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

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Speaker 1: is Sugar Steve from Questlove Supreme. It's April, which is

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Speaker 1: Jazz Appreciation.

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Speaker 2: Months, so we are running some selections from the qlsrchas

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Speaker 2: from artists who make some jazziza. This is a twenty

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Speaker 2: twenty one conversation with none other than Pat Martini. He

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Speaker 2: is the only artist to win Grammy's in ten different categories,

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Speaker 2: and he's got twenty of them. This interview explores Pat's

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Speaker 2: many facets of music and his incredible career accomplishments. From

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Speaker 2: one of the greatest guitarists in all of music, let

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Speaker 2: alone jazz.

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Speaker 1: Please enjoy this QLs classic.

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Speaker 3: Ladies and gentlemen, Welcome to another episode of Quest Love Supreme.

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Speaker 3: I'm your host, christ Love. We have the entire team

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Speaker 3: Supreme with us right now. There is Sugar Steve ready.

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Speaker 4: Hello, How you doing?

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Speaker 5: Pat Methene? Oh my god.

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Speaker 4: This is awesome for Steve, It's awesome for all of us.

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Speaker 4: I'm paid Bill, what's up?

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Speaker 6: Brother?

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Speaker 7: And I feel the same way, Papathe I don't know

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Speaker 7: what you did right now.

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Speaker 4: I'm gonna try to keep it cool, all right? Skipped

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Speaker 4: it from now? These fonticlar.

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Speaker 8: I wear it up, but I'm good man down thirty eight.

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Speaker 8: We weighed in. You know what I'm saying.

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Speaker 4: So, yeah, weigh in every day?

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Speaker 5: Hell no, that's chaos.

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Speaker 8: I only wear it once a month. I was waiting, Sorry,

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Speaker 8: what's a week? I weigh every Monday. So every Monday

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Speaker 8: I weigh in and then immediately after I wait in.

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Speaker 8: That's when I have, you know, whatever I want to

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Speaker 8: eat just at the way.

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Speaker 5: In, you know what I mean.

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Speaker 4: So because they.

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Speaker 5: Give me the rest of the week to work it off.

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Speaker 4: You know, accountability.

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Speaker 3: I feel you integrity and accountability. I'm right there with you, like, yeah.

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Speaker 4: How are you?

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Speaker 9: I'm good and I'm negative COVID negative as of yesterday.

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Speaker 5: I just wanted word up. But what you had like

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Speaker 5: or something?

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Speaker 6: Huh?

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Speaker 5: Where you worry you had like above or something.

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Speaker 9: I'm trying to get out of town, you know, but

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Speaker 9: shd I know what I am right now?

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Speaker 6: You know what I mean.

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Speaker 3: I had a major bug last week. I thought it

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Speaker 3: was I thought it was a rap y'all, it's just

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Speaker 3: around man, I had the flu, but it was it

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Speaker 3: was major anyway, Hey.

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Speaker 2: Guys, Pat Metheni's here.

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Speaker 3: Yeah, oh I got that anyway, ladies and gentlemen, our

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Speaker 3: guest today, his reputation speaks for itself. First of all,

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Speaker 3: we have to start with the mind blowing factoid that

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Speaker 3: our guest today is the only musician UH to win

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Speaker 3: Grammys and ten categories.

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Speaker 4: I didn't even know there was such a thing like.

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Speaker 3: It's we got to make a collaborative record, so you

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Speaker 3: can get a hip hop one.

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Speaker 4: You probably have one on it, Okay, you know what

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Speaker 4: I'm saying.

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Speaker 3: Not to mention this being his almost fifth decade in

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Speaker 3: the professional recording business, his grand total was twenty He's

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Speaker 3: absolutely one of the most adventurous, dependable, expansive creatives and

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Speaker 3: cat artist in music. Even without a guitar. Is the

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Speaker 3: way that his brain thinks. He is a self recleaned

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Speaker 3: professional improviser, which is very impressive to me because to

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Speaker 3: deal with the pressure of having to live up to

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Speaker 3: the moment of your expectations and audience expectations, that's a

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Speaker 3: lot for me to to weigh in. So I definitely

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Speaker 3: want to get on that. That's you know, so much

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Speaker 3: I can say, but you know, let's just get to it.

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Speaker 3: Ladies and gentlemen, please welcome. Be great Pat matheney Es question.

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Speaker 6: Thanks man, what what a treat for me to be here,

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Speaker 6: and thanks for inviting me. I really appreciate it.

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Speaker 4: Well, we we thank you for coming.

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Speaker 3: We were We're also complimenting you on your on your

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Speaker 3: your your awesome coiff that you've made.

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Speaker 6: Coming from feather one of them picks like you.

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Speaker 3: That's all you got to say, That's all you got.

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Speaker 4: To you know. It's it's weird because.

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Speaker 3: I know, oftentimes sort of outsiders tend to pigeonhole musicians

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Speaker 3: in a particular category, and oftentimes more than that, it's

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Speaker 3: not necessarily sort of an apt description. I mean, you know,

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Speaker 3: to call you a jazz musician, I think is rather limiting,

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Speaker 3: because you know, you've done so much more.

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Speaker 4: I always wanted to know.

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Speaker 3: But the thing is, I'm very familiar with your catalog,

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Speaker 3: but not familiar with your story or your journey. What

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Speaker 3: would you necessarily call your your brand of music? Because

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Speaker 3: you you've literally done everything but the kitchen sink when

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Speaker 3: it comes to emulating sounds or producing sounds from your

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Speaker 3: studio to the record stores and to our ears, What

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Speaker 3: would you call your your genre of music?

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Speaker 6: Yeah, that's a question that comes up a lot I'm

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Speaker 6: sure for you too. For for for most musicians, you know,

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Speaker 6: it's it's it's often an issue. I mean, you know,

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Speaker 6: for me, I wish we had a better name for

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Speaker 6: for stuff, you know, or or that we didn't have

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Speaker 6: to have names to me when whenever we start going

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Speaker 6: down the thing of you know, and and yeah, you're right,

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Speaker 6: I get it all the time, like you know, what

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Speaker 6: is what is this? It's usually for me it's usually

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Speaker 6: a political discussion or a cultural discussion or a dress

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Speaker 6: code discussion more than a music discussion. And you know,

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Speaker 6: I feel like there are a couple musicians in that

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Speaker 6: generation that sort of is just above me, that's sort

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Speaker 6: of were of course heroes for me, but also kind

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Speaker 6: of defined a new way of being as a musician.

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Speaker 6: And I'll just throw out some names. I mean, Herbie

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Speaker 6: is one, Chick Korea would be an incredible example. This Keith, Jared,

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Speaker 6: Gary Burton, And by that, I mean it's a bunch

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Speaker 6: of musicians who could play written music with the New

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Speaker 6: York Philharmonic one night and probably not get fired and

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Speaker 6: actually be invited back with you know, kudos all around,

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Speaker 6: and could play the next night with you know, James

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Speaker 6: Brown or something, you know, I mean, or or could

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Speaker 6: play with, you know, a folk singer. I'm kind of

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Speaker 6: like a little bit what you guys have to do,

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Speaker 6: you know, on the show too. But I mean, for me,

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Speaker 6: when I think about that generation of musicians, and there

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Speaker 6: were a few significant people before them, Train, Charlie Parker,

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Speaker 6: Art Tatum ll come to mind, it's people who really

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Speaker 6: advanced what was possible on their instruments, beyond any description

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Speaker 6: that you might want to impose on it on a

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Speaker 6: political level or a cultural level, just strictly in terms

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Speaker 6: of what can you do as a human being with

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Speaker 6: an instrument in your hand. You know, that to me

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Speaker 6: is clearly the model. And you know, I mean the

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Speaker 6: J word, I don't know anybody that likes that really,

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Speaker 6: And you know, then there's all these other ones. I mean, man,

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Speaker 6: there was the the F word came along about about

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Speaker 6: ten years into my thing, and I was like, where

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Speaker 6: did that one come from? I mean, you know, when

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Speaker 6: I first, you know, started making records and stuff, that

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Speaker 6: was the era of hyphens. You know, there was jazz, rock, jazz,

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Speaker 6: folk folk, this, you know, you know, and in a

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Speaker 6: way that was a little bit descriptive of something. But

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Speaker 6: I mean, man, by the time I came along, I

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Speaker 6: was actually a reactionary to you know, distortion and backbeats

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Speaker 6: and stuff. I mean I was already kind of like,

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Speaker 6: you know, you know, kind of looking for something past

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Speaker 6: the Maha issue thing. As much as I love that

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Speaker 6: that was really more closely connected to, like Tony Williams

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Speaker 6: or something like that. And you know, so you know,

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Speaker 6: it's it's hard to to to come up with a name.

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Speaker 6: So here's what happens. I mean, you direct answer your question.

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Speaker 6: I'm sitting next to a person on a plane who says, well,

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Speaker 6: what kind of music do you play? And I kind

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Speaker 6: of look at them and I go, well, you know,

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Speaker 6: this person seems like if I say jazz, they're going

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Speaker 6: to know what I'm talking about, or they're not, or

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Speaker 6: you know, it's like it's a case by case thing.

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Speaker 6: But man, I mean I kind of would do anything

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Speaker 6: to have to avoid having to do that. But of course,

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Speaker 6: you know, we do live in a world, especially now,

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Speaker 6: where you know, this whole issue of stratification of our

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Speaker 6: entire personal lifestyles or something that everybody's cure aiding their

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Speaker 6: entire existence in very specific ways. Yeah, my thing of

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Speaker 6: trying to open it up even further, is the actually

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Speaker 6: in direct opposition to the culture of the moment.

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Speaker 3: So I see, Yeah, I was going to say, well, okay,

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Speaker 3: I do want to start to how you came to music,

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Speaker 3: but since you already went there, I have to know, okay,

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Speaker 3: because you were born in a certain time period, and

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Speaker 3: knowing that you know albums like in a silent way

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Speaker 3: or a bitches brew even on the corner, or I mean,

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Speaker 3: I mean, we can even talk about like the experimental

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Speaker 3: phase of Coltrane during his last period. You're twelve, thirteen, fourteen,

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Speaker 3: fifteen at the time, which I know based on other

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Speaker 3: musicians I know of that that's a very that's an

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Speaker 3: extremely impressionable and influential time in a musician's life where

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Speaker 3: they take everything in and don't throw it away. Whereas

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Speaker 3: I would guess if you were older, if you were

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Speaker 3: in your twenties during that time period, you might have

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Speaker 3: an eyebrow raised with what the fuck is Miles David's

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Speaker 3: doing right now? But can you describe what it was

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Speaker 3: to grow up at least with your young ears, assuming

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Speaker 3: that your palette was changing by.

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Speaker 4: Eleven, twelve, thirteen, fourteen fifteen, could you.

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Speaker 3: Describe what it was like to witness kind of first

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Speaker 3: generation those experimental movements in jazz at such a young age, Like,

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Speaker 3: how did you take to it? Was there someone to

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Speaker 3: slap your hand like that's not music?

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Speaker 6: Or had they done that, it would have made me

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Speaker 6: like it even more, which was kind of the kind

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Speaker 6: of where I was at. No, it's funny. It's really

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Speaker 6: interesting that that you're mentioning that it kind of coincidentally,

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Speaker 6: in the past month or so, a really fantastic writer

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Speaker 6: in the Kansas City area where I am from, wrote

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Speaker 6: a book kind of. I mean, it's ostensibly about me

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Speaker 6: from nineteen sixty four to nineteen seventy two, the years

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Speaker 6: that I, you know, kind of was on the Kansas

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Speaker 6: City scene, right, and man, she brought back all kinds

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Speaker 6: of stuff and there's all these people talking about that era,

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Speaker 6: and man, it just took me right back there, because

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Speaker 6: generally speaking, I don't look back too much. I'm if

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Speaker 6: you come to my house, you were talking about Grammys

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Speaker 6: and you wouldn't see one thing.

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Speaker 4: Man, every broken every day.

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Speaker 6: I started zero. You know, I don't want to see

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Speaker 6: anything about how the gig was last night. I want

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Speaker 6: to like whatever. But today it's new, and so I

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Speaker 6: don't like to have anything around. I don't like to

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Speaker 6: think too much about kind of, you know whatever from

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Speaker 6: in the past. But this book just took me right

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Speaker 6: back to exactly what you're talking about. And you know,

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Speaker 6: I'm talking about Kansas City, but in fact, I grew

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Speaker 6: up in a rural town about twenty thirty miles away

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Speaker 6: from Kansas City, where, I mean, man, no one had

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Speaker 6: any idea what I was interested in at all, and

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Speaker 6: nor did I really have any frame of reference for it. So,

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Speaker 6: I mean, I realize now my way of quantifying things was, oh,

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Speaker 6: it's on a record. So the record could be The

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Speaker 6: Beach Boys, it could be Ornette Coleman, it could be

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Speaker 6: John Phillips SUSA. It could be Porter Wagner and Dolly Parton.

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Speaker 6: All I knew is I could take it down in

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Speaker 6: the basement and play it on my parents recently retired

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Speaker 6: record player, and actually I only had a very few records,

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Speaker 6: and one of the records that really made an impact

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Speaker 6: on me was a record my brother brought home four

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Speaker 6: and more. That was it, Miles and Miles record. It

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Speaker 6: was you know, it was the Quintet when George Coleman

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Speaker 6: was was in it, and it's sort of all the

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Speaker 6: up tempo stuff from the My Funny Valentine Live concert.

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Speaker 6: And I mean, you know, I do hear the rap

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Speaker 6: often of people saying, well, you know, you got to

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Speaker 6: develop a taste for that kind of music and this,

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Speaker 6: that and the other thing. Man. For me, it was

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Speaker 6: like somebody switched on the lights and it was mostly

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Speaker 6: Tony to tell you, the tree it was to me

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Speaker 6: the sound that, yeah, the sound of the ride symbol

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Speaker 6: was to me like that was what was about to

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Speaker 6: happen in the world. And it was actually.

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Speaker 3: And Tony had a really like heavy It was almost

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Speaker 3: like I would describe it as his approach to his

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Speaker 3: ride symbol was violent but very beautiful. Just the amount

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Speaker 3: of tone that the fact that he can get so

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Speaker 3: much tone out of one symbol, hitting in various ways

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Speaker 3: like yeah, that always.

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Speaker 6: And also he you know, it was just this constantly

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Speaker 6: changing like set of grooves. It wasn't it was, you know.

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Speaker 6: Then of course I had no reference of any of

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Speaker 6: that either, nor did I understand that they were playing

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Speaker 6: on a blues or they were playing on the form

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Speaker 6: of there is No Greater Love. All I knew is

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Speaker 6: what it sounded like and mostly what it felt like

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Speaker 6: to me. And at the same time, you know, I

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Speaker 6: picked up a guitar a year or two before that because,

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Speaker 6: like me and a billion other people in the world,

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Speaker 6: I saw the Beatles on the Ed Sullivan Show. So

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Speaker 6: the guitar itself was this sort of iconic thing as

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Speaker 6: much as it was an instrument, and in reference to

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Speaker 6: my general nature, the one thing my parents didn't want

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Speaker 6: me to ever do was play electric guitar. So, I mean,

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Speaker 6: you know, there you go. It's like, you know, it's

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Speaker 6: kind of I joke around.

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Speaker 3: Like an electric guitar was like a four letter word,

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Speaker 3: similar to like Dylan grabbing electric guitar in sixty five.

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Speaker 6: Like, oh, way more than that. I mean, you know,

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Speaker 6: way more than that. I mean it was like I

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Speaker 6: I you know, it's more like Mom and Dad, I

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Speaker 6: think I'm going to join the devil worshiping cult down

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Speaker 6: the street here.

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Speaker 3: So it wasn't a matter of like we just want

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Speaker 3: a less a not noisy instrument in the house.

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Speaker 4: It was more like what that guitar represented exactly. Yeah.

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Speaker 4: And there were musicians though, right well.

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Speaker 6: They were kind of musicians. I mean, actually they were

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Speaker 6: very musical my dad especially was a really good trumpet player.

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Speaker 6: And I have a very important figure in my life.

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Speaker 6: It's my older brother Mike, five years older than me,

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Speaker 6: incredible trumpet player at a very young age. And I

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Speaker 6: started playing trumpet two when I was eight, and hence

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Speaker 6: the Miles Davis record. You know, trump but was a

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Speaker 6: thing kind of in our family, like, you know, not

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Speaker 6: any particular kind of trump but just trumpet. And you know,

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Speaker 6: we would go see Doc Severnson, who was you know,

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Speaker 6: come out the Midwest and do concerts or Clark Terry

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Speaker 6: more about the trumpet part of it. And so yeah,

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Speaker 6: guitar was this other thing. And once again they were right.

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Speaker 6: I mean, man, what happened in the few years after

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Speaker 6: nineteen sixty four, sixty five, sixty six with people with

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Speaker 6: guitars strapped around their necks was their worst fear come

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Speaker 6: to life by ten thousand percent. You know what's weird

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Speaker 6: in my case, though, is that that Miles moment put

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Speaker 6: me on this whole other direction. And this is more

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Speaker 6: in response to your question, I didn't think about, like, oh,

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Speaker 6: ornett is really some wacky, far out thing that people

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Speaker 6: were getting into fistfights in front of the bandstand about

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Speaker 6: and Wes Montgomery, Oh he's commercial because he's playing going

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Speaker 6: out of my Head. And you know, I just had no,

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Speaker 6: first of all, no interest in that in that aspect

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Speaker 6: of it. I was just like, man, what are they playing?

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Speaker 6: And how are they playing that? And what do I

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Speaker 6: need to know in order to understand this? Like what

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Speaker 6: is this?

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Speaker 3: And did you know did you understand at at early

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Speaker 3: age that maybe jazz was sort of like an intellectuals

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Speaker 3: music or an intellectual game, like.

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Speaker 4: Did you choose jazz?

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Speaker 3: Because like all of your other friends are trying to

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Speaker 3: learn Smoke on the water Riff and you're like, well,

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Speaker 3: I'm learning Wes Montgomery.

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Speaker 6: Like, I mean, you know, again, I have to say

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Speaker 6: where I would where I grew up, man, I mean yeah,

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Speaker 6: I was. I was completely non aligned with any person

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Speaker 6: my own age. You know, I just had nothing to

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Speaker 6: do with anybody, nor was I particularly interested what anybody

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Speaker 6: thought about anything, because I was really in them. Well,

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Speaker 6: I think most people that are going to deal with

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Speaker 6: this language at some point along the way, they had

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Speaker 6: to spend four or five years, twelve hours a day alone.

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Speaker 6: It's you know, it's sort of like, you know, I

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Speaker 6: want to give a speech in you know, Greek to

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Speaker 6: a bunch of nuclear physicists. You know, first of all,

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Speaker 6: I have to learn Greek, and then I got to

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Speaker 6: learn about nuclear physics, you know. I mean, it's it's

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Speaker 6: not something that's going to happen overnight. You know. The

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Speaker 6: benefit for me, though, was the Kansas City thing where

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Speaker 6: I just happened to kind of chronologically come along at

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Speaker 6: a time where at a very young age, I was

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Speaker 6: able to start working with people who were a lot

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Speaker 6: better than me. And I mean, I don't know about you,

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Speaker 6: but that's the way you learn is to be. And

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Speaker 6: I always tell people, try to be the worst person

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Speaker 6: in every band you're in, or at least be around

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Speaker 6: musicians who you're going to learn some stuff from, because

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Speaker 6: that's how it works.

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Speaker 4: You know, you got to be the least knowledgeable person

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Speaker 4: in your circle.

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Speaker 9: So by the time you got in your first band,

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Speaker 9: what was your knowledge and.

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Speaker 6: Where were you well, I mean, you know, I did

336
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Speaker 6: have my year or so of you know, kind of

337
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Speaker 6: messing around with you know, kind of I guess we

338
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Speaker 6: could say rock bands or whatever, and but you know,

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Speaker 6: I immediately took it very seriously to the point of concern.

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Speaker 6: I would say, of everybody. You know, I mean the

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Speaker 6: other analogy joke I always make, and it's I think

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Speaker 6: a valid one. You know, I've got three kids, and

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Speaker 6: you know, as much as there had been resistance to

344
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Speaker 6: me playing the guitar, the thought of me spending twelve

345
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Speaker 6: or thirteen hours a day down in the basement, you know,

346
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Speaker 6: learning who knew what was a little bit like for

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Speaker 6: right now. If one of my kids said to me, Dad,

348
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Speaker 6: I'm going to become a professional video game player, you know,

349
00:20:07,400 --> 00:20:13,960
Speaker 6: I would say like, no, you're not. You can't do that. Yeah, yeah,

350
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Speaker 6: I mean exactly so. But it was like that to them.

351
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Speaker 6: I was like, yeah, I'm going to you know, learn

352
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Speaker 6: you know this McCoy tyner solo on Reaching fourth and

353
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Speaker 6: I'm going to really check out Roy Haynes. You know tonight.

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Speaker 4: Mom, So you were you were practiced twelve hours a day?

355
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Speaker 6: Oh, I was really. I was really finally.

356
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Speaker 4: Up to my expectations.

357
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Speaker 6: I get up at four o'clock in the morning almost

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Speaker 6: every day.

359
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Speaker 5: Now, you know.

360
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Speaker 6: It's you know, to me, music is really hard. I

361
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Speaker 6: know there's people that are really talented and stuff, and

362
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Speaker 6: I I really I cautioned people about their talent because

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Speaker 6: I kind of don't really believe that much in talent.

364
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Speaker 6: You know, I'm more about you know, it's hard. I

365
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Speaker 6: don't care how talented you are. You gotta you gotta

366
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Speaker 6: work on it.

367
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Speaker 7: Why why are the early days were you pushed towards

368
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Speaker 7: the hollow body because seems like if you earn rock bands,

369
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Speaker 7: it's a weird choice for rock bands, right, I mean

370
00:21:12,880 --> 00:21:14,720
Speaker 7: it was because of West Montgomery, or was just because

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Speaker 7: that was the first guitar you had the Gibs in the.

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Speaker 6: Yeah, good question. I mean, so with my parents, you know,

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Speaker 6: when I finally like convinced them that I was really

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Speaker 6: I really wanted to get a guitar, my Christmas present

375
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Speaker 6: one year was not a guitar. It was permission to

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Speaker 6: buy a guitar with my own money that I earned.

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Speaker 7: You got permission, all right, I got permission.

378
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Speaker 6: So it just happened that the you know, I earned

379
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Speaker 6: sixty dollars doing I had a little back. Yeah, I

380
00:21:53,359 --> 00:21:56,120
Speaker 6: had a little job and looked in the Kansas City

381
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Speaker 6: Star and there was a Gibson guitar for sixty dollars.

382
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Speaker 6: It didn't even say what kind, just Gibson guitar. And

383
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Speaker 6: it was an ES one forty which is this small

384
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Speaker 6: hollow body And honestly I didn't, you know, to me,

385
00:22:08,440 --> 00:22:11,760
Speaker 6: it was like Gibson and it was electric and you know, cool,

386
00:22:13,800 --> 00:22:19,520
Speaker 6: and so I didn't really care with solid body hollow body,

387
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Speaker 6: and that would have been before I heard four and more. Interesting.

388
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Speaker 6: So once I heard four and more, then I began

389
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Speaker 6: the thing that we all do of, like, you know, okay,

390
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Speaker 6: who are the other trumpet players? Who are the other

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Speaker 6: bass player that I need to know? And then, of

392
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Speaker 6: course guitar. I was already holding it in my hand,

393
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Speaker 6: and in fact, the father of a friend of my

394
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Speaker 6: brother said, you know, you should check out Wes Montgomery

395
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Speaker 6: and he played me a record and man, that was

396
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Speaker 6: it for me. And I was like, well, I got

397
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Speaker 6: this hollow body already.

398
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Speaker 3: So I'm like, you know, in the perfect ballpark the

399
00:22:55,800 --> 00:22:57,720
Speaker 3: guitar shows you you can choose the guitar.

400
00:22:57,920 --> 00:23:02,000
Speaker 6: Well yeah, and then actually funny thing happened. Not funny,

401
00:23:02,000 --> 00:23:05,359
Speaker 6: it was tragic. At the time. My mom is from

402
00:23:05,400 --> 00:23:09,640
Speaker 6: Wisconsin and back in those days, you the only way

403
00:23:09,680 --> 00:23:12,000
Speaker 6: to get to Wisconsin from Kansas City was an airline

404
00:23:12,040 --> 00:23:15,560
Speaker 6: called Ozark Airlines, and you would stop it like des

405
00:23:15,600 --> 00:23:20,040
Speaker 6: Moines Cedar rapids you know, Debuque, like you'd stop like

406
00:23:20,119 --> 00:23:23,320
Speaker 6: six places along the way before going to Manitauc where

407
00:23:23,320 --> 00:23:26,920
Speaker 6: she was from. And when we got to manage Walk,

408
00:23:27,359 --> 00:23:29,359
Speaker 6: I went to get my guitar and it was just

409
00:23:30,119 --> 00:23:34,760
Speaker 6: pieces of wood shattered, not only know, maybe two months

410
00:23:35,160 --> 00:23:39,080
Speaker 6: so it was awful, and but Ozark Airlines gave me

411
00:23:39,560 --> 00:23:43,720
Speaker 6: I think one hundred dollars, you know, in repayment for it.

412
00:23:44,280 --> 00:23:46,920
Speaker 6: And that's when I got my Yes one seventy five,

413
00:23:46,960 --> 00:23:50,159
Speaker 6: which was the guitar that I still play most of

414
00:23:50,200 --> 00:23:51,920
Speaker 6: the time. I've had it all these years.

415
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Speaker 3: I was going to say to you that I want

416
00:23:54,960 --> 00:23:58,240
Speaker 3: to thank you because I thought, I mean, we've done

417
00:23:58,359 --> 00:24:03,520
Speaker 3: five years of five years of shows, and you know,

418
00:24:03,600 --> 00:24:07,960
Speaker 3: we've had every virtuoso musician that you could think of

419
00:24:08,119 --> 00:24:13,840
Speaker 3: on the show, and nothing makes them happier than debunking

420
00:24:14,040 --> 00:24:20,520
Speaker 3: my theory that perfect practice makes perfect And you know this,

421
00:24:20,760 --> 00:24:24,360
Speaker 3: this goes a long time ago. I had met saxophonist

422
00:24:24,440 --> 00:24:28,679
Speaker 3: David Murray and I would ask David like, yo, like

423
00:24:30,240 --> 00:24:33,040
Speaker 3: you know, he mentioned something like, well, you know, I

424
00:24:33,640 --> 00:24:35,119
Speaker 3: took a nap at two in the morning and then

425
00:24:35,160 --> 00:24:36,840
Speaker 3: I got up at six to practice my scales. And

426
00:24:36,840 --> 00:24:39,479
Speaker 3: I'm like wait a minute, you practice your scales at

427
00:24:39,480 --> 00:24:41,480
Speaker 3: six in the morning. He's like, yeah, every day I

428
00:24:41,560 --> 00:24:44,119
Speaker 3: wake up like five, six in the morning, do my

429
00:24:44,160 --> 00:24:46,679
Speaker 3: scales for about four hours. I do breakfast and da

430
00:24:46,760 --> 00:24:49,120
Speaker 3: da da da, Then I do another five hours. We're

431
00:24:49,119 --> 00:24:50,920
Speaker 3: in my tonal thing and I'm like, wait a minute,

432
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Speaker 3: how many hours.

433
00:24:51,480 --> 00:24:52,400
Speaker 4: A day do you practice?

434
00:24:52,440 --> 00:24:56,600
Speaker 3: And he's kicking it, like seventy He's like sometimes ten

435
00:24:56,640 --> 00:24:57,280
Speaker 3: eleven hours.

436
00:24:57,359 --> 00:24:59,440
Speaker 4: I'm like to this day. He's like, yes, to this day.

437
00:25:00,080 --> 00:25:05,000
Speaker 3: And then like his gigging starts, you know, after that

438
00:25:05,080 --> 00:25:08,399
Speaker 3: eleven hours, and you know, I kind of stuck to

439
00:25:08,440 --> 00:25:11,040
Speaker 3: that sort of that religious and that was like back

440
00:25:11,040 --> 00:25:13,639
Speaker 3: in eighty seven eighty eight, and like you know, you

441
00:25:13,640 --> 00:25:14,400
Speaker 3: know it's doing.

442
00:25:14,240 --> 00:25:15,760
Speaker 4: Like a master class with him or something.

443
00:25:17,000 --> 00:25:20,240
Speaker 3: But then, you know, I would ask every musician that

444
00:25:20,280 --> 00:25:22,200
Speaker 3: I knew, like how often do you practice? And they'd

445
00:25:22,240 --> 00:25:27,679
Speaker 3: be like whatever, like two three at the most. It

446
00:25:27,720 --> 00:25:29,639
Speaker 3: was making me think that that whole thing was just

447
00:25:29,680 --> 00:25:33,800
Speaker 3: a myth, like the idea of the musician. Ernie Issley

448
00:25:33,840 --> 00:25:39,000
Speaker 3: has a similar story about when when Jimmy HENDRICKX used

449
00:25:39,000 --> 00:25:43,560
Speaker 3: to live with the Isisley Brothers over in Jersey, how

450
00:25:43,760 --> 00:25:47,280
Speaker 3: Jimmy would wake up every morning to practice his scales

451
00:25:48,440 --> 00:25:50,560
Speaker 3: four point thirty five in the morning, and Ernie would

452
00:25:50,640 --> 00:25:53,800
Speaker 3: just sit in the closet and watch Jimmy for like

453
00:25:53,840 --> 00:25:55,840
Speaker 3: two to three hours practicing these scales.

454
00:25:55,880 --> 00:25:57,440
Speaker 4: And then that's basically how.

455
00:25:58,080 --> 00:26:02,920
Speaker 3: You known, in my opinion, you know, kind of earned

456
00:26:02,920 --> 00:26:06,520
Speaker 3: that baton from Jimmy Hendricks. But yeah, I just want

457
00:26:06,560 --> 00:26:09,080
Speaker 3: to thank you for at least not making me feel foolish,

458
00:26:09,080 --> 00:26:12,200
Speaker 3: because every time I ask about practice or on the show,

459
00:26:12,480 --> 00:26:14,440
Speaker 3: every guest is like whatever.

460
00:26:15,040 --> 00:26:18,000
Speaker 6: So you know, it's an interesting thing because I think

461
00:26:18,040 --> 00:26:21,960
Speaker 6: every musician has a wildly different path, as we all

462
00:26:22,000 --> 00:26:25,080
Speaker 6: do as individuals from everybody else. I mean, everybody's kind

463
00:26:25,080 --> 00:26:29,960
Speaker 6: of got their own physical thing and their own whatever

464
00:26:30,080 --> 00:26:34,560
Speaker 6: I mean, And being a musician also is so unique

465
00:26:34,560 --> 00:26:36,880
Speaker 6: to each person. I mean, what this guy wants to do,

466
00:26:37,040 --> 00:26:39,520
Speaker 6: what that guy? I mean, everybody's got their own path.

467
00:26:41,200 --> 00:26:44,480
Speaker 6: And you know, at the same time, I think that

468
00:26:45,280 --> 00:26:49,200
Speaker 6: like I'm sure you know, we've both known people who

469
00:26:49,320 --> 00:26:53,720
Speaker 6: were just at very young age is incredibly good, like

470
00:26:53,800 --> 00:26:56,440
Speaker 6: they could just kind of do it, and man, that's

471
00:26:56,480 --> 00:26:59,719
Speaker 6: a tough that's like it's almost one of the worst

472
00:26:59,720 --> 00:27:00,560
Speaker 6: things I think.

473
00:27:00,440 --> 00:27:04,240
Speaker 10: That can happen to something handicapped to be like a

474
00:27:04,440 --> 00:27:09,080
Speaker 10: super person because it throws you off, you know, it

475
00:27:09,119 --> 00:27:11,440
Speaker 10: gives you, it gives you kind of the wrong idea.

476
00:27:12,040 --> 00:27:14,399
Speaker 6: And I mean a lot of people can skate maybe

477
00:27:14,400 --> 00:27:19,639
Speaker 6: their entire career that way. But you know, to me,

478
00:27:19,800 --> 00:27:22,159
Speaker 6: the guys that I you know, maybe that list of

479
00:27:22,280 --> 00:27:25,520
Speaker 6: names that I read off, like Gary Burton's a great

480
00:27:25,520 --> 00:27:28,360
Speaker 6: example of this. He I think was in fact, I'm

481
00:27:28,400 --> 00:27:32,760
Speaker 6: sure he was like this ridiculous prodigy guy, but he

482
00:27:32,880 --> 00:27:36,679
Speaker 6: also took it really seriously. And I don't know that

483
00:27:36,800 --> 00:27:39,840
Speaker 6: his version of practicing would be what you and I

484
00:27:39,880 --> 00:27:44,159
Speaker 6: would talk about as practicing. But you know, I mean

485
00:27:44,200 --> 00:27:46,680
Speaker 6: there are people who I think. I mean, Mike Brecker,

486
00:27:46,760 --> 00:27:50,000
Speaker 6: you know, he could he I remember seeing him near

487
00:27:50,040 --> 00:27:52,960
Speaker 6: the end of his life and he was like quiet,

488
00:27:53,000 --> 00:27:55,919
Speaker 6: and he was like practicing, you know. I mean, you know,

489
00:27:56,000 --> 00:27:58,119
Speaker 6: it's like it. I think it can show up in

490
00:27:58,160 --> 00:28:01,280
Speaker 6: a lot of different forms. I will add in in

491
00:28:01,320 --> 00:28:04,199
Speaker 6: my case, I don't ever feel like I'm practicing. I

492
00:28:04,240 --> 00:28:07,160
Speaker 6: always feel like I'm just playing. And when I practice,

493
00:28:07,240 --> 00:28:09,800
Speaker 6: I take a tune that maybe I don't know as

494
00:28:09,800 --> 00:28:12,280
Speaker 6: well as I wish I did, and you know, I

495
00:28:12,400 --> 00:28:15,359
Speaker 6: just start playing it. And I try to play it fast.

496
00:28:15,400 --> 00:28:17,080
Speaker 6: I try to play it slow. I try to play

497
00:28:17,080 --> 00:28:20,199
Speaker 6: it in all twelve keys. I try to really know

498
00:28:20,440 --> 00:28:24,000
Speaker 6: what makes that tune that tune. And that's hard. I mean,

499
00:28:24,080 --> 00:28:25,919
Speaker 6: you know, I can still take tunes that I've been

500
00:28:25,960 --> 00:28:31,080
Speaker 6: playing all these years and play them, and as I'm

501
00:28:31,119 --> 00:28:34,600
Speaker 6: playing them, I'm discovering first of all, what I can

502
00:28:34,720 --> 00:28:37,080
Speaker 6: do and what I can't do, and what I work

503
00:28:37,119 --> 00:28:40,520
Speaker 6: on is what I can't do. It's like, I don't

504
00:28:40,520 --> 00:28:42,520
Speaker 6: do what I can do. I work on what I

505
00:28:42,560 --> 00:28:45,800
Speaker 6: can't do. So if I start hearing something and I

506
00:28:45,840 --> 00:28:48,280
Speaker 6: can't really do that, it's like, Okay, I need to

507
00:28:48,320 --> 00:28:51,040
Speaker 6: work on that, and I'm less. Times I hear people

508
00:28:51,040 --> 00:28:53,360
Speaker 6: and they're practicing, but they're just playing stuff they can

509
00:28:53,400 --> 00:28:56,360
Speaker 6: already play. I try to play what I can't play.

510
00:28:56,840 --> 00:29:00,720
Speaker 2: Is that what the improvising is working on.

511
00:29:02,160 --> 00:29:07,680
Speaker 6: Worms there by the way we're improvising right now, and

512
00:29:07,720 --> 00:29:12,360
Speaker 6: we're using our language. We all have a relationship to

513
00:29:12,400 --> 00:29:15,800
Speaker 6: English that allows us to just do our thing without

514
00:29:15,920 --> 00:29:18,920
Speaker 6: really worrying too much about verbs and nouns and pronouns,

515
00:29:19,200 --> 00:29:21,239
Speaker 6: you know, or what your tongue is doing while you're

516
00:29:21,520 --> 00:29:24,120
Speaker 6: you're just doing it. You're just doing we're improvising, And

517
00:29:24,160 --> 00:29:28,520
Speaker 6: I mean that's essentially you know what what this thing is.

518
00:29:28,600 --> 00:29:32,000
Speaker 6: You know, being a musician in this realm is to

519
00:29:32,080 --> 00:29:34,400
Speaker 6: be able to just talk about whatever you want to

520
00:29:34,440 --> 00:29:38,840
Speaker 6: talk about and not get hung up with the mechanics

521
00:29:38,880 --> 00:29:39,200
Speaker 6: of it.

522
00:29:39,720 --> 00:29:43,920
Speaker 3: Let me ask for okay, So I think I've shared

523
00:29:43,920 --> 00:29:48,560
Speaker 3: this story before. George Clinton once famously joked, you know,

524
00:29:48,720 --> 00:29:54,160
Speaker 3: Prince Prince often had a big reputation for overpracticing. You

525
00:29:54,160 --> 00:29:59,040
Speaker 3: know again that ten am, I'll find you. If you're late,

526
00:29:59,320 --> 00:30:01,400
Speaker 3: We're going to do the same riff five hours in

527
00:30:01,440 --> 00:30:03,280
Speaker 3: a row until we get it right, that sort of thing.

528
00:30:03,920 --> 00:30:06,640
Speaker 3: And George Clinton used to tease that Prince is the

529
00:30:06,640 --> 00:30:10,040
Speaker 3: only cat that he knew that could practice his spontaneity.

530
00:30:11,120 --> 00:30:16,000
Speaker 3: And you know, I know how big you are on improvisation,

531
00:30:17,040 --> 00:30:22,520
Speaker 3: And sometimes even when I'm rehearsing with my guys, sometimes

532
00:30:22,560 --> 00:30:24,320
Speaker 3: I want to save that energy for the stage.

533
00:30:24,360 --> 00:30:27,000
Speaker 4: Like I know that there's a certain.

534
00:30:26,760 --> 00:30:31,040
Speaker 3: Type of energy and excitement that happens at our shows,

535
00:30:31,040 --> 00:30:35,120
Speaker 3: in particular that I often worry we might give away

536
00:30:36,080 --> 00:30:39,560
Speaker 3: in soundcheck, you know, and I kind of want to, like, all.

537
00:30:39,560 --> 00:30:40,960
Speaker 4: Right, all right, save it for the show. Save that

538
00:30:41,080 --> 00:30:42,600
Speaker 4: energy for a show, don't don't go there.

539
00:30:42,440 --> 00:30:44,600
Speaker 3: And get that right, and we shoot the ship before

540
00:30:44,600 --> 00:30:48,640
Speaker 3: the show, save it for the show, and you know, well,

541
00:30:49,280 --> 00:30:53,760
Speaker 3: you're you're actually I'm wondering, okay. So when I spoke

542
00:30:53,800 --> 00:30:56,760
Speaker 3: to uh when we did Bobby McFerrin on the show,

543
00:30:58,480 --> 00:31:01,880
Speaker 3: you know, he said that, you know, that's his greatest thrill, like,

544
00:31:02,160 --> 00:31:04,560
Speaker 3: you know, not to do too much beforehand, but like

545
00:31:05,840 --> 00:31:09,760
Speaker 3: he considers that I'm practicing on the stage. But because

546
00:31:09,800 --> 00:31:14,680
Speaker 3: I know you're so big into improvisation and whatnot, do

547
00:31:14,760 --> 00:31:20,920
Speaker 3: you ever worry about overpracticing before you even get to.

548
00:31:22,680 --> 00:31:25,200
Speaker 4: Present it to whatever show you're doing that night.

549
00:31:25,600 --> 00:31:28,360
Speaker 6: You know, there are a couple of cliches that are

550
00:31:28,400 --> 00:31:31,840
Speaker 6: really effective, really useful, and I found it be really true,

551
00:31:31,840 --> 00:31:38,160
Speaker 6: and that one about you know, luck or whatever. Success

552
00:31:38,440 --> 00:31:42,800
Speaker 6: is where prepar preparation meets opportunity. To me, that's like

553
00:31:43,040 --> 00:31:45,800
Speaker 6: a key one. And the way that applies to this

554
00:31:47,320 --> 00:31:53,040
Speaker 6: discussion is, you know, knowing kind of as much as

555
00:31:53,040 --> 00:31:57,240
Speaker 6: I can know about the possibilities of what a situation

556
00:31:57,400 --> 00:32:00,120
Speaker 6: might entail. I mean that may be the band and

557
00:32:00,240 --> 00:32:05,040
Speaker 6: the music, the you know whatever, there's infinite variations. As

558
00:32:05,080 --> 00:32:09,280
Speaker 6: much as I can be prepared for those things, the

559
00:32:09,400 --> 00:32:12,680
Speaker 6: more fun I'm going to have. And so for me,

560
00:32:13,040 --> 00:32:19,720
Speaker 6: the goal in fact is I mean spontaneity, improvisation, professional improviser.

561
00:32:19,880 --> 00:32:23,040
Speaker 6: You know, we're kind of circling around the job description

562
00:32:23,160 --> 00:32:27,280
Speaker 6: in a way, and what that involves for me then

563
00:32:27,680 --> 00:32:30,800
Speaker 6: is to be really ready. I mean, I'm like, you know,

564
00:32:31,040 --> 00:32:37,320
Speaker 6: kind of you know, I really strongly enforce that sound

565
00:32:37,440 --> 00:32:41,080
Speaker 6: checks are I don't want to hear anybody really try

566
00:32:41,120 --> 00:32:44,960
Speaker 6: to play anything, and I'm like the save it for

567
00:32:45,080 --> 00:32:50,320
Speaker 6: the gig cham like do not do not jam, do

568
00:32:50,440 --> 00:32:55,920
Speaker 6: not do anything, you know, like just make sure and

569
00:32:56,160 --> 00:32:58,760
Speaker 6: kind of I have I usually come up with like

570
00:32:58,960 --> 00:33:03,160
Speaker 6: one section of something that we can play that we

571
00:33:03,200 --> 00:33:05,960
Speaker 6: can play it for twenty minutes, because it can take

572
00:33:06,000 --> 00:33:08,600
Speaker 6: a while for this kind of music to settle into

573
00:33:08,640 --> 00:33:10,920
Speaker 6: the hall, and you know, I want to give the

574
00:33:10,960 --> 00:33:14,600
Speaker 6: sound guy a chance to do his best too. And

575
00:33:14,640 --> 00:33:17,920
Speaker 6: there's a way for me of improvising where it's sort

576
00:33:17,960 --> 00:33:21,800
Speaker 6: of like I'm going to just kind of hang in

577
00:33:21,840 --> 00:33:26,400
Speaker 6: the zone of the fundamentals that it's kind of improvising,

578
00:33:26,560 --> 00:33:28,600
Speaker 6: but I don't really have to think about it too much,

579
00:33:28,840 --> 00:33:31,280
Speaker 6: and there's a kind of warming up because The physical

580
00:33:31,360 --> 00:33:35,680
Speaker 6: thing of playing for me is I could say almost challenging.

581
00:33:35,800 --> 00:33:38,600
Speaker 6: I mean, I'm not a natural guitar player in a

582
00:33:38,600 --> 00:33:41,160
Speaker 6: lot of ways, so I really do have to warm

583
00:33:41,240 --> 00:33:44,480
Speaker 6: up for a couple hours, and during that period of time,

584
00:33:44,640 --> 00:33:49,120
Speaker 6: I'm trying not to play any quote unquote music. But

585
00:33:49,720 --> 00:33:52,480
Speaker 6: I have kind of developed these things where I can

586
00:33:52,560 --> 00:33:57,680
Speaker 6: sort of invent they almost like unfold on themselves. Like

587
00:33:57,760 --> 00:34:00,480
Speaker 6: I'll start in a key and then I'll say, Okay,

588
00:34:00,600 --> 00:34:02,280
Speaker 6: now I'm going to take that and I'm going to

589
00:34:02,360 --> 00:34:05,920
Speaker 6: move it through uh you know, the cycle of fifths

590
00:34:05,960 --> 00:34:09,360
Speaker 6: backwards or something like that. So I'm not really thinking,

591
00:34:09,520 --> 00:34:12,879
Speaker 6: I'm not thinking about it. I'm just doing something that's

592
00:34:13,000 --> 00:34:16,200
Speaker 6: going to get the mechanics working, that's also doing the

593
00:34:16,400 --> 00:34:20,279
Speaker 6: whatever those brain connections are that you want to have

594
00:34:20,360 --> 00:34:23,160
Speaker 6: where you have an idea and you can get to

595
00:34:23,200 --> 00:34:28,800
Speaker 6: it within you know, sub millisecond, uh, you know response time.

596
00:34:29,440 --> 00:34:31,799
Speaker 6: And you know the best thing for me too, also

597
00:34:31,880 --> 00:34:34,440
Speaker 6: is if I can go all day without talking and

598
00:34:34,600 --> 00:34:38,319
Speaker 6: really I don't eat before a gig, I really get

599
00:34:38,360 --> 00:34:41,640
Speaker 6: into like this thing because for me, the gig is

600
00:34:41,640 --> 00:34:45,799
Speaker 6: is the that's church, you know, that's the destination. I know,

601
00:34:45,960 --> 00:34:48,200
Speaker 6: records are a thing, you know, and there were all

602
00:34:48,239 --> 00:34:50,759
Speaker 6: those years like, Okay, you got to go out on

603
00:34:50,800 --> 00:34:53,160
Speaker 6: the road to promote your record, and I'm like, really,

604
00:34:53,760 --> 00:34:55,759
Speaker 6: I to me, it's like you make a record, so

605
00:34:55,880 --> 00:34:58,520
Speaker 6: when you show up in Peoria, somebody might come to

606
00:34:58,560 --> 00:35:01,080
Speaker 6: the gig because they've heard your name, you know. To me,

607
00:35:01,320 --> 00:35:03,520
Speaker 6: it was always the records where they add to get

608
00:35:03,560 --> 00:35:06,560
Speaker 6: people to come to the gig, because the gig is it.

609
00:35:06,920 --> 00:35:09,719
Speaker 6: And that's still the case for me, which kind of

610
00:35:09,760 --> 00:35:12,640
Speaker 6: fits right now in the world of gigs and T shirts,

611
00:35:12,719 --> 00:35:16,040
Speaker 6: you know, because that's really what we are, right so,

612
00:35:17,120 --> 00:35:19,200
Speaker 6: you know. And I you know, I did kind of

613
00:35:19,200 --> 00:35:21,640
Speaker 6: get into making records there, you know. I mean I

614
00:35:21,680 --> 00:35:24,440
Speaker 6: got better at it, I think, and took it a

615
00:35:24,440 --> 00:35:28,040
Speaker 6: lot more seriously as time went on. But to me,

616
00:35:28,120 --> 00:35:30,840
Speaker 6: the gig is that's it. You know, it's all headed

617
00:35:30,880 --> 00:35:34,080
Speaker 6: for the gigs. So if I can really, you know,

618
00:35:34,840 --> 00:35:37,320
Speaker 6: do the things that I know will help me get

619
00:35:37,440 --> 00:35:41,520
Speaker 6: ready for that moment, and then that moment does take

620
00:35:41,600 --> 00:35:44,960
Speaker 6: on this sort of significance as this is what it's

621
00:35:45,080 --> 00:35:47,279
Speaker 6: all been leading to, you know. I mean from the

622
00:35:47,320 --> 00:35:50,239
Speaker 6: time I heard four and more, you know, it's like

623
00:35:50,640 --> 00:35:53,520
Speaker 6: everything has been leading to this moment, and also this

624
00:35:53,640 --> 00:35:56,400
Speaker 6: may be the last time I ever play, And in fact,

625
00:35:56,520 --> 00:35:58,920
Speaker 6: the last time I ever played was Auckland, New Zealand,

626
00:35:59,320 --> 00:36:03,560
Speaker 6: the first week of March last year. Yeah, you know,

627
00:36:03,640 --> 00:36:05,400
Speaker 6: I didn't know at that time. Gee, that was the

628
00:36:05,440 --> 00:36:06,800
Speaker 6: last time I'm going to play for a year and

629
00:36:06,840 --> 00:36:08,680
Speaker 6: a half. So I'm kind of glad I play like

630
00:36:08,719 --> 00:36:09,719
Speaker 6: that because that was it.

631
00:36:11,520 --> 00:36:14,320
Speaker 4: Yeah, so you've not been on a stage since and

632
00:36:14,440 --> 00:36:16,280
Speaker 4: now got.

633
00:36:16,080 --> 00:36:17,919
Speaker 6: Some gigs coming up. Man, I hope.

634
00:36:17,960 --> 00:36:21,360
Speaker 3: How is this the longest that you went concurrently without

635
00:36:21,800 --> 00:36:22,719
Speaker 3: being on stage.

636
00:36:23,400 --> 00:36:27,080
Speaker 6: This is the longest I've been in one place since

637
00:36:27,520 --> 00:36:29,640
Speaker 6: high school. It's the first time I've brought out a

638
00:36:29,680 --> 00:36:35,680
Speaker 6: window and seen you know, spring, summer, fall, winter, spring,

639
00:36:35,840 --> 00:36:38,040
Speaker 6: summer from one point of view, and I have to

640
00:36:38,080 --> 00:36:41,480
Speaker 6: say it's been fantastic. I've really enjoyed that. And the

641
00:36:41,520 --> 00:36:44,440
Speaker 6: best part for me that the headline is nobody in

642
00:36:44,480 --> 00:36:49,080
Speaker 6: my immediate circle died, you know, and so many of

643
00:36:49,239 --> 00:36:53,160
Speaker 6: people in our community have been hit so hard. I mean,

644
00:36:53,200 --> 00:36:55,799
Speaker 6: not to mention just the new gig thing, but I mean, man,

645
00:36:55,880 --> 00:36:58,160
Speaker 6: I mean, you and I both know a bunch of

646
00:36:58,160 --> 00:37:00,920
Speaker 6: people who are not here right now should be because

647
00:37:00,960 --> 00:37:04,800
Speaker 6: of this stuff. So yeah, it's been rough in that respect,

648
00:37:04,960 --> 00:37:07,839
Speaker 6: but you know, at this point in life, I've done

649
00:37:07,880 --> 00:37:11,120
Speaker 6: a lot of gigs, so that's great. And also it's

650
00:37:11,200 --> 00:37:13,520
Speaker 6: kind of been interesting for me to kind of look

651
00:37:13,560 --> 00:37:14,480
Speaker 6: out the window a bit.

652
00:37:15,360 --> 00:37:17,480
Speaker 2: The first time I think I saw your name and

653
00:37:17,600 --> 00:37:20,279
Speaker 2: credits was on this Joni Mitchell album called Shadows and

654
00:37:20,360 --> 00:37:23,359
Speaker 2: Light nineteen eighty. It's a live album from a tour

655
00:37:23,400 --> 00:37:27,160
Speaker 2: that you did with Jocko. I believe Pastorius was in

656
00:37:27,160 --> 00:37:30,360
Speaker 2: that band as well, Yes, and Joony obviously. Can you

657
00:37:30,360 --> 00:37:32,600
Speaker 2: tell us any memories of that time period playing with

658
00:37:32,680 --> 00:37:34,480
Speaker 2: Jocko and Joni and that tour.

659
00:37:35,239 --> 00:37:38,719
Speaker 6: Well, you know that, I mean, Jocko was, like, you know,

660
00:37:40,000 --> 00:37:45,120
Speaker 6: one of my closest friends, years before anybody knew who

661
00:37:45,360 --> 00:37:50,680
Speaker 6: either one of us were, and you know, our careers

662
00:37:50,760 --> 00:37:53,080
Speaker 6: or whatever you want to call it, parallel to each

663
00:37:53,080 --> 00:37:57,560
Speaker 6: other chronologically in a pretty significant way. In fact, before

664
00:37:57,800 --> 00:38:01,160
Speaker 6: years before the Jony thing, Jocko it on my first record.

665
00:38:01,160 --> 00:38:04,680
Speaker 6: He and I both kind of made our recording debuts

666
00:38:04,800 --> 00:38:08,600
Speaker 6: together without even knowing that's what we were doing. We

667
00:38:08,640 --> 00:38:11,319
Speaker 6: thought we were rehearsing with Paul Blaye, one of the

668
00:38:11,320 --> 00:38:12,840
Speaker 6: greatest piano players ever.

669
00:38:13,040 --> 00:38:14,400
Speaker 4: I was going to say, how did that happen?

670
00:38:14,480 --> 00:38:17,719
Speaker 3: You accidentally made a record with zachopistor is not knowing it?

671
00:38:22,400 --> 00:38:25,120
Speaker 6: Well, you know, Paul was a trip. I don't you know,

672
00:38:25,160 --> 00:38:26,479
Speaker 6: I don't know how much y'all know about.

673
00:38:26,600 --> 00:38:26,799
Speaker 4: Yeah.

674
00:38:26,880 --> 00:38:29,560
Speaker 2: That was my next question was if you could tell

675
00:38:29,600 --> 00:38:30,680
Speaker 2: our viewers about Paul.

676
00:38:31,120 --> 00:38:34,760
Speaker 6: Well, Paul changed music a couple of times.

677
00:38:34,640 --> 00:38:36,719
Speaker 4: Is it Liar Blaye Blaye?

678
00:38:37,040 --> 00:38:39,680
Speaker 6: And I mean you know Carla Blay.

679
00:38:39,800 --> 00:38:41,399
Speaker 4: Yeah, yeah, well he was married.

680
00:38:41,560 --> 00:38:42,520
Speaker 5: That is why.

681
00:38:42,600 --> 00:38:45,680
Speaker 3: Oh okay, see I have a whole relationship with Carla

682
00:38:45,719 --> 00:38:48,560
Speaker 3: Blay is oh yeah, hip hop samples but good.

683
00:38:48,880 --> 00:38:52,680
Speaker 6: Yeah, well Paul was. I mean, you know, I could

684
00:38:52,719 --> 00:38:55,319
Speaker 6: talk for Paul about Paul for forty five minutes, so

685
00:38:55,640 --> 00:38:58,680
Speaker 6: I'll just leave it, you know. I mean, if you

686
00:38:58,760 --> 00:39:01,759
Speaker 6: ever listened to a record Footloose, which was made in

687
00:39:01,800 --> 00:39:06,160
Speaker 6: the early sixties, Pete Laroca playing drums, Swallow playing bass,

688
00:39:06,200 --> 00:39:09,359
Speaker 6: I mean that changed everything. There's a solo that Paul

689
00:39:09,400 --> 00:39:13,399
Speaker 6: plays on a Sonny Rollins record where he called where

690
00:39:13,440 --> 00:39:18,759
Speaker 6: he plays with Sonny and Coleman Hawkins and they play

691
00:39:18,920 --> 00:39:20,920
Speaker 6: all the things you are and Paul solo on that

692
00:39:21,160 --> 00:39:24,440
Speaker 6: like just revolutionized everything. And you can even go back

693
00:39:24,440 --> 00:39:27,920
Speaker 6: to like nineteen fifty six. So Paul was a heavy

694
00:39:27,960 --> 00:39:33,759
Speaker 6: cat and also unusual person. So you know, we were

695
00:39:33,880 --> 00:39:36,680
Speaker 6: asked to go to this rehearsal studio we thought, which

696
00:39:37,000 --> 00:39:39,800
Speaker 6: was a recording studio actually, and there were mics and stuff,

697
00:39:39,840 --> 00:39:42,160
Speaker 6: but you know, we were both pretty green, to tell

698
00:39:42,160 --> 00:39:45,000
Speaker 6: you the truth. And so we were playing and Paul

699
00:39:45,080 --> 00:39:48,000
Speaker 6: had not really let us improvise much. We would just

700
00:39:48,000 --> 00:39:50,399
Speaker 6: play the heads over and over again to all these

701
00:39:50,840 --> 00:39:54,400
Speaker 6: hip Carlo Blay tunes and some more Net tunes, and

702
00:39:56,000 --> 00:39:58,040
Speaker 6: then suddenly we were like playing and I was like, wow,

703
00:39:58,080 --> 00:40:02,040
Speaker 6: this is great, but the John Jaco sounds fantastic on

704
00:40:02,080 --> 00:40:05,440
Speaker 6: this record. Paul that the night before had heard some

705
00:40:05,800 --> 00:40:10,520
Speaker 6: rock band and had decided that I should play through

706
00:40:10,560 --> 00:40:14,640
Speaker 6: a stack of marshals, and he'd rented a wah wah pedal,

707
00:40:15,120 --> 00:40:19,960
Speaker 6: a Morley wah wah pedal guitar player would it's like

708
00:40:20,640 --> 00:40:24,279
Speaker 6: a fate worse than death, you know, And even with

709
00:40:24,400 --> 00:40:26,839
Speaker 6: a good wah wah pedal, that was not really where

710
00:40:26,880 --> 00:40:29,960
Speaker 6: I was at particularly right then. So basically you hear

711
00:40:30,040 --> 00:40:32,440
Speaker 6: Jocko sounding good on that record and then kind of

712
00:40:32,440 --> 00:40:39,840
Speaker 6: off in the distance here and that's me. But yeah,

713
00:40:39,880 --> 00:40:43,319
Speaker 6: so that was nineteen seventy four, and then we made

714
00:40:43,320 --> 00:40:47,440
Speaker 6: Bright Seize Life my record in nineteen seventy five, and

715
00:40:47,640 --> 00:40:50,480
Speaker 6: we played a lot. Is that that trio with Bob Moses,

716
00:40:50,640 --> 00:40:54,719
Speaker 6: the Bright Size Life trio, you know, And that's so

717
00:40:54,880 --> 00:40:59,279
Speaker 6: that's several years before the Jony thing. And in the meantime,

718
00:40:59,400 --> 00:41:03,239
Speaker 6: so after Bryce Eie's Life, Jocko became Jocko because at

719
00:41:03,239 --> 00:41:05,279
Speaker 6: the time I did Bryce Eie's Life, I had to like,

720
00:41:05,880 --> 00:41:08,200
Speaker 6: why would you want to use so and so and

721
00:41:08,200 --> 00:41:10,360
Speaker 6: so and so when you've got this what's that bass

722
00:41:10,400 --> 00:41:13,279
Speaker 6: player's name that you use? I was like, yeah, Gary,

723
00:41:13,320 --> 00:41:15,759
Speaker 6: you're probably right we should do and Moses was like,

724
00:41:15,840 --> 00:41:18,960
Speaker 6: you're crazy if you don't use Jocko, you know. So

725
00:41:19,080 --> 00:41:22,240
Speaker 6: that was the band for Bryceie's Life. And then Jocko

726
00:41:22,360 --> 00:41:25,160
Speaker 6: joined Weather Report shortly after that, and honestly, he and

727
00:41:25,200 --> 00:41:30,080
Speaker 6: I went in very, very different directions in terms of lifestyle.

728
00:41:30,200 --> 00:41:33,480
Speaker 6: Jocko was the only guy I'd ever known, you know,

729
00:41:33,680 --> 00:41:36,680
Speaker 6: kind of around that time who was as straight as

730
00:41:36,719 --> 00:41:39,239
Speaker 6: I was. And you know, the first time I saw

731
00:41:39,320 --> 00:41:42,120
Speaker 6: him with Joe's Amnell, that was a different dude, and

732
00:41:42,200 --> 00:41:45,239
Speaker 6: he remained a different dude. And we were always tight,

733
00:41:45,640 --> 00:41:50,719
Speaker 6: and you know, I had gone different directions, but he

734
00:41:50,760 --> 00:41:52,520
Speaker 6: called me in the middle of the night one night

735
00:41:52,520 --> 00:41:54,439
Speaker 6: and said, I'm going to put together a string band

736
00:41:54,520 --> 00:41:59,440
Speaker 6: for Jonie. I want you to be in it. I'm like, okay, cool,

737
00:41:59,800 --> 00:42:01,720
Speaker 6: And so it was going to be me and Joni

738
00:42:01,800 --> 00:42:07,920
Speaker 6: and Jocko and Alex Akunya playing hand percussion, I think,

739
00:42:08,920 --> 00:42:10,760
Speaker 6: and then I you know, I saw I'm like, wow,

740
00:42:10,840 --> 00:42:12,759
Speaker 6: this is a different level because at that point I

741
00:42:12,880 --> 00:42:15,040
Speaker 6: was still like driving around in the van. I put

742
00:42:15,120 --> 00:42:17,440
Speaker 6: like one hundred and fifty thousand miles or something on

743
00:42:17,520 --> 00:42:20,719
Speaker 6: a van with my band where we would play, you know,

744
00:42:21,120 --> 00:42:24,399
Speaker 6: every two hundred dollars gig. We could play for three

745
00:42:24,480 --> 00:42:28,120
Speaker 6: years in there. And so suddenly it's like lear Jets

746
00:42:28,160 --> 00:42:31,400
Speaker 6: and you know, it's a real culture shock, you know,

747
00:42:31,560 --> 00:42:35,600
Speaker 6: for me. But you know, it was an interesting experience.

748
00:42:35,640 --> 00:42:39,279
Speaker 6: The rest of the band was Mike Brecker Uh and

749
00:42:39,360 --> 00:42:45,280
Speaker 6: Don Olias and then you know, Joni had just gotten

750
00:42:45,280 --> 00:42:47,920
Speaker 6: an electric guitar for the first time and had like

751
00:42:48,160 --> 00:42:53,280
Speaker 6: nine George Benson model and the guitars all tuned different,

752
00:42:53,480 --> 00:43:01,760
Speaker 6: and it was you know, it was an interesting experience. Okay,

753
00:43:02,360 --> 00:43:05,239
Speaker 6: the best part was here in Joni at the end

754
00:43:05,239 --> 00:43:08,040
Speaker 6: when she would do a couple tunes solo, because honestly,

755
00:43:08,120 --> 00:43:12,080
Speaker 6: to me, you know, we it did. You know, she

756
00:43:12,120 --> 00:43:15,600
Speaker 6: didn't need that, you know, she was she was Joni,

757
00:43:15,840 --> 00:43:17,960
Speaker 6: you know, and and to me, her best thing was

758
00:43:18,000 --> 00:43:20,960
Speaker 6: always sitting there and playing the guitar or the piano

759
00:43:21,120 --> 00:43:21,560
Speaker 6: or whatever.

760
00:43:21,640 --> 00:43:24,600
Speaker 3: You know, So you didn't like her for a raison

761
00:43:24,640 --> 00:43:28,000
Speaker 3: to the jazz world that you know, like the stuff

762
00:43:28,040 --> 00:43:28,600
Speaker 3: she did with me.

763
00:43:29,600 --> 00:43:33,600
Speaker 6: In terms of phrasing, she's she's incredible, man, you know,

764
00:43:34,000 --> 00:43:36,080
Speaker 6: I mean, to me, there there are you know again

765
00:43:36,160 --> 00:43:38,880
Speaker 6: we're back to this. How like what are we going

766
00:43:38,960 --> 00:43:43,239
Speaker 6: to talk about in terms of style? You know, I mean, man,

767
00:43:44,040 --> 00:43:46,560
Speaker 6: you know there are some singers like there's some I mean,

768
00:43:46,600 --> 00:43:48,800
Speaker 6: Dolly pardon man, I mean you want to talk about

769
00:43:48,840 --> 00:43:52,319
Speaker 6: phrasing or Dion Warwick or you know. I mean to me,

770
00:43:52,400 --> 00:43:55,839
Speaker 6: it's like, yeah, and Billy Holliday. You know, there's a

771
00:43:55,920 --> 00:43:59,080
Speaker 6: Karen Carpenter. You know. To me that I think about

772
00:43:59,400 --> 00:44:02,799
Speaker 6: people who can really make the melody be the malady,

773
00:44:02,880 --> 00:44:06,160
Speaker 6: you know, And I'm not thinking, oh, well, now she's

774
00:44:06,520 --> 00:44:11,200
Speaker 6: she's folk, jazz, country. You know, it's just music, you know,

775
00:44:11,920 --> 00:44:17,120
Speaker 6: and you know, singers in general, I think we all

776
00:44:17,520 --> 00:44:20,719
Speaker 6: listen to to learn from how to how to do

777
00:44:20,800 --> 00:44:24,600
Speaker 6: that that thing, you know, and Johnny is amazing, you know,

778
00:44:24,640 --> 00:44:25,520
Speaker 6: she's incredible.

779
00:44:26,000 --> 00:44:29,080
Speaker 8: I want to ask you about just your working relationship

780
00:44:29,080 --> 00:44:31,760
Speaker 8: with Alau Mays, you know, who passed, you know, recently.

781
00:44:32,239 --> 00:44:34,360
Speaker 8: He was just somebody that you know, you just seem

782
00:44:34,360 --> 00:44:37,600
Speaker 8: to have just an amazing creative partnership with. Uh, how

783
00:44:37,600 --> 00:44:39,760
Speaker 8: did you guys meet and what was what's your story

784
00:44:39,760 --> 00:44:41,440
Speaker 8: with him?

785
00:44:41,680 --> 00:44:45,000
Speaker 6: Man, it's tough now because it's like, God, there's he said,

786
00:44:45,040 --> 00:44:49,800
Speaker 6: there's Lyle, and there's Charlie, Mike Brecker, you know, Billy Higgins,

787
00:44:49,880 --> 00:44:53,520
Speaker 6: I mentioned Dewey Redman. I mean, man, these are the guys.

788
00:44:53,760 --> 00:44:56,719
Speaker 6: I mean, not only did we live this musical life

789
00:44:56,800 --> 00:44:59,400
Speaker 6: together and each one is so deep and rich and

790
00:44:59,640 --> 00:45:02,120
Speaker 6: very they were like I mean, man, Lyle and I

791
00:45:02,239 --> 00:45:04,840
Speaker 6: grew up together. Literally, I mean, you know, we knew

792
00:45:04,840 --> 00:45:07,960
Speaker 6: each other when we were you know, basically just out

793
00:45:07,960 --> 00:45:12,400
Speaker 6: of being teenagers. And you know, it's just so far

794
00:45:12,520 --> 00:45:16,000
Speaker 6: beyond what I can even say, you know. I mean,

795
00:45:16,280 --> 00:45:18,759
Speaker 6: the good thing is that there's those records, and those

796
00:45:18,840 --> 00:45:24,439
Speaker 6: records say a lot, you know, and yeah, it's tough, man.

797
00:45:24,960 --> 00:45:27,560
Speaker 6: And then I think about like Roy Haynes, who's ninety.

798
00:45:27,920 --> 00:45:29,720
Speaker 9: So that's what I was about to ask you about,

799
00:45:29,800 --> 00:45:32,000
Speaker 9: because I was given the assignment by my father, who's

800
00:45:32,000 --> 00:45:34,520
Speaker 9: a student of Roy Haynes, to ask you about that relationship.

801
00:45:34,600 --> 00:45:36,840
Speaker 9: And you already said earlier that you were listening to

802
00:45:36,960 --> 00:45:39,359
Speaker 9: Roy when you were a young kid. So the fact

803
00:45:39,360 --> 00:45:42,399
Speaker 9: that you guys did a record together, like, can you yeah,

804
00:45:42,480 --> 00:45:43,080
Speaker 9: talk about it?

805
00:45:43,120 --> 00:45:47,760
Speaker 6: Please? Man, I could talk about Roy for the whole time.

806
00:45:47,560 --> 00:45:51,480
Speaker 3: To me that you know, he's still good, he's still amazing,

807
00:45:52,080 --> 00:45:53,200
Speaker 3: he's still killing.

808
00:45:53,320 --> 00:45:57,400
Speaker 6: He's killing and yeah, I mean it's been now, I

809
00:45:57,400 --> 00:45:59,680
Speaker 6: think a couple of years since I usually try to

810
00:45:59,680 --> 00:46:02,440
Speaker 6: go down during his birthday and play at the Blue

811
00:46:02,440 --> 00:46:04,560
Speaker 6: Note with him. I think the last time I did it,

812
00:46:04,560 --> 00:46:08,200
Speaker 6: he had turned ninety three, so he must be ninety

813
00:46:08,280 --> 00:46:12,799
Speaker 6: five or something. It's still playing. Oh my man. You

814
00:46:12,800 --> 00:46:16,960
Speaker 6: know to me that the drum thing is central and

815
00:46:17,040 --> 00:46:19,840
Speaker 6: drummers love to hear me say this, but it's the truth.

816
00:46:20,320 --> 00:46:23,200
Speaker 6: Whoever the drummer is is the leader. It doesn't matter

817
00:46:23,200 --> 00:46:26,600
Speaker 6: whose name is on the marquee, it's the drummer's band.

818
00:46:27,280 --> 00:46:31,440
Speaker 6: And I have been so lucky to play, starting in

819
00:46:31,520 --> 00:46:36,080
Speaker 6: Kansas City with some of the greatest drummers of this

820
00:46:36,360 --> 00:46:40,120
Speaker 6: period of time. And you know, to me, the Roy

821
00:46:40,239 --> 00:46:44,400
Speaker 6: thing as it sort of unfolded throughout the fifties, I

822
00:46:44,400 --> 00:46:47,600
Speaker 6: always point to We three this, it's a famous record

823
00:46:47,640 --> 00:46:51,520
Speaker 6: with Roy and Phineas Newborn and Paul Chambers. To me

824
00:46:51,719 --> 00:46:54,879
Speaker 6: that one, you know, the sound of Roy is the

825
00:46:54,920 --> 00:46:58,640
Speaker 6: sound of modern drumming. I mean, to this day, when

826
00:46:58,640 --> 00:47:03,799
Speaker 6: I play with Roy, that's it. That's it, that's that's

827
00:47:04,160 --> 00:47:07,040
Speaker 6: in a cole of everything. You just listen to this,

828
00:47:07,040 --> 00:47:07,480
Speaker 6: This is great.

829
00:47:07,560 --> 00:47:09,960
Speaker 4: Yeah, let me let me ask for you.

830
00:47:10,840 --> 00:47:13,359
Speaker 3: And I know this might be blasphemous, being as though

831
00:47:13,640 --> 00:47:18,160
Speaker 3: you know you've done sort of long term work with

832
00:47:18,160 --> 00:47:20,959
Speaker 3: with your band well In and now the Pat mctheny group,

833
00:47:21,040 --> 00:47:25,280
Speaker 3: But who would be kind of your all star lineup?

834
00:47:26,040 --> 00:47:28,000
Speaker 3: Like if I were to sign you and say, okay,

835
00:47:28,080 --> 00:47:30,520
Speaker 3: in twenty twenty two, you're going to go out and

836
00:47:30,560 --> 00:47:33,239
Speaker 3: tour the world. You get to put your all star

837
00:47:33,360 --> 00:47:37,200
Speaker 3: lineup together. Who's on drums, who's on keys, Who's who's

838
00:47:37,400 --> 00:47:40,480
Speaker 3: uh on bass, who's on percussion?

839
00:47:41,520 --> 00:47:45,960
Speaker 6: You know? I mean, honestly, I know that my thing

840
00:47:46,160 --> 00:47:50,520
Speaker 6: is kind of there's like these partisan things like oh, well,

841
00:47:50,560 --> 00:47:52,360
Speaker 6: you know, it's really, man, it's just the group. You

842
00:47:52,360 --> 00:47:54,160
Speaker 6: got to check out the group, so that other stuff,

843
00:47:54,800 --> 00:47:58,000
Speaker 6: you know, that's really the only cool stuff all areas now.

844
00:47:58,800 --> 00:48:00,600
Speaker 6: Or you got to check out the tree, you know.

845
00:48:00,960 --> 00:48:04,439
Speaker 6: I mean, the thing from my standpoint is that it's

846
00:48:04,600 --> 00:48:09,600
Speaker 6: not divided, and I have to take some responsibility for that,

847
00:48:10,160 --> 00:48:14,240
Speaker 6: because I kind of got maybe too good at sort

848
00:48:14,239 --> 00:48:16,560
Speaker 6: of like, Okay, this is the Patmatheni group, and this

849
00:48:16,680 --> 00:48:19,520
Speaker 6: is the Patmathini trio, and this is it. And you know,

850
00:48:19,560 --> 00:48:20,520
Speaker 6: people didn't.

851
00:48:20,239 --> 00:48:21,279
Speaker 5: Do that back then.

852
00:48:22,040 --> 00:48:25,040
Speaker 6: You know, that was kind of a new thing to

853
00:48:25,200 --> 00:48:28,000
Speaker 6: have all these different bands and sort of present yourselves

854
00:48:28,040 --> 00:48:30,880
Speaker 6: in different ways. For me, they're all the Pat Metheny

855
00:48:30,960 --> 00:48:33,960
Speaker 6: group because they all acted the same way. It was.

856
00:48:34,000 --> 00:48:36,000
Speaker 6: You know, I'm going to write ninety percent of the

857
00:48:36,040 --> 00:48:39,120
Speaker 6: notes we're gonna play, and we're gonna rehearse, and we're

858
00:48:39,120 --> 00:48:42,279
Speaker 6: gonna you know, it's like it didn't really matter if

859
00:48:42,320 --> 00:48:44,719
Speaker 6: you look and this is a cop out answer to

860
00:48:44,800 --> 00:48:49,080
Speaker 6: your exact question, if you look at the list of

861
00:48:49,200 --> 00:48:52,000
Speaker 6: names of people that I have played with, those are

862
00:48:52,040 --> 00:48:56,759
Speaker 6: my favorite musicians. And you know, but I include in

863
00:48:56,800 --> 00:49:01,680
Speaker 6: that Kenny Garrett, Josh Redman, you know, Mike Brecker, you know,

864
00:49:01,760 --> 00:49:05,400
Speaker 6: those guys, Herbie. You know, I've been really lucky to

865
00:49:06,320 --> 00:49:08,920
Speaker 6: be able to say, you know, man, I you know,

866
00:49:09,040 --> 00:49:11,680
Speaker 6: I just did a due ad tour with Ron Carter. Man.

867
00:49:11,800 --> 00:49:15,680
Speaker 6: I mean it's like, you know, you know, those guys

868
00:49:15,719 --> 00:49:19,280
Speaker 6: are my heroes, man, and everybody I play with, including

869
00:49:19,320 --> 00:49:22,240
Speaker 6: the new cast. Joe Dyson is my hero right now.

870
00:49:22,800 --> 00:49:24,719
Speaker 6: You know, he's a new drummer on the scene from

871
00:49:24,719 --> 00:49:28,840
Speaker 6: New Orleans. Man, this guy is everything I'm talking about,

872
00:49:29,000 --> 00:49:33,680
Speaker 6: you know. So you know it's like to me, to me,

873
00:49:33,800 --> 00:49:36,759
Speaker 6: it's one, you know, my thing. I see it as

874
00:49:36,920 --> 00:49:39,719
Speaker 6: one thing, and you know, I'm just glad to be

875
00:49:39,760 --> 00:49:41,520
Speaker 6: a part of all of it. Man, I just feel

876
00:49:41,600 --> 00:49:43,319
Speaker 6: lucky to be in it, you know.

877
00:49:43,760 --> 00:49:46,360
Speaker 4: Only because you mentioned it, I kind of have to

878
00:49:46,400 --> 00:49:48,680
Speaker 4: go there. Okay. So I don't even know if you're

879
00:49:48,680 --> 00:49:49,200
Speaker 4: aware that.

880
00:49:50,680 --> 00:49:50,920
Speaker 5: We were.

881
00:49:51,040 --> 00:49:52,560
Speaker 4: We were quasi label meets.

882
00:49:53,200 --> 00:49:55,600
Speaker 3: I mean, your period of Geffen I think ended right

883
00:49:55,640 --> 00:49:59,960
Speaker 3: when I started with Geffen, which instantly meant you know,

884
00:50:00,160 --> 00:50:04,080
Speaker 3: that first year rating the closet was just awesome. Like

885
00:50:04,320 --> 00:50:08,160
Speaker 3: you know, it's like your first ben shopping is hiding

886
00:50:08,160 --> 00:50:10,400
Speaker 3: in the going in the closet of your record label

887
00:50:10,400 --> 00:50:11,160
Speaker 3: and taking.

888
00:50:10,920 --> 00:50:18,160
Speaker 4: All the CDs. So that said, you mentioned zero tolerance

889
00:50:18,160 --> 00:50:18,800
Speaker 4: for Silence.

890
00:50:19,920 --> 00:50:24,160
Speaker 3: Okay, so from from my point of view, definitely coming

891
00:50:24,200 --> 00:50:26,200
Speaker 3: from a standpoint of hip hop, which I think our

892
00:50:26,320 --> 00:50:31,279
Speaker 3: ears are built way different than anyone else. For me,

893
00:50:32,719 --> 00:50:37,640
Speaker 3: that album was is always my go to record because

894
00:50:38,120 --> 00:50:43,680
Speaker 3: of your shrill noises, you know, like it's literally just

895
00:50:43,719 --> 00:50:49,200
Speaker 3: an entire album of textures and solo noises that can

896
00:50:49,320 --> 00:50:53,840
Speaker 3: lead to other ideas. So whereas you know, of course,

897
00:50:54,400 --> 00:50:57,440
Speaker 3: you know, I guess if you're talking about your cannon

898
00:50:58,719 --> 00:51:03,440
Speaker 3: for the most part, you know, maybe zero Talents for

899
00:51:03,560 --> 00:51:07,440
Speaker 3: Silence would be kind of considered. You're on the corner

900
00:51:08,160 --> 00:51:10,839
Speaker 3: like an album that was immediately met with indifference and

901
00:51:10,880 --> 00:51:16,320
Speaker 3: anger from the jazz guard whoever, Robert Christa Gower, whoever,

902
00:51:16,320 --> 00:51:20,879
Speaker 3: the critic of the moment is. But for you though,

903
00:51:21,000 --> 00:51:24,840
Speaker 3: I mean now that decades have passed, like what is

904
00:51:24,880 --> 00:51:28,239
Speaker 3: your relationship? What was your feeling with the record when

905
00:51:28,239 --> 00:51:34,720
Speaker 3: you turned it in and you know, three decades after

906
00:51:34,760 --> 00:51:37,040
Speaker 3: the fact, what is your your feelings on that? Because

907
00:51:37,080 --> 00:51:40,399
Speaker 3: there was also speculation that you pulled to Neil Young.

908
00:51:40,520 --> 00:51:43,640
Speaker 3: Neil Young also famously wanted to get off Geffen, And

909
00:51:44,320 --> 00:51:45,800
Speaker 3: you know, I'm giving you.

910
00:51:47,520 --> 00:51:50,160
Speaker 6: That kind of I have to say I rarely get

911
00:51:50,280 --> 00:51:51,439
Speaker 6: pissed off and stuff at.

912
00:51:51,320 --> 00:51:55,000
Speaker 3: That because it was like, oh they thought, you see,

913
00:51:55,040 --> 00:51:57,160
Speaker 3: you heard the rumors of that, you throwaware.

914
00:51:57,440 --> 00:52:00,799
Speaker 6: I mean, there was some guy who wrote something to

915
00:52:00,840 --> 00:52:02,799
Speaker 6: that effect and it's some magazine and.

916
00:52:02,760 --> 00:52:05,040
Speaker 3: That was only because Neil Young did it with trans

917
00:52:05,160 --> 00:52:07,520
Speaker 3: and people thought, you know, like what, Neil Young's doing

918
00:52:07,640 --> 00:52:09,480
Speaker 3: a craft work record. Now he's trying to get off

919
00:52:09,480 --> 00:52:12,799
Speaker 3: the label like that sort of thing. Or so, yeah,

920
00:52:12,840 --> 00:52:17,640
Speaker 3: what were your feelings on its reception and time since then?

921
00:52:18,680 --> 00:52:21,759
Speaker 6: You know my feelings about that well, and also have

922
00:52:21,760 --> 00:52:24,080
Speaker 6: to preface it. And I don't know about you, but

923
00:52:24,160 --> 00:52:28,520
Speaker 6: most it seems like many, if not most musicians never

924
00:52:28,680 --> 00:52:31,719
Speaker 6: ever listen to their own records ever again after they're

925
00:52:31,840 --> 00:52:36,279
Speaker 6: finally mastered, after they've heard it for six months and

926
00:52:36,840 --> 00:52:39,520
Speaker 6: have a jest about whether it should be point two

927
00:52:39,600 --> 00:52:43,520
Speaker 6: dB at niney k. You know all that stuff that

928
00:52:43,560 --> 00:52:44,160
Speaker 6: we all do.

929
00:52:44,280 --> 00:52:47,040
Speaker 3: You know, you don't listen to see if it's aged well.

930
00:52:47,239 --> 00:52:49,560
Speaker 3: Like I don't like listening to my records personally, but

931
00:52:50,120 --> 00:52:52,319
Speaker 3: when I'm making a new record, I will go back

932
00:52:52,320 --> 00:52:55,120
Speaker 3: to the other roots records to see it is his

933
00:52:55,280 --> 00:52:58,320
Speaker 3: age well or not so yeah, maybe.

934
00:52:58,160 --> 00:53:02,440
Speaker 6: I should try that sometimes. I mean no, I mean,

935
00:53:02,640 --> 00:53:04,759
Speaker 6: you know, every now and then, though I do, I

936
00:53:04,800 --> 00:53:08,000
Speaker 6: have to say I hear something and I don't recognize

937
00:53:08,040 --> 00:53:11,120
Speaker 6: that it's me, and usually I go, well, that sounds

938
00:53:11,120 --> 00:53:11,640
Speaker 6: pretty good.

939
00:53:11,920 --> 00:53:13,760
Speaker 4: Who's that?

940
00:53:14,840 --> 00:53:18,640
Speaker 6: Scribe It's rare that I hear something and I go,

941
00:53:20,080 --> 00:53:23,239
Speaker 6: what is that? Oh my god, that's me. So, you know,

942
00:53:23,560 --> 00:53:27,560
Speaker 6: generally speaking, I would say, you know, my sense is that,

943
00:53:28,560 --> 00:53:31,920
Speaker 6: like I was saying before, it's this one long story

944
00:53:32,000 --> 00:53:35,799
Speaker 6: with these different chapters that represented different periods, but it's

945
00:53:35,840 --> 00:53:40,600
Speaker 6: this continuous thing. But specific to what you're talking about here,

946
00:53:40,840 --> 00:53:43,480
Speaker 6: I mean that that was a period for me. You know,

947
00:53:43,840 --> 00:53:46,200
Speaker 6: as I've referenced a couple of times, I grew up

948
00:53:46,600 --> 00:53:51,040
Speaker 6: in a kind of open spaces kind of environment. You know,

949
00:53:53,040 --> 00:53:56,719
Speaker 6: there were lots of trees and then a field and

950
00:53:56,760 --> 00:53:59,880
Speaker 6: then another tree. So so kind of like the idea

951
00:53:59,920 --> 00:54:04,919
Speaker 6: of spaciousness was something that was built into my thing,

952
00:54:05,480 --> 00:54:07,960
Speaker 6: and I carry it with me now. I mean, I've

953
00:54:07,960 --> 00:54:11,640
Speaker 6: got this seventeen years of quiet that I can always

954
00:54:11,680 --> 00:54:16,640
Speaker 6: go to. But my life after the time I left

955
00:54:16,800 --> 00:54:21,879
Speaker 6: Missouri was like man, intense, dense, packed, and it's been

956
00:54:21,960 --> 00:54:25,759
Speaker 6: packed ever since. I mean, you know. I mean, I'm

957
00:54:25,800 --> 00:54:28,600
Speaker 6: on the road like more than most people live in

958
00:54:28,640 --> 00:54:33,560
Speaker 6: New York City, you know, international family. It's an intense

959
00:54:33,880 --> 00:54:37,720
Speaker 6: life and the natural thing for me, and it maybe

960
00:54:37,920 --> 00:54:41,120
Speaker 6: hit a pinnacle around that time was the record Secret Story,

961
00:54:41,640 --> 00:54:45,160
Speaker 6: which was done just at the same time basically as

962
00:54:45,239 --> 00:54:48,600
Speaker 6: Zero Tolerance. And the idea that I had at that

963
00:54:48,760 --> 00:54:51,719
Speaker 6: moment in time was I had lots of these sort

964
00:54:51,760 --> 00:54:56,719
Speaker 6: of images of things that had open canvas, and I

965
00:54:56,760 --> 00:55:01,319
Speaker 6: wanted to fill up the entire canvas. Secret Story does that,

966
00:55:02,200 --> 00:55:05,480
Speaker 6: and Zero Tolerance for Silence does that in a different way,

967
00:55:06,080 --> 00:55:09,400
Speaker 6: and that's kind of my sense of it. There was

968
00:55:09,440 --> 00:55:15,040
Speaker 6: a really great description given to me by a and

969
00:55:15,640 --> 00:55:18,480
Speaker 6: around the time of those two records, and said, you know,

970
00:55:18,640 --> 00:55:21,239
Speaker 6: Secret Story is like a painting and there's a river

971
00:55:22,000 --> 00:55:26,520
Speaker 6: in the painting and it's beautiful. Yeah, that's right, that's

972
00:55:26,600 --> 00:55:29,279
Speaker 6: the river. And that's kind of the way I see

973
00:55:29,280 --> 00:55:32,280
Speaker 6: it too. I didn't know it, but yeah.

974
00:55:32,000 --> 00:55:38,480
Speaker 4: She was right. I just thought about something.

975
00:55:39,280 --> 00:55:41,279
Speaker 3: You know, at the time, in the first part of

976
00:55:41,280 --> 00:55:47,080
Speaker 3: your career, you were on em Records as well, Yeah,

977
00:55:47,200 --> 00:55:52,840
Speaker 3: which is a highly trusted label. However, you made the

978
00:55:52,880 --> 00:55:57,239
Speaker 3: move to Geffen and it's almost like, I almost feel

979
00:55:57,239 --> 00:55:59,040
Speaker 3: like we're in the same boat, because if you're a

980
00:55:59,160 --> 00:56:03,399
Speaker 3: non rocket at often questions I got was like, why

981
00:56:03,560 --> 00:56:07,680
Speaker 3: even risk it going to a label and really not

982
00:56:08,600 --> 00:56:13,319
Speaker 3: built to promote you or whatnot? So what was what

983
00:56:13,440 --> 00:56:17,520
Speaker 3: was the unusual choice of going to Geffen Records?

984
00:56:17,920 --> 00:56:21,040
Speaker 6: Well, you know, honestly, you're right. I started on ECM.

985
00:56:21,080 --> 00:56:24,719
Speaker 6: I did eleven records at ECM.

986
00:56:24,080 --> 00:56:27,280
Speaker 8: Which Travels I really loved. I wanted to say Travels.

987
00:56:27,520 --> 00:56:30,280
Speaker 8: I love this that album, man, beautiful record one.

988
00:56:30,120 --> 00:56:34,480
Speaker 6: That I still you know, if people want one record

989
00:56:34,520 --> 00:56:37,120
Speaker 6: of that era, I say, get Travels because that's got

990
00:56:37,120 --> 00:56:41,720
Speaker 6: a lot of information on it. But you know, after

991
00:56:42,280 --> 00:56:45,319
Speaker 6: my eleven records or the ECM, they were all done

992
00:56:45,600 --> 00:56:48,120
Speaker 6: in the classic form. You get two days record, a

993
00:56:48,200 --> 00:56:51,680
Speaker 6: data mix. By however it came out, that's your record,

994
00:56:52,160 --> 00:56:54,399
Speaker 6: and that's it. And I mean, you know, that's a

995
00:56:54,520 --> 00:56:56,960
Speaker 6: viable way to make music. I mean, you know I

996
00:56:57,320 --> 00:56:59,400
Speaker 6: would still make a record like that now for a

997
00:56:59,400 --> 00:57:02,359
Speaker 6: certain kind of thing. You're doing a documentary, you're doing

998
00:57:02,360 --> 00:57:04,960
Speaker 6: a documentary record. You're getting a bunch of guys, You've

999
00:57:05,000 --> 00:57:07,000
Speaker 6: got some tunes, You're going to play him a couple

1000
00:57:07,040 --> 00:57:08,880
Speaker 6: of times. You're going to pick the best take, maybe

1001
00:57:08,880 --> 00:57:12,400
Speaker 6: do an edit. We didn't do fixes back then, maybe

1002
00:57:12,560 --> 00:57:16,760
Speaker 6: one or two barely, but you know, and that's it.

1003
00:57:17,000 --> 00:57:22,680
Speaker 6: And you know, I did my best under those, you know, auspices,

1004
00:57:22,720 --> 00:57:25,360
Speaker 6: and I'm to this day grateful to have had the

1005
00:57:25,480 --> 00:57:30,000
Speaker 6: chance to be on that label during an incredibly fertile

1006
00:57:30,120 --> 00:57:32,760
Speaker 6: period for that label. I mean, it was still kind

1007
00:57:32,760 --> 00:57:35,320
Speaker 6: of emerging. I mean I was within the first hundred

1008
00:57:36,040 --> 00:57:37,040
Speaker 6: ECM records.

1009
00:57:37,080 --> 00:57:40,400
Speaker 2: A couple of times, I think I can I interject,

1010
00:57:40,440 --> 00:57:42,400
Speaker 2: and I don't want to interrupt the answer to the

1011
00:57:42,720 --> 00:57:45,640
Speaker 2: why I go to Geffrine question. But since we're right

1012
00:57:45,680 --> 00:57:50,320
Speaker 2: here at ECM and I just wanted for our listeners

1013
00:57:50,360 --> 00:57:53,640
Speaker 2: to hear the name Manfred Iiker, So can you tell

1014
00:57:53,720 --> 00:57:56,000
Speaker 2: us a little bit about him? He's the owner and

1015
00:57:56,000 --> 00:57:58,640
Speaker 2: producer of the label and thousands of records.

1016
00:57:58,720 --> 00:58:01,640
Speaker 6: Yeah, yeah, he's he's the guy that to this day,

1017
00:58:01,920 --> 00:58:04,200
Speaker 6: I mean, he's you know, I was in that first

1018
00:58:04,400 --> 00:58:08,240
Speaker 6: hundred records. I think they're out close to three thousand now,

1019
00:58:08,560 --> 00:58:11,720
Speaker 6: and honestly, everybody should hear about two thousand and six

1020
00:58:11,800 --> 00:58:15,040
Speaker 6: hundred of them. Yeah, I really know how to make records.

1021
00:58:15,400 --> 00:58:16,920
Speaker 5: Yeah, And he.

1022
00:58:16,920 --> 00:58:20,160
Speaker 6: And I honestly we never got along. I was a

1023
00:58:20,200 --> 00:58:22,720
Speaker 6: snotty little kid, and I thought I knew all kinds

1024
00:58:22,760 --> 00:58:26,120
Speaker 6: of stuff that I probably didn't know. But you know,

1025
00:58:26,200 --> 00:58:30,120
Speaker 6: my snottiness ended up also being kind of a super

1026
00:58:30,240 --> 00:58:33,000
Speaker 6: charged engine to do a lot of stuff that probably

1027
00:58:33,600 --> 00:58:37,760
Speaker 6: was impossible to do that somehow I did, you know,

1028
00:58:37,960 --> 00:58:41,560
Speaker 6: and I'm just here, I am admitting on air that

1029
00:58:41,600 --> 00:58:45,920
Speaker 6: I was super snotty. Man, that's what, Thank you very much.

1030
00:58:45,920 --> 00:58:49,760
Speaker 3: And we're going to go back to that, yeah, exclusive,

1031
00:58:50,200 --> 00:58:52,160
Speaker 3: just to finish up the gaff and thing, because ycause

1032
00:58:52,200 --> 00:58:54,040
Speaker 3: it is it is kind of an interesting thing.

1033
00:58:54,840 --> 00:58:58,040
Speaker 6: So at the time, you know, this was nineteen eighty four,

1034
00:58:58,240 --> 00:59:01,040
Speaker 6: I had, you know, had you know, a kind of

1035
00:59:01,040 --> 00:59:06,560
Speaker 6: success that honestly, I nobody was more surprised than me

1036
00:59:07,120 --> 00:59:10,720
Speaker 6: that we were not selling eight hundred nine hundred records,

1037
00:59:12,320 --> 00:59:15,360
Speaker 6: travels and of you know, you know, the records of

1038
00:59:15,400 --> 00:59:17,720
Speaker 6: that era, including New Chautauqua, you know, which was a

1039
00:59:17,720 --> 00:59:21,320
Speaker 6: solo guitar record. They were selling hundreds of thousands of records.

1040
00:59:21,320 --> 00:59:24,440
Speaker 6: They were on the pop charts. And it wasn't like

1041
00:59:24,520 --> 00:59:26,920
Speaker 6: I was trying to do that. The tunes were still

1042
00:59:26,960 --> 00:59:31,600
Speaker 6: fifteen minutes long. If just we just kind of were

1043
00:59:31,760 --> 00:59:36,600
Speaker 6: touring constantly, and there were radio stations around that time

1044
00:59:36,640 --> 00:59:40,320
Speaker 6: that would actually play twelve minute tracks mixed in with

1045
00:59:40,560 --> 00:59:44,200
Speaker 6: Fleetwood Mac or whatever else was happening. I mean, there

1046
00:59:44,240 --> 00:59:47,080
Speaker 6: was a bunch of stuff in the culture that allowed

1047
00:59:47,080 --> 00:59:52,040
Speaker 6: that to happen. And so I had a certain I

1048
00:59:52,080 --> 00:59:58,080
Speaker 6: guess viability within the recording industry world that caused the

1049
00:59:58,160 --> 01:00:02,080
Speaker 6: moment that me leaving EC. I am a lot of

1050
01:00:02,120 --> 01:00:05,840
Speaker 6: interest amongst people, and you know, I'm very fortunate that

1051
01:00:06,040 --> 01:00:09,600
Speaker 6: from the very beginning I've been with one agency, Ted

1052
01:00:09,680 --> 01:00:14,040
Speaker 6: Curland in Boston. We've been together I don't know, forty

1053
01:00:14,720 --> 01:00:19,560
Speaker 6: whatever years now, and Ted, Yeah, Ted got the message

1054
01:00:19,600 --> 01:00:22,640
Speaker 6: and and sort of did a thing where he got

1055
01:00:22,640 --> 01:00:25,200
Speaker 6: a bunch of companies interested. I was able to start

1056
01:00:25,240 --> 01:00:28,880
Speaker 6: my own company, which since then we've licensed to all

1057
01:00:28,920 --> 01:00:33,080
Speaker 6: the record companies. I own everything from post ECM on

1058
01:00:33,240 --> 01:00:33,919
Speaker 6: thanks to Ted.

1059
01:00:34,120 --> 01:00:34,960
Speaker 4: Oh wow.

1060
01:00:35,320 --> 01:00:40,400
Speaker 6: And among the suitors of that period, David Geffen had

1061
01:00:40,480 --> 01:00:43,720
Speaker 6: just started his own company and he only had a

1062
01:00:43,920 --> 01:00:51,840
Speaker 6: few artists, John Lennon and you know Sharer and Jennifer Yeah,

1063
01:00:51,880 --> 01:00:55,240
Speaker 6: I mean, there were just a few, and hired a

1064
01:00:55,280 --> 01:00:59,160
Speaker 6: guy Donna Summer. He had hired Gary gersh who's a

1065
01:01:00,320 --> 01:01:02,520
Speaker 6: guy who I had known from the work with that

1066
01:01:02,600 --> 01:01:05,040
Speaker 6: I had done just prior to that with David Bowie

1067
01:01:05,160 --> 01:01:09,920
Speaker 6: ed Em I signed by the way, Yes, yeah exactly,

1068
01:01:10,280 --> 01:01:13,240
Speaker 6: and Gary came to Geffen as one of the guys.

1069
01:01:13,240 --> 01:01:17,720
Speaker 6: Gary sort of made a case like, you know this

1070
01:01:17,800 --> 01:01:22,560
Speaker 6: guy me, it's nobody knows what it is. He's got

1071
01:01:22,560 --> 01:01:25,760
Speaker 6: a following and you know, we should sign him. And

1072
01:01:25,880 --> 01:01:29,600
Speaker 6: David I said, can I meet with David Geffen? Wow?

1073
01:01:30,040 --> 01:01:32,760
Speaker 6: They arranged it like sure. So I had lunch with

1074
01:01:32,840 --> 01:01:35,760
Speaker 6: David Geffen and he was like, well, it sounds like

1075
01:01:35,800 --> 01:01:37,880
Speaker 6: you've got a thing going on. We'd like to have

1076
01:01:37,920 --> 01:01:41,080
Speaker 6: you on the label. And they never I think I

1077
01:01:41,120 --> 01:01:44,080
Speaker 6: ever heard that Jay were there. You know, they were

1078
01:01:44,200 --> 01:01:46,960
Speaker 6: just like, this is a band kind of like guns n' Roses.

1079
01:01:47,280 --> 01:01:50,200
Speaker 6: We signed this other band, Nirvana. This is a band

1080
01:01:50,280 --> 01:01:52,640
Speaker 6: kind of like that band. You know they you know,

1081
01:01:52,720 --> 01:01:54,760
Speaker 6: they go out and they play gigs, and they were

1082
01:01:54,840 --> 01:01:58,440
Speaker 6: not thinking of it as anything other than music. And

1083
01:01:58,520 --> 01:02:02,120
Speaker 6: I mean, you know, wow, that's far out, huh. And

1084
01:02:02,440 --> 01:02:04,959
Speaker 6: you know I ended up. I think I've got two

1085
01:02:05,080 --> 01:02:08,280
Speaker 6: or three gold records from them from that period.

1086
01:02:09,360 --> 01:02:12,440
Speaker 3: I was gonna ask, did you ever think of collaborating

1087
01:02:12,480 --> 01:02:17,160
Speaker 3: with Kim and Thurston of Sonic Youth. I know that

1088
01:02:18,280 --> 01:02:19,680
Speaker 3: was a big fan of yours.

1089
01:02:20,120 --> 01:02:24,080
Speaker 6: No, and and uh you know, I mean it's funny because,

1090
01:02:24,320 --> 01:02:26,280
Speaker 6: like you say, at the record company, you know, you

1091
01:02:26,320 --> 01:02:28,520
Speaker 6: go to the record company and you see everybody else

1092
01:02:28,600 --> 01:02:31,320
Speaker 6: is on the label. And I used to see that

1093
01:02:31,400 --> 01:02:34,320
Speaker 6: guy from Guns N' Roses like would be leaving as

1094
01:02:34,360 --> 01:02:37,680
Speaker 6: I would come in, or you know. I mean, and

1095
01:02:37,720 --> 01:02:39,360
Speaker 6: it was cool because it's like we all had the

1096
01:02:39,400 --> 01:02:43,040
Speaker 6: same art director. And I remember when they were doing, uh,

1097
01:02:43,080 --> 01:02:46,680
Speaker 6: the Nirvana cover, the famous one, because the guy was

1098
01:02:46,720 --> 01:02:49,200
Speaker 6: working on one of my covers at the same time, or.

1099
01:02:49,160 --> 01:02:50,280
Speaker 4: That same person.

1100
01:02:50,360 --> 01:02:52,000
Speaker 6: I mean, you know it. It was all kind of

1101
01:02:52,160 --> 01:02:54,800
Speaker 6: in the house there, including Sonic Youth too, Yeah, because

1102
01:02:54,800 --> 01:02:55,960
Speaker 6: they were they were in there too.

1103
01:02:56,040 --> 01:02:56,480
Speaker 5: Yeah.

1104
01:02:56,560 --> 01:02:59,400
Speaker 3: I was going to say, yeah, as of today, the

1105
01:02:59,480 --> 01:03:05,560
Speaker 3: baby from that Enron cover, when the.

1106
01:03:05,560 --> 01:03:09,480
Speaker 7: Baby is suing for child pronography charges on Saturday.

1107
01:03:09,760 --> 01:03:11,400
Speaker 4: Just just say you need ten bus.

1108
01:03:11,160 --> 01:03:18,480
Speaker 11: Man, come on, come on, uh wait, okay, I do

1109
01:03:18,560 --> 01:03:23,480
Speaker 11: want to ask, and does anyone from my world, from

1110
01:03:23,520 --> 01:03:25,680
Speaker 11: the world of hip hop ever make a big deal

1111
01:03:25,880 --> 01:03:27,120
Speaker 11: of letters from home?

1112
01:03:28,120 --> 01:03:32,200
Speaker 4: Yes? Yes, without me letting it out the bag.

1113
01:03:35,440 --> 01:03:40,480
Speaker 3: You mean like musically, Yeah, see, this is the thing

1114
01:03:40,880 --> 01:03:43,160
Speaker 3: I don't I don't want to open up a Pandora's

1115
01:03:43,200 --> 01:03:48,640
Speaker 3: box because you own your masters which box, Yes, exactly.

1116
01:03:48,840 --> 01:03:52,320
Speaker 3: But but what I'm saying is that again, the hip

1117
01:03:52,320 --> 01:03:56,880
Speaker 3: hop world has a way different relationship with you than

1118
01:03:57,720 --> 01:03:59,440
Speaker 3: the other words. And you know, I mean that's the

1119
01:03:59,440 --> 01:04:03,000
Speaker 3: thing about him, because they'll look at something that the

1120
01:04:03,160 --> 01:04:06,840
Speaker 3: average world will ignore and then they'll be like, no,

1121
01:04:07,160 --> 01:04:09,880
Speaker 3: but that's the that's the thing over there. So I'm

1122
01:04:09,960 --> 01:04:13,919
Speaker 3: just curious, like, do any does anyone from the world

1123
01:04:13,960 --> 01:04:15,480
Speaker 3: of hip hop just ever come.

1124
01:04:15,320 --> 01:04:18,080
Speaker 4: To you and say, like, yo, let hers from home

1125
01:04:20,880 --> 01:04:27,160
Speaker 4: specifically no, next question anyway, you know, I gotta.

1126
01:04:26,960 --> 01:04:30,960
Speaker 6: Tell you, man, I'm like, you know, I don't hang much.

1127
01:04:31,080 --> 01:04:34,080
Speaker 6: You know, I kind of I've gotten away somehow with

1128
01:04:34,280 --> 01:04:38,000
Speaker 6: doing my own thing mostly, and I you know, even

1129
01:04:38,120 --> 01:04:42,680
Speaker 6: kind of within the circle of musicians that I would

1130
01:04:42,800 --> 01:04:46,600
Speaker 6: probably normally be around, right you know, in the you know,

1131
01:04:46,760 --> 01:04:49,080
Speaker 6: going to Smalls or something, and I do go. Hear

1132
01:04:49,120 --> 01:04:50,800
Speaker 6: a lot of people and I go and I kind

1133
01:04:50,800 --> 01:04:53,280
Speaker 6: of stand in the back and listen to a couple

1134
01:04:53,280 --> 01:04:55,920
Speaker 6: of tunes and you know, but all kinds of music.

1135
01:04:56,040 --> 01:04:58,800
Speaker 6: But you know, I mean I'm you know, I'm not

1136
01:04:58,960 --> 01:05:01,800
Speaker 6: really like in the scene. I mean, I will say

1137
01:05:01,920 --> 01:05:05,040
Speaker 6: because I did visit the new power station the other

1138
01:05:05,120 --> 01:05:08,400
Speaker 6: day now at Berkeley zoning it, and man, you know

1139
01:05:08,480 --> 01:05:11,880
Speaker 6: that was really cool back in those days where yeah,

1140
01:05:12,000 --> 01:05:18,120
Speaker 6: I would see uh, you know, you know everybody. You know, like,

1141
01:05:19,760 --> 01:05:21,760
Speaker 6: you know, everybody was there all the time. You'd run

1142
01:05:21,800 --> 01:05:25,520
Speaker 6: into like you know, Eric Clapton, or you'd run into

1143
01:05:25,760 --> 01:05:28,240
Speaker 6: Nita Baker, or you'd run into I mean, everybody was

1144
01:05:28,240 --> 01:05:30,800
Speaker 6: there recording all the time, and you'd see everybody, and

1145
01:05:30,840 --> 01:05:32,120
Speaker 6: it was in a way, it was kind of a

1146
01:05:32,480 --> 01:05:35,600
Speaker 6: social way that you would have an encounter with somebody

1147
01:05:35,640 --> 01:05:39,320
Speaker 6: sort of outside of your you know, normal hang but

1148
01:05:39,480 --> 01:05:41,800
Speaker 6: you know, I don't go to clubs or do anything

1149
01:05:41,880 --> 01:05:46,960
Speaker 6: like where I would be hanging out.

1150
01:05:48,400 --> 01:05:51,520
Speaker 8: The record that the slip Away record that was sample

1151
01:05:51,640 --> 01:05:54,439
Speaker 8: it was a song it's called Summer Days by its DJ,

1152
01:05:54,640 --> 01:05:58,640
Speaker 8: I think Nick Holder, and so actually crazy thing. I

1153
01:05:58,680 --> 01:06:01,320
Speaker 8: did a panel with him, this is probably I mean, god,

1154
01:06:01,320 --> 01:06:04,160
Speaker 8: this is seventeen years ago and we were just on

1155
01:06:04,200 --> 01:06:05,760
Speaker 8: a panel together and I had never heard any of

1156
01:06:05,800 --> 01:06:09,040
Speaker 8: his music. And then afterwards I heard Summer Days and

1157
01:06:09,080 --> 01:06:11,240
Speaker 8: I was like, man, this is great. I want to say,

1158
01:06:11,240 --> 01:06:14,240
Speaker 8: maybe like a year after that, chilling another one. My

1159
01:06:14,280 --> 01:06:15,840
Speaker 8: Homi's a big jazz head, and he was like, yo,

1160
01:06:16,120 --> 01:06:18,240
Speaker 8: that's so, and so I was like what and then

1161
01:06:18,280 --> 01:06:20,360
Speaker 8: he put me on to your break. I was like, oh,

1162
01:06:20,400 --> 01:06:22,680
Speaker 8: that's that was thing. Like, I had no clue, but

1163
01:06:23,360 --> 01:06:26,080
Speaker 8: that was a bridge to, you know, to the rest

1164
01:06:26,120 --> 01:06:27,720
Speaker 8: of that album, to the I.

1165
01:06:27,640 --> 01:06:34,080
Speaker 6: Mean, my fundamental kind of feeling about sampling and the

1166
01:06:34,160 --> 01:06:37,400
Speaker 6: way that not just my thing, but kind of records

1167
01:06:37,400 --> 01:06:42,120
Speaker 6: in general are used in in that realm is very positive.

1168
01:06:42,480 --> 01:06:45,720
Speaker 6: I mean to me, it's really related to collage art

1169
01:06:45,920 --> 01:06:49,760
Speaker 6: and you know, of course graffiti and all of that stuff,

1170
01:06:49,760 --> 01:06:53,360
Speaker 6: which means, you know, that's the language of this moment.

1171
01:06:53,640 --> 01:06:57,680
Speaker 6: And so to me it's like I have absolutely no

1172
01:06:58,680 --> 01:07:02,640
Speaker 6: problem with it, and I love people do stuff, create creatively.

1173
01:07:02,960 --> 01:07:05,640
Speaker 6: But to me, that was just like, man, that's you're.

1174
01:07:05,480 --> 01:07:11,200
Speaker 3: Just The thing is is that you know, people don't

1175
01:07:11,280 --> 01:07:13,760
Speaker 3: understand like hip hop is at its core, hip hop

1176
01:07:13,840 --> 01:07:18,760
Speaker 3: is African music, and African music is repetitive. It's it's

1177
01:07:18,880 --> 01:07:22,080
Speaker 3: always a repetition of you know, and I know that

1178
01:07:22,120 --> 01:07:23,720
Speaker 3: you come from a world where you got to go

1179
01:07:23,840 --> 01:07:26,160
Speaker 3: linear and go in a straight line, like to.

1180
01:07:26,120 --> 01:07:27,320
Speaker 4: Somewhere else, somewhere else.

1181
01:07:27,360 --> 01:07:30,680
Speaker 3: So I initially asked that question if you were aware

1182
01:07:30,800 --> 01:07:34,560
Speaker 3: of how much that particular album, let Us from Home

1183
01:07:34,600 --> 01:07:38,320
Speaker 3: At sort of been a kind of a creative outlet

1184
01:07:38,360 --> 01:07:41,120
Speaker 3: for like a lot of the classic hip hop stuff

1185
01:07:41,120 --> 01:07:43,440
Speaker 3: that I grew up on, only because I know that

1186
01:07:43,680 --> 01:07:48,000
Speaker 3: you were also like very open and a key developer

1187
01:07:48,040 --> 01:07:51,840
Speaker 3: in like new technology, like with the cinclavier and with

1188
01:07:52,000 --> 01:07:55,200
Speaker 3: sampling and and with you know, especially when you start

1189
01:07:55,200 --> 01:07:59,480
Speaker 3: at your falcon and Snowman scoring stuff, how you were

1190
01:08:00,560 --> 01:08:06,000
Speaker 3: basically kind of using primitive technology that we're using now,

1191
01:08:06,080 --> 01:08:09,320
Speaker 3: Like you know, now half the stuff is on our laptop.

1192
01:08:09,560 --> 01:08:13,360
Speaker 3: Were you actively advising the Cynclavia people on how to

1193
01:08:13,400 --> 01:08:16,800
Speaker 3: build the machine or were you just the first recipient

1194
01:08:16,840 --> 01:08:18,320
Speaker 3: to get it and use it?

1195
01:08:18,439 --> 01:08:20,759
Speaker 4: And well, we're.

1196
01:08:20,600 --> 01:08:23,040
Speaker 6: Going back actually seventy nine for that.

1197
01:08:23,360 --> 01:08:24,880
Speaker 4: Oh that's how early. Okay, it was.

1198
01:08:24,840 --> 01:08:29,040
Speaker 6: Way before maybe, And yeah, I was out there on

1199
01:08:29,080 --> 01:08:32,760
Speaker 6: the bleeding edge of that end. I mean, you know,

1200
01:08:32,880 --> 01:08:36,840
Speaker 6: there's all kinds of like sort of shocking you know,

1201
01:08:37,000 --> 01:08:41,360
Speaker 6: technological aspects to you know, I mean I remember at

1202
01:08:41,400 --> 01:08:45,519
Speaker 6: one point spending five thousand dollars to get a five

1203
01:08:45,720 --> 01:08:53,200
Speaker 6: megabyte hard drive five may not gig and we it was.

1204
01:08:53,439 --> 01:08:56,519
Speaker 3: It was a megabyte, not even a gig now thousand

1205
01:08:56,520 --> 01:08:57,520
Speaker 3: dollars a megabyte.

1206
01:08:59,040 --> 01:09:05,000
Speaker 6: It was that maybe yeah, yep, exactly. And not only that,

1207
01:09:05,120 --> 01:09:07,360
Speaker 6: it was so fragile it had to have its own

1208
01:09:07,439 --> 01:09:13,760
Speaker 6: bunk on the bus. Oh wow. And I mean you

1209
01:09:14,000 --> 01:09:16,960
Speaker 6: use it live, yeah, I mean, you know it's a

1210
01:09:17,000 --> 01:09:21,679
Speaker 6: funny thing because now, of course everybody does all kinds

1211
01:09:21,720 --> 01:09:25,599
Speaker 6: of stuff now. So when the sing Leavier came out,

1212
01:09:25,920 --> 01:09:29,479
Speaker 6: their ad was this is the last synthesizer you'll ever

1213
01:09:29,560 --> 01:09:34,240
Speaker 6: need to buy and uh, and it had several new

1214
01:09:34,320 --> 01:09:38,240
Speaker 6: things that just had not existed before. One was FM synthesis,

1215
01:09:38,280 --> 01:09:41,200
Speaker 6: which this is several years before the dread of d

1216
01:09:41,400 --> 01:09:46,920
Speaker 6: X seven came along. And then they were the they

1217
01:09:46,920 --> 01:09:50,639
Speaker 6: were you didn't like the patches, well you know they

1218
01:09:50,720 --> 01:09:52,160
Speaker 6: probably weren't that patches.

1219
01:09:52,000 --> 01:09:53,360
Speaker 4: It, So just be honest.

1220
01:09:53,400 --> 01:09:55,400
Speaker 3: In eighty five, were you looking at like, yo, d

1221
01:09:55,560 --> 01:09:56,799
Speaker 3: X seven, Man, this is the future?

1222
01:09:57,040 --> 01:09:58,839
Speaker 4: Or do you automatically knew it was cheesy?

1223
01:09:59,240 --> 01:10:03,320
Speaker 6: No? I knew, man. I mean we can also talk

1224
01:10:03,360 --> 01:10:10,560
Speaker 6: about since for hours because I have very strong opinions.

1225
01:10:10,840 --> 01:10:14,240
Speaker 6: But you know, man, I mean, you know the thing

1226
01:10:14,240 --> 01:10:20,720
Speaker 6: about acoustic instruments, you can't make them hurt you, you know,

1227
01:10:21,120 --> 01:10:26,160
Speaker 6: and electric instruments, including guitar, their default is pain. You know.

1228
01:10:26,360 --> 01:10:29,599
Speaker 6: It's like you really have to have a concept and

1229
01:10:29,680 --> 01:10:34,439
Speaker 6: a vision of sound before you plug it in with

1230
01:10:34,520 --> 01:10:40,479
Speaker 6: those instruments because their default is just horrible. And also,

1231
01:10:40,880 --> 01:10:44,080
Speaker 6: you know, speakers, we we all think about speak and

1232
01:10:44,160 --> 01:10:46,559
Speaker 6: we just we don't even think about speakers anymore. Of course,

1233
01:10:46,600 --> 01:10:49,000
Speaker 6: it's gonna come out of a speaker. I mean, man,

1234
01:10:49,120 --> 01:10:53,439
Speaker 6: speakers suck, you know, compared to a drum or a guitar,

1235
01:10:53,840 --> 01:10:55,880
Speaker 6: I mean, speaker, I don't care if it's the best

1236
01:10:55,880 --> 01:10:58,880
Speaker 6: speaker in the world. They're horrible. So it's like you

1237
01:10:59,040 --> 01:11:03,519
Speaker 6: have to have an accoustick framework to build electric music

1238
01:11:03,560 --> 01:11:06,200
Speaker 6: from in my opinion, and I mean my first act

1239
01:11:06,439 --> 01:11:08,439
Speaker 6: was to plug it in. You know, I've been dealing

1240
01:11:08,439 --> 01:11:12,439
Speaker 6: with knobs and wires and electricity from day one. That's

1241
01:11:12,479 --> 01:11:15,720
Speaker 6: part of the instrument. So all of this stuff, computers

1242
01:11:15,760 --> 01:11:18,479
Speaker 6: and everything else, for me, that's part of the acts.

1243
01:11:19,200 --> 01:11:21,240
Speaker 6: A big thing for me has always been to get

1244
01:11:21,280 --> 01:11:24,240
Speaker 6: a good sound and to you know, make it do

1245
01:11:25,000 --> 01:11:28,080
Speaker 6: at least something that has a reflection in terms of

1246
01:11:28,240 --> 01:11:34,960
Speaker 6: orchestration to this incredible tradition of you know, dietonic chromatic

1247
01:11:35,040 --> 01:11:38,080
Speaker 6: music that's evolved over the last few hundred years, and

1248
01:11:39,280 --> 01:11:43,639
Speaker 6: you know kind of also included in that. I would say, yeah,

1249
01:11:43,680 --> 01:11:46,439
Speaker 6: there can be abstraction, there can be conflict, there can

1250
01:11:46,479 --> 01:11:48,599
Speaker 6: be dissonance, there can be all kinds of other stuff.

1251
01:11:49,000 --> 01:11:51,280
Speaker 6: But to me, there it requires a certain kind of

1252
01:11:51,280 --> 01:11:55,400
Speaker 6: wisdom to make those things really happen. So back to

1253
01:11:55,479 --> 01:11:58,080
Speaker 6: the sinclavier. One of the things that it had was

1254
01:11:58,080 --> 01:12:02,880
Speaker 6: a sequence there that had never existed commercially before, so

1255
01:12:03,320 --> 01:12:07,760
Speaker 6: I could get this thing to play parts that we

1256
01:12:07,920 --> 01:12:10,960
Speaker 6: could play with. And I mean, man, that was like

1257
01:12:11,080 --> 01:12:14,400
Speaker 6: top secret for twenty years. It's like, you know, we

1258
01:12:14,439 --> 01:12:17,759
Speaker 6: would hide the single of ear and nobody really knew

1259
01:12:17,840 --> 01:12:20,600
Speaker 6: what we were doing or how it was working and

1260
01:12:20,680 --> 01:12:24,000
Speaker 6: what was going on. And we kind of successfully managed

1261
01:12:24,080 --> 01:12:27,160
Speaker 6: to do that. But I never had a loop. It

1262
01:12:27,280 --> 01:12:31,120
Speaker 6: was always something transparent. I was like writing for Cello's,

1263
01:12:31,240 --> 01:12:33,720
Speaker 6: writing for French ones, and there was always this thing

1264
01:12:33,720 --> 01:12:36,360
Speaker 6: in there. And we almost never had a clique either.

1265
01:12:36,840 --> 01:12:40,200
Speaker 6: It was always some music. Yeah, it was always something

1266
01:12:40,320 --> 01:12:44,120
Speaker 6: musical that you could you could work yourself into so

1267
01:12:44,160 --> 01:12:46,840
Speaker 6: that you could get the feel in between the thing

1268
01:12:47,280 --> 01:12:50,080
Speaker 6: because to me, that's where the music is too, is

1269
01:12:50,120 --> 01:12:53,240
Speaker 6: the feel of it. But to me, it's like, if

1270
01:12:53,280 --> 01:12:57,360
Speaker 6: there's gonna be a clique, I wanted to rush, you know,

1271
01:12:57,439 --> 01:13:00,840
Speaker 6: because all the musicians I love rush. So if there's

1272
01:13:00,880 --> 01:13:03,320
Speaker 6: going to be a clip, man, I spend hours with

1273
01:13:03,439 --> 01:13:07,599
Speaker 6: the drummer, like working on making it rush and rushing

1274
01:13:07,920 --> 01:13:12,839
Speaker 6: we would. I did rushing And some of that probably

1275
01:13:12,840 --> 01:13:15,599
Speaker 6: comes from four and More being my first record, because

1276
01:13:15,600 --> 01:13:19,320
Speaker 6: they rushing crazy on that. But you know, to me,

1277
01:13:19,479 --> 01:13:22,479
Speaker 6: those things it's like tech to me should be in

1278
01:13:22,520 --> 01:13:26,720
Speaker 6: the service of the music. I never relinquish anything to

1279
01:13:26,800 --> 01:13:30,000
Speaker 6: the tech. I'm always like, come on, man, you know.

1280
01:13:30,360 --> 01:13:33,280
Speaker 6: And that goes for the manufacturers too. It's like I'm

1281
01:13:33,320 --> 01:13:35,920
Speaker 6: always saying, couldn't you know what if you know that

1282
01:13:36,000 --> 01:13:39,760
Speaker 6: kind of stuff? But tempo dynamics and I mean, you know,

1283
01:13:39,840 --> 01:13:42,680
Speaker 6: the fact that we're still living with MIDI now is

1284
01:13:42,800 --> 01:13:46,240
Speaker 6: just a nightmare, man. I mean that that sucked in

1285
01:13:46,360 --> 01:13:50,840
Speaker 6: nineteen eighty five, you know, And so for now it's

1286
01:13:50,880 --> 01:13:53,080
Speaker 6: like I know, you know James because I know he

1287
01:13:53,120 --> 01:13:55,040
Speaker 6: works with you, but I mean he brings in these

1288
01:13:55,600 --> 01:14:00,040
Speaker 6: like quirgs from nineteen eighty five and I'm like, no, no,

1289
01:14:01,880 --> 01:14:05,519
Speaker 6: I suffered through that shit back then. Man, But you

1290
01:14:05,560 --> 01:14:08,200
Speaker 6: know what, he knows what he's doing, so he can

1291
01:14:08,240 --> 01:14:11,400
Speaker 6: do whatever he wants. But yeah, I mean stuff kind

1292
01:14:11,400 --> 01:14:13,920
Speaker 6: of was you know, it didn't work that well back then,

1293
01:14:14,080 --> 01:14:16,639
Speaker 6: you know, I mean, yeah, you know.

1294
01:14:17,000 --> 01:14:20,080
Speaker 3: How would you because he was so early to adapt

1295
01:14:20,160 --> 01:14:26,439
Speaker 3: to that sort of technology in your live show, how

1296
01:14:26,479 --> 01:14:29,360
Speaker 3: would you adjust if there were any faux paths or.

1297
01:14:31,600 --> 01:14:32,759
Speaker 4: You know, you louse?

1298
01:14:33,200 --> 01:14:35,760
Speaker 3: Okay, we lost half the you know, half the programming

1299
01:14:35,760 --> 01:14:37,280
Speaker 3: for blah blah blah blah blah.

1300
01:14:37,680 --> 01:14:40,679
Speaker 6: They own may not know that. A few years ago

1301
01:14:42,000 --> 01:14:46,479
Speaker 6: I did an entire project with me and a whole

1302
01:14:46,479 --> 01:14:50,200
Speaker 6: bunch of robots. Are you hip to the orchestra on?

1303
01:14:52,560 --> 01:14:55,320
Speaker 6: You know, I kind of ragged on speakers a little

1304
01:14:55,320 --> 01:14:58,439
Speaker 6: while ago, but actually that kind of got cracked back

1305
01:14:58,520 --> 01:15:03,920
Speaker 6: in in early nineteen twenties. Player pianos output device, not

1306
01:15:04,000 --> 01:15:06,640
Speaker 6: a speaker, the composers in the room. But he's not

1307
01:15:06,760 --> 01:15:10,759
Speaker 6: in the room. You're hearing an acoustic sound. I mean, man,

1308
01:15:11,240 --> 01:15:15,360
Speaker 6: there it is. And of course, not long after that,

1309
01:15:15,520 --> 01:15:19,280
Speaker 6: somebody came along with wire recordings. Then seventy eights. It's

1310
01:15:19,360 --> 01:15:22,479
Speaker 6: like you know that put the player piano guys out

1311
01:15:22,479 --> 01:15:27,920
Speaker 6: of business. So for their last gasp, they are like, okay,

1312
01:15:27,920 --> 01:15:30,920
Speaker 6: we need to like, let's attach some drum, snare drum

1313
01:15:30,920 --> 01:15:34,160
Speaker 6: and some symbols and a xylophone to the player piano.

1314
01:15:34,800 --> 01:15:38,000
Speaker 6: And then people did that, and so they did that,

1315
01:15:38,120 --> 01:15:40,400
Speaker 6: and you still hear them in pizza parlors every now

1316
01:15:40,400 --> 01:15:43,040
Speaker 6: and then, you know where it's like that does yep,

1317
01:15:43,400 --> 01:15:46,800
Speaker 6: And those were the first orchestrions. And the thing about

1318
01:15:46,840 --> 01:15:49,679
Speaker 6: those instruments you can't listen for more than about thirty

1319
01:15:49,720 --> 01:15:52,559
Speaker 6: seconds before you want to kill yourself because they have

1320
01:15:52,640 --> 01:15:55,360
Speaker 6: no dynamics. It's just like if somebody talks like this

1321
01:15:55,439 --> 01:15:57,680
Speaker 6: all the time, you cannot listen to them because and

1322
01:15:57,920 --> 01:16:00,680
Speaker 6: music that doesn't have dynamics, nobody can listen to that.

1323
01:16:00,760 --> 01:16:04,760
Speaker 6: And that's that was the real downfall of that tech

1324
01:16:05,320 --> 01:16:11,320
Speaker 6: so flat. You know, fast forward seventy years, Yamaha comes

1325
01:16:11,320 --> 01:16:14,200
Speaker 6: along with the disclavier, which we all know as you know,

1326
01:16:14,280 --> 01:16:17,720
Speaker 6: playing girl from Eanma how to tune in hotel lobbies.

1327
01:16:20,920 --> 01:16:25,120
Speaker 6: Only you would say it amazing technology. And that's sol

1328
01:16:25,120 --> 01:16:29,120
Speaker 6: annoys which do allow dynamics. And I've followed this stuff

1329
01:16:29,160 --> 01:16:32,600
Speaker 6: all along. It's something I've been interested in, you know, basically,

1330
01:16:32,800 --> 01:16:38,920
Speaker 6: midy to control voltage that can hit something or do something.

1331
01:16:39,040 --> 01:16:42,000
Speaker 6: And so I put together a bunch of instruments from

1332
01:16:42,280 --> 01:16:45,880
Speaker 6: five really great inventors, none of them really knew each other,

1333
01:16:46,600 --> 01:16:48,920
Speaker 6: and went out and did a whole tour, me on

1334
01:16:48,960 --> 01:16:51,960
Speaker 6: a bunch of robots, proving once and for all just

1335
01:16:52,000 --> 01:16:55,519
Speaker 6: how weird I actually am. It was. You know, it

1336
01:16:55,640 --> 01:16:59,400
Speaker 6: was not quite settled science before that, but that did it.

1337
01:17:00,160 --> 01:17:02,040
Speaker 6: You want to talk about, you know, the potential for

1338
01:17:02,120 --> 01:17:02,839
Speaker 6: train wrecks.

1339
01:17:04,120 --> 01:17:06,280
Speaker 4: Wait, were you the only human on stage?

1340
01:17:06,479 --> 01:17:10,080
Speaker 6: I was the only human on stage, and check it out.

1341
01:17:10,720 --> 01:17:13,040
Speaker 6: You know. The thing is I made a record which

1342
01:17:13,439 --> 01:17:18,120
Speaker 6: you know was not really understood because you couldn't see it.

1343
01:17:18,400 --> 01:17:19,960
Speaker 6: But at the very end of the tour, because I

1344
01:17:19,960 --> 01:17:22,400
Speaker 6: did one hundred and some concerts around the world with this,

1345
01:17:22,880 --> 01:17:24,640
Speaker 6: at the end of the tour, we filmed it and

1346
01:17:25,040 --> 01:17:28,760
Speaker 6: you can find it online the orchestre On project, and

1347
01:17:28,840 --> 01:17:32,280
Speaker 6: you can see what was going on. And honestly, it's

1348
01:17:32,360 --> 01:17:35,439
Speaker 6: ten years now or more twelve years since I did it.

1349
01:17:35,560 --> 01:17:38,759
Speaker 6: I can't believe nobody else is doing it. I was like, man,

1350
01:17:38,840 --> 01:17:41,080
Speaker 6: you know this is gonna this is going to be

1351
01:17:41,080 --> 01:17:43,320
Speaker 6: the thing, but my thing, because there is one of

1352
01:17:43,360 --> 01:17:46,320
Speaker 6: these inventors that I've continued to work with, and the

1353
01:17:46,360 --> 01:17:49,400
Speaker 6: issue is dynamics, because when you hit your snare man,

1354
01:17:49,479 --> 01:17:54,160
Speaker 6: the you know, the amount of you know, what goes

1355
01:17:54,200 --> 01:17:57,040
Speaker 6: into that in terms of like pounds per square inch

1356
01:17:57,680 --> 01:18:00,920
Speaker 6: is like way more than any solonoid that existed then

1357
01:18:01,040 --> 01:18:04,040
Speaker 6: for sure. So now that this one guy who's a

1358
01:18:04,040 --> 01:18:07,280
Speaker 6: Belgian guy has come up with a really powerful solenoid

1359
01:18:07,280 --> 01:18:09,599
Speaker 6: that if you put your hand down there, it would

1360
01:18:09,600 --> 01:18:13,559
Speaker 6: break your hand. Until we can present it to you

1361
01:18:13,680 --> 01:18:17,040
Speaker 6: or jay Z or somebody in an acoustic space doing

1362
01:18:17,080 --> 01:18:20,360
Speaker 6: the thing that it's supposed to do, we don't have anything.

1363
01:18:20,840 --> 01:18:22,679
Speaker 6: But I don't know if you've ever been to Carnival

1364
01:18:22,720 --> 01:18:28,160
Speaker 6: in Brazil where it's like acoustic but loud, louder than

1365
01:18:28,240 --> 01:18:30,000
Speaker 6: Metallica that.

1366
01:18:30,240 --> 01:18:34,640
Speaker 3: Because they're a billion people playing also the same thing exactly.

1367
01:18:34,240 --> 01:18:40,960
Speaker 6: But also just the amount of air that gets moved acoustically,

1368
01:18:42,240 --> 01:18:45,280
Speaker 6: you know, and you're right, it's coming from not single

1369
01:18:45,280 --> 01:18:50,280
Speaker 6: instruments but like a multiple of But imagine what that

1370
01:18:50,320 --> 01:18:53,280
Speaker 6: could be if you like, instead of you know, using

1371
01:18:53,320 --> 01:18:56,000
Speaker 6: a drum machine and instead of it being like, you know,

1372
01:18:56,400 --> 01:18:59,439
Speaker 6: something coming through your crappy little speakers, you're like in

1373
01:18:59,520 --> 01:19:05,639
Speaker 6: a where house with like seventeen bass drums getting hit

1374
01:19:06,360 --> 01:19:09,519
Speaker 6: harder than you can even imagine to make a sound

1375
01:19:09,840 --> 01:19:12,760
Speaker 6: and have it happen. This is the other issue with

1376
01:19:12,840 --> 01:19:15,600
Speaker 6: all this stuff is latency because of the amount of

1377
01:19:15,600 --> 01:19:17,759
Speaker 6: time from the time you hit a pad or whatever

1378
01:19:18,080 --> 01:19:20,880
Speaker 6: till the time it takes it to turn into you know,

1379
01:19:21,000 --> 01:19:25,280
Speaker 6: unfortunately midy one point zero to then the ce you know,

1380
01:19:25,560 --> 01:19:29,280
Speaker 6: control voltage aspect of it to the mechanism can be

1381
01:19:29,520 --> 01:19:31,720
Speaker 6: you know, four or five milliseconds, which in terms of

1382
01:19:31,800 --> 01:19:38,439
Speaker 6: groove we know is love stub milliseconds. And so that

1383
01:19:38,600 --> 01:19:41,120
Speaker 6: issue also I think, you know, with five G kind

1384
01:19:41,160 --> 01:19:45,479
Speaker 6: of stuff, and you know, we're on the cusp of

1385
01:19:45,520 --> 01:19:48,800
Speaker 6: a whole bunch of possibilities for musicians with this next

1386
01:19:48,800 --> 01:19:50,800
Speaker 6: step in tech that's going to be really great.

1387
01:19:51,920 --> 01:19:52,200
Speaker 4: Wow.

1388
01:19:52,360 --> 01:19:58,160
Speaker 3: Okay, so you're are you saying that you are currently

1389
01:19:58,400 --> 01:20:03,000
Speaker 3: trying to improve on a robot's ability to actually have

1390
01:20:03,160 --> 01:20:11,320
Speaker 3: human feel and can pre program dynamics, so like Snare

1391
01:20:11,400 --> 01:20:14,920
Speaker 3: one might be seventy seven, but Snare two might be

1392
01:20:15,080 --> 01:20:18,960
Speaker 3: forty five, and and can do grace notes and can

1393
01:20:19,040 --> 01:20:20,719
Speaker 3: fluctuate and speed and slow down.

1394
01:20:23,320 --> 01:20:26,200
Speaker 6: But but okay, so but wait, let me let me

1395
01:20:26,240 --> 01:20:28,560
Speaker 6: respond to that, because you know, I mean when the

1396
01:20:28,680 --> 01:20:31,720
Speaker 6: sink lavier came out, you know, stringlers, this is going

1397
01:20:31,760 --> 01:20:33,880
Speaker 6: to put us out of business. You know, it's like

1398
01:20:34,120 --> 01:20:36,080
Speaker 6: you know, a d X seven. You can't tell the

1399
01:20:36,080 --> 01:20:38,360
Speaker 6: difference between this and offend your roads.

1400
01:20:38,640 --> 01:20:41,000
Speaker 5: It's like, yeah, uk, are you kidding?

1401
01:20:41,240 --> 01:20:44,759
Speaker 6: You know, no, no, you know, to me, I'm about

1402
01:20:44,920 --> 01:20:48,240
Speaker 6: both and I'm not about either or and the whole

1403
01:20:48,280 --> 01:20:52,080
Speaker 6: thing about you know, the like when I did the

1404
01:20:52,200 --> 01:20:55,000
Speaker 6: orchestra on project, of course, people are like, you're trying

1405
01:20:55,040 --> 01:20:57,040
Speaker 6: to put me the you know, you know all that stuff.

1406
01:20:57,080 --> 01:20:59,799
Speaker 6: It's like, no, no, if this is not a better

1407
01:20:59,840 --> 01:21:03,080
Speaker 6: way to do anything, this is a different way to

1408
01:21:03,120 --> 01:21:06,240
Speaker 6: do something. And I'm all about like, you know, what

1409
01:21:06,360 --> 01:21:08,519
Speaker 6: else can we do? I mean, you know, to me,

1410
01:21:08,760 --> 01:21:12,639
Speaker 6: like again going back to hip hop, jazz, classical folk.

1411
01:21:12,880 --> 01:21:15,920
Speaker 6: You know, what I'm into is creativity. And you know

1412
01:21:16,320 --> 01:21:18,439
Speaker 6: that's what I like is you know, like, man, I

1413
01:21:18,439 --> 01:21:21,639
Speaker 6: think about the Beatles. It's like god, you know, man,

1414
01:21:21,760 --> 01:21:24,160
Speaker 6: some you know, some artists are like happy if they

1415
01:21:24,600 --> 01:21:26,960
Speaker 6: if each record's got a sound. I mean those guys

1416
01:21:27,200 --> 01:21:30,880
Speaker 6: every track had a completely different sound. I mean, you know,

1417
01:21:30,920 --> 01:21:33,240
Speaker 6: it's like God, I wish you know. I mean, you

1418
01:21:33,240 --> 01:21:35,400
Speaker 6: know the community that I kind of hang in like

1419
01:21:35,720 --> 01:21:38,840
Speaker 6: we're so creative. I mean, man, how many more trumpet

1420
01:21:38,840 --> 01:21:43,080
Speaker 6: tenor piano based drum records you know are there going

1421
01:21:43,160 --> 01:21:46,519
Speaker 6: to be? And I did, I did two and four.

1422
01:21:46,640 --> 01:21:48,920
Speaker 6: But I mean, come on, let's you know what I mean?

1423
01:21:48,920 --> 01:21:51,840
Speaker 6: If you think of all the spectrum of all possible

1424
01:21:52,000 --> 01:21:55,639
Speaker 6: music that there could be made by humans, and then

1425
01:21:55,680 --> 01:22:01,000
Speaker 6: you think about this tiny sliver that most music now

1426
01:22:01,120 --> 01:22:05,240
Speaker 6: in habits, it's like why.

1427
01:22:04,240 --> 01:22:06,560
Speaker 3: Well, let me let me ask is there a challenge

1428
01:22:07,720 --> 01:22:11,920
Speaker 3: that that you have yet to meet?

1429
01:22:12,680 --> 01:22:15,400
Speaker 4: And I guess the B side of that question would

1430
01:22:15,439 --> 01:22:18,240
Speaker 4: be have you how do you? How do you get?

1431
01:22:18,320 --> 01:22:20,679
Speaker 4: How do you navigate in a situation?

1432
01:22:21,479 --> 01:22:21,679
Speaker 6: Uh?

1433
01:22:21,720 --> 01:22:28,479
Speaker 3: When you're doing improvisation in which I guess improvisation is.

1434
01:22:28,439 --> 01:22:31,000
Speaker 4: Only good as your collaborators, and your.

1435
01:22:30,840 --> 01:22:36,559
Speaker 3: Collaborators is really is only strong as who your weakest contributor. Well,

1436
01:22:36,720 --> 01:22:42,000
Speaker 3: I don't want to say weakest, like, but how do you? Okay,

1437
01:22:42,080 --> 01:22:45,519
Speaker 3: let me just ask that question one is is there

1438
01:22:45,560 --> 01:22:47,320
Speaker 3: a challenge that you.

1439
01:22:49,720 --> 01:22:52,120
Speaker 4: Have dreamt about that you've yet to achieve?

1440
01:22:53,240 --> 01:22:58,320
Speaker 3: And how do you navigate a situation in which you

1441
01:22:58,479 --> 01:23:04,880
Speaker 3: might be improvised with less skillful musicians. I don't know

1442
01:23:04,920 --> 01:23:08,599
Speaker 3: if you know, if you sit in a local bar

1443
01:23:08,720 --> 01:23:11,160
Speaker 3: one night with the musician. I don't mean like the

1444
01:23:11,200 --> 01:23:13,120
Speaker 3: guys that you actively tour with, but.

1445
01:23:14,800 --> 01:23:18,360
Speaker 6: I mean men. You know, for me, you know, it's

1446
01:23:18,400 --> 01:23:21,639
Speaker 6: the It's again, it's one of those cliches, the onion

1447
01:23:21,760 --> 01:23:24,759
Speaker 6: thing of every new step that you take as a musician,

1448
01:23:25,560 --> 01:23:28,720
Speaker 6: you reveal a thousand other things. It's like, God, you know,

1449
01:23:28,760 --> 01:23:31,160
Speaker 6: I really need to work on that and that and that.

1450
01:23:31,840 --> 01:23:34,679
Speaker 6: So it's really infinite for me. I mean in terms

1451
01:23:34,760 --> 01:23:38,040
Speaker 6: of God, what do I need to get better at everything?

1452
01:23:38,240 --> 01:23:40,400
Speaker 6: You know? I mean it's just I mean one thing

1453
01:23:40,400 --> 01:23:43,320
Speaker 6: I will say though, So when I started making records,

1454
01:23:43,360 --> 01:23:45,679
Speaker 6: I've only been a musician for four or five years,

1455
01:23:46,240 --> 01:23:48,880
Speaker 6: and I mean now it's fifty some years, and you know,

1456
01:23:49,320 --> 01:23:52,240
Speaker 6: I'm God, I'm like so much better now than I

1457
01:23:52,439 --> 01:23:55,519
Speaker 6: used to be. It's which makes it so much more fun.

1458
01:23:55,600 --> 01:23:59,040
Speaker 6: I understand so much more. And you know, remember when

1459
01:23:59,080 --> 01:24:02,160
Speaker 6: we first started talking, that was kind of the goal

1460
01:24:02,280 --> 01:24:03,559
Speaker 6: for me, and it's still the goal for me. I

1461
01:24:03,600 --> 01:24:06,800
Speaker 6: just want to understand, like what is that? And when

1462
01:24:06,800 --> 01:24:10,120
Speaker 6: I hear some music that I really love, I want

1463
01:24:10,160 --> 01:24:14,120
Speaker 6: to know, like Okay, how does that work? And once

1464
01:24:14,200 --> 01:24:17,400
Speaker 6: I start doing that, usually I get to the point

1465
01:24:17,400 --> 01:24:23,559
Speaker 6: where I can kind of play in that realm and

1466
01:24:24,880 --> 01:24:28,439
Speaker 6: you know, and that that opens up another thousand doors,

1467
01:24:28,479 --> 01:24:30,960
Speaker 6: you know. But I feel like I always am coming

1468
01:24:31,000 --> 01:24:34,160
Speaker 6: to music as a fan first, you know, I'm like,

1469
01:24:34,320 --> 01:24:36,320
Speaker 6: I love music, you know, the same way I love

1470
01:24:36,400 --> 01:24:39,400
Speaker 6: that Models record. You know, I hear stuff all the

1471
01:24:39,439 --> 01:24:41,439
Speaker 6: time and I go, I love that? What is that?

1472
01:24:41,680 --> 01:24:43,439
Speaker 6: And I want to know what it is? And also

1473
01:24:43,600 --> 01:24:45,760
Speaker 6: why do I love that so much? What is it

1474
01:24:45,800 --> 01:24:50,080
Speaker 6: about that that really makes me dig it that much? Okay,

1475
01:24:50,080 --> 01:24:52,439
Speaker 6: I'm going to give you a weird off though. All example,

1476
01:24:52,720 --> 01:24:57,519
Speaker 6: So the big hit right now, that young girl Olivia

1477
01:24:57,680 --> 01:25:00,559
Speaker 6: Yes and her tunes right her tune, And I mean

1478
01:25:00,600 --> 01:25:02,639
Speaker 6: because I have three kids, so I hear the hits

1479
01:25:02,640 --> 01:25:04,560
Speaker 6: all the time, and you know I did hear in

1480
01:25:04,600 --> 01:25:10,240
Speaker 6: the hits, but you know that structurally that tune does

1481
01:25:10,320 --> 01:25:10,800
Speaker 6: a thing.

1482
01:25:11,240 --> 01:25:14,559
Speaker 4: So it's like, you know, to do don't give it

1483
01:25:14,600 --> 01:25:17,600
Speaker 4: that much more power now? Unpleasing you.

1484
01:25:17,760 --> 01:25:20,200
Speaker 6: Again, I don't know anything about the culture. I don't

1485
01:25:20,240 --> 01:25:21,160
Speaker 6: know anything.

1486
01:25:20,800 --> 01:25:24,280
Speaker 4: About her no no, no, no, no summer you.

1487
01:25:24,240 --> 01:25:27,720
Speaker 6: Know, doing that thing. And also it's something that happens

1488
01:25:28,080 --> 01:25:30,599
Speaker 6: a lot in right at the moment the thing where

1489
01:25:30,600 --> 01:25:33,519
Speaker 6: it's kind of fast, but it's also halftime, but it's

1490
01:25:33,560 --> 01:25:36,040
Speaker 6: also double time, you know, which is a cool thing.

1491
01:25:36,280 --> 01:25:39,320
Speaker 6: I mean there's like some you know, swing versions of

1492
01:25:39,360 --> 01:25:41,559
Speaker 6: that too, you know. I mean that's a great thing.

1493
01:25:42,200 --> 01:25:47,559
Speaker 4: And there you have it, Pat Metheny, I.

1494
01:25:47,520 --> 01:25:51,000
Speaker 6: Mean that that just popped into my mind. But you know,

1495
01:25:51,080 --> 01:25:58,120
Speaker 6: in terms of orchestration, dynamics, build execution, and then particularly communication,

1496
01:25:58,320 --> 01:26:01,439
Speaker 6: I mean, it does the thing right, and you know,

1497
01:26:01,600 --> 01:26:04,840
Speaker 6: maybe that's lost in a lot of this discussion. It's

1498
01:26:04,920 --> 01:26:07,719
Speaker 6: like all the stuff you know about rhythm and harmony.

1499
01:26:07,880 --> 01:26:11,320
Speaker 6: Melody is kind of a mystery zone. But rhythm and harmony, man,

1500
01:26:11,360 --> 01:26:13,000
Speaker 6: you can talk about that stuff. You can go to

1501
01:26:13,040 --> 01:26:17,960
Speaker 6: college for four years on rhythm and harmony. Easy.

1502
01:26:21,439 --> 01:26:23,120
Speaker 5: Pat, you were talking about your kids. How old are

1503
01:26:23,120 --> 01:26:23,680
Speaker 5: you kids? Man?

1504
01:26:24,520 --> 01:26:29,160
Speaker 6: They're twenty two, twenty and twelve.

1505
01:26:29,920 --> 01:26:32,559
Speaker 5: Oh okay, that's Olivia, got it.

1506
01:26:33,000 --> 01:26:34,519
Speaker 6: That's what I was gonna say.

1507
01:26:34,520 --> 01:26:35,720
Speaker 4: What with their music matriculation?

1508
01:26:35,840 --> 01:26:38,800
Speaker 9: Like, like, how how do you what'sh your relationship with

1509
01:26:38,800 --> 01:26:39,760
Speaker 9: them musically.

1510
01:26:40,040 --> 01:26:43,599
Speaker 6: Seems like it goes like either full in or like

1511
01:26:44,680 --> 01:26:49,080
Speaker 6: don't bug us with the music thing. Dad, they're more

1512
01:26:49,080 --> 01:26:52,559
Speaker 6: in the second category, although all three of them could

1513
01:26:52,720 --> 01:26:57,519
Speaker 6: be musicians. They're all kind of mind blowingly good years

1514
01:26:57,560 --> 01:27:02,799
Speaker 6: and so forth. Taste wise, man, they're all over the place.

1515
01:27:02,920 --> 01:27:05,840
Speaker 6: You know, my middle kid, Jeff, who's like super hip.

1516
01:27:06,280 --> 01:27:10,639
Speaker 6: He's six'. Four he's mostly into, basketball but he started

1517
01:27:10,680 --> 01:27:13,320
Speaker 6: playing acoustic. Bass AND i mean he's been Around christian

1518
01:27:13,360 --> 01:27:16,160
Speaker 6: And Charlie hayden and all these cats since he was.

1519
01:27:16,240 --> 01:27:20,439
Speaker 6: Born AND i mean he's just got a natural easy

1520
01:27:21,200 --> 01:27:24,760
Speaker 6: walk and. Feel but the notes are kind of, like you,

1521
01:27:24,800 --> 01:27:28,320
Speaker 6: know kind of you, know NOT i don't want to say,

1522
01:27:28,720 --> 01:27:32,599
Speaker 6: random but but you, know the feel Wins actually it's,

1523
01:27:32,640 --> 01:27:35,599
Speaker 6: like you, know with that, feel it's like just fill

1524
01:27:35,640 --> 01:27:37,639
Speaker 6: in some. Lengths but he's just kind of, like, YEAH

1525
01:27:37,680 --> 01:27:39,879
Speaker 6: i Think i'm gonna go practice free throws.

1526
01:27:40,160 --> 01:27:43,840
Speaker 3: Instead so it's never a thing where you forced the

1527
01:27:43,920 --> 01:27:47,040
Speaker 3: kids to like pick up the mantel and you're going

1528
01:27:47,080 --> 01:27:48,120
Speaker 3: to join the family.

1529
01:27:48,160 --> 01:27:50,760
Speaker 4: Business and, okay, yeah, NO.

1530
01:27:50,800 --> 01:27:53,560
Speaker 6: I wouldn't be like. That you, KNOW i don't. See and,

1531
01:27:53,600 --> 01:27:55,679
Speaker 6: also you know, what, man being it LIKE i said,

1532
01:27:55,800 --> 01:27:59,400
Speaker 6: EARLIER i, Mean i'm so happy to be a. Musician you,

1533
01:27:59,400 --> 01:28:01,680
Speaker 6: know it's like we actually get to deal in a.

1534
01:28:01,920 --> 01:28:05,920
Speaker 6: Currency that's. True you, know it's like be. Flat it's

1535
01:28:05,920 --> 01:28:08,320
Speaker 6: always b, flat no matter what else is going. On

1536
01:28:08,840 --> 01:28:09,840
Speaker 6: it's either of it.

1537
01:28:09,920 --> 01:28:11,479
Speaker 5: Is in every. Language is the same.

1538
01:28:11,520 --> 01:28:13,240
Speaker 4: Thing you never know feel.

1539
01:28:13,320 --> 01:28:15,559
Speaker 3: Good you, know we live in a time where facts are,

1540
01:28:15,560 --> 01:28:18,559
Speaker 3: debatable so you know, that but be.

1541
01:28:18,680 --> 01:28:23,240
Speaker 4: Flat it's always be, Flat, Steve BEFORE i, close did

1542
01:28:23,280 --> 01:28:23,920
Speaker 4: you have a? Question?

1543
01:28:24,400 --> 01:28:29,680
Speaker 2: Yeah you were also on other great, Labels Warner, brothers none.

1544
01:28:29,800 --> 01:28:32,479
Speaker 2: Such but the two albums you put out this year

1545
01:28:32,640 --> 01:28:35,720
Speaker 2: in twenty twenty one are On Modern. Recordings is that your?

1546
01:28:35,800 --> 01:28:38,160
Speaker 2: Label and can you tell us a little bit about

1547
01:28:38,240 --> 01:28:38,679
Speaker 2: those two?

1548
01:28:38,720 --> 01:28:39,560
Speaker 4: Records?

1549
01:28:39,920 --> 01:28:43,519
Speaker 6: Yeah so my label was formed in nineteen eighty, four

1550
01:28:43,920 --> 01:28:48,439
Speaker 6: which Is Metheny Group, Productions and from that time until,

1551
01:28:48,479 --> 01:28:52,760
Speaker 6: now at various points along the, WAY i have made

1552
01:28:52,840 --> 01:28:57,880
Speaker 6: licensing deals with several different companies which were then sold

1553
01:28:57,920 --> 01:29:01,760
Speaker 6: to other companies on a couple, occasions which were then

1554
01:29:02,040 --> 01:29:06,439
Speaker 6: distributed by other. Companies but throughout it, All i've always

1555
01:29:06,680 --> 01:29:09,960
Speaker 6: had my own. THING i do WHAT i want to,

1556
01:29:10,000 --> 01:29:14,920
Speaker 6: do and everybody THAT i have worked with along the

1557
01:29:14,960 --> 01:29:18,160
Speaker 6: way has been. Great my thing has been my own

1558
01:29:18,200 --> 01:29:21,160
Speaker 6: thing SINCE i LEFT, ucm and it's just been a

1559
01:29:21,160 --> 01:29:28,040
Speaker 6: matter of getting different. Distributions these. Guys, uh you, know

1560
01:29:28,080 --> 01:29:31,439
Speaker 6: it's part OF, bmg this modern recordings, thing you, know

1561
01:29:31,880 --> 01:29:34,080
Speaker 6: for the first time in a really long. Time because

1562
01:29:34,120 --> 01:29:37,479
Speaker 6: actually WHEN i went To, Geffen geffen was distributed By.

1563
01:29:37,560 --> 01:29:41,120
Speaker 6: WARNERS i, mean it doesn't, matter it's really. Complicated Then

1564
01:29:41,200 --> 01:29:43,760
Speaker 6: warners And geffen got into a fight because of. ME

1565
01:29:43,920 --> 01:29:47,280
Speaker 6: i was like this speck of dust on a pond

1566
01:29:47,400 --> 01:29:50,800
Speaker 6: at the bottom of. That somehow when they broke up

1567
01:29:50,840 --> 01:29:54,880
Speaker 6: their distribution, thing you, know And warners had invested a

1568
01:29:54,920 --> 01:30:00,120
Speaker 6: lot in me and my band distributing With geffen into so,

1569
01:30:00,160 --> 01:30:05,439
Speaker 6: ANYWAY i wound up On. Warners Then warners had a.

1570
01:30:05,479 --> 01:30:08,360
Speaker 6: Thing it was kind of a little different than At,

1571
01:30:08,360 --> 01:30:12,080
Speaker 6: geffen where they really left me completely. Alone WARNERS i

1572
01:30:12,160 --> 01:30:15,240
Speaker 6: kind of did have to you, know and was around

1573
01:30:15,240 --> 01:30:18,719
Speaker 6: a really good guy, There Matt, pearson who was very

1574
01:30:19,200 --> 01:30:23,439
Speaker 6: a really great enthusiastic supporter of my. Thing and then

1575
01:30:23,640 --> 01:30:25,800
Speaker 6: at a certain point they shut that down and Then

1576
01:30:25,880 --> 01:30:29,880
Speaker 6: None such took over what was left of. That and

1577
01:30:29,920 --> 01:30:32,080
Speaker 6: actually the guy that Ran None such at that time

1578
01:30:32,280 --> 01:30:34,559
Speaker 6: was a guy THAT i he started AT ecm WHEN

1579
01:30:34,600 --> 01:30:37,880
Speaker 6: i Did Bob. Hurwitz so it's been all these. Guys

1580
01:30:38,280 --> 01:30:40,120
Speaker 6: i've known all these guys along the, way and it's

1581
01:30:40,120 --> 01:30:43,559
Speaker 6: been great with all of. Them, finally you, KNOW i

1582
01:30:43,640 --> 01:30:46,439
Speaker 6: had this record deal that had been put in PLACE

1583
01:30:46,479 --> 01:30:49,960
Speaker 6: i think in nineteen ninety two FOR i, mean it's.

1584
01:30:50,000 --> 01:30:52,800
Speaker 6: Insane and then it kind of got to the end

1585
01:30:53,000 --> 01:30:54,640
Speaker 6: after all these, years AND i did a lot of

1586
01:30:54,680 --> 01:30:58,519
Speaker 6: records off the lay off the contract and stuff in,

1587
01:30:58,560 --> 01:31:01,799
Speaker 6: between and you, know, whatever it's all just whatever that stuff.

1588
01:31:01,880 --> 01:31:04,680
Speaker 6: Was but, finally for the first, TIME i was kind of, like,

1589
01:31:04,720 --> 01:31:08,320
Speaker 6: OKAY i can it's now. Twelve was going to school

1590
01:31:08,400 --> 01:31:11,479
Speaker 6: and a new kid came into the class From germany

1591
01:31:12,280 --> 01:31:15,519
Speaker 6: and he was this big monster fan and he came

1592
01:31:15,600 --> 01:31:18,120
Speaker 6: to my house and sat down with a guitar and

1593
01:31:18,160 --> 01:31:20,559
Speaker 6: started playing all the tunes AND.

1594
01:31:20,439 --> 01:31:23,799
Speaker 4: I was, like, wow just showed, up like he was invited.

1595
01:31:23,880 --> 01:31:24,800
Speaker 4: Over oh shoot.

1596
01:31:25,040 --> 01:31:28,800
Speaker 6: Yeah and then he, said and we're you, Know i'm

1597
01:31:28,920 --> 01:31:32,200
Speaker 6: part OF bmg and we're starting this new. Thing would

1598
01:31:32,240 --> 01:31:36,759
Speaker 6: you would you possibly be? Interested AND i was, like, well,

1599
01:31:36,840 --> 01:31:40,439
Speaker 6: YEAH i mean why. Not so now they're, distributing AND

1600
01:31:40,560 --> 01:31:43,679
Speaker 6: i mean it's DISTRIBUTED i think By warreners. KID i don't,

1601
01:31:43,720 --> 01:31:46,559
Speaker 6: know you, know for, me especially at this, point the

1602
01:31:46,600 --> 01:31:50,599
Speaker 6: whole idea of records and all, that it's a little

1603
01:31:51,920 --> 01:31:54,040
Speaker 6: hard to even know what's going. ON i, mean you,

1604
01:31:54,080 --> 01:31:57,599
Speaker 6: know it's a different world in a lot of. Ways

1605
01:31:57,640 --> 01:32:00,200
Speaker 6: but on the other, Hand i'm kind of like a

1606
01:32:00,240 --> 01:32:04,080
Speaker 6: guy THAT i do believe in the sort of structure

1607
01:32:04,439 --> 01:32:07,800
Speaker 6: of what an album. IS i think there's something to

1608
01:32:07,800 --> 01:32:10,280
Speaker 6: be said kind of like a novel is different than a,

1609
01:32:10,320 --> 01:32:15,679
Speaker 6: tweet you. Know, Cool, NO i, mean the novel form

1610
01:32:15,800 --> 01:32:19,240
Speaker 6: is a really great, form even short, stories you, know

1611
01:32:19,360 --> 01:32:23,640
Speaker 6: collection of short stories is a really nice, Form and you,

1612
01:32:23,640 --> 01:32:27,120
Speaker 6: KNOW i kind of relate to that in ways that

1613
01:32:27,280 --> 01:32:31,280
Speaker 6: doing one tune at a. Time you, know maybe at

1614
01:32:31,280 --> 01:32:34,400
Speaker 6: some POINT i don't have anything against, it But i'm still,

1615
01:32:34,560 --> 01:32:37,920
Speaker 6: like you, Know i've got so many projects in, mind

1616
01:32:38,320 --> 01:32:40,760
Speaker 6: many of Which i've already even, done that are kind

1617
01:32:40,800 --> 01:32:41,759
Speaker 6: of album type.

1618
01:32:41,800 --> 01:32:45,599
Speaker 4: Records so, yeah, wait do you have another? Question, yeah

1619
01:32:45,640 --> 01:32:47,559
Speaker 4: can we interview interview you?

1620
01:32:47,640 --> 01:32:48,760
Speaker 5: Forever please.

1621
01:32:53,479 --> 01:32:56,640
Speaker 6: Answers you can see for my answers that could actually be.

1622
01:32:56,720 --> 01:33:02,840
Speaker 6: Possible on and on and. On everybody in the house is,

1623
01:33:02,960 --> 01:33:03,439
Speaker 6: like this.

1624
01:33:04,560 --> 01:33:08,200
Speaker 3: Show actually lives up to the idea of WHAT i

1625
01:33:08,240 --> 01:33:12,519
Speaker 3: would like to think every episode Of Quest Love supreme.

1626
01:33:12,680 --> 01:33:15,840
Speaker 3: IS i, MEAN i LOVE i love the education that

1627
01:33:15,880 --> 01:33:18,680
Speaker 3: we're getting and the, knowledge like this is this is very.

1628
01:33:18,680 --> 01:33:21,800
Speaker 4: Important all, RIGHT i got one last. Question, WELL i.

1629
01:33:21,880 --> 01:33:23,600
Speaker 6: Got a bunch of questions for you, too BECAUSE i

1630
01:33:23,880 --> 01:33:25,439
Speaker 6: want to get those, In so.

1631
01:33:25,360 --> 01:33:29,800
Speaker 4: Go, ahead ask. Away, NO i was about to wrap

1632
01:33:29,880 --> 01:33:30,200
Speaker 4: up up.

1633
01:33:30,120 --> 01:33:32,479
Speaker 6: To this, question your last, one and Then i'll start asking.

1634
01:33:32,520 --> 01:33:38,479
Speaker 3: You, OKAY i heard that in an interview once on

1635
01:33:38,800 --> 01:33:43,519
Speaker 3: w BG o where you said that You i'm Sorry,

1636
01:33:44,200 --> 01:33:48,320
Speaker 3: Jersey New york w BG oh famous jazz station Of New,

1637
01:33:48,400 --> 01:33:53,240
Speaker 3: york that you keep a diary or journal of all

1638
01:33:53,280 --> 01:33:56,559
Speaker 3: the shows that you. Do how long have you been

1639
01:33:56,640 --> 01:34:02,439
Speaker 3: keeping a journal of these shows and how in depth

1640
01:34:02,520 --> 01:34:07,320
Speaker 3: are they and do you ever plan on releasing this

1641
01:34:07,520 --> 01:34:11,840
Speaker 3: as a memoir to your illustrious.

1642
01:34:11,880 --> 01:34:16,360
Speaker 6: Career, well the first THING i would say to that

1643
01:34:16,439 --> 01:34:18,760
Speaker 6: is Something i've been saying on, occasion which, is you,

1644
01:34:18,760 --> 01:34:22,280
Speaker 6: know the line between like full blown mental illness and

1645
01:34:22,439 --> 01:34:29,600
Speaker 6: like compulsive productivity is a very fine one THAT i

1646
01:34:29,640 --> 01:34:32,000
Speaker 6: do my best to stay on the right side. Of

1647
01:34:32,640 --> 01:34:36,439
Speaker 6: and you know my reasons for, that it's Been i've

1648
01:34:36,439 --> 01:34:40,599
Speaker 6: been doing it since the nineteen eighty one is THAT

1649
01:34:40,960 --> 01:34:43,439
Speaker 6: i was doing a lot of, gigs and you, know

1650
01:34:43,800 --> 01:34:47,760
Speaker 6: back in those, days it was quite common when you

1651
01:34:47,880 --> 01:34:50,920
Speaker 6: would do a tour you would play the same city

1652
01:34:51,080 --> 01:34:55,240
Speaker 6: two or three times on the, tour and SO i was,

1653
01:34:55,320 --> 01:34:57,479
Speaker 6: LIKE i want to keep track of what we played

1654
01:34:57,560 --> 01:35:00,280
Speaker 6: so that when we come back the next, time play

1655
01:35:00,320 --> 01:35:03,200
Speaker 6: a different set OR i put it in a different.

1656
01:35:03,280 --> 01:35:06,280
Speaker 6: Order so that started. It it was kind of a pragmatic.

1657
01:35:06,360 --> 01:35:10,479
Speaker 6: Thing and THEN i started to, realize, like, okay and

1658
01:35:10,560 --> 01:35:12,960
Speaker 6: also every time we would go to that hall there

1659
01:35:13,040 --> 01:35:16,960
Speaker 6: was like a really nasty, buzz so it's, like you,

1660
01:35:17,000 --> 01:35:18,920
Speaker 6: KNOW i started to keep track of that stuff. Too

1661
01:35:19,200 --> 01:35:21,479
Speaker 6: and every time we would go work with that, promoter

1662
01:35:22,280 --> 01:35:26,719
Speaker 6: he you, know would would not do, this or he

1663
01:35:26,800 --> 01:35:30,160
Speaker 6: had a crappy sound system or whatever it. Was back

1664
01:35:30,200 --> 01:35:33,160
Speaker 6: in those, DAYS i was the tour, manager you, KNOW

1665
01:35:33,240 --> 01:35:37,200
Speaker 6: i was, everything you, know and you, know having that reference,

1666
01:35:37,240 --> 01:35:39,160
Speaker 6: thing THEN i could at least call ahead to the

1667
01:35:39,800 --> 01:35:44,280
Speaker 6: right kind of, whatever you, know so you, know with

1668
01:35:44,320 --> 01:35:46,760
Speaker 6: stuff like. That but then it THEN i realized too

1669
01:35:47,320 --> 01:35:52,360
Speaker 6: THAT i was taking kind OF i was starting to

1670
01:35:52,400 --> 01:35:55,760
Speaker 6: become more aware of the kinds of things THAT i

1671
01:35:55,800 --> 01:36:00,960
Speaker 6: would do again and again THAT i didn't really dig that.

1672
01:36:01,080 --> 01:36:06,640
Speaker 6: Much and you, know and this was totally self. Directed

1673
01:36:07,600 --> 01:36:09,960
Speaker 6: and there is a thing that we all have as,

1674
01:36:10,040 --> 01:36:14,240
Speaker 6: musicians especially if you play a long, set you, know,

1675
01:36:14,920 --> 01:36:19,240
Speaker 6: like you, know the fourth, tune you completely destroy the.

1676
01:36:19,280 --> 01:36:22,800
Speaker 6: Bridge it's like you didn't even come. Close and, then you,

1677
01:36:22,840 --> 01:36:28,120
Speaker 6: know two hours, later the set is over and everybody

1678
01:36:28,160 --> 01:36:31,120
Speaker 6: claps standing ovation or, whatever and you kind of, go, well,

1679
01:36:31,920 --> 01:36:34,040
Speaker 6: YEAH i guess it was. COOL i, mean everybody seemed

1680
01:36:34,040 --> 01:36:36,320
Speaker 6: to dig. It you. Know then the next night you're

1681
01:36:36,360 --> 01:36:38,599
Speaker 6: at the fourth tune again and here comes that bridge

1682
01:36:38,640 --> 01:36:41,479
Speaker 6: and it's like you didn't shed, it you didn't you

1683
01:36:41,560 --> 01:36:44,920
Speaker 6: mess it up, again you. Know so it was stuff like.

1684
01:36:45,000 --> 01:36:47,280
Speaker 6: That it was, like you, know IF i keep track

1685
01:36:47,360 --> 01:36:50,360
Speaker 6: of these things by replaying the whole gig in my,

1686
01:36:50,439 --> 01:36:52,679
Speaker 6: mind BECAUSE i can only do it for about an

1687
01:36:52,680 --> 01:36:55,360
Speaker 6: hour or two after the. Gig after, that it's, like

1688
01:36:55,479 --> 01:36:58,400
Speaker 6: first of, All i'm wasted because we, do you, know

1689
01:36:58,600 --> 01:37:02,000
Speaker 6: six cities a week and you, know riding the bus every,

1690
01:37:02,080 --> 01:37:04,360
Speaker 6: night and so it's like by the next day it's

1691
01:37:04,479 --> 01:37:06,240
Speaker 6: like just a blur. Anyway so.

1692
01:37:10,760 --> 01:37:13,400
Speaker 4: All, right so IF i got you have, QUESTIONS i

1693
01:37:13,439 --> 01:37:14,240
Speaker 4: will answer them for.

1694
01:37:14,320 --> 01:37:14,720
Speaker 6: YOU i got.

1695
01:37:14,800 --> 01:37:16,360
Speaker 4: QUESTIONS i, mean this is a.

1696
01:37:16,439 --> 01:37:18,000
Speaker 5: First i'm so ready for.

1697
01:37:18,040 --> 01:37:20,439
Speaker 4: This i'm not ready for. This i'm, like, yo, man

1698
01:37:21,439 --> 01:37:23,639
Speaker 4: my mom would call me a.

1699
01:37:23,680 --> 01:37:27,760
Speaker 6: Question this won't surprise, you. Though my questions are to

1700
01:37:27,840 --> 01:37:34,479
Speaker 6: start with about the, movie which is unbelievable, Man thank. Yous.

1701
01:37:34,960 --> 01:37:41,000
Speaker 6: Unbelievable it's incredible what you. Did, NOW i MEAN i appreciate,

1702
01:37:41,080 --> 01:37:43,760
Speaker 6: that you, know but it's more Than it's more than

1703
01:37:43,800 --> 01:37:47,599
Speaker 6: what it. Is it's something else that's really, important and

1704
01:37:47,680 --> 01:37:51,760
Speaker 6: you did it so good. MAN i, mean it's, like you,

1705
01:37:51,800 --> 01:37:53,320
Speaker 6: know everybody has to see.

1706
01:37:53,320 --> 01:37:57,600
Speaker 2: That and technically not a, question but, yeah not a,

1707
01:37:57,680 --> 01:37:59,840
Speaker 2: question BUT i.

1708
01:37:59,760 --> 01:38:05,240
Speaker 4: Would take that. Compliment is it any more Sunny sharrock?

1709
01:38:05,479 --> 01:38:08,479
Speaker 6: Footage AND i do have a comment on, That but

1710
01:38:10,200 --> 01:38:11,960
Speaker 6: how did you get it to sound that? Good?

1711
01:38:12,840 --> 01:38:17,920
Speaker 3: Yo that is the million dollar? QUESTION i, lie do you?

1712
01:38:18,040 --> 01:38:24,920
Speaker 3: Not one of my favorite engineers in the world Is Jimmy. Douglas,

1713
01:38:24,320 --> 01:38:27,760
Speaker 3: yes a gentleman who's you. Know he started Off Barry

1714
01:38:27,760 --> 01:38:31,679
Speaker 3: white And slave and eventually went To timberland And Missy.

1715
01:38:31,680 --> 01:38:34,720
Speaker 4: Elliott like he he forty years of.

1716
01:38:34,800 --> 01:38:43,240
Speaker 3: Excellence he also did The Uretha Franklin Amazing grace movie as.

1717
01:38:43,280 --> 01:38:44,640
Speaker 4: WELL i lie to you.

1718
01:38:44,800 --> 01:38:49,880
Speaker 3: Not jimmy hit us and was sort of, LIKE i

1719
01:38:49,920 --> 01:38:55,000
Speaker 3: think this rough mix sounds good as, is and Literally

1720
01:38:55,080 --> 01:38:58,200
Speaker 3: i'll say that we did maybe zero point two percent

1721
01:38:58,320 --> 01:39:02,280
Speaker 3: equing like what you hearing is the act is just

1722
01:39:02,320 --> 01:39:06,080
Speaker 3: a rough reference, mix which to, ME i.

1723
01:39:06,000 --> 01:39:08,280
Speaker 4: Don't know how to explain.

1724
01:39:08,400 --> 01:39:13,080
Speaker 3: That only fifteen microphones and you can look. One you,

1725
01:39:13,120 --> 01:39:15,080
Speaker 3: Know i've watched the movie in various. Ways there was

1726
01:39:15,120 --> 01:39:17,000
Speaker 3: one time WHERE i just watched the movies to see

1727
01:39:17,040 --> 01:39:21,680
Speaker 3: what the outputs. Were and you, know In Stevie wonder set,

1728
01:39:21,720 --> 01:39:25,400
Speaker 3: alone there's there's three mics on his, drums so that's

1729
01:39:25,439 --> 01:39:28,960
Speaker 3: already twelve mics left, over three mics for his, drums

1730
01:39:29,439 --> 01:39:33,559
Speaker 3: three mics for his other, drummer and then his keyboard

1731
01:39:33,560 --> 01:39:37,599
Speaker 3: gets a, mic his vocal gets a, mic and his rhythm,

1732
01:39:37,600 --> 01:39:42,400
Speaker 3: section his guitar and his bass is share there they're

1733
01:39:42,680 --> 01:39:44,479
Speaker 3: what do you call their amster sort of facing each,

1734
01:39:44,520 --> 01:39:47,960
Speaker 3: other so they're sharing a, mic and the remaining five

1735
01:39:48,040 --> 01:39:50,559
Speaker 3: are going to the brass. SECTION i don't know how

1736
01:39:51,320 --> 01:39:55,120
Speaker 3: it sounded at crispy and, perfect but we basically did

1737
01:39:55,600 --> 01:40:01,680
Speaker 3: very little post on on and the sound like what you're,

1738
01:40:01,720 --> 01:40:04,639
Speaker 3: hearing is like the rough mix of the, reference which

1739
01:40:05,000 --> 01:40:07,800
Speaker 3: to me was way more perfect than anything that we

1740
01:40:07,840 --> 01:40:08,439
Speaker 3: could have done to.

1741
01:40:08,479 --> 01:40:13,479
Speaker 6: It So sonny shock, right, yes swallow this connects with

1742
01:40:13,479 --> 01:40:18,719
Speaker 6: with our one of our earlier. Points swallow, said, YEAH

1743
01:40:18,880 --> 01:40:22,560
Speaker 6: i would Watch sonny like get there early and meticulously

1744
01:40:22,600 --> 01:40:25,599
Speaker 6: warm up with these chromatic scales for like an, hour

1745
01:40:26,439 --> 01:40:27,240
Speaker 6: and then he would go.

1746
01:40:27,240 --> 01:40:36,000
Speaker 4: Out on stage and not play chromatic. Scales, no he.

1747
01:40:36,040 --> 01:40:39,800
Speaker 6: Was, Great, Sonny and you got some Good sonny there.

1748
01:40:39,920 --> 01:40:42,679
Speaker 6: TOO i mean the way and ALSO i, mean, MAN

1749
01:40:42,960 --> 01:40:45,680
Speaker 6: i mean so all the music aspect of it is,

1750
01:40:45,720 --> 01:40:48,280
Speaker 6: great but to, me what was really great was the

1751
01:40:48,320 --> 01:40:51,880
Speaker 6: story you told with, it and the way you told

1752
01:40:51,880 --> 01:40:55,800
Speaker 6: the story and just everything about. It, man it's just the,

1753
01:40:55,880 --> 01:40:57,960
Speaker 6: greatest really really.

1754
01:40:58,000 --> 01:41:02,519
Speaker 4: WELL i appreciate, that AND i thank you for receiving.

1755
01:41:02,560 --> 01:41:04,680
Speaker 3: It and they're laughing right now because they know THAT

1756
01:41:04,800 --> 01:41:09,320
Speaker 3: i cringe at, compliments but, No i'm wet right. Now

1757
01:41:09,880 --> 01:41:13,560
Speaker 3: and that, Said i'm rapping up this episode Of Patany's

1758
01:41:13,640 --> 01:41:18,320
Speaker 3: question because they are laughing there As, no, SERIOUSLY i

1759
01:41:18,360 --> 01:41:20,640
Speaker 3: want to thank you for doing, this you, know and,

1760
01:41:20,720 --> 01:41:27,400
Speaker 3: AGAIN i appreciate information in history like.

1761
01:41:27,439 --> 01:41:30,680
Speaker 4: No, other especially with. Music and you, know all that

1762
01:41:30,720 --> 01:41:31,560
Speaker 4: you've done.

1763
01:41:31,439 --> 01:41:35,840
Speaker 3: To to to push to push the art form of music,

1764
01:41:35,880 --> 01:41:40,080
Speaker 3: forward not even just, jazz but just creativity for it

1765
01:41:40,120 --> 01:41:42,600
Speaker 3: is not lost on. Me and we're big fans of

1766
01:41:42,640 --> 01:41:44,120
Speaker 3: yours and we appreciate you.

1767
01:41:44,040 --> 01:41:44,599
Speaker 5: For doing it real.

1768
01:41:44,640 --> 01:41:47,760
Speaker 8: Man, yeah my good Buddy Chris burnoff is a huge

1769
01:41:47,800 --> 01:41:48,040
Speaker 8: fan of.

1770
01:41:48,080 --> 01:41:51,840
Speaker 5: Yours he's my guitar. Player he like has like your.

1771
01:41:51,840 --> 01:41:54,120
Speaker 8: Song he has like A pat mactheeny song book in

1772
01:41:54,160 --> 01:41:55,320
Speaker 8: his studio and he showed it to.

1773
01:41:55,360 --> 01:41:57,840
Speaker 5: Me do that, shitok like The. Bible it was. HUGE

1774
01:41:57,880 --> 01:42:01,080
Speaker 5: i was, like what the? Fuck so, nah, man it.

1775
01:42:01,160 --> 01:42:03,120
Speaker 8: Was i'm a huge fan AND i just want to

1776
01:42:03,160 --> 01:42:05,680
Speaker 8: thank you too for so may it secretly. Begin that's

1777
01:42:05,680 --> 01:42:09,320
Speaker 8: another favorite favorite one of yours THAT i really. Enjoyed

1778
01:42:09,360 --> 01:42:10,840
Speaker 8: so just thank you for all the, music, man for,

1779
01:42:10,880 --> 01:42:11,479
Speaker 8: real it was.

1780
01:42:11,479 --> 01:42:13,599
Speaker 6: A pleasure hanging with you. Guys thank you so much

1781
01:42:13,680 --> 01:42:17,759
Speaker 6: for inviting. Me really, yeah all, right.

1782
01:42:17,600 --> 01:42:19,880
Speaker 3: Well be half a Sugar steve and Unpaid bill and

1783
01:42:20,320 --> 01:42:22,639
Speaker 3: fan tigolo and, like, yeah my name is Quest.

1784
01:42:22,720 --> 01:42:25,360
Speaker 4: Love thank You pat mcffeni. Uh this is Quest Love

1785
01:42:25,439 --> 01:42:27,439
Speaker 4: supreme and we'll see you on the next go. Round all,

1786
01:42:27,520 --> 01:42:28,080
Speaker 4: right thank.

1787
01:42:27,920 --> 01:42:34,960
Speaker 5: You, yo what's? Up this Is.

1788
01:42:35,040 --> 01:42:37,880
Speaker 8: Fonte make sure you keep up with us On instagram

1789
01:42:37,920 --> 01:42:39,720
Speaker 8: AT QLs and let us know what you.

1790
01:42:39,760 --> 01:42:41,599
Speaker 5: Think who should be next to sit down with? Us

1791
01:42:41,840 --> 01:42:45,320
Speaker 5: don't forget to subscribe to our, podcast all? Right Peace.

1792
01:42:53,600 --> 01:42:55,360
Speaker 4: West Love supreme is a production Of.

1793
01:42:55,520 --> 01:43:03,040
Speaker 3: iHeartRadio for more podcasts From, iHeartRadio visit The iHeartRadio, App Apple,

1794
01:43:03,080 --> 01:43:05,439
Speaker 3: podcasts or wherever you listen to your favorite.

1795
01:43:05,439 --> 01:43:05,759
Speaker 5: Shows