Speaker 1: Quest Love Supreme is a production of iHeartRadio. Hi, this
Speaker 1: is Sugar Steve from Questlove Supreme. It's April, which is
Speaker 1: Jazz Appreciation.
Speaker 2: Months, so we are running some selections from the qlsrchas
Speaker 2: from artists who make some jazziza. This is a twenty
Speaker 2: twenty one conversation with none other than Pat Martini. He
Speaker 2: is the only artist to win Grammy's in ten different categories,
Speaker 2: and he's got twenty of them. This interview explores Pat's
Speaker 2: many facets of music and his incredible career accomplishments. From
Speaker 2: one of the greatest guitarists in all of music, let
Speaker 2: alone jazz.
Speaker 1: Please enjoy this QLs classic.
Speaker 3: Ladies and gentlemen, Welcome to another episode of Quest Love Supreme.
Speaker 3: I'm your host, christ Love. We have the entire team
Speaker 3: Supreme with us right now. There is Sugar Steve ready.
Speaker 4: Hello, How you doing?
Speaker 5: Pat Methene? Oh my god.
Speaker 4: This is awesome for Steve, It's awesome for all of us.
Speaker 4: I'm paid Bill, what's up?
Speaker 6: Brother?
Speaker 7: And I feel the same way, Papathe I don't know
Speaker 7: what you did right now.
Speaker 4: I'm gonna try to keep it cool, all right? Skipped
Speaker 4: it from now? These fonticlar.
Speaker 8: I wear it up, but I'm good man down thirty eight.
Speaker 8: We weighed in. You know what I'm saying.
Speaker 4: So, yeah, weigh in every day?
Speaker 5: Hell no, that's chaos.
Speaker 8: I only wear it once a month. I was waiting, Sorry,
Speaker 8: what's a week? I weigh every Monday. So every Monday
Speaker 8: I weigh in and then immediately after I wait in.
Speaker 8: That's when I have, you know, whatever I want to
Speaker 8: eat just at the way.
Speaker 5: In, you know what I mean.
Speaker 4: So because they.
Speaker 5: Give me the rest of the week to work it off.
Speaker 4: You know, accountability.
Speaker 3: I feel you integrity and accountability. I'm right there with you, like, yeah.
Speaker 4: How are you?
Speaker 9: I'm good and I'm negative COVID negative as of yesterday.
Speaker 5: I just wanted word up. But what you had like
Speaker 5: or something?
Speaker 6: Huh?
Speaker 5: Where you worry you had like above or something.
Speaker 9: I'm trying to get out of town, you know, but
Speaker 9: shd I know what I am right now?
Speaker 6: You know what I mean.
Speaker 3: I had a major bug last week. I thought it
Speaker 3: was I thought it was a rap y'all, it's just
Speaker 3: around man, I had the flu, but it was it
Speaker 3: was major anyway, Hey.
Speaker 2: Guys, Pat Metheni's here.
Speaker 3: Yeah, oh I got that anyway, ladies and gentlemen, our
Speaker 3: guest today, his reputation speaks for itself. First of all,
Speaker 3: we have to start with the mind blowing factoid that
Speaker 3: our guest today is the only musician UH to win
Speaker 3: Grammys and ten categories.
Speaker 4: I didn't even know there was such a thing like.
Speaker 3: It's we got to make a collaborative record, so you
Speaker 3: can get a hip hop one.
Speaker 4: You probably have one on it, Okay, you know what
Speaker 4: I'm saying.
Speaker 3: Not to mention this being his almost fifth decade in
Speaker 3: the professional recording business, his grand total was twenty He's
Speaker 3: absolutely one of the most adventurous, dependable, expansive creatives and
Speaker 3: cat artist in music. Even without a guitar. Is the
Speaker 3: way that his brain thinks. He is a self recleaned
Speaker 3: professional improviser, which is very impressive to me because to
Speaker 3: deal with the pressure of having to live up to
Speaker 3: the moment of your expectations and audience expectations, that's a
Speaker 3: lot for me to to weigh in. So I definitely
Speaker 3: want to get on that. That's you know, so much
Speaker 3: I can say, but you know, let's just get to it.
Speaker 3: Ladies and gentlemen, please welcome. Be great Pat matheney Es question.
Speaker 6: Thanks man, what what a treat for me to be here,
Speaker 6: and thanks for inviting me. I really appreciate it.
Speaker 4: Well, we we thank you for coming.
Speaker 3: We were We're also complimenting you on your on your
Speaker 3: your your awesome coiff that you've made.
Speaker 6: Coming from feather one of them picks like you.
Speaker 3: That's all you got to say, That's all you got.
Speaker 4: To you know. It's it's weird because.
Speaker 3: I know, oftentimes sort of outsiders tend to pigeonhole musicians
Speaker 3: in a particular category, and oftentimes more than that, it's
Speaker 3: not necessarily sort of an apt description. I mean, you know,
Speaker 3: to call you a jazz musician, I think is rather limiting,
Speaker 3: because you know, you've done so much more.
Speaker 4: I always wanted to know.
Speaker 3: But the thing is, I'm very familiar with your catalog,
Speaker 3: but not familiar with your story or your journey. What
Speaker 3: would you necessarily call your your brand of music? Because
Speaker 3: you you've literally done everything but the kitchen sink when
Speaker 3: it comes to emulating sounds or producing sounds from your
Speaker 3: studio to the record stores and to our ears, What
Speaker 3: would you call your your genre of music?
Speaker 6: Yeah, that's a question that comes up a lot I'm
Speaker 6: sure for you too. For for for most musicians, you know,
Speaker 6: it's it's it's often an issue. I mean, you know,
Speaker 6: for me, I wish we had a better name for
Speaker 6: for stuff, you know, or or that we didn't have
Speaker 6: to have names to me when whenever we start going
Speaker 6: down the thing of you know, and and yeah, you're right,
Speaker 6: I get it all the time, like you know, what
Speaker 6: is what is this? It's usually for me it's usually
Speaker 6: a political discussion or a cultural discussion or a dress
Speaker 6: code discussion more than a music discussion. And you know,
Speaker 6: I feel like there are a couple musicians in that
Speaker 6: generation that sort of is just above me, that's sort
Speaker 6: of were of course heroes for me, but also kind
Speaker 6: of defined a new way of being as a musician.
Speaker 6: And I'll just throw out some names. I mean, Herbie
Speaker 6: is one, Chick Korea would be an incredible example. This Keith, Jared,
Speaker 6: Gary Burton, And by that, I mean it's a bunch
Speaker 6: of musicians who could play written music with the New
Speaker 6: York Philharmonic one night and probably not get fired and
Speaker 6: actually be invited back with you know, kudos all around,
Speaker 6: and could play the next night with you know, James
Speaker 6: Brown or something, you know, I mean, or or could
Speaker 6: play with, you know, a folk singer. I'm kind of
Speaker 6: like a little bit what you guys have to do,
Speaker 6: you know, on the show too. But I mean, for me,
Speaker 6: when I think about that generation of musicians, and there
Speaker 6: were a few significant people before them, Train, Charlie Parker,
Speaker 6: Art Tatum ll come to mind, it's people who really
Speaker 6: advanced what was possible on their instruments, beyond any description
Speaker 6: that you might want to impose on it on a
Speaker 6: political level or a cultural level, just strictly in terms
Speaker 6: of what can you do as a human being with
Speaker 6: an instrument in your hand. You know, that to me
Speaker 6: is clearly the model. And you know, I mean the
Speaker 6: J word, I don't know anybody that likes that really,
Speaker 6: And you know, then there's all these other ones. I mean, man,
Speaker 6: there was the the F word came along about about
Speaker 6: ten years into my thing, and I was like, where
Speaker 6: did that one come from? I mean, you know, when
Speaker 6: I first, you know, started making records and stuff, that
Speaker 6: was the era of hyphens. You know, there was jazz, rock, jazz,
Speaker 6: folk folk, this, you know, you know, and in a
Speaker 6: way that was a little bit descriptive of something. But
Speaker 6: I mean, man, by the time I came along, I
Speaker 6: was actually a reactionary to you know, distortion and backbeats
Speaker 6: and stuff. I mean I was already kind of like,
Speaker 6: you know, you know, kind of looking for something past
Speaker 6: the Maha issue thing. As much as I love that
Speaker 6: that was really more closely connected to, like Tony Williams
Speaker 6: or something like that. And you know, so you know,
Speaker 6: it's it's hard to to to come up with a name.
Speaker 6: So here's what happens. I mean, you direct answer your question.
Speaker 6: I'm sitting next to a person on a plane who says, well,
Speaker 6: what kind of music do you play? And I kind
Speaker 6: of look at them and I go, well, you know,
Speaker 6: this person seems like if I say jazz, they're going
Speaker 6: to know what I'm talking about, or they're not, or
Speaker 6: you know, it's like it's a case by case thing.
Speaker 6: But man, I mean I kind of would do anything
Speaker 6: to have to avoid having to do that. But of course,
Speaker 6: you know, we do live in a world, especially now,
Speaker 6: where you know, this whole issue of stratification of our
Speaker 6: entire personal lifestyles or something that everybody's cure aiding their
Speaker 6: entire existence in very specific ways. Yeah, my thing of
Speaker 6: trying to open it up even further, is the actually
Speaker 6: in direct opposition to the culture of the moment.
Speaker 3: So I see, Yeah, I was going to say, well, okay,
Speaker 3: I do want to start to how you came to music,
Speaker 3: but since you already went there, I have to know, okay,
Speaker 3: because you were born in a certain time period, and
Speaker 3: knowing that you know albums like in a silent way
Speaker 3: or a bitches brew even on the corner, or I mean,
Speaker 3: I mean, we can even talk about like the experimental
Speaker 3: phase of Coltrane during his last period. You're twelve, thirteen, fourteen,
Speaker 3: fifteen at the time, which I know based on other
Speaker 3: musicians I know of that that's a very that's an
Speaker 3: extremely impressionable and influential time in a musician's life where
Speaker 3: they take everything in and don't throw it away. Whereas
Speaker 3: I would guess if you were older, if you were
Speaker 3: in your twenties during that time period, you might have
Speaker 3: an eyebrow raised with what the fuck is Miles David's
Speaker 3: doing right now? But can you describe what it was
Speaker 3: to grow up at least with your young ears, assuming
Speaker 3: that your palette was changing by.
Speaker 4: Eleven, twelve, thirteen, fourteen fifteen, could you.
Speaker 3: Describe what it was like to witness kind of first
Speaker 3: generation those experimental movements in jazz at such a young age, Like,
Speaker 3: how did you take to it? Was there someone to
Speaker 3: slap your hand like that's not music?
Speaker 6: Or had they done that, it would have made me
Speaker 6: like it even more, which was kind of the kind
Speaker 6: of where I was at. No, it's funny. It's really
Speaker 6: interesting that that you're mentioning that it kind of coincidentally,
Speaker 6: in the past month or so, a really fantastic writer
Speaker 6: in the Kansas City area where I am from, wrote
Speaker 6: a book kind of. I mean, it's ostensibly about me
Speaker 6: from nineteen sixty four to nineteen seventy two, the years
Speaker 6: that I, you know, kind of was on the Kansas
Speaker 6: City scene, right, and man, she brought back all kinds
Speaker 6: of stuff and there's all these people talking about that era,
Speaker 6: and man, it just took me right back there, because
Speaker 6: generally speaking, I don't look back too much. I'm if
Speaker 6: you come to my house, you were talking about Grammys
Speaker 6: and you wouldn't see one thing.
Speaker 4: Man, every broken every day.
Speaker 6: I started zero. You know, I don't want to see
Speaker 6: anything about how the gig was last night. I want
Speaker 6: to like whatever. But today it's new, and so I
Speaker 6: don't like to have anything around. I don't like to
Speaker 6: think too much about kind of, you know whatever from
Speaker 6: in the past. But this book just took me right
Speaker 6: back to exactly what you're talking about. And you know,
Speaker 6: I'm talking about Kansas City, but in fact, I grew
Speaker 6: up in a rural town about twenty thirty miles away
Speaker 6: from Kansas City, where, I mean, man, no one had
Speaker 6: any idea what I was interested in at all, and
Speaker 6: nor did I really have any frame of reference for it. So,
Speaker 6: I mean, I realize now my way of quantifying things was, oh,
Speaker 6: it's on a record. So the record could be The
Speaker 6: Beach Boys, it could be Ornette Coleman, it could be
Speaker 6: John Phillips SUSA. It could be Porter Wagner and Dolly Parton.
Speaker 6: All I knew is I could take it down in
Speaker 6: the basement and play it on my parents recently retired
Speaker 6: record player, and actually I only had a very few records,
Speaker 6: and one of the records that really made an impact
Speaker 6: on me was a record my brother brought home four
Speaker 6: and more. That was it, Miles and Miles record. It
Speaker 6: was you know, it was the Quintet when George Coleman
Speaker 6: was was in it, and it's sort of all the
Speaker 6: up tempo stuff from the My Funny Valentine Live concert.
Speaker 6: And I mean, you know, I do hear the rap
Speaker 6: often of people saying, well, you know, you got to
Speaker 6: develop a taste for that kind of music and this,
Speaker 6: that and the other thing. Man. For me, it was
Speaker 6: like somebody switched on the lights and it was mostly
Speaker 6: Tony to tell you, the tree it was to me
Speaker 6: the sound that, yeah, the sound of the ride symbol
Speaker 6: was to me like that was what was about to
Speaker 6: happen in the world. And it was actually.
Speaker 3: And Tony had a really like heavy It was almost
Speaker 3: like I would describe it as his approach to his
Speaker 3: ride symbol was violent but very beautiful. Just the amount
Speaker 3: of tone that the fact that he can get so
Speaker 3: much tone out of one symbol, hitting in various ways
Speaker 3: like yeah, that always.
Speaker 6: And also he you know, it was just this constantly
Speaker 6: changing like set of grooves. It wasn't it was, you know.
Speaker 6: Then of course I had no reference of any of
Speaker 6: that either, nor did I understand that they were playing
Speaker 6: on a blues or they were playing on the form
Speaker 6: of there is No Greater Love. All I knew is
Speaker 6: what it sounded like and mostly what it felt like
Speaker 6: to me. And at the same time, you know, I
Speaker 6: picked up a guitar a year or two before that because,
Speaker 6: like me and a billion other people in the world,
Speaker 6: I saw the Beatles on the Ed Sullivan Show. So
Speaker 6: the guitar itself was this sort of iconic thing as
Speaker 6: much as it was an instrument, and in reference to
Speaker 6: my general nature, the one thing my parents didn't want
Speaker 6: me to ever do was play electric guitar. So, I mean,
Speaker 6: you know, there you go. It's like, you know, it's
Speaker 6: kind of I joke around.
Speaker 3: Like an electric guitar was like a four letter word,
Speaker 3: similar to like Dylan grabbing electric guitar in sixty five.
Speaker 6: Like, oh, way more than that. I mean, you know,
Speaker 6: way more than that. I mean it was like I
Speaker 6: I you know, it's more like Mom and Dad, I
Speaker 6: think I'm going to join the devil worshiping cult down
Speaker 6: the street here.
Speaker 3: So it wasn't a matter of like we just want
Speaker 3: a less a not noisy instrument in the house.
Speaker 4: It was more like what that guitar represented exactly. Yeah.
Speaker 4: And there were musicians though, right well.
Speaker 6: They were kind of musicians. I mean, actually they were
Speaker 6: very musical my dad especially was a really good trumpet player.
Speaker 6: And I have a very important figure in my life.
Speaker 6: It's my older brother Mike, five years older than me,
Speaker 6: incredible trumpet player at a very young age. And I
Speaker 6: started playing trumpet two when I was eight, and hence
Speaker 6: the Miles Davis record. You know, trump but was a
Speaker 6: thing kind of in our family, like, you know, not
Speaker 6: any particular kind of trump but just trumpet. And you know,
Speaker 6: we would go see Doc Severnson, who was you know,
Speaker 6: come out the Midwest and do concerts or Clark Terry
Speaker 6: more about the trumpet part of it. And so yeah,
Speaker 6: guitar was this other thing. And once again they were right.
Speaker 6: I mean, man, what happened in the few years after
Speaker 6: nineteen sixty four, sixty five, sixty six with people with
Speaker 6: guitars strapped around their necks was their worst fear come
Speaker 6: to life by ten thousand percent. You know what's weird
Speaker 6: in my case, though, is that that Miles moment put
Speaker 6: me on this whole other direction. And this is more
Speaker 6: in response to your question, I didn't think about, like, oh,
Speaker 6: ornett is really some wacky, far out thing that people
Speaker 6: were getting into fistfights in front of the bandstand about
Speaker 6: and Wes Montgomery, Oh he's commercial because he's playing going
Speaker 6: out of my Head. And you know, I just had no,
Speaker 6: first of all, no interest in that in that aspect
Speaker 6: of it. I was just like, man, what are they playing?
Speaker 6: And how are they playing that? And what do I
Speaker 6: need to know in order to understand this? Like what
Speaker 6: is this?
Speaker 3: And did you know did you understand at at early
Speaker 3: age that maybe jazz was sort of like an intellectuals
Speaker 3: music or an intellectual game, like.
Speaker 4: Did you choose jazz?
Speaker 3: Because like all of your other friends are trying to
Speaker 3: learn Smoke on the water Riff and you're like, well,
Speaker 3: I'm learning Wes Montgomery.
Speaker 6: Like, I mean, you know, again, I have to say
Speaker 6: where I would where I grew up, man, I mean yeah,
Speaker 6: I was. I was completely non aligned with any person
Speaker 6: my own age. You know, I just had nothing to
Speaker 6: do with anybody, nor was I particularly interested what anybody
Speaker 6: thought about anything, because I was really in them. Well,
Speaker 6: I think most people that are going to deal with
Speaker 6: this language at some point along the way, they had
Speaker 6: to spend four or five years, twelve hours a day alone.
Speaker 6: It's you know, it's sort of like, you know, I
Speaker 6: want to give a speech in you know, Greek to
Speaker 6: a bunch of nuclear physicists. You know, first of all,
Speaker 6: I have to learn Greek, and then I got to
Speaker 6: learn about nuclear physics, you know. I mean, it's it's
Speaker 6: not something that's going to happen overnight. You know. The
Speaker 6: benefit for me, though, was the Kansas City thing where
Speaker 6: I just happened to kind of chronologically come along at
Speaker 6: a time where at a very young age, I was
Speaker 6: able to start working with people who were a lot
Speaker 6: better than me. And I mean, I don't know about you,
Speaker 6: but that's the way you learn is to be. And
Speaker 6: I always tell people, try to be the worst person
Speaker 6: in every band you're in, or at least be around
Speaker 6: musicians who you're going to learn some stuff from, because
Speaker 6: that's how it works.
Speaker 4: You know, you got to be the least knowledgeable person
Speaker 4: in your circle.
Speaker 9: So by the time you got in your first band,
Speaker 9: what was your knowledge and.
Speaker 6: Where were you well, I mean, you know, I did
Speaker 6: have my year or so of you know, kind of
Speaker 6: messing around with you know, kind of I guess we
Speaker 6: could say rock bands or whatever, and but you know,
Speaker 6: I immediately took it very seriously to the point of concern.
Speaker 6: I would say, of everybody. You know, I mean the
Speaker 6: other analogy joke I always make, and it's I think
Speaker 6: a valid one. You know, I've got three kids, and
Speaker 6: you know, as much as there had been resistance to
Speaker 6: me playing the guitar, the thought of me spending twelve
Speaker 6: or thirteen hours a day down in the basement, you know,
Speaker 6: learning who knew what was a little bit like for
Speaker 6: right now. If one of my kids said to me, Dad,
Speaker 6: I'm going to become a professional video game player, you know,
Speaker 6: I would say like, no, you're not. You can't do that. Yeah, yeah,
Speaker 6: I mean exactly so. But it was like that to them.
Speaker 6: I was like, yeah, I'm going to you know, learn
Speaker 6: you know this McCoy tyner solo on Reaching fourth and
Speaker 6: I'm going to really check out Roy Haynes. You know tonight.
Speaker 4: Mom, So you were you were practiced twelve hours a day?
Speaker 6: Oh, I was really. I was really finally.
Speaker 4: Up to my expectations.
Speaker 6: I get up at four o'clock in the morning almost
Speaker 6: every day.
Speaker 5: Now, you know.
Speaker 6: It's you know, to me, music is really hard. I
Speaker 6: know there's people that are really talented and stuff, and
Speaker 6: I I really I cautioned people about their talent because
Speaker 6: I kind of don't really believe that much in talent.
Speaker 6: You know, I'm more about you know, it's hard. I
Speaker 6: don't care how talented you are. You gotta you gotta
Speaker 6: work on it.
Speaker 7: Why why are the early days were you pushed towards
Speaker 7: the hollow body because seems like if you earn rock bands,
Speaker 7: it's a weird choice for rock bands, right, I mean
Speaker 7: it was because of West Montgomery, or was just because
Speaker 7: that was the first guitar you had the Gibs in the.
Speaker 6: Yeah, good question. I mean, so with my parents, you know,
Speaker 6: when I finally like convinced them that I was really
Speaker 6: I really wanted to get a guitar, my Christmas present
Speaker 6: one year was not a guitar. It was permission to
Speaker 6: buy a guitar with my own money that I earned.
Speaker 7: You got permission, all right, I got permission.
Speaker 6: So it just happened that the you know, I earned
Speaker 6: sixty dollars doing I had a little back. Yeah, I
Speaker 6: had a little job and looked in the Kansas City
Speaker 6: Star and there was a Gibson guitar for sixty dollars.
Speaker 6: It didn't even say what kind, just Gibson guitar. And
Speaker 6: it was an ES one forty which is this small
Speaker 6: hollow body And honestly I didn't, you know, to me,
Speaker 6: it was like Gibson and it was electric and you know, cool,
Speaker 6: and so I didn't really care with solid body hollow body,
Speaker 6: and that would have been before I heard four and more. Interesting.
Speaker 6: So once I heard four and more, then I began
Speaker 6: the thing that we all do of, like, you know, okay,
Speaker 6: who are the other trumpet players? Who are the other
Speaker 6: bass player that I need to know? And then, of
Speaker 6: course guitar. I was already holding it in my hand,
Speaker 6: and in fact, the father of a friend of my
Speaker 6: brother said, you know, you should check out Wes Montgomery
Speaker 6: and he played me a record and man, that was
Speaker 6: it for me. And I was like, well, I got
Speaker 6: this hollow body already.
Speaker 3: So I'm like, you know, in the perfect ballpark the
Speaker 3: guitar shows you you can choose the guitar.
Speaker 6: Well yeah, and then actually funny thing happened. Not funny,
Speaker 6: it was tragic. At the time. My mom is from
Speaker 6: Wisconsin and back in those days, you the only way
Speaker 6: to get to Wisconsin from Kansas City was an airline
Speaker 6: called Ozark Airlines, and you would stop it like des
Speaker 6: Moines Cedar rapids you know, Debuque, like you'd stop like
Speaker 6: six places along the way before going to Manitauc where
Speaker 6: she was from. And when we got to manage Walk,
Speaker 6: I went to get my guitar and it was just
Speaker 6: pieces of wood shattered, not only know, maybe two months
Speaker 6: so it was awful, and but Ozark Airlines gave me
Speaker 6: I think one hundred dollars, you know, in repayment for it.
Speaker 6: And that's when I got my Yes one seventy five,
Speaker 6: which was the guitar that I still play most of
Speaker 6: the time. I've had it all these years.
Speaker 3: I was going to say to you that I want
Speaker 3: to thank you because I thought, I mean, we've done
Speaker 3: five years of five years of shows, and you know,
Speaker 3: we've had every virtuoso musician that you could think of
Speaker 3: on the show, and nothing makes them happier than debunking
Speaker 3: my theory that perfect practice makes perfect And you know this,
Speaker 3: this goes a long time ago. I had met saxophonist
Speaker 3: David Murray and I would ask David like, yo, like
Speaker 3: you know, he mentioned something like, well, you know, I
Speaker 3: took a nap at two in the morning and then
Speaker 3: I got up at six to practice my scales. And
Speaker 3: I'm like wait a minute, you practice your scales at
Speaker 3: six in the morning. He's like, yeah, every day I
Speaker 3: wake up like five, six in the morning, do my
Speaker 3: scales for about four hours. I do breakfast and da
Speaker 3: da da da, Then I do another five hours. We're
Speaker 3: in my tonal thing and I'm like, wait a minute,
Speaker 3: how many hours.
Speaker 4: A day do you practice?
Speaker 3: And he's kicking it, like seventy He's like sometimes ten
Speaker 3: eleven hours.
Speaker 4: I'm like to this day. He's like, yes, to this day.
Speaker 3: And then like his gigging starts, you know, after that
Speaker 3: eleven hours, and you know, I kind of stuck to
Speaker 3: that sort of that religious and that was like back
Speaker 3: in eighty seven eighty eight, and like you know, you
Speaker 3: know it's doing.
Speaker 4: Like a master class with him or something.
Speaker 3: But then, you know, I would ask every musician that
Speaker 3: I knew, like how often do you practice? And they'd
Speaker 3: be like whatever, like two three at the most. It
Speaker 3: was making me think that that whole thing was just
Speaker 3: a myth, like the idea of the musician. Ernie Issley
Speaker 3: has a similar story about when when Jimmy HENDRICKX used
Speaker 3: to live with the Isisley Brothers over in Jersey, how
Speaker 3: Jimmy would wake up every morning to practice his scales
Speaker 3: four point thirty five in the morning, and Ernie would
Speaker 3: just sit in the closet and watch Jimmy for like
Speaker 3: two to three hours practicing these scales.
Speaker 4: And then that's basically how.
Speaker 3: You known, in my opinion, you know, kind of earned
Speaker 3: that baton from Jimmy Hendricks. But yeah, I just want
Speaker 3: to thank you for at least not making me feel foolish,
Speaker 3: because every time I ask about practice or on the show,
Speaker 3: every guest is like whatever.
Speaker 6: So you know, it's an interesting thing because I think
Speaker 6: every musician has a wildly different path, as we all
Speaker 6: do as individuals from everybody else. I mean, everybody's kind
Speaker 6: of got their own physical thing and their own whatever
Speaker 6: I mean, And being a musician also is so unique
Speaker 6: to each person. I mean, what this guy wants to do,
Speaker 6: what that guy? I mean, everybody's got their own path.
Speaker 6: And you know, at the same time, I think that
Speaker 6: like I'm sure you know, we've both known people who
Speaker 6: were just at very young age is incredibly good, like
Speaker 6: they could just kind of do it, and man, that's
Speaker 6: a tough that's like it's almost one of the worst
Speaker 6: things I think.
Speaker 10: That can happen to something handicapped to be like a
Speaker 10: super person because it throws you off, you know, it
Speaker 10: gives you, it gives you kind of the wrong idea.
Speaker 6: And I mean a lot of people can skate maybe
Speaker 6: their entire career that way. But you know, to me,
Speaker 6: the guys that I you know, maybe that list of
Speaker 6: names that I read off, like Gary Burton's a great
Speaker 6: example of this. He I think was in fact, I'm
Speaker 6: sure he was like this ridiculous prodigy guy, but he
Speaker 6: also took it really seriously. And I don't know that
Speaker 6: his version of practicing would be what you and I
Speaker 6: would talk about as practicing. But you know, I mean
Speaker 6: there are people who I think. I mean, Mike Brecker,
Speaker 6: you know, he could he I remember seeing him near
Speaker 6: the end of his life and he was like quiet,
Speaker 6: and he was like practicing, you know. I mean, you know,
Speaker 6: it's like it. I think it can show up in
Speaker 6: a lot of different forms. I will add in in
Speaker 6: my case, I don't ever feel like I'm practicing. I
Speaker 6: always feel like I'm just playing. And when I practice,
Speaker 6: I take a tune that maybe I don't know as
Speaker 6: well as I wish I did, and you know, I
Speaker 6: just start playing it. And I try to play it fast.
Speaker 6: I try to play it slow. I try to play
Speaker 6: it in all twelve keys. I try to really know
Speaker 6: what makes that tune that tune. And that's hard. I mean,
Speaker 6: you know, I can still take tunes that I've been
Speaker 6: playing all these years and play them, and as I'm
Speaker 6: playing them, I'm discovering first of all, what I can
Speaker 6: do and what I can't do, and what I work
Speaker 6: on is what I can't do. It's like, I don't
Speaker 6: do what I can do. I work on what I
Speaker 6: can't do. So if I start hearing something and I
Speaker 6: can't really do that, it's like, Okay, I need to
Speaker 6: work on that, and I'm less. Times I hear people
Speaker 6: and they're practicing, but they're just playing stuff they can
Speaker 6: already play. I try to play what I can't play.
Speaker 2: Is that what the improvising is working on.
Speaker 6: Worms there by the way we're improvising right now, and
Speaker 6: we're using our language. We all have a relationship to
Speaker 6: English that allows us to just do our thing without
Speaker 6: really worrying too much about verbs and nouns and pronouns,
Speaker 6: you know, or what your tongue is doing while you're
Speaker 6: you're just doing it. You're just doing we're improvising, And
Speaker 6: I mean that's essentially you know what what this thing is.
Speaker 6: You know, being a musician in this realm is to
Speaker 6: be able to just talk about whatever you want to
Speaker 6: talk about and not get hung up with the mechanics
Speaker 6: of it.
Speaker 3: Let me ask for okay, So I think I've shared
Speaker 3: this story before. George Clinton once famously joked, you know,
Speaker 3: Prince Prince often had a big reputation for overpracticing. You
Speaker 3: know again that ten am, I'll find you. If you're late,
Speaker 3: We're going to do the same riff five hours in
Speaker 3: a row until we get it right, that sort of thing.
Speaker 3: And George Clinton used to tease that Prince is the
Speaker 3: only cat that he knew that could practice his spontaneity.
Speaker 3: And you know, I know how big you are on improvisation,
Speaker 3: And sometimes even when I'm rehearsing with my guys, sometimes
Speaker 3: I want to save that energy for the stage.
Speaker 4: Like I know that there's a certain.
Speaker 3: Type of energy and excitement that happens at our shows,
Speaker 3: in particular that I often worry we might give away
Speaker 3: in soundcheck, you know, and I kind of want to, like, all.
Speaker 4: Right, all right, save it for the show. Save that
Speaker 4: energy for a show, don't don't go there.
Speaker 3: And get that right, and we shoot the ship before
Speaker 3: the show, save it for the show, and you know, well,
Speaker 3: you're you're actually I'm wondering, okay. So when I spoke
Speaker 3: to uh when we did Bobby McFerrin on the show,
Speaker 3: you know, he said that, you know, that's his greatest thrill, like,
Speaker 3: you know, not to do too much beforehand, but like
Speaker 3: he considers that I'm practicing on the stage. But because
Speaker 3: I know you're so big into improvisation and whatnot, do
Speaker 3: you ever worry about overpracticing before you even get to.
Speaker 4: Present it to whatever show you're doing that night.
Speaker 6: You know, there are a couple of cliches that are
Speaker 6: really effective, really useful, and I found it be really true,
Speaker 6: and that one about you know, luck or whatever. Success
Speaker 6: is where prepar preparation meets opportunity. To me, that's like
Speaker 6: a key one. And the way that applies to this
Speaker 6: discussion is, you know, knowing kind of as much as
Speaker 6: I can know about the possibilities of what a situation
Speaker 6: might entail. I mean that may be the band and
Speaker 6: the music, the you know whatever, there's infinite variations. As
Speaker 6: much as I can be prepared for those things, the
Speaker 6: more fun I'm going to have. And so for me,
Speaker 6: the goal in fact is I mean spontaneity, improvisation, professional improviser.
Speaker 6: You know, we're kind of circling around the job description
Speaker 6: in a way, and what that involves for me then
Speaker 6: is to be really ready. I mean, I'm like, you know,
Speaker 6: kind of you know, I really strongly enforce that sound
Speaker 6: checks are I don't want to hear anybody really try
Speaker 6: to play anything, and I'm like the save it for
Speaker 6: the gig cham like do not do not jam, do
Speaker 6: not do anything, you know, like just make sure and
Speaker 6: kind of I have I usually come up with like
Speaker 6: one section of something that we can play that we
Speaker 6: can play it for twenty minutes, because it can take
Speaker 6: a while for this kind of music to settle into
Speaker 6: the hall, and you know, I want to give the
Speaker 6: sound guy a chance to do his best too. And
Speaker 6: there's a way for me of improvising where it's sort
Speaker 6: of like I'm going to just kind of hang in
Speaker 6: the zone of the fundamentals that it's kind of improvising,
Speaker 6: but I don't really have to think about it too much,
Speaker 6: and there's a kind of warming up because The physical
Speaker 6: thing of playing for me is I could say almost challenging.
Speaker 6: I mean, I'm not a natural guitar player in a
Speaker 6: lot of ways, so I really do have to warm
Speaker 6: up for a couple hours, and during that period of time,
Speaker 6: I'm trying not to play any quote unquote music. But
Speaker 6: I have kind of developed these things where I can
Speaker 6: sort of invent they almost like unfold on themselves. Like
Speaker 6: I'll start in a key and then I'll say, Okay,
Speaker 6: now I'm going to take that and I'm going to
Speaker 6: move it through uh you know, the cycle of fifths
Speaker 6: backwards or something like that. So I'm not really thinking,
Speaker 6: I'm not thinking about it. I'm just doing something that's
Speaker 6: going to get the mechanics working, that's also doing the
Speaker 6: whatever those brain connections are that you want to have
Speaker 6: where you have an idea and you can get to
Speaker 6: it within you know, sub millisecond, uh, you know response time.
Speaker 6: And you know the best thing for me too, also
Speaker 6: is if I can go all day without talking and
Speaker 6: really I don't eat before a gig, I really get
Speaker 6: into like this thing because for me, the gig is
Speaker 6: is the that's church, you know, that's the destination. I know,
Speaker 6: records are a thing, you know, and there were all
Speaker 6: those years like, Okay, you got to go out on
Speaker 6: the road to promote your record, and I'm like, really,
Speaker 6: I to me, it's like you make a record, so
Speaker 6: when you show up in Peoria, somebody might come to
Speaker 6: the gig because they've heard your name, you know. To me,
Speaker 6: it was always the records where they add to get
Speaker 6: people to come to the gig, because the gig is it.
Speaker 6: And that's still the case for me, which kind of
Speaker 6: fits right now in the world of gigs and T shirts,
Speaker 6: you know, because that's really what we are, right so,
Speaker 6: you know. And I you know, I did kind of
Speaker 6: get into making records there, you know. I mean I
Speaker 6: got better at it, I think, and took it a
Speaker 6: lot more seriously as time went on. But to me,
Speaker 6: the gig is that's it. You know, it's all headed
Speaker 6: for the gigs. So if I can really, you know,
Speaker 6: do the things that I know will help me get
Speaker 6: ready for that moment, and then that moment does take
Speaker 6: on this sort of significance as this is what it's
Speaker 6: all been leading to, you know. I mean from the
Speaker 6: time I heard four and more, you know, it's like
Speaker 6: everything has been leading to this moment, and also this
Speaker 6: may be the last time I ever play, And in fact,
Speaker 6: the last time I ever played was Auckland, New Zealand,
Speaker 6: the first week of March last year. Yeah, you know,
Speaker 6: I didn't know at that time. Gee, that was the
Speaker 6: last time I'm going to play for a year and
Speaker 6: a half. So I'm kind of glad I play like
Speaker 6: that because that was it.
Speaker 4: Yeah, so you've not been on a stage since and
Speaker 4: now got.
Speaker 6: Some gigs coming up. Man, I hope.
Speaker 3: How is this the longest that you went concurrently without
Speaker 3: being on stage.
Speaker 6: This is the longest I've been in one place since
Speaker 6: high school. It's the first time I've brought out a
Speaker 6: window and seen you know, spring, summer, fall, winter, spring,
Speaker 6: summer from one point of view, and I have to
Speaker 6: say it's been fantastic. I've really enjoyed that. And the
Speaker 6: best part for me that the headline is nobody in
Speaker 6: my immediate circle died, you know, and so many of
Speaker 6: people in our community have been hit so hard. I mean,
Speaker 6: not to mention just the new gig thing, but I mean, man,
Speaker 6: I mean, you and I both know a bunch of
Speaker 6: people who are not here right now should be because
Speaker 6: of this stuff. So yeah, it's been rough in that respect,
Speaker 6: but you know, at this point in life, I've done
Speaker 6: a lot of gigs, so that's great. And also it's
Speaker 6: kind of been interesting for me to kind of look
Speaker 6: out the window a bit.
Speaker 2: The first time I think I saw your name and
Speaker 2: credits was on this Joni Mitchell album called Shadows and
Speaker 2: Light nineteen eighty. It's a live album from a tour
Speaker 2: that you did with Jocko. I believe Pastorius was in
Speaker 2: that band as well, Yes, and Joony obviously. Can you
Speaker 2: tell us any memories of that time period playing with
Speaker 2: Jocko and Joni and that tour.
Speaker 6: Well, you know that, I mean, Jocko was, like, you know,
Speaker 6: one of my closest friends, years before anybody knew who
Speaker 6: either one of us were, and you know, our careers
Speaker 6: or whatever you want to call it, parallel to each
Speaker 6: other chronologically in a pretty significant way. In fact, before
Speaker 6: years before the Jony thing, Jocko it on my first record.
Speaker 6: He and I both kind of made our recording debuts
Speaker 6: together without even knowing that's what we were doing. We
Speaker 6: thought we were rehearsing with Paul Blaye, one of the
Speaker 6: greatest piano players ever.
Speaker 4: I was going to say, how did that happen?
Speaker 3: You accidentally made a record with zachopistor is not knowing it?
Speaker 6: Well, you know, Paul was a trip. I don't you know,
Speaker 6: I don't know how much y'all know about.
Speaker 4: Yeah.
Speaker 2: That was my next question was if you could tell
Speaker 2: our viewers about Paul.
Speaker 6: Well, Paul changed music a couple of times.
Speaker 4: Is it Liar Blaye Blaye?
Speaker 6: And I mean you know Carla Blay.
Speaker 4: Yeah, yeah, well he was married.
Speaker 5: That is why.
Speaker 3: Oh okay, see I have a whole relationship with Carla
Speaker 3: Blay is oh yeah, hip hop samples but good.
Speaker 6: Yeah, well Paul was. I mean, you know, I could
Speaker 6: talk for Paul about Paul for forty five minutes, so
Speaker 6: I'll just leave it, you know. I mean, if you
Speaker 6: ever listened to a record Footloose, which was made in
Speaker 6: the early sixties, Pete Laroca playing drums, Swallow playing bass,
Speaker 6: I mean that changed everything. There's a solo that Paul
Speaker 6: plays on a Sonny Rollins record where he called where
Speaker 6: he plays with Sonny and Coleman Hawkins and they play
Speaker 6: all the things you are and Paul solo on that
Speaker 6: like just revolutionized everything. And you can even go back
Speaker 6: to like nineteen fifty six. So Paul was a heavy
Speaker 6: cat and also unusual person. So you know, we were
Speaker 6: asked to go to this rehearsal studio we thought, which
Speaker 6: was a recording studio actually, and there were mics and stuff,
Speaker 6: but you know, we were both pretty green, to tell
Speaker 6: you the truth. And so we were playing and Paul
Speaker 6: had not really let us improvise much. We would just
Speaker 6: play the heads over and over again to all these
Speaker 6: hip Carlo Blay tunes and some more Net tunes, and
Speaker 6: then suddenly we were like playing and I was like, wow,
Speaker 6: this is great, but the John Jaco sounds fantastic on
Speaker 6: this record. Paul that the night before had heard some
Speaker 6: rock band and had decided that I should play through
Speaker 6: a stack of marshals, and he'd rented a wah wah pedal,
Speaker 6: a Morley wah wah pedal guitar player would it's like
Speaker 6: a fate worse than death, you know, And even with
Speaker 6: a good wah wah pedal, that was not really where
Speaker 6: I was at particularly right then. So basically you hear
Speaker 6: Jocko sounding good on that record and then kind of
Speaker 6: off in the distance here and that's me. But yeah,
Speaker 6: so that was nineteen seventy four, and then we made
Speaker 6: Bright Seize Life my record in nineteen seventy five, and
Speaker 6: we played a lot. Is that that trio with Bob Moses,
Speaker 6: the Bright Size Life trio, you know, And that's so
Speaker 6: that's several years before the Jony thing. And in the meantime,
Speaker 6: so after Bryce Eie's Life, Jocko became Jocko because at
Speaker 6: the time I did Bryce Eie's Life, I had to like,
Speaker 6: why would you want to use so and so and
Speaker 6: so and so when you've got this what's that bass
Speaker 6: player's name that you use? I was like, yeah, Gary,
Speaker 6: you're probably right we should do and Moses was like,
Speaker 6: you're crazy if you don't use Jocko, you know. So
Speaker 6: that was the band for Bryceie's Life. And then Jocko
Speaker 6: joined Weather Report shortly after that, and honestly, he and
Speaker 6: I went in very, very different directions in terms of lifestyle.
Speaker 6: Jocko was the only guy I'd ever known, you know,
Speaker 6: kind of around that time who was as straight as
Speaker 6: I was. And you know, the first time I saw
Speaker 6: him with Joe's Amnell, that was a different dude, and
Speaker 6: he remained a different dude. And we were always tight,
Speaker 6: and you know, I had gone different directions, but he
Speaker 6: called me in the middle of the night one night
Speaker 6: and said, I'm going to put together a string band
Speaker 6: for Jonie. I want you to be in it. I'm like, okay, cool,
Speaker 6: And so it was going to be me and Joni
Speaker 6: and Jocko and Alex Akunya playing hand percussion, I think,
Speaker 6: and then I you know, I saw I'm like, wow,
Speaker 6: this is a different level because at that point I
Speaker 6: was still like driving around in the van. I put
Speaker 6: like one hundred and fifty thousand miles or something on
Speaker 6: a van with my band where we would play, you know,
Speaker 6: every two hundred dollars gig. We could play for three
Speaker 6: years in there. And so suddenly it's like lear Jets
Speaker 6: and you know, it's a real culture shock, you know,
Speaker 6: for me. But you know, it was an interesting experience.
Speaker 6: The rest of the band was Mike Brecker Uh and
Speaker 6: Don Olias and then you know, Joni had just gotten
Speaker 6: an electric guitar for the first time and had like
Speaker 6: nine George Benson model and the guitars all tuned different,
Speaker 6: and it was you know, it was an interesting experience. Okay,
Speaker 6: the best part was here in Joni at the end
Speaker 6: when she would do a couple tunes solo, because honestly,
Speaker 6: to me, you know, we it did. You know, she
Speaker 6: didn't need that, you know, she was she was Joni,
Speaker 6: you know, and and to me, her best thing was
Speaker 6: always sitting there and playing the guitar or the piano
Speaker 6: or whatever.
Speaker 3: You know, So you didn't like her for a raison
Speaker 3: to the jazz world that you know, like the stuff
Speaker 3: she did with me.
Speaker 6: In terms of phrasing, she's she's incredible, man, you know,
Speaker 6: I mean, to me, there there are you know again
Speaker 6: we're back to this. How like what are we going
Speaker 6: to talk about in terms of style? You know, I mean, man,
Speaker 6: you know there are some singers like there's some I mean,
Speaker 6: Dolly pardon man, I mean you want to talk about
Speaker 6: phrasing or Dion Warwick or you know. I mean to me,
Speaker 6: it's like, yeah, and Billy Holliday. You know, there's a
Speaker 6: Karen Carpenter. You know. To me that I think about
Speaker 6: people who can really make the melody be the malady,
Speaker 6: you know, And I'm not thinking, oh, well, now she's
Speaker 6: she's folk, jazz, country. You know, it's just music, you know,
Speaker 6: and you know, singers in general, I think we all
Speaker 6: listen to to learn from how to how to do
Speaker 6: that that thing, you know, and Johnny is amazing, you know,
Speaker 6: she's incredible.
Speaker 8: I want to ask you about just your working relationship
Speaker 8: with Alau Mays, you know, who passed, you know, recently.
Speaker 8: He was just somebody that you know, you just seem
Speaker 8: to have just an amazing creative partnership with. Uh, how
Speaker 8: did you guys meet and what was what's your story
Speaker 8: with him?
Speaker 6: Man, it's tough now because it's like, God, there's he said,
Speaker 6: there's Lyle, and there's Charlie, Mike Brecker, you know, Billy Higgins,
Speaker 6: I mentioned Dewey Redman. I mean, man, these are the guys.
Speaker 6: I mean, not only did we live this musical life
Speaker 6: together and each one is so deep and rich and
Speaker 6: very they were like I mean, man, Lyle and I
Speaker 6: grew up together. Literally, I mean, you know, we knew
Speaker 6: each other when we were you know, basically just out
Speaker 6: of being teenagers. And you know, it's just so far
Speaker 6: beyond what I can even say, you know. I mean,
Speaker 6: the good thing is that there's those records, and those
Speaker 6: records say a lot, you know, and yeah, it's tough, man.
Speaker 6: And then I think about like Roy Haynes, who's ninety.
Speaker 9: So that's what I was about to ask you about,
Speaker 9: because I was given the assignment by my father, who's
Speaker 9: a student of Roy Haynes, to ask you about that relationship.
Speaker 9: And you already said earlier that you were listening to
Speaker 9: Roy when you were a young kid. So the fact
Speaker 9: that you guys did a record together, like, can you yeah,
Speaker 9: talk about it?
Speaker 6: Please? Man, I could talk about Roy for the whole time.
Speaker 3: To me that you know, he's still good, he's still amazing,
Speaker 3: he's still killing.
Speaker 6: He's killing and yeah, I mean it's been now, I
Speaker 6: think a couple of years since I usually try to
Speaker 6: go down during his birthday and play at the Blue
Speaker 6: Note with him. I think the last time I did it,
Speaker 6: he had turned ninety three, so he must be ninety
Speaker 6: five or something. It's still playing. Oh my man. You
Speaker 6: know to me that the drum thing is central and
Speaker 6: drummers love to hear me say this, but it's the truth.
Speaker 6: Whoever the drummer is is the leader. It doesn't matter
Speaker 6: whose name is on the marquee, it's the drummer's band.
Speaker 6: And I have been so lucky to play, starting in
Speaker 6: Kansas City with some of the greatest drummers of this
Speaker 6: period of time. And you know, to me, the Roy
Speaker 6: thing as it sort of unfolded throughout the fifties, I
Speaker 6: always point to We three this, it's a famous record
Speaker 6: with Roy and Phineas Newborn and Paul Chambers. To me
Speaker 6: that one, you know, the sound of Roy is the
Speaker 6: sound of modern drumming. I mean, to this day, when
Speaker 6: I play with Roy, that's it. That's it, that's that's
Speaker 6: in a cole of everything. You just listen to this,
Speaker 6: This is great.
Speaker 4: Yeah, let me let me ask for you.
Speaker 3: And I know this might be blasphemous, being as though
Speaker 3: you know you've done sort of long term work with
Speaker 3: with your band well In and now the Pat mctheny group,
Speaker 3: But who would be kind of your all star lineup?
Speaker 3: Like if I were to sign you and say, okay,
Speaker 3: in twenty twenty two, you're going to go out and
Speaker 3: tour the world. You get to put your all star
Speaker 3: lineup together. Who's on drums, who's on keys, Who's who's
Speaker 3: uh on bass, who's on percussion?
Speaker 6: You know? I mean, honestly, I know that my thing
Speaker 6: is kind of there's like these partisan things like oh, well,
Speaker 6: you know, it's really, man, it's just the group. You
Speaker 6: got to check out the group, so that other stuff,
Speaker 6: you know, that's really the only cool stuff all areas now.
Speaker 6: Or you got to check out the tree, you know.
Speaker 6: I mean, the thing from my standpoint is that it's
Speaker 6: not divided, and I have to take some responsibility for that,
Speaker 6: because I kind of got maybe too good at sort
Speaker 6: of like, Okay, this is the Patmatheni group, and this
Speaker 6: is the Patmathini trio, and this is it. And you know,
Speaker 6: people didn't.
Speaker 5: Do that back then.
Speaker 6: You know, that was kind of a new thing to
Speaker 6: have all these different bands and sort of present yourselves
Speaker 6: in different ways. For me, they're all the Pat Metheny
Speaker 6: group because they all acted the same way. It was.
Speaker 6: You know, I'm going to write ninety percent of the
Speaker 6: notes we're gonna play, and we're gonna rehearse, and we're
Speaker 6: gonna you know, it's like it didn't really matter if
Speaker 6: you look and this is a cop out answer to
Speaker 6: your exact question, if you look at the list of
Speaker 6: names of people that I have played with, those are
Speaker 6: my favorite musicians. And you know, but I include in
Speaker 6: that Kenny Garrett, Josh Redman, you know, Mike Brecker, you know,
Speaker 6: those guys, Herbie. You know, I've been really lucky to
Speaker 6: be able to say, you know, man, I you know,
Speaker 6: I just did a due ad tour with Ron Carter. Man.
Speaker 6: I mean it's like, you know, you know, those guys
Speaker 6: are my heroes, man, and everybody I play with, including
Speaker 6: the new cast. Joe Dyson is my hero right now.
Speaker 6: You know, he's a new drummer on the scene from
Speaker 6: New Orleans. Man, this guy is everything I'm talking about,
Speaker 6: you know. So you know it's like to me, to me,
Speaker 6: it's one, you know, my thing. I see it as
Speaker 6: one thing, and you know, I'm just glad to be
Speaker 6: a part of all of it. Man, I just feel
Speaker 6: lucky to be in it, you know.
Speaker 4: Only because you mentioned it, I kind of have to
Speaker 4: go there. Okay. So I don't even know if you're
Speaker 4: aware that.
Speaker 5: We were.
Speaker 4: We were quasi label meets.
Speaker 3: I mean, your period of Geffen I think ended right
Speaker 3: when I started with Geffen, which instantly meant you know,
Speaker 3: that first year rating the closet was just awesome. Like
Speaker 3: you know, it's like your first ben shopping is hiding
Speaker 3: in the going in the closet of your record label
Speaker 3: and taking.
Speaker 4: All the CDs. So that said, you mentioned zero tolerance
Speaker 4: for Silence.
Speaker 3: Okay, so from from my point of view, definitely coming
Speaker 3: from a standpoint of hip hop, which I think our
Speaker 3: ears are built way different than anyone else. For me,
Speaker 3: that album was is always my go to record because
Speaker 3: of your shrill noises, you know, like it's literally just
Speaker 3: an entire album of textures and solo noises that can
Speaker 3: lead to other ideas. So whereas you know, of course,
Speaker 3: you know, I guess if you're talking about your cannon
Speaker 3: for the most part, you know, maybe zero Talents for
Speaker 3: Silence would be kind of considered. You're on the corner
Speaker 3: like an album that was immediately met with indifference and
Speaker 3: anger from the jazz guard whoever, Robert Christa Gower, whoever,
Speaker 3: the critic of the moment is. But for you though,
Speaker 3: I mean now that decades have passed, like what is
Speaker 3: your relationship? What was your feeling with the record when
Speaker 3: you turned it in and you know, three decades after
Speaker 3: the fact, what is your your feelings on that? Because
Speaker 3: there was also speculation that you pulled to Neil Young.
Speaker 3: Neil Young also famously wanted to get off Geffen, And
Speaker 3: you know, I'm giving you.
Speaker 6: That kind of I have to say I rarely get
Speaker 6: pissed off and stuff at.
Speaker 3: That because it was like, oh they thought, you see,
Speaker 3: you heard the rumors of that, you throwaware.
Speaker 6: I mean, there was some guy who wrote something to
Speaker 6: that effect and it's some magazine and.
Speaker 3: That was only because Neil Young did it with trans
Speaker 3: and people thought, you know, like what, Neil Young's doing
Speaker 3: a craft work record. Now he's trying to get off
Speaker 3: the label like that sort of thing. Or so, yeah,
Speaker 3: what were your feelings on its reception and time since then?
Speaker 6: You know my feelings about that well, and also have
Speaker 6: to preface it. And I don't know about you, but
Speaker 6: most it seems like many, if not most musicians never
Speaker 6: ever listen to their own records ever again after they're
Speaker 6: finally mastered, after they've heard it for six months and
Speaker 6: have a jest about whether it should be point two
Speaker 6: dB at niney k. You know all that stuff that
Speaker 6: we all do.
Speaker 3: You know, you don't listen to see if it's aged well.
Speaker 3: Like I don't like listening to my records personally, but
Speaker 3: when I'm making a new record, I will go back
Speaker 3: to the other roots records to see it is his
Speaker 3: age well or not so yeah, maybe.
Speaker 6: I should try that sometimes. I mean no, I mean,
Speaker 6: you know, every now and then, though I do, I
Speaker 6: have to say I hear something and I don't recognize
Speaker 6: that it's me, and usually I go, well, that sounds
Speaker 6: pretty good.
Speaker 4: Who's that?
Speaker 6: Scribe It's rare that I hear something and I go,
Speaker 6: what is that? Oh my god, that's me. So, you know,
Speaker 6: generally speaking, I would say, you know, my sense is that,
Speaker 6: like I was saying before, it's this one long story
Speaker 6: with these different chapters that represented different periods, but it's
Speaker 6: this continuous thing. But specific to what you're talking about here,
Speaker 6: I mean that that was a period for me. You know,
Speaker 6: as I've referenced a couple of times, I grew up
Speaker 6: in a kind of open spaces kind of environment. You know,
Speaker 6: there were lots of trees and then a field and
Speaker 6: then another tree. So so kind of like the idea
Speaker 6: of spaciousness was something that was built into my thing,
Speaker 6: and I carry it with me now. I mean, I've
Speaker 6: got this seventeen years of quiet that I can always
Speaker 6: go to. But my life after the time I left
Speaker 6: Missouri was like man, intense, dense, packed, and it's been
Speaker 6: packed ever since. I mean, you know. I mean, I'm
Speaker 6: on the road like more than most people live in
Speaker 6: New York City, you know, international family. It's an intense
Speaker 6: life and the natural thing for me, and it maybe
Speaker 6: hit a pinnacle around that time was the record Secret Story,
Speaker 6: which was done just at the same time basically as
Speaker 6: Zero Tolerance. And the idea that I had at that
Speaker 6: moment in time was I had lots of these sort
Speaker 6: of images of things that had open canvas, and I
Speaker 6: wanted to fill up the entire canvas. Secret Story does that,
Speaker 6: and Zero Tolerance for Silence does that in a different way,
Speaker 6: and that's kind of my sense of it. There was
Speaker 6: a really great description given to me by a and
Speaker 6: around the time of those two records, and said, you know,
Speaker 6: Secret Story is like a painting and there's a river
Speaker 6: in the painting and it's beautiful. Yeah, that's right, that's
Speaker 6: the river. And that's kind of the way I see
Speaker 6: it too. I didn't know it, but yeah.
Speaker 4: She was right. I just thought about something.
Speaker 3: You know, at the time, in the first part of
Speaker 3: your career, you were on em Records as well, Yeah,
Speaker 3: which is a highly trusted label. However, you made the
Speaker 3: move to Geffen and it's almost like, I almost feel
Speaker 3: like we're in the same boat, because if you're a
Speaker 3: non rocket at often questions I got was like, why
Speaker 3: even risk it going to a label and really not
Speaker 3: built to promote you or whatnot? So what was what
Speaker 3: was the unusual choice of going to Geffen Records?
Speaker 6: Well, you know, honestly, you're right. I started on ECM.
Speaker 6: I did eleven records at ECM.
Speaker 8: Which Travels I really loved. I wanted to say Travels.
Speaker 8: I love this that album, man, beautiful record one.
Speaker 6: That I still you know, if people want one record
Speaker 6: of that era, I say, get Travels because that's got
Speaker 6: a lot of information on it. But you know, after
Speaker 6: my eleven records or the ECM, they were all done
Speaker 6: in the classic form. You get two days record, a
Speaker 6: data mix. By however it came out, that's your record,
Speaker 6: and that's it. And I mean, you know, that's a
Speaker 6: viable way to make music. I mean, you know I
Speaker 6: would still make a record like that now for a
Speaker 6: certain kind of thing. You're doing a documentary, you're doing
Speaker 6: a documentary record. You're getting a bunch of guys, You've
Speaker 6: got some tunes, You're going to play him a couple
Speaker 6: of times. You're going to pick the best take, maybe
Speaker 6: do an edit. We didn't do fixes back then, maybe
Speaker 6: one or two barely, but you know, and that's it.
Speaker 6: And you know, I did my best under those, you know, auspices,
Speaker 6: and I'm to this day grateful to have had the
Speaker 6: chance to be on that label during an incredibly fertile
Speaker 6: period for that label. I mean, it was still kind
Speaker 6: of emerging. I mean I was within the first hundred
Speaker 6: ECM records.
Speaker 2: A couple of times, I think I can I interject,
Speaker 2: and I don't want to interrupt the answer to the
Speaker 2: why I go to Geffrine question. But since we're right
Speaker 2: here at ECM and I just wanted for our listeners
Speaker 2: to hear the name Manfred Iiker, So can you tell
Speaker 2: us a little bit about him? He's the owner and
Speaker 2: producer of the label and thousands of records.
Speaker 6: Yeah, yeah, he's he's the guy that to this day,
Speaker 6: I mean, he's you know, I was in that first
Speaker 6: hundred records. I think they're out close to three thousand now,
Speaker 6: and honestly, everybody should hear about two thousand and six
Speaker 6: hundred of them. Yeah, I really know how to make records.
Speaker 5: Yeah, And he.
Speaker 6: And I honestly we never got along. I was a
Speaker 6: snotty little kid, and I thought I knew all kinds
Speaker 6: of stuff that I probably didn't know. But you know,
Speaker 6: my snottiness ended up also being kind of a super
Speaker 6: charged engine to do a lot of stuff that probably
Speaker 6: was impossible to do that somehow I did, you know,
Speaker 6: and I'm just here, I am admitting on air that
Speaker 6: I was super snotty. Man, that's what, Thank you very much.
Speaker 3: And we're going to go back to that, yeah, exclusive,
Speaker 3: just to finish up the gaff and thing, because ycause
Speaker 3: it is it is kind of an interesting thing.
Speaker 6: So at the time, you know, this was nineteen eighty four,
Speaker 6: I had, you know, had you know, a kind of
Speaker 6: success that honestly, I nobody was more surprised than me
Speaker 6: that we were not selling eight hundred nine hundred records,
Speaker 6: travels and of you know, you know, the records of
Speaker 6: that era, including New Chautauqua, you know, which was a
Speaker 6: solo guitar record. They were selling hundreds of thousands of records.
Speaker 6: They were on the pop charts. And it wasn't like
Speaker 6: I was trying to do that. The tunes were still
Speaker 6: fifteen minutes long. If just we just kind of were
Speaker 6: touring constantly, and there were radio stations around that time
Speaker 6: that would actually play twelve minute tracks mixed in with
Speaker 6: Fleetwood Mac or whatever else was happening. I mean, there
Speaker 6: was a bunch of stuff in the culture that allowed
Speaker 6: that to happen. And so I had a certain I
Speaker 6: guess viability within the recording industry world that caused the
Speaker 6: moment that me leaving EC. I am a lot of
Speaker 6: interest amongst people, and you know, I'm very fortunate that
Speaker 6: from the very beginning I've been with one agency, Ted
Speaker 6: Curland in Boston. We've been together I don't know, forty
Speaker 6: whatever years now, and Ted, Yeah, Ted got the message
Speaker 6: and and sort of did a thing where he got
Speaker 6: a bunch of companies interested. I was able to start
Speaker 6: my own company, which since then we've licensed to all
Speaker 6: the record companies. I own everything from post ECM on
Speaker 6: thanks to Ted.
Speaker 4: Oh wow.
Speaker 6: And among the suitors of that period, David Geffen had
Speaker 6: just started his own company and he only had a
Speaker 6: few artists, John Lennon and you know Sharer and Jennifer Yeah,
Speaker 6: I mean, there were just a few, and hired a
Speaker 6: guy Donna Summer. He had hired Gary gersh who's a
Speaker 6: guy who I had known from the work with that
Speaker 6: I had done just prior to that with David Bowie
Speaker 6: ed Em I signed by the way, Yes, yeah exactly,
Speaker 6: and Gary came to Geffen as one of the guys.
Speaker 6: Gary sort of made a case like, you know this
Speaker 6: guy me, it's nobody knows what it is. He's got
Speaker 6: a following and you know, we should sign him. And
Speaker 6: David I said, can I meet with David Geffen? Wow?
Speaker 6: They arranged it like sure. So I had lunch with
Speaker 6: David Geffen and he was like, well, it sounds like
Speaker 6: you've got a thing going on. We'd like to have
Speaker 6: you on the label. And they never I think I
Speaker 6: ever heard that Jay were there. You know, they were
Speaker 6: just like, this is a band kind of like guns n' Roses.
Speaker 6: We signed this other band, Nirvana. This is a band
Speaker 6: kind of like that band. You know they you know,
Speaker 6: they go out and they play gigs, and they were
Speaker 6: not thinking of it as anything other than music. And
Speaker 6: I mean, you know, wow, that's far out, huh. And
Speaker 6: you know I ended up. I think I've got two
Speaker 6: or three gold records from them from that period.
Speaker 3: I was gonna ask, did you ever think of collaborating
Speaker 3: with Kim and Thurston of Sonic Youth. I know that
Speaker 3: was a big fan of yours.
Speaker 6: No, and and uh you know, I mean it's funny because,
Speaker 6: like you say, at the record company, you know, you
Speaker 6: go to the record company and you see everybody else
Speaker 6: is on the label. And I used to see that
Speaker 6: guy from Guns N' Roses like would be leaving as
Speaker 6: I would come in, or you know. I mean, and
Speaker 6: it was cool because it's like we all had the
Speaker 6: same art director. And I remember when they were doing, uh,
Speaker 6: the Nirvana cover, the famous one, because the guy was
Speaker 6: working on one of my covers at the same time, or.
Speaker 4: That same person.
Speaker 6: I mean, you know it. It was all kind of
Speaker 6: in the house there, including Sonic Youth too, Yeah, because
Speaker 6: they were they were in there too.
Speaker 5: Yeah.
Speaker 3: I was going to say, yeah, as of today, the
Speaker 3: baby from that Enron cover, when the.
Speaker 7: Baby is suing for child pronography charges on Saturday.
Speaker 4: Just just say you need ten bus.
Speaker 11: Man, come on, come on, uh wait, okay, I do
Speaker 11: want to ask, and does anyone from my world, from
Speaker 11: the world of hip hop ever make a big deal
Speaker 11: of letters from home?
Speaker 4: Yes? Yes, without me letting it out the bag.
Speaker 3: You mean like musically, Yeah, see, this is the thing
Speaker 3: I don't I don't want to open up a Pandora's
Speaker 3: box because you own your masters which box, Yes, exactly.
Speaker 3: But but what I'm saying is that again, the hip
Speaker 3: hop world has a way different relationship with you than
Speaker 3: the other words. And you know, I mean that's the
Speaker 3: thing about him, because they'll look at something that the
Speaker 3: average world will ignore and then they'll be like, no,
Speaker 3: but that's the that's the thing over there. So I'm
Speaker 3: just curious, like, do any does anyone from the world
Speaker 3: of hip hop just ever come.
Speaker 4: To you and say, like, yo, let hers from home
Speaker 4: specifically no, next question anyway, you know, I gotta.
Speaker 6: Tell you, man, I'm like, you know, I don't hang much.
Speaker 6: You know, I kind of I've gotten away somehow with
Speaker 6: doing my own thing mostly, and I you know, even
Speaker 6: kind of within the circle of musicians that I would
Speaker 6: probably normally be around, right you know, in the you know,
Speaker 6: going to Smalls or something, and I do go. Hear
Speaker 6: a lot of people and I go and I kind
Speaker 6: of stand in the back and listen to a couple
Speaker 6: of tunes and you know, but all kinds of music.
Speaker 6: But you know, I mean I'm you know, I'm not
Speaker 6: really like in the scene. I mean, I will say
Speaker 6: because I did visit the new power station the other
Speaker 6: day now at Berkeley zoning it, and man, you know
Speaker 6: that was really cool back in those days where yeah,
Speaker 6: I would see uh, you know, you know everybody. You know, like,
Speaker 6: you know, everybody was there all the time. You'd run
Speaker 6: into like you know, Eric Clapton, or you'd run into
Speaker 6: Nita Baker, or you'd run into I mean, everybody was
Speaker 6: there recording all the time, and you'd see everybody, and
Speaker 6: it was in a way, it was kind of a
Speaker 6: social way that you would have an encounter with somebody
Speaker 6: sort of outside of your you know, normal hang but
Speaker 6: you know, I don't go to clubs or do anything
Speaker 6: like where I would be hanging out.
Speaker 8: The record that the slip Away record that was sample
Speaker 8: it was a song it's called Summer Days by its DJ,
Speaker 8: I think Nick Holder, and so actually crazy thing. I
Speaker 8: did a panel with him, this is probably I mean, god,
Speaker 8: this is seventeen years ago and we were just on
Speaker 8: a panel together and I had never heard any of
Speaker 8: his music. And then afterwards I heard Summer Days and
Speaker 8: I was like, man, this is great. I want to say,
Speaker 8: maybe like a year after that, chilling another one. My
Speaker 8: Homi's a big jazz head, and he was like, yo,
Speaker 8: that's so, and so I was like what and then
Speaker 8: he put me on to your break. I was like, oh,
Speaker 8: that's that was thing. Like, I had no clue, but
Speaker 8: that was a bridge to, you know, to the rest
Speaker 8: of that album, to the I.
Speaker 6: Mean, my fundamental kind of feeling about sampling and the
Speaker 6: way that not just my thing, but kind of records
Speaker 6: in general are used in in that realm is very positive.
Speaker 6: I mean to me, it's really related to collage art
Speaker 6: and you know, of course graffiti and all of that stuff,
Speaker 6: which means, you know, that's the language of this moment.
Speaker 6: And so to me it's like I have absolutely no
Speaker 6: problem with it, and I love people do stuff, create creatively.
Speaker 6: But to me, that was just like, man, that's you're.
Speaker 3: Just The thing is is that you know, people don't
Speaker 3: understand like hip hop is at its core, hip hop
Speaker 3: is African music, and African music is repetitive. It's it's
Speaker 3: always a repetition of you know, and I know that
Speaker 3: you come from a world where you got to go
Speaker 3: linear and go in a straight line, like to.
Speaker 4: Somewhere else, somewhere else.
Speaker 3: So I initially asked that question if you were aware
Speaker 3: of how much that particular album, let Us from Home
Speaker 3: At sort of been a kind of a creative outlet
Speaker 3: for like a lot of the classic hip hop stuff
Speaker 3: that I grew up on, only because I know that
Speaker 3: you were also like very open and a key developer
Speaker 3: in like new technology, like with the cinclavier and with
Speaker 3: sampling and and with you know, especially when you start
Speaker 3: at your falcon and Snowman scoring stuff, how you were
Speaker 3: basically kind of using primitive technology that we're using now,
Speaker 3: Like you know, now half the stuff is on our laptop.
Speaker 3: Were you actively advising the Cynclavia people on how to
Speaker 3: build the machine or were you just the first recipient
Speaker 3: to get it and use it?
Speaker 4: And well, we're.
Speaker 6: Going back actually seventy nine for that.
Speaker 4: Oh that's how early. Okay, it was.
Speaker 6: Way before maybe, And yeah, I was out there on
Speaker 6: the bleeding edge of that end. I mean, you know,
Speaker 6: there's all kinds of like sort of shocking you know,
Speaker 6: technological aspects to you know, I mean I remember at
Speaker 6: one point spending five thousand dollars to get a five
Speaker 6: megabyte hard drive five may not gig and we it was.
Speaker 3: It was a megabyte, not even a gig now thousand
Speaker 3: dollars a megabyte.
Speaker 6: It was that maybe yeah, yep, exactly. And not only that,
Speaker 6: it was so fragile it had to have its own
Speaker 6: bunk on the bus. Oh wow. And I mean you
Speaker 6: use it live, yeah, I mean, you know it's a
Speaker 6: funny thing because now, of course everybody does all kinds
Speaker 6: of stuff now. So when the sing Leavier came out,
Speaker 6: their ad was this is the last synthesizer you'll ever
Speaker 6: need to buy and uh, and it had several new
Speaker 6: things that just had not existed before. One was FM synthesis,
Speaker 6: which this is several years before the dread of d
Speaker 6: X seven came along. And then they were the they
Speaker 6: were you didn't like the patches, well you know they
Speaker 6: probably weren't that patches.
Speaker 4: It, So just be honest.
Speaker 3: In eighty five, were you looking at like, yo, d
Speaker 3: X seven, Man, this is the future?
Speaker 4: Or do you automatically knew it was cheesy?
Speaker 6: No? I knew, man. I mean we can also talk
Speaker 6: about since for hours because I have very strong opinions.
Speaker 6: But you know, man, I mean, you know the thing
Speaker 6: about acoustic instruments, you can't make them hurt you, you know,
Speaker 6: and electric instruments, including guitar, their default is pain. You know.
Speaker 6: It's like you really have to have a concept and
Speaker 6: a vision of sound before you plug it in with
Speaker 6: those instruments because their default is just horrible. And also,
Speaker 6: you know, speakers, we we all think about speak and
Speaker 6: we just we don't even think about speakers anymore. Of course,
Speaker 6: it's gonna come out of a speaker. I mean, man,
Speaker 6: speakers suck, you know, compared to a drum or a guitar,
Speaker 6: I mean, speaker, I don't care if it's the best
Speaker 6: speaker in the world. They're horrible. So it's like you
Speaker 6: have to have an accoustick framework to build electric music
Speaker 6: from in my opinion, and I mean my first act
Speaker 6: was to plug it in. You know, I've been dealing
Speaker 6: with knobs and wires and electricity from day one. That's
Speaker 6: part of the instrument. So all of this stuff, computers
Speaker 6: and everything else, for me, that's part of the acts.
Speaker 6: A big thing for me has always been to get
Speaker 6: a good sound and to you know, make it do
Speaker 6: at least something that has a reflection in terms of
Speaker 6: orchestration to this incredible tradition of you know, dietonic chromatic
Speaker 6: music that's evolved over the last few hundred years, and
Speaker 6: you know kind of also included in that. I would say, yeah,
Speaker 6: there can be abstraction, there can be conflict, there can
Speaker 6: be dissonance, there can be all kinds of other stuff.
Speaker 6: But to me, there it requires a certain kind of
Speaker 6: wisdom to make those things really happen. So back to
Speaker 6: the sinclavier. One of the things that it had was
Speaker 6: a sequence there that had never existed commercially before, so
Speaker 6: I could get this thing to play parts that we
Speaker 6: could play with. And I mean, man, that was like
Speaker 6: top secret for twenty years. It's like, you know, we
Speaker 6: would hide the single of ear and nobody really knew
Speaker 6: what we were doing or how it was working and
Speaker 6: what was going on. And we kind of successfully managed
Speaker 6: to do that. But I never had a loop. It
Speaker 6: was always something transparent. I was like writing for Cello's,
Speaker 6: writing for French ones, and there was always this thing
Speaker 6: in there. And we almost never had a clique either.
Speaker 6: It was always some music. Yeah, it was always something
Speaker 6: musical that you could you could work yourself into so
Speaker 6: that you could get the feel in between the thing
Speaker 6: because to me, that's where the music is too, is
Speaker 6: the feel of it. But to me, it's like, if
Speaker 6: there's gonna be a clique, I wanted to rush, you know,
Speaker 6: because all the musicians I love rush. So if there's
Speaker 6: going to be a clip, man, I spend hours with
Speaker 6: the drummer, like working on making it rush and rushing
Speaker 6: we would. I did rushing And some of that probably
Speaker 6: comes from four and More being my first record, because
Speaker 6: they rushing crazy on that. But you know, to me,
Speaker 6: those things it's like tech to me should be in
Speaker 6: the service of the music. I never relinquish anything to
Speaker 6: the tech. I'm always like, come on, man, you know.
Speaker 6: And that goes for the manufacturers too. It's like I'm
Speaker 6: always saying, couldn't you know what if you know that
Speaker 6: kind of stuff? But tempo dynamics and I mean, you know,
Speaker 6: the fact that we're still living with MIDI now is
Speaker 6: just a nightmare, man. I mean that that sucked in
Speaker 6: nineteen eighty five, you know, And so for now it's
Speaker 6: like I know, you know James because I know he
Speaker 6: works with you, but I mean he brings in these
Speaker 6: like quirgs from nineteen eighty five and I'm like, no, no,
Speaker 6: I suffered through that shit back then. Man, But you
Speaker 6: know what, he knows what he's doing, so he can
Speaker 6: do whatever he wants. But yeah, I mean stuff kind
Speaker 6: of was you know, it didn't work that well back then,
Speaker 6: you know, I mean, yeah, you know.
Speaker 3: How would you because he was so early to adapt
Speaker 3: to that sort of technology in your live show, how
Speaker 3: would you adjust if there were any faux paths or.
Speaker 4: You know, you louse?
Speaker 3: Okay, we lost half the you know, half the programming
Speaker 3: for blah blah blah blah blah.
Speaker 6: They own may not know that. A few years ago
Speaker 6: I did an entire project with me and a whole
Speaker 6: bunch of robots. Are you hip to the orchestra on?
Speaker 6: You know, I kind of ragged on speakers a little
Speaker 6: while ago, but actually that kind of got cracked back
Speaker 6: in in early nineteen twenties. Player pianos output device, not
Speaker 6: a speaker, the composers in the room. But he's not
Speaker 6: in the room. You're hearing an acoustic sound. I mean, man,
Speaker 6: there it is. And of course, not long after that,
Speaker 6: somebody came along with wire recordings. Then seventy eights. It's
Speaker 6: like you know that put the player piano guys out
Speaker 6: of business. So for their last gasp, they are like, okay,
Speaker 6: we need to like, let's attach some drum, snare drum
Speaker 6: and some symbols and a xylophone to the player piano.
Speaker 6: And then people did that, and so they did that,
Speaker 6: and you still hear them in pizza parlors every now
Speaker 6: and then, you know where it's like that does yep,
Speaker 6: And those were the first orchestrions. And the thing about
Speaker 6: those instruments you can't listen for more than about thirty
Speaker 6: seconds before you want to kill yourself because they have
Speaker 6: no dynamics. It's just like if somebody talks like this
Speaker 6: all the time, you cannot listen to them because and
Speaker 6: music that doesn't have dynamics, nobody can listen to that.
Speaker 6: And that's that was the real downfall of that tech
Speaker 6: so flat. You know, fast forward seventy years, Yamaha comes
Speaker 6: along with the disclavier, which we all know as you know,
Speaker 6: playing girl from Eanma how to tune in hotel lobbies.
Speaker 6: Only you would say it amazing technology. And that's sol
Speaker 6: annoys which do allow dynamics. And I've followed this stuff
Speaker 6: all along. It's something I've been interested in, you know, basically,
Speaker 6: midy to control voltage that can hit something or do something.
Speaker 6: And so I put together a bunch of instruments from
Speaker 6: five really great inventors, none of them really knew each other,
Speaker 6: and went out and did a whole tour, me on
Speaker 6: a bunch of robots, proving once and for all just
Speaker 6: how weird I actually am. It was. You know, it
Speaker 6: was not quite settled science before that, but that did it.
Speaker 6: You want to talk about, you know, the potential for
Speaker 6: train wrecks.
Speaker 4: Wait, were you the only human on stage?
Speaker 6: I was the only human on stage, and check it out.
Speaker 6: You know. The thing is I made a record which
Speaker 6: you know was not really understood because you couldn't see it.
Speaker 6: But at the very end of the tour, because I
Speaker 6: did one hundred and some concerts around the world with this,
Speaker 6: at the end of the tour, we filmed it and
Speaker 6: you can find it online the orchestre On project, and
Speaker 6: you can see what was going on. And honestly, it's
Speaker 6: ten years now or more twelve years since I did it.
Speaker 6: I can't believe nobody else is doing it. I was like, man,
Speaker 6: you know this is gonna this is going to be
Speaker 6: the thing, but my thing, because there is one of
Speaker 6: these inventors that I've continued to work with, and the
Speaker 6: issue is dynamics, because when you hit your snare man,
Speaker 6: the you know, the amount of you know, what goes
Speaker 6: into that in terms of like pounds per square inch
Speaker 6: is like way more than any solonoid that existed then
Speaker 6: for sure. So now that this one guy who's a
Speaker 6: Belgian guy has come up with a really powerful solenoid
Speaker 6: that if you put your hand down there, it would
Speaker 6: break your hand. Until we can present it to you
Speaker 6: or jay Z or somebody in an acoustic space doing
Speaker 6: the thing that it's supposed to do, we don't have anything.
Speaker 6: But I don't know if you've ever been to Carnival
Speaker 6: in Brazil where it's like acoustic but loud, louder than
Speaker 6: Metallica that.
Speaker 3: Because they're a billion people playing also the same thing exactly.
Speaker 6: But also just the amount of air that gets moved acoustically,
Speaker 6: you know, and you're right, it's coming from not single
Speaker 6: instruments but like a multiple of But imagine what that
Speaker 6: could be if you like, instead of you know, using
Speaker 6: a drum machine and instead of it being like, you know,
Speaker 6: something coming through your crappy little speakers, you're like in
Speaker 6: a where house with like seventeen bass drums getting hit
Speaker 6: harder than you can even imagine to make a sound
Speaker 6: and have it happen. This is the other issue with
Speaker 6: all this stuff is latency because of the amount of
Speaker 6: time from the time you hit a pad or whatever
Speaker 6: till the time it takes it to turn into you know,
Speaker 6: unfortunately midy one point zero to then the ce you know,
Speaker 6: control voltage aspect of it to the mechanism can be
Speaker 6: you know, four or five milliseconds, which in terms of
Speaker 6: groove we know is love stub milliseconds. And so that
Speaker 6: issue also I think, you know, with five G kind
Speaker 6: of stuff, and you know, we're on the cusp of
Speaker 6: a whole bunch of possibilities for musicians with this next
Speaker 6: step in tech that's going to be really great.
Speaker 4: Wow.
Speaker 3: Okay, so you're are you saying that you are currently
Speaker 3: trying to improve on a robot's ability to actually have
Speaker 3: human feel and can pre program dynamics, so like Snare
Speaker 3: one might be seventy seven, but Snare two might be
Speaker 3: forty five, and and can do grace notes and can
Speaker 3: fluctuate and speed and slow down.
Speaker 6: But but okay, so but wait, let me let me
Speaker 6: respond to that, because you know, I mean when the
Speaker 6: sink lavier came out, you know, stringlers, this is going
Speaker 6: to put us out of business. You know, it's like
Speaker 6: you know, a d X seven. You can't tell the
Speaker 6: difference between this and offend your roads.
Speaker 5: It's like, yeah, uk, are you kidding?
Speaker 6: You know, no, no, you know, to me, I'm about
Speaker 6: both and I'm not about either or and the whole
Speaker 6: thing about you know, the like when I did the
Speaker 6: orchestra on project, of course, people are like, you're trying
Speaker 6: to put me the you know, you know all that stuff.
Speaker 6: It's like, no, no, if this is not a better
Speaker 6: way to do anything, this is a different way to
Speaker 6: do something. And I'm all about like, you know, what
Speaker 6: else can we do? I mean, you know, to me,
Speaker 6: like again going back to hip hop, jazz, classical folk.
Speaker 6: You know, what I'm into is creativity. And you know
Speaker 6: that's what I like is you know, like, man, I
Speaker 6: think about the Beatles. It's like god, you know, man,
Speaker 6: some you know, some artists are like happy if they
Speaker 6: if each record's got a sound. I mean those guys
Speaker 6: every track had a completely different sound. I mean, you know,
Speaker 6: it's like God, I wish you know. I mean, you
Speaker 6: know the community that I kind of hang in like
Speaker 6: we're so creative. I mean, man, how many more trumpet
Speaker 6: tenor piano based drum records you know are there going
Speaker 6: to be? And I did, I did two and four.
Speaker 6: But I mean, come on, let's you know what I mean?
Speaker 6: If you think of all the spectrum of all possible
Speaker 6: music that there could be made by humans, and then
Speaker 6: you think about this tiny sliver that most music now
Speaker 6: in habits, it's like why.
Speaker 3: Well, let me let me ask is there a challenge
Speaker 3: that that you have yet to meet?
Speaker 4: And I guess the B side of that question would
Speaker 4: be have you how do you? How do you get?
Speaker 4: How do you navigate in a situation?
Speaker 6: Uh?
Speaker 3: When you're doing improvisation in which I guess improvisation is.
Speaker 4: Only good as your collaborators, and your.
Speaker 3: Collaborators is really is only strong as who your weakest contributor. Well,
Speaker 3: I don't want to say weakest, like, but how do you? Okay,
Speaker 3: let me just ask that question one is is there
Speaker 3: a challenge that you.
Speaker 4: Have dreamt about that you've yet to achieve?
Speaker 3: And how do you navigate a situation in which you
Speaker 3: might be improvised with less skillful musicians. I don't know
Speaker 3: if you know, if you sit in a local bar
Speaker 3: one night with the musician. I don't mean like the
Speaker 3: guys that you actively tour with, but.
Speaker 6: I mean men. You know, for me, you know, it's
Speaker 6: the It's again, it's one of those cliches, the onion
Speaker 6: thing of every new step that you take as a musician,
Speaker 6: you reveal a thousand other things. It's like, God, you know,
Speaker 6: I really need to work on that and that and that.
Speaker 6: So it's really infinite for me. I mean in terms
Speaker 6: of God, what do I need to get better at everything?
Speaker 6: You know? I mean it's just I mean one thing
Speaker 6: I will say though, So when I started making records,
Speaker 6: I've only been a musician for four or five years,
Speaker 6: and I mean now it's fifty some years, and you know,
Speaker 6: I'm God, I'm like so much better now than I
Speaker 6: used to be. It's which makes it so much more fun.
Speaker 6: I understand so much more. And you know, remember when
Speaker 6: we first started talking, that was kind of the goal
Speaker 6: for me, and it's still the goal for me. I
Speaker 6: just want to understand, like what is that? And when
Speaker 6: I hear some music that I really love, I want
Speaker 6: to know, like Okay, how does that work? And once
Speaker 6: I start doing that, usually I get to the point
Speaker 6: where I can kind of play in that realm and
Speaker 6: you know, and that that opens up another thousand doors,
Speaker 6: you know. But I feel like I always am coming
Speaker 6: to music as a fan first, you know, I'm like,
Speaker 6: I love music, you know, the same way I love
Speaker 6: that Models record. You know, I hear stuff all the
Speaker 6: time and I go, I love that? What is that?
Speaker 6: And I want to know what it is? And also
Speaker 6: why do I love that so much? What is it
Speaker 6: about that that really makes me dig it that much? Okay,
Speaker 6: I'm going to give you a weird off though. All example,
Speaker 6: So the big hit right now, that young girl Olivia
Speaker 6: Yes and her tunes right her tune, And I mean
Speaker 6: because I have three kids, so I hear the hits
Speaker 6: all the time, and you know I did hear in
Speaker 6: the hits, but you know that structurally that tune does
Speaker 6: a thing.
Speaker 4: So it's like, you know, to do don't give it
Speaker 4: that much more power now? Unpleasing you.
Speaker 6: Again, I don't know anything about the culture. I don't
Speaker 6: know anything.
Speaker 4: About her no no, no, no, no summer you.
Speaker 6: Know, doing that thing. And also it's something that happens
Speaker 6: a lot in right at the moment the thing where
Speaker 6: it's kind of fast, but it's also halftime, but it's
Speaker 6: also double time, you know, which is a cool thing.
Speaker 6: I mean there's like some you know, swing versions of
Speaker 6: that too, you know. I mean that's a great thing.
Speaker 4: And there you have it, Pat Metheny, I.
Speaker 6: Mean that that just popped into my mind. But you know,
Speaker 6: in terms of orchestration, dynamics, build execution, and then particularly communication,
Speaker 6: I mean, it does the thing right, and you know,
Speaker 6: maybe that's lost in a lot of this discussion. It's
Speaker 6: like all the stuff you know about rhythm and harmony.
Speaker 6: Melody is kind of a mystery zone. But rhythm and harmony, man,
Speaker 6: you can talk about that stuff. You can go to
Speaker 6: college for four years on rhythm and harmony. Easy.
Speaker 5: Pat, you were talking about your kids. How old are
Speaker 5: you kids? Man?
Speaker 6: They're twenty two, twenty and twelve.
Speaker 5: Oh okay, that's Olivia, got it.
Speaker 6: That's what I was gonna say.
Speaker 4: What with their music matriculation?
Speaker 9: Like, like, how how do you what'sh your relationship with
Speaker 9: them musically.
Speaker 6: Seems like it goes like either full in or like
Speaker 6: don't bug us with the music thing. Dad, they're more
Speaker 6: in the second category, although all three of them could
Speaker 6: be musicians. They're all kind of mind blowingly good years
Speaker 6: and so forth. Taste wise, man, they're all over the place.
Speaker 6: You know, my middle kid, Jeff, who's like super hip.
Speaker 6: He's six'. Four he's mostly into, basketball but he started
Speaker 6: playing acoustic. Bass AND i mean he's been Around christian
Speaker 6: And Charlie hayden and all these cats since he was.
Speaker 6: Born AND i mean he's just got a natural easy
Speaker 6: walk and. Feel but the notes are kind of, like you,
Speaker 6: know kind of you, know NOT i don't want to say,
Speaker 6: random but but you, know the feel Wins actually it's,
Speaker 6: like you, know with that, feel it's like just fill
Speaker 6: in some. Lengths but he's just kind of, like, YEAH
Speaker 6: i Think i'm gonna go practice free throws.
Speaker 3: Instead so it's never a thing where you forced the
Speaker 3: kids to like pick up the mantel and you're going
Speaker 3: to join the family.
Speaker 4: Business and, okay, yeah, NO.
Speaker 6: I wouldn't be like. That you, KNOW i don't. See and,
Speaker 6: also you know, what, man being it LIKE i said,
Speaker 6: EARLIER i, Mean i'm so happy to be a. Musician you,
Speaker 6: know it's like we actually get to deal in a.
Speaker 6: Currency that's. True you, know it's like be. Flat it's
Speaker 6: always b, flat no matter what else is going. On
Speaker 6: it's either of it.
Speaker 5: Is in every. Language is the same.
Speaker 4: Thing you never know feel.
Speaker 3: Good you, know we live in a time where facts are,
Speaker 3: debatable so you know, that but be.
Speaker 4: Flat it's always be, Flat, Steve BEFORE i, close did
Speaker 4: you have a? Question?
Speaker 2: Yeah you were also on other great, Labels Warner, brothers none.
Speaker 2: Such but the two albums you put out this year
Speaker 2: in twenty twenty one are On Modern. Recordings is that your?
Speaker 2: Label and can you tell us a little bit about
Speaker 2: those two?
Speaker 4: Records?
Speaker 6: Yeah so my label was formed in nineteen eighty, four
Speaker 6: which Is Metheny Group, Productions and from that time until,
Speaker 6: now at various points along the, WAY i have made
Speaker 6: licensing deals with several different companies which were then sold
Speaker 6: to other companies on a couple, occasions which were then
Speaker 6: distributed by other. Companies but throughout it, All i've always
Speaker 6: had my own. THING i do WHAT i want to,
Speaker 6: do and everybody THAT i have worked with along the
Speaker 6: way has been. Great my thing has been my own
Speaker 6: thing SINCE i LEFT, ucm and it's just been a
Speaker 6: matter of getting different. Distributions these. Guys, uh you, know
Speaker 6: it's part OF, bmg this modern recordings, thing you, know
Speaker 6: for the first time in a really long. Time because
Speaker 6: actually WHEN i went To, Geffen geffen was distributed By.
Speaker 6: WARNERS i, mean it doesn't, matter it's really. Complicated Then
Speaker 6: warners And geffen got into a fight because of. ME
Speaker 6: i was like this speck of dust on a pond
Speaker 6: at the bottom of. That somehow when they broke up
Speaker 6: their distribution, thing you, know And warners had invested a
Speaker 6: lot in me and my band distributing With geffen into so,
Speaker 6: ANYWAY i wound up On. Warners Then warners had a.
Speaker 6: Thing it was kind of a little different than At,
Speaker 6: geffen where they really left me completely. Alone WARNERS i
Speaker 6: kind of did have to you, know and was around
Speaker 6: a really good guy, There Matt, pearson who was very
Speaker 6: a really great enthusiastic supporter of my. Thing and then
Speaker 6: at a certain point they shut that down and Then
Speaker 6: None such took over what was left of. That and
Speaker 6: actually the guy that Ran None such at that time
Speaker 6: was a guy THAT i he started AT ecm WHEN
Speaker 6: i Did Bob. Hurwitz so it's been all these. Guys
Speaker 6: i've known all these guys along the, way and it's
Speaker 6: been great with all of. Them, finally you, KNOW i
Speaker 6: had this record deal that had been put in PLACE
Speaker 6: i think in nineteen ninety two FOR i, mean it's.
Speaker 6: Insane and then it kind of got to the end
Speaker 6: after all these, years AND i did a lot of
Speaker 6: records off the lay off the contract and stuff in,
Speaker 6: between and you, know, whatever it's all just whatever that stuff.
Speaker 6: Was but, finally for the first, TIME i was kind of, like,
Speaker 6: OKAY i can it's now. Twelve was going to school
Speaker 6: and a new kid came into the class From germany
Speaker 6: and he was this big monster fan and he came
Speaker 6: to my house and sat down with a guitar and
Speaker 6: started playing all the tunes AND.
Speaker 4: I was, like, wow just showed, up like he was invited.
Speaker 4: Over oh shoot.
Speaker 6: Yeah and then he, said and we're you, Know i'm
Speaker 6: part OF bmg and we're starting this new. Thing would
Speaker 6: you would you possibly be? Interested AND i was, like, well,
Speaker 6: YEAH i mean why. Not so now they're, distributing AND
Speaker 6: i mean it's DISTRIBUTED i think By warreners. KID i don't,
Speaker 6: know you, know for, me especially at this, point the
Speaker 6: whole idea of records and all, that it's a little
Speaker 6: hard to even know what's going. ON i, mean you,
Speaker 6: know it's a different world in a lot of. Ways
Speaker 6: but on the other, Hand i'm kind of like a
Speaker 6: guy THAT i do believe in the sort of structure
Speaker 6: of what an album. IS i think there's something to
Speaker 6: be said kind of like a novel is different than a,
Speaker 6: tweet you. Know, Cool, NO i, mean the novel form
Speaker 6: is a really great, form even short, stories you, know
Speaker 6: collection of short stories is a really nice, Form and you,
Speaker 6: KNOW i kind of relate to that in ways that
Speaker 6: doing one tune at a. Time you, know maybe at
Speaker 6: some POINT i don't have anything against, it But i'm still,
Speaker 6: like you, Know i've got so many projects in, mind
Speaker 6: many of Which i've already even, done that are kind
Speaker 6: of album type.
Speaker 4: Records so, yeah, wait do you have another? Question, yeah
Speaker 4: can we interview interview you?
Speaker 5: Forever please.
Speaker 6: Answers you can see for my answers that could actually be.
Speaker 6: Possible on and on and. On everybody in the house is,
Speaker 6: like this.
Speaker 3: Show actually lives up to the idea of WHAT i
Speaker 3: would like to think every episode Of Quest Love supreme.
Speaker 3: IS i, MEAN i LOVE i love the education that
Speaker 3: we're getting and the, knowledge like this is this is very.
Speaker 4: Important all, RIGHT i got one last. Question, WELL i.
Speaker 6: Got a bunch of questions for you, too BECAUSE i
Speaker 6: want to get those, In so.
Speaker 4: Go, ahead ask. Away, NO i was about to wrap
Speaker 4: up up.
Speaker 6: To this, question your last, one and Then i'll start asking.
Speaker 3: You, OKAY i heard that in an interview once on
Speaker 3: w BG o where you said that You i'm Sorry,
Speaker 3: Jersey New york w BG oh famous jazz station Of New,
Speaker 3: york that you keep a diary or journal of all
Speaker 3: the shows that you. Do how long have you been
Speaker 3: keeping a journal of these shows and how in depth
Speaker 3: are they and do you ever plan on releasing this
Speaker 3: as a memoir to your illustrious.
Speaker 6: Career, well the first THING i would say to that
Speaker 6: is Something i've been saying on, occasion which, is you,
Speaker 6: know the line between like full blown mental illness and
Speaker 6: like compulsive productivity is a very fine one THAT i
Speaker 6: do my best to stay on the right side. Of
Speaker 6: and you know my reasons for, that it's Been i've
Speaker 6: been doing it since the nineteen eighty one is THAT
Speaker 6: i was doing a lot of, gigs and you, know
Speaker 6: back in those, days it was quite common when you
Speaker 6: would do a tour you would play the same city
Speaker 6: two or three times on the, tour and SO i was,
Speaker 6: LIKE i want to keep track of what we played
Speaker 6: so that when we come back the next, time play
Speaker 6: a different set OR i put it in a different.
Speaker 6: Order so that started. It it was kind of a pragmatic.
Speaker 6: Thing and THEN i started to, realize, like, okay and
Speaker 6: also every time we would go to that hall there
Speaker 6: was like a really nasty, buzz so it's, like you,
Speaker 6: KNOW i started to keep track of that stuff. Too
Speaker 6: and every time we would go work with that, promoter
Speaker 6: he you, know would would not do, this or he
Speaker 6: had a crappy sound system or whatever it. Was back
Speaker 6: in those, DAYS i was the tour, manager you, KNOW
Speaker 6: i was, everything you, know and you, know having that reference,
Speaker 6: thing THEN i could at least call ahead to the
Speaker 6: right kind of, whatever you, know so you, know with
Speaker 6: stuff like. That but then it THEN i realized too
Speaker 6: THAT i was taking kind OF i was starting to
Speaker 6: become more aware of the kinds of things THAT i
Speaker 6: would do again and again THAT i didn't really dig that.
Speaker 6: Much and you, know and this was totally self. Directed
Speaker 6: and there is a thing that we all have as,
Speaker 6: musicians especially if you play a long, set you, know,
Speaker 6: like you, know the fourth, tune you completely destroy the.
Speaker 6: Bridge it's like you didn't even come. Close and, then you,
Speaker 6: know two hours, later the set is over and everybody
Speaker 6: claps standing ovation or, whatever and you kind of, go, well,
Speaker 6: YEAH i guess it was. COOL i, mean everybody seemed
Speaker 6: to dig. It you. Know then the next night you're
Speaker 6: at the fourth tune again and here comes that bridge
Speaker 6: and it's like you didn't shed, it you didn't you
Speaker 6: mess it up, again you. Know so it was stuff like.
Speaker 6: That it was, like you, know IF i keep track
Speaker 6: of these things by replaying the whole gig in my,
Speaker 6: mind BECAUSE i can only do it for about an
Speaker 6: hour or two after the. Gig after, that it's, like
Speaker 6: first of, All i'm wasted because we, do you, know
Speaker 6: six cities a week and you, know riding the bus every,
Speaker 6: night and so it's like by the next day it's
Speaker 6: like just a blur. Anyway so.
Speaker 4: All, right so IF i got you have, QUESTIONS i
Speaker 4: will answer them for.
Speaker 6: YOU i got.
Speaker 4: QUESTIONS i, mean this is a.
Speaker 5: First i'm so ready for.
Speaker 4: This i'm not ready for. This i'm, like, yo, man
Speaker 4: my mom would call me a.
Speaker 6: Question this won't surprise, you. Though my questions are to
Speaker 6: start with about the, movie which is unbelievable, Man thank. Yous.
Speaker 6: Unbelievable it's incredible what you. Did, NOW i MEAN i appreciate,
Speaker 6: that you, know but it's more Than it's more than
Speaker 6: what it. Is it's something else that's really, important and
Speaker 6: you did it so good. MAN i, mean it's, like you,
Speaker 6: know everybody has to see.
Speaker 2: That and technically not a, question but, yeah not a,
Speaker 2: question BUT i.
Speaker 4: Would take that. Compliment is it any more Sunny sharrock?
Speaker 6: Footage AND i do have a comment on, That but
Speaker 6: how did you get it to sound that? Good?
Speaker 3: Yo that is the million dollar? QUESTION i, lie do you?
Speaker 3: Not one of my favorite engineers in the world Is Jimmy. Douglas,
Speaker 3: yes a gentleman who's you. Know he started Off Barry
Speaker 3: white And slave and eventually went To timberland And Missy.
Speaker 4: Elliott like he he forty years of.
Speaker 3: Excellence he also did The Uretha Franklin Amazing grace movie as.
Speaker 4: WELL i lie to you.
Speaker 3: Not jimmy hit us and was sort of, LIKE i
Speaker 3: think this rough mix sounds good as, is and Literally
Speaker 3: i'll say that we did maybe zero point two percent
Speaker 3: equing like what you hearing is the act is just
Speaker 3: a rough reference, mix which to, ME i.
Speaker 4: Don't know how to explain.
Speaker 3: That only fifteen microphones and you can look. One you,
Speaker 3: Know i've watched the movie in various. Ways there was
Speaker 3: one time WHERE i just watched the movies to see
Speaker 3: what the outputs. Were and you, know In Stevie wonder set,
Speaker 3: alone there's there's three mics on his, drums so that's
Speaker 3: already twelve mics left, over three mics for his, drums
Speaker 3: three mics for his other, drummer and then his keyboard
Speaker 3: gets a, mic his vocal gets a, mic and his rhythm,
Speaker 3: section his guitar and his bass is share there they're
Speaker 3: what do you call their amster sort of facing each,
Speaker 3: other so they're sharing a, mic and the remaining five
Speaker 3: are going to the brass. SECTION i don't know how
Speaker 3: it sounded at crispy and, perfect but we basically did
Speaker 3: very little post on on and the sound like what you're,
Speaker 3: hearing is like the rough mix of the, reference which
Speaker 3: to me was way more perfect than anything that we
Speaker 3: could have done to.
Speaker 6: It So sonny shock, right, yes swallow this connects with
Speaker 6: with our one of our earlier. Points swallow, said, YEAH
Speaker 6: i would Watch sonny like get there early and meticulously
Speaker 6: warm up with these chromatic scales for like an, hour
Speaker 6: and then he would go.
Speaker 4: Out on stage and not play chromatic. Scales, no he.
Speaker 6: Was, Great, Sonny and you got some Good sonny there.
Speaker 6: TOO i mean the way and ALSO i, mean, MAN
Speaker 6: i mean so all the music aspect of it is,
Speaker 6: great but to, me what was really great was the
Speaker 6: story you told with, it and the way you told
Speaker 6: the story and just everything about. It, man it's just the,
Speaker 6: greatest really really.
Speaker 4: WELL i appreciate, that AND i thank you for receiving.
Speaker 3: It and they're laughing right now because they know THAT
Speaker 3: i cringe at, compliments but, No i'm wet right. Now
Speaker 3: and that, Said i'm rapping up this episode Of Patany's
Speaker 3: question because they are laughing there As, no, SERIOUSLY i
Speaker 3: want to thank you for doing, this you, know and,
Speaker 3: AGAIN i appreciate information in history like.
Speaker 4: No, other especially with. Music and you, know all that
Speaker 4: you've done.
Speaker 3: To to to push to push the art form of music,
Speaker 3: forward not even just, jazz but just creativity for it
Speaker 3: is not lost on. Me and we're big fans of
Speaker 3: yours and we appreciate you.
Speaker 5: For doing it real.
Speaker 8: Man, yeah my good Buddy Chris burnoff is a huge
Speaker 8: fan of.
Speaker 5: Yours he's my guitar. Player he like has like your.
Speaker 8: Song he has like A pat mactheeny song book in
Speaker 8: his studio and he showed it to.
Speaker 5: Me do that, shitok like The. Bible it was. HUGE
Speaker 5: i was, like what the? Fuck so, nah, man it.
Speaker 8: Was i'm a huge fan AND i just want to
Speaker 8: thank you too for so may it secretly. Begin that's
Speaker 8: another favorite favorite one of yours THAT i really. Enjoyed
Speaker 8: so just thank you for all the, music, man for,
Speaker 8: real it was.
Speaker 6: A pleasure hanging with you. Guys thank you so much
Speaker 6: for inviting. Me really, yeah all, right.
Speaker 3: Well be half a Sugar steve and Unpaid bill and
Speaker 3: fan tigolo and, like, yeah my name is Quest.
Speaker 4: Love thank You pat mcffeni. Uh this is Quest Love
Speaker 4: supreme and we'll see you on the next go. Round all,
Speaker 4: right thank.
Speaker 5: You, yo what's? Up this Is.
Speaker 8: Fonte make sure you keep up with us On instagram
Speaker 8: AT QLs and let us know what you.
Speaker 5: Think who should be next to sit down with? Us
Speaker 5: don't forget to subscribe to our, podcast all? Right Peace.
Speaker 4: West Love supreme is a production Of.
Speaker 3: iHeartRadio for more podcasts From, iHeartRadio visit The iHeartRadio, App Apple,
Speaker 3: podcasts or wherever you listen to your favorite.
Speaker 5: Shows