded from that to working with AI

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Speaker 2: and and creating you know, music that that it's incorporated

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Speaker 2: with electronics, you know.

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Speaker 3: And I just love the world that she's created.

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Speaker 2: Even if it's like to some people, they might not

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Speaker 2: really understand her artistry, but I love her expansiveness as

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Speaker 2: an artist. She's always expanding. Miles Davis was always expanding.

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Speaker 2: I mean I would I could have said Miles, but

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Speaker 2: I feel like Miles was you know, he would have

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Speaker 2: been kind of mean, you know, you know, have a conversation,

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Speaker 2: you know, but I feel like, but I strongly feel

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Speaker 2: that if I were to meet Be York and Duke Ellington,

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Speaker 2: I feel like she would be just as interested in

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Speaker 2: Duke Ellington as I am, and Duke Ellington would be

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Speaker 2: interested in her because of the way his mind works,

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Speaker 2: you know, as an artist, and where that would take

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Speaker 2: place in the summer, in either Montego Bay or in Iceland,

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Speaker 2: because Iceland could beautiful in the summer, you know, and

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Speaker 2: just because you know, why not being on a mountain

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Speaker 2: somewhere and it's beautiful, and we have catering, of course,

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Speaker 2: it sounds fantastic, a little yacht or something with children

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Speaker 2: on the yacht and you know, having champagne and eating strawberries.

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Speaker 8: Oh my god, that's magical.

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Speaker 4: So tell me, guys, how did this collaboration come together?

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Speaker 4: How did you guys first meet and then how did

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Speaker 4: this project come together?

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Speaker 2: That's you know, it's funny, like we don't know how

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Speaker 2: we first met, but I do know.

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Speaker 3: My feeling is that I saw you.

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Speaker 2: I saw Ryan performing at the Village Underground because when

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Speaker 2: I moved to New York, the Village Underground was this

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Speaker 2: basically this creative hub where you had the best R

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Speaker 2: and B artists, the best gospel artists, coming to the

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Speaker 2: best musicians coming through, the best recording artists coming through.

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Speaker 2: And it was a singers, singers session, and Ryan would

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Speaker 2: go there and wear the room out.

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Speaker 8: What year did you move here? Two thousand and one,

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Speaker 8: because I'm oud here in ninety eight.

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Speaker 3: Yeah, I moved here a month before nine to eleven.

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Speaker 2: I got my master's at Howard University, and I moved

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Speaker 2: to New York.

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Speaker 3: And a month later, New York was just disaster.

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Speaker 8: Yeah.

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Speaker 2: Yeah, And that was my introduction to New York. And

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Speaker 2: then and then, you know, as New Yorkers became more

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Speaker 2: confident to go out and then be underground, became a

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Speaker 2: very important place for musical development, for artistic development.

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Speaker 3: And I would see.

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Speaker 2: Ryan there singing and he would just I just remember

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Speaker 2: how killing you were. And then you did a record

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Speaker 2: and you got a Grammy nomination everywhere, and then I did.

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Speaker 2: I never saw you again because you were just every

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Speaker 2: year here everywhere.

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Speaker 3: Performing. Yeah.

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Speaker 8: I think we did.

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Speaker 9: Yeah, we would see each other in those circles down there,

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Speaker 9: and I don't think we ever like we were like.

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Speaker 8: Hey, oh man, you were great, and I was like, yo, man,

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Speaker 8: you were killing, killing organ, you know whatever. And it

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Speaker 8: was just that for years.

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Speaker 9: And then when it was time for me, I had

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Speaker 9: even walked away from Broadway for a little while after

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Speaker 9: I did Motown, and I was talking with my manager Elizabeth,

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Speaker 9: and she was saying, well, I think it's you know,

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Speaker 9: if you want to, you know, ever get back into that.

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Speaker 9: We need to not wait so long, so reconnect with

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Speaker 9: your Broadway audience. And I think, and you haven't performed

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Speaker 9: in New York for a while for your Ryan shawfan,

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Speaker 9: so maybe we should do a show that combines the

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Speaker 9: two worlds.

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Speaker 8: So we started coming up with the concept and I

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Speaker 8: was like, oh, maybe I can do this, you know from.

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Speaker 3: Broadway and Soul.

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Speaker 9: I can do some some Broadway stuff to connect with

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Speaker 9: that crowd and do some of my original music as well,

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Speaker 9: so that everything, you know, sort of played to both

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Speaker 9: crowds in one space. And fifty four below is a

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Speaker 9: really great place to do that because it's like cabaret style.

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Speaker 9: And then she was like, well, how do we want

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Speaker 9: to present it? And I'm like, well, it's a small room,

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Speaker 9: so I think maybe just me and one other.

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Speaker 8: Musician would be good to be very intimate.

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Speaker 9: And I was and she was like, well, who you

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Speaker 9: think you like to use and then and.

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Speaker 8: Then she was like I think she said what about Ray?

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Speaker 8: And I was like, oh, yeah, I've known Ray for years,

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Speaker 8: We've never worked together.

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Speaker 9: This might be cool to bring in, you know, you know,

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Speaker 9: some fresh blood and you know, explore a different thing,

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Speaker 9: you know, because I've I always have my my conglomerate

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Speaker 9: of musicians that I always have that I would pick from.

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Speaker 9: But I was like, you know, let's yeah, let's try

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Speaker 9: something new. And we've known each other and we've been

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Speaker 9: cordial and cool for years, so let's make it happen.

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Speaker 9: And so that's how the fifty four below show happened

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Speaker 9: the first time, the one that Scott saw.

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Speaker 3: But the lightning bolt moment. Yeah, yes.

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Speaker 2: But prior to the show at fifty four below, I

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Speaker 2: was composing the music for the film called sleep Apnea,

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Speaker 2: and Ryan and I wrote the title song.

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Speaker 8: Yeah, that was the first collaboration.

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Speaker 3: It was that title of the song, Breathe again.

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Speaker 8: Breathe again, until we breathe again.

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Speaker 9: Yeah, Yo, can't climb a mountain, stuck on the ocean floor,

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Speaker 9: surrendering air?

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Speaker 8: What are you waiting for? This is the moment? Yeah,

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Speaker 8: it was a great and it goes from there song

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Speaker 8: and by the end, I'm just till we breathe a guy.

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Speaker 9: Yeah, we did at the last show, but it didn't fit. Yeah,

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Speaker 9: this was about our record with Scott's. It wasn't about that.

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Speaker 9: But the last time that song was in the show.

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Speaker 2: Yeah, yeah, this song is in the reserves. We're waiting

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Speaker 2: for it, you know, for the film to come out

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Speaker 2: so that we can.

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Speaker 9: Release the song and if not, we have to put

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Speaker 9: it somewhere else because it's it's amazing.

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Speaker 3: Ray.

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Speaker 4: After he just did that, you know what, I just went,

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Speaker 4: I went touchdown.

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Speaker 3: Right.

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Speaker 2: Oh my, it's a beautiful song. But that was my

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Speaker 2: intro to working with Ryan. So from there we just

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Speaker 2: started saying, this is cool we should do.

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Speaker 9: And we end up doing a couple of segments for

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Speaker 9: the We did a title song and a couple of

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Speaker 9: For some reason, it's been such a blur. Our synergy

385
00:20:11,440 --> 00:20:13,399
Speaker 9: is just like a tornado, like we hit and just

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Speaker 9: started spinning.

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Speaker 8: And so it's been Yeah, I forgot that happened before.

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Speaker 3: Another song in there called the Family.

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Speaker 8: Yep, yep, the Family.

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Speaker 9: So it's a few yeah, a few things. So it's

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Speaker 9: been it's been a good every time we get together.

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Speaker 9: The coolest thing about like I say, working with Ray

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Speaker 9: is that he is He's you know how sometimes I

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Speaker 9: would do improv and you know, the first rule of

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Speaker 9: improv is always a yes, and you never do anything

396
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Speaker 9: to stop the motion. So if they say something that

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Speaker 9: you don't like, like oh you're ugly, you don't be like,

398
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Speaker 9: oh I'm not ugly. You go, yeah, I'm ugly. Are

399
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Speaker 9: you born from a monkey? You know, whatever you have

400
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Speaker 9: to say to get to keep the story going. So

401
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Speaker 9: you never put restrictions in with Ray. It's like, no

402
00:20:46,760 --> 00:20:49,040
Speaker 9: matter what happens, there is nothing stupid or nothing bad

403
00:20:49,080 --> 00:20:52,359
Speaker 9: and anything negative. It's just it'll hit his synergy and

404
00:20:52,359 --> 00:20:54,240
Speaker 9: then we'll just spend it and we'll just figure out

405
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Speaker 9: how to make this idea work. That's the that's the

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Speaker 9: kind of collaboration. It's never it's always a four almost

407
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Speaker 9: one up in a non competitive way.

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Speaker 3: It's basically what.

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Speaker 2: He's trying to say, it's an egoist, egoist space to create. Yeah,

410
00:21:12,640 --> 00:21:16,119
Speaker 2: because I'm finding out even even as as I'm getting

411
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Speaker 2: older and becoming more interested in developing my own brand

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Speaker 2: and my own sound, but also connecting other with other

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Speaker 2: artists and getting them to do the same thing.

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Speaker 3: You know, it's the ego.

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Speaker 2: It's the ego and what Scott is talking about him

416
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Speaker 2: like seeing us, and we could have been like, well, no,

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Speaker 2: I'm good now, you know, I don't want to do

418
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Speaker 2: the show. I mean, you know, we you know, I

419
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Speaker 2: don't want, you know, for whatever reason, you know. And

420
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Speaker 2: and working in the space where Scott is like, you know,

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Speaker 2: he's he's got all these crazy instruments in there, like

422
00:21:48,640 --> 00:21:51,040
Speaker 2: all this venceance gear, and I'm like, oh, let's try this,

423
00:21:51,119 --> 00:21:53,360
Speaker 2: let's try it. And he's not like, well, nah, that's

424
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Speaker 2: my joint. Man, don't touch that, you know what I mean.

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Speaker 2: But it's like a it's like an egoist space, and

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Speaker 2: that's when, to me, that's when the best music is made,

427
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Speaker 2: you know, when not.

428
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Speaker 3: To get super super spiritual.

429
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Speaker 2: But Quincy Jones would say, when you let God in

430
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Speaker 2: the room, then magic happens. And you you know he

431
00:22:14,520 --> 00:22:17,840
Speaker 2: I mean, he created thrillers, so maybe this is our thriller, right.

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Speaker 8: I like it that, I would say, yeah.

433
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Speaker 4: But Scott, I have to ask you, you know, I

434
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Speaker 4: see the vibe of these guys in action here. Is

435
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Speaker 4: it the same way when they're in the creative process,

436
00:22:31,760 --> 00:22:35,119
Speaker 4: the same vibe, I mean completely just so much fun.

437
00:22:35,480 --> 00:22:36,440
Speaker 5: It's it's fun.

438
00:22:36,480 --> 00:22:39,639
Speaker 6: And so what what Ryan was saying about Ray is

439
00:22:40,119 --> 00:22:43,000
Speaker 6: true of both of them first of all, like that

440
00:22:43,440 --> 00:22:47,600
Speaker 6: collaboration is at its best when people are open, you know,

441
00:22:47,760 --> 00:22:50,480
Speaker 6: And I think that Ryan and Ray are both very

442
00:22:50,760 --> 00:22:55,520
Speaker 6: open human beings and open musicians and that's when that's

443
00:22:55,560 --> 00:22:56,760
Speaker 6: that's what allows.

444
00:22:56,440 --> 00:22:58,159
Speaker 5: For magic to happen. I think when when.

445
00:22:58,040 --> 00:23:00,479
Speaker 6: People just say, oh, that could be cool, as opposed

446
00:23:00,520 --> 00:23:03,080
Speaker 6: to just like this again, that that attitude that I

447
00:23:03,080 --> 00:23:05,680
Speaker 6: think does come from ego, which is just like nah

448
00:23:05,960 --> 00:23:10,040
Speaker 6: or it's always a pivot into something positive and just

449
00:23:10,200 --> 00:23:12,400
Speaker 6: you know, you can hear it in the the arrangements

450
00:23:12,400 --> 00:23:14,960
Speaker 6: of these tunes and the way that they were approached.

451
00:23:15,520 --> 00:23:18,359
Speaker 6: There was like I think, no restrictions, and that was

452
00:23:18,680 --> 00:23:22,640
Speaker 6: as you know, you know, Ryan's a singer, but we're

453
00:23:22,720 --> 00:23:26,520
Speaker 6: all musicians and there's a spirit that musicians have. And

454
00:23:26,560 --> 00:23:29,480
Speaker 6: when you don't put any guardrails on a process, when

455
00:23:29,520 --> 00:23:32,919
Speaker 6: there's no label so to speak, when there's no this,

456
00:23:33,680 --> 00:23:36,199
Speaker 6: you just get this thing of like we can do

457
00:23:36,280 --> 00:23:38,200
Speaker 6: this because we want to do this. And I think

458
00:23:38,240 --> 00:23:43,040
Speaker 6: that's where this album came from. Like it's hugely adventurous. Right,

459
00:23:43,080 --> 00:23:47,600
Speaker 6: There's hardly a genre of music that is not covered

460
00:23:48,080 --> 00:23:51,160
Speaker 6: on this and that wasn't you know, from an academic

461
00:23:51,200 --> 00:23:53,840
Speaker 6: point of view, is just because like, hey, let's freak

462
00:23:53,920 --> 00:23:56,360
Speaker 6: this this way, let's do this this way, and and

463
00:23:56,560 --> 00:23:59,760
Speaker 6: that's so exciting as a as a producer, as an engineer,

464
00:24:00,160 --> 00:24:04,480
Speaker 6: as a mixer, as a musician, as a singer, no guardrails, let's.

465
00:24:04,359 --> 00:24:04,760
Speaker 1: Just do it.

466
00:24:05,480 --> 00:24:07,119
Speaker 3: So Scott, you were reading my mind.

467
00:24:07,760 --> 00:24:10,000
Speaker 4: That was really where I was heading with with Ryan

468
00:24:10,040 --> 00:24:14,200
Speaker 4: and Ray, which is the whole magic from your guys

469
00:24:14,320 --> 00:24:19,000
Speaker 4: perspective of covering. You know so many genres talk about

470
00:24:19,040 --> 00:24:21,800
Speaker 4: that as artists and why that's important to you.

471
00:24:25,359 --> 00:24:27,880
Speaker 9: Yeah, I would say for me, it's really important because

472
00:24:27,880 --> 00:24:33,119
Speaker 9: I started off my career as a session singer and

473
00:24:33,240 --> 00:24:35,480
Speaker 9: I moved to New York and you know, I always

474
00:24:35,480 --> 00:24:37,479
Speaker 9: wanted to do Broadway, but that didn't happen until like

475
00:24:37,560 --> 00:24:38,520
Speaker 9: seventeen years later.

476
00:24:38,720 --> 00:24:40,120
Speaker 8: So I got swept away in the music world.

477
00:24:40,119 --> 00:24:42,520
Speaker 9: In the first My first like money making gigs was

478
00:24:42,560 --> 00:24:45,720
Speaker 9: going into the studio with foreign artists, hearing them their

479
00:24:45,760 --> 00:24:48,639
Speaker 9: new song that they're writing, either singing the backgrounds that

480
00:24:48,640 --> 00:24:50,200
Speaker 9: they had come up with, and most a lot of

481
00:24:50,240 --> 00:24:53,960
Speaker 9: the times creating the backgrounds for the albums than myself

482
00:24:55,080 --> 00:24:58,439
Speaker 9: with other singers, and so everything was a different genre.

483
00:24:58,480 --> 00:25:02,560
Speaker 9: And I realized that kind of like what Ray was saying,

484
00:25:02,640 --> 00:25:06,399
Speaker 9: music is is just music. I think people and the

485
00:25:07,520 --> 00:25:12,199
Speaker 9: monetization of music over time required people and also the

486
00:25:12,200 --> 00:25:14,240
Speaker 9: segregation of music, if you really want to call it,

487
00:25:14,280 --> 00:25:18,800
Speaker 9: require people to put themselves or to put their artists

488
00:25:18,840 --> 00:25:21,239
Speaker 9: in a box so that it could be packaged, you know,

489
00:25:21,280 --> 00:25:26,040
Speaker 9: like cereal, Like why can't cheerios, corn flakes and you

490
00:25:26,080 --> 00:25:28,800
Speaker 9: know life all be in the same box. I would

491
00:25:28,840 --> 00:25:30,600
Speaker 9: eat it, but no, they have to remove this or

492
00:25:30,640 --> 00:25:31,960
Speaker 9: it's just life. You buy this, or you buy that,

493
00:25:32,000 --> 00:25:32,399
Speaker 9: you buy that.

494
00:25:32,440 --> 00:25:33,600
Speaker 8: But really it's serious.

495
00:25:34,800 --> 00:25:42,440
Speaker 10: Well you know what I meant, you know, Okay, well

496
00:25:42,440 --> 00:25:45,000
Speaker 10: great nuts, okay, whatever, but.

497
00:25:45,760 --> 00:25:48,840
Speaker 8: You know how Yeah, So for me, music is just music.

498
00:25:48,880 --> 00:25:51,119
Speaker 9: And I think I used to always get asked this

499
00:25:51,240 --> 00:25:54,800
Speaker 9: question for when I do interviews, like what is what

500
00:25:54,840 --> 00:25:56,960
Speaker 9: do you what is soul music mean to you? And

501
00:25:57,000 --> 00:26:00,560
Speaker 9: I'm like, well, soul music is not old music is

502
00:26:00,560 --> 00:26:02,680
Speaker 9: really not a genre to me. Like the first time,

503
00:26:02,760 --> 00:26:05,440
Speaker 9: when I was in the Marine Corps, I was exposed

504
00:26:05,480 --> 00:26:07,520
Speaker 9: to a lot of music there in the you know,

505
00:26:07,600 --> 00:26:09,960
Speaker 9: at the on bass and stuff, and a lot of

506
00:26:10,000 --> 00:26:11,840
Speaker 9: the guys would listen to like country music, and the

507
00:26:11,840 --> 00:26:15,760
Speaker 9: first time I heard Shanaia Twain is there Life After Love?

508
00:26:16,960 --> 00:26:18,600
Speaker 8: I was moved. That was sole music to me.

509
00:26:18,640 --> 00:26:20,680
Speaker 9: So I'm like, the genre has nothing to do with soul,

510
00:26:20,920 --> 00:26:24,159
Speaker 9: and so how we choose to package each song was

511
00:26:24,280 --> 00:26:26,760
Speaker 9: just what was very important to me, and Ray was

512
00:26:27,320 --> 00:26:29,720
Speaker 9: if it suited the song, if it worked for the song,

513
00:26:29,800 --> 00:26:31,720
Speaker 9: and if it singed like an authentic voice for me,

514
00:26:32,119 --> 00:26:34,200
Speaker 9: then that's just what it was. Now once it was finished,

515
00:26:34,200 --> 00:26:36,080
Speaker 9: people can say, oh my god, that's old to the eighties,

516
00:26:36,080 --> 00:26:37,359
Speaker 9: Oh my god, that feels like pop.

517
00:26:37,400 --> 00:26:38,240
Speaker 8: Oh that's gospel.

518
00:26:38,520 --> 00:26:40,280
Speaker 9: But at the time when we were creating it, it

519
00:26:40,920 --> 00:26:43,040
Speaker 9: was just the music that was happening in the room.

520
00:26:43,359 --> 00:26:45,520
Speaker 9: And then later it became the package. And I think

521
00:26:45,560 --> 00:26:47,280
Speaker 9: that's what was very special about it, because it, like

522
00:26:47,760 --> 00:26:50,159
Speaker 9: Scott was just saying, it wasn't like intention was just

523
00:26:50,560 --> 00:26:52,879
Speaker 9: while we were baking. This is just what happened. And

524
00:26:52,880 --> 00:26:54,560
Speaker 9: then I forgot finished, like oh wow, that ended up

525
00:26:54,560 --> 00:26:58,600
Speaker 9: being jazz or dang, this has a reggae feel that's eighties,

526
00:26:58,680 --> 00:27:00,840
Speaker 9: or this is gospel or this is funk. You know,

527
00:27:01,359 --> 00:27:03,360
Speaker 9: and this is classical, you know, all of it.

528
00:27:03,480 --> 00:27:08,160
Speaker 3: You know. Recently I was listening to.

529
00:27:10,160 --> 00:27:15,880
Speaker 2: A clip of someone talking about Horowitz and his journey

530
00:27:15,880 --> 00:27:19,080
Speaker 2: as a pianist, and one thing that stood out to

531
00:27:19,119 --> 00:27:27,080
Speaker 2: me is that Horowitz represents an era of showmanship and

532
00:27:27,400 --> 00:27:32,480
Speaker 2: artistic expression where he would never play the same piece

533
00:27:33,560 --> 00:27:37,840
Speaker 2: the same way, you know, or he would pick the

534
00:27:37,920 --> 00:27:40,800
Speaker 2: program for whatever he's you know, if he's playing in

535
00:27:40,880 --> 00:27:43,080
Speaker 2: some famous concert, or he'd picked the program the day

536
00:27:43,119 --> 00:27:45,760
Speaker 2: of the concert, and he would pick a piece he

537
00:27:45,800 --> 00:27:49,400
Speaker 2: hadn't paid in seven years. So if you can imagine

538
00:27:50,480 --> 00:27:53,880
Speaker 2: the musicality that would come, because then you're like, oh,

539
00:27:53,920 --> 00:27:55,800
Speaker 2: what was this? And then now you're you're having to

540
00:27:55,800 --> 00:27:58,639
Speaker 2: make choices. That being said, when you have a song

541
00:27:59,200 --> 00:28:03,080
Speaker 2: that's that's been written, say, for example, forty years ago,

542
00:28:04,040 --> 00:28:07,159
Speaker 2: you know, as an artist, it's more beneficial for me

543
00:28:07,840 --> 00:28:11,639
Speaker 2: to put my own stamp on it so that the

544
00:28:11,800 --> 00:28:15,800
Speaker 2: song evolves and it takes on a new meaning. And

545
00:28:15,880 --> 00:28:19,720
Speaker 2: so for Ryan to be such an incredible vocalist and

546
00:28:19,840 --> 00:28:25,800
Speaker 2: to take a song like without You and really put

547
00:28:25,840 --> 00:28:28,880
Speaker 2: a new meaning to the song, for the musicians actually

548
00:28:28,920 --> 00:28:30,879
Speaker 2: to put a new stamp on the song, just like

549
00:28:30,920 --> 00:28:34,959
Speaker 2: when Miles Davis would take any Broadway standard summertime and

550
00:28:35,000 --> 00:28:37,440
Speaker 2: made it a jazz standard. You know, but how many

551
00:28:37,440 --> 00:28:41,880
Speaker 2: times can we do Summertime? There's so many amazing songs

552
00:28:41,920 --> 00:28:44,720
Speaker 2: that never get covered, and why not create. I think

553
00:28:44,800 --> 00:28:49,320
Speaker 2: Herbie Hancock had a record called new Standards, you know.

554
00:28:49,840 --> 00:28:54,320
Speaker 2: You know, it's like art imitates life and nothing. I

555
00:28:54,360 --> 00:28:56,560
Speaker 2: think we, as human beings, we forget that. You know,

556
00:28:56,600 --> 00:28:58,560
Speaker 2: you were talking about soul music. Soul music is not

557
00:28:58,600 --> 00:29:04,440
Speaker 2: a genre because we are souls. We're spirits living in

558
00:29:04,480 --> 00:29:10,040
Speaker 2: this avatar, you know, and I think we sometimes forget that,

559
00:29:10,800 --> 00:29:13,400
Speaker 2: not to get too super spiritual, sometimes we forget that

560
00:29:13,440 --> 00:29:16,200
Speaker 2: we're all children of God, you know what I mean,

561
00:29:16,280 --> 00:29:21,000
Speaker 2: and we're here to express ourselves in ways that Number One,

562
00:29:21,480 --> 00:29:25,640
Speaker 2: we're storytellers and everyone loves a good story, and it

563
00:29:25,720 --> 00:29:28,760
Speaker 2: keeps people excited. It keeps young people like, oh my god,

564
00:29:29,280 --> 00:29:33,360
Speaker 2: I didn't know that. Oh that's crazy, Oh my god.

565
00:29:33,360 --> 00:29:35,800
Speaker 2: I love that, you know. It keeps the excitement of

566
00:29:35,840 --> 00:29:39,600
Speaker 2: life going. And I hope that young people are inspired

567
00:29:39,640 --> 00:29:42,600
Speaker 2: by these news by this album, because it's not just

568
00:29:43,200 --> 00:29:47,200
Speaker 2: for the Broadway community. It's for people that love music.

569
00:29:47,760 --> 00:29:50,160
Speaker 2: You know, we're just creating new standards.

570
00:29:51,000 --> 00:29:53,240
Speaker 4: You know, yeah, beautifully put.

571
00:29:53,840 --> 00:29:56,000
Speaker 1: We'll be right back with more of the Taking a

572
00:29:56,040 --> 00:30:04,280
Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast.

573
00:30:04,880 --> 00:30:09,520
Speaker 4: So would you guys walk through I know they're all

574
00:30:09,600 --> 00:30:12,520
Speaker 4: your favorites of the album, so you could walk through

575
00:30:12,560 --> 00:30:16,840
Speaker 4: all of them if you want, but walk through maybe

576
00:30:17,080 --> 00:30:20,280
Speaker 4: some or all of the songs and what they mean

577
00:30:20,360 --> 00:30:26,280
Speaker 4: to you and how you created your new stamp of

578
00:30:26,320 --> 00:30:27,040
Speaker 4: these songs.

579
00:30:29,560 --> 00:30:30,560
Speaker 8: I think as for all of them.

580
00:30:30,560 --> 00:30:34,480
Speaker 9: I mean when we started this process, I think Ray

581
00:30:34,640 --> 00:30:37,800
Speaker 9: and Scott were both like, I think it's more important

582
00:30:37,800 --> 00:30:40,160
Speaker 9: that Ryan picks the song since he'll be singing.

583
00:30:39,960 --> 00:30:40,560
Speaker 8: Most of them.

584
00:30:40,720 --> 00:30:43,000
Speaker 9: So I went on a sort of a wild goose

585
00:30:43,080 --> 00:30:45,120
Speaker 9: chase because I love Broadway and I always wanted to

586
00:30:45,120 --> 00:30:49,760
Speaker 9: do Broadway, but I'm sort of not like the traditional

587
00:30:49,800 --> 00:30:52,480
Speaker 9: theater kid. I had certain musicals that just came to

588
00:30:52,520 --> 00:30:54,360
Speaker 9: me in certain songs that I would do, and I

589
00:30:54,400 --> 00:30:56,400
Speaker 9: love theater and I'm I think i'm some I think

590
00:30:56,440 --> 00:30:58,320
Speaker 9: I'm like a closeted director because I'll see shows and

591
00:30:58,320 --> 00:30:59,520
Speaker 9: I'll be like, oh, I would have done this, this

592
00:30:59,600 --> 00:31:00,880
Speaker 9: direction should have been this and that.

593
00:31:01,160 --> 00:31:02,440
Speaker 8: So I used to like, you know, at my.

594
00:31:02,480 --> 00:31:04,240
Speaker 9: Church, I would direct little plays and stuff. So I

595
00:31:04,280 --> 00:31:08,120
Speaker 9: always had a thing for music and musicals and how

596
00:31:08,200 --> 00:31:12,720
Speaker 9: theater works. And so when I said, instead of doing

597
00:31:12,800 --> 00:31:15,720
Speaker 9: just the songs we did at the fifth four below before,

598
00:31:16,120 --> 00:31:18,160
Speaker 9: which were just parts of my story that I wanted

599
00:31:18,200 --> 00:31:20,840
Speaker 9: to share, and then tied in my favorite songs or

600
00:31:20,880 --> 00:31:24,600
Speaker 9: my earliest influences of Broadway. When Scott was like, well

601
00:31:24,640 --> 00:31:26,040
Speaker 9: we should do a record, I said, well, let's not

602
00:31:26,160 --> 00:31:27,960
Speaker 9: pigeonhole to that. Let me just go back, and so

603
00:31:28,040 --> 00:31:29,920
Speaker 9: I took a step back and I just pulled up

604
00:31:29,960 --> 00:31:32,880
Speaker 9: like Broadway songs from the beginning till now, and just

605
00:31:32,880 --> 00:31:35,600
Speaker 9: looked up like I think I actually did a Google

606
00:31:35,640 --> 00:31:40,240
Speaker 9: search for the top ten Broadway songs for every year

607
00:31:40,320 --> 00:31:43,960
Speaker 9: since it since like nineteen fifty and forward. So and

608
00:31:44,000 --> 00:31:45,680
Speaker 9: then I would see certain songs and like certain titles

609
00:31:45,680 --> 00:31:47,120
Speaker 9: would jump out a certain songs that I knew.

610
00:31:47,120 --> 00:31:48,680
Speaker 8: I'm like, oh, that would be good. I remember that song.

611
00:31:48,800 --> 00:31:50,320
Speaker 9: I remember that, And I just pulled and I think

612
00:31:50,520 --> 00:31:52,959
Speaker 9: the initial list I compiled was about thirty five songs

613
00:31:53,080 --> 00:31:56,160
Speaker 9: of songs that I knew or had heard or remembered

614
00:31:56,160 --> 00:31:57,640
Speaker 9: the melody and something about.

615
00:31:57,440 --> 00:31:59,040
Speaker 8: It was tangible for me.

616
00:31:59,320 --> 00:32:00,640
Speaker 9: And then I sent it to the team and they

617
00:32:00,640 --> 00:32:02,640
Speaker 9: were like, well, okay, well we can't do thirty songs,

618
00:32:02,680 --> 00:32:08,600
Speaker 9: because Scott was like, well we could do nine well.

619
00:32:08,480 --> 00:32:10,600
Speaker 8: You know yeah, because He's like, yeah, we're not gonna you.

620
00:32:10,600 --> 00:32:12,400
Speaker 3: Know, well there could always be a follow up.

621
00:32:13,120 --> 00:32:15,760
Speaker 9: Yes, uh so I said, so let me try to

622
00:32:15,760 --> 00:32:18,080
Speaker 9: wheedle this down, and then we ended up with the

623
00:32:18,160 --> 00:32:23,040
Speaker 9: nine songs that we have, which was my way surprise.

624
00:32:25,160 --> 00:32:28,080
Speaker 9: She used to be mine waving through a window without

625
00:32:28,120 --> 00:32:33,760
Speaker 9: you sending the clowns on Broadway. I'm missing too, I

626
00:32:33,760 --> 00:32:38,719
Speaker 9: don't have a gasemone And did I say waving through

627
00:32:38,720 --> 00:32:40,960
Speaker 9: a window? And I think I waving through a window?

628
00:32:41,000 --> 00:32:44,960
Speaker 8: Yeah, yeah, oh no on the street where you live? Yes, yeah,

629
00:32:45,000 --> 00:32:46,120
Speaker 8: from my Fair Lady.

630
00:32:46,440 --> 00:32:50,480
Speaker 9: And and a lot of that process was a blur

631
00:32:50,560 --> 00:32:52,800
Speaker 9: for me. Actually, it just I feel like it they

632
00:32:52,880 --> 00:32:55,600
Speaker 9: just sort of came because when me and Ray first

633
00:32:55,640 --> 00:32:57,480
Speaker 9: got together, like at his house, and I would just

634
00:32:57,560 --> 00:33:00,200
Speaker 9: be singing through you know, Ray is he's one of

635
00:33:00,240 --> 00:33:04,960
Speaker 9: those creative genius is that he in that moment, is

636
00:33:05,000 --> 00:33:07,640
Speaker 9: that moment, and if you don't capture that moment.

637
00:33:08,040 --> 00:33:09,680
Speaker 8: That moment's not coming back. So then we have to

638
00:33:09,680 --> 00:33:10,360
Speaker 8: find a new moment.

639
00:33:10,520 --> 00:33:14,560
Speaker 9: So sometimes and there will be every moment is a moment,

640
00:33:14,600 --> 00:33:18,160
Speaker 9: and every moment is from my where I said, it's

641
00:33:18,200 --> 00:33:21,560
Speaker 9: generally brilliant to some degree, and so I'm like, well,

642
00:33:22,400 --> 00:33:25,800
Speaker 9: and so when first like like my Way was probably

643
00:33:25,800 --> 00:33:28,920
Speaker 9: the most interesting one because that was actually Scott had

644
00:33:28,920 --> 00:33:32,280
Speaker 9: done a recording of My Way with another artist and

645
00:33:32,320 --> 00:33:33,560
Speaker 9: he was like, well, I have a cool version of

646
00:33:33,560 --> 00:33:34,920
Speaker 9: that song you guys want to hear. So we heard

647
00:33:34,960 --> 00:33:36,560
Speaker 9: it and I was like, oh, that's pretty cool, and

648
00:33:36,600 --> 00:33:39,400
Speaker 9: I was like it didn't super feel like me, but

649
00:33:39,440 --> 00:33:41,320
Speaker 9: we love the vibe. And then so me and Ray

650
00:33:41,760 --> 00:33:43,040
Speaker 9: he sent it to us. He said, we all listen

651
00:33:43,080 --> 00:33:43,600
Speaker 9: to it and see what.

652
00:33:43,560 --> 00:33:45,760
Speaker 8: Happens, and then it sort of evolved into what we

653
00:33:45,840 --> 00:33:47,440
Speaker 8: have now.

654
00:33:47,800 --> 00:33:54,160
Speaker 4: A stirring, moving rendition is how I would care think beautiful,

655
00:33:54,360 --> 00:33:55,200
Speaker 4: just amazing.

656
00:33:55,560 --> 00:33:57,720
Speaker 8: Yeah, and we did, and it's like that was like.

657
00:33:59,200 --> 00:34:02,520
Speaker 2: It was like an old to George Clinton too totally

658
00:34:02,640 --> 00:34:05,360
Speaker 2: you know what I mean, because uh, you know, if

659
00:34:05,400 --> 00:34:09,160
Speaker 2: I had it my way, I would work with every

660
00:34:09,640 --> 00:34:13,040
Speaker 2: type of artist. George Clinton, I work with Sarah mcgoth,

661
00:34:13,480 --> 00:34:16,719
Speaker 2: you know, I would work with her. I would work

662
00:34:16,760 --> 00:34:19,400
Speaker 2: with New York, I would work with Pink. I just

663
00:34:19,440 --> 00:34:22,080
Speaker 2: work with all everyone that who I love, you know,

664
00:34:22,320 --> 00:34:25,640
Speaker 2: Brandy Carlisle, Oh my gosh, it's amazing. So anyway, so

665
00:34:25,760 --> 00:34:28,840
Speaker 2: that I felt like, man, I wanted I wanted Uncle

666
00:34:28,880 --> 00:34:32,200
Speaker 2: George to like to maybe hear this and be like,

667
00:34:32,280 --> 00:34:34,880
Speaker 2: oh man, okay, yeah we still over. The funk is

668
00:34:34,880 --> 00:34:38,239
Speaker 2: still alive, you know. And but what Ryan does with that,

669
00:34:38,320 --> 00:34:41,759
Speaker 2: it's sort of like Gumbo. To me, music is it's

670
00:34:41,840 --> 00:34:44,600
Speaker 2: like gumbo. But also music is fluid, and there's a

671
00:34:44,600 --> 00:34:47,560
Speaker 2: through line, you know, if you if you notice it,

672
00:34:47,600 --> 00:34:50,160
Speaker 2: there's a through line where everything is connected. For me,

673
00:34:50,680 --> 00:34:52,759
Speaker 2: I live in a world where I mean I grew

674
00:34:52,800 --> 00:34:54,759
Speaker 2: up First of all, I grew up listening to classical music,

675
00:34:54,960 --> 00:34:59,319
Speaker 2: but then also listen to gospel music. And I was

676
00:34:59,360 --> 00:35:03,960
Speaker 2: listening to and then and then hearing like Pat Matheeney

677
00:35:04,560 --> 00:35:09,399
Speaker 2: and then hearing George Duke and Herbie Hancock and chick

678
00:35:09,400 --> 00:35:12,360
Speaker 2: Corea and all the electronic stuff that Chick Area was doing.

679
00:35:12,760 --> 00:35:15,799
Speaker 2: And all this music is in my head, you know,

680
00:35:16,480 --> 00:35:19,560
Speaker 2: and and and it just comes out when I'm working

681
00:35:19,560 --> 00:35:22,080
Speaker 2: with different people. But that's a particular song. I love

682
00:35:22,120 --> 00:35:25,920
Speaker 2: it because you have the funk meets gospel, you know,

683
00:35:26,280 --> 00:35:29,680
Speaker 2: the ending and then the very end, it's just.

684
00:35:29,760 --> 00:35:32,920
Speaker 3: Ryan, that was crazy. Yeah, that was crazy.

685
00:35:33,400 --> 00:35:37,600
Speaker 2: That was crazy. That's one of my favorite songs. But

686
00:35:37,719 --> 00:35:42,000
Speaker 2: my favorite song is Sending the Clowns because the way

687
00:35:42,120 --> 00:35:46,600
Speaker 2: that I view music, I view music as creating. I

688
00:35:46,680 --> 00:35:49,759
Speaker 2: view it as like I'm going to the library to

689
00:35:49,880 --> 00:35:52,319
Speaker 2: check out a book, so I go. I think Fore

690
00:35:52,440 --> 00:35:54,719
Speaker 2: said it was a great analogy to Forarro made. You know,

691
00:35:54,760 --> 00:35:56,439
Speaker 2: you go into the library to check out a book.

692
00:35:56,800 --> 00:35:58,960
Speaker 2: I take it a step further. You go into the ether,

693
00:35:59,760 --> 00:36:02,200
Speaker 2: and and you know, God lives in the ether and

694
00:36:02,239 --> 00:36:03,640
Speaker 2: he sends down messages.

695
00:36:04,040 --> 00:36:05,799
Speaker 3: You know, see see right there, I.

696
00:36:05,880 --> 00:36:08,759
Speaker 8: Hate it exactly exactly.

697
00:36:11,280 --> 00:36:12,040
Speaker 3: Isn't that perfect?

698
00:36:13,360 --> 00:36:20,800
Speaker 2: Yes, see exactly see I'm telling you and and and

699
00:36:20,800 --> 00:36:27,560
Speaker 2: and and just like that. I am so present to that,

700
00:36:28,040 --> 00:36:30,080
Speaker 2: because if you're not present to that, then you missed

701
00:36:30,080 --> 00:36:30,799
Speaker 2: the opportunity.

702
00:36:31,520 --> 00:36:32,080
Speaker 3: And so.

703
00:36:33,640 --> 00:36:36,720
Speaker 2: Sending the Clowns was just something I just had this notion.

704
00:36:36,800 --> 00:36:39,040
Speaker 2: I was like, Man, this would be great solo piano.

705
00:36:39,760 --> 00:36:42,120
Speaker 2: But Ryan has to sing. I'm going to play the melody,

706
00:36:42,160 --> 00:36:45,000
Speaker 2: and he answers me, but his voice is like listen

707
00:36:45,080 --> 00:36:47,399
Speaker 2: way in the back somewhere. And I saw that. To Ryan,

708
00:36:47,480 --> 00:36:50,200
Speaker 2: he was like, it sounds beautiful. I don't know if

709
00:36:50,239 --> 00:36:51,920
Speaker 2: you need me on it, I don't hear myself on it,

710
00:36:52,440 --> 00:36:54,480
Speaker 2: and then I didn't like.

711
00:36:54,520 --> 00:36:55,800
Speaker 3: I don't when I work with people.

712
00:36:55,840 --> 00:36:59,440
Speaker 2: I do not like to micromanage people, because I know

713
00:36:59,480 --> 00:37:01,560
Speaker 2: what it's like to be micromanaged as an artist, and

714
00:37:01,600 --> 00:37:04,600
Speaker 2: I fucking hate it, you know what I'm saying, Like

715
00:37:04,640 --> 00:37:06,719
Speaker 2: someone telling you how to fucking do your art and

716
00:37:06,760 --> 00:37:10,920
Speaker 2: you're like, you know, it really bothers me because, you know,

717
00:37:11,000 --> 00:37:14,200
Speaker 2: because I've been in so many studio situations with really

718
00:37:14,320 --> 00:37:19,040
Speaker 2: like well to do, well established producers who were just shitheads,

719
00:37:19,400 --> 00:37:22,680
Speaker 2: you know, and they take the light fucking life out

720
00:37:22,719 --> 00:37:26,360
Speaker 2: of the music by saying you are bringing their energy

721
00:37:27,120 --> 00:37:29,400
Speaker 2: through your fingers, you know what I mean, And it

722
00:37:29,520 --> 00:37:32,000
Speaker 2: sort of really kills That's why the music industry is

723
00:37:32,000 --> 00:37:35,239
Speaker 2: the way it is right now, because people aren't themselves.

724
00:37:35,520 --> 00:37:38,799
Speaker 2: Everyone's being micromanaged. Everyone's trying to fit into Oh are

725
00:37:38,840 --> 00:37:39,680
Speaker 2: you viral enough?

726
00:37:39,800 --> 00:37:42,000
Speaker 3: Are you this? Are you that? What about the fucking music?

727
00:37:42,640 --> 00:37:44,760
Speaker 3: Do you like the song? You feel something okay?

728
00:37:44,760 --> 00:37:45,000
Speaker 8: Cool?

729
00:37:45,040 --> 00:37:47,879
Speaker 2: Put on something else next, someone's gonna love this song.

730
00:37:48,719 --> 00:37:52,080
Speaker 2: They might be in Budapest. I just feel that music

731
00:37:53,000 --> 00:37:57,280
Speaker 2: is just used in such a way that doesn't help people,

732
00:37:58,000 --> 00:37:59,560
Speaker 2: you know what I mean? With everything that you know,

733
00:37:59,640 --> 00:38:01,359
Speaker 2: the art being killed and not going on the ramp.

734
00:38:01,360 --> 00:38:04,440
Speaker 2: I feel like Kanye right now, you know.

735
00:38:05,960 --> 00:38:08,919
Speaker 3: What I'm saying. I'm not stopping, but I just think

736
00:38:08,920 --> 00:38:12,560
Speaker 3: it's important. I just think it's important to let people

737
00:38:12,640 --> 00:38:13,799
Speaker 3: be themselves. Man.

738
00:38:14,239 --> 00:38:18,680
Speaker 4: But isn't also with your your other job as part

739
00:38:18,719 --> 00:38:21,200
Speaker 4: of the roots. I mean, isn't that part of the

740
00:38:21,239 --> 00:38:25,359
Speaker 4: secret to that success as well? That people know that

741
00:38:25,400 --> 00:38:28,759
Speaker 4: there's so much fun and games going on.

742
00:38:30,160 --> 00:38:32,640
Speaker 2: Of course, that's but that's a different thing from what

743
00:38:32,680 --> 00:38:34,320
Speaker 2: I'm talking about completely, you know what I'm.

744
00:38:34,160 --> 00:38:39,160
Speaker 3: Saying, Like, that's a totally totally different type of thing.

745
00:38:39,520 --> 00:38:43,440
Speaker 2: And and to me, that works because there is a

746
00:38:43,480 --> 00:38:48,680
Speaker 2: welled oiled machine. And it's also you know, how can

747
00:38:48,719 --> 00:38:52,399
Speaker 2: I say this, So there's no one way to skin

748
00:38:52,440 --> 00:38:55,920
Speaker 2: a cat right when you when you have a factory,

749
00:38:56,280 --> 00:39:00,279
Speaker 2: there's you have like Balenciaga, and you have Louis Time,

750
00:39:00,320 --> 00:39:03,080
Speaker 2: you have ton Ford. So all these different styles of

751
00:39:03,200 --> 00:39:07,200
Speaker 2: music or different ways of creating music definitely have to

752
00:39:07,520 --> 00:39:10,080
Speaker 2: be there. But you talk about my experience in the

753
00:39:10,160 --> 00:39:13,799
Speaker 2: music that I'm creating, it's a totally different thing. When

754
00:39:13,840 --> 00:39:17,160
Speaker 2: I'm working with someone else, I'm totally like, what are

755
00:39:17,160 --> 00:39:17,560
Speaker 2: we doing?

756
00:39:18,600 --> 00:39:18,799
Speaker 1: You know?

757
00:39:19,080 --> 00:39:22,840
Speaker 2: But if I'm a composer and I'm in a driver's seat,

758
00:39:23,200 --> 00:39:26,719
Speaker 2: let's go. But also, here's a beautiful thing. That's a

759
00:39:26,760 --> 00:39:31,200
Speaker 2: great question. The thing about leadership. In order to be

760
00:39:31,239 --> 00:39:32,800
Speaker 2: a great leader, you have to be a great follower,

761
00:39:34,360 --> 00:39:34,560
Speaker 2: you know.

762
00:39:34,560 --> 00:39:35,000
Speaker 3: What I mean?

763
00:39:35,520 --> 00:39:40,359
Speaker 2: And I learned from everyone that I work with, and

764
00:39:40,440 --> 00:39:43,640
Speaker 2: for me, I think I'm in a position where I

765
00:39:43,680 --> 00:39:48,279
Speaker 2: can appreciate both sides, you know. But when you talk

766
00:39:48,320 --> 00:39:52,040
Speaker 2: about micro managing someone who's creating, and they're creating, like

767
00:39:52,160 --> 00:39:54,960
Speaker 2: we're creating a record together, it's a totally different thing.

768
00:39:55,080 --> 00:39:58,960
Speaker 2: If I say, for example, if I say, if Ryan says, man,

769
00:39:59,000 --> 00:40:00,600
Speaker 2: I want to try and get me I want to

770
00:40:00,600 --> 00:40:02,080
Speaker 2: do a swing, and I say, now.

771
00:40:02,000 --> 00:40:03,840
Speaker 3: I don't really like that. I don't think that idea works,

772
00:40:03,880 --> 00:40:06,600
Speaker 3: and I don't even try it, you know what I mean.

773
00:40:07,400 --> 00:40:12,200
Speaker 4: Yeah, it's the structured road in necessary environments, of course,

774
00:40:12,320 --> 00:40:18,719
Speaker 4: and then there's the free creative spirit environment, and those

775
00:40:18,760 --> 00:40:19,880
Speaker 4: are two completely.

776
00:40:19,760 --> 00:40:22,440
Speaker 2: When you're making a record, when you're creating a record,

777
00:40:22,480 --> 00:40:25,080
Speaker 2: when you're creating your own music, you have to have

778
00:40:25,239 --> 00:40:30,640
Speaker 2: that sort of freedom and openness to be inspired by conversation.

779
00:40:30,920 --> 00:40:34,040
Speaker 2: Be inspired by who you're working with when you're working

780
00:40:34,040 --> 00:40:37,239
Speaker 2: on your own music. But if you're for example, if

781
00:40:37,280 --> 00:40:39,359
Speaker 2: you know Prince says, you know, hey, Ray, I want

782
00:40:39,400 --> 00:40:41,080
Speaker 2: you to come to the studio, I can't say Prince,

783
00:40:41,280 --> 00:40:46,759
Speaker 2: you know, like, uh, you know, yeah, here's my song, right?

784
00:40:47,000 --> 00:40:47,440
Speaker 3: You know what I mean?

785
00:40:48,480 --> 00:40:51,000
Speaker 9: The same token, Prince would also be the one too

786
00:40:51,320 --> 00:40:53,040
Speaker 9: if he asked Ray to comes to the studio, Prince,

787
00:40:53,080 --> 00:40:54,920
Speaker 9: being the artist that he is, would listen to what

788
00:40:55,040 --> 00:40:56,880
Speaker 9: Ray would have to say. What would allow that to

789
00:40:56,920 --> 00:40:59,799
Speaker 9: be a free Yeah?

790
00:40:59,840 --> 00:41:02,839
Speaker 8: I'm mean, really is that you are? Yeah? You are.

791
00:41:02,960 --> 00:41:06,279
Speaker 9: But even with sending the clowns like yeah, he was

792
00:41:06,320 --> 00:41:08,120
Speaker 9: like I'm gonna play it, and I was like, that's beautiful.

793
00:41:08,160 --> 00:41:11,040
Speaker 9: And then you know, Ray was doing I call him rayisms,

794
00:41:11,200 --> 00:41:12,960
Speaker 9: So Ray had his raism. Then he started going he

795
00:41:13,000 --> 00:41:14,239
Speaker 9: was like, oh, I'm gonna put a moog on this,

796
00:41:14,280 --> 00:41:15,840
Speaker 9: and then next thing it turned to this thing and

797
00:41:15,880 --> 00:41:17,600
Speaker 9: I was like, I don't think that I.

798
00:41:17,760 --> 00:41:19,920
Speaker 8: Fit on this record because what you're doing was so beautiful.

799
00:41:20,040 --> 00:41:22,080
Speaker 9: Just the piano was fine, and now this is taking

800
00:41:22,120 --> 00:41:24,080
Speaker 9: it to a whole nother place and I don't think

801
00:41:24,080 --> 00:41:25,879
Speaker 9: I have a place here and so he just left

802
00:41:25,920 --> 00:41:28,520
Speaker 9: it alone. Yes, and then this is when the the

803
00:41:28,520 --> 00:41:33,319
Speaker 9: trifecta happens, because Scott has such great instincts as a producer.

804
00:41:33,719 --> 00:41:35,480
Speaker 9: I was here and we were we had just finished

805
00:41:35,520 --> 00:41:36,920
Speaker 9: all the recordings and I was kind of tired, and

806
00:41:36,960 --> 00:41:39,080
Speaker 9: I was like, Ray want me to sing on this song.

807
00:41:39,120 --> 00:41:40,239
Speaker 8: I don't know if I'm being able to do it.

808
00:41:40,280 --> 00:41:40,920
Speaker 8: I'm just not feeling.

809
00:41:40,960 --> 00:41:44,520
Speaker 9: And Scott says, well, just go, just do what you feel.

810
00:41:44,880 --> 00:41:47,400
Speaker 9: Just do two takes, two passes, and if you and

811
00:41:47,719 --> 00:41:49,000
Speaker 9: and if you're not feeling, they won't let it go.

812
00:41:49,080 --> 00:41:50,360
Speaker 8: But at least do two passes.

813
00:41:50,840 --> 00:41:52,560
Speaker 9: And then I'm like okay, and so I do the

814
00:41:52,600 --> 00:41:55,480
Speaker 9: first pass and then I see Scott just a slink

815
00:41:55,520 --> 00:41:58,160
Speaker 9: from behind the board. He goes, I think you've changed

816
00:41:58,200 --> 00:41:59,880
Speaker 9: my mind about having vocals on this record.

817
00:42:01,160 --> 00:42:02,560
Speaker 8: Yes, and then he said do one more past.

818
00:42:02,600 --> 00:42:06,000
Speaker 9: I did another past, and then Scott Winnen did his

819
00:42:06,000 --> 00:42:07,400
Speaker 9: his editing, and that that's what we have.

820
00:42:07,520 --> 00:42:10,000
Speaker 3: My example of not micromanaging someone.

821
00:42:10,280 --> 00:42:14,720
Speaker 2: That's that's the that's the that's the the result. Because

822
00:42:14,840 --> 00:42:16,879
Speaker 2: I in my mind I heard him singing on it,

823
00:42:17,320 --> 00:42:21,000
Speaker 2: but you know, I didn't want to say, oh, sing

824
00:42:21,040 --> 00:42:23,160
Speaker 2: it like this, because I hear it like this. I

825
00:42:23,239 --> 00:42:25,319
Speaker 2: just put it out there, and when he sang on it,

826
00:42:25,320 --> 00:42:26,359
Speaker 2: it was exactly.

827
00:42:26,080 --> 00:42:26,560
Speaker 3: What I heard.

828
00:42:27,400 --> 00:42:31,320
Speaker 2: Yeah, because I knew my instincts told me that Ryan

829
00:42:31,640 --> 00:42:33,840
Speaker 2: would kill this, because I hear his voice in my

830
00:42:33,840 --> 00:42:37,120
Speaker 2: head and I could hear how he would improvise through

831
00:42:37,480 --> 00:42:40,759
Speaker 2: the all the crazy harmonic landscape I created on that song,

832
00:42:41,239 --> 00:42:44,840
Speaker 2: and he kneeled it and to And that's my point

833
00:42:45,000 --> 00:42:48,640
Speaker 2: about micromanaging, because I allowed him the space to take

834
00:42:48,719 --> 00:42:51,440
Speaker 2: in what I what my idea was, and then he

835
00:42:51,560 --> 00:42:55,040
Speaker 2: internalized it and without him even knowing it, he figured

836
00:42:55,080 --> 00:42:59,280
Speaker 2: out his own way and created his own magic.

837
00:42:59,320 --> 00:43:01,759
Speaker 9: And that's what I'm and it is probably I was

838
00:43:03,000 --> 00:43:05,880
Speaker 9: my favorite song on the record, just about Yeah. I

839
00:43:05,920 --> 00:43:08,400
Speaker 9: mean I would put it very close to Goosemone like

840
00:43:08,560 --> 00:43:10,600
Speaker 9: it is it came out. That's the one song that

841
00:43:10,600 --> 00:43:12,480
Speaker 9: I actually will when it ends, I will start it

842
00:43:12,520 --> 00:43:16,520
Speaker 9: over again. It's so calming and it's chaotic. It reminds

843
00:43:16,520 --> 00:43:18,399
Speaker 9: me of one of my favorite pieces of music, which

844
00:43:18,440 --> 00:43:22,400
Speaker 9: is it's the I can't remember how to pronounce it.

845
00:43:22,400 --> 00:43:26,520
Speaker 9: It's like it's the the the theme song from Babel.

846
00:43:26,320 --> 00:43:29,680
Speaker 8: Doom Doom Doom, Doom, Doom, doom, doom, doom, doom, doom,

847
00:43:29,760 --> 00:43:31,560
Speaker 8: d D d D.

848
00:43:31,600 --> 00:43:33,400
Speaker 9: And then halfway it's like a seven minute piece if

849
00:43:33,400 --> 00:43:35,640
Speaker 9: you've never heard it, but it's to just google the

850
00:43:35,640 --> 00:43:37,560
Speaker 9: theme song from Babel And at the end it goes

851
00:43:37,600 --> 00:43:40,839
Speaker 9: into these like dissonant like violin started coming and then

852
00:43:40,880 --> 00:43:43,359
Speaker 9: it evens out again. And that's what it was doing

853
00:43:43,400 --> 00:43:46,719
Speaker 9: for me, the way Ray interpreted to send in the

854
00:43:46,719 --> 00:43:51,440
Speaker 9: clowns and yeah, it's it's it's yeah, it's one of

855
00:43:51,480 --> 00:43:51,920
Speaker 9: my favorites.

856
00:43:52,000 --> 00:43:52,160
Speaker 3: Yeah.

857
00:43:52,200 --> 00:43:54,640
Speaker 2: And plus when you when you you know that song,

858
00:43:54,680 --> 00:43:56,960
Speaker 2: I didn't realize the history of this song, but like

859
00:43:57,040 --> 00:43:59,359
Speaker 2: you know, the song about rejection, it's also about lost

860
00:43:59,400 --> 00:44:02,880
Speaker 2: but also about re re resolution. You know, there's so

861
00:44:02,920 --> 00:44:06,080
Speaker 2: many different aspects of that song. And Ryan just killed that.

862
00:44:06,320 --> 00:44:10,480
Speaker 2: But my other favorite song is get Simony Andrew Lloyd wherever.

863
00:44:10,600 --> 00:44:12,439
Speaker 2: I hope he loves what we did with his song.

864
00:44:12,680 --> 00:44:17,080
Speaker 2: He you know, it's he's such a legend. But when

865
00:44:17,200 --> 00:44:19,600
Speaker 2: Ryan Christy the idea, I just could not hear that

866
00:44:19,960 --> 00:44:20,680
Speaker 2: you want to swing?

867
00:44:20,880 --> 00:44:22,600
Speaker 8: I was like, okay, yeah, he didn't say no. That

868
00:44:22,680 --> 00:44:25,040
Speaker 8: was the only time he his hand till the sound was.

869
00:44:25,000 --> 00:44:30,200
Speaker 3: Like really andy, and then he just said not even crazier.

870
00:44:30,640 --> 00:44:33,080
Speaker 2: And then I was like, well if we swing and

871
00:44:33,120 --> 00:44:35,400
Speaker 2: I was like, well, we have all this other music

872
00:44:35,600 --> 00:44:39,080
Speaker 2: that's like sort of hard hitting is either gospel or

873
00:44:39,160 --> 00:44:39,560
Speaker 2: is you know.

874
00:44:39,880 --> 00:44:41,920
Speaker 3: And then I was like, well, what if he made

875
00:44:41,960 --> 00:44:45,920
Speaker 3: it like this song hot dude, dude, dude, you know.

876
00:44:46,000 --> 00:44:48,839
Speaker 2: And then I was thinking like, well, you know when

877
00:44:49,640 --> 00:44:52,120
Speaker 2: in different cultures around the world, when someon when someone

878
00:44:52,160 --> 00:44:55,400
Speaker 2: passes away, it's almost like a celebration as opposed to

879
00:44:56,640 --> 00:44:59,520
Speaker 2: because you're you're transitioning to the other side, and it's

880
00:44:59,560 --> 00:45:01,920
Speaker 2: not like a sad thing because we will see you

881
00:45:01,960 --> 00:45:03,319
Speaker 2: once again, because at the end of the day, we're

882
00:45:03,320 --> 00:45:06,279
Speaker 2: going to all pass away. And so I was like, well,

883
00:45:06,480 --> 00:45:08,520
Speaker 2: maybe we can change the meaning and energy of the

884
00:45:08,640 --> 00:45:11,239
Speaker 2: song and make it something that celebratory.

885
00:45:11,719 --> 00:45:14,640
Speaker 3: And everyone was like, I don't know, if it's good,

886
00:45:15,400 --> 00:45:16,719
Speaker 3: can we do this? I don't know.

887
00:45:17,640 --> 00:45:18,440
Speaker 8: It got it got pretty.

888
00:45:18,480 --> 00:45:22,359
Speaker 9: That's the one song that we felt we took. We took,

889
00:45:23,800 --> 00:45:25,520
Speaker 9: but it just felt right for the song. And it's

890
00:45:25,520 --> 00:45:27,600
Speaker 9: like what Ray was saying, because like Elizabeth actually called

891
00:45:27,640 --> 00:45:29,040
Speaker 9: me and we were having a conversation about it. She

892
00:45:29,080 --> 00:45:30,759
Speaker 9: was like, you know, this song is about you know

893
00:45:31,440 --> 00:45:34,560
Speaker 9: the you know, Jesus surrendering like his death, you know,

894
00:45:34,600 --> 00:45:36,799
Speaker 9: about him saying okay, I'll die, and I was like,

895
00:45:36,840 --> 00:45:41,120
Speaker 9: I know, but it feels right. And from my upbringing,

896
00:45:41,280 --> 00:45:44,520
Speaker 9: I grew up Pentecostal, so Easter Sunday celebration is about

897
00:45:44,560 --> 00:45:48,600
Speaker 9: him rising. So for my culture, his death is just

898
00:45:48,640 --> 00:45:51,520
Speaker 9: as celebratory as his rising because we know this moment

899
00:45:51,560 --> 00:45:54,000
Speaker 9: for us in this day and time, at that moment.

900
00:45:54,040 --> 00:45:55,839
Speaker 9: For if we like in the moment in time, then yes,

901
00:45:55,880 --> 00:45:57,920
Speaker 9: it's sad. He's giving up his life, he's choosing this,

902
00:45:58,280 --> 00:46:00,560
Speaker 9: but in this day and time, he's doing that so

903
00:46:00,600 --> 00:46:03,279
Speaker 9: that he can live again, so that we can all live.

904
00:46:03,400 --> 00:46:04,080
Speaker 8: So for me, the.

905
00:46:04,040 --> 00:46:06,359
Speaker 9: Death is just as celebratory as that. So we don't

906
00:46:06,360 --> 00:46:08,080
Speaker 9: see death and saying that's why he said the most time,

907
00:46:08,440 --> 00:46:10,239
Speaker 9: the most like shouting that we've ever done in the

908
00:46:10,320 --> 00:46:12,759
Speaker 9: church is usually at a funeral. If somebody lived a

909
00:46:12,800 --> 00:46:14,200
Speaker 9: good life that we saw and we thought they were

910
00:46:14,239 --> 00:46:16,400
Speaker 9: holy and pure, then we are like celebrating, you know,

911
00:46:16,520 --> 00:46:17,920
Speaker 9: thank you Lord. You know I want to have that

912
00:46:17,960 --> 00:46:20,960
Speaker 9: same celebration, And so for me it was very fitting.

913
00:46:20,960 --> 00:46:22,279
Speaker 9: But it did get to the point where she was like, well,

914
00:46:22,320 --> 00:46:24,000
Speaker 9: maybe we need to call Andrews whateber you want to

915
00:46:24,040 --> 00:46:26,440
Speaker 9: see this is going to be okay, and then you know,

916
00:46:26,480 --> 00:46:27,840
Speaker 9: I think she even reached out to his lawyer and

917
00:46:27,880 --> 00:46:29,799
Speaker 9: he was like, did he change the melody? He was like, no,

918
00:46:29,920 --> 00:46:32,800
Speaker 9: I kept the melody. Did he change the lyrics? Same lyrics?

919
00:46:33,360 --> 00:46:35,239
Speaker 9: Let's not open that can of worms. So we ended

920
00:46:35,280 --> 00:46:36,840
Speaker 9: up with it and I think it is one of

921
00:46:36,840 --> 00:46:37,959
Speaker 9: the most joyous when.

922
00:46:37,880 --> 00:46:38,879
Speaker 8: We performed it last night.

923
00:46:38,920 --> 00:46:40,240
Speaker 3: It was so good.

924
00:46:40,520 --> 00:46:44,200
Speaker 8: It was in saying the reaction that that the people got.

925
00:46:44,320 --> 00:46:47,120
Speaker 9: Everyone is saying even I think over at the at

926
00:46:47,120 --> 00:46:50,080
Speaker 9: a center stage, I think Elizabeth asked Van Deen over there,

927
00:46:50,160 --> 00:46:54,000
Speaker 9: who is our label partner? You know, what was your

928
00:46:54,000 --> 00:46:56,319
Speaker 9: favorite song? And I think he's like, gooseimony.

929
00:46:57,800 --> 00:47:01,960
Speaker 7: So tell me how it felt the event and just

930
00:47:02,080 --> 00:47:06,440
Speaker 7: watching the response of people As artists, how special is

931
00:47:06,480 --> 00:47:10,520
Speaker 7: that when you're seeing your work come full circle to

932
00:47:10,680 --> 00:47:12,520
Speaker 7: fruition it's in front of people.

933
00:47:14,400 --> 00:47:15,960
Speaker 4: Describe that feeling.

934
00:47:16,880 --> 00:47:17,840
Speaker 3: Man that.

935
00:47:19,239 --> 00:47:22,680
Speaker 2: You know, it feels like when's the next show? Yes,

936
00:47:23,080 --> 00:47:24,040
Speaker 2: that's how I felt.

937
00:47:25,080 --> 00:47:29,200
Speaker 3: For me. It was, you know, it was almost like

938
00:47:29,239 --> 00:47:30,200
Speaker 3: a full circle.

939
00:47:31,400 --> 00:47:34,960
Speaker 2: Because Scott so eloquently said, you know, he was sitting

940
00:47:34,960 --> 00:47:38,040
Speaker 2: there the show with his folks and he was just

941
00:47:38,080 --> 00:47:41,239
Speaker 2: so engulfed in music. But everything started with Scott and

942
00:47:41,280 --> 00:47:49,399
Speaker 2: I can't even I can't even explain or express how

943
00:47:49,440 --> 00:47:55,680
Speaker 2: appreciative I am of Scott and his his selflessness to

944
00:47:55,800 --> 00:47:59,840
Speaker 2: see art and say, Okay, this could really work, let me,

945
00:48:00,080 --> 00:48:04,280
Speaker 2: let me tap into that, and to come back after

946
00:48:04,560 --> 00:48:06,960
Speaker 2: he had already done it the first time, and to

947
00:48:07,080 --> 00:48:10,200
Speaker 2: come back the second time, and to see them because

948
00:48:10,200 --> 00:48:11,920
Speaker 2: I didn't have the same keyboards that I had, you

949
00:48:11,920 --> 00:48:15,480
Speaker 2: know that I hadn't here, but it still works, you

950
00:48:15,560 --> 00:48:17,920
Speaker 2: know what I mean? And we had it was different,

951
00:48:18,280 --> 00:48:22,680
Speaker 2: different set of musicians. So my takeaway is that we

952
00:48:22,760 --> 00:48:26,960
Speaker 2: created such a dynamic record that anyone can perform the

953
00:48:27,040 --> 00:48:30,040
Speaker 2: music and have their own thing or that put their

954
00:48:30,080 --> 00:48:33,880
Speaker 2: own stamp on it. So we literally created a new standard.

955
00:48:34,520 --> 00:48:38,160
Speaker 9: Yeah another thing, Yeah yeah yeah, And even with you

956
00:48:38,239 --> 00:48:40,480
Speaker 9: said me, and this is what it was like. I mean,

957
00:48:41,080 --> 00:48:47,040
Speaker 9: the collaboration was truly the three because though what Scott's

958
00:48:47,040 --> 00:48:52,520
Speaker 9: instinct was about, this show always bridge bridged any small

959
00:48:52,520 --> 00:48:55,160
Speaker 9: gap that there was between well like like even like

960
00:48:55,160 --> 00:48:57,160
Speaker 9: fins going back to sending the clowns like I don't

961
00:48:57,160 --> 00:48:58,239
Speaker 9: think I should sing on this song?

962
00:48:58,400 --> 00:48:59,120
Speaker 8: Well do this?

963
00:48:59,400 --> 00:49:01,279
Speaker 9: There was many times I would. I was in here,

964
00:49:01,520 --> 00:49:06,040
Speaker 9: I don't think what the song was. I was having

965
00:49:06,080 --> 00:49:09,520
Speaker 9: a real difficult time with something and then oh it was.

966
00:49:10,560 --> 00:49:13,400
Speaker 9: It was Ah, I learned to damn on the brigs

967
00:49:13,400 --> 00:49:15,680
Speaker 9: before I even turn the key. And I was, you know,

968
00:49:15,719 --> 00:49:17,680
Speaker 9: I'm such an aggressive singer that I will just be

969
00:49:17,719 --> 00:49:19,200
Speaker 9: like at the end, I was just like going off

970
00:49:19,480 --> 00:49:21,880
Speaker 9: and then Scott just sort of peaks around the board again, Hey,

971
00:49:22,280 --> 00:49:24,080
Speaker 9: maybe just try a couple of takes, you know what,

972
00:49:24,320 --> 00:49:26,680
Speaker 9: all just like like relax, like laying to it. And

973
00:49:26,719 --> 00:49:28,759
Speaker 9: I was like, okay, because you know, at the end,

974
00:49:28,760 --> 00:49:29,880
Speaker 9: I was like I'm waiting.

975
00:49:31,320 --> 00:49:34,279
Speaker 8: Maybe not you know, I was like, okay. He's like,

976
00:49:34,320 --> 00:49:35,759
Speaker 8: but just feel the beat and just you know, just

977
00:49:35,800 --> 00:49:36,440
Speaker 8: like leaning into that.

978
00:49:36,480 --> 00:49:39,400
Speaker 6: And I was like, oh yeah, island.

979
00:49:39,719 --> 00:49:39,919
Speaker 1: Yeah.

980
00:49:40,480 --> 00:49:41,800
Speaker 9: He was like, I don't feel like I'm on an island.

981
00:49:41,800 --> 00:49:43,680
Speaker 9: Like you're making me shake my drink out of my hands.

982
00:49:43,760 --> 00:49:48,160
Speaker 2: You know, what's the song that goes dude on that

983
00:49:48,200 --> 00:49:49,680
Speaker 2: street where you're on the street where you live.

984
00:49:49,760 --> 00:49:55,040
Speaker 3: So you know, you know it's funny. Uh so Scott?

985
00:49:55,719 --> 00:49:56,239
Speaker 3: Uh so?

986
00:49:56,400 --> 00:50:00,560
Speaker 2: I after shout out Scott in his incredible studio, Yeah,

987
00:50:00,640 --> 00:50:03,680
Speaker 2: the gear and he needs to be talked about like

988
00:50:03,840 --> 00:50:07,080
Speaker 2: he has, like this is the history of music. Yeah,

989
00:50:07,719 --> 00:50:10,200
Speaker 2: you know, the drum machines are Sly used on the

990
00:50:10,239 --> 00:50:15,319
Speaker 2: family on side and on the family stand like he has,

991
00:50:15,680 --> 00:50:20,400
Speaker 2: and we use all of those incredible UH instruments that

992
00:50:20,520 --> 00:50:26,360
Speaker 2: Sly used and it's like a musical history UH museum

993
00:50:26,400 --> 00:50:30,120
Speaker 2: in here. And and there was one keyboard that he

994
00:50:30,200 --> 00:50:32,400
Speaker 2: has and I hadn't played it, and I was just

995
00:50:32,440 --> 00:50:34,000
Speaker 2: going through sounds and I.

996
00:50:34,160 --> 00:50:36,680
Speaker 3: Literally I was like, oh, this is cool. Oh what's this?

997
00:50:36,760 --> 00:50:39,920
Speaker 3: And I started playing the intro to UH on the

998
00:50:39,920 --> 00:50:41,960
Speaker 3: street where she lives. I just.

999
00:50:47,160 --> 00:50:50,040
Speaker 2: You know, and I just the music just happened, just

1000
00:50:50,080 --> 00:50:54,520
Speaker 2: like that, you know. Yeah, the studio is such.

1001
00:50:54,520 --> 00:50:56,080
Speaker 9: And that was the other thing about it because a

1002
00:50:56,080 --> 00:50:58,879
Speaker 9: lot of these ranges like we had because we don't

1003
00:50:58,960 --> 00:51:02,200
Speaker 9: we didn't sit in like arrangements like I think Ray

1004
00:51:02,320 --> 00:51:04,640
Speaker 9: was so confident because me and Scott was like, well,

1005
00:51:04,640 --> 00:51:06,520
Speaker 9: I don't know about He was like, no, these kids we.

1006
00:51:06,560 --> 00:51:09,400
Speaker 8: Got, you know, they they they're great. Well, one is

1007
00:51:09,440 --> 00:51:09,879
Speaker 8: Papa Bear.

1008
00:51:09,920 --> 00:51:12,319
Speaker 9: Papa Bear is my is my godson actually, and he

1009
00:51:12,320 --> 00:51:14,320
Speaker 9: grew up in the church and he's actually a child project.

1010
00:51:14,360 --> 00:51:15,840
Speaker 9: He started off on the I mean he's just as

1011
00:51:15,840 --> 00:51:17,440
Speaker 9: good a drummer as he is a bass player. He

1012
00:51:17,440 --> 00:51:18,840
Speaker 9: don't want me to say. He probably mad that I

1013
00:51:18,840 --> 00:51:20,320
Speaker 9: said that, because he don't like to play the drums

1014
00:51:20,320 --> 00:51:20,560
Speaker 9: no more.

1015
00:51:20,560 --> 00:51:21,919
Speaker 8: But he's really dope.

1016
00:51:21,960 --> 00:51:24,520
Speaker 9: And as a child he was like a prodigy and

1017
00:51:24,880 --> 00:51:25,759
Speaker 9: like getting these kids together.

1018
00:51:25,760 --> 00:51:27,120
Speaker 8: And he was like one day and me and Scott

1019
00:51:27,160 --> 00:51:28,520
Speaker 8: was like, no, we're too old for that. We need

1020
00:51:28,560 --> 00:51:30,480
Speaker 8: two days. Uh. He was like, no, they're gonna do

1021
00:51:30,480 --> 00:51:32,719
Speaker 8: it one day. It's gonna be great. So we got

1022
00:51:32,800 --> 00:51:34,919
Speaker 8: We did all the homework really before.

1023
00:51:35,160 --> 00:51:37,719
Speaker 9: And once we got in here just to see like

1024
00:51:38,040 --> 00:51:40,279
Speaker 9: the concepts that we have, and then I was just

1025
00:51:40,360 --> 00:51:42,400
Speaker 9: kind of standing back and you know, and you know,

1026
00:51:42,400 --> 00:51:44,560
Speaker 9: because the collaboration were Ray, and Ray knew these guys,

1027
00:51:44,600 --> 00:51:46,520
Speaker 9: he had worked with him before, and just to take

1028
00:51:46,560 --> 00:51:48,600
Speaker 9: the concept then to see Ray just sort of like

1029
00:51:49,000 --> 00:51:52,000
Speaker 9: take them as almost like throwing paint, like painting with

1030
00:51:52,120 --> 00:51:54,239
Speaker 9: these guys like in real time. And so some of

1031
00:51:54,280 --> 00:51:55,880
Speaker 9: the arrangements we saw him shift and I was like, oh,

1032
00:51:55,880 --> 00:51:56,960
Speaker 9: that's not and then we hit and I would just

1033
00:51:56,960 --> 00:51:57,799
Speaker 9: bust through the door like.

1034
00:51:57,920 --> 00:52:01,279
Speaker 8: That's it, that is it right, let's go and it

1035
00:52:01,280 --> 00:52:01,920
Speaker 8: will be that.

1036
00:52:01,960 --> 00:52:04,120
Speaker 9: And it was such a it was like a lot

1037
00:52:04,120 --> 00:52:06,440
Speaker 9: of I don't remember a lot of it. It was just

1038
00:52:06,600 --> 00:52:08,840
Speaker 9: it was in real time. It was like and Scott

1039
00:52:08,920 --> 00:52:10,800
Speaker 9: just captured all of those magical moments.

1040
00:52:10,880 --> 00:52:11,520
Speaker 3: You know. It's funny.

1041
00:52:11,800 --> 00:52:15,040
Speaker 2: I was thinking about the the the intro to My Way.

1042
00:52:15,719 --> 00:52:18,960
Speaker 2: I was like, yo, Jalen Man, can you you know

1043
00:52:19,080 --> 00:52:22,160
Speaker 2: that song that could rock with you? You know, intro

1044
00:52:22,239 --> 00:52:24,560
Speaker 2: to rock with you? We need like, ayo, like, what's

1045
00:52:24,600 --> 00:52:28,480
Speaker 2: your signature drum intro that people from twenty years from

1046
00:52:28,520 --> 00:52:30,720
Speaker 2: now are going to say, Yo, what's.

1047
00:52:30,520 --> 00:52:31,719
Speaker 3: That they are?

1048
00:52:31,800 --> 00:52:33,280
Speaker 8: And they will, oh, yeah.

1049
00:52:33,320 --> 00:52:35,960
Speaker 2: We need we need you to have your own rock

1050
00:52:36,000 --> 00:52:38,319
Speaker 2: with you intro. We need that on this song. And

1051
00:52:38,360 --> 00:52:40,360
Speaker 2: he was like he thought about it and he was

1052
00:52:40,400 --> 00:52:42,400
Speaker 2: playing something. I say, no, that's not no, no, no, but

1053
00:52:42,440 --> 00:52:44,480
Speaker 2: try to try it again. And then he was okay,

1054
00:52:44,520 --> 00:52:47,040
Speaker 2: cool and he killed it. And what's the song where

1055
00:52:47,040 --> 00:52:49,160
Speaker 2: I had him do the seven seven three ninety eleven?

1056
00:52:50,000 --> 00:52:51,120
Speaker 5: Oh yeah?

1057
00:52:51,360 --> 00:52:52,359
Speaker 3: Was it the reggae song?

1058
00:52:52,960 --> 00:52:56,000
Speaker 6: It was No, I think I think it was the

1059
00:52:56,400 --> 00:52:57,399
Speaker 6: on the Street where you live.

1060
00:52:57,320 --> 00:52:59,040
Speaker 5: In the Street where you live?

1061
00:52:59,200 --> 00:53:06,440
Speaker 6: Yeah, in the chorus, but yeah, yeah, oh yeah.

1062
00:53:05,960 --> 00:53:08,200
Speaker 3: Yeah, I would just take I was just we were

1063
00:53:08,239 --> 00:53:08,960
Speaker 3: just painting. Man.

1064
00:53:09,360 --> 00:53:09,600
Speaker 1: It was.

1065
00:53:11,520 --> 00:53:15,120
Speaker 2: With great musicians. We're going back to not micromanaging people.

1066
00:53:15,520 --> 00:53:15,759
Speaker 3: You know.

1067
00:53:16,520 --> 00:53:20,240
Speaker 2: That's the central theme of this record. You know, it's

1068
00:53:20,280 --> 00:53:22,840
Speaker 2: like being letting God be in the room. That's what

1069
00:53:22,880 --> 00:53:25,359
Speaker 2: I'm That's what I really meant to say. It's not

1070
00:53:25,400 --> 00:53:29,279
Speaker 2: about micromanager. It's about just letting the energy be what

1071
00:53:29,360 --> 00:53:32,640
Speaker 2: it's supposed to be, you know. And there's no and

1072
00:53:32,680 --> 00:53:36,120
Speaker 2: it's nothing to anyone that feels like they need to micromanage,

1073
00:53:36,360 --> 00:53:39,040
Speaker 2: but for this particular record, we wanted God to be

1074
00:53:39,080 --> 00:53:41,799
Speaker 2: in the room so that we can have a more

1075
00:53:41,960 --> 00:53:47,600
Speaker 2: universal outreach and effect with people that listen to this record.

1076
00:53:48,520 --> 00:53:50,799
Speaker 2: But anyway, it was really great to work with these guys,

1077
00:53:50,840 --> 00:53:52,840
Speaker 2: and there was they were they thought it was crazy

1078
00:53:52,840 --> 00:53:54,640
Speaker 2: when I was like, no, we could do the record

1079
00:53:54,640 --> 00:53:56,120
Speaker 2: in one day.

1080
00:53:55,920 --> 00:54:00,319
Speaker 3: And we did it one day. Unbelievable, at least at

1081
00:54:00,400 --> 00:54:02,440
Speaker 3: least the tracks you know, we did.

1082
00:54:02,520 --> 00:54:04,640
Speaker 2: I mean, of course you have to do the you know,

1083
00:54:04,800 --> 00:54:08,319
Speaker 2: the additional production and record all the vocals, but in

1084
00:54:08,360 --> 00:54:10,920
Speaker 2: terms of like the actual tracks with the band, we

1085
00:54:10,960 --> 00:54:13,040
Speaker 2: did in one day. But you can do any when

1086
00:54:13,040 --> 00:54:17,080
Speaker 2: you have great musicians, and we did come prepared. We

1087
00:54:17,120 --> 00:54:19,799
Speaker 2: did have a general idea of what we're going to do.

1088
00:54:20,360 --> 00:54:23,000
Speaker 2: And then it's just easier when you're working with really

1089
00:54:23,000 --> 00:54:27,040
Speaker 2: great musicians to say, okay, so let's let's go down

1090
00:54:27,120 --> 00:54:28,640
Speaker 2: Broadway and then make.

1091
00:54:28,520 --> 00:54:30,480
Speaker 3: A left on on.

1092
00:54:30,520 --> 00:54:33,880
Speaker 2: Twenty third Street. Actually, you know what, twenty third Street

1093
00:54:33,920 --> 00:54:36,359
Speaker 2: is crowded. Let's go down to forty second and make

1094
00:54:36,360 --> 00:54:38,080
Speaker 2: it right. Yeah, you know, and we can go to

1095
00:54:38,120 --> 00:54:41,200
Speaker 2: Central Maybe maybe we'll go up one hundred and tenth

1096
00:54:41,239 --> 00:54:43,279
Speaker 2: of Central Park, you know what I mean, Let's go

1097
00:54:43,320 --> 00:54:45,479
Speaker 2: get some food at Lincoln Center.

1098
00:54:45,520 --> 00:54:46,040
Speaker 3: Okay, cool.

1099
00:54:46,200 --> 00:54:48,759
Speaker 9: And that happened at the end of because, like I say,

1100
00:54:49,000 --> 00:54:50,680
Speaker 9: I could have done out distress, I will say of

1101
00:54:50,719 --> 00:54:52,759
Speaker 9: the one day, but it was.

1102
00:54:53,200 --> 00:54:55,439
Speaker 8: But you know, it was great, It was really great.

1103
00:54:55,480 --> 00:54:56,520
Speaker 8: But at the end dress Yeah.

1104
00:54:56,520 --> 00:54:57,920
Speaker 9: But at the end of the day, like everybody was

1105
00:54:57,920 --> 00:54:59,399
Speaker 9: getting ready to leave, and I think the last song

1106
00:54:59,440 --> 00:55:03,200
Speaker 9: we ended up try backing was waving through a window

1107
00:55:03,800 --> 00:55:05,120
Speaker 9: and everybody was like, but what are we gonna do

1108
00:55:05,160 --> 00:55:06,840
Speaker 9: with this? And everybody and it was doing things and

1109
00:55:06,840 --> 00:55:08,400
Speaker 9: I was like, and then suddenly it came in and

1110
00:55:08,400 --> 00:55:11,440
Speaker 9: I was like, I think we should do some reggae and.

1111
00:55:11,400 --> 00:55:12,000
Speaker 8: Then it came in.

1112
00:55:12,520 --> 00:55:14,080
Speaker 9: It just at the last minute because were stressed like

1113
00:55:14,160 --> 00:55:15,640
Speaker 9: how we're gonna do and it wasn't feeling right, and

1114
00:55:15,680 --> 00:55:17,840
Speaker 9: I was like, let's just let's just rag, let's try that.

1115
00:55:17,880 --> 00:55:19,520
Speaker 9: And then it was like okay, and it is jumped

1116
00:55:19,560 --> 00:55:23,400
Speaker 9: in it was like d.

1117
00:55:23,440 --> 00:55:24,319
Speaker 8: And I was like, that's it.

1118
00:55:24,640 --> 00:55:27,399
Speaker 9: Yeah, And it ended up just being but like I said,

1119
00:55:27,440 --> 00:55:29,440
Speaker 9: just being able to come in and paint and just

1120
00:55:29,480 --> 00:55:31,360
Speaker 9: be in the vibe and be collaborating.

1121
00:55:31,360 --> 00:55:34,040
Speaker 3: And that song was because you know, I was playing that.

1122
00:55:34,280 --> 00:55:38,000
Speaker 2: I was playing that line because it's, uh, you know,

1123
00:55:38,080 --> 00:55:43,080
Speaker 2: I love Wayne Shorter and and it's weird because Wayne.

1124
00:55:43,160 --> 00:55:44,720
Speaker 3: I feel like like.

1125
00:55:44,680 --> 00:55:47,400
Speaker 2: Wayne Shorter has been like talking to me, you know,

1126
00:55:47,440 --> 00:55:50,080
Speaker 2: because there's a song he has called Deluge.

1127
00:55:50,120 --> 00:55:52,640
Speaker 3: I literally keep.

1128
00:55:52,480 --> 00:55:54,800
Speaker 2: Hearing this song and I'm like, yo, what is this song?

1129
00:55:55,120 --> 00:55:56,719
Speaker 2: And someone told me what the song was and I

1130
00:55:56,760 --> 00:56:00,239
Speaker 2: was like, oh wow, And then that puts you the

1131
00:56:00,280 --> 00:56:05,560
Speaker 2: song that uh the intro is uh, you know, a

1132
00:56:05,719 --> 00:56:08,920
Speaker 2: take on his composition for weather.

1133
00:56:08,719 --> 00:56:11,279
Speaker 3: Report dude do.

1134
00:56:20,480 --> 00:56:24,880
Speaker 2: Blin exactly, exactly. Yeah, So we just kind of like

1135
00:56:25,080 --> 00:56:26,239
Speaker 2: just riffed off that.

1136
00:56:26,320 --> 00:56:26,560
Speaker 8: Yeah.

1137
00:56:26,680 --> 00:56:32,040
Speaker 4: Yeah, yeah, but with Rege Yes, Yes.

1138
00:56:32,080 --> 00:56:34,880
Speaker 8: It's just all these worlds that just met. It was

1139
00:56:34,920 --> 00:56:35,560
Speaker 8: so much fun.

1140
00:56:35,600 --> 00:56:37,040
Speaker 3: I mean, but that's the way music.

1141
00:56:37,480 --> 00:56:40,160
Speaker 2: In my mind, that's the way music is because you know,

1142
00:56:41,520 --> 00:56:45,120
Speaker 2: even in classical music, you have so many composers that

1143
00:56:45,239 --> 00:56:48,719
Speaker 2: you know, they study back and they'll do their own version.

1144
00:56:48,840 --> 00:56:51,880
Speaker 3: Of the of the will typic clavier. And you know

1145
00:56:51,920 --> 00:56:52,279
Speaker 3: what I mean.

1146
00:56:52,360 --> 00:56:56,000
Speaker 2: You have Chopin doing the His all His A Tubes

1147
00:56:56,040 --> 00:56:57,880
Speaker 2: which is patterned after will Tipic clavier.

1148
00:56:57,920 --> 00:56:58,480
Speaker 3: You know what I mean.

1149
00:56:58,920 --> 00:57:04,480
Speaker 2: And so to me, there's so many through lines when

1150
00:57:04,480 --> 00:57:07,719
Speaker 2: it comes to music, and everything affects each other.

1151
00:57:07,760 --> 00:57:13,680
Speaker 4: You knows, I could I could spend hours. I already

1152
00:57:13,680 --> 00:57:16,560
Speaker 4: have spent hours, but I could spend more hours, uh,

1153
00:57:17,240 --> 00:57:20,640
Speaker 4: having you dig into the creative process and all the

1154
00:57:20,680 --> 00:57:24,840
Speaker 4: things that move you and how you move us with

1155
00:57:25,000 --> 00:57:31,200
Speaker 4: your music. But congratulations Scott on off Broadway. An amazing,

1156
00:57:32,400 --> 00:57:38,200
Speaker 4: amazing output here of joy and beauty and creativity. And

1157
00:57:38,760 --> 00:57:41,080
Speaker 4: thank you for sharing it with our our taking a

1158
00:57:41,120 --> 00:57:46,400
Speaker 4: walk audiences for having us. It's really been a treasure.

1159
00:57:46,480 --> 00:57:46,800
Speaker 8: Thank you.

1160
00:57:48,680 --> 00:57:48,960
Speaker 3: Thanks