1 00:00:00,560 --> 00:00:03,720 Speaker 1: Taking a Walk. This record was all about everyone together, 2 00:00:03,840 --> 00:00:07,200 Speaker 1: obviously about me, but it was much more than that. 3 00:00:07,400 --> 00:00:10,119 Speaker 2: I'm Buzznight, the host of the Taking a Walk podcast. 4 00:00:10,200 --> 00:00:12,920 Speaker 2: Now they say good things come in fives, and for 5 00:00:13,160 --> 00:00:16,840 Speaker 2: the artists by the name of Naya, that couldn't ring 6 00:00:16,920 --> 00:00:22,000 Speaker 2: more true. The Italian American jazz pop provocateurs pouring out 7 00:00:22,040 --> 00:00:26,480 Speaker 2: her fifth studio album, V Like one of her signature slow, 8 00:00:26,680 --> 00:00:32,200 Speaker 2: sultry melodies. After years of experimenting where electronic dreams meet 9 00:00:32,479 --> 00:00:36,279 Speaker 2: jazz tradition, She's returned to her first love with an 10 00:00:36,320 --> 00:00:39,680 Speaker 2: album The New York Times might describe as a slow 11 00:00:39,800 --> 00:00:44,960 Speaker 2: pore worth savoring. We'll talk to Naya next on Taking 12 00:00:45,040 --> 00:00:51,080 Speaker 2: a Walk. Taking a Walk. Hi, Naya, welcome to the 13 00:00:51,080 --> 00:00:52,360 Speaker 2: Taking a Walk Podcast. 14 00:00:52,520 --> 00:00:54,920 Speaker 1: Thank you for having me. I'm excited to be here. 15 00:00:55,840 --> 00:00:59,440 Speaker 2: We like to open with this question. I wish there 16 00:00:59,480 --> 00:01:02,280 Speaker 2: was some dispenseful music to lead up to the question. 17 00:01:02,440 --> 00:01:05,000 Speaker 2: But anyway, now, if you could take a walk with 18 00:01:05,080 --> 00:01:09,119 Speaker 2: somebody living or dead, who would you take a walk 19 00:01:09,120 --> 00:01:11,400 Speaker 2: with and where would you take that walk? 20 00:01:12,200 --> 00:01:15,160 Speaker 1: That's a great question. I think I would take that 21 00:01:15,240 --> 00:01:21,920 Speaker 1: walk right now, maybe with Ella Fitzgerald. I think I'd 22 00:01:21,920 --> 00:01:24,720 Speaker 1: want to take a walk with her right now. I 23 00:01:24,760 --> 00:01:25,839 Speaker 1: think she'd be a good one. 24 00:01:26,600 --> 00:01:28,119 Speaker 2: Yeah, where do you think you'd go? 25 00:01:29,280 --> 00:01:31,760 Speaker 1: I think I would take her. I mean it'd be 26 00:01:31,800 --> 00:01:34,160 Speaker 1: fun to just walk through New York City with her. 27 00:01:34,200 --> 00:01:38,960 Speaker 1: I think just through from downtown to uptown. Maybe just 28 00:01:38,959 --> 00:01:41,119 Speaker 1: just go straight and see where we go. 29 00:01:42,120 --> 00:01:48,120 Speaker 2: Yeah. Do you ever recall seeing the commercial she used 30 00:01:48,120 --> 00:01:49,880 Speaker 2: to do, the glass breaking commercial? 31 00:01:50,040 --> 00:01:53,280 Speaker 1: No, but that sounds amazing. I need to see that. 32 00:01:53,960 --> 00:01:55,720 Speaker 2: You got to see if you could find that, it's 33 00:01:55,760 --> 00:02:00,440 Speaker 2: probably available. But yeah, it was an incredible demonstration of 34 00:02:00,480 --> 00:02:04,320 Speaker 2: the power of her voice and her personality. For sure, 35 00:02:04,520 --> 00:02:05,160 Speaker 2: I believe it. 36 00:02:05,520 --> 00:02:08,200 Speaker 1: Yeah, I mean I think she's, you know, gone through 37 00:02:08,240 --> 00:02:10,480 Speaker 1: so much nothing but FaZe her walking down the streets 38 00:02:10,480 --> 00:02:12,600 Speaker 1: of New York like I could get some wisdom out 39 00:02:12,600 --> 00:02:12,840 Speaker 1: of her. 40 00:02:13,840 --> 00:02:16,119 Speaker 2: I agree. Now, did you grow up in Boston? 41 00:02:16,440 --> 00:02:19,400 Speaker 1: I did. I grew up grew up right outside of Boston, 42 00:02:19,440 --> 00:02:21,760 Speaker 1: but I went to school in Newton and did a 43 00:02:21,800 --> 00:02:24,040 Speaker 1: lot of music stuff that was kind of in the 44 00:02:24,080 --> 00:02:24,880 Speaker 1: Boston area. 45 00:02:26,320 --> 00:02:28,200 Speaker 2: So what part of Boston did you grow up? 46 00:02:28,360 --> 00:02:30,920 Speaker 1: I grew up right outside in Needham, maybe like twenty 47 00:02:31,000 --> 00:02:34,440 Speaker 1: minutes from the city, and oh yeah, went to school 48 00:02:34,440 --> 00:02:34,880 Speaker 1: in Newton. 49 00:02:35,680 --> 00:02:40,680 Speaker 2: This is all the territory where i'mm I'm outside of Boston, actually, 50 00:02:41,080 --> 00:02:43,320 Speaker 2: the next town over from Conquered. 51 00:02:43,440 --> 00:02:45,280 Speaker 1: Oh amazing, Conquered, so beautiful. 52 00:02:46,080 --> 00:02:49,000 Speaker 2: Yeah, so we've got the Boston roots. 53 00:02:49,240 --> 00:02:50,400 Speaker 1: Yes, I love it. 54 00:02:50,440 --> 00:02:55,400 Speaker 2: This is great. So congratulations on your fifth album, Thank you. 55 00:02:56,440 --> 00:03:00,400 Speaker 2: And you've said that this is your most personal album 56 00:03:00,440 --> 00:03:03,840 Speaker 2: to date. What did you learn about yourself and the 57 00:03:03,880 --> 00:03:05,799 Speaker 2: make and of the record that you didn't know before. 58 00:03:06,639 --> 00:03:10,520 Speaker 1: I think something I learned with this one especially was 59 00:03:10,760 --> 00:03:14,720 Speaker 1: just I knew when to keep going and I kind 60 00:03:14,720 --> 00:03:17,800 Speaker 1: of knew when to stop. I think that was something 61 00:03:17,840 --> 00:03:20,680 Speaker 1: I struggled with in the past. You know, because when 62 00:03:20,720 --> 00:03:23,000 Speaker 1: you work with so many people, you take into account 63 00:03:23,040 --> 00:03:26,880 Speaker 1: their time and their energy and just how the music 64 00:03:27,200 --> 00:03:30,280 Speaker 1: shapes itself and leads, and you know, you have a 65 00:03:30,280 --> 00:03:33,519 Speaker 1: certain certain amount of days and studios you kind of 66 00:03:33,520 --> 00:03:34,880 Speaker 1: want to get it all done and you think you 67 00:03:35,000 --> 00:03:38,040 Speaker 1: might have it. But I really trusted myself this time, 68 00:03:38,120 --> 00:03:40,240 Speaker 1: and there were definitely moments where I was like, I'm 69 00:03:40,280 --> 00:03:43,320 Speaker 1: not sure this is going to work, but I really 70 00:03:43,400 --> 00:03:47,880 Speaker 1: did show up and kind of decide no, I have 71 00:03:47,960 --> 00:03:50,400 Speaker 1: to see this through, and that was really important for me. 72 00:03:50,520 --> 00:03:54,320 Speaker 1: So I'm proud of myself for kind of deciding when 73 00:03:54,320 --> 00:03:56,560 Speaker 1: it was time to be done and when it was complete, 74 00:03:56,600 --> 00:03:58,920 Speaker 1: which I don't usually do. I usually listen to other 75 00:03:58,920 --> 00:04:01,160 Speaker 1: people a little bit more, but this one, I really 76 00:04:01,720 --> 00:04:02,480 Speaker 1: I was the boss. 77 00:04:03,640 --> 00:04:08,160 Speaker 2: Well, you work with Spencer Zohn and Lawrence Rothman, and 78 00:04:08,240 --> 00:04:11,280 Speaker 2: I know Lawrence's work. I don't know Spencer's work, but 79 00:04:11,400 --> 00:04:15,200 Speaker 2: Lawrence's work. I know because I've had Amanda Shiers on 80 00:04:15,280 --> 00:04:19,279 Speaker 2: the podcast a couple of times. Yeah, I know. She 81 00:04:19,680 --> 00:04:24,880 Speaker 2: just absolutely adores working with Lawrence and sort of really 82 00:04:24,880 --> 00:04:28,159 Speaker 2: gets pushed by Lawrence into these great places. Tell me 83 00:04:28,200 --> 00:04:32,520 Speaker 2: about the different energies that Spencer and Lawrence brought to 84 00:04:32,600 --> 00:04:33,919 Speaker 2: you into this project. 85 00:04:34,320 --> 00:04:38,000 Speaker 1: Yeah, I mean, they're both such heavy hitters. You know. Lawrence, 86 00:04:38,560 --> 00:04:41,159 Speaker 1: he's been doing this for a while. I remember, you know, 87 00:04:41,240 --> 00:04:44,920 Speaker 1: his artist desography is incredible. I think he's one of 88 00:04:44,960 --> 00:04:48,760 Speaker 1: the best songwriters living personally, and he was the one 89 00:04:48,800 --> 00:04:51,559 Speaker 1: that really encouraged me to make my you know, Naya 90 00:04:51,680 --> 00:04:56,680 Speaker 1: Jazz album. And he he's cutthroat, he's brutally honest, and 91 00:04:56,920 --> 00:05:00,520 Speaker 1: he's radically determined, you know, and he he loves a 92 00:05:00,600 --> 00:05:04,080 Speaker 1: challenge and he has this way where he really knows 93 00:05:04,160 --> 00:05:07,560 Speaker 1: how to guide you, but not lead in a sense. 94 00:05:07,640 --> 00:05:09,200 Speaker 1: And you know, he worked with a lot of women, 95 00:05:09,240 --> 00:05:12,440 Speaker 1: which I really like. And he's funny, but you know, 96 00:05:12,600 --> 00:05:16,080 Speaker 1: he means business. You know, can't you can't kind of 97 00:05:16,440 --> 00:05:18,560 Speaker 1: bring your B minus with him. You got to show 98 00:05:18,640 --> 00:05:22,960 Speaker 1: up and work hard. But he's really easy to collaborate with. 99 00:05:23,040 --> 00:05:27,640 Speaker 1: And I usually tend to write specifically with females, and 100 00:05:27,680 --> 00:05:30,280 Speaker 1: it wasn't really a choice. It just kind of happened naturally. 101 00:05:30,360 --> 00:05:33,039 Speaker 1: I think, maybe because I'm so emotional and we just 102 00:05:33,120 --> 00:05:35,680 Speaker 1: kind of all gathered together. But Lawrence and I he 103 00:05:35,760 --> 00:05:39,719 Speaker 1: really helped me with my lyrics, which was a real gift, 104 00:05:39,880 --> 00:05:42,680 Speaker 1: you know. And Spencer is a bit more I want 105 00:05:42,720 --> 00:05:46,240 Speaker 1: to say, you know, he's he's I think from Massachusetts too, 106 00:05:46,440 --> 00:05:49,640 Speaker 1: but he's newer to the scene. He's more in the 107 00:05:49,680 --> 00:05:55,680 Speaker 1: ambient jazz, kind of more emotional melodic side, and he 108 00:05:55,800 --> 00:05:58,280 Speaker 1: had just the sensibility to know what was kind of 109 00:05:58,960 --> 00:06:01,960 Speaker 1: missing from maybe the stuff me and Lawrence had worked on, 110 00:06:02,160 --> 00:06:04,520 Speaker 1: and just the three of us kind of found this 111 00:06:04,640 --> 00:06:09,320 Speaker 1: perfect pairing of how to balance everything and give it 112 00:06:09,360 --> 00:06:12,560 Speaker 1: all the colors that we needed. And working with Spencer's 113 00:06:12,560 --> 00:06:15,919 Speaker 1: great too. He's a bit more emotional quiet, you know, 114 00:06:16,000 --> 00:06:17,880 Speaker 1: So it's the best of both. Lawrence walks in with 115 00:06:17,880 --> 00:06:21,000 Speaker 1: a cowboy hat yelling at me, and then Spencer's more like, 116 00:06:21,040 --> 00:06:22,960 Speaker 1: tell me about your feeling. So I got kind of 117 00:06:22,960 --> 00:06:25,600 Speaker 1: the ying and yang of the best balance. 118 00:06:27,120 --> 00:06:30,599 Speaker 2: How much of working with a great producer is like 119 00:06:30,640 --> 00:06:31,679 Speaker 2: a therapy session. 120 00:06:31,960 --> 00:06:37,400 Speaker 1: Oh my gosh, it's only therapy, really, you know, and 121 00:06:37,440 --> 00:06:41,080 Speaker 1: it's the best, you know, everyone, I really believe in collaboration. 122 00:06:41,400 --> 00:06:44,880 Speaker 1: I think sometimes being an artist, you're so you have 123 00:06:44,960 --> 00:06:47,400 Speaker 1: to be kind of all about yourself, but you can 124 00:06:47,440 --> 00:06:50,920 Speaker 1: lose perspective of how it sounds or you know, I'm 125 00:06:50,920 --> 00:06:53,960 Speaker 1: so determined to make the lyric make sense for me. 126 00:06:54,080 --> 00:06:55,719 Speaker 1: It has to be true to me. So it's nice 127 00:06:55,760 --> 00:06:58,520 Speaker 1: to have other people to bounce ideas off of, or 128 00:06:58,800 --> 00:07:02,000 Speaker 1: you know, stop me if I'm spiraling in ways that 129 00:07:02,000 --> 00:07:06,440 Speaker 1: aren't serving myself musically or as the artist. So, yes, 130 00:07:06,480 --> 00:07:08,800 Speaker 1: they've heard a lot of therapy stuff from me. 131 00:07:08,880 --> 00:07:14,880 Speaker 2: Probably Now, who taught you the art of collaboration? 132 00:07:15,720 --> 00:07:18,760 Speaker 1: I think that was just jazz growing up, And you know, 133 00:07:19,200 --> 00:07:22,080 Speaker 1: I studied classical piano and then started doing jazz and 134 00:07:22,360 --> 00:07:26,560 Speaker 1: was thrown into some jazz ensembles in Newton, Cambridge, and 135 00:07:26,640 --> 00:07:30,320 Speaker 1: I think it was just so vital to understand, especially 136 00:07:30,320 --> 00:07:33,280 Speaker 1: as the singer of a band, to listen to the 137 00:07:33,280 --> 00:07:36,720 Speaker 1: other players. And I think that's where a collaboration. I 138 00:07:36,720 --> 00:07:39,200 Speaker 1: think you're as good as the people you surround yourself with. 139 00:07:40,000 --> 00:07:42,840 Speaker 1: And I also don't want to do it all alone, 140 00:07:42,920 --> 00:07:45,680 Speaker 1: you know, And this record was all about everyone together, 141 00:07:45,800 --> 00:07:49,280 Speaker 1: obviously about me, but it was much more than that. 142 00:07:49,440 --> 00:07:51,880 Speaker 1: So I think it just kind of happened naturally where 143 00:07:52,080 --> 00:07:54,600 Speaker 1: I knew I wanted to just continue to be around 144 00:07:54,600 --> 00:07:56,520 Speaker 1: people that were better than me or that could really 145 00:07:56,640 --> 00:07:59,119 Speaker 1: challenge me to help my music grow. 146 00:08:00,680 --> 00:08:03,160 Speaker 2: What are some of your favorites to listen to jazz? 147 00:08:03,760 --> 00:08:06,840 Speaker 1: Chet Baker gets me every time. I love Chet Baker. 148 00:08:07,720 --> 00:08:10,280 Speaker 1: You know, Ella Fitzgerald I used to love just because 149 00:08:10,320 --> 00:08:14,800 Speaker 1: I was such a you know, student of jazz and vocally, 150 00:08:14,960 --> 00:08:18,120 Speaker 1: you know, she's one of the top pinnacles of accuracy. 151 00:08:19,000 --> 00:08:21,840 Speaker 1: You know. All her scatting was something I, you know, 152 00:08:21,920 --> 00:08:24,920 Speaker 1: would transcribe in college and things like that. So I 153 00:08:24,960 --> 00:08:27,840 Speaker 1: listened to her a lot. Chet Baker, Blue and Green, 154 00:08:27,960 --> 00:08:31,200 Speaker 1: just the song Blue and Green I'd listen to forever so. 155 00:08:32,520 --> 00:08:36,000 Speaker 2: And any particular places that you would go to take 156 00:08:36,040 --> 00:08:39,120 Speaker 2: in jazz, whether like, let's just say in New York 157 00:08:39,160 --> 00:08:39,960 Speaker 2: City is an example. 158 00:08:40,000 --> 00:08:42,359 Speaker 1: Yeah, in New York City there were so many places, 159 00:08:42,520 --> 00:08:46,040 Speaker 1: you know, there was the Vanguard, the Blue Note, the 160 00:08:46,120 --> 00:08:50,600 Speaker 1: fifty five bar, Smalls, all the little places, which is crazy. 161 00:08:50,640 --> 00:08:53,560 Speaker 1: And then even in Boston, I remember I wasn't old 162 00:08:53,640 --> 00:08:55,360 Speaker 1: enough to go, but my mom would sneak me in 163 00:08:55,400 --> 00:08:57,560 Speaker 1: and we go to the Regatta Bar or just you know, 164 00:08:57,640 --> 00:09:01,080 Speaker 1: places like that where even my vocals, I was taught 165 00:09:01,080 --> 00:09:04,000 Speaker 1: by Rebecca Paris and Cassandra Wilson in high school. So 166 00:09:04,120 --> 00:09:06,800 Speaker 1: lucky to get to sneak and see their shows when 167 00:09:06,800 --> 00:09:07,400 Speaker 1: I was little. 168 00:09:07,480 --> 00:09:15,440 Speaker 2: So yeah, I love this description of your singing. She's 169 00:09:15,480 --> 00:09:17,840 Speaker 2: someone who sings like a slow poor. 170 00:09:19,080 --> 00:09:19,600 Speaker 1: That's great. 171 00:09:19,760 --> 00:09:24,120 Speaker 2: How does that sensibility and that patians shape just not 172 00:09:24,360 --> 00:09:28,319 Speaker 2: your vocals, but your entire creative process. 173 00:09:28,960 --> 00:09:31,480 Speaker 1: Well, I think I am a slow poor you know. 174 00:09:31,520 --> 00:09:35,440 Speaker 1: It takes me a while to arrive at things. You know, 175 00:09:35,559 --> 00:09:39,400 Speaker 1: I'm a slow writer in contrast to other artists. You know, 176 00:09:39,440 --> 00:09:41,920 Speaker 1: people write really quickly. You know, there's a lot of 177 00:09:42,040 --> 00:09:45,000 Speaker 1: urgency of getting music out. But the process to me 178 00:09:45,280 --> 00:09:47,760 Speaker 1: needs to take as long as it takes, you know, 179 00:09:47,800 --> 00:09:50,199 Speaker 1: And I think I've learned I'm a bit more reflective 180 00:09:50,920 --> 00:09:53,600 Speaker 1: instead of impulsive. I'll take a little too long to 181 00:09:54,120 --> 00:09:57,360 Speaker 1: respond or answer, which could be bad. I don't know, 182 00:09:57,640 --> 00:09:59,720 Speaker 1: but I think it's just kind of my way. I've 183 00:09:59,720 --> 00:10:02,640 Speaker 1: always been a little bit more introverted and shy, which 184 00:10:02,679 --> 00:10:07,319 Speaker 1: I think then kind of breeds a bit of spacing 185 00:10:07,640 --> 00:10:10,319 Speaker 1: and taking my time with things because it could be 186 00:10:10,360 --> 00:10:14,520 Speaker 1: scary to release music, create music. There's a lot of 187 00:10:14,559 --> 00:10:16,400 Speaker 1: power in it, so I always want to kind of 188 00:10:18,000 --> 00:10:20,440 Speaker 1: get in the shallow end first before I jump fully. 189 00:10:21,920 --> 00:10:26,080 Speaker 2: You've called this return to your first love jazz. What 190 00:10:26,720 --> 00:10:30,680 Speaker 2: holds you back and what does jazz give you that 191 00:10:30,800 --> 00:10:32,280 Speaker 2: other genres maybe don't. 192 00:10:32,559 --> 00:10:35,880 Speaker 1: Yeah, I think you know, jazz is what I really 193 00:10:35,920 --> 00:10:41,560 Speaker 1: first fell in love with when it comes to singing, genre, songwriting, everything, 194 00:10:42,080 --> 00:10:44,439 Speaker 1: and I fell head over heels, just fully down a 195 00:10:44,520 --> 00:10:47,040 Speaker 1: rabbit hole when I was young. And then I think 196 00:10:47,040 --> 00:10:50,520 Speaker 1: I kind of got distracted by other genres, which I 197 00:10:50,559 --> 00:10:53,720 Speaker 1: think are really important to explore. But I think where 198 00:10:53,760 --> 00:10:55,680 Speaker 1: I'm at now or where I was when I started 199 00:10:55,679 --> 00:10:59,079 Speaker 1: this record, I was starting to see other artists really 200 00:10:59,240 --> 00:11:03,280 Speaker 1: transform what their definition of jazz was. There's a big, 201 00:11:03,679 --> 00:11:09,360 Speaker 1: big modern jazz scene happening again, and I felt, you know, jealous, 202 00:11:09,400 --> 00:11:12,080 Speaker 1: but also happy that jazz was kind of coming back 203 00:11:12,120 --> 00:11:14,840 Speaker 1: in its own way. And I thought, I don't see 204 00:11:14,840 --> 00:11:19,000 Speaker 1: that many singers trying to bridge the gap between you know, 205 00:11:19,080 --> 00:11:21,960 Speaker 1: more of this like ambient experimental jazz that I see 206 00:11:21,960 --> 00:11:25,480 Speaker 1: in more of these like instrumentalists or bands, and there 207 00:11:25,480 --> 00:11:28,319 Speaker 1: seems to be just a separation of traditional vocal jazz 208 00:11:28,400 --> 00:11:31,080 Speaker 1: and then the kind of modern experimental and I really 209 00:11:31,080 --> 00:11:33,400 Speaker 1: wanted to try to find a bridge between the two 210 00:11:33,640 --> 00:11:36,520 Speaker 1: and take some risks but still be true to what 211 00:11:36,600 --> 00:11:39,280 Speaker 1: I love about jazz, which is the songwriting, the singing, 212 00:11:39,720 --> 00:11:43,480 Speaker 1: and just kind of the mood invokes. So yeah, I 213 00:11:43,520 --> 00:11:45,200 Speaker 1: think it was just kind of that I wanted to 214 00:11:45,520 --> 00:11:48,400 Speaker 1: figure out what jazz means to me now, as you know, 215 00:11:48,440 --> 00:11:49,199 Speaker 1: an adult woman. 216 00:11:50,720 --> 00:11:58,040 Speaker 2: The album it sits at the intersection of electronic experimental 217 00:11:58,280 --> 00:12:04,839 Speaker 2: pop and live jazz musicianship. How do you navigate that 218 00:12:05,440 --> 00:12:09,080 Speaker 2: balance in this studio and what do you know to 219 00:12:10,320 --> 00:12:13,800 Speaker 2: lean into you know, sort of organic versus you know, 220 00:12:14,520 --> 00:12:16,120 Speaker 2: kind of synthetic totally. 221 00:12:16,240 --> 00:12:20,680 Speaker 1: I mean, I think that's really where collaborating is vital, 222 00:12:20,920 --> 00:12:22,880 Speaker 1: you know, And I think for me, I really knew 223 00:12:22,920 --> 00:12:25,520 Speaker 1: I didn't want to make a throwback album. I think 224 00:12:25,559 --> 00:12:27,720 Speaker 1: it's important, you know, if I want to listen to 225 00:12:28,559 --> 00:12:31,959 Speaker 1: that kind of music or something that feels old, I'll 226 00:12:31,960 --> 00:12:33,760 Speaker 1: listen to an old record, you know. I don't want 227 00:12:33,760 --> 00:12:35,880 Speaker 1: to make an album that sounds like it's from the forties. 228 00:12:36,360 --> 00:12:38,719 Speaker 1: So it was really important to me to make sure 229 00:12:38,800 --> 00:12:42,080 Speaker 1: we had elements that feel modern, you know. And I 230 00:12:42,080 --> 00:12:46,199 Speaker 1: think that's where minimal electronics or just even the composition 231 00:12:46,800 --> 00:12:49,560 Speaker 1: could be a bit more forward than just so traditional 232 00:12:49,640 --> 00:12:53,600 Speaker 1: like a jazz standard. And yeah, I think there's a line, 233 00:12:53,640 --> 00:12:58,800 Speaker 1: you know, when you can identify synths or instruments, you're like, oh, 234 00:12:58,840 --> 00:13:03,120 Speaker 1: that's that's is from it represents like twenty twenty four. 235 00:13:03,360 --> 00:13:06,120 Speaker 1: I really wanted my music to be timeless and not 236 00:13:06,760 --> 00:13:10,199 Speaker 1: be able to remind you too much of the past 237 00:13:10,240 --> 00:13:12,480 Speaker 1: and not too much of the future. So that was 238 00:13:12,520 --> 00:13:15,280 Speaker 1: really important how we kind of put all the ingredients together, 239 00:13:15,360 --> 00:13:19,080 Speaker 1: and picking the players was very important in that role too, 240 00:13:19,160 --> 00:13:21,959 Speaker 1: of who who's the right player, who has the same 241 00:13:22,640 --> 00:13:27,559 Speaker 1: you know, sensibilities and sonic choices and arrangement and you know, again, 242 00:13:27,600 --> 00:13:30,679 Speaker 1: having a Lawrence or a Spencer's helpful because they also 243 00:13:30,720 --> 00:13:33,480 Speaker 1: are the co pilots here to really make sure we're 244 00:13:33,520 --> 00:13:35,840 Speaker 1: staying in our range. 245 00:13:36,559 --> 00:13:40,720 Speaker 2: Tell me about what would be surprising to the audience 246 00:13:40,760 --> 00:13:42,600 Speaker 2: that's on your playlist right now. 247 00:13:43,360 --> 00:13:46,160 Speaker 1: I think what would be surprising is I've been listening 248 00:13:46,240 --> 00:13:50,200 Speaker 1: to a lot of death metal recently, which is crazy. 249 00:13:50,240 --> 00:13:56,880 Speaker 1: It surprises me every time. Yeah, I haven't fallen in love, 250 00:13:56,960 --> 00:14:01,680 Speaker 1: but I've become slightly drawn to this genre because it's 251 00:14:01,720 --> 00:14:02,560 Speaker 1: so foreign to me. 252 00:14:04,040 --> 00:14:05,280 Speaker 2: How did you discover it? 253 00:14:05,520 --> 00:14:09,079 Speaker 1: I think that I was touring in Germany this last month, 254 00:14:09,240 --> 00:14:11,400 Speaker 1: and you know a lot of the venues that we 255 00:14:11,480 --> 00:14:15,480 Speaker 1: crossed over were kind of these like punk jazz intersecting things. 256 00:14:15,520 --> 00:14:18,120 Speaker 1: So there was a lot of band posters everywhere and 257 00:14:18,200 --> 00:14:20,760 Speaker 1: I just kind of took some photos because their imagery 258 00:14:20,840 --> 00:14:24,640 Speaker 1: was amazing. And I just started finding these strange bands. 259 00:14:24,720 --> 00:14:27,440 Speaker 1: And you know, I've never sung into a screened into 260 00:14:27,440 --> 00:14:30,720 Speaker 1: a microphone, and I take all this care of my throat, 261 00:14:30,880 --> 00:14:33,720 Speaker 1: you know, I'm such a psycho for throat care to 262 00:14:33,760 --> 00:14:36,040 Speaker 1: make sure my voice is healthy, and here they are 263 00:14:36,080 --> 00:14:39,200 Speaker 1: these people screaming into a microphone. So I was just 264 00:14:39,800 --> 00:14:42,080 Speaker 1: I think, what scares me? Sometimes I can be very 265 00:14:42,160 --> 00:14:45,240 Speaker 1: drawn to you know, and I also can be a 266 00:14:45,240 --> 00:14:47,800 Speaker 1: bit of a snob, and when I actually listened to 267 00:14:47,800 --> 00:14:49,760 Speaker 1: some of this music, I'm like, this is pretty cool, 268 00:14:49,920 --> 00:14:51,600 Speaker 1: you know, there's something interesting here. I don't know if 269 00:14:51,600 --> 00:14:53,320 Speaker 1: I'm gonna listen to this for the rest of the night, 270 00:14:53,440 --> 00:14:57,080 Speaker 1: but it's good to keep your ears open sometimes. So yeah, 271 00:14:57,080 --> 00:14:58,920 Speaker 1: I would say death metal right now would be the 272 00:14:59,000 --> 00:15:04,040 Speaker 1: most surprising shuffle through my chet Baker shaw De. You know, 273 00:15:04,240 --> 00:15:07,160 Speaker 1: other artists, are there. 274 00:15:07,080 --> 00:15:10,160 Speaker 2: Any Not that I would necessarily recognize them, but are 275 00:15:10,200 --> 00:15:14,400 Speaker 2: there any particular artists or bands that you that you 276 00:15:14,440 --> 00:15:15,040 Speaker 2: can highlight? 277 00:15:15,440 --> 00:15:17,760 Speaker 1: I mean, there's this one that's been around forever called 278 00:15:17,800 --> 00:15:23,480 Speaker 1: Mortician that everyone's obsessed with, and it sounds as terrifying 279 00:15:23,520 --> 00:15:26,440 Speaker 1: as that name. You know. They also incorporate a bunch 280 00:15:26,480 --> 00:15:30,000 Speaker 1: of old horror like audio clips in their music, so 281 00:15:30,040 --> 00:15:32,400 Speaker 1: there's a bit of this kind of humor with horror 282 00:15:32,440 --> 00:15:36,200 Speaker 1: and gore. But it's very playful and it's very intense, 283 00:15:36,600 --> 00:15:38,840 Speaker 1: you know, at the same time, and I love seeing 284 00:15:38,880 --> 00:15:42,800 Speaker 1: how other people present and express emotion, I guess, and 285 00:15:42,840 --> 00:15:48,000 Speaker 1: it's the only genre I probably won't embark into, but 286 00:15:48,040 --> 00:15:50,280 Speaker 1: there's potentially ways to learn from them, you know. Even 287 00:15:50,320 --> 00:15:52,320 Speaker 1: their lyrics are pretty pretty out there. 288 00:15:53,520 --> 00:15:58,600 Speaker 2: I reckon that Amanda Shire has made mention of finding 289 00:15:58,680 --> 00:16:02,000 Speaker 2: a way to incorporate fit with death metal. 290 00:16:02,240 --> 00:16:06,680 Speaker 1: Yeah, I mean I get that totally, totally. Yeah, you 291 00:16:06,720 --> 00:16:09,200 Speaker 1: never know where inspiration will find you. I think that's 292 00:16:09,280 --> 00:16:12,720 Speaker 1: kind of the silver lining with this stuff. I listened 293 00:16:12,720 --> 00:16:14,440 Speaker 1: to a lot of different music, but death metal is 294 00:16:14,480 --> 00:16:15,640 Speaker 1: definitely the most surprising. 295 00:16:17,000 --> 00:16:18,640 Speaker 2: But you do have to be open. 296 00:16:18,720 --> 00:16:20,320 Speaker 1: That's the cure, sure, for sure. 297 00:16:20,400 --> 00:16:25,480 Speaker 2: Yeah. How does your cultural identity, your Italian American cult 298 00:16:26,000 --> 00:16:29,320 Speaker 2: cultural identity show up in your music, if at all? 299 00:16:30,120 --> 00:16:32,360 Speaker 1: I think it does. You know, I grew up, you know, 300 00:16:32,480 --> 00:16:36,400 Speaker 1: listening to a lot of film scores, Ennio Morriconi, Nina Rota, 301 00:16:37,040 --> 00:16:39,080 Speaker 1: you know, watching a bunch of mobster films that I 302 00:16:39,120 --> 00:16:42,400 Speaker 1: probably wasn't supposed to, And I think just kind of 303 00:16:42,400 --> 00:16:46,000 Speaker 1: the cinema of music in some regard of just how 304 00:16:46,720 --> 00:16:49,640 Speaker 1: it scores your life or big emotions, you know, in 305 00:16:49,640 --> 00:16:54,080 Speaker 1: these old foreign films, I especially the Italian cinema I've 306 00:16:54,240 --> 00:16:57,200 Speaker 1: fallen in love with. And you know, I think it's 307 00:16:57,280 --> 00:16:59,640 Speaker 1: just being expressive. I grew up in a family that's 308 00:16:59,680 --> 00:17:03,280 Speaker 1: extremely musical. You know, we have big emotions and I 309 00:17:03,280 --> 00:17:06,360 Speaker 1: thought everybody did, so I think it's helped me kind 310 00:17:06,400 --> 00:17:09,240 Speaker 1: of know that I have to share how I feel, 311 00:17:09,400 --> 00:17:13,280 Speaker 1: and that was always celebrated and the norm in my household. 312 00:17:13,359 --> 00:17:16,479 Speaker 1: So I feel lucky that I had that support and 313 00:17:16,560 --> 00:17:21,480 Speaker 1: kind of encouragement to be an emotional person. And you know, 314 00:17:21,760 --> 00:17:25,359 Speaker 1: everyone thinks maybe Italians are a bit dramatic, but I 315 00:17:25,440 --> 00:17:27,680 Speaker 1: kind of love the drama. You know, my mom's named 316 00:17:27,720 --> 00:17:30,119 Speaker 1: after an opera, so there's a lot of drama in 317 00:17:30,160 --> 00:17:30,600 Speaker 1: our house. 318 00:17:32,640 --> 00:17:37,080 Speaker 2: Could you ever envision your music being part of a 319 00:17:37,119 --> 00:17:37,960 Speaker 2: movie score? 320 00:17:38,320 --> 00:17:40,320 Speaker 1: I hope So, I mean, I think that's a big 321 00:17:40,400 --> 00:17:43,879 Speaker 1: dream to score a film or write something specific for 322 00:17:44,040 --> 00:17:47,520 Speaker 1: a movie. Yeah, I would love to do that. That 323 00:17:47,600 --> 00:17:48,359 Speaker 1: sounds so fun. 324 00:17:50,359 --> 00:17:54,880 Speaker 2: You've been described as a provocateur. What are you provoking 325 00:17:55,200 --> 00:17:59,879 Speaker 2: with this album? And talk to people on why they 326 00:18:00,240 --> 00:18:00,639 Speaker 2: to hear it? 327 00:18:01,200 --> 00:18:03,400 Speaker 1: Yeah, I mean I think, you know, back to our 328 00:18:04,080 --> 00:18:06,480 Speaker 1: you know, talking about Ella Fitzgerald or someone like that. 329 00:18:06,560 --> 00:18:11,080 Speaker 1: These musicians and artists I grew up listening to shocked me. 330 00:18:11,359 --> 00:18:13,479 Speaker 1: You know, some of them were drug addicts. You know. 331 00:18:13,680 --> 00:18:17,240 Speaker 1: Ella Fitzgerald was such a rebel she had to barely 332 00:18:17,280 --> 00:18:19,199 Speaker 1: walk through the front door some of these gigs. So 333 00:18:19,680 --> 00:18:22,439 Speaker 1: I was always under the impression that you kind of 334 00:18:22,480 --> 00:18:25,919 Speaker 1: had to be a provocateur or risk taker in some way. 335 00:18:26,560 --> 00:18:29,119 Speaker 1: And I think for me, I'm a bit of an 336 00:18:29,160 --> 00:18:32,520 Speaker 1: introvert and shy at heart, but in my art is 337 00:18:32,520 --> 00:18:36,280 Speaker 1: where I can really take the risks, and visually I 338 00:18:36,320 --> 00:18:39,280 Speaker 1: really love to explore there. It's kind of it feels 339 00:18:39,320 --> 00:18:42,960 Speaker 1: like the safest place to hide in my imagery. And 340 00:18:43,200 --> 00:18:45,960 Speaker 1: I also feel like jazz has gotten so buttoned up 341 00:18:46,040 --> 00:18:47,879 Speaker 1: that I really wanted to shake it up a little 342 00:18:47,880 --> 00:18:51,120 Speaker 1: and make it a bit edgier and explicit, because that's 343 00:18:51,240 --> 00:18:54,520 Speaker 1: the jazz I was taught. You know, it's hardcore to 344 00:18:54,600 --> 00:18:57,040 Speaker 1: some degree, it's a bit punk. These are rebels doing 345 00:18:57,040 --> 00:19:01,520 Speaker 1: their own thing, And yeah, I think the provocateur I'll take. 346 00:19:01,720 --> 00:19:04,960 Speaker 1: I don't know if I'm walking the walk. But I 347 00:19:05,040 --> 00:19:09,159 Speaker 1: really wanted jazz vocals and like a traditional singer. I 348 00:19:09,200 --> 00:19:12,679 Speaker 1: studied jazz voice, like very traditional jazz voice, but I 349 00:19:12,720 --> 00:19:15,159 Speaker 1: wanted to find a new space for that and not 350 00:19:15,280 --> 00:19:18,120 Speaker 1: just like swing standards. Right now, maybe that'll I think 351 00:19:18,160 --> 00:19:20,040 Speaker 1: that's where I'll end up as I get older, just 352 00:19:20,119 --> 00:19:23,280 Speaker 1: swing in and doing some beautiful standards. But I wasn't 353 00:19:23,320 --> 00:19:25,399 Speaker 1: ready to kind of do that yet, so I wanted 354 00:19:25,400 --> 00:19:29,639 Speaker 1: to kind of find a way to exist now in 355 00:19:29,800 --> 00:19:32,879 Speaker 1: jazz and shake it up a bit. So yeah, And 356 00:19:32,920 --> 00:19:34,800 Speaker 1: I think that's why you should listen to it because 357 00:19:35,119 --> 00:19:37,280 Speaker 1: my album I hope I did it where I bridge 358 00:19:37,280 --> 00:19:41,439 Speaker 1: the gap between traditional jazz and what that means to 359 00:19:41,480 --> 00:19:43,880 Speaker 1: me at least and how it can show up now 360 00:19:43,880 --> 00:19:46,040 Speaker 1: in like you know, twenty twenty six. Almost. 361 00:19:47,520 --> 00:19:51,639 Speaker 2: Congratulations on v Thank you, and it's an honor to 362 00:19:51,680 --> 00:19:54,080 Speaker 2: talk to you. And I know you've got to be 363 00:19:54,160 --> 00:19:56,800 Speaker 2: excited to take this out and be in front of 364 00:19:56,840 --> 00:20:00,679 Speaker 2: people with it, but it must be really good to 365 00:20:00,720 --> 00:20:01,720 Speaker 2: get it out to the world. 366 00:20:02,200 --> 00:20:04,680 Speaker 1: Yeah, it's really exciting. You always, you know, I never 367 00:20:04,720 --> 00:20:07,040 Speaker 1: really got into music to share it. It was always 368 00:20:07,160 --> 00:20:10,480 Speaker 1: kind of the thing that helped me. And now it's 369 00:20:10,560 --> 00:20:12,639 Speaker 1: just so exciting to see how people respond and the 370 00:20:12,720 --> 00:20:16,240 Speaker 1: right people get it. And the more I get to 371 00:20:16,280 --> 00:20:18,400 Speaker 1: perform it, the happier I get, which I love. 372 00:20:18,440 --> 00:20:22,200 Speaker 2: I feel very grateful, grateful that you had the time 373 00:20:22,240 --> 00:20:24,480 Speaker 2: to talk to us and Taking a Walk Naya, thank 374 00:20:24,520 --> 00:20:29,080 Speaker 2: you so much, Thank you, appreciate you. Thanks for listening 375 00:20:29,119 --> 00:20:32,359 Speaker 2: to this episode of the Taking a Walk Podcast. Share 376 00:20:32,400 --> 00:20:35,480 Speaker 2: this and other episodes with your friends and follow us 377 00:20:35,680 --> 00:20:38,720 Speaker 2: so you never miss an episode Taking a Walk is 378 00:20:38,760 --> 00:20:43,439 Speaker 2: available on the iHeartRadio app, Apple Podcasts, and wherever you 379 00:20:43,480 --> 00:20:44,600 Speaker 2: get your podcasts.