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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: What's Up?

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Speaker 3: This is unpaid bill from Questlove Supreme.

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Speaker 2: So questlof does this thing.

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Speaker 3: Usually like once a season where it sits down for

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Speaker 3: one of them. Many of us do that and you

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Speaker 3: can expect to hear mine soon. But anyway, back in

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Speaker 3: May of twenty twenty, a Mere spoke with Nora Jones

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Speaker 3: about her career an unlikely journey.

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Speaker 2: Into the spotlight.

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Speaker 3: There's a lot of heart and soul in this conversation,

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Speaker 3: and if you know Nora's music, that's no surprise. As

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Speaker 3: we celebrate women's history months, we are picking special.

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Speaker 2: Episodes for classics.

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Speaker 3: This one is very special and you'll hear why.

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Speaker 2: All right, this is gonna be silly. Ladies and gentlemen,

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Speaker 2: Welcome to another episode of Quest Love Supreme. This is

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Speaker 2: Questlove Today. I'm solo, solo alone, holding it down to

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Speaker 2: the fort without boss or paybilled sugar, Steve Light here

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Speaker 2: or take a look. We are very honored today to

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Speaker 2: be talking shop with a good friend of mine, multi

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Speaker 2: Grammy winner, multi instrumentalist, singer just just about everything, almost

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Speaker 2: almost celebrating twenty years in this industry since her debut.

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Speaker 2: What else is there to say? So well rounded, so awesome.

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Speaker 2: Ladies and gentlemen, please welcome Norah Jones to Questlove Supreme.

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Speaker 2: I'm a cheering accession.

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Speaker 4: How you doing, I'll take it.

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Speaker 2: Where are you right now?

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Speaker 4: I'm in the country. I'm I'm in a bedroom, my

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Speaker 4: bedroom here. Yeah, I'm in bedroom.

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Speaker 2: Okay, So I'm sort of in bed, yeah, kind of

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Speaker 2: in this new reality yep. So yes, of course I

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Speaker 2: have to ask, like, how are you adjusting to what

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Speaker 2: we are now calling the new reality? You know, for

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Speaker 2: a lot of creatives, I know this is either a

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Speaker 2: moment for them to finally just take a breather and

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Speaker 2: not have to deal with the circle of the work

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Speaker 2: that we put into. For other people, it's like, okay,

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Speaker 2: more creativity, Like where are you falling on this?

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Speaker 4: Well, my kids are almost four years old and six,

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Speaker 4: so I wish I could be more creative, but there

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Speaker 4: isn't a ton of time. Okay, but I have little

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Speaker 4: snippets of ideas and yeah, it's more about how do

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Speaker 4: I get them to not yell at me?

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Speaker 2: Okay?

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Speaker 4: So you're in that way entertainment mode, yes, exactly, full.

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Speaker 2: Time entertainment mood. Okay, I see oh.

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Speaker 4: Would you like a hot dog for lunch?

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Speaker 2: Again?

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Speaker 4: Okay?

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Speaker 2: Cool sor are there? Okay?

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Speaker 4: Good? Though it's a good distraction, I'll say that, Okay. Yeah.

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Speaker 2: The prime purpose of the podcast for me is kind

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Speaker 2: of seeing the the machinery inside the vehicle and always

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Speaker 2: the creative process. So, I mean, I know you've been

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Speaker 2: asked this a billion times before, but you know, I

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Speaker 2: like to take this approach for our viewers or our listeners.

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Speaker 2: Where were you born?

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Speaker 4: I was born in New York? Actually, yeah, what part

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Speaker 4: of the I think her apartment was like on twenty

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Speaker 4: seventh in Lexington, Okay, in Manhattan. Yeah.

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Speaker 2: Do you know your first musical memory? Your first childhood

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Speaker 2: musical memory?

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Speaker 4: Probably my mom's records. I don't know the exact first,

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Speaker 4: but I remember listening to Willie Nelson and Ray Charles

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Speaker 4: and Aretha Franklin.

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Speaker 2: So your mom was a promoter, correct, you know?

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Speaker 4: She she That's how she met my dad. She worked

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Speaker 4: for a promoter for a short time, but not really,

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Speaker 4: not like long term.

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Speaker 2: So she wasn't the Bill Graham of her error that time.

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Speaker 4: No, she definitely wasn't. She had many careers. She was

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Speaker 4: a dancer, and then she broke her ankle, and then

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Speaker 4: she was in the theater, and she worked in commercials

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Speaker 4: behind the scenes, and then she was a real estate

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Speaker 4: agent and then a nurse. So she was kind of

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Speaker 4: all over the place.

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Speaker 2: Okay, So her record collection sort of seeped into you.

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Speaker 2: What types of records were those?

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Speaker 4: A lot of gospel, Aretha Franklin, gospel era stuff, a

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Speaker 4: lot of early Ray Charles country music. She's from Oklahoma, Okay,

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Speaker 4: so that was sort of in the water too, because

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Speaker 4: I grew up in Texas. We moved to Texas when

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Speaker 4: I was about three.

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Speaker 2: Really, yeah, so how different was that from well, I

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Speaker 2: mean not that you would have.

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Speaker 4: I don't have that many memories memories, but I actually

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Speaker 4: my first memory is of a dream I had of

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Speaker 4: playing in the playground at Washington Square Parks. So okay,

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Speaker 4: I don't really remember.

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Speaker 2: So even in the beginning, I mean, what was there

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Speaker 2: for you? I know, like a lot of musicians come

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Speaker 2: through either an older siblings record or you know, like

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Speaker 2: a cousin or someone that puts them onto it. But

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Speaker 2: for you, like, did you also like the music of

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Speaker 2: the day, Like I meant, by the time you were

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Speaker 2: five or six, like Madonna was a thing so like,

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Speaker 2: do you remember like your first actual purchase outside of

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Speaker 2: your mother's record collection.

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Speaker 4: Yeah, I mean I don't think. I listened to the

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Speaker 4: music of the day till I was about nine or ten,

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Speaker 4: and then I sort of started listening to pop radio.

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Speaker 2: Oh so you were old soul from zero to.

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Speaker 4: Nine, Well kind of okay, Yeah.

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Speaker 2: Explained your seasoning, all right.

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Speaker 4: I listened to like oldies radio, and you know, for

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Speaker 4: us in that generation, it was like the nineteen fifties

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Speaker 4: and sixties.

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Speaker 2: Pop music you got tricked.

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Speaker 4: Not the Beatles, like not as cool as that yet,

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Speaker 4: but like before that, pre that, you know.

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Speaker 2: No that that's my story, Like, yeah, which is bad.

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Speaker 2: My dad was an oldies duop singer, so I thought

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Speaker 2: the thing was that he tricked me. I thought that

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Speaker 2: was the music of the day.

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Speaker 4: That's so funny.

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Speaker 2: And then in first grade, like my music teachers like no, yeah,

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Speaker 2: like here are the Beg's, here are you know that

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Speaker 2: sort of thing. But I thought, like Frankie Lyon and

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Speaker 2: the teenagers was like I thought there was like a

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Speaker 2: new record white a fool small love like that sort

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Speaker 2: of thing.

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Speaker 4: That's pretty funny. Yeah, that was my stuff until I

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Speaker 4: was like nine and then because my mom didn't listen

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Speaker 4: to pop radio. She listen to NPR, so I didn't

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Speaker 4: know about that stuff. Maybe I had like a babysitter

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Speaker 4: who was into Madonna. But then when I was nine,

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Speaker 4: it was full on whatever was out and popular. I

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Speaker 4: was into.

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Speaker 2: So what were you like, how are you relating to

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Speaker 2: your friend friends in the area, like in school and

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Speaker 2: whatnot if you didn't share the same music taste that

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Speaker 2: they did.

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Speaker 4: I don't even know. I mean I was in choiring

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Speaker 4: school and church. I don't remember it being weird or

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Speaker 4: being feeling different. And then by the time kids were

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Speaker 4: more interested in that kind of stuff, I was already listening.

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Speaker 4: I think the first cassette I purchased was Digital Underground

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Speaker 4: because I liked the humpy dance. Yeah, I loved it.

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Speaker 4: It was the best thing I'd ever heard.

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Speaker 2: Okay. Fiona Apple also has a hilarious story where when

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Speaker 2: she was making title, I think she was like getting

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Speaker 2: gas and she saw like SHATCHI Digital Underground, like lost

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Speaker 2: it like this around. That's amazing, freaking Digital Underground. Okay.

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Speaker 2: You mentioned, uh, playing piano in church? What type of

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Speaker 2: church was this? Was this?

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Speaker 4: This was a Methodist church in you know, suburban Texas.

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Speaker 4: It was. It was a nice enough church, but they

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Speaker 4: had a really Actually I played, I sang in church.

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Speaker 4: I didn't play piano in church. But she was a

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Speaker 4: cool choir director. I think she was a maybe a

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Speaker 4: former Catholic, and so she taught us all these Latin hymns, right,

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Speaker 4: so it was cool. And then you know, we did

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Speaker 4: like our God is an awesome God. And then I

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Speaker 4: stopped going to church after that. But oh okay, not

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Speaker 4: because of the song, but you know, it was like

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Speaker 4: a mix of It was a mix of stuff, is

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Speaker 4: my point.

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Speaker 2: Trust me. Everyone has their church Exodus booth exactly.

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Speaker 4: Yeah, I see that, the children choir basically.

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Speaker 2: Okay, well she be noted you went to you went

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Speaker 2: to Booker t Washington. Yeah, high school. Yeah, notables. So

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Speaker 2: I meant at the time, well, Roy is way older

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Speaker 2: than you.

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Speaker 4: Yeah, he was older, but he was like the hometown hero.

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Speaker 2: So were you in school at the time of Erica

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Speaker 2: or was that.

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Speaker 4: Even she was with Well she was a little bit

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Speaker 4: older too, and her album came out when I was

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Speaker 4: a junior maybe or a senior. So again it was

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Speaker 4: like a huge big deal for us all and I

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Speaker 4: was obsessed with that album and it was so cool.

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Speaker 4: She came back and like did a talk at the

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Speaker 4: school and it was fine, Okay.

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Speaker 2: What is it about that high school? Is that a

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Speaker 2: performing arts high school? Or so what is it? Because oftentimes,

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Speaker 2: I mean when people think of Texas, we don't think

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Speaker 2: of like performing arts schools and you know, type of

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Speaker 2: artistic expressions and that sort of thing. But like, is

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Speaker 2: the community like that down there or.

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Speaker 4: I mean, Texas is a big place. The Dallas area

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Speaker 4: is a huge suburban place full of small neighborhoods, you know,

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Speaker 4: or big neighborhoods, so you know, you can travel twenty

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Speaker 4: miles and it's completely different community. But so this school

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Speaker 4: was cool because it draws. It draws from all over

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Speaker 4: the city. You have to audition to get in, but

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Speaker 4: anybody can go there. So kids were commuting from all

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Speaker 4: over the city and it was sort of a it

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Speaker 4: was I don't know, it was like the place where

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Speaker 4: all the cool, weird artists went ended up. You know.

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Speaker 4: I came from like a super heavy football marching band situation.

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Speaker 4: Cheerleaders were queens of the school.

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Speaker 2: Tea. You were in the marching band. I was. I

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Speaker 2: played saxophone, you played saxophone.

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Speaker 4: I mean I haven't in thirty or twenty five years maybe.

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Speaker 2: But if you see a saxophone, I'm assuming the alto

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Speaker 2: or a tenor like alto.

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Speaker 4: I do hold a special place for marching band in

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Speaker 4: my heart.

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Speaker 2: But you'll never pick up a sax again.

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Speaker 4: I mean, so gross. I still have my saxophone. No, no,

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Speaker 4: the saxophone is not gross. I still have my saxophone,

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Speaker 4: and I think like the read is still attached from

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Speaker 4: twenty five years. It's probably disgusting and growing up kinds

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Speaker 4: of mold in it, but for some reason, I still

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Speaker 4: have it somewhere.

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Speaker 2: I feel like you're the type of creative that will

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Speaker 2: You're the type of artist that I feel as though

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Speaker 2: you you like experiments. You often change, evolve and go

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Speaker 2: through metamorphosis. I do.

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Speaker 4: I like that.

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Speaker 2: That's feeling. Okay, when you break out your saxophone, I'll

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Speaker 2: be in that bad.

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Speaker 4: I don't know about that. I don't know if that's

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Speaker 4: going to happen. I need to practice guitar more.

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Speaker 2: First. You always down here, Like every clip I see

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Speaker 2: of you and you talk about your guitar. You always

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Speaker 2: saying like I need to prove my guitar. I need

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Speaker 2: to prove. Yeah, I do you seem to do fine?

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Speaker 2: Or are you saying that you just hide well behind

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Speaker 2: whoever's playing. Oh that's the secret.

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Speaker 4: Well, I think my thing on guitar is cool. I

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Speaker 4: just I don't play enough. I'm not I'm not good

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Speaker 4: at just playing music at home all the time. I

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Speaker 4: don't know how you are if you're always playing no

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Speaker 4: matter what. For so long. I think I just worked

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Speaker 4: so much I didn't even think about having to play

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Speaker 4: or practice, and so now when I'm not working at all,

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Speaker 4: I'm like, I forget to play, you know.

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Speaker 2: I was going to say, I wanted to know well

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Speaker 2: before I get into that, I wanted to know what

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Speaker 2: your When when did piano was? I mean, when all

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Speaker 2: said and done, do you consider the piano your acts

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Speaker 2: of choice? Or voice and acts of choice? When did

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Speaker 2: you start playing piano?

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Speaker 4: I started playing piano when I was seven, and I

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Speaker 4: wanted to take piano lessons really bad, and so my

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Speaker 4: mom got a piano and after a couple of weeks,

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Speaker 4: I wanted to quit because I didn't like the idea

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Speaker 4: of having to practice, you know, and so my mom, Yeah,

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Speaker 4: my mom was like, no, I bought you a piano

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Speaker 4: because you wanted to play, and she said, I have

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Speaker 4: She said you have to take into for five years

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Speaker 4: and that way, and then you can quit that way

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Speaker 4: if you ever want to go back to it'll be easier.

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Speaker 4: And I thought that was pretty annoying at the time,

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Speaker 4: but in hindsight, it's pretty It was pretty cool because

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Speaker 4: after five years I quit, like on the dot. I

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Speaker 4: was like, all right, my five years is up? Really

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Speaker 4: more scales? Yeah, I just didn't want to practice.

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Speaker 2: How many hours a day did you have to practice?

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Speaker 4: I'm the most lazy, p procrastinating practicer. But I don't

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Speaker 4: even remember. But I know I had a really good teacher.

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Speaker 4: She was awesome, but it was just the classical style

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Speaker 4: of learning and it didn't spark a lot of creativity

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Speaker 4: in my mind for some reason. So I quit. And

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Speaker 4: then about a year later, my mom took me to like,

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Speaker 4: I don't know, some she took me to a big

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Speaker 4: band concert, and then she took me to see Mary

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Speaker 4: and McPartland play in the park, right, and I said,

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Speaker 4: this is cool? What's this?

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Speaker 2: You know?

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Speaker 4: And so she found this teacher. Well, I think I

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Speaker 4: was playing saxophone by that time. In Marching Band, and

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Speaker 4: my saxophone teacher recommended this jazz piano teacher in Dallas

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Speaker 4: named Julie Bank. She was super cool and she was

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Speaker 4: a great teacher. She taught me how to readcord changes

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Speaker 4: and improvise and tried to spark me and writing songs.

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Speaker 4: So it just totally took a different direction from then.

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Speaker 2: So this is how you're discovering jazz chops.

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Speaker 4: Yeah, this is like eighth grade when I got into

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Speaker 4: jazz and my mom she checked out, like, you know,

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Speaker 4: the Smithsonian Jazz Collection at the library and we dubbed

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Speaker 4: it on a cassette and then that was my bible

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Speaker 4: for a few years.

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Speaker 2: Really. Yeah, So how did you hone those chaps into

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Speaker 2: like did you play and local bands? High school bands?

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Speaker 2: Like did you bond with anybody your age in jazz

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Speaker 2: or yeah?

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Speaker 4: I just keep it to yourself, well being in Marching band.

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Speaker 4: I mean the kids in Marching Band already were sort

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Speaker 4: of into stuff like that, some of them there was

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Speaker 4: like a jazz band. And then I went to interlock

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Speaker 4: In for a summer.

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Speaker 2: What is that?

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Speaker 4: It's like an arts camp in Michigan and it's too Yeah,

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Speaker 4: it's two months long and I got really into hanging

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Speaker 4: with people who knew a lot about it, you know,

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Speaker 4: and then I really wanted to go there. They had

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Speaker 4: a they have a school during the year and arts school,

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Speaker 4: but you have to leave home. It's like a what

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Speaker 4: do you call it? A school where you live there.

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Speaker 4: My brain isn't working right now. But my mom was like,

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Speaker 4: no way, You're not leaving home. Oh yeah. I just

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Speaker 4: loved it. It was great, and I wanted to continue

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Speaker 4: doing it, and she was like, hell no. Checked the

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Speaker 4: school out and she found Booker T Washington and we

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Speaker 4: moved to Dallas just so I could be in county

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Speaker 4: to audition and go there, and then all the kids there.

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Speaker 4: That's I mean, I learned from the kids at my school.

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Speaker 4: I learned so much. So many of those kids knew

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Speaker 4: so much about music, so many geniuses, you know.

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Speaker 2: Probably I was going to say any other notable students

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Speaker 2: at they're at the time that.

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Speaker 4: Are like, well, I think the people that I learned

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Speaker 4: the most with were piano players who a couple of

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Speaker 4: them were a year or two older, like I was

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Speaker 4: there when Brayln Lacey was there, and Sean Martin on

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Speaker 4: the keys. R. C. Williams right I learned so much

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Speaker 4: from these guys. They grew up in church, playing piano

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Speaker 4: in the church bands and stuff, and they knew. I mean,

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Speaker 4: they're just geniuses anyway. But I don't know. It was

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Speaker 4: a cool, cool environment.

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Speaker 2: Was an equally like a sort of accepting atmosphere or

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Speaker 2: did you feel like, all right, I got to come

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Speaker 2: with it and let them know I speak the same language,

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Speaker 2: or no, I'm such a dork.

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Speaker 4: I was just like, Hi, guys, can I hang out

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Speaker 4: with you? It was super accepting. Everybody there was an oddball,

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Speaker 4: you know anyway, so everybody was cool.

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Speaker 2: See I went to I went to school with Christian

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Speaker 2: McBride and Joey de Francisco Wow and and Kurt Roseawinkle

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Speaker 2: and I can. I I always compare going to that

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Speaker 2: the school I went to the Philadelphia version of that

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Speaker 2: school kind of as I consider it, sort of like

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Speaker 2: a it was like a gang experience, like a Bloods

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Speaker 2: and Crypts experience. And Joey and Chris like they wouldn't

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Speaker 2: even they don't give you the time of day or respect,

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Speaker 2: like you instantly know that they're the alphas of band

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Speaker 2: class and that you had to I mean the first

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Speaker 2: day of school the first day of school, Miles Davis

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Speaker 2: is giving a masterclass and not only takes Joey and

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Speaker 2: Chris to do this thing with him on television, but

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Speaker 2: then later hires Joey's to replace Kenny Kirkland. So that

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Speaker 2: was like my first day at the school. And so

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Speaker 2: you know, they just knew all traditional jazz. Meanwhile, Kurt Rosenwinkle,

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Speaker 2: who's such an experimental avant garde musician. I mean he's

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Speaker 2: on Verb Records right now, but back then he was

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Speaker 2: trying to unlearn me or unteach me all the traditional

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Speaker 2: like the traditional stuff, and he's like, nah, man, I

341
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Speaker 2: want you to listening to Frank Zappa, Yeah, Captain Beefheart

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Speaker 2: and you know Minor Vshue Orchestra John mclaughing. So you know,

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Speaker 2: I was like trying to I was on like both

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Speaker 2: sides of the gang.

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Speaker 4: That's great for you.

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Speaker 2: I'm in school, but then I left them both for

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Speaker 2: a rap career.

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Speaker 4: So oh you're informed. You're informed by all of it,

349
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Speaker 4: and you became who you are.

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Speaker 2: You know, it helped, but it was it was like

351
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Speaker 2: it was literally like being into like whatever side was winning,

352
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Speaker 2: that was my side.

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Speaker 4: Like okay, that's funny. Here there the ping pong ball exactly.

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Speaker 4: I didn't feel that. I know that attitude you're talking about.

355
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Speaker 4: It's like a young musician thing, for sure, I feel like,

356
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Speaker 4: but I didn't feel that at my school. Maybe I

357
00:19:45,480 --> 00:19:48,240
Speaker 4: was too naive to see it, but I never I

358
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Speaker 4: never felt it. It's pretty pretty welcoming, honestly.

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Speaker 2: I mean before your career took off. I mean, did

360
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Speaker 2: you have a plan just for like, Okay, I'll do

361
00:20:02,920 --> 00:20:08,040
Speaker 2: the college thing, go to Berkeley or go to Yeah.

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Speaker 4: I well, we were in Dallas, so I did. I

363
00:20:12,840 --> 00:20:15,480
Speaker 4: wanted to go to like the New School or Manhattan

364
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Speaker 4: School Music, but we stayed in state tuition because University

365
00:20:20,520 --> 00:20:23,920
Speaker 4: of North Texas has a great jazz program, okay, And

366
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Speaker 4: so I went there for two years and I took

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Speaker 4: all my classes, all my music classes, and I failed

368
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Speaker 4: my classical piano jury because I just didn't practice enough.

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Speaker 4: And then I came to New York for the summer,

370
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Speaker 4: and I had a real sort of moment of reckoning,

371
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Speaker 4: and I thought, well, if I go back to finish college,

372
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Speaker 4: I'm gonna have to take academics for two years because

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Speaker 4: I already took all the jazz classes and I'm going

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Speaker 4: to have to do classical two years of classical juries

375
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Speaker 4: and really practice, and I just didn't want to do

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Speaker 4: any of that.

377
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Speaker 2: What does that mean? What did it 't tell? Like

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Speaker 2: the classical jury.

379
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Speaker 4: Part, it's not that it was so hard. It's that

380
00:21:05,720 --> 00:21:09,320
Speaker 4: I really just didn't practice enough. It was like scales

381
00:21:09,359 --> 00:21:13,440
Speaker 4: and arpeggios and one song. It wasn't that hard. I

382
00:21:14,840 --> 00:21:17,160
Speaker 4: was really into the other stuff I was doing, and

383
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Speaker 4: I kind of let it slide.

384
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Speaker 2: Understandable. I'm just standable. So once she came to New York,

385
00:21:24,200 --> 00:21:27,320
Speaker 2: what was the paradigm shift that really opened its doors

386
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Speaker 2: as far as like, Okay, I can have a career

387
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Speaker 2: and start singing. Like what was that moment?

388
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Speaker 4: Well, I mean I realized that I could play gigs

389
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Speaker 4: and but I would have to start witting tables. It

390
00:21:43,800 --> 00:21:46,480
Speaker 4: was different because in college I had a weekly gig

391
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Speaker 4: where I made enough money to make my rent and

392
00:21:51,440 --> 00:21:55,399
Speaker 4: plus tips and food. I played at this restaurant and

393
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Speaker 4: I learned how to sing and play at the same time,

394
00:21:58,800 --> 00:22:01,360
Speaker 4: which is sort of It was just like paid practice.

395
00:22:01,480 --> 00:22:03,919
Speaker 4: So it was great. But then when I moved to

396
00:22:03,960 --> 00:22:06,520
Speaker 4: New York, I realized, oh shit, I gotta wait tables

397
00:22:06,520 --> 00:22:09,080
Speaker 4: because I can't make enough money playing gigs because they

398
00:22:09,119 --> 00:22:14,000
Speaker 4: didn't pay very much at all, and I got a

399
00:22:14,040 --> 00:22:17,400
Speaker 4: little burnt out. I came to New York singing jazz

400
00:22:17,760 --> 00:22:20,040
Speaker 4: and playing the piano, but I wasn't as good a

401
00:22:20,040 --> 00:22:23,560
Speaker 4: piano player as most piano players out there, but I

402
00:22:23,600 --> 00:22:26,000
Speaker 4: knew I could sing, so I had that, you know

403
00:22:26,280 --> 00:22:29,720
Speaker 4: that going for me, sort of, you know, trying to.

404
00:22:30,160 --> 00:22:31,679
Speaker 4: I came to New York to do this thing, and

405
00:22:31,680 --> 00:22:36,840
Speaker 4: then I what happened? Your eyes just went like.

406
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Speaker 2: Oh shit, you can't hear this, can you? No, Zoe,

407
00:22:41,560 --> 00:22:44,240
Speaker 2: I'm interviewing Nord Jones right Okay, this is a flex.

408
00:22:45,119 --> 00:22:49,879
Speaker 2: Zoe Kravis just interrupted us. I'm interviewing Nord Jones right

409
00:22:49,920 --> 00:22:56,960
Speaker 2: now for my podcast. Hi, She said, all right, this

410
00:22:57,080 --> 00:23:08,720
Speaker 2: is Are you okay over there in London? Okay? Thank you? Sorry? Wait,

411
00:23:08,760 --> 00:23:14,199
Speaker 2: I'm sorry, okay. Side note, it's twenty twenty. I'm the

412
00:23:14,240 --> 00:23:16,760
Speaker 2: person that likes a person to text me first and

413
00:23:16,760 --> 00:23:19,520
Speaker 2: then tell me that they're calling, not just call me.

414
00:23:20,000 --> 00:23:22,520
Speaker 4: That's the thing that people do now, but it's kind

415
00:23:22,520 --> 00:23:23,160
Speaker 4: of weird too.

416
00:23:24,480 --> 00:23:27,320
Speaker 2: Wait are you a call before you are you a

417
00:23:27,400 --> 00:23:29,200
Speaker 2: text before you call? Person? Yes?

418
00:23:29,280 --> 00:23:30,960
Speaker 4: Or at least because everybody.

419
00:23:30,680 --> 00:23:33,840
Speaker 2: Is, or at least Warren before you FaceTime.

420
00:23:35,000 --> 00:23:37,399
Speaker 4: Yes, but I'm also not somebody who just picks up

421
00:23:37,400 --> 00:23:39,760
Speaker 4: the phone if somebody calls me. You seem to also

422
00:23:39,880 --> 00:23:41,600
Speaker 4: be someone who just picks it up no matter what.

423
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Speaker 2: Well. I saw it with her, and I'm like, okay,

424
00:23:45,640 --> 00:23:49,119
Speaker 2: this must be about I work on her show, so obviously,

425
00:23:50,680 --> 00:23:52,639
Speaker 2: but I forgot to turn my ringer off. So I

426
00:23:52,640 --> 00:23:55,000
Speaker 2: know that Bill kill me over that too. Sorry.

427
00:23:55,920 --> 00:23:58,800
Speaker 4: No, it's the thing. You You either ignore the call

428
00:23:59,480 --> 00:24:02,040
Speaker 4: if you don't want to be caught off guard, or

429
00:24:02,119 --> 00:24:04,080
Speaker 4: you take it anyway. So I guess that says a

430
00:24:04,080 --> 00:24:07,760
Speaker 4: lot about you, even though you prefer the text.

431
00:24:08,600 --> 00:24:11,120
Speaker 2: I didn't know how to turn it off. Sorry, Oh

432
00:24:11,160 --> 00:24:15,160
Speaker 2: I don't care anyway. Yeah, so you were saying that

433
00:24:16,920 --> 00:24:21,439
Speaker 2: singing at least gave you an edge. I really I

434
00:24:21,480 --> 00:24:24,200
Speaker 2: love your voice, by the way, which I don't think

435
00:24:24,240 --> 00:24:28,120
Speaker 2: you get enough praise for. Like who's the person that

436
00:24:30,720 --> 00:24:34,959
Speaker 2: who's your your spirit animal when you're singing? Like you know,

437
00:24:35,040 --> 00:24:37,119
Speaker 2: because I'm not a singer, I can't say I know that.

438
00:24:37,160 --> 00:24:42,280
Speaker 2: When I'm drumming. There's four particular drummers that I know

439
00:24:42,680 --> 00:24:46,240
Speaker 2: influenced and raised me and I'm like a combination of that.

440
00:24:46,440 --> 00:24:48,760
Speaker 2: But who's your singing spirit animal?

441
00:24:51,160 --> 00:24:53,800
Speaker 4: I think growing up it was Ray Charles and Aretha

442
00:24:53,800 --> 00:24:56,080
Speaker 4: Franklin and Billie Holliday.

443
00:24:57,320 --> 00:25:00,320
Speaker 2: All right, I'm skipping into the future. How is it

444
00:25:00,359 --> 00:25:03,439
Speaker 2: working with Ray on the Ones stew Wets record?

445
00:25:04,280 --> 00:25:07,560
Speaker 4: It was amazing. He was super sweet. We did three

446
00:25:07,600 --> 00:25:10,520
Speaker 4: live takes and then he left and that was.

447
00:25:10,480 --> 00:25:13,240
Speaker 2: It, just real quick in and out.

448
00:25:13,280 --> 00:25:15,359
Speaker 4: It was just real quick live takes with the band

449
00:25:15,400 --> 00:25:19,000
Speaker 4: and Billy Preston was playing Oregon, so it was awesome.

450
00:25:19,040 --> 00:25:20,960
Speaker 4: My mom came. She saw him play when she was

451
00:25:20,960 --> 00:25:23,040
Speaker 4: in high school, so it's the first time I've ever

452
00:25:23,119 --> 00:25:27,879
Speaker 4: seen her quiet. You know, it was great. He was

453
00:25:28,600 --> 00:25:32,560
Speaker 4: he was he was pretty sick already, so okay, he

454
00:25:32,640 --> 00:25:33,560
Speaker 4: was nice though.

455
00:25:34,119 --> 00:25:37,840
Speaker 2: So just sing the song got out super nice.

456
00:25:37,600 --> 00:25:41,960
Speaker 4: Though, Yeah, like like warm and kind. But I mean,

457
00:25:42,080 --> 00:25:44,920
Speaker 4: I love all these people, but I think I've tried

458
00:25:44,920 --> 00:25:49,160
Speaker 4: to keep I don't know, I learned. I think when

459
00:25:49,200 --> 00:25:50,879
Speaker 4: I came to New York and I was singing jazz

460
00:25:50,920 --> 00:25:55,240
Speaker 4: and I got a little sort of disheartened and I realized,

461
00:25:55,280 --> 00:25:58,000
Speaker 4: I'm singing all these old songs that Billy Holliday sang,

462
00:25:58,680 --> 00:26:01,080
Speaker 4: and I'm putting my own been on it and it's cool.

463
00:26:01,160 --> 00:26:04,200
Speaker 4: But I started going in the living room and writing

464
00:26:04,240 --> 00:26:08,560
Speaker 4: songs and singing songs by my friends that they were writing,

465
00:26:08,640 --> 00:26:12,760
Speaker 4: and I felt a little more creative in that way.

466
00:26:13,119 --> 00:26:15,280
Speaker 4: And I kind of fell off the jazz scene.

467
00:26:15,560 --> 00:26:18,200
Speaker 2: So you didn't want to get typecast as like a

468
00:26:18,240 --> 00:26:20,040
Speaker 2: sort of derivative Billie Holiday.

469
00:26:20,080 --> 00:26:23,439
Speaker 4: And I don't know if it was about wanting to

470
00:26:23,480 --> 00:26:26,080
Speaker 4: get typecast. I think it was just about I couldn't

471
00:26:26,119 --> 00:26:29,560
Speaker 4: get any gigs that were satisfying. You know. I played

472
00:26:29,560 --> 00:26:32,119
Speaker 4: in restaurants. I went to Smiles a lot, and I

473
00:26:32,200 --> 00:26:34,560
Speaker 4: watched people play and it was awesome, but I couldn't

474
00:26:34,560 --> 00:26:37,560
Speaker 4: get a gig there yet. And I did get a

475
00:26:37,560 --> 00:26:39,719
Speaker 4: gig at the living room though, where the audience listened

476
00:26:39,720 --> 00:26:41,640
Speaker 4: and I felt really connected to something.

477
00:26:41,960 --> 00:26:44,679
Speaker 2: I was going to say, Okay, so I've been in

478
00:26:44,680 --> 00:26:49,280
Speaker 2: New York for ten years now, and how often I

479
00:26:49,320 --> 00:26:52,040
Speaker 2: got like I got a little maybe four or five

480
00:26:52,200 --> 00:26:56,280
Speaker 2: in the cut jazz spots that I go to just

481
00:26:56,320 --> 00:27:00,159
Speaker 2: to yeah, chilled and be anonymous, or is any that

482
00:27:00,240 --> 00:27:03,040
Speaker 2: says you can be at six ' three with an afro?

483
00:27:03,840 --> 00:27:10,040
Speaker 2: But but the one thing that really like it's disheartening

484
00:27:10,160 --> 00:27:17,840
Speaker 2: for me when I'm in these jazz clubs is oftentimes

485
00:27:17,840 --> 00:27:21,120
Speaker 2: like tourists will come and they'll just talk over you,

486
00:27:22,520 --> 00:27:25,119
Speaker 2: and it's almost like you're just a human juke box

487
00:27:25,200 --> 00:27:29,240
Speaker 2: and just in the background to their conversation. Like is

488
00:27:29,280 --> 00:27:32,639
Speaker 2: that just that's the disheartening thing that you were.

489
00:27:34,000 --> 00:27:36,800
Speaker 4: I don't know if I realized it as tourists then,

490
00:27:36,960 --> 00:27:38,879
Speaker 4: I mean, that was twenty years ago. I moved to

491
00:27:38,880 --> 00:27:41,080
Speaker 4: New York twenty years ago. Last summer.

492
00:27:42,480 --> 00:27:45,760
Speaker 2: Well, now I'm observe. I observe it as like I'll.

493
00:27:45,560 --> 00:27:48,200
Speaker 4: Go now, well now it is more tourists. It is

494
00:27:48,280 --> 00:27:51,320
Speaker 4: more so than it used to be. But I mean

495
00:27:52,200 --> 00:27:54,280
Speaker 4: I think at the time, like I couldn't get a

496
00:27:54,280 --> 00:27:56,919
Speaker 4: gig there yet because I wasn't as good as a

497
00:27:56,960 --> 00:27:59,080
Speaker 4: piano player, and a lot of those places didn't hire

498
00:27:59,119 --> 00:28:01,960
Speaker 4: a ton of singers. Not saying they never hired singers,

499
00:28:02,000 --> 00:28:05,360
Speaker 4: but it wasn't really it didn't seem that easy for

500
00:28:05,400 --> 00:28:07,880
Speaker 4: me to play in a place where people were really listening.

501
00:28:08,240 --> 00:28:10,560
Speaker 2: Oh, you would have what I'm saying, So your piano

502
00:28:10,680 --> 00:28:13,080
Speaker 2: chops have to be on point to get kind of

503
00:28:13,520 --> 00:28:15,000
Speaker 2: I get it, okay. Yeah.

504
00:28:15,040 --> 00:28:17,639
Speaker 4: And also just like the gigs they could get and

505
00:28:17,760 --> 00:28:20,760
Speaker 4: did get. Were restaurant gigs were I kind of knew

506
00:28:20,800 --> 00:28:23,840
Speaker 4: going in. They weren't like listening room gigs, and they

507
00:28:23,880 --> 00:28:28,320
Speaker 4: were great practice. But once I started playing original music

508
00:28:28,400 --> 00:28:33,119
Speaker 4: for tips instead of like forty bucks, it was just

509
00:28:33,160 --> 00:28:36,400
Speaker 4: more satisfying. I started waiting more tables and doing less

510
00:28:36,400 --> 00:28:41,160
Speaker 4: restaurant gigs and more singer songwriter plays gigs, and it

511
00:28:41,280 --> 00:28:45,760
Speaker 4: was more sad. It was just more fulfilling and inspiring.

512
00:28:46,040 --> 00:28:50,520
Speaker 2: If masse some I'm curious, before you started doing original material,

513
00:28:50,840 --> 00:28:54,680
Speaker 2: you would just go through the fake book and just

514
00:28:54,760 --> 00:28:57,000
Speaker 2: through the standards. Yeah.

515
00:28:57,000 --> 00:28:59,400
Speaker 4: I kind of mostly did standards. I mean I wouldn't

516
00:28:59,440 --> 00:29:02,480
Speaker 4: just yeah. I mean I had like my favorites, and

517
00:29:03,280 --> 00:29:04,320
Speaker 4: that's I would do a lot of that.

518
00:29:05,040 --> 00:29:07,120
Speaker 2: I wonder, is the fake book still a thing?

519
00:29:07,480 --> 00:29:08,440
Speaker 4: I still have one?

520
00:29:08,800 --> 00:29:09,800
Speaker 2: You still have a fake Okay?

521
00:29:09,960 --> 00:29:10,320
Speaker 4: Yeah?

522
00:29:10,400 --> 00:29:14,320
Speaker 2: For our listeners out there. I don't I don't want

523
00:29:14,320 --> 00:29:17,720
Speaker 2: to date myself, but I would probably say that if

524
00:29:17,760 --> 00:29:22,840
Speaker 2: you were a jazz musician, a working jazz musician, or

525
00:29:22,840 --> 00:29:27,120
Speaker 2: a student. In the sixties, seventies, or eighties, there was

526
00:29:27,240 --> 00:29:35,120
Speaker 2: sort of a a Wikipedia slash cliff Notes guide tutorial

527
00:29:35,240 --> 00:29:40,200
Speaker 2: to core charts of every jazz song and the same

528
00:29:40,280 --> 00:29:43,120
Speaker 2: for singers as well. And it's almost like a Bible

529
00:29:43,160 --> 00:29:49,280
Speaker 2: of jazz, which yeah, you kind of need if you're cool.

530
00:29:49,560 --> 00:29:51,800
Speaker 2: So you still So they still make fake books.

531
00:29:52,160 --> 00:29:54,520
Speaker 4: I don't know. I know, I have an old, old,

532
00:29:54,560 --> 00:29:55,080
Speaker 4: old one.

533
00:29:55,240 --> 00:29:56,720
Speaker 2: You. I just want to say, do you know why

534
00:29:56,760 --> 00:29:57,840
Speaker 2: they call it a fake book?

535
00:29:58,600 --> 00:30:00,920
Speaker 4: I don't know. But then they had the real book.

536
00:30:01,240 --> 00:30:03,760
Speaker 4: They called it the real book, I thought, and then

537
00:30:03,760 --> 00:30:05,800
Speaker 4: they called it a fake book too, But I could

538
00:30:05,840 --> 00:30:07,880
Speaker 4: never understand the difference between a real book and a

539
00:30:07,880 --> 00:30:08,479
Speaker 4: fake book.

540
00:30:09,040 --> 00:30:10,960
Speaker 2: Well, I think I always guess is that the fake

541
00:30:11,000 --> 00:30:13,440
Speaker 2: book had other songs in it, and it wasn't officially

542
00:30:13,440 --> 00:30:14,400
Speaker 2: done by that company.

543
00:30:14,480 --> 00:30:19,880
Speaker 4: But yeah, it was definitely like not nobody got paid

544
00:30:19,920 --> 00:30:24,920
Speaker 4: for it since it wasn't It wasn't chet music. It

545
00:30:25,040 --> 00:30:29,480
Speaker 4: was like cheat music that was underground and circulated like

546
00:30:29,520 --> 00:30:30,680
Speaker 4: on a Xerox machine.

547
00:30:31,240 --> 00:30:36,000
Speaker 2: Exactly. Yeah, when did you get your deal and how

548
00:30:36,040 --> 00:30:38,080
Speaker 2: did you come to the attention of Bruce at a

549
00:30:38,400 --> 00:30:39,840
Speaker 2: Blue Note?

550
00:30:40,200 --> 00:30:43,840
Speaker 4: Well, I was doing one of those jazz restaurant gigs

551
00:30:43,880 --> 00:30:48,600
Speaker 4: at the garage on Seventh Avenue, and my bass player's

552
00:30:48,640 --> 00:30:53,280
Speaker 4: friend's wife, they all came for brunch. It was like

553
00:30:53,320 --> 00:30:56,800
Speaker 4: a brunch gig. And she happened to work for Emi

554
00:30:56,880 --> 00:31:00,520
Speaker 4: Music Publishing and I was doing jazz at that gig.

555
00:31:00,920 --> 00:31:04,320
Speaker 4: I had started, you know, doing those songwriter gigs already,

556
00:31:04,360 --> 00:31:08,240
Speaker 4: but this was a jazz gig. And she said, Hey,

557
00:31:08,240 --> 00:31:10,560
Speaker 4: I know Bruce Linvall. I met him at a company picnic.

558
00:31:10,640 --> 00:31:12,520
Speaker 4: What if I set up an appointment for you? And

559
00:31:12,520 --> 00:31:17,440
Speaker 4: I was like, all right, whatever, Yeah, I'm like okay,

560
00:31:17,480 --> 00:31:19,840
Speaker 4: I mean, sure, I'll show up, that's for sure. But

561
00:31:20,040 --> 00:31:24,080
Speaker 4: I didn't really know if she was for real all right.

562
00:31:24,840 --> 00:31:27,760
Speaker 4: And I had a demo that I had made to

563
00:31:27,840 --> 00:31:30,240
Speaker 4: take around the clubs to get gigs. So I brought

564
00:31:30,240 --> 00:31:34,360
Speaker 4: the demo. I had two standards on it, and I

565
00:31:34,400 --> 00:31:37,600
Speaker 4: had one song by my friend Jesse Harris who wrote

566
00:31:37,640 --> 00:31:39,800
Speaker 4: Don't Know Why, And we were already friends and playing

567
00:31:39,840 --> 00:31:44,160
Speaker 4: around together, and so I brought it in. I was twenty,

568
00:31:44,560 --> 00:31:47,240
Speaker 4: it was the gig was my twenty first birthday, so

569
00:31:47,240 --> 00:31:52,719
Speaker 4: it was probably two thousand. The yeah, it was two thousand.

570
00:31:53,760 --> 00:31:57,160
Speaker 4: April of two thousand is when I had this meeting

571
00:31:57,200 --> 00:31:57,560
Speaker 4: with him.

572
00:31:58,280 --> 00:32:00,000
Speaker 2: When your birthday?

573
00:32:00,120 --> 00:32:01,400
Speaker 4: No, the gig was on my birthday, so it was

574
00:32:01,400 --> 00:32:02,400
Speaker 4: like a month later.

575
00:32:02,520 --> 00:32:06,920
Speaker 2: Totally okay, okay. And then that's when you knew shit

576
00:32:07,120 --> 00:32:07,480
Speaker 2: was real.

577
00:32:08,760 --> 00:32:10,880
Speaker 4: I mean, I knew she could get me an appointment

578
00:32:10,880 --> 00:32:13,720
Speaker 4: with him. I didn't really know what was real for

579
00:32:13,760 --> 00:32:17,840
Speaker 4: a while. But he said, well, there's this pop song

580
00:32:17,880 --> 00:32:19,800
Speaker 4: on here, kind of it's not really a pop song,

581
00:32:19,960 --> 00:32:23,160
Speaker 4: but whatever, it was not a jazz standard, right, And

582
00:32:23,240 --> 00:32:24,360
Speaker 4: he's like, so, do you want to be a jazz

583
00:32:24,360 --> 00:32:26,600
Speaker 4: singer or a pop singer? And I was like, I'm

584
00:32:26,600 --> 00:32:29,520
Speaker 4: sitting there in Blue Note office jazz singer.

585
00:32:30,040 --> 00:32:30,320
Speaker 2: You know.

586
00:32:31,400 --> 00:32:33,400
Speaker 4: And then he gave me some money to make some demos,

587
00:32:33,440 --> 00:32:36,000
Speaker 4: and the demos ended up being a few of the

588
00:32:36,040 --> 00:32:39,400
Speaker 4: songs from that first record, and he decided that it

589
00:32:39,520 --> 00:32:43,560
Speaker 4: wasn't super jazz. It wasn't like, it wasn't what he thought.

590
00:32:43,640 --> 00:32:46,360
Speaker 4: It wasn't jazz, but he still liked it enough to

591
00:32:46,440 --> 00:32:49,480
Speaker 4: sign it, right, so he went ahead and signed me.

592
00:32:50,600 --> 00:32:55,120
Speaker 2: All right. So, in hindsight, because no one can plan,

593
00:32:55,440 --> 00:33:00,720
Speaker 2: no one can plan this phenomenon, how does one capture

594
00:33:00,920 --> 00:33:02,880
Speaker 2: lightning in the bottle? Like, there's no way in the

595
00:33:02,920 --> 00:33:06,720
Speaker 2: world that you can ever foresee that you're about to

596
00:33:08,800 --> 00:33:10,680
Speaker 2: make history. I don't even know if you accepted the

597
00:33:10,680 --> 00:33:14,440
Speaker 2: fact that you've made history or if you're just taking

598
00:33:14,480 --> 00:33:16,840
Speaker 2: the No, it was just those are the that's what

599
00:33:16,960 --> 00:33:18,880
Speaker 2: I was feeling at the time in nineteen ninety nine

600
00:33:18,920 --> 00:33:21,400
Speaker 2: and made these songs and that's.

601
00:33:21,240 --> 00:33:25,960
Speaker 4: Yeah, it definitely was. The actual album was just us

602
00:33:26,040 --> 00:33:29,360
Speaker 4: capturing moments, as a lot of albums are, but I

603
00:33:29,400 --> 00:33:33,120
Speaker 4: think this one was done with a lot of spontaneity.

604
00:33:33,200 --> 00:33:37,000
Speaker 4: And don't know why. That song don't know why. It

605
00:33:37,120 --> 00:33:39,960
Speaker 4: was the demo that we recorded the first day of recording,

606
00:33:40,360 --> 00:33:42,240
Speaker 4: and it was the live take. Everything in the take

607
00:33:42,320 --> 00:33:44,600
Speaker 4: is live. We added an extra guitar and some harmonies,

608
00:33:44,600 --> 00:33:45,720
Speaker 4: and that was it.

609
00:33:45,800 --> 00:33:47,600
Speaker 2: So that was the very first thing you've recorded.

610
00:33:48,040 --> 00:33:50,080
Speaker 4: Yeah, And that was for these demos to get signed,

611
00:33:50,120 --> 00:33:52,240
Speaker 4: and wasn't even signed yet. And then once I got signed,

612
00:33:52,240 --> 00:33:54,480
Speaker 4: I like went back in and we did a bunch

613
00:33:54,520 --> 00:33:57,160
Speaker 4: of more produced sessions that ended up getting mostly cut,

614
00:33:57,400 --> 00:33:59,320
Speaker 4: and then we went back to kind of the demo

615
00:33:59,600 --> 00:34:01,440
Speaker 4: style of recording.

616
00:34:01,960 --> 00:34:03,680
Speaker 2: Just said, oh, let's get that first song we did

617
00:34:03,680 --> 00:34:04,760
Speaker 2: and see what happens with that.

618
00:34:05,560 --> 00:34:07,240
Speaker 4: We tried to re record don't know why, and it

619
00:34:07,320 --> 00:34:09,960
Speaker 4: was so not as good, so we just.

620
00:34:11,920 --> 00:34:13,920
Speaker 2: It's it's funny you say that, do you do you

621
00:34:13,920 --> 00:34:20,120
Speaker 2: know the story behind Christina Aguilera is beautiful. Linda Perry

622
00:34:20,120 --> 00:34:24,120
Speaker 2: has a story in which, you know, like she wants

623
00:34:24,160 --> 00:34:27,880
Speaker 2: our artist to like live with a demo for about

624
00:34:28,000 --> 00:34:30,439
Speaker 2: three or four weeks and then that way they really

625
00:34:30,440 --> 00:34:33,839
Speaker 2: internalized the song and then they come back and then

626
00:34:33,880 --> 00:34:38,040
Speaker 2: they kill the song. And so Christina is like, all right,

627
00:34:38,120 --> 00:34:40,239
Speaker 2: let me just go in and sing this thing real quick.

628
00:34:40,320 --> 00:34:43,600
Speaker 2: And so she just did like a rough you know, yawn,

629
00:34:44,080 --> 00:34:46,879
Speaker 2: All right, here's my take, and then I'll come back

630
00:34:46,920 --> 00:34:48,399
Speaker 2: and I'll really you.

631
00:34:48,360 --> 00:34:50,920
Speaker 4: Know, kill this before she lived with it.

632
00:34:51,320 --> 00:34:53,759
Speaker 2: Yeah, yeah, before she lived with it, you know. And

633
00:34:53,800 --> 00:34:58,440
Speaker 2: then Christina is expecting like to add her you know,

634
00:34:58,560 --> 00:35:03,960
Speaker 2: of her aguilera is to it, and you know, Linda

635
00:35:04,080 --> 00:35:08,480
Speaker 2: was like, no, let's just stick with the demo, and

636
00:35:08,640 --> 00:35:12,080
Speaker 2: Christina like it was like the biggest fight of their relationship,

637
00:35:12,239 --> 00:35:16,319
Speaker 2: like really, and She's like, no, the dryness and the

638
00:35:16,360 --> 00:35:19,279
Speaker 2: regularness of this is what sells the song, trust me.

639
00:35:19,920 --> 00:35:23,680
Speaker 2: And she I don't know they forced it or kicked

640
00:35:23,719 --> 00:35:28,200
Speaker 2: and screamed it, but like she, Linda Perry won the

641
00:35:28,360 --> 00:35:31,360
Speaker 2: battle and the demo is the version that we know,

642
00:35:32,239 --> 00:35:37,800
Speaker 2: whereas Christina felt like, let me, you know, add exclamation

643
00:35:37,920 --> 00:35:41,400
Speaker 2: points to the end of the sentence, and she's like, she's.

644
00:35:41,200 --> 00:35:46,680
Speaker 4: Like an athlete. She's like this insane, right.

645
00:35:46,080 --> 00:35:48,440
Speaker 2: But this was just a foul shot. It wasn't a

646
00:35:48,840 --> 00:35:52,360
Speaker 2: it wasn't the you know, the All Star dunk contest,

647
00:35:52,440 --> 00:35:52,680
Speaker 2: but it.

648
00:35:52,680 --> 00:35:55,080
Speaker 4: Had the heart. I mean, I think that for me,

649
00:35:55,680 --> 00:35:59,759
Speaker 4: I'm way better on first takes or not even just

650
00:35:59,840 --> 00:36:03,560
Speaker 4: for takes, but like when the spontaneity factor is there,

651
00:36:04,520 --> 00:36:07,160
Speaker 4: and yes, you need to know the song and be

652
00:36:07,160 --> 00:36:11,520
Speaker 4: able to sell the lyric. But for me, when I

653
00:36:11,560 --> 00:36:16,880
Speaker 4: when I overthink or over rehearse something, it's not as good. Yeah, spontaneity.

654
00:36:17,520 --> 00:36:20,719
Speaker 2: My engineer is smart enough to know to record everything.

655
00:36:21,200 --> 00:36:27,920
Speaker 2: So oftentimes I'll like quote run down a performance and

656
00:36:27,960 --> 00:36:29,440
Speaker 2: then be like, all right, let me go for it,

657
00:36:29,480 --> 00:36:32,600
Speaker 2: and then we always just wind up choosing the or

658
00:36:32,640 --> 00:36:35,920
Speaker 2: you're not thinking about it I had or.

659
00:36:35,880 --> 00:36:40,160
Speaker 4: The fifteenth drunk take, yeah, the first three, you know.

660
00:36:41,360 --> 00:36:44,000
Speaker 2: Okay, So you worked with one of my heroes on

661
00:36:44,040 --> 00:36:50,120
Speaker 2: this record, mister Martin. Yeah, Reef Martin, Uh yeah a Reef.

662
00:36:50,440 --> 00:36:55,799
Speaker 2: You know he for me, I know this is odd

663
00:36:55,840 --> 00:36:58,160
Speaker 2: for people to hear, but the average white band is

664
00:36:58,680 --> 00:37:03,840
Speaker 2: like they were my heroes growing up, and their Gruman

665
00:37:03,920 --> 00:37:08,520
Speaker 2: Steve aron is my drumming idol. Steve Roon actually gave

666
00:37:08,560 --> 00:37:11,840
Speaker 2: me his actual drum set from all those Sun sessions

667
00:37:11,840 --> 00:37:14,440
Speaker 2: that I still use on the Tonight Show now and

668
00:37:14,480 --> 00:37:18,520
Speaker 2: a Reef produced them. And so that's how I came

669
00:37:18,560 --> 00:37:20,880
Speaker 2: to attention from you, because it's almost like anything that

670
00:37:20,920 --> 00:37:25,919
Speaker 2: a Reef has touched. Then I purchased it without fault.

671
00:37:26,080 --> 00:37:29,359
Speaker 2: So that's how like, that's funny. I was like, oh, wow,

672
00:37:29,400 --> 00:37:31,399
Speaker 2: he has a new artist, he's still producing, Oh my god.

673
00:37:32,320 --> 00:37:35,800
Speaker 2: And then that's how it entered. How did you how?

674
00:37:35,840 --> 00:37:36,960
Speaker 2: How was he assigned to you?

675
00:37:38,400 --> 00:37:44,359
Speaker 4: Well, when Bruce Lundvall signed me, I was obsessed with

676
00:37:45,280 --> 00:37:48,160
Speaker 4: the Cassandra Wilson New Moon Daughter album that was on

677
00:37:48,200 --> 00:37:51,200
Speaker 4: the Note that he had, you know, put out a

678
00:37:51,200 --> 00:37:53,719
Speaker 4: few years before, and I really wanted to work with

679
00:37:53,760 --> 00:37:58,160
Speaker 4: Craig Street, who's an amazing producer, and so I did

680
00:37:58,320 --> 00:38:01,920
Speaker 4: and it was incredible, had the most amazing musicians. I

681
00:38:01,960 --> 00:38:04,279
Speaker 4: love Craig. It was great, but there was something about

682
00:38:04,280 --> 00:38:09,040
Speaker 4: those sessions that didn't capture my vocal in the right

683
00:38:09,120 --> 00:38:13,319
Speaker 4: way that where it sounded like the thing from the

684
00:38:13,360 --> 00:38:16,440
Speaker 4: demos that we had already captured. So we ended up

685
00:38:17,000 --> 00:38:19,960
Speaker 4: kind of going back to the drawing board, which was crazy.

686
00:38:20,000 --> 00:38:22,120
Speaker 4: At the time. I didn't think I was going to

687
00:38:22,160 --> 00:38:26,239
Speaker 4: have the option to remake my record. I didn't think

688
00:38:26,239 --> 00:38:28,319
Speaker 4: they were going to give me any extra money to

689
00:38:28,360 --> 00:38:32,280
Speaker 4: do it right, and it was weird that it even happened.

690
00:38:32,320 --> 00:38:34,759
Speaker 4: But Bruce, it was his idea to go back and

691
00:38:34,840 --> 00:38:38,200
Speaker 4: try to recapture the sort of first thing we did.

692
00:38:39,120 --> 00:38:41,160
Speaker 4: So he said, but I'm going to have my friend

693
00:38:41,160 --> 00:38:43,640
Speaker 4: a Reef Martin. He had just hooked up with Manhattan,

694
00:38:44,440 --> 00:38:49,160
Speaker 4: the label that Bruce was also running was another label

695
00:38:49,200 --> 00:38:52,279
Speaker 4: called Manhattan. Anyway, a Reef was doing stuff with him,

696
00:38:52,320 --> 00:38:54,200
Speaker 4: and so he said, I want a Reef Martin to

697
00:38:54,200 --> 00:38:56,680
Speaker 4: come and do it. And I was really nervous at

698
00:38:56,680 --> 00:38:57,080
Speaker 4: that point.

699
00:38:57,120 --> 00:38:59,520
Speaker 2: I was like, Ah, did you know his predigree? By

700
00:38:59,520 --> 00:39:01,200
Speaker 2: that point I did.

701
00:39:01,320 --> 00:39:03,880
Speaker 4: I mean, I grew up on all those Aretha records

702
00:39:03,920 --> 00:39:09,880
Speaker 4: and on Donnie Hathaway, and I was nervous that he

703
00:39:09,960 --> 00:39:12,040
Speaker 4: was going to come in and not listen to me

704
00:39:12,920 --> 00:39:15,960
Speaker 4: or not because he was this huge producer. And then

705
00:39:16,000 --> 00:39:18,920
Speaker 4: he came in and he's like the sweetest older Turkish

706
00:39:18,960 --> 00:39:22,920
Speaker 4: man and he came into the sessions and I told Bruce,

707
00:39:22,960 --> 00:39:26,680
Speaker 4: I was like, Okay, but after a couple of days,

708
00:39:26,680 --> 00:39:29,120
Speaker 4: if it's not working out, you're just gonna let me

709
00:39:29,160 --> 00:39:31,000
Speaker 4: do this right. It was so weird. I was like

710
00:39:31,120 --> 00:39:35,520
Speaker 4: twenty one years old, you know. I was both scared

711
00:39:35,600 --> 00:39:39,880
Speaker 4: and also really stubborn, you know, and he ended up

712
00:39:39,920 --> 00:39:42,719
Speaker 4: being he let us kind of do our thing, but

713
00:39:42,760 --> 00:39:46,080
Speaker 4: he guided us, but he knew the situation. And so

714
00:39:46,440 --> 00:39:48,360
Speaker 4: the more we got to know him, the more he

715
00:39:48,440 --> 00:39:52,360
Speaker 4: was able to help, you know, tell us more what

716
00:39:53,920 --> 00:39:57,839
Speaker 4: we should do musically. But he became like this great friend.

717
00:39:57,880 --> 00:40:00,640
Speaker 4: I never in my wife thought I would have a

718
00:40:00,640 --> 00:40:04,000
Speaker 4: a friend who was a Turkish Man in his seventies.

719
00:40:04,640 --> 00:40:07,279
Speaker 4: He was like one of my best friends, and it

720
00:40:07,360 --> 00:40:08,040
Speaker 4: was incredible.

721
00:40:09,440 --> 00:40:12,680
Speaker 2: Man. I think the night that I first met you

722
00:40:12,719 --> 00:40:16,040
Speaker 2: in person was at the Grammys when it was that

723
00:40:16,160 --> 00:40:18,920
Speaker 2: New York. The night that you oh yeah, because we

724
00:40:18,920 --> 00:40:21,640
Speaker 2: were like rehearsal went eminem so much. I couldn't get

725
00:40:21,640 --> 00:40:25,040
Speaker 2: to a reef. I saw him in the audience and

726
00:40:25,120 --> 00:40:27,960
Speaker 2: wanted to drunk for my drum set, like in stalk him,

727
00:40:28,000 --> 00:40:30,040
Speaker 2: but I couldn't do that.

728
00:40:32,080 --> 00:40:32,760
Speaker 4: He was special.

729
00:40:33,280 --> 00:40:37,600
Speaker 2: I'm going to be the one person that doesn't ask

730
00:40:37,680 --> 00:40:40,680
Speaker 2: you the cliche of so what have you learned? After,

731
00:40:40,840 --> 00:40:45,880
Speaker 2: you know, for any lessons. So however, I will say

732
00:40:45,920 --> 00:40:49,640
Speaker 2: that once Kenny g covers your.

733
00:40:49,480 --> 00:40:53,680
Speaker 4: Song, I forgot that. I forgot about that.

734
00:40:54,400 --> 00:40:56,719
Speaker 2: Actually, how many emails did you get over that?

735
00:40:57,280 --> 00:40:59,839
Speaker 4: I don't remember. I remember Pat Metheny did it.

736
00:41:00,080 --> 00:41:00,440
Speaker 2: I did.

737
00:41:00,480 --> 00:41:02,359
Speaker 4: Don't know why. I mean, I didn't write that song.

738
00:41:02,400 --> 00:41:03,759
Speaker 4: My friend Jesse Harris wrote it.

739
00:41:04,000 --> 00:41:05,799
Speaker 2: But still we still associated with you.

740
00:41:05,920 --> 00:41:07,799
Speaker 4: Yeah, and I still feel like I own it a

741
00:41:07,800 --> 00:41:12,680
Speaker 4: little bit, but I don't remember. I must have forgotten

742
00:41:12,760 --> 00:41:14,880
Speaker 4: that era. There was a whole era there where I

743
00:41:14,880 --> 00:41:19,160
Speaker 4: don't remember very much. But that's so funny. I forgot

744
00:41:19,200 --> 00:41:20,160
Speaker 4: about that completely.

745
00:41:25,360 --> 00:41:31,480
Speaker 2: How eager were you to knock over your your jinga

746
00:41:31,560 --> 00:41:35,200
Speaker 2: design to start all over again? I mean, that's the

747
00:41:35,239 --> 00:41:38,520
Speaker 2: only I can describe it. You feel way to describe it? Yeah,

748
00:41:38,560 --> 00:41:40,120
Speaker 2: how eager were you to do it?

749
00:41:40,640 --> 00:41:43,000
Speaker 4: I was super eager. I was just eager to make music,

750
00:41:43,080 --> 00:41:47,120
Speaker 4: and I was eager to play guitar and write more songs.

751
00:41:47,160 --> 00:41:49,239
Speaker 4: I was inspired. I was listening to a ton of

752
00:41:49,320 --> 00:41:51,960
Speaker 4: like bluegrass at the time, so my second album was

753
00:41:52,400 --> 00:41:56,880
Speaker 4: a little bit more country inspired. But I was definitely

754
00:41:57,280 --> 00:42:01,920
Speaker 4: excited to get it over with as well. That's not

755
00:42:01,960 --> 00:42:04,000
Speaker 4: to say I rushed the music at all, or that

756
00:42:04,080 --> 00:42:07,000
Speaker 4: I was like hurrying and put out something I wasn't

757
00:42:07,000 --> 00:42:09,759
Speaker 4: proud of, but I was stoked to be inspired and

758
00:42:09,840 --> 00:42:11,840
Speaker 4: to just go ahead and plow through the second record

759
00:42:11,840 --> 00:42:15,000
Speaker 4: and not not overthink it.

760
00:42:15,040 --> 00:42:19,120
Speaker 2: Oh for feels like home? Correct, yeah, I think. But

761
00:42:19,239 --> 00:42:21,560
Speaker 2: that did like a million its first week.

762
00:42:21,520 --> 00:42:23,440
Speaker 4: Which yeah, which was great.

763
00:42:23,400 --> 00:42:25,800
Speaker 2: Which it almost is like, okay.

764
00:42:26,000 --> 00:42:28,120
Speaker 4: All right, I can move on now more than.

765
00:42:30,960 --> 00:42:34,120
Speaker 2: Where did you out? Out of your you know, because

766
00:42:34,600 --> 00:42:41,000
Speaker 2: you've gone through so many I won't even say phases

767
00:42:41,000 --> 00:42:44,120
Speaker 2: because I don't feel like these are like drastic Bowie

768
00:42:44,360 --> 00:42:50,040
Speaker 2: or Prince like changes in your music, but I mean

769
00:42:50,080 --> 00:42:54,840
Speaker 2: you you definitely added personality to all your records. My okay,

770
00:42:54,840 --> 00:43:00,680
Speaker 2: So my personal favorite of your cannon is Little Broken

771
00:43:00,719 --> 00:43:06,239
Speaker 2: Hearts but for you and don't give me the like

772
00:43:06,320 --> 00:43:10,239
Speaker 2: all my all my records to like my children, and

773
00:43:10,360 --> 00:43:11,160
Speaker 2: I guess some of.

774
00:43:11,120 --> 00:43:15,279
Speaker 4: Them I like more than others. Just kidding, but do

775
00:43:15,320 --> 00:43:15,880
Speaker 4: you feel.

776
00:43:15,800 --> 00:43:20,479
Speaker 2: What do you feel? Is like what's your I put

777
00:43:20,480 --> 00:43:22,759
Speaker 2: my my ass in that one, my FOOTNT one.

778
00:43:24,040 --> 00:43:27,000
Speaker 4: I think I also love that one you're talking about,

779
00:43:28,040 --> 00:43:31,279
Speaker 4: see I'm smart, The Danger Mouse one. It's just so

780
00:43:31,440 --> 00:43:34,680
Speaker 4: different and I love the sonics of it. But it's

781
00:43:34,680 --> 00:43:37,919
Speaker 4: funny because I've been playing the last couple of years.

782
00:43:37,920 --> 00:43:41,160
Speaker 4: I've been playing here and there with piano trio, just

783
00:43:41,239 --> 00:43:44,240
Speaker 4: me and Brian Blade on drums, Chris Thomas on bass,

784
00:43:44,239 --> 00:43:48,960
Speaker 4: sometimes different bass players. But when I started playing with

785
00:43:49,000 --> 00:43:52,000
Speaker 4: this group, I thought, oh, okay, I'm gonna pull out

786
00:43:52,040 --> 00:43:55,480
Speaker 4: some of the more jazzy songs in my catalog. But truthfully,

787
00:43:55,480 --> 00:43:58,200
Speaker 4: my favorite songs to play with this setup is the

788
00:43:58,239 --> 00:44:00,640
Speaker 4: songs from that album A Little Broken Hearts, and they

789
00:44:00,640 --> 00:44:03,879
Speaker 4: are it's not just not what I thought it would be.

790
00:44:03,920 --> 00:44:07,000
Speaker 4: They're just I think they're great songs, and I think

791
00:44:08,080 --> 00:44:12,160
Speaker 4: I think that Brian Burton is an incredible songwriter, and

792
00:44:12,480 --> 00:44:14,560
Speaker 4: we had so much fun making that record, And.

793
00:44:15,719 --> 00:44:20,480
Speaker 2: Yeah, I think, yeah, no, it's it's it's it's definitely special.

794
00:44:20,920 --> 00:44:24,320
Speaker 2: Do you feel what is your creative process like with songwriting,

795
00:44:24,360 --> 00:44:28,640
Speaker 2: because I know that collaboration is also a big thing

796
00:44:28,680 --> 00:44:32,400
Speaker 2: for you. Do you tend to do birds of a

797
00:44:32,440 --> 00:44:37,440
Speaker 2: feather as far as flock to people that because I

798
00:44:37,480 --> 00:44:42,160
Speaker 2: know that you've worked with Jeff Jeff Tweety, Jeff Wilcome,

799
00:44:42,400 --> 00:44:47,680
Speaker 2: I always call him no like you work with Tweety

800
00:44:47,760 --> 00:44:53,959
Speaker 2: and but I'm just saying that, do you often ever

801
00:44:54,320 --> 00:44:58,560
Speaker 2: consider like totally like, okay, well, time out. I totally

802
00:44:58,600 --> 00:45:01,239
Speaker 2: forgot now that you worked with Andre three thousand. So

803
00:45:01,960 --> 00:45:05,440
Speaker 2: even when you're entering in what we would think your

804
00:45:05,480 --> 00:45:08,560
Speaker 2: general audience would think like not familiar territory, like, how

805
00:45:08,560 --> 00:45:11,320
Speaker 2: does the how does the process start?

806
00:45:12,360 --> 00:45:15,799
Speaker 4: Well? I mean a lot of stuff I've collaborated with

807
00:45:15,840 --> 00:45:17,920
Speaker 4: people on it's already done and I'm just coming in

808
00:45:18,000 --> 00:45:20,880
Speaker 4: and singing. Like with the Andre three thousand thing, the

809
00:45:20,960 --> 00:45:23,640
Speaker 4: Q tip song, I went in and I just sang

810
00:45:23,719 --> 00:45:26,319
Speaker 4: what do you wanted me to sing? But as far

811
00:45:26,400 --> 00:45:31,000
Speaker 4: as collaborating songwriting, why is it's been evolving over the years,

812
00:45:31,600 --> 00:45:36,040
Speaker 4: It's completely changed. I mean I used to be a

813
00:45:36,080 --> 00:45:39,400
Speaker 4: nervous songwriter, and now I think after doing the record

814
00:45:39,400 --> 00:45:43,440
Speaker 4: with Brian, actually his process really opened me up to

815
00:45:44,800 --> 00:45:45,960
Speaker 4: no fear songwriting.

816
00:45:46,320 --> 00:45:52,160
Speaker 2: I'm just curious, because we're supposed to eventually get with Brian,

817
00:45:52,800 --> 00:45:57,319
Speaker 2: what is his actual process because no, the thing is

818
00:45:57,360 --> 00:45:59,880
Speaker 2: I know I know his YouTube process.

819
00:46:00,760 --> 00:46:02,200
Speaker 4: Yeah it might be different for everyone.

820
00:46:02,280 --> 00:46:04,640
Speaker 2: Oh, I know that's way different. I want to know

821
00:46:05,000 --> 00:46:13,319
Speaker 2: another non YouTube way, like, how does it start well?

822
00:46:13,360 --> 00:46:16,720
Speaker 4: For us? I mean we just went in We're pretty

823
00:46:16,760 --> 00:46:19,200
Speaker 4: comfortable with each other. At this point, we were already friends,

824
00:46:19,320 --> 00:46:22,400
Speaker 4: we'd already hung out a bunch. I sang on the

825
00:46:22,480 --> 00:46:24,480
Speaker 4: Rome album with him, so I got to know him

826
00:46:24,520 --> 00:46:30,440
Speaker 4: through all that. But you know, we both play whatever

827
00:46:30,520 --> 00:46:36,560
Speaker 4: instruments sound good in the room, and the song starts

828
00:46:36,560 --> 00:46:40,320
Speaker 4: with a weird bass line or a weird chord progression

829
00:46:41,480 --> 00:46:43,319
Speaker 4: or me strumming something.

830
00:46:43,040 --> 00:46:47,520
Speaker 2: On the guitar, and it goes to music first.

831
00:46:48,000 --> 00:46:51,440
Speaker 4: I mean, honestly, I don't remember completely, not always. Sometimes

832
00:46:51,440 --> 00:46:54,760
Speaker 4: like it'll be a melody, or he'll have a melody

833
00:46:54,800 --> 00:46:56,600
Speaker 4: in his head, or he'll have a lyric and a

834
00:46:56,640 --> 00:46:59,439
Speaker 4: melody in his head, or I will, and it sort

835
00:46:59,480 --> 00:47:02,759
Speaker 4: of just built from there, and usually we tried to

836
00:47:02,760 --> 00:47:05,840
Speaker 4: get some kind of melody down, whether he's hearing something

837
00:47:05,920 --> 00:47:09,960
Speaker 4: or whether I am. And then this is where I

838
00:47:10,000 --> 00:47:12,759
Speaker 4: learned a lot from him, because first of all, this

839
00:47:12,840 --> 00:47:15,080
Speaker 4: process was totally different than anything I'd ever done. I'd

840
00:47:15,120 --> 00:47:17,960
Speaker 4: never gone into the studio with nothing or with a

841
00:47:18,000 --> 00:47:21,759
Speaker 4: bunch of instruments and just like adding stuff, layering it.

842
00:47:21,920 --> 00:47:24,640
Speaker 4: I've never done that. I had never done that, And

843
00:47:24,719 --> 00:47:27,480
Speaker 4: so I would like sing some scratch lyrics and he's

844
00:47:27,480 --> 00:47:29,200
Speaker 4: like that's cool, We'll get the lyrics later. I was like, really,

845
00:47:29,280 --> 00:47:31,200
Speaker 4: I'm so worried about it. Are we going to get him?

846
00:47:31,239 --> 00:47:31,440
Speaker 2: You know?

847
00:47:32,360 --> 00:47:34,560
Speaker 4: And I would come in and I'd be like, I'm

848
00:47:34,600 --> 00:47:37,680
Speaker 4: just worried about this. I really like this, but I

849
00:47:37,680 --> 00:47:39,880
Speaker 4: don't know what to write. What are the lyrics? He's like,

850
00:47:39,880 --> 00:47:41,880
Speaker 4: they'll come, don't worry about it, And you know what,

851
00:47:41,960 --> 00:47:45,440
Speaker 4: they always came, and they were always in the moment

852
00:47:45,480 --> 00:47:48,360
Speaker 4: and heartfelt, and you know, we worked on him. But

853
00:47:49,719 --> 00:47:53,880
Speaker 4: that was a nice way for me to learn. And

854
00:47:54,000 --> 00:47:56,560
Speaker 4: lately I've been doing more of that. I've been going

855
00:47:56,600 --> 00:47:58,719
Speaker 4: in with people with nothing and just trying to like

856
00:47:58,760 --> 00:48:01,280
Speaker 4: throw stuff at the wall and coming out with stuff

857
00:48:01,280 --> 00:48:03,040
Speaker 4: that I'm totally in love with. You know.

858
00:48:04,040 --> 00:48:06,200
Speaker 2: So you never go through because the one the one

859
00:48:06,239 --> 00:48:08,239
Speaker 2: thing I had to commend you on at least, is

860
00:48:08,280 --> 00:48:14,800
Speaker 2: that you deliver and you push through. Because normally, whenever

861
00:48:14,920 --> 00:48:21,799
Speaker 2: anyone gets into a position of something that gargantuan or successful,

862
00:48:22,000 --> 00:48:27,480
Speaker 2: that's usually when they start sabotaging their creative process. That's

863
00:48:27,600 --> 00:48:33,520
Speaker 2: usually when writer's block sets in and decades go by

864
00:48:33,680 --> 00:48:38,160
Speaker 2: before even hear another note from them. And so the

865
00:48:38,200 --> 00:48:40,560
Speaker 2: fact that you push through it and also, I mean

866
00:48:41,520 --> 00:48:46,120
Speaker 2: all your side projects with the Little Willie's and with

867
00:48:46,760 --> 00:48:49,400
Speaker 2: Push and Boots. How many other side projects do you have?

868
00:48:49,440 --> 00:48:52,600
Speaker 2: Which one is? Well, my favorite is Carlo what projects?

869
00:48:52,640 --> 00:48:55,120
Speaker 4: You're like, you're like the only fan of that band?

870
00:48:55,520 --> 00:49:01,920
Speaker 4: You know that that is called El Madmo And that

871
00:49:02,160 --> 00:49:05,400
Speaker 4: was brief. But we put out a record and we

872
00:49:05,440 --> 00:49:07,160
Speaker 4: didn't put any of our names on it because at

873
00:49:07,200 --> 00:49:09,320
Speaker 4: the time, I think it was right after my second

874
00:49:09,320 --> 00:49:12,040
Speaker 4: album had come out, and I think part of me

875
00:49:12,080 --> 00:49:15,520
Speaker 4: staying creative and enjoying music was to pull back a

876
00:49:15,520 --> 00:49:18,760
Speaker 4: little bit from all the attention, and so this album

877
00:49:19,000 --> 00:49:21,879
Speaker 4: was really fun, and then we put it out under

878
00:49:21,920 --> 00:49:24,480
Speaker 4: these fake names, and then nobody really knew about it. It

879
00:49:24,360 --> 00:49:26,759
Speaker 4: was kind of like we totally sabotaged it by doing that.

880
00:49:26,840 --> 00:49:28,879
Speaker 4: But you're like the only fan.

881
00:49:29,160 --> 00:49:33,239
Speaker 2: But yeah, I have it. It's still on my iPod. Yes.

882
00:49:33,520 --> 00:49:35,280
Speaker 4: That was sort of the beginning of me playing guitar,

883
00:49:35,400 --> 00:49:38,640
Speaker 4: and we went on like this huge stadium tour on

884
00:49:38,680 --> 00:49:41,239
Speaker 4: the fields like home record basically, and my drummer and

885
00:49:41,239 --> 00:49:44,520
Speaker 4: my backup singer at the time we started this band,

886
00:49:44,600 --> 00:49:46,200
Speaker 4: and me and her learned how to play bass and

887
00:49:46,239 --> 00:49:48,400
Speaker 4: guitar a little bit and that was before Puss in

888
00:49:48,440 --> 00:49:51,760
Speaker 4: Boots continued my sort of guitar education.

889
00:49:52,000 --> 00:49:55,480
Speaker 2: But speaking of collaborations, how did you and Billy Joe

890
00:49:55,560 --> 00:49:58,480
Speaker 2: Armstrong wind up doing the Evely Brothers album.

891
00:49:59,080 --> 00:50:02,279
Speaker 4: Billy Chill called me and he asked if I would

892
00:50:02,280 --> 00:50:07,560
Speaker 4: be into doing this thing, and I I was a

893
00:50:07,600 --> 00:50:09,360
Speaker 4: little unsure. I was like, well, let's go in the

894
00:50:09,360 --> 00:50:11,439
Speaker 4: studio a couple of days and see if we fit.

895
00:50:11,680 --> 00:50:14,600
Speaker 2: I'm not going to commit to did you know anything

896
00:50:14,760 --> 00:50:15,719
Speaker 2: like of him?

897
00:50:16,360 --> 00:50:16,480
Speaker 4: Oh?

898
00:50:16,560 --> 00:50:20,920
Speaker 2: Yeah, well the screen day. But I mean like it

899
00:50:21,000 --> 00:50:21,919
Speaker 2: was like a cold call.

900
00:50:22,000 --> 00:50:25,720
Speaker 4: And yeah, it was cold call and I picked up. No.

901
00:50:25,960 --> 00:50:27,680
Speaker 4: See that's what happens when you pick.

902
00:50:27,560 --> 00:50:30,600
Speaker 2: Up and now you got to commit to an album.

903
00:50:30,680 --> 00:50:33,840
Speaker 4: Oh damn it. No, No, I don't remember. I don't remember.

904
00:50:33,880 --> 00:50:34,640
Speaker 4: It was a cold call.

905
00:50:34,719 --> 00:50:40,160
Speaker 2: But well, I can only imagine that there's other projects

906
00:50:40,239 --> 00:50:42,680
Speaker 2: that have been pitched to you that you were sort

907
00:50:42,680 --> 00:50:46,319
Speaker 2: of like, I'm not sure. Wait, can you name one

908
00:50:46,440 --> 00:50:48,279
Speaker 2: artist that you were supposed to work with or.

909
00:50:49,080 --> 00:50:50,040
Speaker 4: I'll never tell.

910
00:50:50,520 --> 00:50:51,880
Speaker 2: Okay, the.

911
00:50:54,320 --> 00:50:56,960
Speaker 4: Things that I regretted saying no to though, let me

912
00:50:57,000 --> 00:50:57,399
Speaker 4: know one.

913
00:50:57,520 --> 00:50:58,840
Speaker 2: Let me know one.

914
00:50:59,719 --> 00:51:05,320
Speaker 4: No, Oh, I feel weird, Just say what I regret?

915
00:51:06,280 --> 00:51:08,680
Speaker 4: I got an email from Farrell once and I was

916
00:51:08,719 --> 00:51:09,880
Speaker 4: just too busy or something.

917
00:51:09,960 --> 00:51:10,440
Speaker 2: I don't know.

918
00:51:10,560 --> 00:51:12,719
Speaker 4: I was bummed I didn't do it, but I don't know.

919
00:51:13,760 --> 00:51:16,160
Speaker 4: I don't know if it was something crazy or what.

920
00:51:16,280 --> 00:51:18,600
Speaker 2: But I would have liked you on a song that

921
00:51:18,719 --> 00:51:21,719
Speaker 2: starts with four hits at the beginning, me too.

922
00:51:22,480 --> 00:51:24,760
Speaker 4: Tell him to call me back, I miss I missed

923
00:51:24,760 --> 00:51:25,280
Speaker 4: my chance.

924
00:51:25,880 --> 00:51:27,799
Speaker 2: An He's always created, So.

925
00:51:28,320 --> 00:51:30,560
Speaker 4: Yeah, I mean that's the thing is. I think I

926
00:51:30,600 --> 00:51:33,200
Speaker 4: went through a little period of kind of being overwhelmed

927
00:51:33,280 --> 00:51:38,719
Speaker 4: by everything and just wanting to sort of chill. So

928
00:51:38,800 --> 00:51:40,840
Speaker 4: I said, notice some things. That year I had a

929
00:51:40,880 --> 00:51:45,240
Speaker 4: little bit of my own little mini nervous breakdown. But yeah,

930
00:51:45,400 --> 00:51:47,520
Speaker 4: Billy Joe called me and I said, let's try a

931
00:51:47,560 --> 00:51:51,160
Speaker 4: couple of days before we commit to doing it because

932
00:51:51,160 --> 00:51:53,160
Speaker 4: he wanted to do this whole album. It wasn't just

933
00:51:53,200 --> 00:51:56,000
Speaker 4: a song or two, and it was cool. He let

934
00:51:56,080 --> 00:51:58,680
Speaker 4: me hire the band from New York. He came to

935
00:51:58,719 --> 00:52:02,240
Speaker 4: New York to do it, and I really love that record.

936
00:52:02,360 --> 00:52:05,240
Speaker 4: Is beautiful. Yeah.

937
00:52:05,480 --> 00:52:07,720
Speaker 2: Surprising. Well, I mean it's not surprising.

938
00:52:07,280 --> 00:52:08,520
Speaker 4: Because it is surprising.

939
00:52:09,800 --> 00:52:11,840
Speaker 2: Well, I mean, the thing is is that I was

940
00:52:11,880 --> 00:52:15,759
Speaker 2: sort of like, okay, but then it's like, Okay, you

941
00:52:15,840 --> 00:52:19,880
Speaker 2: collaborate with everyone, so it's almost like I'm not shocked.

942
00:52:20,400 --> 00:52:25,640
Speaker 2: It wasn't that shocking, but yeah, okay, so.

943
00:52:25,640 --> 00:52:28,759
Speaker 4: It's just cool play well with others. You could say, all.

944
00:52:28,719 --> 00:52:35,919
Speaker 2: Right, so our alto saxophone, jermm, collaboration, we'll do sun

945
00:52:36,040 --> 00:52:40,640
Speaker 2: raw songs or whatever. So it's pick Me off the Floor.

946
00:52:40,840 --> 00:52:43,399
Speaker 2: That's going to be your eighth record, correct.

947
00:52:43,800 --> 00:52:49,200
Speaker 4: I don't know, well, your eighths or eight I'm not sure.

948
00:52:49,680 --> 00:52:55,839
Speaker 2: Okay, besides the single, I haven't heard the I haven't

949
00:52:55,840 --> 00:52:56,759
Speaker 2: heard the album yet.

950
00:52:56,840 --> 00:52:59,160
Speaker 4: But oh that's too bad. I really I think you'll

951
00:52:59,320 --> 00:53:01,320
Speaker 4: be into it, are you, indo Brian.

952
00:53:01,080 --> 00:53:04,480
Speaker 2: Blade, Yes, well more than that, I'm a Neward Jones fan.

953
00:53:04,560 --> 00:53:07,600
Speaker 2: I'm not. I'm not doing this because you're just next

954
00:53:07,719 --> 00:53:08,240
Speaker 2: on the pike.

955
00:53:08,520 --> 00:53:12,960
Speaker 4: Like, well, I think you'd like it because it's a

956
00:53:13,040 --> 00:53:15,160
Speaker 4: lot of this piano trio stuff I was talking about.

957
00:53:15,239 --> 00:53:19,520
Speaker 4: I got really inspired to write for this piano trio setup,

958
00:53:19,560 --> 00:53:22,800
Speaker 4: and we ended up adding stuff and adding some production

959
00:53:22,920 --> 00:53:25,200
Speaker 4: to it, but it all most of the records started

960
00:53:25,680 --> 00:53:28,040
Speaker 4: sort of stripped down, and the single is actually not

961
00:53:28,200 --> 00:53:31,719
Speaker 4: even what this is. The two songs I released so

962
00:53:31,800 --> 00:53:34,880
Speaker 4: far are the two exceptions to this sort of piano

963
00:53:34,920 --> 00:53:39,680
Speaker 4: trio bass of this record. But it yeah, a little bit,

964
00:53:40,080 --> 00:53:40,800
Speaker 4: but that's okay.

965
00:53:40,880 --> 00:53:43,320
Speaker 2: But who did you work with? Production ones?

966
00:53:44,719 --> 00:53:47,520
Speaker 4: I did two songs with Jeff Tweety, okay, and those

967
00:53:47,520 --> 00:53:49,400
Speaker 4: were awesome, and then the rest I just sort of

968
00:53:49,400 --> 00:53:53,080
Speaker 4: did it in New York. I've been doing these collaborations

969
00:53:53,080 --> 00:53:56,520
Speaker 4: and trying to release singles lately just to stay inspired

970
00:53:56,640 --> 00:53:58,960
Speaker 4: and not have to do like a whole album cycle.

971
00:53:59,520 --> 00:54:01,680
Speaker 4: And in the process of doing all these I got

972
00:54:01,719 --> 00:54:06,239
Speaker 4: all these extra tracks that I loved, and so they

973
00:54:06,320 --> 00:54:07,520
Speaker 4: all kind of fit together.

974
00:54:08,160 --> 00:54:10,680
Speaker 2: And that's just to do a bunch of one off singles,

975
00:54:10,760 --> 00:54:12,040
Speaker 2: and yeah.

976
00:54:11,880 --> 00:54:15,080
Speaker 4: I have been doing I have been trying to just

977
00:54:15,200 --> 00:54:18,200
Speaker 4: like collaborate with people I love, like like doing that

978
00:54:18,239 --> 00:54:20,120
Speaker 4: Billy Joel thing was so cool, but it was still

979
00:54:20,120 --> 00:54:21,880
Speaker 4: a commitment because it was a whole album. So I've

980
00:54:21,920 --> 00:54:25,600
Speaker 4: been trying to do just one song with people. I

981
00:54:25,640 --> 00:54:28,560
Speaker 4: did one with Tank, you know, Tank from the Bengus

982
00:54:28,640 --> 00:54:31,279
Speaker 4: and Jeff Tweety. We did a couple and these two

983
00:54:31,320 --> 00:54:34,040
Speaker 4: songs on this album are from that session too. I

984
00:54:34,120 --> 00:54:38,479
Speaker 4: just had all these extra songs from these sessions, so all.

985
00:54:38,440 --> 00:54:43,160
Speaker 2: Right, well, I mean in terms of Do you still

986
00:54:43,160 --> 00:54:49,080
Speaker 2: feel that the the date will still get honored or I.

987
00:54:49,000 --> 00:54:54,719
Speaker 4: Think we pushed it to June? Okay, yeah, you know

988
00:54:54,760 --> 00:54:57,440
Speaker 4: it's funny. I feel like people are home, maybe they

989
00:54:57,440 --> 00:54:59,800
Speaker 4: want something to listen to, but I think everybody's watching

990
00:54:59,840 --> 00:55:04,000
Speaker 4: that Flix, so it's okay.

991
00:55:03,440 --> 00:55:04,600
Speaker 2: What are you? What are you watching?

992
00:55:04,719 --> 00:55:04,799
Speaker 4: Like?

993
00:55:04,840 --> 00:55:05,840
Speaker 2: What have you binged out on?

994
00:55:07,160 --> 00:55:09,320
Speaker 4: Oh? A lot of Barbie Dream House?

995
00:55:10,440 --> 00:55:11,520
Speaker 2: So what your kids are watching?

996
00:55:11,640 --> 00:55:15,400
Speaker 4: Yeah? Basically I don't have any control. It's funny.

997
00:55:15,440 --> 00:55:17,439
Speaker 2: I four to seven. Your kids are in the house.

998
00:55:17,560 --> 00:55:20,319
Speaker 4: Oh god, they do. And every night they go to

999
00:55:20,400 --> 00:55:23,520
Speaker 4: sleep and then I'm like, cool, I'm going to watch something. Nope,

1000
00:55:24,000 --> 00:55:24,640
Speaker 4: I'm asleep.

1001
00:55:25,080 --> 00:55:27,640
Speaker 2: I see, I see. I feel you.

1002
00:55:28,239 --> 00:55:29,640
Speaker 4: Have you watched Last Man on Earth?

1003
00:55:30,920 --> 00:55:31,600
Speaker 2: The sitcom?

1004
00:55:32,080 --> 00:55:32,520
Speaker 4: Yeah?

1005
00:55:32,640 --> 00:55:36,520
Speaker 2: With what's his name? I love that show to death.

1006
00:55:36,600 --> 00:55:38,719
Speaker 4: Yes, I love that show so much. I'm so sad

1007
00:55:38,760 --> 00:55:41,640
Speaker 4: when it stopped. I know every night I think I'm

1008
00:55:41,640 --> 00:55:43,640
Speaker 4: going to rewatch Last Man on Earth. Right now it

1009
00:55:43,719 --> 00:55:44,880
Speaker 4: feels like the right moment.

1010
00:55:45,600 --> 00:55:48,600
Speaker 2: But I'm one of those people that when I commit

1011
00:55:48,640 --> 00:55:52,520
Speaker 2: to a series and I know it's going to be over,

1012
00:55:53,600 --> 00:55:56,360
Speaker 2: I never watched the last three, Like my pen ultimate

1013
00:55:56,440 --> 00:55:58,840
Speaker 2: is always like the last three or four. So even

1014
00:55:59,640 --> 00:56:03,879
Speaker 2: with my modern family, which as a completist, I feel

1015
00:56:03,880 --> 00:56:05,759
Speaker 2: like I have to watch the last season, even though

1016
00:56:05,920 --> 00:56:09,120
Speaker 2: kind of Wayne Dalf thatf there's season nine. But I

1017
00:56:09,280 --> 00:56:13,680
Speaker 2: never like watching the last three episodes of a series

1018
00:56:13,719 --> 00:56:18,200
Speaker 2: when it's over. And really, yeah, I loved I loved

1019
00:56:19,200 --> 00:56:21,840
Speaker 2: Last Man on Earth, and I kind of feel like

1020
00:56:21,920 --> 00:56:23,560
Speaker 2: that's my reality right now.

1021
00:56:23,800 --> 00:56:26,080
Speaker 4: Well, I know that's that's what reminded me of it

1022
00:56:26,120 --> 00:56:28,760
Speaker 4: for sure. Wait, so you didn't watch the last three?

1023
00:56:28,800 --> 00:56:31,160
Speaker 2: No, no, I did, Yes, I didn't watch. I didn't

1024
00:56:31,160 --> 00:56:32,200
Speaker 2: watch the last three yet.

1025
00:56:32,280 --> 00:56:38,600
Speaker 4: No, Oh, you should watch them. Now it's the time,

1026
00:56:38,680 --> 00:56:39,000
Speaker 4: is right.

1027
00:56:39,320 --> 00:56:43,080
Speaker 2: I hate goodbye? I mean I I don't know. It's

1028
00:56:43,200 --> 00:56:43,839
Speaker 2: like her you.

1029
00:56:43,800 --> 00:56:45,359
Speaker 4: Like having it hanging over your head.

1030
00:56:46,080 --> 00:56:48,839
Speaker 2: Yeah, but now you're right, now is the time to

1031
00:56:48,840 --> 00:56:53,280
Speaker 2: do it because I've been watching. I made the mistake

1032
00:56:53,360 --> 00:56:56,359
Speaker 2: of watching that damn what do you call it? The

1033
00:56:56,400 --> 00:56:57,279
Speaker 2: Tiger King thing?

1034
00:56:57,719 --> 00:56:58,520
Speaker 4: Oh? I didn't watch that?

1035
00:56:58,640 --> 00:57:01,560
Speaker 2: Yeah, which I kind of want my nine hours back.

1036
00:57:02,320 --> 00:57:07,200
Speaker 4: Well, you were part of a movement. You were in

1037
00:57:07,280 --> 00:57:08,399
Speaker 4: it with the rest of.

1038
00:57:08,360 --> 00:57:10,880
Speaker 2: The world, every right, I mean everyone was part of

1039
00:57:10,880 --> 00:57:13,360
Speaker 2: the conversation. I was like, I felt fomo and I

1040
00:57:13,440 --> 00:57:15,640
Speaker 2: wanted you know. Okay, I want to watch it too

1041
00:57:15,719 --> 00:57:19,800
Speaker 2: and now regret it. Yeah, so I don't know. I mean,

1042
00:57:19,840 --> 00:57:22,760
Speaker 2: I'm going to finish Ozarks and oh yeah, I.

1043
00:57:22,680 --> 00:57:24,440
Speaker 4: Want to start that because I have never watched that.

1044
00:57:24,480 --> 00:57:25,480
Speaker 4: I was talking about that.

1045
00:57:25,760 --> 00:57:31,680
Speaker 2: Okay, so does in my opinion, does okay, does Sopranos

1046
00:57:32,000 --> 00:57:35,000
Speaker 2: or The Wire or Breaking Bad mean anything to you?

1047
00:57:36,800 --> 00:57:40,840
Speaker 4: I watched all the Sopranos, I watched all of Breaking Bad. Okay,

1048
00:57:41,040 --> 00:57:42,440
Speaker 4: not watch all of the Wire.

1049
00:57:42,840 --> 00:57:49,920
Speaker 2: Okay, then this could easily be in fourth place. I mean,

1050
00:57:49,960 --> 00:57:53,560
Speaker 2: in my personal opinion, I feel like, oh, no doubt,

1051
00:57:54,080 --> 00:57:58,640
Speaker 2: no doubt. I mean, even one of the actresses has

1052
00:57:58,680 --> 00:58:03,800
Speaker 2: already won an Emmy for a performance. It's it's it's

1053
00:58:03,880 --> 00:58:06,840
Speaker 2: that level of.

1054
00:58:06,040 --> 00:58:08,880
Speaker 4: Darkness and sounds delicious.

1055
00:58:09,360 --> 00:58:12,320
Speaker 2: So that's that's my recommendation. Wait now, I feel like

1056
00:58:12,520 --> 00:58:14,720
Speaker 2: I'm taking away from creativity if I'm telling you to

1057
00:58:14,720 --> 00:58:15,720
Speaker 2: start binging.

1058
00:58:15,400 --> 00:58:18,440
Speaker 4: Out on tele I would I would love to have

1059
00:58:18,480 --> 00:58:24,040
Speaker 4: a show to binge on. I would love to. Okay,

1060
00:58:24,160 --> 00:58:24,919
Speaker 4: I'll write a song.

1061
00:58:25,040 --> 00:58:29,440
Speaker 2: But I see, I see, well, you know, I appreciate

1062
00:58:29,480 --> 00:58:32,760
Speaker 2: you for taking the time out to do this, and

1063
00:58:33,920 --> 00:58:34,320
Speaker 2: you too.

1064
00:58:34,480 --> 00:58:35,120
Speaker 4: Good to see you.

1065
00:58:35,520 --> 00:58:39,920
Speaker 2: Hopefully, I don't know, maybe you can, you know, broadcast

1066
00:58:41,200 --> 00:58:43,360
Speaker 2: from your crib? Do you do social media at all?

1067
00:58:44,040 --> 00:58:48,000
Speaker 4: No, it's it kind of terrorisfies me. I've started doing

1068
00:58:48,040 --> 00:58:52,360
Speaker 4: some live recordings and putting them out during all this, right,

1069
00:58:53,120 --> 00:58:56,160
Speaker 4: and it's been fun. But I'm not good at like

1070
00:58:56,520 --> 00:59:00,520
Speaker 4: browsing the comments. It's no feel crazy.

1071
00:59:01,120 --> 00:59:02,640
Speaker 2: Never read the comments.

1072
00:59:02,600 --> 00:59:04,600
Speaker 4: Makes me feel crazy. I've tried to do. I tried

1073
00:59:04,600 --> 00:59:06,880
Speaker 4: to do Instagram a few years back, and I just

1074
00:59:06,960 --> 00:59:10,600
Speaker 4: felt like an idiot because I don't want to show

1075
00:59:10,640 --> 00:59:12,720
Speaker 4: pictures of my kids, but I don't want to fake

1076
00:59:12,760 --> 00:59:16,200
Speaker 4: it and pretend. So I just hated it. I couldn't

1077
00:59:16,360 --> 00:59:19,600
Speaker 4: I couldn't deal. And then I was thinking about, oh,

1078
00:59:19,640 --> 00:59:21,360
Speaker 4: what would be a good post. I'm like, Okay, that

1079
00:59:21,400 --> 00:59:23,360
Speaker 4: goes against the point. You either got to like just

1080
00:59:23,880 --> 00:59:25,000
Speaker 4: post whatever.

1081
00:59:24,960 --> 00:59:28,400
Speaker 2: Or or don't post what you're cooking. That's a that's

1082
00:59:28,400 --> 00:59:33,440
Speaker 2: a good place to start. No one, no one ever disagreement.

1083
00:59:33,040 --> 00:59:33,920
Speaker 4: Talks for lunch again.

1084
00:59:34,280 --> 00:59:37,360
Speaker 2: Yes, there you go. You should just start a hot

1085
00:59:37,360 --> 00:59:42,480
Speaker 2: dog account. Seriously, all right? Yeah, well, Nora, I appreciate you,

1086
00:59:42,520 --> 00:59:44,360
Speaker 2: thank you for your artistry, thank you for taking the

1087
00:59:44,400 --> 00:59:47,040
Speaker 2: time out. Thank you ladies and gentlemen. This has been

1088
00:59:47,160 --> 00:59:50,200
Speaker 2: quest love Supreme. You have the team Supreme. I bid

1089
00:59:50,240 --> 00:59:53,280
Speaker 2: you do. Stay safe for everybody and we will see

1090
00:59:53,320 --> 00:59:54,080
Speaker 2: you on this story.

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Speaker 1: Quest Love Supreme is a production of iHeartRadio. For more

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Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

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Speaker 1: wherever you listen to your favorite shows.