1
00:00:00,160 --> 00:00:03,840
Speaker 1: This episode is also available as video on YouTube. You

2
00:00:03,880 --> 00:00:06,440
Speaker 1: can visit Nora Jones channel and be sure to subscribe

3
00:00:06,440 --> 00:00:09,319
Speaker 1: while you're there. Hey, I'm Nora Jones and today I'm

4
00:00:09,360 --> 00:00:11,000
Speaker 1: playing along with Jason Moran.

5
00:00:11,520 --> 00:00:21,280
Speaker 2: I'm just playing long, I'm just playing lone with you.

6
00:00:23,680 --> 00:00:27,400
Speaker 1: Hi, I'm Nora. This is Sarah. Hello. Hello, Welcome to

7
00:00:27,440 --> 00:00:29,160
Speaker 1: the show. Welcome to our show.

8
00:00:30,240 --> 00:00:35,639
Speaker 3: Today we have the acclaimed pianist, composer, and innovator at

9
00:00:35,640 --> 00:00:40,000
Speaker 3: the forefront of contemporary jazz, Jason Moran.

10
00:00:40,040 --> 00:00:42,720
Speaker 1: Also a Fellow Texan. Fellow Texan.

11
00:00:43,520 --> 00:00:46,960
Speaker 3: He is a MacArthur Genius Grant recipient and he has

12
00:00:47,040 --> 00:00:48,840
Speaker 3: multiple award winning albums.

13
00:00:49,440 --> 00:00:52,800
Speaker 1: He's great and I love him. I've known him a

14
00:00:52,840 --> 00:00:57,880
Speaker 1: long time. He's such a great musician. And another brilliant

15
00:00:57,960 --> 00:01:03,880
Speaker 1: piano player played piano. No, I didn't mean I was

16
00:01:03,880 --> 00:01:07,199
Speaker 1: the other brilliant one. I meant like, another guest who's

17
00:01:07,240 --> 00:01:10,120
Speaker 1: a brilliant piano player played my piano.

18
00:01:11,080 --> 00:01:14,000
Speaker 3: This episode has is really packed with a lot of

19
00:01:14,040 --> 00:01:20,120
Speaker 3: incredible music. It's just like completely seamless between the music

20
00:01:20,160 --> 00:01:20,720
Speaker 3: and the talking.

21
00:01:20,800 --> 00:01:22,240
Speaker 1: I feel like, oh, there's a lot of music in

22
00:01:22,240 --> 00:01:22,920
Speaker 1: this one, a lot.

23
00:01:23,040 --> 00:01:26,960
Speaker 3: Yeah, And you know, you talk about your shared Texas roots.

24
00:01:27,560 --> 00:01:30,959
Speaker 1: He feels like family for many reasons to me, partly

25
00:01:31,040 --> 00:01:35,520
Speaker 1: the Texas thing and then also the Blue Note Records

26
00:01:35,560 --> 00:01:37,600
Speaker 1: thing because he was on We've been on the same

27
00:01:37,680 --> 00:01:40,880
Speaker 1: label back in the beginning, we were on the same label.

28
00:01:41,040 --> 00:01:44,600
Speaker 3: So yeah, you know, I had a little parallel moment familial.

29
00:01:45,360 --> 00:01:47,400
Speaker 1: I hope you enjoyed the episode with Jason Ran.

30
00:01:48,240 --> 00:01:50,560
Speaker 4: Alicia and I are playing in the church for this

31
00:01:50,640 --> 00:01:54,400
Speaker 4: festival in Molda Festivals like way up North gorgeous. And

32
00:01:54,440 --> 00:01:56,640
Speaker 4: then so they had us kind of waiting in this

33
00:01:56,760 --> 00:02:00,280
Speaker 4: room which is like the rectory or whatever, and it

34
00:02:00,360 --> 00:02:02,440
Speaker 4: had a pump organ in there, and I said it

35
00:02:02,560 --> 00:02:07,919
Speaker 4: that thing, and Alicia was like, oh God, here we goes.

36
00:02:08,760 --> 00:02:09,959
Speaker 4: And when I got back to New York, I was like,

37
00:02:10,000 --> 00:02:12,640
Speaker 4: I gotta find a pump organ. Found one Midtown and

38
00:02:12,680 --> 00:02:15,360
Speaker 4: somebody's storage for like fifty dollars.

39
00:02:15,480 --> 00:02:17,560
Speaker 1: Wow, was it kind of like that size?

40
00:02:17,800 --> 00:02:20,040
Speaker 4: It was this size and it had the cabinet ornate

41
00:02:20,360 --> 00:02:24,760
Speaker 4: it on the top two but it wasn't. The person

42
00:02:24,800 --> 00:02:28,880
Speaker 4: who who had it put an actual air pump in it,

43
00:02:28,960 --> 00:02:30,920
Speaker 4: so you just pressed your foot down once and then

44
00:02:30,919 --> 00:02:31,920
Speaker 4: it blew air into it.

45
00:02:31,960 --> 00:02:33,760
Speaker 1: Oh, so that they wouldn't have to work the feet.

46
00:02:35,560 --> 00:02:39,560
Speaker 4: It was quite lazy, but it sure sounded great.

47
00:02:39,600 --> 00:02:42,480
Speaker 5: And then I sold it to Brooklyn Recording.

48
00:02:42,560 --> 00:02:42,959
Speaker 1: Oh cool.

49
00:02:43,000 --> 00:02:45,840
Speaker 5: So I don't know, I don't think so.

50
00:02:45,919 --> 00:02:47,359
Speaker 4: I think he probably was like, man, what the fuck

51
00:02:47,440 --> 00:02:52,080
Speaker 4: is this because the pump, the air pump was pretty loud.

52
00:02:52,320 --> 00:02:55,120
Speaker 1: Oh so it's kind of went against the whole point

53
00:02:55,480 --> 00:02:57,440
Speaker 1: kind of how much did you use it before you

54
00:02:57,440 --> 00:02:57,800
Speaker 1: sold it?

55
00:02:57,840 --> 00:02:59,320
Speaker 4: I used it a lot in the house, you did,

56
00:02:59,440 --> 00:03:02,960
Speaker 4: and my kids get on get all scary and like

57
00:03:03,040 --> 00:03:06,840
Speaker 4: play weird stuff. It was great that its beautiful. Yeah,

58
00:03:06,960 --> 00:03:07,720
Speaker 4: instruments used.

59
00:03:07,600 --> 00:03:09,320
Speaker 5: To be a lot more beautiful than they are now.

60
00:03:09,680 --> 00:03:14,960
Speaker 1: They're so ornate. And I had this in my kind

61
00:03:15,000 --> 00:03:18,480
Speaker 1: of dining room for a while and it really was beautiful.

62
00:03:18,800 --> 00:03:21,400
Speaker 1: It would get played every once in a while, but

63
00:03:21,680 --> 00:03:24,240
Speaker 1: mostly it was furniture. It looked pretty.

64
00:03:24,400 --> 00:03:24,640
Speaker 5: Yeah.

65
00:03:25,160 --> 00:03:27,600
Speaker 4: Yeah, yeah, I put art on it. I don't know,

66
00:03:27,720 --> 00:03:30,320
Speaker 4: Like instruments have like lives and they're like made of

67
00:03:30,360 --> 00:03:33,920
Speaker 4: wood that come from trees and then they and then

68
00:03:33,960 --> 00:03:37,400
Speaker 4: people sit at them and unlock stuff, and I feel like.

69
00:03:37,440 --> 00:03:38,400
Speaker 5: That's part of our job.

70
00:03:39,120 --> 00:03:40,120
Speaker 1: It's the fun part.

71
00:03:40,280 --> 00:03:41,600
Speaker 5: Yeah, I don't know if it's fun.

72
00:03:41,680 --> 00:03:46,160
Speaker 4: Sometimes I didn't. I had therapy this morning too. It's

73
00:03:46,160 --> 00:03:48,360
Speaker 4: a little bit all over the place, right.

74
00:03:52,280 --> 00:03:55,400
Speaker 1: It's great. Well, it's not fun if you can unlock it.

75
00:03:55,480 --> 00:03:57,160
Speaker 1: But don't you feel like you usually.

76
00:03:56,880 --> 00:04:01,200
Speaker 5: Can if I'm with the right people. Yes, yeah, And.

77
00:04:02,520 --> 00:04:05,080
Speaker 4: I don't know. So I think when I look, when

78
00:04:05,080 --> 00:04:08,240
Speaker 4: we first started making music, we were I mean, at

79
00:04:08,320 --> 00:04:10,200
Speaker 4: least for me, I was just trying to make music.

80
00:04:10,480 --> 00:04:12,760
Speaker 4: I wasn't even sure what it was for you know

81
00:04:12,800 --> 00:04:14,760
Speaker 4: what I mean. Like, you're young, so you're like, oh,

82
00:04:15,120 --> 00:04:15,680
Speaker 4: is that the right E?

83
00:04:15,840 --> 00:04:16,120
Speaker 5: Seven?

84
00:04:17,520 --> 00:04:18,119
Speaker 1: Does it matter?

85
00:04:19,160 --> 00:04:20,680
Speaker 5: Am I going to a minor? Am I going to

86
00:04:20,760 --> 00:04:21,239
Speaker 5: D seven?

87
00:04:21,279 --> 00:04:21,400
Speaker 1: Oh?

88
00:04:21,440 --> 00:04:21,760
Speaker 5: My god?

89
00:04:21,800 --> 00:04:25,839
Speaker 4: Okay, wow, how will I get there? And those small decisions,

90
00:04:26,360 --> 00:04:30,480
Speaker 4: And then I think over time learning that those decisions

91
00:04:30,520 --> 00:04:33,680
Speaker 4: meant something maybe about life that I didn't no one

92
00:04:33,720 --> 00:04:35,920
Speaker 4: taught me, like when they were teaching me harmony. Yeah,

93
00:04:36,160 --> 00:04:38,240
Speaker 4: And then I was like, shit, okay, so okay, this

94
00:04:38,320 --> 00:04:41,560
Speaker 4: means a little bit more than just playing the right chord?

95
00:04:42,240 --> 00:04:42,680
Speaker 5: You know this?

96
00:04:43,600 --> 00:04:47,320
Speaker 1: What's the best part? Yeah, forgetting what the right chord

97
00:04:47,400 --> 00:04:50,560
Speaker 1: is and then moving on to what it means.

98
00:04:51,240 --> 00:04:54,400
Speaker 4: Yeah, and that and finding that and finding it and

99
00:04:55,160 --> 00:05:00,839
Speaker 4: listening to it change and and making sure that you

100
00:05:00,880 --> 00:05:04,080
Speaker 4: don't mind the changes. I think that's my place where

101
00:05:04,120 --> 00:05:06,760
Speaker 4: I am now making sure that I don't mind the

102
00:05:06,839 --> 00:05:09,800
Speaker 4: changes that are that are happening. And I don't mean like,

103
00:05:11,600 --> 00:05:17,080
Speaker 4: I don't mean like changes in music. I just mean

104
00:05:17,160 --> 00:05:17,839
Speaker 4: in myself.

105
00:05:19,200 --> 00:05:26,560
Speaker 1: So this is perfect. You're the perfect guest for this podcast, and.

106
00:05:26,520 --> 00:05:28,280
Speaker 5: I'm glad you have a furry friend next to me.

107
00:05:28,320 --> 00:05:29,760
Speaker 1: This like that?

108
00:05:31,360 --> 00:05:34,720
Speaker 4: Can I gush for a second, I'm sorry, Can I

109
00:05:34,800 --> 00:05:38,480
Speaker 4: do that for a second, because on the way here,

110
00:05:39,040 --> 00:05:42,400
Speaker 4: I was so, I know, years ago when Alicia and

111
00:05:42,480 --> 00:05:46,000
Speaker 4: I had twins, twins are raising kids in New York

112
00:05:46,080 --> 00:05:48,120
Speaker 4: is like real hard, especially difficult.

113
00:05:48,320 --> 00:05:49,360
Speaker 5: Twins is difficult.

114
00:05:49,600 --> 00:05:54,640
Speaker 4: And Sunrise may have just been out. Okay, that was

115
00:05:54,720 --> 00:05:57,880
Speaker 4: like every day for about two years. The records start

116
00:05:57,960 --> 00:06:01,200
Speaker 4: to finish. This morning, I was telling Malcolm, who's now

117
00:06:01,240 --> 00:06:07,240
Speaker 4: seventeen and the six foot three ballet dancer that's I'm

118
00:06:07,279 --> 00:06:09,760
Speaker 4: going to see uh Norah Jones today. I said, you know,

119
00:06:09,839 --> 00:06:12,200
Speaker 4: we used to listen to her like every day for

120
00:06:12,240 --> 00:06:14,359
Speaker 4: a couple of years when you were like a baby.

121
00:06:14,640 --> 00:06:16,599
Speaker 4: And then I played so and he was like, oh yeah,

122
00:06:16,600 --> 00:06:18,240
Speaker 4: that sounds like music that I like. I was like,

123
00:06:18,320 --> 00:06:20,599
Speaker 4: you know, what fucker we put that in you.

124
00:06:21,160 --> 00:06:23,640
Speaker 1: He doesn't. He doesn't probably actually remember.

125
00:06:24,080 --> 00:06:26,840
Speaker 4: I was like, we placed your taste. We were talking

126
00:06:26,839 --> 00:06:28,640
Speaker 4: about exactly you just came up with this on your

127
00:06:28,640 --> 00:06:31,640
Speaker 4: own anyway. But then I was also re listening to

128
00:06:31,680 --> 00:06:34,320
Speaker 4: because I think right at that time, like, okay, piano

129
00:06:34,320 --> 00:06:36,960
Speaker 4: playing is the thing, and then piano playing in groups

130
00:06:37,080 --> 00:06:38,640
Speaker 4: with a certain kind of energy is a thing.

131
00:06:38,680 --> 00:06:40,120
Speaker 5: So you figure out a certain kind of.

132
00:06:40,680 --> 00:06:44,400
Speaker 4: Way that your muscles moved to make music, and then

133
00:06:44,920 --> 00:06:47,479
Speaker 4: listening to your piano playing, I'm just gonna talk about

134
00:06:47,480 --> 00:06:51,719
Speaker 4: your piano playing so much during that record. My whole

135
00:06:52,560 --> 00:07:00,200
Speaker 4: is I know it how much my style changed, No, no,

136
00:07:00,360 --> 00:07:03,719
Speaker 4: any kind of two handed response to a melody line.

137
00:07:04,200 --> 00:07:06,120
Speaker 4: It's because I was listening to you for that long.

138
00:07:06,400 --> 00:07:08,480
Speaker 4: And you know, like Shirley Horn, right, she has a

139
00:07:08,480 --> 00:07:11,160
Speaker 4: way that she sings in places which is about space,

140
00:07:11,200 --> 00:07:14,360
Speaker 4: but she does like something very kind of abstract with texture,

141
00:07:14,960 --> 00:07:18,960
Speaker 4: Whereas you were like placing these responses the things Billy

142
00:07:19,040 --> 00:07:22,440
Speaker 4: Holliday might think, but it wasn't playing the piano, and.

143
00:07:22,360 --> 00:07:24,160
Speaker 5: I was like, oh okay, wait, okay.

144
00:07:24,280 --> 00:07:26,280
Speaker 4: So then when I started working with bands that would

145
00:07:26,280 --> 00:07:29,160
Speaker 4: act that had a certain space in it, especially when

146
00:07:29,160 --> 00:07:31,480
Speaker 4: working with guitar players. I was like, Oh, I'm going

147
00:07:31,560 --> 00:07:34,240
Speaker 4: to learn how to use space and I'm gonna learn

148
00:07:34,240 --> 00:07:37,120
Speaker 4: how to respond to phrases by just playing.

149
00:07:39,560 --> 00:07:40,200
Speaker 5: You know what I'm saying.

150
00:07:40,440 --> 00:07:42,920
Speaker 4: Come on, yeah, basically, Oh, man, Jason, that's nice. I

151
00:07:42,960 --> 00:07:44,680
Speaker 4: was like, well, you know that's really Enarge.

152
00:07:44,640 --> 00:07:46,920
Speaker 1: That's lull. You made me cry.

153
00:07:47,640 --> 00:07:49,880
Speaker 4: No, just I just I wouldn't make sure that that's said.

154
00:07:50,480 --> 00:07:52,880
Speaker 4: If no one really talks about your piano playing, I'm

155
00:07:52,880 --> 00:07:57,280
Speaker 4: gonna talk about your piano because the feel you have,

156
00:07:58,560 --> 00:08:01,240
Speaker 4: but the space you make around the voice, and then

157
00:08:01,280 --> 00:08:04,200
Speaker 4: the way you respond and then the solos too, all that.

158
00:08:04,280 --> 00:08:04,640
Speaker 5: Man like.

159
00:08:04,680 --> 00:08:08,040
Speaker 4: So that record was like just like when you listen

160
00:08:08,120 --> 00:08:09,800
Speaker 4: to something for a while, it has a way of

161
00:08:09,840 --> 00:08:14,160
Speaker 4: like kind of like showing up as a reference point. Yeah,

162
00:08:14,200 --> 00:08:17,680
Speaker 4: you know, and for me, a high watermark reference point.

163
00:08:17,920 --> 00:08:18,760
Speaker 1: It's so great.

164
00:08:19,400 --> 00:08:21,360
Speaker 5: I always tuld to say that on record. Now that

165
00:08:21,360 --> 00:08:22,240
Speaker 5: I'm sitting I.

166
00:08:22,160 --> 00:08:25,600
Speaker 1: Really appreciate that. You're so sweet. I think that record.

167
00:08:26,680 --> 00:08:29,040
Speaker 1: I love that record, but I think it was a

168
00:08:29,040 --> 00:08:32,880
Speaker 1: little all over the place, and because I was kind

169
00:08:32,920 --> 00:08:35,640
Speaker 1: of finding my way for the second record, and some

170
00:08:35,720 --> 00:08:37,760
Speaker 1: of it I love love, and some of it I

171
00:08:37,840 --> 00:08:39,800
Speaker 1: kind of forgot about because I don't play those songs

172
00:08:39,920 --> 00:08:41,720
Speaker 1: much anymore. And we did a lot of songs by

173
00:08:41,760 --> 00:08:45,800
Speaker 1: the band, which was really fun. Like my band at

174
00:08:45,800 --> 00:08:47,840
Speaker 1: the time, everybody had a song on the record, so

175
00:08:47,920 --> 00:08:50,679
Speaker 1: it was sort of collaborative. But you know about that

176
00:08:50,720 --> 00:08:58,000
Speaker 1: octave stuff, the two octave, that's that that thing I

177
00:08:58,040 --> 00:09:01,160
Speaker 1: do a lot. I totally ripped that from Oscar Peterson.

178
00:09:01,280 --> 00:09:06,360
Speaker 1: It's not as fast by the way speed and.

179
00:09:07,880 --> 00:09:14,959
Speaker 4: Oh yeah I hear that, okay, yeah yeah, yeah, yeah, yeah, yeah, yeah.

180
00:09:14,760 --> 00:09:17,280
Speaker 1: Yeah yeah, that's kind where I got it.

181
00:09:17,480 --> 00:09:18,480
Speaker 5: No, it's works, though.

182
00:09:18,559 --> 00:09:22,240
Speaker 4: I mean, you know, like I think probably the beautiful

183
00:09:22,240 --> 00:09:27,760
Speaker 4: part about music leaving its its own space is it

184
00:09:27,800 --> 00:09:30,280
Speaker 4: finds a way to kind of like plant, be planted

185
00:09:30,280 --> 00:09:34,080
Speaker 4: in another garden and like grow a little bit differently,

186
00:09:34,120 --> 00:09:36,880
Speaker 4: and you almost redistribute the stuff that that seemed to

187
00:09:36,880 --> 00:09:40,000
Speaker 4: work in and like say a straight ahead jazz context

188
00:09:40,080 --> 00:09:43,440
Speaker 4: like Oscar Peterson, but like you know, I almost often

189
00:09:43,480 --> 00:09:47,040
Speaker 4: think of like those saxophonists like Johnny Hodges and Duke

190
00:09:47,040 --> 00:09:50,040
Speaker 4: Ellington's band, the way he could bend the note, and

191
00:09:50,120 --> 00:09:52,240
Speaker 4: then the way like in Indian classical music you hear

192
00:09:52,240 --> 00:09:56,680
Speaker 4: the saxophone is like, yeah, you hear pitch as a

193
00:09:56,679 --> 00:09:58,800
Speaker 4: as a as a thing around the world that really

194
00:09:58,840 --> 00:10:05,960
Speaker 4: can wave. But I love hearing and understanding that these

195
00:10:06,000 --> 00:10:07,959
Speaker 4: small things connect to a lot of different things.

196
00:10:08,080 --> 00:10:10,120
Speaker 1: Yeah, we all know where we kind of get them

197
00:10:10,320 --> 00:10:14,680
Speaker 1: or we don't, but they've all been around, but not

198
00:10:14,760 --> 00:10:15,440
Speaker 1: the way we do them.

199
00:10:15,520 --> 00:10:17,880
Speaker 4: Yeah. Yeah, slow Oscar Peterson down.

200
00:10:18,040 --> 00:10:20,080
Speaker 1: Yeah, I mean I can never play as fast as

201
00:10:20,120 --> 00:10:22,720
Speaker 1: Oscar Peterson. But he did that too, octave that's true.

202
00:10:22,920 --> 00:10:29,160
Speaker 1: Line than Yeah, it's phenomenal. This is so awesome. It's

203
00:10:29,200 --> 00:10:33,040
Speaker 1: so good to see you. It's been about I know

204
00:10:33,080 --> 00:10:35,680
Speaker 1: how long it's been because I remember my baby. I

205
00:10:35,679 --> 00:10:37,400
Speaker 1: have my baby with me, and I know how old

206
00:10:37,400 --> 00:10:39,559
Speaker 1: he is. So it's been almost eleven years since I've

207
00:10:39,559 --> 00:10:44,599
Speaker 1: seen you, and so it's just really lovely.

208
00:10:44,400 --> 00:10:45,000
Speaker 4: To see you.

209
00:10:45,000 --> 00:10:47,080
Speaker 1: You too, Do you feel like playing a song?

210
00:10:47,840 --> 00:10:53,080
Speaker 4: Sure? Yeah I try. Yeah, Well, like what if I

211
00:10:53,080 --> 00:10:53,840
Speaker 4: don't play a song.

212
00:10:53,800 --> 00:10:56,560
Speaker 1: Or I don't know. I really like that that Curtis

213
00:10:56,559 --> 00:11:01,120
Speaker 1: song you suggest, the Curtis Mayfield song. Yeah, I was

214
00:11:01,160 --> 00:11:02,480
Speaker 1: thinking that would be fun to try.

215
00:11:02,800 --> 00:11:03,800
Speaker 4: Yeah, what do you think?

216
00:11:04,000 --> 00:11:06,800
Speaker 5: Yeah, sure, let's try the makings of you.

217
00:11:06,920 --> 00:11:09,319
Speaker 4: I think the other day I was listening to move

218
00:11:09,360 --> 00:11:12,880
Speaker 4: on up really and it sent me to the piano like, oh,

219
00:11:12,960 --> 00:11:15,480
Speaker 4: let me just try to get that strumming that's in

220
00:11:15,600 --> 00:11:16,079
Speaker 4: that song.

221
00:11:16,120 --> 00:11:18,680
Speaker 5: And also I needed that song that day.

222
00:11:18,840 --> 00:11:22,559
Speaker 4: Yeah, And then it led to Makings of You, and

223
00:11:22,600 --> 00:11:24,080
Speaker 4: I was say, wait a minute, do I not know

224
00:11:24,080 --> 00:11:26,480
Speaker 4: how to play Makings of You on the piano? And

225
00:11:26,559 --> 00:11:29,760
Speaker 4: then I was like, wait a minute, Jason, come on,

226
00:11:29,920 --> 00:11:31,880
Speaker 4: go back to school right quick and sit down for

227
00:11:31,920 --> 00:11:32,280
Speaker 4: a while.

228
00:11:32,440 --> 00:11:34,640
Speaker 1: Is that what was happening? Because I asked you if

229
00:11:34,679 --> 00:11:36,839
Speaker 1: you could think of a cover we could do together,

230
00:11:36,920 --> 00:11:39,079
Speaker 1: and you're like, well, I've been inside this song all

231
00:11:39,160 --> 00:11:40,600
Speaker 1: day I had.

232
00:11:40,880 --> 00:11:44,240
Speaker 4: I took the beat from Makings of I mean the

233
00:11:44,320 --> 00:11:47,120
Speaker 4: beat from Move On Up. There's like this drum break

234
00:11:47,679 --> 00:11:50,280
Speaker 4: and an extended version, and I slowed it way down

235
00:11:50,840 --> 00:11:52,880
Speaker 4: and I just put it on in like for an hour.

236
00:11:53,000 --> 00:11:54,040
Speaker 5: I just played, you.

237
00:11:54,000 --> 00:12:35,120
Speaker 6: Know, and.

238
00:12:56,679 --> 00:13:06,839
Speaker 2: The little shot how You sclad a great, big expression

239
00:13:07,040 --> 00:13:10,280
Speaker 2: of happiness.

240
00:13:09,640 --> 00:13:12,000
Speaker 7: Boy couldn't made.

241
00:13:16,240 --> 00:13:22,360
Speaker 2: With a dozen rowses, such.

242
00:13:23,600 --> 00:13:31,680
Speaker 7: Stall the joy of children laughing around you. These are

243
00:13:31,760 --> 00:13:33,200
Speaker 7: the makings of you?

244
00:13:35,600 --> 00:13:36,280
Speaker 4: Is it true?

245
00:13:38,040 --> 00:13:39,320
Speaker 1: The makings of you?

246
00:13:45,360 --> 00:13:45,880
Speaker 2: Righteous?

247
00:13:46,160 --> 00:13:47,000
Speaker 6: Way to go?

248
00:13:50,400 --> 00:13:57,280
Speaker 2: Little one would know or believe, Liver. I told them,

249
00:13:57,400 --> 00:14:06,000
Speaker 2: souls your second to know the love of old man

250
00:14:06,240 --> 00:14:15,559
Speaker 2: kind should reflects so side of these words I've tried

251
00:14:15,880 --> 00:14:17,040
Speaker 2: to reside.

252
00:14:18,160 --> 00:14:24,320
Speaker 1: The coms were not quite almost impossible to.

253
00:14:26,440 --> 00:14:29,000
Speaker 2: Residing. The mankins you.

254
00:15:13,480 --> 00:15:20,880
Speaker 1: The righteous way to gold. An one would know.

255
00:15:22,280 --> 00:15:26,040
Speaker 2: Or believe if I told them, son.

256
00:15:27,360 --> 00:15:34,520
Speaker 1: Your second to night. The love of all mankind.

257
00:15:36,640 --> 00:15:43,440
Speaker 2: Should reflects some side of these words I've toed to

258
00:15:43,440 --> 00:15:51,360
Speaker 2: the side. Their class were not quitet almost impossible to

259
00:15:51,520 --> 00:15:54,840
Speaker 2: do the siding the.

260
00:15:54,880 --> 00:16:32,640
Speaker 1: Makings of you. Oh that's so pretty, it is pretty.

261
00:16:32,720 --> 00:16:34,600
Speaker 5: It's so pretty. I mean, Curtis.

262
00:16:34,240 --> 00:16:37,320
Speaker 4: Mayfield, I know he's the best, you know. I think

263
00:16:37,360 --> 00:16:41,200
Speaker 4: about like I think specifically about black falsetto.

264
00:16:41,800 --> 00:16:45,640
Speaker 1: Well, it's so cool that he's singing and I'm not

265
00:16:45,680 --> 00:16:47,840
Speaker 1: even changing the key and it's still high for me,

266
00:16:48,320 --> 00:16:50,560
Speaker 1: you know, but I didn't change the key at all,

267
00:16:50,600 --> 00:16:51,480
Speaker 1: And it's great.

268
00:16:51,400 --> 00:16:56,400
Speaker 4: These people who can do that, you know, Prince Curtis Mayfield,

269
00:16:56,440 --> 00:16:57,080
Speaker 4: Marvin Gaye.

270
00:16:57,480 --> 00:16:59,680
Speaker 5: I think by the instrument too at the piano.

271
00:16:59,400 --> 00:17:04,880
Speaker 4: Like the way to almost imitate false settle at the piano.

272
00:17:05,320 --> 00:17:08,440
Speaker 4: Sometimes that's about that thing that we were talking about before,

273
00:17:08,520 --> 00:17:11,600
Speaker 4: The double octive thing is a way to kind of

274
00:17:11,640 --> 00:17:14,639
Speaker 4: like give a sense that the note that you might

275
00:17:14,680 --> 00:17:15,200
Speaker 4: have in your.

276
00:17:15,080 --> 00:17:17,520
Speaker 5: Body has a ghost that lives a little bit higher.

277
00:17:17,720 --> 00:17:18,200
Speaker 1: I like that.

278
00:17:19,560 --> 00:17:21,960
Speaker 4: So both of these are present at the same time,

279
00:17:23,200 --> 00:17:26,440
Speaker 4: the double consciousness, you know, like it's like a double thing.

280
00:17:27,000 --> 00:17:30,040
Speaker 4: So these people like Curtis Mayfield writing these songs that

281
00:17:30,080 --> 00:17:35,719
Speaker 4: are like so tender also so fragile. They feel like

282
00:17:35,880 --> 00:17:39,920
Speaker 4: so good in a time when people are doing some

283
00:17:40,000 --> 00:17:43,040
Speaker 4: other version of some other thing, there's some other performance

284
00:17:43,080 --> 00:17:47,280
Speaker 4: that is less fragile, less tender. So I think when

285
00:17:47,560 --> 00:17:49,000
Speaker 4: I heard that just the other day, I was like,

286
00:17:49,040 --> 00:17:50,919
Speaker 4: oh gosh, so I'm glad you asked. I was like, oh,

287
00:17:50,960 --> 00:17:52,200
Speaker 4: come on, can we try that.

288
00:17:53,760 --> 00:17:57,120
Speaker 1: It's just such a deep song. And it's also it's

289
00:17:57,119 --> 00:18:01,120
Speaker 1: easier to receive something some beautiful and deep if it's fragile,

290
00:18:02,000 --> 00:18:02,199
Speaker 1: you know.

291
00:18:02,760 --> 00:18:06,320
Speaker 4: Sometimes yeah, sometimes, I mean, you know, but we moved

292
00:18:06,320 --> 00:18:06,840
Speaker 4: to New York.

293
00:18:07,880 --> 00:18:08,960
Speaker 1: I don't know why we live here.

294
00:18:09,000 --> 00:18:12,920
Speaker 4: Sometimes we moved here. Alvin was wondering how you felt

295
00:18:12,920 --> 00:18:14,679
Speaker 4: about being in Brooklyn all these years.

296
00:18:14,760 --> 00:18:17,639
Speaker 1: Yeah, yeah, I feel kind of stuck here, like I

297
00:18:17,680 --> 00:18:20,960
Speaker 1: can't get out of it. I mean, we're both from Texas, right,

298
00:18:20,960 --> 00:18:24,879
Speaker 1: You're from Houston, from Houston, Okay, arts Magnet.

299
00:18:24,400 --> 00:18:27,440
Speaker 5: Yeah, HSPVA, Yeah, you had glasspro on here.

300
00:18:29,240 --> 00:18:31,639
Speaker 1: We know all these people, you know.

301
00:18:31,720 --> 00:18:34,119
Speaker 4: But also like when I was in high school, you know,

302
00:18:34,160 --> 00:18:36,760
Speaker 4: Booker t was was our battle school.

303
00:18:36,880 --> 00:18:40,439
Speaker 1: No, I know, I know, but I never got that

304
00:18:40,520 --> 00:18:43,399
Speaker 1: because I feel like I just met so many people

305
00:18:43,480 --> 00:18:47,480
Speaker 1: from from the school. I never felt competitive with any

306
00:18:47,480 --> 00:18:50,200
Speaker 1: of them because I wasn't like you and and Robert

307
00:18:50,240 --> 00:18:53,080
Speaker 1: and you know, Sean Martin and everybody. You guys were

308
00:18:53,080 --> 00:18:54,600
Speaker 1: a little more on the same plane. I was kind

309
00:18:54,600 --> 00:18:59,760
Speaker 1: of like down here still learning, Like I can sing,

310
00:18:59,800 --> 00:19:02,440
Speaker 1: though I can't play fast.

311
00:19:02,520 --> 00:19:06,080
Speaker 4: But oh gosh, yeah, I mean, I was just in

312
00:19:06,160 --> 00:19:09,840
Speaker 4: Houston last week, and I have been spending the full year,

313
00:19:10,760 --> 00:19:14,760
Speaker 4: it's a year now playing mostly Ellington concerts, really in

314
00:19:14,840 --> 00:19:16,719
Speaker 4: celebration of his one hundred and twenty fifth birthday.

315
00:19:16,720 --> 00:19:17,600
Speaker 1: Oh is that what it is?

316
00:19:17,960 --> 00:19:18,280
Speaker 5: So right?

317
00:19:18,320 --> 00:19:20,240
Speaker 4: So like I've just been all around the world playing

318
00:19:20,240 --> 00:19:21,199
Speaker 4: these Ellington shows.

319
00:19:21,280 --> 00:19:23,200
Speaker 1: That sounds really fun.

320
00:19:23,480 --> 00:19:27,240
Speaker 4: Yes, and really challenging and really good for me because

321
00:19:27,320 --> 00:19:30,080
Speaker 4: as a pianist, he is not to be messed with. No,

322
00:19:30,520 --> 00:19:32,080
Speaker 4: just as a pianist. Okay, then we want to get

323
00:19:32,119 --> 00:19:34,399
Speaker 4: into his songs, okay, wow, And then you want to

324
00:19:34,400 --> 00:19:36,160
Speaker 4: get into what his songs could mean.

325
00:19:37,000 --> 00:19:38,359
Speaker 5: I keep sifting through.

326
00:19:38,560 --> 00:19:39,240
Speaker 1: So many layers.

327
00:19:39,280 --> 00:19:42,280
Speaker 4: Yeah, but I played this concert last week with the

328
00:19:42,359 --> 00:19:44,959
Speaker 4: high school big band, Like I was like, I want

329
00:19:45,000 --> 00:19:47,080
Speaker 4: to play a full show with you all from the school,

330
00:19:47,200 --> 00:19:49,560
Speaker 4: from the school, and it's so special. It felt it

331
00:19:49,560 --> 00:19:53,199
Speaker 4: felt good, and these kids were taking risks that I

332
00:19:53,280 --> 00:19:54,800
Speaker 4: was like, Okay, the pros don't do that.

333
00:19:55,080 --> 00:19:55,399
Speaker 6: Really.

334
00:19:55,520 --> 00:19:57,479
Speaker 4: I mean, you know, maybe it's because they're kids, yeah,

335
00:19:57,560 --> 00:19:59,439
Speaker 4: but but I feel like they had a kind of

336
00:19:59,480 --> 00:20:01,600
Speaker 4: recklessness with the music that I was.

337
00:20:01,600 --> 00:20:02,560
Speaker 5: Really appreciative of.

338
00:20:03,280 --> 00:20:06,520
Speaker 4: And also I felt like, huh, that's kind of what

339
00:20:06,560 --> 00:20:09,960
Speaker 4: the school wants to wants to make is like some

340
00:20:10,040 --> 00:20:14,080
Speaker 4: restless students who want to wrestle with music, or wrestle

341
00:20:14,119 --> 00:20:17,760
Speaker 4: with dance, or wrestle with theater, wrestle with art, and

342
00:20:17,840 --> 00:20:19,560
Speaker 4: my gosh, well we're going to.

343
00:20:19,600 --> 00:20:21,200
Speaker 5: Need their their sensibility.

344
00:20:21,480 --> 00:20:24,280
Speaker 4: Yes, So I look forward to these kids kind of

345
00:20:24,320 --> 00:20:26,919
Speaker 4: coming out onto the scene in the next ten years

346
00:20:26,960 --> 00:20:29,680
Speaker 4: because they'll they'll have some solution points that I think

347
00:20:29,680 --> 00:20:31,040
Speaker 4: our generation just wasn't.

348
00:20:31,800 --> 00:20:34,240
Speaker 5: You know, there's just another crew. They have a pollone.

349
00:20:34,320 --> 00:20:36,840
Speaker 1: First of all, they have a whole other level of

350
00:20:37,760 --> 00:20:41,600
Speaker 1: knowledge also of stuff that's out there that we didn't

351
00:20:41,640 --> 00:20:43,040
Speaker 1: completely have yeah.

352
00:20:43,119 --> 00:20:48,760
Speaker 4: I was going to say that kids are like, like

353
00:20:48,840 --> 00:20:51,080
Speaker 4: a song, you have to keep playing.

354
00:20:52,240 --> 00:20:53,760
Speaker 1: Yes, that's good.

355
00:20:54,640 --> 00:20:57,480
Speaker 4: Yeah, like you know, like and then they're gonna, you know.

356
00:20:57,560 --> 00:20:59,440
Speaker 1: One day they'll play themselves right.

357
00:20:59,280 --> 00:21:02,159
Speaker 4: And you know, they'll know how to sing it and

358
00:21:02,200 --> 00:21:04,680
Speaker 4: they'll That's what I'm kind of watching the seventeen year olds.

359
00:21:04,680 --> 00:21:05,600
Speaker 5: Look, they kind of they.

360
00:21:05,560 --> 00:21:09,159
Speaker 4: Kind of know their song, which already okay, great, like

361
00:21:09,200 --> 00:21:11,600
Speaker 4: grown a little bit a little bit.

362
00:21:11,840 --> 00:21:13,280
Speaker 1: Is this their last year in school?

363
00:21:13,400 --> 00:21:14,240
Speaker 5: They have another year?

364
00:21:14,320 --> 00:21:17,600
Speaker 1: Oh okay, cool, so you're not quite there. Yeah, well

365
00:21:17,920 --> 00:21:20,359
Speaker 1: I can't imagine it's going to happen in like five minutes.

366
00:21:20,560 --> 00:21:24,879
Speaker 5: Yeah, but you know, I mean I think.

367
00:21:27,080 --> 00:21:33,000
Speaker 4: When we signed up for this stuff, you know, I

368
00:21:33,040 --> 00:21:36,960
Speaker 4: didn't know how much my music would change about raising people.

369
00:21:37,720 --> 00:21:38,240
Speaker 1: Interesting.

370
00:21:38,600 --> 00:21:39,640
Speaker 5: I was like so thankful.

371
00:21:40,000 --> 00:21:44,720
Speaker 1: Yeah, can you can you say more? Can you put

372
00:21:44,760 --> 00:21:46,320
Speaker 1: that into an example?

373
00:21:47,040 --> 00:21:49,320
Speaker 4: Yeah, I mean maybe this is a perfect segue, but

374
00:21:49,440 --> 00:21:54,840
Speaker 4: uh oh, very clear. I started doing the Fat Swaller

375
00:21:55,000 --> 00:21:57,800
Speaker 4: Show because I needed a place for my kids to

376
00:21:57,880 --> 00:22:01,120
Speaker 4: act a fool, run up on on stage, run around,

377
00:22:01,240 --> 00:22:03,560
Speaker 4: yell in the audience, because I was meant to be

378
00:22:03,560 --> 00:22:06,639
Speaker 4: making a party, not a concert. Pass Waller Show was

379
00:22:06,680 --> 00:22:10,480
Speaker 4: always a party. I wore a paper mache mask of

380
00:22:10,600 --> 00:22:11,200
Speaker 4: fast Waller.

381
00:22:11,320 --> 00:22:13,400
Speaker 1: You played, yeah, like, no.

382
00:22:13,440 --> 00:22:17,200
Speaker 4: This is a this is supposed to be fun. He's fun, yes,

383
00:22:17,240 --> 00:22:21,520
Speaker 4: in a dark time. And the kids should feel like

384
00:22:21,680 --> 00:22:22,680
Speaker 4: this is theirs, like.

385
00:22:22,600 --> 00:22:24,639
Speaker 1: They're part of it. So they would be part of

386
00:22:24,640 --> 00:22:25,000
Speaker 1: the show.

387
00:22:25,359 --> 00:22:27,840
Speaker 4: Yeah, if they were there, they could run around and

388
00:22:27,880 --> 00:22:29,600
Speaker 4: do anything because it was supposed to be a dance party,

389
00:22:30,119 --> 00:22:33,320
Speaker 4: so like that's fun. I mean I would test songs

390
00:22:33,359 --> 00:22:34,840
Speaker 4: on them. I'd be in the house like trying to

391
00:22:34,880 --> 00:22:38,080
Speaker 4: figure out like this song pass Waller has called yacht

392
00:22:38,080 --> 00:22:40,399
Speaker 4: Club Swing, and I was like trying to play it.

393
00:22:40,440 --> 00:22:43,040
Speaker 4: And then Malcolm the dancer now but he would start

394
00:22:43,119 --> 00:22:47,080
Speaker 4: dancing and he was like and I was like, oh

395
00:22:47,119 --> 00:22:47,560
Speaker 4: I hear that.

396
00:22:47,800 --> 00:22:47,960
Speaker 1: Yea.

397
00:22:48,080 --> 00:22:50,520
Speaker 4: So they were like they were ground zero for like

398
00:22:50,720 --> 00:22:51,240
Speaker 4: is this good?

399
00:22:51,840 --> 00:22:54,520
Speaker 1: Yes, that's what I mean.

400
00:22:54,600 --> 00:22:58,280
Speaker 4: They were like quality control it could it affect them?

401
00:22:58,560 --> 00:22:59,760
Speaker 5: Could it affect the kids or.

402
00:22:59,720 --> 00:23:01,640
Speaker 1: Does it go completely over their head? And they don't

403
00:23:01,640 --> 00:23:02,199
Speaker 1: care about it?

404
00:23:02,240 --> 00:23:02,800
Speaker 5: You know what though?

405
00:23:02,880 --> 00:23:06,600
Speaker 4: But I mean, look, kids who grow up with parents

406
00:23:06,640 --> 00:23:09,160
Speaker 4: who do a lot of their work at home, they

407
00:23:09,200 --> 00:23:11,679
Speaker 4: absorbed so much of it they don't even think, like

408
00:23:12,119 --> 00:23:15,560
Speaker 4: Alicia warming up doing lip trills and you know, loud

409
00:23:15,560 --> 00:23:18,200
Speaker 4: operatic singing at all times of the day and night.

410
00:23:18,920 --> 00:23:21,520
Speaker 4: You're used to that sound, you're not, you know. I

411
00:23:21,520 --> 00:23:23,639
Speaker 4: mean they also they had that in the womb, you know,

412
00:23:24,119 --> 00:23:26,119
Speaker 4: so they're not They don't think of it as like

413
00:23:26,880 --> 00:23:30,679
Speaker 4: Dad's doing weird music. They at least not to me.

414
00:23:31,280 --> 00:23:33,640
Speaker 4: Maybe they think that, but maybe they don't tell.

415
00:23:33,440 --> 00:23:37,080
Speaker 1: Me, but my mind telling me when they don't like it.

416
00:23:37,240 --> 00:23:38,240
Speaker 1: They're very clear.

417
00:23:39,280 --> 00:23:42,520
Speaker 4: There was one show, I guess when I was playing

418
00:23:42,560 --> 00:23:44,720
Speaker 4: at the Old Stone that John Zorn used to have

419
00:23:44,720 --> 00:23:46,960
Speaker 4: on the Lower East Side, and was playing with this

420
00:23:47,040 --> 00:23:49,480
Speaker 4: drummer and bass player and the boys were there. They

421
00:23:49,520 --> 00:23:51,800
Speaker 4: were sitting on the floor right in front of the band.

422
00:23:51,840 --> 00:23:55,359
Speaker 4: We were like thrashing. Then they came a bass solo

423
00:23:55,840 --> 00:24:03,880
Speaker 4: and then Jones just went to the bassist. I was like, okay,

424
00:24:04,359 --> 00:24:08,160
Speaker 4: it's not cool. But also like, I don't know, sometimes

425
00:24:08,160 --> 00:24:12,600
Speaker 4: the kids read is I mean, you know, it hurts sometimes.

426
00:24:12,320 --> 00:24:14,720
Speaker 1: It hurts, but you don't need that many bass solos,

427
00:24:14,760 --> 00:24:15,920
Speaker 1: Let's be honest.

428
00:24:17,400 --> 00:24:17,800
Speaker 5: Anyway.

429
00:24:17,880 --> 00:24:22,240
Speaker 4: But yeah, no, I really I also really appreciate the

430
00:24:22,720 --> 00:24:26,280
Speaker 4: young minds because they because they aren't like beholden to

431
00:24:26,359 --> 00:24:29,440
Speaker 4: the same things that we think are important.

432
00:24:29,520 --> 00:24:32,879
Speaker 1: You know, not at all. Yeah, that's the best.

433
00:24:33,240 --> 00:24:38,320
Speaker 4: Yeah, yeah, it's something I don't know. Yeah, so that's

434
00:24:38,359 --> 00:24:39,560
Speaker 4: why I was gonna say, Oh, you want to try

435
00:24:39,640 --> 00:24:40,199
Speaker 4: Fat Swaller.

436
00:24:40,320 --> 00:24:46,920
Speaker 1: Yeah, I yeah, that's that sounds. I'm sorry I missed

437
00:24:46,920 --> 00:24:48,920
Speaker 1: that show. Did you ever do it again?

438
00:24:49,640 --> 00:24:50,560
Speaker 5: I have to do it again.

439
00:24:51,560 --> 00:24:54,720
Speaker 4: Who are the artists who are aware enough of the

440
00:24:54,760 --> 00:24:59,000
Speaker 4: time to know, maybe not know all the way one

441
00:24:59,080 --> 00:25:02,119
Speaker 4: hundred conscious, but know what the public needs.

442
00:25:02,520 --> 00:25:04,000
Speaker 1: Maybe it's the need.

443
00:25:03,880 --> 00:25:06,199
Speaker 4: And them, Oh my gosh, and he I mean he

444
00:25:06,240 --> 00:25:12,199
Speaker 4: died young and young girl, but exactly he's got to

445
00:25:12,800 --> 00:25:17,080
Speaker 4: share the stuff, the feeling of the people, his his

446
00:25:17,200 --> 00:25:20,399
Speaker 4: own inner battle, his drinking battle that took him out

447
00:25:20,440 --> 00:25:24,440
Speaker 4: in the end. And you know when he passed away,

448
00:25:25,040 --> 00:25:29,040
Speaker 4: he was cremated and his ashes were spread across Harlem

449
00:25:29,520 --> 00:25:34,600
Speaker 4: in a in an airplane or a helicopter. Yeah, yeah,

450
00:25:34,680 --> 00:25:37,000
Speaker 4: I mean, Fat Swaller is of Harlem. The reason I

451
00:25:37,040 --> 00:25:40,000
Speaker 4: live in Harlem is because so I could still have

452
00:25:40,160 --> 00:25:43,960
Speaker 4: some of his dust. All these people I live in

453
00:25:44,000 --> 00:25:46,760
Speaker 4: Harlem because of that piano history that's up there. Duke

454
00:25:46,800 --> 00:25:50,320
Speaker 4: Gallington and Mary Lou Williams and Fat Swaller, you know,

455
00:25:50,960 --> 00:25:53,679
Speaker 4: all these people that would be on the block, James P. Johnson,

456
00:25:53,720 --> 00:25:56,359
Speaker 4: Willie Lyon Smith, like these people who I think like

457
00:25:56,440 --> 00:26:01,119
Speaker 4: impact how the piano is played, and then you know.

458
00:26:01,240 --> 00:26:04,280
Speaker 4: But they lived in a neighborhood and they traded songs,

459
00:26:04,359 --> 00:26:07,440
Speaker 4: and the windows were open, windows were open.

460
00:26:07,480 --> 00:26:10,360
Speaker 1: You can hear the piano. That's my favorite sound when

461
00:26:10,400 --> 00:26:10,959
Speaker 1: you catch it.

462
00:26:11,320 --> 00:26:12,359
Speaker 5: Yeah, that's so rare.

463
00:26:12,640 --> 00:26:14,000
Speaker 1: It's almost never anymore.

464
00:26:14,320 --> 00:26:16,639
Speaker 4: Oh my god, you're bringing that up right. Maybe I

465
00:26:16,640 --> 00:26:20,000
Speaker 4: can't wait till spring open my window. They don't have

466
00:26:20,040 --> 00:26:25,359
Speaker 4: to battle the neighborhood. I got to battle the dumpster and.

467
00:26:25,480 --> 00:26:26,280
Speaker 1: Yeah, exactly.

468
00:26:26,840 --> 00:29:33,880
Speaker 8: The guards man get up early, and.

469
00:28:18,600 --> 00:28:19,720
Speaker 1: No one to talk with.

470
00:28:20,720 --> 00:28:25,800
Speaker 2: All by myself, no one can walk with. But I'm

471
00:28:25,920 --> 00:28:31,720
Speaker 2: happy on the shelf. I ain't miss Behaven. I'm saving

472
00:28:31,840 --> 00:28:40,040
Speaker 2: my love for you. Are you and know for certain.

473
00:28:41,160 --> 00:28:42,160
Speaker 4: One I love.

474
00:28:43,320 --> 00:28:47,400
Speaker 2: I'm through with flirting. It's just you I'm thinking of.

475
00:28:48,440 --> 00:28:55,680
Speaker 2: I ain't miss Behaven. I'm saving my love for you, for.

476
00:28:55,960 --> 00:29:39,920
Speaker 1: You, for you, for you, follow you, for you. Sorry

477
00:29:40,120 --> 00:29:40,520
Speaker 1: I came in.

478
00:29:41,360 --> 00:29:41,920
Speaker 5: I like that.

479
00:29:42,440 --> 00:29:43,960
Speaker 1: I was going to sing but not playing.

480
00:29:44,040 --> 00:29:48,440
Speaker 4: Okay, right, come on, isn't that why I keep reminding

481
00:29:48,480 --> 00:29:51,160
Speaker 4: myself and the students that I work with. That's why

482
00:29:51,200 --> 00:29:54,800
Speaker 4: you play this kind of music, why, meaning like that

483
00:29:55,200 --> 00:29:57,520
Speaker 4: things can happen that you haven't.

484
00:29:58,040 --> 00:30:00,600
Speaker 1: Yeah, I knew if I came in it would be cool,

485
00:30:03,280 --> 00:30:05,600
Speaker 1: but then if I did, it would be okay.

486
00:30:05,480 --> 00:30:05,960
Speaker 5: That's right.

487
00:30:06,040 --> 00:30:08,480
Speaker 4: Yeah, I mean, look, there's other music you can play

488
00:30:08,600 --> 00:30:11,600
Speaker 4: where the map is there for you. Yes, but I

489
00:30:11,600 --> 00:30:14,800
Speaker 4: think we chose music that like lives a little bit more.

490
00:30:16,320 --> 00:30:17,400
Speaker 5: People like to say.

491
00:30:17,280 --> 00:30:22,000
Speaker 4: Organic, but it sounds cheesy. It's like what was organic

492
00:30:22,000 --> 00:30:28,000
Speaker 4: before they started saying that word. Everything was organic, But

493
00:30:28,040 --> 00:30:29,640
Speaker 4: it does like just live though.

494
00:30:30,360 --> 00:30:32,960
Speaker 1: Yeah. I also I just I wanted you to play

495
00:30:33,000 --> 00:30:35,640
Speaker 1: the Stride to some more. It sounds so good.

496
00:30:36,000 --> 00:30:39,400
Speaker 4: I meant it. I mean, it's the thing I came

497
00:30:39,440 --> 00:30:45,800
Speaker 4: to New York for really because I felt like I

498
00:30:45,800 --> 00:30:48,360
Speaker 4: came to New York to study with Jackie buy Art

499
00:30:48,400 --> 00:30:49,640
Speaker 4: at Manhattan School Music.

500
00:30:49,920 --> 00:30:52,160
Speaker 1: It was really clear, did you come at eighteen, like

501
00:30:52,240 --> 00:30:52,920
Speaker 1: right after school?

502
00:30:53,000 --> 00:30:54,360
Speaker 4: Right after school?

503
00:30:54,960 --> 00:30:56,560
Speaker 5: Thank god I had a scholarship.

504
00:30:56,880 --> 00:31:02,640
Speaker 4: Thank god my parents were like sure, and in the norm.

505
00:31:01,200 --> 00:31:04,720
Speaker 1: And where you just like this is crazy where you

506
00:31:04,800 --> 00:31:06,520
Speaker 1: just go and see so much music that you were

507
00:31:06,840 --> 00:31:07,320
Speaker 1: all sad.

508
00:31:07,840 --> 00:31:11,160
Speaker 4: Yeah, you're in New York City where the music lives

509
00:31:11,160 --> 00:31:15,400
Speaker 4: on the street and it's the nineties, so like it's

510
00:31:15,400 --> 00:31:17,760
Speaker 4: also what has become known as the Golden Asia hip hop,

511
00:31:17,840 --> 00:31:19,160
Speaker 4: so just the streets itself.

512
00:31:20,520 --> 00:31:21,560
Speaker 5: It was kind of incredible.

513
00:31:24,520 --> 00:31:27,320
Speaker 4: But Jackie Bayer was like play with Charles Mingus, he

514
00:31:27,320 --> 00:31:30,680
Speaker 4: played with Eric Daffy, played with Sam Rivers. He plays

515
00:31:30,720 --> 00:31:34,760
Speaker 4: all this kind of weird history of piano, and he

516
00:31:34,800 --> 00:31:38,320
Speaker 4: cares about it enough to not stop playing it. Being

517
00:31:38,360 --> 00:31:40,360
Speaker 4: like the stuff that went out of style. He thought,

518
00:31:40,480 --> 00:31:42,880
Speaker 4: now there's something to do with it. And he definitely

519
00:31:42,880 --> 00:31:48,920
Speaker 4: gave me that, like, here's yours, here's your mission, you know,

520
00:31:49,280 --> 00:31:50,600
Speaker 4: don't ever tire of history.

521
00:31:50,720 --> 00:31:51,560
Speaker 5: That was like his thing.

522
00:31:52,120 --> 00:31:54,040
Speaker 1: That's a great way to think about it.

523
00:31:54,160 --> 00:31:56,960
Speaker 4: I mean, I mean it's also challenging because you'll watch

524
00:31:57,000 --> 00:32:01,320
Speaker 4: your peers, many of them in the field, can often

525
00:32:01,400 --> 00:32:03,640
Speaker 4: turn away from history really easily.

526
00:32:04,000 --> 00:32:06,040
Speaker 5: I mean, like I'm doing my thing.

527
00:32:05,960 --> 00:32:10,160
Speaker 1: Yeah thing, I did not think that it's cool or

528
00:32:10,600 --> 00:32:12,680
Speaker 1: important to acknowledge as much.

529
00:32:12,880 --> 00:32:16,880
Speaker 4: Yeah yeah, And Jackie wasn't. He wasn't necessarily about that.

530
00:32:16,960 --> 00:32:19,520
Speaker 4: And I could say all my teachers, Andrew Hill and Mooha,

531
00:32:19,640 --> 00:32:22,200
Speaker 4: Richard Abrams, they really weren't like that. And then I

532
00:32:22,280 --> 00:32:24,840
Speaker 4: think about the people that that. One other person we

533
00:32:24,880 --> 00:32:28,240
Speaker 4: met with a few times was with Marion McPartland.

534
00:32:28,280 --> 00:32:30,680
Speaker 1: Oh yeah, you were on Marion's show once or twice

535
00:32:31,400 --> 00:32:32,280
Speaker 1: twice twice.

536
00:32:32,440 --> 00:32:34,280
Speaker 5: I we did duet concerts together.

537
00:32:34,560 --> 00:32:36,720
Speaker 1: Amazing. I wanted to talk to you about that.

538
00:32:36,800 --> 00:32:38,760
Speaker 5: I mean, like Mary McPartland, like, here you are doing

539
00:32:38,760 --> 00:32:39,040
Speaker 5: your show.

540
00:32:39,200 --> 00:32:41,480
Speaker 1: Well, this is the total of her show. I mean,

541
00:32:41,880 --> 00:32:44,000
Speaker 1: she was the complete inspiration for this.

542
00:32:44,240 --> 00:32:47,440
Speaker 4: Yeah, so what a what a woman, what a pianist,

543
00:32:47,560 --> 00:32:48,720
Speaker 4: what a thinker?

544
00:32:49,320 --> 00:32:49,440
Speaker 6: Like?

545
00:32:49,720 --> 00:32:53,160
Speaker 4: She was cool, very cool. Yeah, and nothing was off

546
00:32:53,160 --> 00:32:54,719
Speaker 4: limits when she was at the piano.

547
00:32:55,560 --> 00:32:57,680
Speaker 1: I know it was beautiful. I'm so glad you had

548
00:32:57,680 --> 00:32:58,280
Speaker 1: that too.

549
00:32:58,640 --> 00:32:58,880
Speaker 5: Yeah.

550
00:32:59,040 --> 00:33:01,240
Speaker 4: And I remember I think one there was a birthday

551
00:33:01,240 --> 00:33:04,520
Speaker 4: party for her at Birdland and you all played.

552
00:33:04,600 --> 00:33:05,880
Speaker 1: Oh yeah, we were all there.

553
00:33:06,080 --> 00:33:07,720
Speaker 5: Yeah what did you play? You played?

554
00:33:08,800 --> 00:33:11,560
Speaker 1: No, I don't remember, Okay, so it's going to come

555
00:33:11,600 --> 00:33:13,520
Speaker 1: to me. No, I don't remember what I did on that.

556
00:33:13,640 --> 00:33:16,280
Speaker 1: I did her show twice though, once in the studio

557
00:33:16,280 --> 00:33:18,760
Speaker 1: and then once in front of an audience, right.

558
00:33:19,120 --> 00:33:22,200
Speaker 4: Yeah, yeah, the people and so people like that, right,

559
00:33:22,440 --> 00:33:26,640
Speaker 4: like Mary McPartland, who sits out here and talks to musicians.

560
00:33:26,640 --> 00:33:30,080
Speaker 4: She knows some musicians she doesn't know who and she

561
00:33:30,120 --> 00:33:31,400
Speaker 4: wants to get to know them better.

562
00:33:31,800 --> 00:33:34,760
Speaker 1: It's just so cool what she did for a.

563
00:33:34,720 --> 00:33:37,360
Speaker 4: Long time too. Yeah, and then like that and then

564
00:33:37,400 --> 00:33:40,480
Speaker 4: they pass right, so then I.

565
00:33:40,480 --> 00:33:42,600
Speaker 1: Know and she's gone. But it actually it makes me

566
00:33:42,640 --> 00:33:45,760
Speaker 1: think of this moment I had with her, which you know,

567
00:33:45,840 --> 00:33:48,880
Speaker 1: I came up singing standards and I don't think I

568
00:33:48,920 --> 00:33:50,840
Speaker 1: thought about the lyrics yet because I was too young

569
00:33:50,920 --> 00:33:53,520
Speaker 1: to really understand what I was singing about, you know,

570
00:33:54,240 --> 00:33:56,880
Speaker 1: and she was talking about for all we know that song.

571
00:33:57,280 --> 00:33:57,920
Speaker 4: Yes, when her.

572
00:33:57,880 --> 00:34:01,840
Speaker 1: Husband Jimmy died, someone wrote her a card and on

573
00:34:01,920 --> 00:34:05,160
Speaker 1: the card just said we come and go like a

574
00:34:05,240 --> 00:34:07,480
Speaker 1: ripple on a stream, which is a lyric from that song.

575
00:34:07,600 --> 00:34:07,800
Speaker 5: Wow.

576
00:34:08,520 --> 00:34:11,879
Speaker 1: And it just like floored me. Wow. And it made

577
00:34:11,920 --> 00:34:16,040
Speaker 1: me realize these aren't just these old standards. These are

578
00:34:16,080 --> 00:34:19,960
Speaker 1: just deep, beautiful poetry. And at the time, when she

579
00:34:20,120 --> 00:34:22,920
Speaker 1: was young, they were new, and you know, it just

580
00:34:22,960 --> 00:34:25,680
Speaker 1: made me think about them differently, and it was it

581
00:34:25,719 --> 00:34:26,600
Speaker 1: was a moment.

582
00:34:26,600 --> 00:34:30,160
Speaker 4: Yeah about when, yeah, when when people Maybe that's all

583
00:34:30,160 --> 00:34:31,760
Speaker 4: I kind of want to say about Curtis Mayfield.

584
00:34:32,040 --> 00:34:33,920
Speaker 5: When we need a song, yeah.

585
00:34:34,120 --> 00:34:35,520
Speaker 1: We need it?

586
00:34:35,760 --> 00:34:40,080
Speaker 4: Like in whose songs get pushed up? Like whether dare

587
00:34:40,120 --> 00:34:42,359
Speaker 4: I say it, whether it's the algorithm or not, you know.

588
00:34:43,239 --> 00:34:45,959
Speaker 1: People respond to it. Yeah, they're going to respond to.

589
00:34:45,880 --> 00:34:49,879
Speaker 4: It pushed up into our consciousness that then we hear

590
00:34:49,880 --> 00:34:53,560
Speaker 4: it again, and we'll almost hear it a new which

591
00:34:53,560 --> 00:34:57,280
Speaker 4: are great songs. Can stand that listen over and over again.

592
00:34:57,760 --> 00:35:02,560
Speaker 4: You know that's beautiful. The conversation between generations, right, it's

593
00:35:02,680 --> 00:35:04,040
Speaker 4: really important to have.

594
00:35:05,040 --> 00:35:05,759
Speaker 1: It's kind of rare.

595
00:35:06,000 --> 00:35:08,040
Speaker 4: Yeah, like, okay, you're right, Like I'm like, right, So

596
00:35:08,080 --> 00:35:09,480
Speaker 4: when we came up to New York and you're like,

597
00:35:09,800 --> 00:35:13,200
Speaker 4: you met an older musician than he's like, you have

598
00:35:13,280 --> 00:35:18,319
Speaker 4: to really get humble one to listen because you know that, well,

599
00:35:18,400 --> 00:35:20,600
Speaker 4: they know other stuff. And that was my thing with

600
00:35:20,680 --> 00:35:23,640
Speaker 4: Jackie was like, he knows stuff that I don't know

601
00:35:23,680 --> 00:35:25,360
Speaker 4: none of the piano players out here on the scene

602
00:35:25,480 --> 00:35:28,200
Speaker 4: talk about. And I also know that he's in his

603
00:35:28,280 --> 00:35:30,239
Speaker 4: mid seventies now, so this is not going to be

604
00:35:30,280 --> 00:35:37,000
Speaker 4: here forever. Yeah, take advantage and that intergenerational conversation is wow.

605
00:35:37,000 --> 00:35:40,200
Speaker 4: I think for art making, it's so necessary, you know

606
00:35:41,000 --> 00:35:43,719
Speaker 4: it is. And so Marian was like, come on, a

607
00:35:43,760 --> 00:35:45,000
Speaker 4: little youngster, what you got?

608
00:35:45,280 --> 00:35:48,720
Speaker 1: Yeah, I know That's how I felt we were probably

609
00:35:48,800 --> 00:35:51,280
Speaker 1: not far from the same age. I was probably twenty

610
00:35:51,320 --> 00:35:53,520
Speaker 1: two or twenty three when I went on our show,

611
00:35:53,640 --> 00:35:58,560
Speaker 1: and I was nervous. I also grew up listening to her.

612
00:35:58,080 --> 00:36:02,359
Speaker 4: Right and then and then when they serve like that

613
00:36:02,760 --> 00:36:06,560
Speaker 4: role of like somebody you can rely on reliably gives

614
00:36:06,600 --> 00:36:07,520
Speaker 4: you information.

615
00:36:07,920 --> 00:36:11,120
Speaker 5: Yeah, now, and not only just music information.

616
00:36:10,680 --> 00:36:16,759
Speaker 4: But like like like contextual information about another artist. That Yeah,

617
00:36:16,760 --> 00:36:21,759
Speaker 4: those people there, they did a lot of work, you know,

618
00:36:21,880 --> 00:36:25,279
Speaker 4: a lot of really great work. And every once in

619
00:36:25,280 --> 00:36:28,239
Speaker 4: a while when her birthday comes up, I'm recharged with

620
00:36:28,320 --> 00:36:31,319
Speaker 4: how important a person she was in the legacy of

621
00:36:31,360 --> 00:36:34,160
Speaker 4: spreading kind of art making to a wider public.

622
00:36:34,400 --> 00:36:34,640
Speaker 1: Yeah.

623
00:36:35,520 --> 00:36:39,240
Speaker 4: Yeah, it's special, the demystifier.

624
00:36:39,560 --> 00:36:47,919
Speaker 1: Yeah, the good old Marian parlance. That show. Another song

625
00:36:47,960 --> 00:36:52,960
Speaker 1: I really loved is that for James song suggested. That's

626
00:36:53,200 --> 00:36:58,439
Speaker 1: that's another I feel like you have. I think I'm

627
00:36:58,520 --> 00:37:01,440
Speaker 1: really into the same thing, the sort of cyclical songs.

628
00:37:01,560 --> 00:37:03,480
Speaker 1: They don't really have an ending, and they just kind

629
00:37:03,480 --> 00:37:05,399
Speaker 1: of keep going, and you just want them to keep going.

630
00:37:05,520 --> 00:37:07,319
Speaker 1: I think that Curtis song had a little bit of that.

631
00:37:07,320 --> 00:37:07,840
Speaker 4: That's true.

632
00:37:08,200 --> 00:37:12,839
Speaker 1: It does your cycle, the chord cycle leads itself back

633
00:37:12,880 --> 00:37:18,160
Speaker 1: into itself, instead of having an ending exactly, Yeah, I

634
00:37:18,160 --> 00:37:19,040
Speaker 1: love songs like that.

635
00:37:19,320 --> 00:37:22,920
Speaker 4: Yeah, yeah, this is I don't know the songs that

636
00:37:22,960 --> 00:37:27,400
Speaker 4: are infinite. I don't know for James has written for

637
00:37:27,520 --> 00:37:32,840
Speaker 4: this guy, James Rees Europe, who was this incredible composer

638
00:37:32,880 --> 00:37:35,200
Speaker 4: at the turn of the twentieth century, and he's a

639
00:37:35,239 --> 00:37:39,759
Speaker 4: black composer here in New York, really kind of revolutionizing music,

640
00:37:41,840 --> 00:37:45,600
Speaker 4: like moving out of vaudeville what black performers are having

641
00:37:45,640 --> 00:37:49,279
Speaker 4: to do on stage and starting to say, like, there's

642
00:37:49,320 --> 00:37:51,719
Speaker 4: something else that we can say on stage. And so

643
00:37:51,760 --> 00:37:54,800
Speaker 4: he has this like what they term as the first

644
00:37:55,040 --> 00:37:58,919
Speaker 4: big jazz concert at Carnegie Hall in like nineteen ten

645
00:37:59,040 --> 00:38:01,720
Speaker 4: or nineteen eleven. There's one hundred and sixty five people

646
00:38:01,760 --> 00:38:05,560
Speaker 4: on stage with him. That's insane, it is. And so

647
00:38:05,680 --> 00:38:10,040
Speaker 4: when World War One happens, he joins the war because

648
00:38:10,080 --> 00:38:11,760
Speaker 4: he wants to fight for.

649
00:38:13,239 --> 00:38:14,439
Speaker 5: America.

650
00:38:14,719 --> 00:38:18,399
Speaker 4: And when they find out that he's joined, they say, oh, wait,

651
00:38:18,400 --> 00:38:19,920
Speaker 4: but you're famous, so why.

652
00:38:19,800 --> 00:38:20,720
Speaker 5: Don't you lead a band?

653
00:38:20,880 --> 00:38:21,200
Speaker 1: Wow?

654
00:38:21,239 --> 00:38:23,840
Speaker 4: He says, I need I think the equivalent was like

655
00:38:24,120 --> 00:38:27,000
Speaker 4: three hundred thousand dollars back then.

656
00:38:27,040 --> 00:38:28,759
Speaker 5: That's what he was like, because he said.

657
00:38:28,640 --> 00:38:31,160
Speaker 1: Because he was like, did he overplay it just a

658
00:38:31,200 --> 00:38:31,600
Speaker 1: little bit.

659
00:38:31,760 --> 00:38:33,800
Speaker 4: No. He overplayed it because he said they're going to say.

660
00:38:33,680 --> 00:38:37,480
Speaker 1: No, yeah, but they said sure, they said yes. They

661
00:38:37,480 --> 00:38:38,560
Speaker 1: didn't even talk.

662
00:38:39,120 --> 00:38:42,560
Speaker 4: Money and they and he went got musicians from Puerto Rico,

663
00:38:42,800 --> 00:38:45,319
Speaker 4: got musicians from Chicago. He got the best band he

664
00:38:45,360 --> 00:38:47,960
Speaker 4: could wow to put together this band, and they went

665
00:38:48,040 --> 00:38:51,400
Speaker 4: to Europe and they fought on the side of the French.

666
00:38:51,480 --> 00:38:56,319
Speaker 4: That's how segregated the American forces were, so the black

667
00:38:56,360 --> 00:38:58,680
Speaker 4: soldiers for America fought on the side of the French.

668
00:38:58,680 --> 00:38:59,920
Speaker 5: It's kind of wild.

669
00:39:00,040 --> 00:39:01,719
Speaker 1: He's such a weird story.

670
00:39:02,280 --> 00:39:05,680
Speaker 4: So I made this piece about him, and we've been

671
00:39:05,719 --> 00:39:09,120
Speaker 4: traveling for like seven years, and but I hadn't written

672
00:39:09,120 --> 00:39:11,239
Speaker 4: a song for him. I just kind of played the

673
00:39:11,280 --> 00:39:14,040
Speaker 4: material he played and we manipulated and we have this

674
00:39:14,120 --> 00:39:17,920
Speaker 4: film that happens with it. But for James is is

675
00:39:18,040 --> 00:39:24,360
Speaker 4: kind of based on a medley he wrote. And sometimes

676
00:39:24,360 --> 00:39:28,160
Speaker 4: the medleys these artists were putting together were songs that

677
00:39:28,200 --> 00:39:31,320
Speaker 4: were quite racist, you know. And I think the medley

678
00:39:31,400 --> 00:39:35,120
Speaker 4: is called Plantation medley, so it's like, come on, you know.

679
00:39:35,880 --> 00:39:40,560
Speaker 4: But sometimes somewhere in the transition material between the two songs,

680
00:39:41,120 --> 00:39:45,759
Speaker 4: he composed this little like three bar thing and it

681
00:39:45,840 --> 00:39:52,360
Speaker 4: was like like something like that and then something.

682
00:39:52,239 --> 00:39:53,200
Speaker 5: Like that, something like that.

683
00:39:53,360 --> 00:39:55,759
Speaker 4: I just thought when I heard it, I was just

684
00:39:56,480 --> 00:39:59,680
Speaker 4: I was like, I gotta get to a piano. I

685
00:39:59,719 --> 00:40:04,080
Speaker 4: got gets a piano, and here what I think happens

686
00:40:04,120 --> 00:40:08,879
Speaker 4: with that? And then how what he imagines for It's

687
00:40:08,920 --> 00:40:10,160
Speaker 4: what big bands become.

688
00:40:10,320 --> 00:40:11,960
Speaker 5: What he's imagining the band.

689
00:40:11,800 --> 00:40:15,000
Speaker 4: He takes to Europe in this this military band becomes

690
00:40:15,200 --> 00:40:19,160
Speaker 4: big band sound yeah, And how does he in all

691
00:40:19,200 --> 00:40:22,279
Speaker 4: that work he does in the nineteen teens lead up

692
00:40:22,280 --> 00:40:24,600
Speaker 4: to like an earth Wind and Fire Yeah, to a

693
00:40:24,640 --> 00:40:27,960
Speaker 4: Duke Ellington, like the way the horns working all this stuff, and.

694
00:40:27,960 --> 00:40:30,080
Speaker 1: In the in this song you have the band and

695
00:40:30,120 --> 00:40:32,279
Speaker 1: the incomes in. It sounds like more like a second line.

696
00:40:32,480 --> 00:40:34,320
Speaker 5: Yeah yeah, yeah, yeah yeah.

697
00:40:34,400 --> 00:40:37,080
Speaker 4: And so you know, I've been trying to It's like

698
00:40:37,160 --> 00:40:39,439
Speaker 4: my sing along moment at the end of the show.

699
00:40:39,480 --> 00:40:43,080
Speaker 1: Oh, I love it. I love when you starts singing it.

700
00:40:43,360 --> 00:40:45,480
Speaker 4: I am not a singer, but well it's also a

701
00:40:45,600 --> 00:40:46,840
Speaker 4: vocalized It's cool.

702
00:40:46,920 --> 00:40:49,799
Speaker 1: It's I mean, it wants lyrics. I almost wrote some,

703
00:40:49,960 --> 00:40:51,640
Speaker 1: but then I was like, I don't really know enough

704
00:40:51,640 --> 00:40:54,200
Speaker 1: about James, so I wanted to ask you about that.

705
00:40:54,880 --> 00:40:57,520
Speaker 1: But what if I sat next to you, would that

706
00:40:57,560 --> 00:40:57,879
Speaker 1: be cool?

707
00:40:57,960 --> 00:40:58,120
Speaker 4: Yes?

708
00:41:26,680 --> 00:43:48,640
Speaker 9: Stop mom, Mom, I didn't expectually go back down.

709
00:43:49,080 --> 00:43:51,640
Speaker 5: Yeah, yeah, it goes back. Yeah, it goes back down.

710
00:43:52,040 --> 00:43:53,920
Speaker 4: And one day I'll get that kind of like that

711
00:43:54,040 --> 00:43:56,640
Speaker 4: songwriting thing together that says, oh no, you know it

712
00:43:56,719 --> 00:43:59,040
Speaker 4: keeps like goes goes.

713
00:43:58,880 --> 00:44:04,120
Speaker 1: Up, don't you ever? Yeah? When the when when the

714
00:44:04,239 --> 00:44:07,520
Speaker 1: sort of second line style New Orleans vibe comes in

715
00:44:07,520 --> 00:44:10,359
Speaker 1: at the end of that, it's really I just want

716
00:44:10,400 --> 00:44:11,479
Speaker 1: to I just started to dance.

717
00:44:11,600 --> 00:44:14,640
Speaker 4: Yeah, And those are like kids, those are those are

718
00:44:15,080 --> 00:44:18,840
Speaker 4: college kids. There's a woman named Stephanie Neil who started

719
00:44:18,840 --> 00:44:21,560
Speaker 4: an organization called the three six nine Experience. So it's

720
00:44:22,040 --> 00:44:25,440
Speaker 4: built to teach that music to HBCU kids and all

721
00:44:25,480 --> 00:44:29,160
Speaker 4: those bands. So she sources like sixty kids and so

722
00:44:29,200 --> 00:44:31,440
Speaker 4: I went and met with them in DC and then

723
00:44:31,480 --> 00:44:33,960
Speaker 4: I taught them this song by ear yeah the mart

724
00:44:34,320 --> 00:44:36,799
Speaker 4: They started like coling up stuff. The drummer was like, oh, ho,

725
00:44:37,040 --> 00:44:39,680
Speaker 4: try this, and I was like, oh, you know, they

726
00:44:39,719 --> 00:44:42,680
Speaker 4: got into it like so quick. That's also maybe something

727
00:44:42,680 --> 00:44:45,160
Speaker 4: else about good I don't know why I was gonna

728
00:44:45,160 --> 00:44:47,200
Speaker 4: say good music, So fuck that, I'll take that.

729
00:44:47,200 --> 00:44:47,839
Speaker 5: That's something else.

730
00:44:47,880 --> 00:44:51,319
Speaker 4: About good music is that it the ability for it

731
00:44:51,360 --> 00:44:54,920
Speaker 4: to get into other people and then them feel like

732
00:44:54,960 --> 00:44:57,839
Speaker 4: they can add something to it, versus like I can't

733
00:44:57,880 --> 00:45:00,319
Speaker 4: do anything with this except sing it, but they wanted

734
00:45:00,360 --> 00:45:02,360
Speaker 4: to like add all this stuff to it. So that

735
00:45:02,520 --> 00:45:05,560
Speaker 4: experience is uh captured. At the end of that record,

736
00:45:05,560 --> 00:45:08,279
Speaker 4: It's like I was, I was literally just talking to

737
00:45:08,320 --> 00:45:11,920
Speaker 4: them about this man, this music, this song. And then

738
00:45:11,960 --> 00:45:13,759
Speaker 4: I say, and the person who taught me about this

739
00:45:13,840 --> 00:45:18,200
Speaker 4: man is Randy western you know, like like like I'm like, nah, like,

740
00:45:18,440 --> 00:45:21,040
Speaker 4: let me make sure that I came to Brooklyn to

741
00:45:21,080 --> 00:45:23,239
Speaker 4: sit at Randy Weston's house and he was the one

742
00:45:23,239 --> 00:45:26,120
Speaker 4: who for three hours told me about James Rees surep.

743
00:45:26,200 --> 00:45:28,920
Speaker 4: It was like you got to know about James Reurope,

744
00:45:28,960 --> 00:45:31,600
Speaker 4: you know, like yeah, so these this is that innergenerational

745
00:45:31,760 --> 00:45:35,759
Speaker 4: conversation that so thankful that I had when I moved

746
00:45:35,760 --> 00:45:37,480
Speaker 4: to the city because I did need guidance.

747
00:45:37,680 --> 00:45:41,600
Speaker 1: You know, yeah, you can get really lost here, yeah,

748
00:45:41,800 --> 00:45:43,480
Speaker 1: which is you know while people come.

749
00:45:45,800 --> 00:45:46,680
Speaker 5: Meaning like you know, like.

750
00:45:48,200 --> 00:45:50,799
Speaker 4: I think in therapy, I was, I was loving that

751
00:45:50,840 --> 00:45:53,080
Speaker 4: when you moved to New York, you can like you're

752
00:45:53,120 --> 00:45:55,759
Speaker 4: sure that people saying anybody worried about you. You know,

753
00:45:55,920 --> 00:45:59,600
Speaker 4: like you can almost you can kind of disappear, And.

754
00:45:59,640 --> 00:46:05,520
Speaker 1: Especially the older you get, I've noticed lately I feel invisible.

755
00:46:07,320 --> 00:46:09,600
Speaker 5: It's kind of good, it's kind of.

756
00:46:09,560 --> 00:46:15,319
Speaker 1: It's kind of nice, definitely humbling. It's like, Wow, these

757
00:46:15,360 --> 00:46:19,520
Speaker 1: young people don't give a crap about me. They have

758
00:46:19,600 --> 00:46:21,200
Speaker 1: no clue and they don't care.

759
00:46:22,200 --> 00:46:28,600
Speaker 4: It's I mean, I also like when we think about

760
00:46:29,239 --> 00:46:33,120
Speaker 4: the industry we walked into together, and you know, like

761
00:46:33,200 --> 00:46:36,960
Speaker 4: what it was in the late nineties versus what it

762
00:46:37,000 --> 00:46:39,600
Speaker 4: is twenty five years later, it's like a totally different

763
00:46:41,040 --> 00:46:43,600
Speaker 4: you know. And if we talk about Bruce Luanfall for

764
00:46:43,680 --> 00:46:45,879
Speaker 4: a moment, just for a second, to just talk about

765
00:46:45,920 --> 00:46:47,160
Speaker 4: how beautiful.

766
00:46:49,000 --> 00:46:50,160
Speaker 5: A leader he was.

767
00:46:50,360 --> 00:46:53,680
Speaker 1: He was amazing, had a Blue Note Records signed me

768
00:46:54,640 --> 00:46:58,279
Speaker 1: to Blue Note signed you. What year did you sign

769
00:46:58,320 --> 00:46:58,760
Speaker 1: a Blue.

770
00:46:58,600 --> 00:46:59,920
Speaker 5: Note ninety nine?

771
00:47:00,040 --> 00:47:00,239
Speaker 4: Yeah?

772
00:47:00,239 --> 00:47:04,240
Speaker 1: Before me okay, and yeah, he was just the best.

773
00:47:05,440 --> 00:47:08,239
Speaker 1: He gave me a notebook once of standards, he said,

774
00:47:08,239 --> 00:47:09,880
Speaker 1: sometimes when I'm on the plane, I just try to

775
00:47:09,880 --> 00:47:12,560
Speaker 1: think of all the standards I know. And here's it.

776
00:47:12,600 --> 00:47:14,400
Speaker 1: Because I was making some demos for them, this is

777
00:47:14,440 --> 00:47:17,560
Speaker 1: before they signed me. First, they gave me a little

778
00:47:17,600 --> 00:47:20,960
Speaker 1: money to make more recordings because they weren't sure about.

779
00:47:20,719 --> 00:47:23,239
Speaker 4: Me during that era. No, I didn't know that they

780
00:47:23,239 --> 00:47:26,160
Speaker 4: weren't sure. I was in the office when the tape

781
00:47:26,200 --> 00:47:32,200
Speaker 4: came in. No way, that's crazy, but go ahead.

782
00:47:32,360 --> 00:47:34,640
Speaker 1: Yeah, And he gave me this little notebook full of

783
00:47:34,760 --> 00:47:37,719
Speaker 1: just like song titles, and I took it on the

784
00:47:37,760 --> 00:47:40,600
Speaker 1: airplane with me and I was like, oh my heart.

785
00:47:41,120 --> 00:47:42,440
Speaker 1: Bruce was.

786
00:47:44,640 --> 00:47:47,920
Speaker 4: I was playing with in the saxophone with Greg Osby's band,

787
00:47:48,160 --> 00:47:50,799
Speaker 4: and he was Greg Osby was on Blue note And

788
00:47:50,840 --> 00:47:53,840
Speaker 4: then Greg made a record and I played on it

789
00:47:53,880 --> 00:47:54,920
Speaker 4: and I was still in college.

790
00:47:54,960 --> 00:47:57,480
Speaker 5: It was a big deal. And then.

791
00:47:59,040 --> 00:48:02,360
Speaker 4: We played at the Sweets Sweet Baseels in the village

792
00:48:03,000 --> 00:48:04,680
Speaker 4: and Bruce was there and he just came up to

793
00:48:04,719 --> 00:48:07,239
Speaker 4: me in the middle of the in the break and

794
00:48:07,280 --> 00:48:08,840
Speaker 4: he said, don't want to make a record.

795
00:48:09,040 --> 00:48:10,320
Speaker 1: This is the first time you met him.

796
00:48:10,880 --> 00:48:13,799
Speaker 4: It may have been around, maybe it wasn't the first time.

797
00:48:17,120 --> 00:48:19,160
Speaker 4: Something you know, like it said, it's kind of like

798
00:48:19,239 --> 00:48:22,359
Speaker 4: fast like that, and it's full of energy, and he's like, yeah,

799
00:48:22,560 --> 00:48:25,040
Speaker 4: I'm psyched about it. And I was like, I surely

800
00:48:25,160 --> 00:48:27,640
Speaker 4: wasn't ready to make a record. And I was like,

801
00:48:27,719 --> 00:48:30,040
Speaker 4: how do you turn No, you don't turn that down,

802
00:48:30,160 --> 00:48:30,839
Speaker 4: you go for it.

803
00:48:31,080 --> 00:48:33,680
Speaker 1: I wasn't either. I wasn't ready to make a record.

804
00:48:33,760 --> 00:48:36,680
Speaker 4: No, and you know, kind of we're you know, dare

805
00:48:36,680 --> 00:48:38,640
Speaker 4: I say, we're kind of spoiled by a person who

806
00:48:38,719 --> 00:48:42,000
Speaker 4: kind of can see that much, you know.

807
00:48:43,000 --> 00:48:45,120
Speaker 5: Yeah, And then every record he was like, what do

808
00:48:45,160 --> 00:48:45,640
Speaker 5: you want to do?

809
00:48:47,760 --> 00:48:50,200
Speaker 4: Like all every story I'd heard about anybody entering the

810
00:48:50,239 --> 00:48:54,319
Speaker 4: record industry is you're rarely in charge of what you

811
00:48:54,360 --> 00:48:56,200
Speaker 4: want to do. He said, what do you want to do,

812
00:48:56,680 --> 00:48:58,680
Speaker 4: I'll do true, Okay, what do you want to do,

813
00:48:59,160 --> 00:49:03,920
Speaker 4: I'll do it. Rivers Oh okay, Like he was right, yeah.

814
00:49:03,960 --> 00:49:06,880
Speaker 1: No, you're right, he was. We were so lucky. I

815
00:49:06,880 --> 00:49:09,480
Speaker 1: don't think I even realized it until a few years later.

816
00:49:09,520 --> 00:49:15,080
Speaker 1: And he was super giving. And yeah, even I even

817
00:49:15,080 --> 00:49:17,359
Speaker 1: did a couple of records, like when I got more

818
00:49:17,400 --> 00:49:21,719
Speaker 1: into a different sound, further and further from jazz. He

819
00:49:21,719 --> 00:49:24,000
Speaker 1: even admitted to me, we used to have these Martini lunches.

820
00:49:24,040 --> 00:49:26,120
Speaker 1: Did you have those with him? Oh my god, yes, yeah,

821
00:49:26,560 --> 00:49:27,680
Speaker 1: the Martini drunk less.

822
00:49:27,680 --> 00:49:29,960
Speaker 4: I didn't drink at Martini, but I'll watch him.

823
00:49:30,320 --> 00:49:32,719
Speaker 1: Well I did. And I don't know what made me

824
00:49:32,719 --> 00:49:34,640
Speaker 1: think I could drink with a man in the seventies

825
00:49:34,640 --> 00:49:39,760
Speaker 1: who's been drinking Martini's for sixty years. But yeah, big dude,

826
00:49:39,760 --> 00:49:42,440
Speaker 1: but we would, I mean, we would just drink for hours.

827
00:49:42,520 --> 00:49:46,719
Speaker 1: And he finally admitted to me after a couple of martinis,

828
00:49:46,840 --> 00:49:48,640
Speaker 1: I don't really like this record when you gave it

829
00:49:48,680 --> 00:49:50,839
Speaker 1: to me. Wow, I got it. I gotta tell you,

830
00:49:50,840 --> 00:49:53,560
Speaker 1: I gotta be honest with you. And I loved that. Yeah,

831
00:49:53,640 --> 00:49:55,319
Speaker 1: it made me feel good. He's like, but now I

832
00:49:55,400 --> 00:49:57,680
Speaker 1: kind of get it. But he didn't say he loved it,

833
00:49:57,719 --> 00:50:00,680
Speaker 1: but he he understood it more. But he's like, so interesting,

834
00:50:00,760 --> 00:50:02,239
Speaker 1: isn't that funny? He had to admit to me that

835
00:50:02,280 --> 00:50:04,160
Speaker 1: when I first turned in the record, he didn't like it,

836
00:50:04,440 --> 00:50:06,520
Speaker 1: but they still let me do it. They didn't say anything.

837
00:50:06,640 --> 00:50:09,640
Speaker 4: Well, yeah, that's it was the fall.

838
00:50:09,640 --> 00:50:12,759
Speaker 1: And then the Little Broken Hearts record is the two

839
00:50:12,800 --> 00:50:15,840
Speaker 1: records that were very far from what I had done before.

840
00:50:16,239 --> 00:50:17,759
Speaker 4: I mean, but also like you got to let an

841
00:50:17,800 --> 00:50:22,160
Speaker 4: artists travel, yeah exactly, I mean, you know, I just remember, yeah,

842
00:50:22,160 --> 00:50:24,520
Speaker 4: I felt like there were during that era, there was

843
00:50:24,880 --> 00:50:30,520
Speaker 4: there were I watched artists, like clearly somebody suggested that

844
00:50:30,520 --> 00:50:33,440
Speaker 4: they should do a ballatce record, you know, and I

845
00:50:33,480 --> 00:50:35,880
Speaker 4: was like, you're the last person to want to.

846
00:50:35,840 --> 00:50:36,360
Speaker 5: Hear you about it.

847
00:50:36,360 --> 00:50:37,360
Speaker 1: That's so funny.

848
00:50:39,400 --> 00:50:41,440
Speaker 4: I remember thinking like, why are you all doing that?

849
00:50:42,880 --> 00:50:44,799
Speaker 4: And I had and all my teachers and mentors they

850
00:50:44,800 --> 00:50:47,719
Speaker 4: were like, yo, Jason, just you gotta you know, you

851
00:50:47,760 --> 00:50:51,560
Speaker 4: gotta like don't you know have your vision, you know,

852
00:50:51,800 --> 00:50:55,759
Speaker 4: And so they were very challenging like that, and so

853
00:50:55,840 --> 00:50:57,759
Speaker 4: I was really like, every record I was going to

854
00:50:57,840 --> 00:51:03,880
Speaker 4: try to be show like keep turning to yeah. And

855
00:51:03,920 --> 00:51:07,560
Speaker 4: that felt good because then I knew that it wasn't

856
00:51:07,680 --> 00:51:10,240
Speaker 4: like going to show up in like a straight line

857
00:51:10,280 --> 00:51:13,040
Speaker 4: that would seemed like like when you talked about Sunrise

858
00:51:13,080 --> 00:51:15,319
Speaker 4: being a record that felt like I felt like, oh, yes,

859
00:51:15,400 --> 00:51:20,360
Speaker 4: it's perfect, but like, you know, like it shows, it

860
00:51:20,480 --> 00:51:26,320
Speaker 4: shows how much can happen in the band's sound and

861
00:51:26,320 --> 00:51:28,600
Speaker 4: and the kinds of stories and the kinds of songs

862
00:51:28,640 --> 00:51:34,759
Speaker 4: and forms, and I crave that. And I also, you know,

863
00:51:34,880 --> 00:51:37,759
Speaker 4: so now there's another generation of musicians coming up, and

864
00:51:37,800 --> 00:51:42,359
Speaker 4: I'm urging them constantly, you know, like, don't ever lose

865
00:51:42,400 --> 00:51:44,680
Speaker 4: sight that there there has always been an era of

866
00:51:45,000 --> 00:51:48,880
Speaker 4: artists who were really gonna try to keep pushing forward

867
00:51:49,480 --> 00:51:51,840
Speaker 4: and maybe not everything is going to be understood in

868
00:51:51,840 --> 00:51:53,560
Speaker 4: the moment, right, and.

869
00:51:53,719 --> 00:51:55,719
Speaker 1: It takes time sometimes.

870
00:51:55,280 --> 00:51:56,319
Speaker 5: Yeah, it does take time.

871
00:51:56,920 --> 00:51:59,880
Speaker 1: Yeah, I mean you always just have to do what

872
00:52:00,040 --> 00:52:03,040
Speaker 1: feels good to you. Were uncomfortable, but in a good

873
00:52:03,040 --> 00:52:07,760
Speaker 1: way way. Speaking of uncomfortable but in a good way.

874
00:52:08,080 --> 00:52:13,759
Speaker 1: I feel like you really, you really always intimidating me

875
00:52:13,840 --> 00:52:19,239
Speaker 1: because you're you're so amazing, and I always felt a

876
00:52:19,280 --> 00:52:22,280
Speaker 1: little out of place on blue note because I wasn't

877
00:52:25,520 --> 00:52:31,640
Speaker 1: like a jazz uh what do you call it? I wasn't,

878
00:52:33,520 --> 00:52:36,200
Speaker 1: but it wasn't you know, I wasn't writing jazz songs

879
00:52:36,239 --> 00:52:38,560
Speaker 1: and I couldn't play fast, and I felt a little

880
00:52:38,560 --> 00:52:41,680
Speaker 1: bit like a less than what's the word I'm trying

881
00:52:41,719 --> 00:52:42,080
Speaker 1: to think of.

882
00:52:42,160 --> 00:52:43,440
Speaker 4: I don't know what that works, but you know what

883
00:52:43,440 --> 00:52:45,520
Speaker 4: I'm I know what you're talking about. But okay, but

884
00:52:45,520 --> 00:52:46,520
Speaker 4: I'm gonna let you fish well.

885
00:52:46,560 --> 00:52:49,680
Speaker 1: Yeah, so anyway, you never did anything to me, but

886
00:52:49,760 --> 00:52:53,719
Speaker 1: I was intimidated by you because you're I feel like

887
00:52:53,719 --> 00:52:56,440
Speaker 1: you're on another plane and it's just such a beautiful

888
00:52:56,480 --> 00:52:59,839
Speaker 1: thing to watch you make music. And I always felt

889
00:52:59,880 --> 00:53:01,680
Speaker 1: like just a little kid on the side, you know.

890
00:53:01,719 --> 00:53:04,239
Speaker 4: Oh my god, Well that's how but you got to

891
00:53:04,280 --> 00:53:07,400
Speaker 4: be I want to be clear that when I was

892
00:53:07,600 --> 00:53:10,319
Speaker 4: there and that record came and the demo came in,

893
00:53:11,560 --> 00:53:15,200
Speaker 4: it was like you felt the office was shifting. It

894
00:53:15,320 --> 00:53:18,240
Speaker 4: was like, oh shit, right, because these songs were coming

895
00:53:18,280 --> 00:53:21,480
Speaker 4: from me and they were special. And then when those

896
00:53:21,520 --> 00:53:25,160
Speaker 4: songs came out, we all were trying to play.

897
00:53:24,880 --> 00:53:26,960
Speaker 1: The song That's crazy No.

898
00:53:27,040 --> 00:53:29,200
Speaker 4: And whether I played it, came on stage and played it,

899
00:53:29,280 --> 00:53:32,480
Speaker 4: but I always played it at home, sitting at the piano.

900
00:53:33,560 --> 00:53:36,680
Speaker 4: So the thing was that I always felt like oh

901
00:53:37,080 --> 00:53:40,239
Speaker 4: and then everybody was like, thank God that she's here,

902
00:53:43,040 --> 00:53:48,160
Speaker 4: because what else is making you know, the record label

903
00:53:48,200 --> 00:53:49,520
Speaker 4: turn around because it's.

904
00:53:49,360 --> 00:53:52,640
Speaker 1: A jazz label, I mean, of course, but like still

905
00:53:52,680 --> 00:53:55,399
Speaker 1: it was my you know, I was humbled by you

906
00:53:55,480 --> 00:53:58,319
Speaker 1: and everyone else on the label. I felt like just

907
00:53:58,400 --> 00:54:03,600
Speaker 1: like some kind of weird impostor or something. And so

908
00:54:03,600 --> 00:54:07,239
Speaker 1: so here's what you did for me. When we did

909
00:54:07,280 --> 00:54:10,719
Speaker 1: the Blue Note Anniversary concert, and this is about nine

910
00:54:10,760 --> 00:54:15,239
Speaker 1: or ten years ago, you were m dying it right,

911
00:54:15,880 --> 00:54:19,719
Speaker 1: and you said, Nora, please come and sing a song

912
00:54:19,800 --> 00:54:23,319
Speaker 1: with me. Brian Blade, who I played drums, who played

913
00:54:23,400 --> 00:54:27,120
Speaker 1: drums with me sometimes often now, but at the time

914
00:54:27,120 --> 00:54:28,919
Speaker 1: I hadn't played with Brian in like ten years.

915
00:54:28,960 --> 00:54:29,359
Speaker 5: Oh wow.

916
00:54:29,480 --> 00:54:34,400
Speaker 1: Yeah. It was John Pattitucci on bass and Wayne Shorter

917
00:54:35,080 --> 00:54:38,480
Speaker 1: and I was like, what really you want? You want

918
00:54:38,480 --> 00:54:45,319
Speaker 1: me me? And I was like okay, thanks, and I

919
00:54:45,440 --> 00:54:49,480
Speaker 1: swear you. You were so kind to me and cool,

920
00:54:49,680 --> 00:54:53,399
Speaker 1: and I was really really nervous. Of course. I mean,

921
00:54:53,560 --> 00:54:56,919
Speaker 1: you know, I mean Brian always put tds, but he's

922
00:54:56,920 --> 00:55:01,360
Speaker 1: so great. I knew Brian, you know, you are so great.

923
00:55:02,160 --> 00:55:06,000
Speaker 1: Patatucci is so great. And then but Wayne, I mean.

924
00:55:06,120 --> 00:55:08,840
Speaker 4: Yeah, yeah, that's a talk about another plane.

925
00:55:09,000 --> 00:55:12,800
Speaker 1: So another plane. And then we had such a special time.

926
00:55:13,080 --> 00:55:16,560
Speaker 1: We played like two songs. And then you emailed me

927
00:55:16,960 --> 00:55:19,120
Speaker 1: the next week and you said, hey, I think you

928
00:55:19,160 --> 00:55:22,680
Speaker 1: should do a record with Wayne. Said you said that

929
00:55:22,800 --> 00:55:27,759
Speaker 1: to me, you know, and you started so so this

930
00:55:27,920 --> 00:55:30,400
Speaker 1: album I man called Daybreaks and Wayne came in and

931
00:55:30,480 --> 00:55:32,520
Speaker 1: he played on four songs. Yeah, we couldn't do the.

932
00:55:32,440 --> 00:55:34,240
Speaker 4: Whole record, but like it was so great.

933
00:55:34,320 --> 00:55:37,600
Speaker 1: Basically we just recorded for two days with me, Brian

934
00:55:37,680 --> 00:55:39,880
Speaker 1: and Pattatucci and Wayne Shorter.

935
00:55:40,360 --> 00:55:41,040
Speaker 5: It was so great.

936
00:55:41,040 --> 00:55:42,960
Speaker 1: And you did you did that.

937
00:55:43,200 --> 00:55:44,480
Speaker 5: I was just listening.

938
00:55:44,640 --> 00:55:47,440
Speaker 1: You did that for me. You gave me the boost

939
00:55:47,520 --> 00:55:51,080
Speaker 1: and the sort of confidence. It was you, and I thank.

940
00:55:50,920 --> 00:55:53,280
Speaker 4: You for that I was was it was an honor.

941
00:55:53,520 --> 00:55:55,360
Speaker 1: I should have had you play it, but I selfish

942
00:55:55,560 --> 00:55:58,960
Speaker 1: wanted to play piano because who I mean, look Wayne Shorter,

943
00:55:59,120 --> 00:56:01,839
Speaker 1: the way Wayne order hears you can go.

944
00:56:01,800 --> 00:56:06,560
Speaker 4: Like like that and then he'll spray the array of

945
00:56:06,600 --> 00:56:07,240
Speaker 4: all those.

946
00:56:07,120 --> 00:56:09,439
Speaker 5: Notes through his saxophone. He can.

947
00:56:09,560 --> 00:56:12,239
Speaker 4: That's why Herbie loves Fight loved playing with him, is

948
00:56:12,280 --> 00:56:15,759
Speaker 4: because that's how responsive he would be, and he might

949
00:56:16,160 --> 00:56:19,640
Speaker 4: some all that sound up into one note, you know,

950
00:56:19,960 --> 00:56:25,560
Speaker 4: like and he's he's such a special person. And I

951
00:56:25,600 --> 00:56:29,719
Speaker 4: think maybe I got very lucky to sub in that

952
00:56:29,800 --> 00:56:33,719
Speaker 4: quartet's band when Denilo couldn't do it one time in Australia.

953
00:56:33,880 --> 00:56:34,360
Speaker 1: Oh wow.

954
00:56:34,440 --> 00:56:35,719
Speaker 4: So I was always all the way on the other

955
00:56:35,760 --> 00:56:38,160
Speaker 4: side of the earth. And that's when I kind of thought.

956
00:56:38,920 --> 00:56:40,400
Speaker 4: After playing with that was like two thousand and five

957
00:56:40,480 --> 00:56:42,880
Speaker 4: or something, and it was not long after that we

958
00:56:42,920 --> 00:56:45,920
Speaker 4: did that concert, I just thought, like Wayne would be

959
00:56:45,960 --> 00:56:48,560
Speaker 4: and did this you know what I'm saying, like, And

960
00:56:48,600 --> 00:56:53,040
Speaker 4: I also knew how important you are, especially to the

961
00:56:53,080 --> 00:56:55,880
Speaker 4: era that we were at the label. It was really

962
00:56:55,920 --> 00:56:59,840
Speaker 4: important time for me and for our colleagues who are

963
00:56:59,880 --> 00:57:00,480
Speaker 4: all the label.

964
00:57:00,560 --> 00:57:02,640
Speaker 5: We had a special little era.

965
00:57:03,600 --> 00:57:06,120
Speaker 1: It was an era. The all the people under Bruce

966
00:57:06,160 --> 00:57:09,160
Speaker 1: too at that time were so special, all the all

967
00:57:09,200 --> 00:57:11,520
Speaker 1: the staff at Bleueout, they were all my friends.

968
00:57:11,600 --> 00:57:12,120
Speaker 5: Yeah.

969
00:57:11,800 --> 00:57:14,520
Speaker 4: Yeah, it was really cool. So that moment felt like

970
00:57:14,560 --> 00:57:18,560
Speaker 4: a very like a big It was a big moment.

971
00:57:18,560 --> 00:57:21,120
Speaker 4: It's captured all in video, thank god.

972
00:57:21,840 --> 00:57:27,160
Speaker 1: So cool. I've got pictures backstage with McCoy Tyner, Brian

973
00:57:27,400 --> 00:57:28,439
Speaker 1: and it was cool.

974
00:57:28,920 --> 00:57:32,080
Speaker 4: You know, Nora, you a badass piano player. Well, I

975
00:57:32,520 --> 00:57:35,240
Speaker 4: just say that, I was saying it again because that

976
00:57:35,240 --> 00:57:35,960
Speaker 4: stuff needs.

977
00:57:35,800 --> 00:57:36,320
Speaker 5: To be said.

978
00:57:36,440 --> 00:57:38,040
Speaker 1: Well, I'm not trying to get more out of you

979
00:57:38,080 --> 00:57:41,840
Speaker 1: about that, but I will say you really you lifted

980
00:57:41,840 --> 00:57:45,640
Speaker 1: me up at a time when I wasn't sure where

981
00:57:45,680 --> 00:57:48,640
Speaker 1: I fit. Even though I had a lot of success,

982
00:57:49,000 --> 00:57:52,120
Speaker 1: I never completely knew where I fit and mostly I

983
00:57:52,120 --> 00:57:56,720
Speaker 1: didn't care, which is good. But you reminded me that

984
00:57:56,800 --> 00:57:59,920
Speaker 1: I had that part of my history musically, and then

985
00:58:00,120 --> 00:58:03,120
Speaker 1: I could fit there if I tried. And it was

986
00:58:03,240 --> 00:58:03,760
Speaker 1: really sweet.

987
00:58:03,920 --> 00:58:08,479
Speaker 4: It was It was a special, special, special day. Also,

988
00:58:08,520 --> 00:58:12,120
Speaker 4: it was like at that moment that Bruce was like

989
00:58:12,480 --> 00:58:13,000
Speaker 4: heading out.

990
00:58:13,120 --> 00:58:15,760
Speaker 1: Yeah he wasn't able to be there right, but he.

991
00:58:15,080 --> 00:58:15,880
Speaker 5: Was coming in.

992
00:58:16,680 --> 00:58:19,080
Speaker 4: You know, there was a lot like right during that

993
00:58:19,160 --> 00:58:21,920
Speaker 4: time but also if I can just for a second

994
00:58:22,520 --> 00:58:28,480
Speaker 4: talk about piano players or what do you singers who

995
00:58:28,480 --> 00:58:31,920
Speaker 4: played piano or piano players who sing. Oh yeah, I

996
00:58:31,960 --> 00:58:35,800
Speaker 4: can't do that, right, So I marvel at people who

997
00:58:35,840 --> 00:58:40,920
Speaker 4: have a really singular piano style like you, like Anina Simone,

998
00:58:41,280 --> 00:58:46,480
Speaker 4: Shirley Horn, who also really know how to distribute vocally

999
00:58:46,640 --> 00:58:48,840
Speaker 4: at the same time. Yeah, Like, so I don't know,

1000
00:58:48,920 --> 00:58:52,880
Speaker 4: like was that always easy for you or I think?

1001
00:58:53,200 --> 00:58:56,040
Speaker 1: I think in college I had a gig at a

1002
00:58:56,080 --> 00:59:00,560
Speaker 1: restaurant where I played standards Fridays and Saturday nights and

1003
00:59:00,600 --> 00:59:04,560
Speaker 1: they let me sing when I wanted. So the gig

1004
00:59:04,640 --> 00:59:06,680
Speaker 1: was for piano player, but I said, can I bring

1005
00:59:06,720 --> 00:59:09,640
Speaker 1: a little tiny amp in and sing like every few songs?

1006
00:59:10,280 --> 00:59:12,919
Speaker 1: And so that's how I got the muscle memory down

1007
00:59:14,200 --> 00:59:17,760
Speaker 1: or the coordination to do it, And that's when I

1008
00:59:17,760 --> 00:59:20,960
Speaker 1: realized I had something special by doing it together. But

1009
00:59:21,120 --> 00:59:24,040
Speaker 1: I also I think normally when I'm doing like a

1010
00:59:25,120 --> 00:59:27,280
Speaker 1: song and recording, it's always better if I can do

1011
00:59:27,320 --> 00:59:30,000
Speaker 1: it together. Yeah, because when I do it separately, I'm

1012
00:59:30,000 --> 00:59:32,960
Speaker 1: good at both enough, but it doesn't have the same

1013
00:59:33,080 --> 00:59:36,760
Speaker 1: interaction or like alchemy as when I do it together.

1014
00:59:37,200 --> 00:59:38,200
Speaker 5: I don't know how you all do it.

1015
00:59:39,400 --> 00:59:42,919
Speaker 1: It's a it's just a different muscle, it is.

1016
00:59:43,280 --> 00:59:48,280
Speaker 4: But I often think about, like when I was listening

1017
00:59:48,320 --> 00:59:52,280
Speaker 4: on the way here to you again, about how people

1018
00:59:53,320 --> 00:59:58,720
Speaker 4: make space in music, and so there's making space for

1019
00:59:59,000 --> 01:00:00,600
Speaker 4: the other musicians working with.

1020
01:00:01,200 --> 01:00:02,720
Speaker 5: But I'm also meaning like.

1021
01:00:04,320 --> 01:00:08,400
Speaker 4: Maybe I mean manicuring space like a lawn, you know,

1022
01:00:08,800 --> 01:00:11,919
Speaker 4: like a Japanese garden. You know, that's what I mean.

1023
01:00:11,960 --> 01:00:15,480
Speaker 4: I more mean like that, like you give enough distance

1024
01:00:15,600 --> 01:00:19,960
Speaker 4: between the bass and the piano and the voice and

1025
01:00:20,000 --> 01:00:23,600
Speaker 4: the drums or whatever else for the things to emerge

1026
01:00:23,800 --> 01:00:25,560
Speaker 4: when they need like yeah, and.

1027
01:00:25,560 --> 01:00:27,600
Speaker 1: You know, but I think you're thinking of it in

1028
01:00:27,680 --> 01:00:31,400
Speaker 1: a different way. I think for me, I can't do

1029
01:00:31,520 --> 01:00:33,840
Speaker 1: it all at the same time because my brain won't

1030
01:00:33,920 --> 01:00:38,920
Speaker 1: let me the sort of coordination thing. So when I'm

1031
01:00:38,960 --> 01:00:40,680
Speaker 1: done with the phrase, I'll respond to it on the

1032
01:00:40,680 --> 01:00:45,240
Speaker 1: piano because I can't do it while I'm singing. So

1033
01:00:45,280 --> 01:00:48,840
Speaker 1: it's more of a limitation than making space.

1034
01:00:49,000 --> 01:00:50,840
Speaker 4: I think, Wow, Okay, it really is.

1035
01:00:52,440 --> 01:00:54,560
Speaker 1: I also think I will tell you this, this is

1036
01:00:54,600 --> 01:00:58,840
Speaker 1: the funniest thing ever. My my old boyfriend from that

1037
01:00:58,920 --> 01:01:04,920
Speaker 1: record of Lee Alexander, he said to me once. He

1038
01:01:04,960 --> 01:01:09,120
Speaker 1: said Wow, I can't believe You've found a way to

1039
01:01:09,200 --> 01:01:13,960
Speaker 1: do something with your limitations that's so special. It was

1040
01:01:14,000 --> 01:01:17,680
Speaker 1: like a weird like we realized at the time that

1041
01:01:18,000 --> 01:01:21,080
Speaker 1: I'm good at ballads, that I also can't play fast

1042
01:01:21,120 --> 01:01:24,200
Speaker 1: for shit. So my limitations sort of pushed me in

1043
01:01:24,240 --> 01:01:27,480
Speaker 1: one direction and I would play and respond to what

1044
01:01:27,520 --> 01:01:30,760
Speaker 1: I'm singing, but I didn't have the chops to to

1045
01:01:30,840 --> 01:01:33,400
Speaker 1: do everything else. Does that make sense?

1046
01:01:33,440 --> 01:01:33,520
Speaker 4: So?

1047
01:01:33,640 --> 01:01:33,800
Speaker 7: Does?

1048
01:01:33,960 --> 01:01:38,200
Speaker 1: It wasn't creating space, it was finding places I could

1049
01:01:38,200 --> 01:01:44,360
Speaker 1: fit within my my world that I had, so so

1050
01:01:44,480 --> 01:01:46,840
Speaker 1: to me, that's how I that's special.

1051
01:01:46,960 --> 01:01:48,600
Speaker 4: Yeah, yeah, it's.

1052
01:01:52,000 --> 01:01:54,240
Speaker 5: What do you call it? Like a coming to grips?

1053
01:01:54,720 --> 01:01:55,240
Speaker 4: I don't know that.

1054
01:01:55,360 --> 01:01:57,520
Speaker 5: I mean, I guess when you when you are something

1055
01:01:57,560 --> 01:01:58,680
Speaker 5: then that this is what I do.

1056
01:02:00,640 --> 01:02:03,080
Speaker 1: And I'm not downplaying it, like I know that that

1057
01:02:03,240 --> 01:02:07,360
Speaker 1: I'm that what I have can be special, but it

1058
01:02:07,440 --> 01:02:10,360
Speaker 1: is sort of based on the limitations that I started

1059
01:02:10,400 --> 01:02:10,760
Speaker 1: out with.

1060
01:02:11,000 --> 01:02:12,960
Speaker 5: Well they are.

1061
01:02:15,600 --> 01:02:20,680
Speaker 1: Et but isn't that funny they are?

1062
01:02:21,080 --> 01:02:24,560
Speaker 4: I mean okay, yeah, I mean like yeah, I mean,

1063
01:02:24,720 --> 01:02:28,000
Speaker 4: like often when people talk about Nina Simone that of

1064
01:02:28,040 --> 01:02:30,000
Speaker 4: course we love how she what she says and how

1065
01:02:30,000 --> 01:02:34,600
Speaker 4: she says it. Yeah, and then if I get selfish

1066
01:02:34,600 --> 01:02:37,200
Speaker 4: about it, let's just talk about the piano playing for yeah,

1067
01:02:37,240 --> 01:02:41,320
Speaker 4: my goodness, like the virtue virtue also and like like

1068
01:02:41,920 --> 01:02:45,800
Speaker 4: and the sheer steadiness of the attack of her hand

1069
01:02:45,880 --> 01:02:50,480
Speaker 4: at the it is so not gun shy well, and.

1070
01:02:50,440 --> 01:02:53,600
Speaker 1: It's also multifaceted. She did all that sort of she

1071
01:02:53,680 --> 01:02:55,920
Speaker 1: had that classical background and she did all that stuff,

1072
01:02:55,960 --> 01:02:58,800
Speaker 1: but then on some of those soul recordings where she's

1073
01:02:58,880 --> 01:03:02,360
Speaker 1: just playing and it's kind of like Aretha. Yes, I'm like, like,

1074
01:03:02,360 --> 01:03:04,600
Speaker 1: who played piano on that Aretha stuff? It's my favorite

1075
01:03:04,600 --> 01:03:09,040
Speaker 1: piano player. Oh no, dub yeah.

1076
01:03:09,080 --> 01:03:10,480
Speaker 4: Right, Aretha.

1077
01:03:10,640 --> 01:03:11,960
Speaker 5: And then there's Aretha.

1078
01:03:11,600 --> 01:03:13,560
Speaker 1: And then there's Aretha or Ray Charles.

1079
01:03:14,560 --> 01:03:14,919
Speaker 5: That's true.

1080
01:03:15,080 --> 01:03:16,680
Speaker 1: And they know where to put it. They just know

1081
01:03:16,720 --> 01:03:17,240
Speaker 1: where to put it.

1082
01:03:17,680 --> 01:03:20,600
Speaker 4: And that's yeah, And I think, yeah, maybe that's maybe

1083
01:03:20,640 --> 01:03:24,800
Speaker 4: what I'm also responding to is often like during that

1084
01:03:24,880 --> 01:03:26,840
Speaker 4: time when we were on Blue Note, I was working

1085
01:03:26,840 --> 01:03:27,760
Speaker 4: with Cassandra.

1086
01:03:27,400 --> 01:03:29,320
Speaker 1: Wilson as well, one of my favorites.

1087
01:03:29,040 --> 01:03:30,520
Speaker 4: Right, and I felt like, Okay, at the beginning of

1088
01:03:30,520 --> 01:03:33,560
Speaker 4: my career, I was like, I mean, I played with

1089
01:03:33,600 --> 01:03:36,240
Speaker 4: a lot of vocalists, but when I work with Cassandra,

1090
01:03:36,360 --> 01:03:38,840
Speaker 4: for like, oh, shit, Jason, you you're not prepared for this.

1091
01:03:38,920 --> 01:03:41,120
Speaker 4: You can make it through the gig, but you're not prepared.

1092
01:03:41,560 --> 01:03:44,400
Speaker 5: So I just because she's.

1093
01:03:44,280 --> 01:03:46,960
Speaker 4: So deep and she was doing all this blue stuff,

1094
01:03:47,000 --> 01:03:50,280
Speaker 4: and like I didn't quite know the blue stuff, and

1095
01:03:50,920 --> 01:03:55,280
Speaker 4: I just didn't. And so some years went by, she

1096
01:03:55,360 --> 01:03:58,040
Speaker 4: always stayed close friend, and I said, Casandra, I.

1097
01:03:58,000 --> 01:04:00,000
Speaker 5: Think I'm ready to play. So then we did another record.

1098
01:04:00,440 --> 01:04:02,840
Speaker 4: I think it's tenderly or something like that or lovely

1099
01:04:02,920 --> 01:04:06,040
Speaker 4: as they would record, and then I felt better about it,

1100
01:04:06,120 --> 01:04:08,160
Speaker 4: you know. And then even when I listened back to that,

1101
01:04:08,240 --> 01:04:10,800
Speaker 4: I was like, oh, Jason, because there I think there's

1102
01:04:10,800 --> 01:04:13,400
Speaker 4: a way when pianist is working with a vocalist, there's

1103
01:04:13,480 --> 01:04:17,200
Speaker 4: like a way that we want to support and engage,

1104
01:04:17,240 --> 01:04:19,880
Speaker 4: but also like make sure we're giving space, you know,

1105
01:04:19,960 --> 01:04:23,000
Speaker 4: and not feel like we're showing you notes to play,

1106
01:04:23,120 --> 01:04:24,880
Speaker 4: you know, yell at piano players for doing that.

1107
01:04:24,880 --> 01:04:25,160
Speaker 5: Ship.

1108
01:04:26,120 --> 01:04:28,680
Speaker 1: So yeah, don't double the melody going to sing it?

1109
01:04:29,600 --> 01:04:33,840
Speaker 1: Come on, I this exactly, do not double the melody

1110
01:04:33,880 --> 01:04:34,920
Speaker 1: if I'm going to sing it.

1111
01:04:36,480 --> 01:04:39,320
Speaker 4: Okay, okay, please send me just you saying that I'm

1112
01:04:39,320 --> 01:04:43,080
Speaker 4: not gonna said that to so many people. Slice for you,

1113
01:04:44,680 --> 01:04:45,479
Speaker 4: that's what I think.

1114
01:04:46,080 --> 01:04:47,960
Speaker 1: Yeah, but you didn't know that at first.

1115
01:04:49,240 --> 01:04:51,760
Speaker 5: I wouldn't do that, yeah, but but it was just like.

1116
01:04:53,560 --> 01:04:56,640
Speaker 4: What you're saying is like it's like, nah, you you

1117
01:04:56,720 --> 01:04:59,800
Speaker 4: have to You're when when one person is making both

1118
01:04:59,800 --> 01:05:02,480
Speaker 4: of them those things, then there's an inherent space you make.

1119
01:05:03,040 --> 01:05:04,800
Speaker 4: So when I think of like Shirley Horne as the

1120
01:05:04,840 --> 01:05:07,520
Speaker 4: great vocal accompanist, it is Shirley Horn singing.

1121
01:05:07,560 --> 01:05:11,800
Speaker 1: So yeah, it's so she knows where she's going. Yes, well,

1122
01:05:11,840 --> 01:05:14,560
Speaker 1: and I often double the melody when.

1123
01:05:14,400 --> 01:05:18,280
Speaker 4: I'm saying, listen to you do that earlier than but

1124
01:05:18,280 --> 01:05:19,480
Speaker 4: but you know where you're.

1125
01:05:19,440 --> 01:05:21,320
Speaker 1: But I know where I'm going. But I think I

1126
01:05:21,360 --> 01:05:24,520
Speaker 1: would probably not be the best accompanist for another singer

1127
01:05:25,360 --> 01:05:28,600
Speaker 1: for that reason because I like doubling when I'm singing.

1128
01:05:29,760 --> 01:05:32,600
Speaker 4: Yeah, I like that. But yeah, so that's what I

1129
01:05:32,640 --> 01:05:35,520
Speaker 4: That's why I also like talking about how the piano

1130
01:05:35,560 --> 01:05:37,840
Speaker 4: and the voice, you know, and then the centuries of that,

1131
01:05:37,920 --> 01:05:40,960
Speaker 4: you know, like Schumann and Broms, and how far we

1132
01:05:40,960 --> 01:05:43,040
Speaker 4: want to go back piano and voices as a as

1133
01:05:43,040 --> 01:05:43,880
Speaker 4: a relationship.

1134
01:05:44,760 --> 01:05:46,800
Speaker 5: You learn a lot of spacing things in it.

1135
01:05:47,080 --> 01:05:51,400
Speaker 4: Broms, the way Broms spaces that as an E minor chord,

1136
01:05:51,640 --> 01:05:53,920
Speaker 4: you know what I mean, like like it's just like

1137
01:05:54,200 --> 01:05:57,880
Speaker 4: very like he's given like a lot of space, not

1138
01:05:58,040 --> 01:06:00,000
Speaker 4: a spread, its spread.

1139
01:06:00,040 --> 01:06:01,920
Speaker 1: It's sort of a drop too. Yeah.

1140
01:06:01,960 --> 01:06:05,120
Speaker 4: So then in that you you're you, and you allow

1141
01:06:05,200 --> 01:06:09,120
Speaker 4: more overtones to rings. It's all this subtlety that they

1142
01:06:09,200 --> 01:06:13,680
Speaker 4: place there that I keep trying to get to when

1143
01:06:13,720 --> 01:06:16,600
Speaker 4: i'm when i'm when I'm working with people. And Cassandra

1144
01:06:16,680 --> 01:06:20,040
Speaker 4: has been a person I go back to every every

1145
01:06:20,080 --> 01:06:20,680
Speaker 4: seven years.

1146
01:06:21,040 --> 01:06:22,680
Speaker 5: Meet up the Okay, let me try again.

1147
01:06:24,200 --> 01:06:27,040
Speaker 1: I'm sure you always have it. You just hard on yourself.

1148
01:06:27,320 --> 01:06:29,640
Speaker 1: I am hard on my It's okay to keep learning

1149
01:06:29,720 --> 01:06:32,560
Speaker 1: and keep rolling, you know, and keep changing.

1150
01:06:32,680 --> 01:06:34,440
Speaker 4: The thing she did the last time we played is

1151
01:06:34,480 --> 01:06:36,240
Speaker 4: she performs at four thirty two.

1152
01:06:36,520 --> 01:06:39,600
Speaker 1: Oh really, So I've been thinking more about that lately.

1153
01:06:40,120 --> 01:06:40,960
Speaker 1: So you have to have the.

1154
01:06:40,880 --> 01:06:43,560
Speaker 4: Piano to Steinway, tune the piano, and.

1155
01:06:43,520 --> 01:06:47,000
Speaker 1: You're doing local pianos and yeah, so I had them.

1156
01:06:47,080 --> 01:06:48,600
Speaker 4: We had one in New York and then I had

1157
01:06:48,600 --> 01:06:51,600
Speaker 4: them D two and a D in New York.

1158
01:06:51,920 --> 01:06:53,800
Speaker 1: How did it do? How did the piano do?

1159
01:06:54,120 --> 01:06:57,280
Speaker 5: Amazing? It sounded like another world.

1160
01:06:57,720 --> 01:07:01,200
Speaker 1: So normal is four forty but it used to be

1161
01:07:01,200 --> 01:07:01,800
Speaker 1: four thirties.

1162
01:07:01,800 --> 01:07:02,920
Speaker 4: It used to be four thirty two.

1163
01:07:03,560 --> 01:07:06,920
Speaker 1: Okay, So can you explain the history of music to me?

1164
01:07:07,120 --> 01:07:09,560
Speaker 5: No, definitely not How did we.

1165
01:07:09,640 --> 01:07:12,880
Speaker 1: Arrive at that? Because this is like, okay, music is

1166
01:07:12,880 --> 01:07:17,720
Speaker 1: in us. Singing is an ancient thing, but piano is not.

1167
01:07:19,200 --> 01:07:22,160
Speaker 1: Instruments are not. I mean they are and they aren't.

1168
01:07:22,320 --> 01:07:24,120
Speaker 1: Do you know how we arrived at four thirty two?

1169
01:07:24,360 --> 01:07:24,760
Speaker 5: You know what?

1170
01:07:24,800 --> 01:07:28,360
Speaker 4: That's your that's your that's your next podcast.

1171
01:07:28,920 --> 01:07:30,320
Speaker 1: Who am I get to get in here to tell

1172
01:07:30,320 --> 01:07:33,720
Speaker 1: me about that? Maybe she could tell me? And so

1173
01:07:33,720 --> 01:07:36,160
Speaker 1: so so then when you move up to four forty,

1174
01:07:36,280 --> 01:07:37,360
Speaker 1: when do you know when that happened?

1175
01:07:37,480 --> 01:07:40,080
Speaker 5: It's like, I want to say, thirties forties.

1176
01:07:40,200 --> 01:07:43,840
Speaker 1: You know who I bet knows this as Matt my engineers. Actually,

1177
01:07:43,880 --> 01:07:46,480
Speaker 1: so not until the thirties or forties did it move up.

1178
01:07:46,840 --> 01:07:50,440
Speaker 1: So any recordings, early recordings, well they were pretty attitude.

1179
01:07:50,720 --> 01:07:53,840
Speaker 4: Yeah, see exactly right, it's the thing. And then and

1180
01:07:53,880 --> 01:07:57,040
Speaker 4: so like it was the first gig we did was myself,

1181
01:07:57,120 --> 01:07:59,160
Speaker 4: Marvin Sewell and Cassandra and.

1182
01:07:59,080 --> 01:08:00,840
Speaker 1: So he's used to tune in the get right, so

1183
01:08:00,920 --> 01:08:02,120
Speaker 1: you tuned it down right?

1184
01:08:02,480 --> 01:08:05,920
Speaker 4: Just so I gotta say the songs just fo they

1185
01:08:06,000 --> 01:08:08,760
Speaker 4: just felt more open. And if you do like cymatics,

1186
01:08:08,840 --> 01:08:13,080
Speaker 4: you know, like on four forty, it's very static meaning

1187
01:08:13,160 --> 01:08:17,120
Speaker 4: like you know cymatics like where cimatics is like if

1188
01:08:17,120 --> 01:08:20,080
Speaker 4: you take a pitch and then you play, and you

1189
01:08:20,160 --> 01:08:24,760
Speaker 4: play that pitch four forty, like, then that the way

1190
01:08:24,800 --> 01:08:27,519
Speaker 4: that affects water, you know, like it'll show up as

1191
01:08:27,520 --> 01:08:30,240
Speaker 4: a shape. All the pitches show up as a shape

1192
01:08:30,280 --> 01:08:32,280
Speaker 4: and water water is affected by the sound.

1193
01:08:32,600 --> 01:08:33,000
Speaker 1: Wow.

1194
01:08:33,040 --> 01:08:36,479
Speaker 4: So right, So it's very static shape. But when you

1195
01:08:36,520 --> 01:08:40,320
Speaker 4: do four thirty two at a at four thirty two, everything.

1196
01:08:40,200 --> 01:08:41,559
Speaker 5: Moves around like crazy.

1197
01:08:41,720 --> 01:08:42,040
Speaker 1: Yeah.

1198
01:08:42,360 --> 01:08:46,600
Speaker 4: And so anytime we talk about like the body is

1199
01:08:46,640 --> 01:08:49,719
Speaker 4: made of water, you know, likes mostly water.

1200
01:08:49,800 --> 01:08:52,240
Speaker 1: When we're playing music and we're feeling it in a

1201
01:08:52,240 --> 01:08:53,840
Speaker 1: different ways, it's.

1202
01:08:53,640 --> 01:08:54,960
Speaker 5: Just it's it's doing a lot.

1203
01:08:55,000 --> 01:08:56,720
Speaker 4: Sometimes people talk about it in the backbone, but it's

1204
01:08:56,760 --> 01:08:59,599
Speaker 4: really just all your cellular makeup. That's like totally being

1205
01:08:59,640 --> 01:09:03,160
Speaker 4: effect it. So four thirty two felt like the songs

1206
01:09:03,240 --> 01:09:05,559
Speaker 4: just felt like they had more room to breathe. It

1207
01:09:05,560 --> 01:09:06,960
Speaker 4: helped me slow down a little bit more.

1208
01:09:06,960 --> 01:09:08,320
Speaker 1: Wow, you played differently.

1209
01:09:09,520 --> 01:09:11,360
Speaker 5: It was great. That it was really great.

1210
01:09:11,439 --> 01:09:12,800
Speaker 1: That is cool. I want to mess with that.

1211
01:09:12,880 --> 01:09:15,160
Speaker 5: Why did I start talking about four thirty two, Cassandra.

1212
01:09:16,439 --> 01:09:20,479
Speaker 4: Yeah, yeah, so yeah, so these people like Cassandra like

1213
01:09:20,680 --> 01:09:24,240
Speaker 4: comping and those kinds of things. You I learned from

1214
01:09:24,280 --> 01:09:28,320
Speaker 4: working with vocalist Michelle and degueo Cello or I'm married

1215
01:09:28,360 --> 01:09:32,120
Speaker 4: to Alicia. Like the way that the piano works with

1216
01:09:32,200 --> 01:09:36,040
Speaker 4: these voices is you know, really, I think I keep

1217
01:09:36,640 --> 01:09:40,160
Speaker 4: wanting to experiment with because it it always helps me grow.

1218
01:09:40,760 --> 01:09:45,360
Speaker 1: That's cool. I think that whenever I try to sing

1219
01:09:45,720 --> 01:09:48,479
Speaker 1: and something is either slowed down or sped up. Now

1220
01:09:48,560 --> 01:09:52,200
Speaker 1: I haven't actually tried it with four thirty two specifically,

1221
01:09:52,840 --> 01:09:55,320
Speaker 1: but I work with someone who likes to speed up

1222
01:09:55,360 --> 01:09:57,240
Speaker 1: and slow down stuff a little bit, and it's always

1223
01:09:57,280 --> 01:10:02,160
Speaker 1: kind of between pitches. That's nice, it can be, but

1224
01:10:02,280 --> 01:10:05,240
Speaker 1: I find that singing it between pitches is really hard

1225
01:10:05,280 --> 01:10:07,479
Speaker 1: for me. Not because I have perfect pitch or something,

1226
01:10:07,840 --> 01:10:10,840
Speaker 1: but I think just the muscle memory of singing in tune.

1227
01:10:11,040 --> 01:10:14,679
Speaker 1: Usually it's just I mean, I can do it, it's

1228
01:10:14,760 --> 01:10:16,479
Speaker 1: just it's hard. It's hard for me to get a

1229
01:10:16,560 --> 01:10:19,879
Speaker 1: vocal take in when it's sort of between the pitches,

1230
01:10:19,960 --> 01:10:21,880
Speaker 1: and I wouldn't think it would be, but I guess

1231
01:10:21,880 --> 01:10:25,160
Speaker 1: it's just memory. A muscle memory thing.

1232
01:10:25,400 --> 01:10:25,600
Speaker 3: You know.

1233
01:10:26,000 --> 01:10:29,479
Speaker 1: Wow, So I don't know, that's kind of funny. I

1234
01:10:29,479 --> 01:10:31,400
Speaker 1: want to try it at four thirty two now then

1235
01:10:31,520 --> 01:10:33,680
Speaker 1: see you say one of your pianos, Yeah, one of

1236
01:10:33,720 --> 01:10:37,720
Speaker 1: my one of my multiple one of my pianos. That's

1237
01:10:37,760 --> 01:10:40,200
Speaker 1: a good idea. Well do you feel like trying that

1238
01:10:40,280 --> 01:10:41,280
Speaker 1: Duke Ellington song?

1239
01:10:41,360 --> 01:10:41,479
Speaker 4: Oh?

1240
01:10:41,720 --> 01:15:37,280
Speaker 5: Sure, so good.

1241
01:15:38,080 --> 01:15:40,200
Speaker 1: Oh that's so pretty. I thought of Marian in the

1242
01:15:40,240 --> 01:15:40,720
Speaker 1: middle of that.

1243
01:15:41,040 --> 01:15:43,200
Speaker 5: Oh yeah, very much, very Marian.

1244
01:15:43,320 --> 01:15:46,880
Speaker 1: Kind of that was very Marian. Oh that's so pretty.

1245
01:15:47,720 --> 01:15:49,000
Speaker 5: Yeah, I mean Duke Kellenson.

1246
01:15:50,160 --> 01:15:54,479
Speaker 4: Yeah, the artist, the artist, you know, like when we're

1247
01:15:54,479 --> 01:15:57,800
Speaker 4: talking about singer piano players, like he didn't You didn't

1248
01:15:57,800 --> 01:15:58,559
Speaker 4: really say.

1249
01:15:58,760 --> 01:16:02,479
Speaker 1: He didn't, but he kind of did right, Like he

1250
01:16:03,160 --> 01:16:05,639
Speaker 1: was vocal in a way that was cool.

1251
01:16:05,920 --> 01:16:06,679
Speaker 5: Yeah, that's true.

1252
01:16:07,160 --> 01:16:07,360
Speaker 1: Yeah.

1253
01:16:08,600 --> 01:16:10,679
Speaker 4: And then I mean, thank god he had Billy Strahan.

1254
01:16:10,760 --> 01:16:14,040
Speaker 1: Oh my god. I was just thinking about that, just

1255
01:16:14,160 --> 01:16:19,439
Speaker 1: the gravity of the lyrics, that he actually found someone

1256
01:16:19,479 --> 01:16:22,200
Speaker 1: who matched the height of his music.

1257
01:16:22,360 --> 01:16:25,160
Speaker 4: Yes, you know, and they like would travel the world

1258
01:16:25,240 --> 01:16:28,640
Speaker 4: together often have been saying, because I've been spending a

1259
01:16:28,720 --> 01:16:31,120
Speaker 4: year like playing the music and talking about it. Yeah,

1260
01:16:31,400 --> 01:16:33,840
Speaker 4: it's like also the other reason they need each other

1261
01:16:33,960 --> 01:16:38,200
Speaker 4: is not. No one person can see everything. So when

1262
01:16:38,240 --> 01:16:40,280
Speaker 4: you come back to the page to write a song together,

1263
01:16:40,960 --> 01:16:43,639
Speaker 4: the other person can write the thing that you didn't see,

1264
01:16:43,840 --> 01:16:44,080
Speaker 4: you know.

1265
01:16:44,520 --> 01:16:46,040
Speaker 1: Which is a you have to be open to that,

1266
01:16:46,160 --> 01:16:47,840
Speaker 1: though not everybody's open to that.

1267
01:16:48,120 --> 01:16:48,720
Speaker 4: Yeah, I don't know.

1268
01:16:48,720 --> 01:16:49,439
Speaker 1: If I'm open to that.

1269
01:16:49,680 --> 01:16:53,240
Speaker 4: Yeah, I mean, my goodness, like it's a it's a.

1270
01:16:53,479 --> 01:16:56,000
Speaker 4: It's a lot of sharing going on and that with

1271
01:16:56,160 --> 01:17:02,559
Speaker 4: those two. There's a documentary with Ellington where yeah, they

1272
01:17:02,640 --> 01:17:07,320
Speaker 4: happen to be filming, uh when Strayhorn passes. Oh, there's

1273
01:17:07,640 --> 01:17:11,840
Speaker 4: footage of Ellington in the funeral Strayhorn sitting in a

1274
01:17:11,920 --> 01:17:15,519
Speaker 4: pew like you know, I don't know this is just editing,

1275
01:17:15,600 --> 01:17:19,840
Speaker 4: but watching Ellington sitting at the funeral of his partner basically, yeah,

1276
01:17:21,240 --> 01:17:23,400
Speaker 4: like what am I going to do now that my

1277
01:17:23,520 --> 01:17:25,640
Speaker 4: partner is not here? Who I write all these songs with?

1278
01:17:26,520 --> 01:17:27,800
Speaker 1: That's heavy? I should watch that.

1279
01:17:28,040 --> 01:17:28,880
Speaker 5: It's beautiful. I mean.

1280
01:17:28,960 --> 01:17:31,480
Speaker 4: That's the other thing about Ellington is that he's well documented,

1281
01:17:32,320 --> 01:17:36,679
Speaker 4: meaning is there for him to make these long records?

1282
01:17:37,280 --> 01:17:39,160
Speaker 5: Film? Is there? Cameras are there?

1283
01:17:39,240 --> 01:17:40,200
Speaker 1: And then he lived a long.

1284
01:17:40,120 --> 01:17:43,880
Speaker 4: Life and right, so then we have all these images

1285
01:17:44,000 --> 01:17:47,639
Speaker 4: and credible interviews and and he didn't.

1286
01:17:47,479 --> 01:17:48,280
Speaker 5: Mind the camera.

1287
01:17:48,560 --> 01:17:49,840
Speaker 1: Yeah, he embraced it.

1288
01:17:50,040 --> 01:17:52,960
Speaker 4: Yeah, that's cool. Yeah, So I love that when you

1289
01:17:53,040 --> 01:17:54,680
Speaker 4: when you were when you were singing that song on

1290
01:17:54,760 --> 01:17:57,759
Speaker 4: that record, I was, yeah, that's right, Florette Africa.

1291
01:17:58,240 --> 01:18:01,280
Speaker 1: It's such a good one. And I that album Money

1292
01:18:01,360 --> 01:18:06,519
Speaker 1: Jungle with Max Roach and Charles Mingus. I've maybe you

1293
01:18:06,680 --> 01:18:10,240
Speaker 1: know the truth is Florid Afrikaan. I heard that that

1294
01:18:10,479 --> 01:18:13,040
Speaker 1: was sort of just improvised on the spot, which kind

1295
01:18:13,080 --> 01:18:15,680
Speaker 1: of makes sense if I'm listening to it. But do

1296
01:18:15,720 --> 01:18:16,880
Speaker 1: you know if there's any truth in that?

1297
01:18:17,000 --> 01:18:19,880
Speaker 5: I mean, I don't know. I'm sure, I don't know. Actually,

1298
01:18:19,920 --> 01:18:20,280
Speaker 5: I don't know.

1299
01:18:20,439 --> 01:18:23,439
Speaker 1: I like the whole song was improvised. Yeah, I mean,

1300
01:18:23,560 --> 01:18:24,080
Speaker 1: but I don't know.

1301
01:18:24,640 --> 01:18:26,639
Speaker 4: There's only one other piano player who I think gets

1302
01:18:26,680 --> 01:18:30,400
Speaker 4: to that is that's Herbie Hancott, meaning like the inventive

1303
01:18:30,520 --> 01:18:33,880
Speaker 4: nature of their piano playing, like what Ellington is playing there.

1304
01:18:33,920 --> 01:18:37,439
Speaker 4: He has a thought of an idea, but how he

1305
01:18:37,600 --> 01:18:42,840
Speaker 4: decorates that melody, like yeah, it's just it's it's odd

1306
01:18:42,920 --> 01:18:46,080
Speaker 4: at times, but it's so simple, comforting simple.

1307
01:18:46,280 --> 01:18:48,880
Speaker 1: Yeah, and then it gets a little bloozy, yes, but

1308
01:18:49,040 --> 01:18:50,559
Speaker 1: it doesn't at all.

1309
01:18:51,040 --> 01:18:54,840
Speaker 5: Yeah, it's like yeah, yeah, yeah, yeah, yeah. I mean

1310
01:18:54,880 --> 01:18:55,600
Speaker 5: it's like kind of like.

1311
01:18:58,479 --> 01:19:01,760
Speaker 4: I recently made my first successful gumbo, which is a

1312
01:19:01,800 --> 01:19:02,240
Speaker 4: big deal.

1313
01:19:02,520 --> 01:19:05,559
Speaker 1: First, Yeah, have you been practicing a while?

1314
01:19:06,520 --> 01:19:08,559
Speaker 4: They were terrible, but I finally made a go one.

1315
01:19:10,439 --> 01:19:13,640
Speaker 4: But when you're cooking and they ask you to kind

1316
01:19:13,680 --> 01:19:15,120
Speaker 4: of like get the bottom.

1317
01:19:14,840 --> 01:19:17,639
Speaker 1: Of the pot, yeah, the scrape up the bit. Yeah,

1318
01:19:18,040 --> 01:19:18,320
Speaker 1: Like I.

1319
01:19:18,320 --> 01:19:22,519
Speaker 4: Feel like Ellington is always kind of like making sure

1320
01:19:22,560 --> 01:19:27,280
Speaker 4: that there's some something that has kind of like crusted over,

1321
01:19:27,640 --> 01:19:30,559
Speaker 4: you know, something that's a little burnt in there.

1322
01:19:30,680 --> 01:19:32,280
Speaker 1: He just then he picks it up. Yeah.

1323
01:19:32,600 --> 01:19:36,400
Speaker 5: He used his tension in a way and doesn't mind

1324
01:19:36,479 --> 01:19:40,040
Speaker 5: creating with it to make more, you know, and using

1325
01:19:40,120 --> 01:19:41,080
Speaker 5: his band to do that too.

1326
01:19:41,320 --> 01:19:41,559
Speaker 1: Yeah.

1327
01:19:41,760 --> 01:19:42,400
Speaker 5: Special at that.

1328
01:19:43,280 --> 01:19:45,719
Speaker 1: That's so great. And so you're doing that show still.

1329
01:19:46,280 --> 01:19:49,160
Speaker 4: Yeah, my last one is next week at the Apollo.

1330
01:19:49,320 --> 01:19:50,040
Speaker 1: Oh that's right.

1331
01:19:50,920 --> 01:19:53,559
Speaker 5: So it's kind of like a it's been a year

1332
01:19:53,880 --> 01:19:55,720
Speaker 5: and and it was for.

1333
01:19:55,840 --> 01:19:58,519
Speaker 1: His one hundred and twenty fifth birthday. Yeah, and how

1334
01:19:58,560 --> 01:19:59,519
Speaker 1: old was he when he died.

1335
01:20:00,120 --> 01:20:03,160
Speaker 4: Gosh, let's see. If he was born in eighteen ninety nine.

1336
01:20:03,240 --> 01:20:06,240
Speaker 4: I think he's died in the late seventies, so he

1337
01:20:06,360 --> 01:20:07,120
Speaker 4: wasn't eighty, you know.

1338
01:20:07,280 --> 01:20:08,840
Speaker 1: But he was good, but he was he was old.

1339
01:20:09,280 --> 01:20:11,040
Speaker 1: He probably lived a hard life.

1340
01:20:11,640 --> 01:20:13,640
Speaker 4: I mean, look, he's sure smiles a lot through it.

1341
01:20:13,920 --> 01:20:14,720
Speaker 1: He sure did.

1342
01:20:15,120 --> 01:20:19,759
Speaker 4: Man something that like right when we think about people

1343
01:20:19,880 --> 01:20:23,800
Speaker 4: like that who put on that show enough, you know.

1344
01:20:24,320 --> 01:20:26,800
Speaker 4: But I think the other thing was I think about

1345
01:20:26,840 --> 01:20:29,200
Speaker 4: him using a big band, a thing that goes out

1346
01:20:29,240 --> 01:20:31,760
Speaker 4: of style, and he's like, somehow it doesn't tire like

1347
01:20:31,960 --> 01:20:32,320
Speaker 4: keeping that.

1348
01:20:32,880 --> 01:20:36,439
Speaker 1: I'm not even a huge big band person. I'm really not,

1349
01:20:37,479 --> 01:20:40,639
Speaker 1: but I can't get enough of Ellington big band. It's

1350
01:20:40,920 --> 01:20:43,280
Speaker 1: always weird enough and.

1351
01:20:43,520 --> 01:20:47,240
Speaker 5: Just like h yeah, and he doesn't that band doesn't over.

1352
01:20:47,800 --> 01:20:49,639
Speaker 4: I mean, of course I can think about great solos

1353
01:20:49,720 --> 01:20:51,639
Speaker 4: in that band, but I feel like sometimes the solo

1354
01:20:51,880 --> 01:20:56,840
Speaker 4: was aren't solos really like they really do feel composed?

1355
01:20:57,200 --> 01:21:01,960
Speaker 1: Yeah, and like a part yeah, or like a character yes. Yeah.

1356
01:21:02,240 --> 01:21:05,479
Speaker 4: And these musicians are people that he he felt closely

1357
01:21:05,520 --> 01:21:08,679
Speaker 4: about and wrote specifically for that's special.

1358
01:21:09,000 --> 01:21:11,840
Speaker 1: That's special. I wanted to talk about your mass Mocha

1359
01:21:11,880 --> 01:21:14,479
Speaker 1: shows all. That's really cool. So I didn't know you

1360
01:21:14,520 --> 01:21:16,920
Speaker 1: were an artist. I mean, it doesn't surprise me at

1361
01:21:16,960 --> 01:21:18,840
Speaker 1: all visual artists that is.

1362
01:21:19,360 --> 01:21:21,360
Speaker 5: Yeah, you know, I think for the past, like maybe,

1363
01:21:21,439 --> 01:21:22,800
Speaker 5: like I don't know.

1364
01:21:22,960 --> 01:21:27,599
Speaker 4: Since two thousand and five, I've been collaborating with visual artists, okay,

1365
01:21:28,680 --> 01:21:32,400
Speaker 4: as kind of as as much as I would collaborate

1366
01:21:32,479 --> 01:21:36,960
Speaker 4: with great musicians. I felt like visual artists were asking

1367
01:21:37,080 --> 01:21:39,599
Speaker 4: me questions that musicians weren't.

1368
01:21:40,760 --> 01:21:41,479
Speaker 1: Isn't that funny?

1369
01:21:42,000 --> 01:21:46,080
Speaker 4: I was like, thank god, you're gonna help change Meah.

1370
01:21:46,240 --> 01:21:50,280
Speaker 4: And two artists in particular, Joan Jonas and Adrian Piper,

1371
01:21:50,760 --> 01:21:55,360
Speaker 4: these women kind of like arrive I say simply that

1372
01:21:55,439 --> 01:21:57,680
Speaker 4: they arrive at the moment my mother passes. So these

1373
01:21:57,720 --> 01:22:03,960
Speaker 4: are two incredible women and conceptual artist performance artists, and

1374
01:22:04,120 --> 01:22:07,920
Speaker 4: they don't play around either. And there's a record I

1375
01:22:08,000 --> 01:22:10,280
Speaker 4: did on Blue Note called Artists and Residents and it

1376
01:22:10,400 --> 01:22:13,599
Speaker 4: has their work on it. And then over the years

1377
01:22:13,680 --> 01:22:16,040
Speaker 4: kind of it then introduced me to a lot of

1378
01:22:16,120 --> 01:22:18,040
Speaker 4: other artists who I was kind of fans of, who

1379
01:22:18,120 --> 01:22:20,880
Speaker 4: needed something for a video, they needed something for a performance,

1380
01:22:20,960 --> 01:22:21,599
Speaker 4: they needed something.

1381
01:22:22,160 --> 01:22:23,920
Speaker 1: You know, this is why you live in New York City,

1382
01:22:24,000 --> 01:22:25,599
Speaker 1: by the way, that's true.

1383
01:22:25,880 --> 01:22:30,960
Speaker 4: That's very true. True, that's true. The community is quite

1384
01:22:31,160 --> 01:22:34,600
Speaker 4: can be quite small. Yeah, and then and so so

1385
01:22:34,760 --> 01:22:36,720
Speaker 4: it just kind of kept and then I felt like

1386
01:22:36,800 --> 01:22:40,320
Speaker 4: these artists knew as much about music as I did,

1387
01:22:40,720 --> 01:22:43,280
Speaker 4: and I thought I was a specialist, and so the

1388
01:22:43,560 --> 01:22:47,360
Speaker 4: questions like a painter would be asking me about Thelonious Monk.

1389
01:22:48,160 --> 01:22:50,000
Speaker 4: They wanted to know something else that help would help

1390
01:22:50,080 --> 01:22:52,640
Speaker 4: their painting. Yeah, it wasn't like they were trying to

1391
01:22:52,680 --> 01:22:55,920
Speaker 4: get a B flat core down. They were like, nah,

1392
01:22:55,920 --> 01:22:58,920
Speaker 4: I want to there's something about repeating a song. Why

1393
01:22:58,960 --> 01:23:01,439
Speaker 4: do you repeat a song? Why do you repeat a melody?

1394
01:23:01,640 --> 01:23:02,960
Speaker 1: Why do you keep going yes?

1395
01:23:03,120 --> 01:23:03,280
Speaker 4: Right?

1396
01:23:03,360 --> 01:23:04,599
Speaker 5: Like all these kinds of things.

1397
01:23:04,479 --> 01:23:06,920
Speaker 1: That's like I would have never thought to ask that,

1398
01:23:07,800 --> 01:23:08,719
Speaker 1: because it feels good.

1399
01:23:09,800 --> 01:23:12,400
Speaker 4: And they're like, now there's something in that, and so

1400
01:23:12,479 --> 01:23:14,840
Speaker 4: then they make a work about it. So over the

1401
01:23:14,960 --> 01:23:17,439
Speaker 4: years kind of working with these artists then kind of

1402
01:23:17,560 --> 01:23:20,080
Speaker 4: developed a I would say, a practice from watching a

1403
01:23:20,120 --> 01:23:22,800
Speaker 4: lot of them to help say, well, what in relationship

1404
01:23:22,880 --> 01:23:26,519
Speaker 4: to music? Like Miles Davis was a painter, you know,

1405
01:23:26,960 --> 01:23:30,680
Speaker 4: Duke Gallington got accepted to Pratt but didn't.

1406
01:23:30,439 --> 01:23:32,040
Speaker 1: Go really, yeah, I didn't know.

1407
01:23:32,200 --> 01:23:34,840
Speaker 4: It's an art student like, there's always been a relationship.

1408
01:23:35,560 --> 01:23:39,800
Speaker 4: And so I started trying to figure out what are

1409
01:23:39,840 --> 01:23:42,920
Speaker 4: the traces that we leave as pianists at the piano

1410
01:23:43,640 --> 01:23:45,839
Speaker 4: But then I also started really thinking about the places

1411
01:23:45,920 --> 01:23:49,320
Speaker 4: that musicians perform at. Like when I got to New York,

1412
01:23:49,360 --> 01:23:51,000
Speaker 4: I used to love going I still love going to

1413
01:23:51,040 --> 01:23:54,680
Speaker 4: clubs and hear bands playing basements. But then after those

1414
01:23:54,720 --> 01:23:58,639
Speaker 4: clubs shut down, then we sometimes think about the bands

1415
01:23:58,680 --> 01:24:01,519
Speaker 4: who played there in the bootle leg recording, But I

1416
01:24:01,600 --> 01:24:05,080
Speaker 4: want to think about the place. What happened to the place?

1417
01:24:06,200 --> 01:24:08,800
Speaker 4: What is it about the architecture of the place that

1418
01:24:08,960 --> 01:24:10,320
Speaker 4: also informs the music.

1419
01:24:10,520 --> 01:24:13,240
Speaker 1: It was also a part of that thing that was happening.

1420
01:24:13,120 --> 01:24:16,000
Speaker 4: Yeah, and it was a necessary place for an audience

1421
01:24:16,080 --> 01:24:19,280
Speaker 4: to come in to find something too. So there's something

1422
01:24:19,280 --> 01:24:23,080
Speaker 4: about gatherings that would happen in these clubs, And so

1423
01:24:23,160 --> 01:24:26,400
Speaker 4: I started remaking the stages from clubs that are no

1424
01:24:26,479 --> 01:24:26,960
Speaker 4: longer here.

1425
01:24:29,439 --> 01:24:34,560
Speaker 1: I was watching the little video of it, and so

1426
01:24:35,120 --> 01:24:36,639
Speaker 1: does anybody play once?

1427
01:24:36,960 --> 01:24:37,240
Speaker 5: Everyone?

1428
01:24:37,320 --> 01:24:38,960
Speaker 4: I was going to say, you must do music in

1429
01:24:39,080 --> 01:24:41,800
Speaker 4: the space every once in a while, somebody I know

1430
01:24:41,920 --> 01:24:43,840
Speaker 4: what's going through there, so you can go going up

1431
01:24:43,920 --> 01:24:46,599
Speaker 4: into it and play. And in some of the clubs

1432
01:24:46,640 --> 01:24:50,880
Speaker 4: that I've redone like a slug Saloon, I would have

1433
01:24:51,120 --> 01:24:54,240
Speaker 4: Archie Shep come playing, Charles Lloyd come playing.

1434
01:24:54,520 --> 01:24:56,680
Speaker 5: And those are musicians who played the original like the.

1435
01:24:56,720 --> 01:24:59,559
Speaker 1: Real Club was a weird, like out of body experience

1436
01:24:59,640 --> 01:25:00,800
Speaker 1: for the I think they.

1437
01:25:00,800 --> 01:25:03,040
Speaker 5: Thought like, man, this kid is here. It's some wild ship.

1438
01:25:03,240 --> 01:25:04,840
Speaker 1: That's so fun to do it with you, you know.

1439
01:25:06,120 --> 01:25:09,080
Speaker 4: But I think of it more of a continued expression

1440
01:25:09,240 --> 01:25:12,880
Speaker 4: because I still feel like it all evolves from the

1441
01:25:12,960 --> 01:25:18,360
Speaker 4: piano for me, and but I felt that in over time,

1442
01:25:20,479 --> 01:25:23,760
Speaker 4: I don't want to be everywhere, meaning like travel on

1443
01:25:23,840 --> 01:25:25,240
Speaker 4: the road and always play all the shows.

1444
01:25:25,280 --> 01:25:26,519
Speaker 1: So how do you channel it?

1445
01:25:27,000 --> 01:25:29,879
Speaker 4: How can I exist somewhere and not be podcast?

1446
01:25:29,960 --> 01:25:34,479
Speaker 1: Baby? It's what you gotta do. Man, it's your next

1447
01:25:34,600 --> 01:25:38,800
Speaker 1: endumor isn't in yours? But that's really cool. I want

1448
01:25:38,840 --> 01:25:41,439
Speaker 1: to see it because it looked beautiful and it's up

1449
01:25:41,439 --> 01:25:42,080
Speaker 1: till January.

1450
01:25:42,280 --> 01:25:44,240
Speaker 4: Yeah, it's yeah, it's been up for like a couple

1451
01:25:44,280 --> 01:25:46,519
Speaker 4: of years, so it has okay, it's kind of I

1452
01:25:46,600 --> 01:25:51,280
Speaker 4: mean also the largest contemporary art museum in America.

1453
01:25:51,439 --> 01:25:53,360
Speaker 5: Like, it's incredible space.

1454
01:25:53,160 --> 01:25:57,519
Speaker 4: Up there that's actually never been because it's also a

1455
01:25:57,600 --> 01:25:58,240
Speaker 4: long strip.

1456
01:25:58,400 --> 01:26:00,640
Speaker 1: Yeah, but I've heard it's a it's like on my

1457
01:26:00,720 --> 01:26:02,759
Speaker 1: list every summer to take the kids, and then I forget.

1458
01:26:03,080 --> 01:26:08,040
Speaker 4: It is really beautiful, but there's just something about, you know,

1459
01:26:09,240 --> 01:26:14,679
Speaker 4: kind of making sound and music not in concert spaces.

1460
01:26:15,800 --> 01:26:18,760
Speaker 4: You know, I'm sure you've been asked to play all

1461
01:26:18,880 --> 01:26:19,639
Speaker 4: kinds of places.

1462
01:26:21,000 --> 01:26:21,400
Speaker 1: I don't know.

1463
01:26:22,200 --> 01:26:24,920
Speaker 4: Yeah, you're not going to think about it now, but then, oh, yeah,

1464
01:26:24,920 --> 01:26:25,360
Speaker 4: I remember.

1465
01:26:25,200 --> 01:26:28,479
Speaker 1: That time we were well. I love the idea of

1466
01:26:28,600 --> 01:26:32,320
Speaker 1: like a house concert or you know, an interesting space.

1467
01:26:32,960 --> 01:26:33,960
Speaker 1: It is a whole other thing.

1468
01:26:35,400 --> 01:26:38,000
Speaker 4: And so sometimes like thinking about the way music fits

1469
01:26:38,040 --> 01:26:42,559
Speaker 4: into these spaces, and for me watching also a lot

1470
01:26:42,640 --> 01:26:48,720
Speaker 4: of worlds siphon ideas from the jazz world. So they

1471
01:26:48,760 --> 01:26:56,160
Speaker 4: extract the resources from a jazz world, which is a

1472
01:26:56,240 --> 01:26:59,479
Speaker 4: lot of struggle, you know, and they move them over

1473
01:26:59,640 --> 01:27:03,960
Speaker 4: into fashion or into film or you know, in siphoning

1474
01:27:04,000 --> 01:27:08,840
Speaker 4: it out and reap all this I don't know, let's

1475
01:27:08,880 --> 01:27:13,559
Speaker 4: just say economy right for lack of a better term yet.

1476
01:27:13,840 --> 01:27:17,200
Speaker 4: But the musicians who are making this like what, like

1477
01:27:17,280 --> 01:27:19,800
Speaker 4: how do we how do we kind of like start

1478
01:27:20,080 --> 01:27:23,599
Speaker 4: honoring what they did. There's a The Mellon Foundation recently

1479
01:27:23,720 --> 01:27:29,240
Speaker 4: gave this very large grant to musicians who are older

1480
01:27:29,560 --> 01:27:31,479
Speaker 4: in their lives, who have done a lot of this

1481
01:27:31,640 --> 01:27:35,000
Speaker 4: great work and who have not received great speak awards.

1482
01:27:35,880 --> 01:27:38,160
Speaker 4: And there's just something that has to come back to

1483
01:27:38,640 --> 01:27:41,120
Speaker 4: these people and to the community, and how do you

1484
01:27:41,840 --> 01:27:44,040
Speaker 4: kind of bring awareness to it. So this thing about

1485
01:27:44,160 --> 01:27:48,639
Speaker 4: jazz clubs, for me, revolutions starts started in these clubs,

1486
01:27:50,439 --> 01:27:53,160
Speaker 4: small spaces, you know what I mean, people coming into

1487
01:27:53,200 --> 01:27:56,280
Speaker 4: a room, whispering shit to one another in between songs.

1488
01:27:57,000 --> 01:28:00,640
Speaker 4: You know. So there's a lot of yet minds that

1489
01:28:00,760 --> 01:28:05,559
Speaker 4: depend on that kind of music. And you know, we're

1490
01:28:05,640 --> 01:28:09,720
Speaker 4: not the industry. The music itself is not looking for

1491
01:28:09,880 --> 01:28:14,400
Speaker 4: the limelight because it already had that a long time ago.

1492
01:28:15,200 --> 01:28:18,960
Speaker 4: But I do think that, my gosh, as the country

1493
01:28:19,040 --> 01:28:23,080
Speaker 4: continues to age, this country specifically, then where do we

1494
01:28:23,400 --> 01:28:27,280
Speaker 4: where do we keep some space to make that kind

1495
01:28:27,320 --> 01:28:29,600
Speaker 4: of music, to honor the musicians that did it, to

1496
01:28:29,680 --> 01:28:32,080
Speaker 4: honor the places that gather people together to do it,

1497
01:28:32,680 --> 01:28:35,760
Speaker 4: and to know that it doesn't take like it takes

1498
01:28:35,760 --> 01:28:37,720
Speaker 4: all kinds of megaphones to start revolutions.

1499
01:28:38,240 --> 01:28:41,240
Speaker 1: It can be small. It can be small that people

1500
01:28:41,280 --> 01:28:45,040
Speaker 1: are focused online, but it can still be in a

1501
01:28:45,120 --> 01:28:48,640
Speaker 1: small place together in real I R L.

1502
01:28:52,720 --> 01:28:56,160
Speaker 4: Beautiful what I learned today. I K t R, I

1503
01:28:56,400 --> 01:28:58,439
Speaker 4: K t R. I know that's right.

1504
01:28:58,600 --> 01:29:02,280
Speaker 1: I know that's right. From your kids, Yeah, what does

1505
01:29:02,360 --> 01:29:02,680
Speaker 1: that mean?

1506
01:29:02,920 --> 01:29:04,040
Speaker 5: Oh yeah, all right, yeah.

1507
01:29:03,880 --> 01:29:08,920
Speaker 1: Sure, I p B I play ballads. That sounded like

1508
01:29:09,000 --> 01:29:13,360
Speaker 1: a disease or something I have. I pp Well, do

1509
01:29:13,439 --> 01:29:14,880
Speaker 1: you want to take us out on a song?

1510
01:29:15,040 --> 01:29:15,280
Speaker 4: Can you?

1511
01:29:15,560 --> 01:29:17,840
Speaker 1: Would you play a song for me? And I won't

1512
01:29:17,840 --> 01:29:19,719
Speaker 1: play or sing at all in this one. I would

1513
01:29:19,760 --> 01:29:22,720
Speaker 1: love to hear. Really, you can play anything you want,

1514
01:29:23,080 --> 01:29:25,679
Speaker 1: but I was thinking reanimation, but or anything.

1515
01:29:26,040 --> 01:29:29,479
Speaker 5: No, I'll play re Animation just because it's a it'll

1516
01:29:29,520 --> 01:29:31,080
Speaker 5: make me sweat.

1517
01:29:31,280 --> 01:29:34,840
Speaker 1: It's great. Well, yeah, do whatever you want. Thank you

1518
01:29:34,960 --> 01:29:35,800
Speaker 1: so much, But this is.

1519
01:29:35,840 --> 01:29:38,439
Speaker 5: A yeah not it's a pleasure to be here and

1520
01:29:38,680 --> 01:29:39,280
Speaker 5: talk stuff.

1521
01:29:39,640 --> 01:29:41,679
Speaker 1: Oh it's so great. Can we just hang out again?

1522
01:29:41,880 --> 01:29:43,960
Speaker 1: Sooner than ten years? And I want to hang out

1523
01:29:43,960 --> 01:29:44,640
Speaker 1: with Alicia too?

1524
01:29:44,720 --> 01:29:45,240
Speaker 5: Oh my god?

1525
01:29:45,360 --> 01:29:49,280
Speaker 4: Yeah, all right here here, here's re Animation. This is

1526
01:29:49,280 --> 01:29:51,960
Speaker 4: written for one of the artists, Joan Jonas. Okay, this

1527
01:29:52,120 --> 01:30:07,000
Speaker 4: is a song for her. Don't I.

1528
01:30:10,360 --> 01:30:39,080
Speaker 7: Don't think think think think.

1529
01:30:40,360 --> 01:32:12,240
Speaker 2: No no no no no no, I don't not not

1530
01:32:13,000 --> 01:32:16,240
Speaker 2: b my f F like that.

1531
01:32:17,120 --> 01:32:17,160
Speaker 4: That.

1532
01:33:05,120 --> 01:33:05,960
Speaker 1: That was awesome.

1533
01:33:06,080 --> 01:33:06,320
Speaker 5: Thank you.

1534
01:33:06,680 --> 01:33:10,240
Speaker 1: I like how it melted. I just my shoulders just

1535
01:33:10,439 --> 01:33:15,640
Speaker 1: went down and I just started, well, thank you, my

1536
01:33:15,800 --> 01:33:16,879
Speaker 1: friend from Texas.

1537
01:33:17,200 --> 01:33:18,040
Speaker 5: Friend from Texas.

1538
01:33:18,200 --> 01:33:19,479
Speaker 4: Yes, good, and thank you.

1539
01:33:19,640 --> 01:33:23,639
Speaker 1: For do it again sometimes hang out. Thanks for being

1540
01:33:23,720 --> 01:33:25,600
Speaker 1: so awesome and coming to do this with me.

1541
01:33:25,840 --> 01:33:27,639
Speaker 4: Thank you, yay. Thanks.

1542
01:33:30,320 --> 01:33:32,760
Speaker 1: That was lovely. I love him. Oh he's so great.

1543
01:33:33,439 --> 01:33:36,280
Speaker 1: I mean, obviously such a natural. If you want to

1544
01:33:36,320 --> 01:33:38,479
Speaker 1: know what songs we did in this episode, the first

1545
01:33:38,520 --> 01:33:41,200
Speaker 1: one was the Makings of You. That was a Curtis

1546
01:33:41,320 --> 01:33:45,200
Speaker 1: Mayfield song from his album Curtis, released in nineteen seventy.

1547
01:33:46,080 --> 01:33:48,920
Speaker 1: The second song we did was Ain't Misbehavin of Course,

1548
01:33:49,160 --> 01:33:53,360
Speaker 1: music by Fats Waller and Henry Brooks, lyrics by Andy Resoff.

1549
01:33:53,760 --> 01:33:57,320
Speaker 1: Originally it was from the musical Connie's Hot Chocolates from

1550
01:33:57,439 --> 01:34:01,240
Speaker 1: nineteen twenty nine, but famously it was recorded by Louis Armstrong,

1551
01:34:01,320 --> 01:34:04,880
Speaker 1: Elephus Gerald, Saravon Nott, kN Cole, Frank Sinatra, and many more.

1552
01:34:06,040 --> 01:34:09,040
Speaker 1: The third song we did was for James by Jason

1553
01:34:09,080 --> 01:34:13,400
Speaker 1: Moran from the album titled Ten, released in twenty ten.

1554
01:34:14,120 --> 01:34:16,960
Speaker 1: The fourth song we did was Floret Afrikaan from Duke

1555
01:34:17,000 --> 01:34:21,040
Speaker 1: Ellington's Money Jungle, released in nineteen sixty three. I also

1556
01:34:21,120 --> 01:34:23,719
Speaker 1: did a version of that song on my album Daybreaks

1557
01:34:24,160 --> 01:34:27,280
Speaker 1: twenty sixteen. The fifth song we did was re animation

1558
01:34:27,960 --> 01:34:30,760
Speaker 1: by Jason Moran and the album it was on was

1559
01:34:30,800 --> 01:34:34,880
Speaker 1: Reanimation from twenty twelve. Special thanks to Jason Moran for

1560
01:34:35,000 --> 01:34:37,040
Speaker 1: joining us today and we'll be back next week with

1561
01:34:37,240 --> 01:34:40,559
Speaker 1: Saint Vincent. Nora Jones is playing along as a production

1562
01:34:40,640 --> 01:34:44,040
Speaker 1: of iHeart Podcasts. Visit Nora Jones channel and be sure

1563
01:34:44,080 --> 01:34:46,799
Speaker 1: to subscribe while you're there. I'm your host, Nora Jones

1564
01:34:46,960 --> 01:34:50,240
Speaker 1: and this episode was recorded by Matt Marinelli, mixed by

1565
01:34:50,360 --> 01:34:53,920
Speaker 1: Jamie Landry, Audio post production and mastering by Greg Tobler,

1566
01:34:54,200 --> 01:34:58,640
Speaker 1: artwork by Eliza Fry, Photography by Shervin Linnez. Produced by

1567
01:34:58,680 --> 01:35:01,920
Speaker 1: Nor Jones and Sarah Oda. Executive producers Aaron wan Kaufman

1568
01:35:01,960 --> 01:35:06,800
Speaker 1: and Jordian Mentog. Marketing lead Alison knt Graber. Thanks for

1569
01:35:06,920 --> 01:35:09,639
Speaker 1: joining us. Thanks Jason, Bye,