WEBVTT - QLS Classic: Norah Jones

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

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<v Speaker 2>What's Up?

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<v Speaker 3>This is unpaid bill from Questlove Supreme.

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<v Speaker 2>So questlof does this thing.

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<v Speaker 3>Usually like once a season where it sits down for

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<v Speaker 3>one of them. Many of us do that and you

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<v Speaker 3>can expect to hear mine soon. But anyway, back in

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<v Speaker 3>May of twenty twenty, a Mere spoke with Nora Jones

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<v Speaker 3>about her career an unlikely journey.

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<v Speaker 2>Into the spotlight.

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<v Speaker 3>There's a lot of heart and soul in this conversation,

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<v Speaker 3>and if you know Nora's music, that's no surprise. As

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<v Speaker 3>we celebrate women's history months, we are picking special.

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<v Speaker 2>Episodes for classics.

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<v Speaker 3>This one is very special and you'll hear why.

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<v Speaker 2>All right, this is gonna be silly. Ladies and gentlemen,

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<v Speaker 2>Welcome to another episode of Quest Love Supreme. This is

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<v Speaker 2>Questlove Today. I'm solo, solo alone, holding it down to

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<v Speaker 2>the fort without boss or paybilled sugar, Steve Light here

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<v Speaker 2>or take a look. We are very honored today to

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<v Speaker 2>be talking shop with a good friend of mine, multi

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<v Speaker 2>Grammy winner, multi instrumentalist, singer just just about everything, almost

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<v Speaker 2>almost celebrating twenty years in this industry since her debut.

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<v Speaker 2>What else is there to say? So well rounded, so awesome.

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<v Speaker 2>Ladies and gentlemen, please welcome Norah Jones to Questlove Supreme.

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<v Speaker 2>I'm a cheering accession.

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<v Speaker 4>How you doing, I'll take it.

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<v Speaker 2>Where are you right now?

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<v Speaker 4>I'm in the country. I'm I'm in a bedroom, my

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<v Speaker 4>bedroom here. Yeah, I'm in bedroom.

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<v Speaker 2>Okay, So I'm sort of in bed, yeah, kind of

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<v Speaker 2>in this new reality yep. So yes, of course I

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<v Speaker 2>have to ask, like, how are you adjusting to what

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<v Speaker 2>we are now calling the new reality? You know, for

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<v Speaker 2>a lot of creatives, I know this is either a

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<v Speaker 2>moment for them to finally just take a breather and

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<v Speaker 2>not have to deal with the circle of the work

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<v Speaker 2>that we put into. For other people, it's like, okay,

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<v Speaker 2>more creativity, Like where are you falling on this?

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<v Speaker 4>Well, my kids are almost four years old and six,

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<v Speaker 4>so I wish I could be more creative, but there

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<v Speaker 4>isn't a ton of time. Okay, but I have little

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<v Speaker 4>snippets of ideas and yeah, it's more about how do

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<v Speaker 4>I get them to not yell at me?

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<v Speaker 2>Okay?

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<v Speaker 4>So you're in that way entertainment mode, yes, exactly, full.

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<v Speaker 2>Time entertainment mood. Okay, I see oh.

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<v Speaker 4>Would you like a hot dog for lunch?

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<v Speaker 2>Again?

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<v Speaker 4>Okay?

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<v Speaker 2>Cool sor are there? Okay?

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<v Speaker 4>Good? Though it's a good distraction, I'll say that, Okay. Yeah.

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<v Speaker 2>The prime purpose of the podcast for me is kind

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<v Speaker 2>of seeing the the machinery inside the vehicle and always

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<v Speaker 2>the creative process. So, I mean, I know you've been

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<v Speaker 2>asked this a billion times before, but you know, I

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<v Speaker 2>like to take this approach for our viewers or our listeners.

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<v Speaker 2>Where were you born?

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<v Speaker 4>I was born in New York? Actually, yeah, what part

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<v Speaker 4>of the I think her apartment was like on twenty

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<v Speaker 4>seventh in Lexington, Okay, in Manhattan. Yeah.

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<v Speaker 2>Do you know your first musical memory? Your first childhood

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<v Speaker 2>musical memory?

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<v Speaker 4>Probably my mom's records. I don't know the exact first,

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<v Speaker 4>but I remember listening to Willie Nelson and Ray Charles

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<v Speaker 4>and Aretha Franklin.

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<v Speaker 2>So your mom was a promoter, correct, you know?

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<v Speaker 4>She she That's how she met my dad. She worked

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<v Speaker 4>for a promoter for a short time, but not really,

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<v Speaker 4>not like long term.

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<v Speaker 2>So she wasn't the Bill Graham of her error that time.

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<v Speaker 4>No, she definitely wasn't. She had many careers. She was

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<v Speaker 4>a dancer, and then she broke her ankle, and then

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<v Speaker 4>she was in the theater, and she worked in commercials

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<v Speaker 4>behind the scenes, and then she was a real estate

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<v Speaker 4>agent and then a nurse. So she was kind of

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<v Speaker 4>all over the place.

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<v Speaker 2>Okay, So her record collection sort of seeped into you.

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<v Speaker 2>What types of records were those?

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<v Speaker 4>A lot of gospel, Aretha Franklin, gospel era stuff, a

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<v Speaker 4>lot of early Ray Charles country music. She's from Oklahoma, Okay,

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<v Speaker 4>so that was sort of in the water too, because

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<v Speaker 4>I grew up in Texas. We moved to Texas when

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<v Speaker 4>I was about three.

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<v Speaker 2>Really, yeah, so how different was that from well, I

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<v Speaker 2>mean not that you would have.

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<v Speaker 4>I don't have that many memories memories, but I actually

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<v Speaker 4>my first memory is of a dream I had of

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<v Speaker 4>playing in the playground at Washington Square Parks. So okay,

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<v Speaker 4>I don't really remember.

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<v Speaker 2>So even in the beginning, I mean, what was there

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<v Speaker 2>for you? I know, like a lot of musicians come

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<v Speaker 2>through either an older siblings record or you know, like

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<v Speaker 2>a cousin or someone that puts them onto it. But

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<v Speaker 2>for you, like, did you also like the music of

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<v Speaker 2>the day, Like I meant, by the time you were

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<v Speaker 2>five or six, like Madonna was a thing so like,

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<v Speaker 2>do you remember like your first actual purchase outside of

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<v Speaker 2>your mother's record collection.

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<v Speaker 4>Yeah, I mean I don't think. I listened to the

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<v Speaker 4>music of the day till I was about nine or ten,

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<v Speaker 4>and then I sort of started listening to pop radio.

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<v Speaker 2>Oh so you were old soul from zero to.

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<v Speaker 4>Nine, Well kind of okay, Yeah.

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<v Speaker 2>Explained your seasoning, all right.

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<v Speaker 4>I listened to like oldies radio, and you know, for

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<v Speaker 4>us in that generation, it was like the nineteen fifties

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<v Speaker 4>and sixties.

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<v Speaker 2>Pop music you got tricked.

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<v Speaker 4>Not the Beatles, like not as cool as that yet,

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<v Speaker 4>but like before that, pre that, you know.

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<v Speaker 2>No that that's my story, Like, yeah, which is bad.

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<v Speaker 2>My dad was an oldies duop singer, so I thought

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<v Speaker 2>the thing was that he tricked me. I thought that

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<v Speaker 2>was the music of the day.

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<v Speaker 4>That's so funny.

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<v Speaker 2>And then in first grade, like my music teachers like no, yeah,

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<v Speaker 2>like here are the Beg's, here are you know that

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<v Speaker 2>sort of thing. But I thought, like Frankie Lyon and

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<v Speaker 2>the teenagers was like I thought there was like a

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<v Speaker 2>new record white a fool small love like that sort

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<v Speaker 2>of thing.

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<v Speaker 4>That's pretty funny. Yeah, that was my stuff until I

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<v Speaker 4>was like nine and then because my mom didn't listen

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<v Speaker 4>to pop radio. She listen to NPR, so I didn't

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<v Speaker 4>know about that stuff. Maybe I had like a babysitter

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<v Speaker 4>who was into Madonna. But then when I was nine,

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<v Speaker 4>it was full on whatever was out and popular. I

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<v Speaker 4>was into.

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<v Speaker 2>So what were you like, how are you relating to

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<v Speaker 2>your friend friends in the area, like in school and

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<v Speaker 2>whatnot if you didn't share the same music taste that

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<v Speaker 2>they did.

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<v Speaker 4>I don't even know. I mean I was in choiring

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<v Speaker 4>school and church. I don't remember it being weird or

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<v Speaker 4>being feeling different. And then by the time kids were

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<v Speaker 4>more interested in that kind of stuff, I was already listening.

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<v Speaker 4>I think the first cassette I purchased was Digital Underground

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<v Speaker 4>because I liked the humpy dance. Yeah, I loved it.

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<v Speaker 4>It was the best thing I'd ever heard.

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<v Speaker 2>Okay. Fiona Apple also has a hilarious story where when

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<v Speaker 2>she was making title, I think she was like getting

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<v Speaker 2>gas and she saw like SHATCHI Digital Underground, like lost

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<v Speaker 2>it like this around. That's amazing, freaking Digital Underground. Okay.

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<v Speaker 2>You mentioned, uh, playing piano in church? What type of

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<v Speaker 2>church was this? Was this?

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<v Speaker 4>This was a Methodist church in you know, suburban Texas.

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<v Speaker 4>It was. It was a nice enough church, but they

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<v Speaker 4>had a really Actually I played, I sang in church.

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<v Speaker 4>I didn't play piano in church. But she was a

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<v Speaker 4>cool choir director. I think she was a maybe a

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<v Speaker 4>former Catholic, and so she taught us all these Latin hymns, right,

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<v Speaker 4>so it was cool. And then you know, we did

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<v Speaker 4>like our God is an awesome God. And then I

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<v Speaker 4>stopped going to church after that. But oh okay, not

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<v Speaker 4>because of the song, but you know, it was like

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<v Speaker 4>a mix of It was a mix of stuff, is

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<v Speaker 4>my point.

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<v Speaker 2>Trust me. Everyone has their church Exodus booth exactly.

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<v Speaker 4>Yeah, I see that, the children choir basically.

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<v Speaker 2>Okay, well she be noted you went to you went

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<v Speaker 2>to Booker t Washington. Yeah, high school. Yeah, notables. So

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<v Speaker 2>I meant at the time, well, Roy is way older

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<v Speaker 2>than you.

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<v Speaker 4>Yeah, he was older, but he was like the hometown hero.

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<v Speaker 2>So were you in school at the time of Erica

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<v Speaker 2>or was that.

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<v Speaker 4>Even she was with Well she was a little bit

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<v Speaker 4>older too, and her album came out when I was

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<v Speaker 4>a junior maybe or a senior. So again it was

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<v Speaker 4>like a huge big deal for us all and I

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<v Speaker 4>was obsessed with that album and it was so cool.

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<v Speaker 4>She came back and like did a talk at the

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<v Speaker 4>school and it was fine, Okay.

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<v Speaker 2>What is it about that high school? Is that a

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<v Speaker 2>performing arts high school? Or so what is it? Because oftentimes,

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<v Speaker 2>I mean when people think of Texas, we don't think

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<v Speaker 2>of like performing arts schools and you know, type of

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<v Speaker 2>artistic expressions and that sort of thing. But like, is

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<v Speaker 2>the community like that down there or.

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<v Speaker 4>I mean, Texas is a big place. The Dallas area

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<v Speaker 4>is a huge suburban place full of small neighborhoods, you know,

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<v Speaker 4>or big neighborhoods, so you know, you can travel twenty

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<v Speaker 4>miles and it's completely different community. But so this school

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<v Speaker 4>was cool because it draws. It draws from all over

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<v Speaker 4>the city. You have to audition to get in, but

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<v Speaker 4>anybody can go there. So kids were commuting from all

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<v Speaker 4>over the city and it was sort of a it

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<v Speaker 4>was I don't know, it was like the place where

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<v Speaker 4>all the cool, weird artists went ended up. You know.

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<v Speaker 4>I came from like a super heavy football marching band situation.

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<v Speaker 4>Cheerleaders were queens of the school.

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<v Speaker 2>Tea. You were in the marching band. I was. I

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<v Speaker 2>played saxophone, you played saxophone.

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<v Speaker 4>I mean I haven't in thirty or twenty five years maybe.

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<v Speaker 2>But if you see a saxophone, I'm assuming the alto

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<v Speaker 2>or a tenor like alto.

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<v Speaker 4>I do hold a special place for marching band in

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<v Speaker 4>my heart.

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<v Speaker 2>But you'll never pick up a sax again.

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<v Speaker 4>I mean, so gross. I still have my saxophone. No, no,

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<v Speaker 4>the saxophone is not gross. I still have my saxophone,

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<v Speaker 4>and I think like the read is still attached from

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<v Speaker 4>twenty five years. It's probably disgusting and growing up kinds

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<v Speaker 4>of mold in it, but for some reason, I still

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<v Speaker 4>have it somewhere.

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<v Speaker 2>I feel like you're the type of creative that will

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<v Speaker 2>You're the type of artist that I feel as though

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<v Speaker 2>you you like experiments. You often change, evolve and go

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<v Speaker 2>through metamorphosis. I do.

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<v Speaker 4>I like that.

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<v Speaker 2>That's feeling. Okay, when you break out your saxophone, I'll

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<v Speaker 2>be in that bad.

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<v Speaker 4>I don't know about that. I don't know if that's

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<v Speaker 4>going to happen. I need to practice guitar more.

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<v Speaker 2>First. You always down here, Like every clip I see

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<v Speaker 2>of you and you talk about your guitar. You always

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<v Speaker 2>saying like I need to prove my guitar. I need

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<v Speaker 2>to prove. Yeah, I do you seem to do fine?

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<v Speaker 2>Or are you saying that you just hide well behind

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<v Speaker 2>whoever's playing. Oh that's the secret.

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<v Speaker 4>Well, I think my thing on guitar is cool. I

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<v Speaker 4>just I don't play enough. I'm not I'm not good

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<v Speaker 4>at just playing music at home all the time. I

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<v Speaker 4>don't know how you are if you're always playing no

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<v Speaker 4>matter what. For so long. I think I just worked

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<v Speaker 4>so much I didn't even think about having to play

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<v Speaker 4>or practice, and so now when I'm not working at all,

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<v Speaker 4>I'm like, I forget to play, you know.

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<v Speaker 2>I was going to say, I wanted to know well

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<v Speaker 2>before I get into that, I wanted to know what

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<v Speaker 2>your When when did piano was? I mean, when all

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<v Speaker 2>said and done, do you consider the piano your acts

0:12:43.360 --> 0:12:46.520
<v Speaker 2>of choice? Or voice and acts of choice? When did

0:12:46.600 --> 0:12:47.560
<v Speaker 2>you start playing piano?

0:12:48.000 --> 0:12:51.440
<v Speaker 4>I started playing piano when I was seven, and I

0:12:51.480 --> 0:12:54.480
<v Speaker 4>wanted to take piano lessons really bad, and so my

0:12:54.559 --> 0:12:58.040
<v Speaker 4>mom got a piano and after a couple of weeks,

0:12:58.160 --> 0:13:00.000
<v Speaker 4>I wanted to quit because I didn't like the idea

0:13:00.120 --> 0:13:04.000
<v Speaker 4>of having to practice, you know, and so my mom, Yeah,

0:13:04.080 --> 0:13:06.720
<v Speaker 4>my mom was like, no, I bought you a piano

0:13:06.840 --> 0:13:10.040
<v Speaker 4>because you wanted to play, and she said, I have

0:13:10.320 --> 0:13:12.640
<v Speaker 4>She said you have to take into for five years

0:13:12.760 --> 0:13:14.959
<v Speaker 4>and that way, and then you can quit that way

0:13:14.960 --> 0:13:16.720
<v Speaker 4>if you ever want to go back to it'll be easier.

0:13:16.760 --> 0:13:19.480
<v Speaker 4>And I thought that was pretty annoying at the time,

0:13:19.520 --> 0:13:22.440
<v Speaker 4>but in hindsight, it's pretty It was pretty cool because

0:13:22.760 --> 0:13:25.520
<v Speaker 4>after five years I quit, like on the dot. I

0:13:25.559 --> 0:13:28.000
<v Speaker 4>was like, all right, my five years is up? Really

0:13:28.040 --> 0:13:30.680
<v Speaker 4>more scales? Yeah, I just didn't want to practice.

0:13:30.800 --> 0:13:33.760
<v Speaker 2>How many hours a day did you have to practice?

0:13:34.000 --> 0:13:39.680
<v Speaker 4>I'm the most lazy, p procrastinating practicer. But I don't

0:13:39.720 --> 0:13:42.800
<v Speaker 4>even remember. But I know I had a really good teacher.

0:13:42.920 --> 0:13:45.640
<v Speaker 4>She was awesome, but it was just the classical style

0:13:45.720 --> 0:13:49.960
<v Speaker 4>of learning and it didn't spark a lot of creativity

0:13:50.000 --> 0:13:53.640
<v Speaker 4>in my mind for some reason. So I quit. And

0:13:53.679 --> 0:13:56.679
<v Speaker 4>then about a year later, my mom took me to like,

0:13:57.160 --> 0:13:59.200
<v Speaker 4>I don't know, some she took me to a big

0:13:59.200 --> 0:14:01.920
<v Speaker 4>band concert, and then she took me to see Mary

0:14:01.920 --> 0:14:05.320
<v Speaker 4>and McPartland play in the park, right, and I said,

0:14:05.320 --> 0:14:07.000
<v Speaker 4>this is cool? What's this?

0:14:07.880 --> 0:14:08.080
<v Speaker 2>You know?

0:14:10.120 --> 0:14:13.320
<v Speaker 4>And so she found this teacher. Well, I think I

0:14:13.360 --> 0:14:17.400
<v Speaker 4>was playing saxophone by that time. In Marching Band, and

0:14:17.440 --> 0:14:21.520
<v Speaker 4>my saxophone teacher recommended this jazz piano teacher in Dallas

0:14:22.840 --> 0:14:25.040
<v Speaker 4>named Julie Bank. She was super cool and she was

0:14:25.080 --> 0:14:28.240
<v Speaker 4>a great teacher. She taught me how to readcord changes

0:14:28.360 --> 0:14:32.040
<v Speaker 4>and improvise and tried to spark me and writing songs.

0:14:32.120 --> 0:14:34.840
<v Speaker 4>So it just totally took a different direction from then.

0:14:35.720 --> 0:14:37.800
<v Speaker 2>So this is how you're discovering jazz chops.

0:14:38.200 --> 0:14:41.680
<v Speaker 4>Yeah, this is like eighth grade when I got into

0:14:41.760 --> 0:14:45.480
<v Speaker 4>jazz and my mom she checked out, like, you know,

0:14:45.520 --> 0:14:49.440
<v Speaker 4>the Smithsonian Jazz Collection at the library and we dubbed

0:14:49.440 --> 0:14:51.680
<v Speaker 4>it on a cassette and then that was my bible

0:14:51.760 --> 0:14:52.520
<v Speaker 4>for a few years.

0:14:53.360 --> 0:14:59.280
<v Speaker 2>Really. Yeah, So how did you hone those chaps into

0:14:59.320 --> 0:15:02.920
<v Speaker 2>like did you play and local bands? High school bands?

0:15:03.000 --> 0:15:09.080
<v Speaker 2>Like did you bond with anybody your age in jazz

0:15:09.200 --> 0:15:10.000
<v Speaker 2>or yeah?

0:15:10.080 --> 0:15:13.200
<v Speaker 4>I just keep it to yourself, well being in Marching band.

0:15:13.240 --> 0:15:16.320
<v Speaker 4>I mean the kids in Marching Band already were sort

0:15:16.320 --> 0:15:19.800
<v Speaker 4>of into stuff like that, some of them there was

0:15:19.800 --> 0:15:22.560
<v Speaker 4>like a jazz band. And then I went to interlock

0:15:22.680 --> 0:15:23.680
<v Speaker 4>In for a summer.

0:15:24.360 --> 0:15:25.040
<v Speaker 2>What is that?

0:15:25.280 --> 0:15:29.120
<v Speaker 4>It's like an arts camp in Michigan and it's too Yeah,

0:15:29.120 --> 0:15:37.480
<v Speaker 4>it's two months long and I got really into hanging

0:15:37.560 --> 0:15:39.840
<v Speaker 4>with people who knew a lot about it, you know,

0:15:40.840 --> 0:15:43.040
<v Speaker 4>and then I really wanted to go there. They had

0:15:43.040 --> 0:15:46.520
<v Speaker 4>a they have a school during the year and arts school,

0:15:46.560 --> 0:15:49.360
<v Speaker 4>but you have to leave home. It's like a what

0:15:49.400 --> 0:15:51.360
<v Speaker 4>do you call it? A school where you live there.

0:15:51.720 --> 0:15:55.080
<v Speaker 4>My brain isn't working right now. But my mom was like,

0:15:55.200 --> 0:16:00.280
<v Speaker 4>no way, You're not leaving home. Oh yeah. I just

0:16:00.360 --> 0:16:02.480
<v Speaker 4>loved it. It was great, and I wanted to continue

0:16:02.520 --> 0:16:06.880
<v Speaker 4>doing it, and she was like, hell no. Checked the

0:16:06.920 --> 0:16:11.560
<v Speaker 4>school out and she found Booker T Washington and we

0:16:11.600 --> 0:16:15.360
<v Speaker 4>moved to Dallas just so I could be in county

0:16:15.520 --> 0:16:18.880
<v Speaker 4>to audition and go there, and then all the kids there.

0:16:19.040 --> 0:16:22.520
<v Speaker 4>That's I mean, I learned from the kids at my school.

0:16:23.560 --> 0:16:26.240
<v Speaker 4>I learned so much. So many of those kids knew

0:16:26.240 --> 0:16:28.920
<v Speaker 4>so much about music, so many geniuses, you know.

0:16:29.240 --> 0:16:33.240
<v Speaker 2>Probably I was going to say any other notable students

0:16:33.240 --> 0:16:34.400
<v Speaker 2>at they're at the time that.

0:16:34.800 --> 0:16:37.600
<v Speaker 4>Are like, well, I think the people that I learned

0:16:37.600 --> 0:16:41.440
<v Speaker 4>the most with were piano players who a couple of

0:16:41.440 --> 0:16:43.480
<v Speaker 4>them were a year or two older, like I was

0:16:43.480 --> 0:16:46.720
<v Speaker 4>there when Brayln Lacey was there, and Sean Martin on

0:16:46.880 --> 0:16:51.960
<v Speaker 4>the keys. R. C. Williams right I learned so much

0:16:52.000 --> 0:16:55.400
<v Speaker 4>from these guys. They grew up in church, playing piano

0:16:55.520 --> 0:16:59.560
<v Speaker 4>in the church bands and stuff, and they knew. I mean,

0:17:00.560 --> 0:17:03.920
<v Speaker 4>they're just geniuses anyway. But I don't know. It was

0:17:03.960 --> 0:17:05.160
<v Speaker 4>a cool, cool environment.

0:17:05.920 --> 0:17:10.000
<v Speaker 2>Was an equally like a sort of accepting atmosphere or

0:17:10.119 --> 0:17:12.640
<v Speaker 2>did you feel like, all right, I got to come

0:17:12.640 --> 0:17:15.560
<v Speaker 2>with it and let them know I speak the same language,

0:17:15.680 --> 0:17:17.680
<v Speaker 2>or no, I'm such a dork.

0:17:17.720 --> 0:17:19.280
<v Speaker 4>I was just like, Hi, guys, can I hang out

0:17:19.280 --> 0:17:24.920
<v Speaker 4>with you? It was super accepting. Everybody there was an oddball,

0:17:25.280 --> 0:17:28.240
<v Speaker 4>you know anyway, so everybody was cool.

0:17:29.040 --> 0:17:34.399
<v Speaker 2>See I went to I went to school with Christian

0:17:34.480 --> 0:17:39.920
<v Speaker 2>McBride and Joey de Francisco Wow and and Kurt Roseawinkle

0:17:40.320 --> 0:17:47.159
<v Speaker 2>and I can. I I always compare going to that

0:17:47.800 --> 0:17:50.040
<v Speaker 2>the school I went to the Philadelphia version of that

0:17:50.080 --> 0:17:56.399
<v Speaker 2>school kind of as I consider it, sort of like

0:17:56.400 --> 0:17:58.760
<v Speaker 2>a it was like a gang experience, like a Bloods

0:17:58.760 --> 0:18:04.040
<v Speaker 2>and Crypts experience. And Joey and Chris like they wouldn't

0:18:04.119 --> 0:18:07.120
<v Speaker 2>even they don't give you the time of day or respect,

0:18:07.200 --> 0:18:11.399
<v Speaker 2>like you instantly know that they're the alphas of band

0:18:11.480 --> 0:18:14.480
<v Speaker 2>class and that you had to I mean the first

0:18:14.560 --> 0:18:20.200
<v Speaker 2>day of school the first day of school, Miles Davis

0:18:20.960 --> 0:18:25.520
<v Speaker 2>is giving a masterclass and not only takes Joey and

0:18:25.600 --> 0:18:28.320
<v Speaker 2>Chris to do this thing with him on television, but

0:18:28.359 --> 0:18:33.560
<v Speaker 2>then later hires Joey's to replace Kenny Kirkland. So that

0:18:33.760 --> 0:18:36.119
<v Speaker 2>was like my first day at the school. And so

0:18:37.400 --> 0:18:41.200
<v Speaker 2>you know, they just knew all traditional jazz. Meanwhile, Kurt Rosenwinkle,

0:18:41.800 --> 0:18:47.200
<v Speaker 2>who's such an experimental avant garde musician. I mean he's

0:18:47.240 --> 0:18:50.760
<v Speaker 2>on Verb Records right now, but back then he was

0:18:50.800 --> 0:18:55.600
<v Speaker 2>trying to unlearn me or unteach me all the traditional

0:18:56.359 --> 0:18:58.399
<v Speaker 2>like the traditional stuff, and he's like, nah, man, I

0:18:58.400 --> 0:19:02.920
<v Speaker 2>want you to listening to Frank Zappa, Yeah, Captain Beefheart

0:19:02.960 --> 0:19:07.560
<v Speaker 2>and you know Minor Vshue Orchestra John mclaughing. So you know,

0:19:07.560 --> 0:19:09.280
<v Speaker 2>I was like trying to I was on like both

0:19:09.320 --> 0:19:10.040
<v Speaker 2>sides of the gang.

0:19:10.840 --> 0:19:11.960
<v Speaker 4>That's great for you.

0:19:12.600 --> 0:19:14.600
<v Speaker 2>I'm in school, but then I left them both for

0:19:14.800 --> 0:19:15.560
<v Speaker 2>a rap career.

0:19:15.640 --> 0:19:20.680
<v Speaker 4>So oh you're informed. You're informed by all of it,

0:19:20.720 --> 0:19:22.080
<v Speaker 4>and you became who you are.

0:19:22.240 --> 0:19:24.959
<v Speaker 2>You know, it helped, but it was it was like

0:19:25.000 --> 0:19:27.639
<v Speaker 2>it was literally like being into like whatever side was winning,

0:19:27.680 --> 0:19:28.440
<v Speaker 2>that was my side.

0:19:28.520 --> 0:19:33.119
<v Speaker 4>Like okay, that's funny. Here there the ping pong ball exactly.

0:19:33.680 --> 0:19:36.399
<v Speaker 4>I didn't feel that. I know that attitude you're talking about.

0:19:37.560 --> 0:19:41.359
<v Speaker 4>It's like a young musician thing, for sure, I feel like,

0:19:41.840 --> 0:19:45.359
<v Speaker 4>but I didn't feel that at my school. Maybe I

0:19:45.480 --> 0:19:48.240
<v Speaker 4>was too naive to see it, but I never I

0:19:48.280 --> 0:19:52.840
<v Speaker 4>never felt it. It's pretty pretty welcoming, honestly.

0:19:57.640 --> 0:20:00.240
<v Speaker 2>I mean before your career took off. I mean, did

0:20:00.280 --> 0:20:02.840
<v Speaker 2>you have a plan just for like, Okay, I'll do

0:20:02.920 --> 0:20:08.040
<v Speaker 2>the college thing, go to Berkeley or go to Yeah.

0:20:08.320 --> 0:20:12.800
<v Speaker 4>I well, we were in Dallas, so I did. I

0:20:12.840 --> 0:20:15.480
<v Speaker 4>wanted to go to like the New School or Manhattan

0:20:15.520 --> 0:20:20.480
<v Speaker 4>School Music, but we stayed in state tuition because University

0:20:20.520 --> 0:20:23.920
<v Speaker 4>of North Texas has a great jazz program, okay, And

0:20:24.119 --> 0:20:26.480
<v Speaker 4>so I went there for two years and I took

0:20:26.480 --> 0:20:30.800
<v Speaker 4>all my classes, all my music classes, and I failed

0:20:30.920 --> 0:20:33.640
<v Speaker 4>my classical piano jury because I just didn't practice enough.

0:20:34.680 --> 0:20:38.240
<v Speaker 4>And then I came to New York for the summer,

0:20:38.880 --> 0:20:42.240
<v Speaker 4>and I had a real sort of moment of reckoning,

0:20:42.840 --> 0:20:46.000
<v Speaker 4>and I thought, well, if I go back to finish college,

0:20:46.760 --> 0:20:48.960
<v Speaker 4>I'm gonna have to take academics for two years because

0:20:48.960 --> 0:20:51.240
<v Speaker 4>I already took all the jazz classes and I'm going

0:20:51.320 --> 0:20:55.080
<v Speaker 4>to have to do classical two years of classical juries

0:20:55.160 --> 0:20:57.320
<v Speaker 4>and really practice, and I just didn't want to do

0:20:57.359 --> 0:20:57.760
<v Speaker 4>any of that.

0:20:58.119 --> 0:21:01.800
<v Speaker 2>What does that mean? What did it 't tell? Like

0:21:01.840 --> 0:21:03.080
<v Speaker 2>the classical jury.

0:21:02.760 --> 0:21:05.639
<v Speaker 4>Part, it's not that it was so hard. It's that

0:21:05.720 --> 0:21:09.320
<v Speaker 4>I really just didn't practice enough. It was like scales

0:21:09.359 --> 0:21:13.440
<v Speaker 4>and arpeggios and one song. It wasn't that hard. I

0:21:14.840 --> 0:21:17.160
<v Speaker 4>was really into the other stuff I was doing, and

0:21:17.359 --> 0:21:18.720
<v Speaker 4>I kind of let it slide.

0:21:19.920 --> 0:21:23.880
<v Speaker 2>Understandable. I'm just standable. So once she came to New York,

0:21:24.200 --> 0:21:27.320
<v Speaker 2>what was the paradigm shift that really opened its doors

0:21:27.320 --> 0:21:32.520
<v Speaker 2>as far as like, Okay, I can have a career

0:21:32.600 --> 0:21:34.560
<v Speaker 2>and start singing. Like what was that moment?

0:21:35.520 --> 0:21:40.440
<v Speaker 4>Well, I mean I realized that I could play gigs

0:21:40.600 --> 0:21:43.720
<v Speaker 4>and but I would have to start witting tables. It

0:21:43.800 --> 0:21:46.480
<v Speaker 4>was different because in college I had a weekly gig

0:21:46.520 --> 0:21:50.800
<v Speaker 4>where I made enough money to make my rent and

0:21:51.440 --> 0:21:55.399
<v Speaker 4>plus tips and food. I played at this restaurant and

0:21:55.480 --> 0:21:57.439
<v Speaker 4>I learned how to sing and play at the same time,

0:21:58.800 --> 0:22:01.360
<v Speaker 4>which is sort of It was just like paid practice.

0:22:01.480 --> 0:22:03.919
<v Speaker 4>So it was great. But then when I moved to

0:22:03.960 --> 0:22:06.520
<v Speaker 4>New York, I realized, oh shit, I gotta wait tables

0:22:06.520 --> 0:22:09.080
<v Speaker 4>because I can't make enough money playing gigs because they

0:22:09.119 --> 0:22:14.000
<v Speaker 4>didn't pay very much at all, and I got a

0:22:14.040 --> 0:22:17.400
<v Speaker 4>little burnt out. I came to New York singing jazz

0:22:17.760 --> 0:22:20.040
<v Speaker 4>and playing the piano, but I wasn't as good a

0:22:20.040 --> 0:22:23.560
<v Speaker 4>piano player as most piano players out there, but I

0:22:23.600 --> 0:22:26.000
<v Speaker 4>knew I could sing, so I had that, you know

0:22:26.280 --> 0:22:29.720
<v Speaker 4>that going for me, sort of, you know, trying to.

0:22:30.160 --> 0:22:31.679
<v Speaker 4>I came to New York to do this thing, and

0:22:31.680 --> 0:22:36.840
<v Speaker 4>then I what happened? Your eyes just went like.

0:22:36.760 --> 0:22:41.280
<v Speaker 2>Oh shit, you can't hear this, can you? No, Zoe,

0:22:41.560 --> 0:22:44.240
<v Speaker 2>I'm interviewing Nord Jones right Okay, this is a flex.

0:22:45.119 --> 0:22:49.879
<v Speaker 2>Zoe Kravis just interrupted us. I'm interviewing Nord Jones right

0:22:49.920 --> 0:22:56.960
<v Speaker 2>now for my podcast. Hi, She said, all right, this

0:22:57.080 --> 0:23:08.720
<v Speaker 2>is Are you okay over there in London? Okay? Thank you? Sorry? Wait,

0:23:08.760 --> 0:23:14.199
<v Speaker 2>I'm sorry, okay. Side note, it's twenty twenty. I'm the

0:23:14.240 --> 0:23:16.760
<v Speaker 2>person that likes a person to text me first and

0:23:16.760 --> 0:23:19.520
<v Speaker 2>then tell me that they're calling, not just call me.

0:23:20.000 --> 0:23:22.520
<v Speaker 4>That's the thing that people do now, but it's kind

0:23:22.520 --> 0:23:23.160
<v Speaker 4>of weird too.

0:23:24.480 --> 0:23:27.320
<v Speaker 2>Wait are you a call before you are you a

0:23:27.400 --> 0:23:29.200
<v Speaker 2>text before you call? Person? Yes?

0:23:29.280 --> 0:23:30.960
<v Speaker 4>Or at least because everybody.

0:23:30.680 --> 0:23:33.840
<v Speaker 2>Is, or at least Warren before you FaceTime.

0:23:35.000 --> 0:23:37.399
<v Speaker 4>Yes, but I'm also not somebody who just picks up

0:23:37.400 --> 0:23:39.760
<v Speaker 4>the phone if somebody calls me. You seem to also

0:23:39.880 --> 0:23:41.600
<v Speaker 4>be someone who just picks it up no matter what.

0:23:43.080 --> 0:23:45.399
<v Speaker 2>Well. I saw it with her, and I'm like, okay,

0:23:45.640 --> 0:23:49.119
<v Speaker 2>this must be about I work on her show, so obviously,

0:23:50.680 --> 0:23:52.639
<v Speaker 2>but I forgot to turn my ringer off. So I

0:23:52.640 --> 0:23:55.000
<v Speaker 2>know that Bill kill me over that too. Sorry.

0:23:55.920 --> 0:23:58.800
<v Speaker 4>No, it's the thing. You You either ignore the call

0:23:59.480 --> 0:24:02.040
<v Speaker 4>if you don't want to be caught off guard, or

0:24:02.119 --> 0:24:04.080
<v Speaker 4>you take it anyway. So I guess that says a

0:24:04.080 --> 0:24:07.760
<v Speaker 4>lot about you, even though you prefer the text.

0:24:08.600 --> 0:24:11.120
<v Speaker 2>I didn't know how to turn it off. Sorry, Oh

0:24:11.160 --> 0:24:15.160
<v Speaker 2>I don't care anyway. Yeah, so you were saying that

0:24:16.920 --> 0:24:21.439
<v Speaker 2>singing at least gave you an edge. I really I

0:24:21.480 --> 0:24:24.200
<v Speaker 2>love your voice, by the way, which I don't think

0:24:24.240 --> 0:24:28.120
<v Speaker 2>you get enough praise for. Like who's the person that

0:24:30.720 --> 0:24:34.959
<v Speaker 2>who's your your spirit animal when you're singing? Like you know,

0:24:35.040 --> 0:24:37.119
<v Speaker 2>because I'm not a singer, I can't say I know that.

0:24:37.160 --> 0:24:42.280
<v Speaker 2>When I'm drumming. There's four particular drummers that I know

0:24:42.680 --> 0:24:46.240
<v Speaker 2>influenced and raised me and I'm like a combination of that.

0:24:46.440 --> 0:24:48.760
<v Speaker 2>But who's your singing spirit animal?

0:24:51.160 --> 0:24:53.800
<v Speaker 4>I think growing up it was Ray Charles and Aretha

0:24:53.800 --> 0:24:56.080
<v Speaker 4>Franklin and Billie Holliday.

0:24:57.320 --> 0:25:00.320
<v Speaker 2>All right, I'm skipping into the future. How is it

0:25:00.359 --> 0:25:03.439
<v Speaker 2>working with Ray on the Ones stew Wets record?

0:25:04.280 --> 0:25:07.560
<v Speaker 4>It was amazing. He was super sweet. We did three

0:25:07.600 --> 0:25:10.520
<v Speaker 4>live takes and then he left and that was.

0:25:10.480 --> 0:25:13.240
<v Speaker 2>It, just real quick in and out.

0:25:13.280 --> 0:25:15.359
<v Speaker 4>It was just real quick live takes with the band

0:25:15.400 --> 0:25:19.000
<v Speaker 4>and Billy Preston was playing Oregon, so it was awesome.

0:25:19.040 --> 0:25:20.960
<v Speaker 4>My mom came. She saw him play when she was

0:25:20.960 --> 0:25:23.040
<v Speaker 4>in high school, so it's the first time I've ever

0:25:23.119 --> 0:25:27.879
<v Speaker 4>seen her quiet. You know, it was great. He was

0:25:28.600 --> 0:25:32.560
<v Speaker 4>he was he was pretty sick already, so okay, he

0:25:32.640 --> 0:25:33.560
<v Speaker 4>was nice though.

0:25:34.119 --> 0:25:37.840
<v Speaker 2>So just sing the song got out super nice.

0:25:37.600 --> 0:25:41.960
<v Speaker 4>Though, Yeah, like like warm and kind. But I mean,

0:25:42.080 --> 0:25:44.920
<v Speaker 4>I love all these people, but I think I've tried

0:25:44.920 --> 0:25:49.160
<v Speaker 4>to keep I don't know, I learned. I think when

0:25:49.200 --> 0:25:50.879
<v Speaker 4>I came to New York and I was singing jazz

0:25:50.920 --> 0:25:55.240
<v Speaker 4>and I got a little sort of disheartened and I realized,

0:25:55.280 --> 0:25:58.000
<v Speaker 4>I'm singing all these old songs that Billy Holliday sang,

0:25:58.680 --> 0:26:01.080
<v Speaker 4>and I'm putting my own been on it and it's cool.

0:26:01.160 --> 0:26:04.200
<v Speaker 4>But I started going in the living room and writing

0:26:04.240 --> 0:26:08.560
<v Speaker 4>songs and singing songs by my friends that they were writing,

0:26:08.640 --> 0:26:12.760
<v Speaker 4>and I felt a little more creative in that way.

0:26:13.119 --> 0:26:15.280
<v Speaker 4>And I kind of fell off the jazz scene.

0:26:15.560 --> 0:26:18.200
<v Speaker 2>So you didn't want to get typecast as like a

0:26:18.240 --> 0:26:20.040
<v Speaker 2>sort of derivative Billie Holiday.

0:26:20.080 --> 0:26:23.439
<v Speaker 4>And I don't know if it was about wanting to

0:26:23.480 --> 0:26:26.080
<v Speaker 4>get typecast. I think it was just about I couldn't

0:26:26.119 --> 0:26:29.560
<v Speaker 4>get any gigs that were satisfying. You know. I played

0:26:29.560 --> 0:26:32.119
<v Speaker 4>in restaurants. I went to Smiles a lot, and I

0:26:32.200 --> 0:26:34.560
<v Speaker 4>watched people play and it was awesome, but I couldn't

0:26:34.560 --> 0:26:37.560
<v Speaker 4>get a gig there yet. And I did get a

0:26:37.560 --> 0:26:39.719
<v Speaker 4>gig at the living room though, where the audience listened

0:26:39.720 --> 0:26:41.640
<v Speaker 4>and I felt really connected to something.

0:26:41.960 --> 0:26:44.679
<v Speaker 2>I was going to say, Okay, so I've been in

0:26:44.680 --> 0:26:49.280
<v Speaker 2>New York for ten years now, and how often I

0:26:49.320 --> 0:26:52.040
<v Speaker 2>got like I got a little maybe four or five

0:26:52.200 --> 0:26:56.280
<v Speaker 2>in the cut jazz spots that I go to just

0:26:56.320 --> 0:27:00.159
<v Speaker 2>to yeah, chilled and be anonymous, or is any that

0:27:00.240 --> 0:27:03.040
<v Speaker 2>says you can be at six ' three with an afro?

0:27:03.840 --> 0:27:10.040
<v Speaker 2>But but the one thing that really like it's disheartening

0:27:10.160 --> 0:27:17.840
<v Speaker 2>for me when I'm in these jazz clubs is oftentimes

0:27:17.840 --> 0:27:21.120
<v Speaker 2>like tourists will come and they'll just talk over you,

0:27:22.520 --> 0:27:25.119
<v Speaker 2>and it's almost like you're just a human juke box

0:27:25.200 --> 0:27:29.240
<v Speaker 2>and just in the background to their conversation. Like is

0:27:29.280 --> 0:27:32.639
<v Speaker 2>that just that's the disheartening thing that you were.

0:27:34.000 --> 0:27:36.800
<v Speaker 4>I don't know if I realized it as tourists then,

0:27:36.960 --> 0:27:38.879
<v Speaker 4>I mean, that was twenty years ago. I moved to

0:27:38.880 --> 0:27:41.080
<v Speaker 4>New York twenty years ago. Last summer.

0:27:42.480 --> 0:27:45.760
<v Speaker 2>Well, now I'm observe. I observe it as like I'll.

0:27:45.560 --> 0:27:48.200
<v Speaker 4>Go now, well now it is more tourists. It is

0:27:48.280 --> 0:27:51.320
<v Speaker 4>more so than it used to be. But I mean

0:27:52.200 --> 0:27:54.280
<v Speaker 4>I think at the time, like I couldn't get a

0:27:54.280 --> 0:27:56.919
<v Speaker 4>gig there yet because I wasn't as good as a

0:27:56.960 --> 0:27:59.080
<v Speaker 4>piano player, and a lot of those places didn't hire

0:27:59.119 --> 0:28:01.960
<v Speaker 4>a ton of singers. Not saying they never hired singers,

0:28:02.000 --> 0:28:05.360
<v Speaker 4>but it wasn't really it didn't seem that easy for

0:28:05.400 --> 0:28:07.880
<v Speaker 4>me to play in a place where people were really listening.

0:28:08.240 --> 0:28:10.560
<v Speaker 2>Oh, you would have what I'm saying, So your piano

0:28:10.680 --> 0:28:13.080
<v Speaker 2>chops have to be on point to get kind of

0:28:13.520 --> 0:28:15.000
<v Speaker 2>I get it, okay. Yeah.

0:28:15.040 --> 0:28:17.639
<v Speaker 4>And also just like the gigs they could get and

0:28:17.760 --> 0:28:20.760
<v Speaker 4>did get. Were restaurant gigs were I kind of knew

0:28:20.800 --> 0:28:23.840
<v Speaker 4>going in. They weren't like listening room gigs, and they

0:28:23.880 --> 0:28:28.320
<v Speaker 4>were great practice. But once I started playing original music

0:28:28.400 --> 0:28:33.119
<v Speaker 4>for tips instead of like forty bucks, it was just

0:28:33.160 --> 0:28:36.400
<v Speaker 4>more satisfying. I started waiting more tables and doing less

0:28:36.400 --> 0:28:41.160
<v Speaker 4>restaurant gigs and more singer songwriter plays gigs, and it

0:28:41.280 --> 0:28:45.760
<v Speaker 4>was more sad. It was just more fulfilling and inspiring.

0:28:46.040 --> 0:28:50.520
<v Speaker 2>If masse some I'm curious, before you started doing original material,

0:28:50.840 --> 0:28:54.680
<v Speaker 2>you would just go through the fake book and just

0:28:54.760 --> 0:28:57.000
<v Speaker 2>through the standards. Yeah.

0:28:57.000 --> 0:28:59.400
<v Speaker 4>I kind of mostly did standards. I mean I wouldn't

0:28:59.440 --> 0:29:02.480
<v Speaker 4>just yeah. I mean I had like my favorites, and

0:29:03.280 --> 0:29:04.320
<v Speaker 4>that's I would do a lot of that.

0:29:05.040 --> 0:29:07.120
<v Speaker 2>I wonder, is the fake book still a thing?

0:29:07.480 --> 0:29:08.440
<v Speaker 4>I still have one?

0:29:08.800 --> 0:29:09.800
<v Speaker 2>You still have a fake Okay?

0:29:09.960 --> 0:29:10.320
<v Speaker 4>Yeah?

0:29:10.400 --> 0:29:14.320
<v Speaker 2>For our listeners out there. I don't I don't want

0:29:14.320 --> 0:29:17.720
<v Speaker 2>to date myself, but I would probably say that if

0:29:17.760 --> 0:29:22.840
<v Speaker 2>you were a jazz musician, a working jazz musician, or

0:29:22.840 --> 0:29:27.120
<v Speaker 2>a student. In the sixties, seventies, or eighties, there was

0:29:27.240 --> 0:29:35.120
<v Speaker 2>sort of a a Wikipedia slash cliff Notes guide tutorial

0:29:35.240 --> 0:29:40.200
<v Speaker 2>to core charts of every jazz song and the same

0:29:40.280 --> 0:29:43.120
<v Speaker 2>for singers as well. And it's almost like a Bible

0:29:43.160 --> 0:29:49.280
<v Speaker 2>of jazz, which yeah, you kind of need if you're cool.

0:29:49.560 --> 0:29:51.800
<v Speaker 2>So you still So they still make fake books.

0:29:52.160 --> 0:29:54.520
<v Speaker 4>I don't know. I know, I have an old, old,

0:29:54.560 --> 0:29:55.080
<v Speaker 4>old one.

0:29:55.240 --> 0:29:56.720
<v Speaker 2>You. I just want to say, do you know why

0:29:56.760 --> 0:29:57.840
<v Speaker 2>they call it a fake book?

0:29:58.600 --> 0:30:00.920
<v Speaker 4>I don't know. But then they had the real book.

0:30:01.240 --> 0:30:03.760
<v Speaker 4>They called it the real book, I thought, and then

0:30:03.760 --> 0:30:05.800
<v Speaker 4>they called it a fake book too, But I could

0:30:05.840 --> 0:30:07.880
<v Speaker 4>never understand the difference between a real book and a

0:30:07.880 --> 0:30:08.479
<v Speaker 4>fake book.

0:30:09.040 --> 0:30:10.960
<v Speaker 2>Well, I think I always guess is that the fake

0:30:11.000 --> 0:30:13.440
<v Speaker 2>book had other songs in it, and it wasn't officially

0:30:13.440 --> 0:30:14.400
<v Speaker 2>done by that company.

0:30:14.480 --> 0:30:19.880
<v Speaker 4>But yeah, it was definitely like not nobody got paid

0:30:19.920 --> 0:30:24.920
<v Speaker 4>for it since it wasn't It wasn't chet music. It

0:30:25.040 --> 0:30:29.480
<v Speaker 4>was like cheat music that was underground and circulated like

0:30:29.520 --> 0:30:30.680
<v Speaker 4>on a Xerox machine.

0:30:31.240 --> 0:30:36.000
<v Speaker 2>Exactly. Yeah, when did you get your deal and how

0:30:36.040 --> 0:30:38.080
<v Speaker 2>did you come to the attention of Bruce at a

0:30:38.400 --> 0:30:39.840
<v Speaker 2>Blue Note?

0:30:40.200 --> 0:30:43.840
<v Speaker 4>Well, I was doing one of those jazz restaurant gigs

0:30:43.880 --> 0:30:48.600
<v Speaker 4>at the garage on Seventh Avenue, and my bass player's

0:30:48.640 --> 0:30:53.280
<v Speaker 4>friend's wife, they all came for brunch. It was like

0:30:53.320 --> 0:30:56.800
<v Speaker 4>a brunch gig. And she happened to work for Emi

0:30:56.880 --> 0:31:00.520
<v Speaker 4>Music Publishing and I was doing jazz at that gig.

0:31:00.920 --> 0:31:04.320
<v Speaker 4>I had started, you know, doing those songwriter gigs already,

0:31:04.360 --> 0:31:08.240
<v Speaker 4>but this was a jazz gig. And she said, Hey,

0:31:08.240 --> 0:31:10.560
<v Speaker 4>I know Bruce Linvall. I met him at a company picnic.

0:31:10.640 --> 0:31:12.520
<v Speaker 4>What if I set up an appointment for you? And

0:31:12.520 --> 0:31:17.440
<v Speaker 4>I was like, all right, whatever, Yeah, I'm like okay,

0:31:17.480 --> 0:31:19.840
<v Speaker 4>I mean, sure, I'll show up, that's for sure. But

0:31:20.040 --> 0:31:24.080
<v Speaker 4>I didn't really know if she was for real all right.

0:31:24.840 --> 0:31:27.760
<v Speaker 4>And I had a demo that I had made to

0:31:27.840 --> 0:31:30.240
<v Speaker 4>take around the clubs to get gigs. So I brought

0:31:30.240 --> 0:31:34.360
<v Speaker 4>the demo. I had two standards on it, and I

0:31:34.400 --> 0:31:37.600
<v Speaker 4>had one song by my friend Jesse Harris who wrote

0:31:37.640 --> 0:31:39.800
<v Speaker 4>Don't Know Why, And we were already friends and playing

0:31:39.840 --> 0:31:44.160
<v Speaker 4>around together, and so I brought it in. I was twenty,

0:31:44.560 --> 0:31:47.240
<v Speaker 4>it was the gig was my twenty first birthday, so

0:31:47.240 --> 0:31:52.719
<v Speaker 4>it was probably two thousand. The yeah, it was two thousand.

0:31:53.760 --> 0:31:57.160
<v Speaker 4>April of two thousand is when I had this meeting

0:31:57.200 --> 0:31:57.560
<v Speaker 4>with him.

0:31:58.280 --> 0:32:00.000
<v Speaker 2>When your birthday?

0:32:00.120 --> 0:32:01.400
<v Speaker 4>No, the gig was on my birthday, so it was

0:32:01.400 --> 0:32:02.400
<v Speaker 4>like a month later.

0:32:02.520 --> 0:32:06.920
<v Speaker 2>Totally okay, okay. And then that's when you knew shit

0:32:07.120 --> 0:32:07.480
<v Speaker 2>was real.

0:32:08.760 --> 0:32:10.880
<v Speaker 4>I mean, I knew she could get me an appointment

0:32:10.880 --> 0:32:13.720
<v Speaker 4>with him. I didn't really know what was real for

0:32:13.760 --> 0:32:17.840
<v Speaker 4>a while. But he said, well, there's this pop song

0:32:17.880 --> 0:32:19.800
<v Speaker 4>on here, kind of it's not really a pop song,

0:32:19.960 --> 0:32:23.160
<v Speaker 4>but whatever, it was not a jazz standard, right, And

0:32:23.240 --> 0:32:24.360
<v Speaker 4>he's like, so, do you want to be a jazz

0:32:24.360 --> 0:32:26.600
<v Speaker 4>singer or a pop singer? And I was like, I'm

0:32:26.600 --> 0:32:29.520
<v Speaker 4>sitting there in Blue Note office jazz singer.

0:32:30.040 --> 0:32:30.320
<v Speaker 2>You know.

0:32:31.400 --> 0:32:33.400
<v Speaker 4>And then he gave me some money to make some demos,

0:32:33.440 --> 0:32:36.000
<v Speaker 4>and the demos ended up being a few of the

0:32:36.040 --> 0:32:39.400
<v Speaker 4>songs from that first record, and he decided that it

0:32:39.520 --> 0:32:43.560
<v Speaker 4>wasn't super jazz. It wasn't like, it wasn't what he thought.

0:32:43.640 --> 0:32:46.360
<v Speaker 4>It wasn't jazz, but he still liked it enough to

0:32:46.440 --> 0:32:49.480
<v Speaker 4>sign it, right, so he went ahead and signed me.

0:32:50.600 --> 0:32:55.120
<v Speaker 2>All right. So, in hindsight, because no one can plan,

0:32:55.440 --> 0:33:00.720
<v Speaker 2>no one can plan this phenomenon, how does one capture

0:33:00.920 --> 0:33:02.880
<v Speaker 2>lightning in the bottle? Like, there's no way in the

0:33:02.920 --> 0:33:06.720
<v Speaker 2>world that you can ever foresee that you're about to

0:33:08.800 --> 0:33:10.680
<v Speaker 2>make history. I don't even know if you accepted the

0:33:10.680 --> 0:33:14.440
<v Speaker 2>fact that you've made history or if you're just taking

0:33:14.480 --> 0:33:16.840
<v Speaker 2>the No, it was just those are the that's what

0:33:16.960 --> 0:33:18.880
<v Speaker 2>I was feeling at the time in nineteen ninety nine

0:33:18.920 --> 0:33:21.400
<v Speaker 2>and made these songs and that's.

0:33:21.240 --> 0:33:25.960
<v Speaker 4>Yeah, it definitely was. The actual album was just us

0:33:26.040 --> 0:33:29.360
<v Speaker 4>capturing moments, as a lot of albums are, but I

0:33:29.400 --> 0:33:33.120
<v Speaker 4>think this one was done with a lot of spontaneity.

0:33:33.200 --> 0:33:37.000
<v Speaker 4>And don't know why. That song don't know why. It

0:33:37.120 --> 0:33:39.960
<v Speaker 4>was the demo that we recorded the first day of recording,

0:33:40.360 --> 0:33:42.240
<v Speaker 4>and it was the live take. Everything in the take

0:33:42.320 --> 0:33:44.600
<v Speaker 4>is live. We added an extra guitar and some harmonies,

0:33:44.600 --> 0:33:45.720
<v Speaker 4>and that was it.

0:33:45.800 --> 0:33:47.600
<v Speaker 2>So that was the very first thing you've recorded.

0:33:48.040 --> 0:33:50.080
<v Speaker 4>Yeah, And that was for these demos to get signed,

0:33:50.120 --> 0:33:52.240
<v Speaker 4>and wasn't even signed yet. And then once I got signed,

0:33:52.240 --> 0:33:54.480
<v Speaker 4>I like went back in and we did a bunch

0:33:54.520 --> 0:33:57.160
<v Speaker 4>of more produced sessions that ended up getting mostly cut,

0:33:57.400 --> 0:33:59.320
<v Speaker 4>and then we went back to kind of the demo

0:33:59.600 --> 0:34:01.440
<v Speaker 4>style of recording.

0:34:01.960 --> 0:34:03.680
<v Speaker 2>Just said, oh, let's get that first song we did

0:34:03.680 --> 0:34:04.760
<v Speaker 2>and see what happens with that.

0:34:05.560 --> 0:34:07.240
<v Speaker 4>We tried to re record don't know why, and it

0:34:07.320 --> 0:34:09.960
<v Speaker 4>was so not as good, so we just.

0:34:11.920 --> 0:34:13.920
<v Speaker 2>It's it's funny you say that, do you do you

0:34:13.920 --> 0:34:20.120
<v Speaker 2>know the story behind Christina Aguilera is beautiful. Linda Perry

0:34:20.120 --> 0:34:24.120
<v Speaker 2>has a story in which, you know, like she wants

0:34:24.160 --> 0:34:27.880
<v Speaker 2>our artist to like live with a demo for about

0:34:28.000 --> 0:34:30.439
<v Speaker 2>three or four weeks and then that way they really

0:34:30.440 --> 0:34:33.839
<v Speaker 2>internalized the song and then they come back and then

0:34:33.880 --> 0:34:38.040
<v Speaker 2>they kill the song. And so Christina is like, all right,

0:34:38.120 --> 0:34:40.239
<v Speaker 2>let me just go in and sing this thing real quick.

0:34:40.320 --> 0:34:43.600
<v Speaker 2>And so she just did like a rough you know, yawn,

0:34:44.080 --> 0:34:46.879
<v Speaker 2>All right, here's my take, and then I'll come back

0:34:46.920 --> 0:34:48.399
<v Speaker 2>and I'll really you.

0:34:48.360 --> 0:34:50.920
<v Speaker 4>Know, kill this before she lived with it.

0:34:51.320 --> 0:34:53.759
<v Speaker 2>Yeah, yeah, before she lived with it, you know. And

0:34:53.800 --> 0:34:58.440
<v Speaker 2>then Christina is expecting like to add her you know,

0:34:58.560 --> 0:35:03.960
<v Speaker 2>of her aguilera is to it, and you know, Linda

0:35:04.080 --> 0:35:08.480
<v Speaker 2>was like, no, let's just stick with the demo, and

0:35:08.640 --> 0:35:12.080
<v Speaker 2>Christina like it was like the biggest fight of their relationship,

0:35:12.239 --> 0:35:16.319
<v Speaker 2>like really, and She's like, no, the dryness and the

0:35:16.360 --> 0:35:19.279
<v Speaker 2>regularness of this is what sells the song, trust me.

0:35:19.920 --> 0:35:23.680
<v Speaker 2>And she I don't know they forced it or kicked

0:35:23.719 --> 0:35:28.200
<v Speaker 2>and screamed it, but like she, Linda Perry won the

0:35:28.360 --> 0:35:31.360
<v Speaker 2>battle and the demo is the version that we know,

0:35:32.239 --> 0:35:37.800
<v Speaker 2>whereas Christina felt like, let me, you know, add exclamation

0:35:37.920 --> 0:35:41.400
<v Speaker 2>points to the end of the sentence, and she's like, she's.

0:35:41.200 --> 0:35:46.680
<v Speaker 4>Like an athlete. She's like this insane, right.

0:35:46.080 --> 0:35:48.440
<v Speaker 2>But this was just a foul shot. It wasn't a

0:35:48.840 --> 0:35:52.360
<v Speaker 2>it wasn't the you know, the All Star dunk contest,

0:35:52.440 --> 0:35:52.680
<v Speaker 2>but it.

0:35:52.680 --> 0:35:55.080
<v Speaker 4>Had the heart. I mean, I think that for me,

0:35:55.680 --> 0:35:59.759
<v Speaker 4>I'm way better on first takes or not even just

0:35:59.840 --> 0:36:03.560
<v Speaker 4>for takes, but like when the spontaneity factor is there,

0:36:04.520 --> 0:36:07.160
<v Speaker 4>and yes, you need to know the song and be

0:36:07.160 --> 0:36:11.520
<v Speaker 4>able to sell the lyric. But for me, when I

0:36:11.560 --> 0:36:16.880
<v Speaker 4>when I overthink or over rehearse something, it's not as good. Yeah, spontaneity.

0:36:17.520 --> 0:36:20.719
<v Speaker 2>My engineer is smart enough to know to record everything.

0:36:21.200 --> 0:36:27.920
<v Speaker 2>So oftentimes I'll like quote run down a performance and

0:36:27.960 --> 0:36:29.440
<v Speaker 2>then be like, all right, let me go for it,

0:36:29.480 --> 0:36:32.600
<v Speaker 2>and then we always just wind up choosing the or

0:36:32.640 --> 0:36:35.920
<v Speaker 2>you're not thinking about it I had or.

0:36:35.880 --> 0:36:40.160
<v Speaker 4>The fifteenth drunk take, yeah, the first three, you know.

0:36:41.360 --> 0:36:44.000
<v Speaker 2>Okay, So you worked with one of my heroes on

0:36:44.040 --> 0:36:50.120
<v Speaker 2>this record, mister Martin. Yeah, Reef Martin, Uh yeah a Reef.

0:36:50.440 --> 0:36:55.799
<v Speaker 2>You know he for me, I know this is odd

0:36:55.840 --> 0:36:58.160
<v Speaker 2>for people to hear, but the average white band is

0:36:58.680 --> 0:37:03.840
<v Speaker 2>like they were my heroes growing up, and their Gruman

0:37:03.920 --> 0:37:08.520
<v Speaker 2>Steve aron is my drumming idol. Steve Roon actually gave

0:37:08.560 --> 0:37:11.840
<v Speaker 2>me his actual drum set from all those Sun sessions

0:37:11.840 --> 0:37:14.440
<v Speaker 2>that I still use on the Tonight Show now and

0:37:14.480 --> 0:37:18.520
<v Speaker 2>a Reef produced them. And so that's how I came

0:37:18.560 --> 0:37:20.880
<v Speaker 2>to attention from you, because it's almost like anything that

0:37:20.920 --> 0:37:25.919
<v Speaker 2>a Reef has touched. Then I purchased it without fault.

0:37:26.080 --> 0:37:29.359
<v Speaker 2>So that's how like, that's funny. I was like, oh, wow,

0:37:29.400 --> 0:37:31.399
<v Speaker 2>he has a new artist, he's still producing, Oh my god.

0:37:32.320 --> 0:37:35.800
<v Speaker 2>And then that's how it entered. How did you how?

0:37:35.840 --> 0:37:36.960
<v Speaker 2>How was he assigned to you?

0:37:38.400 --> 0:37:44.359
<v Speaker 4>Well, when Bruce Lundvall signed me, I was obsessed with

0:37:45.280 --> 0:37:48.160
<v Speaker 4>the Cassandra Wilson New Moon Daughter album that was on

0:37:48.200 --> 0:37:51.200
<v Speaker 4>the Note that he had, you know, put out a

0:37:51.200 --> 0:37:53.719
<v Speaker 4>few years before, and I really wanted to work with

0:37:53.760 --> 0:37:58.160
<v Speaker 4>Craig Street, who's an amazing producer, and so I did

0:37:58.320 --> 0:38:01.920
<v Speaker 4>and it was incredible, had the most amazing musicians. I

0:38:01.960 --> 0:38:04.279
<v Speaker 4>love Craig. It was great, but there was something about

0:38:04.280 --> 0:38:09.040
<v Speaker 4>those sessions that didn't capture my vocal in the right

0:38:09.120 --> 0:38:13.319
<v Speaker 4>way that where it sounded like the thing from the

0:38:13.360 --> 0:38:16.440
<v Speaker 4>demos that we had already captured. So we ended up

0:38:17.000 --> 0:38:19.960
<v Speaker 4>kind of going back to the drawing board, which was crazy.

0:38:20.000 --> 0:38:22.120
<v Speaker 4>At the time. I didn't think I was going to

0:38:22.160 --> 0:38:26.239
<v Speaker 4>have the option to remake my record. I didn't think

0:38:26.239 --> 0:38:28.319
<v Speaker 4>they were going to give me any extra money to

0:38:28.360 --> 0:38:32.280
<v Speaker 4>do it right, and it was weird that it even happened.

0:38:32.320 --> 0:38:34.759
<v Speaker 4>But Bruce, it was his idea to go back and

0:38:34.840 --> 0:38:38.200
<v Speaker 4>try to recapture the sort of first thing we did.

0:38:39.120 --> 0:38:41.160
<v Speaker 4>So he said, but I'm going to have my friend

0:38:41.160 --> 0:38:43.640
<v Speaker 4>a Reef Martin. He had just hooked up with Manhattan,

0:38:44.440 --> 0:38:49.160
<v Speaker 4>the label that Bruce was also running was another label

0:38:49.200 --> 0:38:52.279
<v Speaker 4>called Manhattan. Anyway, a Reef was doing stuff with him,

0:38:52.320 --> 0:38:54.200
<v Speaker 4>and so he said, I want a Reef Martin to

0:38:54.200 --> 0:38:56.680
<v Speaker 4>come and do it. And I was really nervous at

0:38:56.680 --> 0:38:57.080
<v Speaker 4>that point.

0:38:57.120 --> 0:38:59.520
<v Speaker 2>I was like, Ah, did you know his predigree? By

0:38:59.520 --> 0:39:01.200
<v Speaker 2>that point I did.

0:39:01.320 --> 0:39:03.880
<v Speaker 4>I mean, I grew up on all those Aretha records

0:39:03.920 --> 0:39:09.880
<v Speaker 4>and on Donnie Hathaway, and I was nervous that he

0:39:09.960 --> 0:39:12.040
<v Speaker 4>was going to come in and not listen to me

0:39:12.920 --> 0:39:15.960
<v Speaker 4>or not because he was this huge producer. And then

0:39:16.000 --> 0:39:18.920
<v Speaker 4>he came in and he's like the sweetest older Turkish

0:39:18.960 --> 0:39:22.920
<v Speaker 4>man and he came into the sessions and I told Bruce,

0:39:22.960 --> 0:39:26.680
<v Speaker 4>I was like, Okay, but after a couple of days,

0:39:26.680 --> 0:39:29.120
<v Speaker 4>if it's not working out, you're just gonna let me

0:39:29.160 --> 0:39:31.000
<v Speaker 4>do this right. It was so weird. I was like

0:39:31.120 --> 0:39:35.520
<v Speaker 4>twenty one years old, you know. I was both scared

0:39:35.600 --> 0:39:39.880
<v Speaker 4>and also really stubborn, you know, and he ended up

0:39:39.920 --> 0:39:42.719
<v Speaker 4>being he let us kind of do our thing, but

0:39:42.760 --> 0:39:46.080
<v Speaker 4>he guided us, but he knew the situation. And so

0:39:46.440 --> 0:39:48.360
<v Speaker 4>the more we got to know him, the more he

0:39:48.440 --> 0:39:52.360
<v Speaker 4>was able to help, you know, tell us more what

0:39:53.920 --> 0:39:57.839
<v Speaker 4>we should do musically. But he became like this great friend.

0:39:57.880 --> 0:40:00.640
<v Speaker 4>I never in my wife thought I would have a

0:40:00.640 --> 0:40:04.000
<v Speaker 4>a friend who was a Turkish Man in his seventies.

0:40:04.640 --> 0:40:07.279
<v Speaker 4>He was like one of my best friends, and it

0:40:07.360 --> 0:40:08.040
<v Speaker 4>was incredible.

0:40:09.440 --> 0:40:12.680
<v Speaker 2>Man. I think the night that I first met you

0:40:12.719 --> 0:40:16.040
<v Speaker 2>in person was at the Grammys when it was that

0:40:16.160 --> 0:40:18.920
<v Speaker 2>New York. The night that you oh yeah, because we

0:40:18.920 --> 0:40:21.640
<v Speaker 2>were like rehearsal went eminem so much. I couldn't get

0:40:21.640 --> 0:40:25.040
<v Speaker 2>to a reef. I saw him in the audience and

0:40:25.120 --> 0:40:27.960
<v Speaker 2>wanted to drunk for my drum set, like in stalk him,

0:40:28.000 --> 0:40:30.040
<v Speaker 2>but I couldn't do that.

0:40:32.080 --> 0:40:32.760
<v Speaker 4>He was special.

0:40:33.280 --> 0:40:37.600
<v Speaker 2>I'm going to be the one person that doesn't ask

0:40:37.680 --> 0:40:40.680
<v Speaker 2>you the cliche of so what have you learned? After,

0:40:40.840 --> 0:40:45.880
<v Speaker 2>you know, for any lessons. So however, I will say

0:40:45.920 --> 0:40:49.640
<v Speaker 2>that once Kenny g covers your.

0:40:49.480 --> 0:40:53.680
<v Speaker 4>Song, I forgot that. I forgot about that.

0:40:54.400 --> 0:40:56.719
<v Speaker 2>Actually, how many emails did you get over that?

0:40:57.280 --> 0:40:59.839
<v Speaker 4>I don't remember. I remember Pat Metheny did it.

0:41:00.080 --> 0:41:00.440
<v Speaker 2>I did.

0:41:00.480 --> 0:41:02.359
<v Speaker 4>Don't know why. I mean, I didn't write that song.

0:41:02.400 --> 0:41:03.759
<v Speaker 4>My friend Jesse Harris wrote it.

0:41:04.000 --> 0:41:05.799
<v Speaker 2>But still we still associated with you.

0:41:05.920 --> 0:41:07.799
<v Speaker 4>Yeah, and I still feel like I own it a

0:41:07.800 --> 0:41:12.680
<v Speaker 4>little bit, but I don't remember. I must have forgotten

0:41:12.760 --> 0:41:14.880
<v Speaker 4>that era. There was a whole era there where I

0:41:14.880 --> 0:41:19.160
<v Speaker 4>don't remember very much. But that's so funny. I forgot

0:41:19.200 --> 0:41:20.160
<v Speaker 4>about that completely.

0:41:25.360 --> 0:41:31.480
<v Speaker 2>How eager were you to knock over your your jinga

0:41:31.560 --> 0:41:35.200
<v Speaker 2>design to start all over again? I mean, that's the

0:41:35.239 --> 0:41:38.520
<v Speaker 2>only I can describe it. You feel way to describe it? Yeah,

0:41:38.560 --> 0:41:40.120
<v Speaker 2>how eager were you to do it?

0:41:40.640 --> 0:41:43.000
<v Speaker 4>I was super eager. I was just eager to make music,

0:41:43.080 --> 0:41:47.120
<v Speaker 4>and I was eager to play guitar and write more songs.

0:41:47.160 --> 0:41:49.239
<v Speaker 4>I was inspired. I was listening to a ton of

0:41:49.320 --> 0:41:51.960
<v Speaker 4>like bluegrass at the time, so my second album was

0:41:52.400 --> 0:41:56.880
<v Speaker 4>a little bit more country inspired. But I was definitely

0:41:57.280 --> 0:42:01.920
<v Speaker 4>excited to get it over with as well. That's not

0:42:01.960 --> 0:42:04.000
<v Speaker 4>to say I rushed the music at all, or that

0:42:04.080 --> 0:42:07.000
<v Speaker 4>I was like hurrying and put out something I wasn't

0:42:07.000 --> 0:42:09.759
<v Speaker 4>proud of, but I was stoked to be inspired and

0:42:09.840 --> 0:42:11.840
<v Speaker 4>to just go ahead and plow through the second record

0:42:11.840 --> 0:42:15.000
<v Speaker 4>and not not overthink it.

0:42:15.040 --> 0:42:19.120
<v Speaker 2>Oh for feels like home? Correct, yeah, I think. But

0:42:19.239 --> 0:42:21.560
<v Speaker 2>that did like a million its first week.

0:42:21.520 --> 0:42:23.440
<v Speaker 4>Which yeah, which was great.

0:42:23.400 --> 0:42:25.800
<v Speaker 2>Which it almost is like, okay.

0:42:26.000 --> 0:42:28.120
<v Speaker 4>All right, I can move on now more than.

0:42:30.960 --> 0:42:34.120
<v Speaker 2>Where did you out? Out of your you know, because

0:42:34.600 --> 0:42:41.000
<v Speaker 2>you've gone through so many I won't even say phases

0:42:41.000 --> 0:42:44.120
<v Speaker 2>because I don't feel like these are like drastic Bowie

0:42:44.360 --> 0:42:50.040
<v Speaker 2>or Prince like changes in your music, but I mean

0:42:50.080 --> 0:42:54.840
<v Speaker 2>you you definitely added personality to all your records. My okay,

0:42:54.840 --> 0:43:00.680
<v Speaker 2>So my personal favorite of your cannon is Little Broken

0:43:00.719 --> 0:43:06.239
<v Speaker 2>Hearts but for you and don't give me the like

0:43:06.320 --> 0:43:10.239
<v Speaker 2>all my all my records to like my children, and

0:43:10.360 --> 0:43:11.160
<v Speaker 2>I guess some of.

0:43:11.120 --> 0:43:15.279
<v Speaker 4>Them I like more than others. Just kidding, but do

0:43:15.320 --> 0:43:15.880
<v Speaker 4>you feel.

0:43:15.800 --> 0:43:20.479
<v Speaker 2>What do you feel? Is like what's your I put

0:43:20.480 --> 0:43:22.759
<v Speaker 2>my my ass in that one, my FOOTNT one.

0:43:24.040 --> 0:43:27.000
<v Speaker 4>I think I also love that one you're talking about,

0:43:28.040 --> 0:43:31.279
<v Speaker 4>see I'm smart, The Danger Mouse one. It's just so

0:43:31.440 --> 0:43:34.680
<v Speaker 4>different and I love the sonics of it. But it's

0:43:34.680 --> 0:43:37.919
<v Speaker 4>funny because I've been playing the last couple of years.

0:43:37.920 --> 0:43:41.160
<v Speaker 4>I've been playing here and there with piano trio, just

0:43:41.239 --> 0:43:44.240
<v Speaker 4>me and Brian Blade on drums, Chris Thomas on bass,

0:43:44.239 --> 0:43:48.960
<v Speaker 4>sometimes different bass players. But when I started playing with

0:43:49.000 --> 0:43:52.000
<v Speaker 4>this group, I thought, oh, okay, I'm gonna pull out

0:43:52.040 --> 0:43:55.480
<v Speaker 4>some of the more jazzy songs in my catalog. But truthfully,

0:43:55.480 --> 0:43:58.200
<v Speaker 4>my favorite songs to play with this setup is the

0:43:58.239 --> 0:44:00.640
<v Speaker 4>songs from that album A Little Broken Hearts, and they

0:44:00.640 --> 0:44:03.879
<v Speaker 4>are it's not just not what I thought it would be.

0:44:03.920 --> 0:44:07.000
<v Speaker 4>They're just I think they're great songs, and I think

0:44:08.080 --> 0:44:12.160
<v Speaker 4>I think that Brian Burton is an incredible songwriter, and

0:44:12.480 --> 0:44:14.560
<v Speaker 4>we had so much fun making that record, And.

0:44:15.719 --> 0:44:20.480
<v Speaker 2>Yeah, I think, yeah, no, it's it's it's it's definitely special.

0:44:20.920 --> 0:44:24.320
<v Speaker 2>Do you feel what is your creative process like with songwriting,

0:44:24.360 --> 0:44:28.640
<v Speaker 2>because I know that collaboration is also a big thing

0:44:28.680 --> 0:44:32.400
<v Speaker 2>for you. Do you tend to do birds of a

0:44:32.440 --> 0:44:37.440
<v Speaker 2>feather as far as flock to people that because I

0:44:37.480 --> 0:44:42.160
<v Speaker 2>know that you've worked with Jeff Jeff Tweety, Jeff Wilcome,

0:44:42.400 --> 0:44:47.680
<v Speaker 2>I always call him no like you work with Tweety

0:44:47.760 --> 0:44:53.959
<v Speaker 2>and but I'm just saying that, do you often ever

0:44:54.320 --> 0:44:58.560
<v Speaker 2>consider like totally like, okay, well, time out. I totally

0:44:58.600 --> 0:45:01.239
<v Speaker 2>forgot now that you worked with Andre three thousand. So

0:45:01.960 --> 0:45:05.440
<v Speaker 2>even when you're entering in what we would think your

0:45:05.480 --> 0:45:08.560
<v Speaker 2>general audience would think like not familiar territory, like, how

0:45:08.560 --> 0:45:11.320
<v Speaker 2>does the how does the process start?

0:45:12.360 --> 0:45:15.799
<v Speaker 4>Well? I mean a lot of stuff I've collaborated with

0:45:15.840 --> 0:45:17.920
<v Speaker 4>people on it's already done and I'm just coming in

0:45:18.000 --> 0:45:20.880
<v Speaker 4>and singing. Like with the Andre three thousand thing, the

0:45:20.960 --> 0:45:23.640
<v Speaker 4>Q tip song, I went in and I just sang

0:45:23.719 --> 0:45:26.319
<v Speaker 4>what do you wanted me to sing? But as far

0:45:26.400 --> 0:45:31.000
<v Speaker 4>as collaborating songwriting, why is it's been evolving over the years,

0:45:31.600 --> 0:45:36.040
<v Speaker 4>It's completely changed. I mean I used to be a

0:45:36.080 --> 0:45:39.400
<v Speaker 4>nervous songwriter, and now I think after doing the record

0:45:39.400 --> 0:45:43.440
<v Speaker 4>with Brian, actually his process really opened me up to

0:45:44.800 --> 0:45:45.960
<v Speaker 4>no fear songwriting.

0:45:46.320 --> 0:45:52.160
<v Speaker 2>I'm just curious, because we're supposed to eventually get with Brian,

0:45:52.800 --> 0:45:57.319
<v Speaker 2>what is his actual process because no, the thing is

0:45:57.360 --> 0:45:59.880
<v Speaker 2>I know I know his YouTube process.

0:46:00.760 --> 0:46:02.200
<v Speaker 4>Yeah it might be different for everyone.

0:46:02.280 --> 0:46:04.640
<v Speaker 2>Oh, I know that's way different. I want to know

0:46:05.000 --> 0:46:13.319
<v Speaker 2>another non YouTube way, like, how does it start well?

0:46:13.360 --> 0:46:16.720
<v Speaker 4>For us? I mean we just went in We're pretty

0:46:16.760 --> 0:46:19.200
<v Speaker 4>comfortable with each other. At this point, we were already friends,

0:46:19.320 --> 0:46:22.400
<v Speaker 4>we'd already hung out a bunch. I sang on the

0:46:22.480 --> 0:46:24.480
<v Speaker 4>Rome album with him, so I got to know him

0:46:24.520 --> 0:46:30.440
<v Speaker 4>through all that. But you know, we both play whatever

0:46:30.520 --> 0:46:36.560
<v Speaker 4>instruments sound good in the room, and the song starts

0:46:36.560 --> 0:46:40.320
<v Speaker 4>with a weird bass line or a weird chord progression

0:46:41.480 --> 0:46:43.319
<v Speaker 4>or me strumming something.

0:46:43.040 --> 0:46:47.520
<v Speaker 2>On the guitar, and it goes to music first.

0:46:48.000 --> 0:46:51.440
<v Speaker 4>I mean, honestly, I don't remember completely, not always. Sometimes

0:46:51.440 --> 0:46:54.760
<v Speaker 4>like it'll be a melody, or he'll have a melody

0:46:54.800 --> 0:46:56.600
<v Speaker 4>in his head, or he'll have a lyric and a

0:46:56.640 --> 0:46:59.439
<v Speaker 4>melody in his head, or I will, and it sort

0:46:59.480 --> 0:47:02.759
<v Speaker 4>of just built from there, and usually we tried to

0:47:02.760 --> 0:47:05.840
<v Speaker 4>get some kind of melody down, whether he's hearing something

0:47:05.920 --> 0:47:09.960
<v Speaker 4>or whether I am. And then this is where I

0:47:10.000 --> 0:47:12.759
<v Speaker 4>learned a lot from him, because first of all, this

0:47:12.840 --> 0:47:15.080
<v Speaker 4>process was totally different than anything I'd ever done. I'd

0:47:15.120 --> 0:47:17.960
<v Speaker 4>never gone into the studio with nothing or with a

0:47:18.000 --> 0:47:21.759
<v Speaker 4>bunch of instruments and just like adding stuff, layering it.

0:47:21.920 --> 0:47:24.640
<v Speaker 4>I've never done that. I had never done that, And

0:47:24.719 --> 0:47:27.480
<v Speaker 4>so I would like sing some scratch lyrics and he's

0:47:27.480 --> 0:47:29.200
<v Speaker 4>like that's cool, We'll get the lyrics later. I was like, really,

0:47:29.280 --> 0:47:31.200
<v Speaker 4>I'm so worried about it. Are we going to get him?

0:47:31.239 --> 0:47:31.440
<v Speaker 2>You know?

0:47:32.360 --> 0:47:34.560
<v Speaker 4>And I would come in and I'd be like, I'm

0:47:34.600 --> 0:47:37.680
<v Speaker 4>just worried about this. I really like this, but I

0:47:37.680 --> 0:47:39.880
<v Speaker 4>don't know what to write. What are the lyrics? He's like,

0:47:39.880 --> 0:47:41.880
<v Speaker 4>they'll come, don't worry about it, And you know what,

0:47:41.960 --> 0:47:45.440
<v Speaker 4>they always came, and they were always in the moment

0:47:45.480 --> 0:47:48.360
<v Speaker 4>and heartfelt, and you know, we worked on him. But

0:47:49.719 --> 0:47:53.880
<v Speaker 4>that was a nice way for me to learn. And

0:47:54.000 --> 0:47:56.560
<v Speaker 4>lately I've been doing more of that. I've been going

0:47:56.600 --> 0:47:58.719
<v Speaker 4>in with people with nothing and just trying to like

0:47:58.760 --> 0:48:01.280
<v Speaker 4>throw stuff at the wall and coming out with stuff

0:48:01.280 --> 0:48:03.040
<v Speaker 4>that I'm totally in love with. You know.

0:48:04.040 --> 0:48:06.200
<v Speaker 2>So you never go through because the one the one

0:48:06.239 --> 0:48:08.239
<v Speaker 2>thing I had to commend you on at least, is

0:48:08.280 --> 0:48:14.800
<v Speaker 2>that you deliver and you push through. Because normally, whenever

0:48:14.920 --> 0:48:21.799
<v Speaker 2>anyone gets into a position of something that gargantuan or successful,

0:48:22.000 --> 0:48:27.480
<v Speaker 2>that's usually when they start sabotaging their creative process. That's

0:48:27.600 --> 0:48:33.520
<v Speaker 2>usually when writer's block sets in and decades go by

0:48:33.680 --> 0:48:38.160
<v Speaker 2>before even hear another note from them. And so the

0:48:38.200 --> 0:48:40.560
<v Speaker 2>fact that you push through it and also, I mean

0:48:41.520 --> 0:48:46.120
<v Speaker 2>all your side projects with the Little Willie's and with

0:48:46.760 --> 0:48:49.400
<v Speaker 2>Push and Boots. How many other side projects do you have?

0:48:49.440 --> 0:48:52.600
<v Speaker 2>Which one is? Well, my favorite is Carlo what projects?

0:48:52.640 --> 0:48:55.120
<v Speaker 4>You're like, you're like the only fan of that band?

0:48:55.520 --> 0:49:01.920
<v Speaker 4>You know that that is called El Madmo And that

0:49:02.160 --> 0:49:05.400
<v Speaker 4>was brief. But we put out a record and we

0:49:05.440 --> 0:49:07.160
<v Speaker 4>didn't put any of our names on it because at

0:49:07.200 --> 0:49:09.320
<v Speaker 4>the time, I think it was right after my second

0:49:09.320 --> 0:49:12.040
<v Speaker 4>album had come out, and I think part of me

0:49:12.080 --> 0:49:15.520
<v Speaker 4>staying creative and enjoying music was to pull back a

0:49:15.520 --> 0:49:18.760
<v Speaker 4>little bit from all the attention, and so this album

0:49:19.000 --> 0:49:21.879
<v Speaker 4>was really fun, and then we put it out under

0:49:21.920 --> 0:49:24.480
<v Speaker 4>these fake names, and then nobody really knew about it. It

0:49:24.360 --> 0:49:26.759
<v Speaker 4>was kind of like we totally sabotaged it by doing that.

0:49:26.840 --> 0:49:28.879
<v Speaker 4>But you're like the only fan.

0:49:29.160 --> 0:49:33.239
<v Speaker 2>But yeah, I have it. It's still on my iPod. Yes.

0:49:33.520 --> 0:49:35.280
<v Speaker 4>That was sort of the beginning of me playing guitar,

0:49:35.400 --> 0:49:38.640
<v Speaker 4>and we went on like this huge stadium tour on

0:49:38.680 --> 0:49:41.239
<v Speaker 4>the fields like home record basically, and my drummer and

0:49:41.239 --> 0:49:44.520
<v Speaker 4>my backup singer at the time we started this band,

0:49:44.600 --> 0:49:46.200
<v Speaker 4>and me and her learned how to play bass and

0:49:46.239 --> 0:49:48.400
<v Speaker 4>guitar a little bit and that was before Puss in

0:49:48.440 --> 0:49:51.760
<v Speaker 4>Boots continued my sort of guitar education.

0:49:52.000 --> 0:49:55.480
<v Speaker 2>But speaking of collaborations, how did you and Billy Joe

0:49:55.560 --> 0:49:58.480
<v Speaker 2>Armstrong wind up doing the Evely Brothers album.

0:49:59.080 --> 0:50:02.279
<v Speaker 4>Billy Chill called me and he asked if I would

0:50:02.280 --> 0:50:07.560
<v Speaker 4>be into doing this thing, and I I was a

0:50:07.600 --> 0:50:09.360
<v Speaker 4>little unsure. I was like, well, let's go in the

0:50:09.360 --> 0:50:11.439
<v Speaker 4>studio a couple of days and see if we fit.

0:50:11.680 --> 0:50:14.600
<v Speaker 2>I'm not going to commit to did you know anything

0:50:14.760 --> 0:50:15.719
<v Speaker 2>like of him?

0:50:16.360 --> 0:50:16.480
<v Speaker 4>Oh?

0:50:16.560 --> 0:50:20.920
<v Speaker 2>Yeah, well the screen day. But I mean like it

0:50:21.000 --> 0:50:21.919
<v Speaker 2>was like a cold call.

0:50:22.000 --> 0:50:25.720
<v Speaker 4>And yeah, it was cold call and I picked up. No.

0:50:25.960 --> 0:50:27.680
<v Speaker 4>See that's what happens when you pick.

0:50:27.560 --> 0:50:30.600
<v Speaker 2>Up and now you got to commit to an album.

0:50:30.680 --> 0:50:33.840
<v Speaker 4>Oh damn it. No, No, I don't remember. I don't remember.

0:50:33.880 --> 0:50:34.640
<v Speaker 4>It was a cold call.

0:50:34.719 --> 0:50:40.160
<v Speaker 2>But well, I can only imagine that there's other projects

0:50:40.239 --> 0:50:42.680
<v Speaker 2>that have been pitched to you that you were sort

0:50:42.680 --> 0:50:46.319
<v Speaker 2>of like, I'm not sure. Wait, can you name one

0:50:46.440 --> 0:50:48.279
<v Speaker 2>artist that you were supposed to work with or.

0:50:49.080 --> 0:50:50.040
<v Speaker 4>I'll never tell.

0:50:50.520 --> 0:50:51.880
<v Speaker 2>Okay, the.

0:50:54.320 --> 0:50:56.960
<v Speaker 4>Things that I regretted saying no to though, let me

0:50:57.000 --> 0:50:57.399
<v Speaker 4>know one.

0:50:57.520 --> 0:50:58.840
<v Speaker 2>Let me know one.

0:50:59.719 --> 0:51:05.320
<v Speaker 4>No, Oh, I feel weird, Just say what I regret?

0:51:06.280 --> 0:51:08.680
<v Speaker 4>I got an email from Farrell once and I was

0:51:08.719 --> 0:51:09.880
<v Speaker 4>just too busy or something.

0:51:09.960 --> 0:51:10.440
<v Speaker 2>I don't know.

0:51:10.560 --> 0:51:12.719
<v Speaker 4>I was bummed I didn't do it, but I don't know.

0:51:13.760 --> 0:51:16.160
<v Speaker 4>I don't know if it was something crazy or what.

0:51:16.280 --> 0:51:18.600
<v Speaker 2>But I would have liked you on a song that

0:51:18.719 --> 0:51:21.719
<v Speaker 2>starts with four hits at the beginning, me too.

0:51:22.480 --> 0:51:24.760
<v Speaker 4>Tell him to call me back, I miss I missed

0:51:24.760 --> 0:51:25.280
<v Speaker 4>my chance.

0:51:25.880 --> 0:51:27.799
<v Speaker 2>An He's always created, So.

0:51:28.320 --> 0:51:30.560
<v Speaker 4>Yeah, I mean that's the thing is. I think I

0:51:30.600 --> 0:51:33.200
<v Speaker 4>went through a little period of kind of being overwhelmed

0:51:33.280 --> 0:51:38.719
<v Speaker 4>by everything and just wanting to sort of chill. So

0:51:38.800 --> 0:51:40.840
<v Speaker 4>I said, notice some things. That year I had a

0:51:40.880 --> 0:51:45.240
<v Speaker 4>little bit of my own little mini nervous breakdown. But yeah,

0:51:45.400 --> 0:51:47.520
<v Speaker 4>Billy Joe called me and I said, let's try a

0:51:47.560 --> 0:51:51.160
<v Speaker 4>couple of days before we commit to doing it because

0:51:51.160 --> 0:51:53.160
<v Speaker 4>he wanted to do this whole album. It wasn't just

0:51:53.200 --> 0:51:56.000
<v Speaker 4>a song or two, and it was cool. He let

0:51:56.080 --> 0:51:58.680
<v Speaker 4>me hire the band from New York. He came to

0:51:58.719 --> 0:52:02.240
<v Speaker 4>New York to do it, and I really love that record.

0:52:02.360 --> 0:52:05.240
<v Speaker 4>Is beautiful. Yeah.

0:52:05.480 --> 0:52:07.720
<v Speaker 2>Surprising. Well, I mean it's not surprising.

0:52:07.280 --> 0:52:08.520
<v Speaker 4>Because it is surprising.

0:52:09.800 --> 0:52:11.840
<v Speaker 2>Well, I mean, the thing is is that I was

0:52:11.880 --> 0:52:15.759
<v Speaker 2>sort of like, okay, but then it's like, Okay, you

0:52:15.840 --> 0:52:19.880
<v Speaker 2>collaborate with everyone, so it's almost like I'm not shocked.

0:52:20.400 --> 0:52:25.640
<v Speaker 2>It wasn't that shocking, but yeah, okay, so.

0:52:25.640 --> 0:52:28.759
<v Speaker 4>It's just cool play well with others. You could say, all.

0:52:28.719 --> 0:52:35.919
<v Speaker 2>Right, so our alto saxophone, jermm, collaboration, we'll do sun

0:52:36.040 --> 0:52:40.640
<v Speaker 2>raw songs or whatever. So it's pick Me off the Floor.

0:52:40.840 --> 0:52:43.399
<v Speaker 2>That's going to be your eighth record, correct.

0:52:43.800 --> 0:52:49.200
<v Speaker 4>I don't know, well, your eighths or eight I'm not sure.

0:52:49.680 --> 0:52:55.839
<v Speaker 2>Okay, besides the single, I haven't heard the I haven't

0:52:55.840 --> 0:52:56.759
<v Speaker 2>heard the album yet.

0:52:56.840 --> 0:52:59.160
<v Speaker 4>But oh that's too bad. I really I think you'll

0:52:59.320 --> 0:53:01.320
<v Speaker 4>be into it, are you, indo Brian.

0:53:01.080 --> 0:53:04.480
<v Speaker 2>Blade, Yes, well more than that, I'm a Neward Jones fan.

0:53:04.560 --> 0:53:07.600
<v Speaker 2>I'm not. I'm not doing this because you're just next

0:53:07.719 --> 0:53:08.240
<v Speaker 2>on the pike.

0:53:08.520 --> 0:53:12.960
<v Speaker 4>Like, well, I think you'd like it because it's a

0:53:13.040 --> 0:53:15.160
<v Speaker 4>lot of this piano trio stuff I was talking about.

0:53:15.239 --> 0:53:19.520
<v Speaker 4>I got really inspired to write for this piano trio setup,

0:53:19.560 --> 0:53:22.800
<v Speaker 4>and we ended up adding stuff and adding some production

0:53:22.920 --> 0:53:25.200
<v Speaker 4>to it, but it all most of the records started

0:53:25.680 --> 0:53:28.040
<v Speaker 4>sort of stripped down, and the single is actually not

0:53:28.200 --> 0:53:31.719
<v Speaker 4>even what this is. The two songs I released so

0:53:31.800 --> 0:53:34.880
<v Speaker 4>far are the two exceptions to this sort of piano

0:53:34.920 --> 0:53:39.680
<v Speaker 4>trio bass of this record. But it yeah, a little bit,

0:53:40.080 --> 0:53:40.800
<v Speaker 4>but that's okay.

0:53:40.880 --> 0:53:43.320
<v Speaker 2>But who did you work with? Production ones?

0:53:44.719 --> 0:53:47.520
<v Speaker 4>I did two songs with Jeff Tweety, okay, and those

0:53:47.520 --> 0:53:49.400
<v Speaker 4>were awesome, and then the rest I just sort of

0:53:49.400 --> 0:53:53.080
<v Speaker 4>did it in New York. I've been doing these collaborations

0:53:53.080 --> 0:53:56.520
<v Speaker 4>and trying to release singles lately just to stay inspired

0:53:56.640 --> 0:53:58.960
<v Speaker 4>and not have to do like a whole album cycle.

0:53:59.520 --> 0:54:01.680
<v Speaker 4>And in the process of doing all these I got

0:54:01.719 --> 0:54:06.239
<v Speaker 4>all these extra tracks that I loved, and so they

0:54:06.320 --> 0:54:07.520
<v Speaker 4>all kind of fit together.

0:54:08.160 --> 0:54:10.680
<v Speaker 2>And that's just to do a bunch of one off singles,

0:54:10.760 --> 0:54:12.040
<v Speaker 2>and yeah.

0:54:11.880 --> 0:54:15.080
<v Speaker 4>I have been doing I have been trying to just

0:54:15.200 --> 0:54:18.200
<v Speaker 4>like collaborate with people I love, like like doing that

0:54:18.239 --> 0:54:20.120
<v Speaker 4>Billy Joel thing was so cool, but it was still

0:54:20.120 --> 0:54:21.880
<v Speaker 4>a commitment because it was a whole album. So I've

0:54:21.920 --> 0:54:25.600
<v Speaker 4>been trying to do just one song with people. I

0:54:25.640 --> 0:54:28.560
<v Speaker 4>did one with Tank, you know, Tank from the Bengus

0:54:28.640 --> 0:54:31.279
<v Speaker 4>and Jeff Tweety. We did a couple and these two

0:54:31.320 --> 0:54:34.040
<v Speaker 4>songs on this album are from that session too. I

0:54:34.120 --> 0:54:38.479
<v Speaker 4>just had all these extra songs from these sessions, so all.

0:54:38.440 --> 0:54:43.160
<v Speaker 2>Right, well, I mean in terms of Do you still

0:54:43.160 --> 0:54:49.080
<v Speaker 2>feel that the the date will still get honored or I.

0:54:49.000 --> 0:54:54.719
<v Speaker 4>Think we pushed it to June? Okay, yeah, you know

0:54:54.760 --> 0:54:57.440
<v Speaker 4>it's funny. I feel like people are home, maybe they

0:54:57.440 --> 0:54:59.800
<v Speaker 4>want something to listen to, but I think everybody's watching

0:54:59.840 --> 0:55:04.000
<v Speaker 4>that Flix, so it's okay.

0:55:03.440 --> 0:55:04.600
<v Speaker 2>What are you? What are you watching?

0:55:04.719 --> 0:55:04.799
<v Speaker 4>Like?

0:55:04.840 --> 0:55:05.840
<v Speaker 2>What have you binged out on?

0:55:07.160 --> 0:55:09.320
<v Speaker 4>Oh? A lot of Barbie Dream House?

0:55:10.440 --> 0:55:11.520
<v Speaker 2>So what your kids are watching?

0:55:11.640 --> 0:55:15.400
<v Speaker 4>Yeah? Basically I don't have any control. It's funny.

0:55:15.440 --> 0:55:17.439
<v Speaker 2>I four to seven. Your kids are in the house.

0:55:17.560 --> 0:55:20.319
<v Speaker 4>Oh god, they do. And every night they go to

0:55:20.400 --> 0:55:23.520
<v Speaker 4>sleep and then I'm like, cool, I'm going to watch something. Nope,

0:55:24.000 --> 0:55:24.640
<v Speaker 4>I'm asleep.

0:55:25.080 --> 0:55:27.640
<v Speaker 2>I see, I see. I feel you.

0:55:28.239 --> 0:55:29.640
<v Speaker 4>Have you watched Last Man on Earth?

0:55:30.920 --> 0:55:31.600
<v Speaker 2>The sitcom?

0:55:32.080 --> 0:55:32.520
<v Speaker 4>Yeah?

0:55:32.640 --> 0:55:36.520
<v Speaker 2>With what's his name? I love that show to death.

0:55:36.600 --> 0:55:38.719
<v Speaker 4>Yes, I love that show so much. I'm so sad

0:55:38.760 --> 0:55:41.640
<v Speaker 4>when it stopped. I know every night I think I'm

0:55:41.640 --> 0:55:43.640
<v Speaker 4>going to rewatch Last Man on Earth. Right now it

0:55:43.719 --> 0:55:44.880
<v Speaker 4>feels like the right moment.

0:55:45.600 --> 0:55:48.600
<v Speaker 2>But I'm one of those people that when I commit

0:55:48.640 --> 0:55:52.520
<v Speaker 2>to a series and I know it's going to be over,

0:55:53.600 --> 0:55:56.360
<v Speaker 2>I never watched the last three, Like my pen ultimate

0:55:56.440 --> 0:55:58.840
<v Speaker 2>is always like the last three or four. So even

0:55:59.640 --> 0:56:03.879
<v Speaker 2>with my modern family, which as a completist, I feel

0:56:03.880 --> 0:56:05.759
<v Speaker 2>like I have to watch the last season, even though

0:56:05.920 --> 0:56:09.120
<v Speaker 2>kind of Wayne Dalf thatf there's season nine. But I

0:56:09.280 --> 0:56:13.680
<v Speaker 2>never like watching the last three episodes of a series

0:56:13.719 --> 0:56:18.200
<v Speaker 2>when it's over. And really, yeah, I loved I loved

0:56:19.200 --> 0:56:21.840
<v Speaker 2>Last Man on Earth, and I kind of feel like

0:56:21.920 --> 0:56:23.560
<v Speaker 2>that's my reality right now.

0:56:23.800 --> 0:56:26.080
<v Speaker 4>Well, I know that's that's what reminded me of it

0:56:26.120 --> 0:56:28.760
<v Speaker 4>for sure. Wait, so you didn't watch the last three?

0:56:28.800 --> 0:56:31.160
<v Speaker 2>No, no, I did, Yes, I didn't watch. I didn't

0:56:31.160 --> 0:56:32.200
<v Speaker 2>watch the last three yet.

0:56:32.280 --> 0:56:38.600
<v Speaker 4>No, Oh, you should watch them. Now it's the time,

0:56:38.680 --> 0:56:39.000
<v Speaker 4>is right.

0:56:39.320 --> 0:56:43.080
<v Speaker 2>I hate goodbye? I mean I I don't know. It's

0:56:43.200 --> 0:56:43.839
<v Speaker 2>like her you.

0:56:43.800 --> 0:56:45.359
<v Speaker 4>Like having it hanging over your head.

0:56:46.080 --> 0:56:48.839
<v Speaker 2>Yeah, but now you're right, now is the time to

0:56:48.840 --> 0:56:53.280
<v Speaker 2>do it because I've been watching. I made the mistake

0:56:53.360 --> 0:56:56.359
<v Speaker 2>of watching that damn what do you call it? The

0:56:56.400 --> 0:56:57.279
<v Speaker 2>Tiger King thing?

0:56:57.719 --> 0:56:58.520
<v Speaker 4>Oh? I didn't watch that?

0:56:58.640 --> 0:57:01.560
<v Speaker 2>Yeah, which I kind of want my nine hours back.

0:57:02.320 --> 0:57:07.200
<v Speaker 4>Well, you were part of a movement. You were in

0:57:07.280 --> 0:57:08.399
<v Speaker 4>it with the rest of.

0:57:08.360 --> 0:57:10.880
<v Speaker 2>The world, every right, I mean everyone was part of

0:57:10.880 --> 0:57:13.360
<v Speaker 2>the conversation. I was like, I felt fomo and I

0:57:13.440 --> 0:57:15.640
<v Speaker 2>wanted you know. Okay, I want to watch it too

0:57:15.719 --> 0:57:19.800
<v Speaker 2>and now regret it. Yeah, so I don't know. I mean,

0:57:19.840 --> 0:57:22.760
<v Speaker 2>I'm going to finish Ozarks and oh yeah, I.

0:57:22.680 --> 0:57:24.440
<v Speaker 4>Want to start that because I have never watched that.

0:57:24.480 --> 0:57:25.480
<v Speaker 4>I was talking about that.

0:57:25.760 --> 0:57:31.680
<v Speaker 2>Okay, so does in my opinion, does okay, does Sopranos

0:57:32.000 --> 0:57:35.000
<v Speaker 2>or The Wire or Breaking Bad mean anything to you?

0:57:36.800 --> 0:57:40.840
<v Speaker 4>I watched all the Sopranos, I watched all of Breaking Bad. Okay,

0:57:41.040 --> 0:57:42.440
<v Speaker 4>not watch all of the Wire.

0:57:42.840 --> 0:57:49.920
<v Speaker 2>Okay, then this could easily be in fourth place. I mean,

0:57:49.960 --> 0:57:53.560
<v Speaker 2>in my personal opinion, I feel like, oh, no doubt,

0:57:54.080 --> 0:57:58.640
<v Speaker 2>no doubt. I mean, even one of the actresses has

0:57:58.680 --> 0:58:03.800
<v Speaker 2>already won an Emmy for a performance. It's it's it's

0:58:03.880 --> 0:58:06.840
<v Speaker 2>that level of.

0:58:06.040 --> 0:58:08.880
<v Speaker 4>Darkness and sounds delicious.

0:58:09.360 --> 0:58:12.320
<v Speaker 2>So that's that's my recommendation. Wait now, I feel like

0:58:12.520 --> 0:58:14.720
<v Speaker 2>I'm taking away from creativity if I'm telling you to

0:58:14.720 --> 0:58:15.720
<v Speaker 2>start binging.

0:58:15.400 --> 0:58:18.440
<v Speaker 4>Out on tele I would I would love to have

0:58:18.480 --> 0:58:24.040
<v Speaker 4>a show to binge on. I would love to. Okay,

0:58:24.160 --> 0:58:24.919
<v Speaker 4>I'll write a song.

0:58:25.040 --> 0:58:29.440
<v Speaker 2>But I see, I see, well, you know, I appreciate

0:58:29.480 --> 0:58:32.760
<v Speaker 2>you for taking the time out to do this, and

0:58:33.920 --> 0:58:34.320
<v Speaker 2>you too.

0:58:34.480 --> 0:58:35.120
<v Speaker 4>Good to see you.

0:58:35.520 --> 0:58:39.920
<v Speaker 2>Hopefully, I don't know, maybe you can, you know, broadcast

0:58:41.200 --> 0:58:43.360
<v Speaker 2>from your crib? Do you do social media at all?

0:58:44.040 --> 0:58:48.000
<v Speaker 4>No, it's it kind of terrorisfies me. I've started doing

0:58:48.040 --> 0:58:52.360
<v Speaker 4>some live recordings and putting them out during all this, right,

0:58:53.120 --> 0:58:56.160
<v Speaker 4>and it's been fun. But I'm not good at like

0:58:56.520 --> 0:59:00.520
<v Speaker 4>browsing the comments. It's no feel crazy.

0:59:01.120 --> 0:59:02.640
<v Speaker 2>Never read the comments.

0:59:02.600 --> 0:59:04.600
<v Speaker 4>Makes me feel crazy. I've tried to do. I tried

0:59:04.600 --> 0:59:06.880
<v Speaker 4>to do Instagram a few years back, and I just

0:59:06.960 --> 0:59:10.600
<v Speaker 4>felt like an idiot because I don't want to show

0:59:10.640 --> 0:59:12.720
<v Speaker 4>pictures of my kids, but I don't want to fake

0:59:12.760 --> 0:59:16.200
<v Speaker 4>it and pretend. So I just hated it. I couldn't

0:59:16.360 --> 0:59:19.600
<v Speaker 4>I couldn't deal. And then I was thinking about, oh,

0:59:19.640 --> 0:59:21.360
<v Speaker 4>what would be a good post. I'm like, Okay, that

0:59:21.400 --> 0:59:23.360
<v Speaker 4>goes against the point. You either got to like just

0:59:23.880 --> 0:59:25.000
<v Speaker 4>post whatever.

0:59:24.960 --> 0:59:28.400
<v Speaker 2>Or or don't post what you're cooking. That's a that's

0:59:28.400 --> 0:59:33.440
<v Speaker 2>a good place to start. No one, no one ever disagreement.

0:59:33.040 --> 0:59:33.920
<v Speaker 4>Talks for lunch again.

0:59:34.280 --> 0:59:37.360
<v Speaker 2>Yes, there you go. You should just start a hot

0:59:37.360 --> 0:59:42.480
<v Speaker 2>dog account. Seriously, all right? Yeah, well, Nora, I appreciate you,

0:59:42.520 --> 0:59:44.360
<v Speaker 2>thank you for your artistry, thank you for taking the

0:59:44.400 --> 0:59:47.040
<v Speaker 2>time out. Thank you ladies and gentlemen. This has been

0:59:47.160 --> 0:59:50.200
<v Speaker 2>quest love Supreme. You have the team Supreme. I bid

0:59:50.240 --> 0:59:53.280
<v Speaker 2>you do. Stay safe for everybody and we will see

0:59:53.320 --> 0:59:54.080
<v Speaker 2>you on this story.

1:00:00.320 --> 1:00:11.280
<v Speaker 1>Quest Love Supreme is a production of iHeartRadio. For more

1:00:11.320 --> 1:00:15.800
<v Speaker 1>podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

1:00:15.800 --> 1:00:17.440
<v Speaker 1>wherever you listen to your favorite shows.