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

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Speaker 1: episode was produced by the team at Pandora.

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Speaker 2: What up, y'all, it's unpaid bill from Questlove Supreme. As

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Speaker 2: you may have seen throughout June, we are celebrating Black

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Speaker 2: Music Month. We're at leasing an episode every day, so

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Speaker 2: every day you either hear especially picked a QLs classic,

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Speaker 2: and on Wednesdays we are dropping new two part episodes

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Speaker 2: with Main Brady and the legendary James Poyser, both of

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Speaker 2: which were filmed in studio. Black music is deeply important

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Speaker 2: to me and has been an influence throughout my entire career.

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Speaker 2: It's also something to celebrate here in ULLs. In twenty eighteen,

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Speaker 2: QLs had father daughter, Bobby and Madison mcfaranog. This was

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Speaker 2: a phone episode really worth revisiting given that they worked

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Speaker 2: together on Madison's recent album I Hope You Can Forgive

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Speaker 2: Me Enjoy.

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Speaker 1: All right?

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Speaker 3: Giving Baseline fun day a boom boom? Why are you

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Speaker 3: thinking of the Jungle Brother's cool at the end of

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Speaker 3: the record.

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Speaker 1: My name is Questlove. Yeah, it's fact that one Yeah,

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Speaker 1: I can remix my own theme. Yeah, anytime I want.

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Speaker 4: Bo call Supreme Sun South Supreme, call Supreme, so Supreme.

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Speaker 1: My name is Fante. Some say I'm Locoa. I had

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Speaker 1: to sing it like Bobby and do it Aco Poco.

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Speaker 1: Supreme Supreme called Supreme.

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Speaker 5: Supreme.

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Speaker 1: My name is Sugar. Yeah, I always worry. Yeah, I'm

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Speaker 1: never happy. Yes, just give up on me already.

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Speaker 6: Supreme Supreme Supreme.

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Speaker 7: Supreme.

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Speaker 1: Yeah, of course, love Supreme. Yeah, Tilling with the man, Yeah,

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Speaker 1: I mean the best Cosby Theme.

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Speaker 6: Supreme Supreme Supreme Supreme Role.

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Speaker 5: It's like yeah, and Bobby mcphern. Yeah, now you know

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Speaker 5: your friends A Night in the Tunisia and Blackbird. Yeah

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Speaker 5: that's all I'm hearing. I don't care.

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Speaker 6: Supreme Supreme Supreme.

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Speaker 5: Supreme Role.

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Speaker 8: My name is Maddie. Yeah, I'm here with dad. Yeah,

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Speaker 8: this is my first time. Yeah, and I am happy.

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Speaker 6: Supreme Supreme.

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Speaker 1: Supreme, Supreme Supreme.

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Speaker 9: My name and Bobby super Shabby. Yeah it's still.

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Speaker 1: Uber Uber.

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Speaker 6: Supreme, Supreme, Supreme, Supreme, Supreme, Supreme, Supreme, super Supreme.

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Speaker 1: Do Do Do Bo bo.

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Speaker 9: Don't watch me for a bunch of music nerds.

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Speaker 5: We are just rolled over, like wait, they're still that's right, Jesus.

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Speaker 1: I was like, Okay, where is this going like we

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Speaker 1: are the the u exchelon of music knowledge. Yet we

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Speaker 1: couldn't just theme breakout six pm every week like you

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Speaker 1: you know, okay, often.

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Speaker 7: Do you do these? These?

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Speaker 1: You? You are what he will? We're past our hunter

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Speaker 1: episode now episodes Yeah, yeah, first I was very bad

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Speaker 1: at this, but now I'm just mediocre. Ladies and gentlemen,

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Speaker 1: welcome to another episode of course love Supreme on Pandora.

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Speaker 1: As you our guest today is probably one of the

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Speaker 1: most purest artists in the sense of the word pure. Uh.

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Speaker 1: He is a living, breathing instrument very much Uh, as jazz,

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Speaker 1: as he is hip hop, as he is soul, as

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Speaker 1: he is classical.

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Speaker 10: Uh.

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Speaker 1: He is a ten time Grammy winner, absolutely bar none,

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Speaker 1: probably one of the most unique chameleons, vocal chameleons and music,

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Speaker 1: having collaborated with such illuminaries as Chick Area, Herbie Hancock,

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Speaker 1: uh Farah Sanders, vocalists like Algie Road, George Benson, John Hendrix,

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Speaker 1: smaal Ding, Manhattan Transfer, his own voice sestra, and his

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Speaker 1: mind blowing I really want to talk about the Vocabularies

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Speaker 1: project and recording twelve hundred vocal tracks is wow, I

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Speaker 1: would say that he's probably the artist in which leaving

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Speaker 1: his comfort zone is his actual comfort zone. He's made

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Speaker 1: children's he's won Grammys for children's records with Jack Nicholson's

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Speaker 1: done projects with Robin Williams simultaneously in Minnesota, with the

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Speaker 1: Saint Paul Chamber Orchestra over in Barcelona, the ourrel I

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Speaker 1: can't pronounce him, the Orleo Catalia that I'm going on effort. Yeah,

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Speaker 1: there was one point where I was just doing like

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Speaker 1: a bunch of abbreviations. But even his own freaking offspring

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Speaker 1: are killing it. Of course, we love Taylor, who's uh

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Speaker 1: noted be box God and he's uh right now in

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Speaker 1: the in the contemporary jazz world making stuff with napalm

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Speaker 1: from Hiatus Coyote and Robert glasper of course, Javan actor

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Speaker 1: in his own right, is currently the title role in

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Speaker 1: uh in a very unknown off Broadway production of his

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Speaker 1: play called Hamilton. Oh I'm sorry my pocket okay, but yeah,

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Speaker 1: okay anyway, Uh and last but not least are our

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Speaker 1: second guest today, uh Madison, Yeah, last but not damn.

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Speaker 1: This introducces is like seven minutes the extended disco version

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Speaker 1: Our good Friend, Yes, our good Friend Madison McFerrin. She's

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Speaker 1: blazing trails in her own right, uh, sort of with

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Speaker 1: her brand of what I call sensual lapella. Oh, yes,

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Speaker 1: that's good sexual solapella with both her albums, The Foundation Projects,

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Speaker 1: Volume one and Volume two. And yeah, I want to

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Speaker 1: talk about that insane video too. Yeah. So, ladies and gentlemen,

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Speaker 1: please welcome the McFerrin's to Quest Love Supreme. Yes, Bobby Madison. Yes,

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Speaker 1: one day, I'm going to have like a very sustinct

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Speaker 1: and just to the point intro that only takes thirty

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Speaker 1: thirty second. Yeah, ladies and gentlemen, we have Bob mcferrinn

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Speaker 1: on the show. So how how are you today, sir?

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Speaker 1: I well, thank you and yourself. I'm fine, easy to

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Speaker 1: be here. You're speaking voices, calmed us down right two.

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Speaker 1: We might as well do it on NPR levels. So

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Speaker 1: you're you're fine today? You're good?

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Speaker 7: Yes, I am, thank you, Thank you.

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Speaker 1: And Madison, how are you?

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Speaker 8: I'm doing really well. Thank you.

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Speaker 1: I haven't seen you in the month of Sundays, so

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Speaker 1: it's good to see you.

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Speaker 8: It's been a long time.

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Speaker 1: It's since I've left Philadelphia. Wow. Yeah, well, I mean

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Speaker 1: you got you guys. I know that you're you have

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Speaker 1: roots in Philadelphia, Minnesota and the Bay Area, but like,

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Speaker 1: what do you consider home or is it just where

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Speaker 1: you lay your dreadlocks that's your home.

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Speaker 7: Where I dread.

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Speaker 1: Well.

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Speaker 7: Probably for me, the answer would be California.

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Speaker 1: Okay.

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Speaker 7: I grew up in Los Angeles.

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Speaker 10: My parents moved to LA when I was eight, so

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Speaker 10: I went through all my teenage years. I went to

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Speaker 10: college in Sacramento. I went to Sacramento State, right I

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Speaker 10: think now it's called California State University in Sacramento, where

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Speaker 10: I was a composition student. Then all my kids were

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Speaker 10: born in San Francisco, So I think that that pretty

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Speaker 10: much covers it.

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Speaker 8: And our family, like the people who we really are community,

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Speaker 8: they're still in the Bay first.

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Speaker 1: Area, so still fighting, still still there. They haven't been

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Speaker 1: chased out yet.

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Speaker 8: Yeah, my mom is in San Francisco right now. So okay,

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Speaker 8: it just goes to show you when dad's away, she

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Speaker 8: goes back there, goes back home to visit.

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Speaker 1: So you were born and where were you originally?

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Speaker 10: Uh?

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Speaker 1: Not originally? Like there's a remix remix?

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Speaker 7: Are you talking to me?

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Speaker 1: Yes? I am. Where were you born?

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Speaker 7: I was born here in Manhattan.

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Speaker 1: You're in New York. Yeah, okay, okay, So what did

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Speaker 1: your parents do for a living?

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Speaker 7: They were both singers.

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Speaker 10: My father was was the first African American to sign

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Speaker 10: a contract with the Metropolitan Opera in nineteen fifty five.

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Speaker 10: He was the voice of Sidney Poitier in the movie

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Speaker 10: version of Porgy and Porgy and Bess. He was yes,

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Speaker 10: in nineteen.

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Speaker 7: So that was all this time. I thought that was

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Speaker 7: you thought that was Sydney.

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Speaker 1: Yeah, I did know.

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Speaker 7: No, that was my father.

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Speaker 1: That explains a lot. So what what were your your

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Speaker 1: your formative years at least before the age of ten,

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Speaker 1: as far as exposure to music.

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Speaker 10: And well, my parents love jazz and so in addition

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Speaker 10: to Beethoven and Bach and Mozart, you know, I was

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Speaker 10: exposed to Count Basie, to Joe Williams, to uh Dinah

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Speaker 10: Washington and Edda Jones, uh.

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Speaker 7: The Loneous mug.

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Speaker 8: Uh.

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Speaker 7: You know, lots of different different jazz artists.

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Speaker 8: Weren't you also in that like Juilliard prodigy?

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Speaker 10: I wrote Juilliard when I was six.

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Speaker 1: By the way, can we just like mock roll the

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Speaker 1: theme right now? That's the end of our.

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Speaker 10: Wow?

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Speaker 1: Really wow.

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Speaker 10: Yeah. They had a program for aspiring musicians. At that

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Speaker 10: that age, I was admitted and was under the tutelage

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Speaker 10: of Miss Bamberger, and we did some compositions. In fact,

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Speaker 10: there's a composition that I wrote when I was six

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Speaker 10: that Maddie and I even play together sometimes on the

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Speaker 10: piano call the Spanish fiesta do do Do Do Do

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Speaker 10: Do Do Do Deep do do do Do Do Do

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Speaker 10: do do do.

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Speaker 8: But you wrote it on the fly.

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Speaker 7: I wrote it on the fly. Yeah.

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Speaker 10: I wrote it the night before the class the next

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Speaker 10: day and it just it just it just kind of

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Speaker 10: stayed out there.

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Speaker 8: It's very good. As I like thinking about a six

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Speaker 8: year old making this song. I couldn't make this song

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Speaker 8: at twenty six. It blows my mind still.

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Speaker 10: Wow.

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Speaker 1: So initially, like were you studying piano or any other?

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Speaker 10: Piano was my main instrument all through college. I played

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Speaker 10: flute in the school orchestra. That was my second instrument.

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Speaker 10: I was a composition major. I at the time thought

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Speaker 10: that I wanted to write for for television and movies

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Speaker 10: and do arrangements for various groups. And Dave Grusen was

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Speaker 10: my hero at that time. I won one day, made

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Speaker 10: a phone call to his home. I got his number

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Speaker 10: from the Musicians Union directory, and I called him and

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Speaker 10: he called, he called. He returned my call about three

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Speaker 10: days later and invited me to his scoring session he

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Speaker 10: was filming. He was doing a score for a film

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Speaker 10: called Tell Him Willie Boyd's Here with Robert Redford. And

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Speaker 10: he told me to bring me down my compositions. And

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Speaker 10: so I became a student of his in composition for

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Speaker 10: a while, and then later on in life we became friends.

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Speaker 10: We worked together and became friends.

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Speaker 1: Would that ever work in hip hop?

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Speaker 7: Now?

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Speaker 1: Fante like, if someone like say Charles Hamilton, I'm sorry,

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Speaker 1: God do another example, rapper X okay just calls your

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Speaker 1: you know yeah two thousand and one. Yeah, that kind

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Speaker 1: of happened to me in twenty eleven. The real rapper

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Speaker 1: that just sent me a text and I was like,

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Speaker 1: is this really? Are you kidding me? And it was

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Speaker 1: really him?

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Speaker 5: But really you didn't really respond?

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Speaker 1: No, I did respond. I did respond after I vetted

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Speaker 1: and see if it was really him. I was like,

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Speaker 1: is this really told me? He was like, yeah, so

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Speaker 1: you gotta say who it was? Drake? But really, wait,

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Speaker 1: that's how I thought Drake just mentioning like an interviews

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Speaker 1: I didn't realize that. Like I just got like a

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Speaker 1: random text We're about the Blue one day and like

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Speaker 1: he was back in like twenty eleven, and I hit

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Speaker 1: I was like, yo, is this really him? He was like, nah,

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Speaker 1: it's him, dude. I said, okay, oh damn, oh wow,

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Speaker 1: Dave Grus, it works for you. No, I always catch him,

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Speaker 1: like you know, when before they're bubbling over. Like while

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Speaker 1: A swears that I was just no. John Legend swears

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Speaker 1: that also.

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Speaker 5: When he was John Stevens, he was kind of I didn't.

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Speaker 1: He never made himself known. That's why we gotta get

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Speaker 1: him on the show, because I'm tired of him saying

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Speaker 1: that I was just sunning him all that time.

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Speaker 5: Philly.

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Speaker 1: It's like the book that was James Poyser, not me anyway, No,

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Speaker 1: throw him under the bus. So yeah, But at six,

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Speaker 1: were you you knew what what path you wanted to

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Speaker 1: take in life? Or was it just like your parents.

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Speaker 10: Just I didn't really know what I wanted to do

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Speaker 10: really until I was a senior in high school. And

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Speaker 10: up until that time I thought of myself in different ways.

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Speaker 10: I wasn't I can't recall off the top of my

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Speaker 10: head what I was thinking. At that time, I think

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Speaker 10: I was just into being a teenage kid who just

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Speaker 10: loved to go to parties and dance and stuff like

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Speaker 10: that and hang out. But I was called in to

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Speaker 10: the senior counselor's office one day and he asked me

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Speaker 10: a question, he said, and he asked, so what do

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Speaker 10: you want to do with yourself? Who do you think

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Speaker 10: you are? And my answer was, well, I guess I'm

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Speaker 10: a musician.

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Speaker 1: I don't know why he was understatement.

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Speaker 7: Of I'm a musician life.

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Speaker 10: And it wasn't until that moment that I actually have

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Speaker 10: the thoughts solidified in my mind that that's really the

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Speaker 10: path I wanted to take, because I didn't really know

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Speaker 10: anything else.

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Speaker 5: By his time, though, since your parents were professionals, did

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Speaker 5: they notice that you were special in that way? Did

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Speaker 5: they see it?

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Speaker 10: My parents knew I was a musician before I was two.

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Speaker 5: How did they say they know?

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Speaker 7: They just they just knew it.

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Speaker 1: You're going to be a musician. You're going to be

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Speaker 1: a musician.

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Speaker 7: What they could tell see?

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Speaker 1: I was trying to before we got to this interview,

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Speaker 1: I was trying to I guess I was analyzing or

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Speaker 1: over analyzing the path that brought you here, and I thought, well, either,

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Speaker 1: because the thing is you're you're you're spontaneous, fearless nature.

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Speaker 1: It's so daredevil the way that you approach stuff that

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Speaker 1: it's almost like you're a permanent thirteen year old. So

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Speaker 1: either I thought so. Either, I thought, well, similar to

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Speaker 1: Michael Jackson, like you're you're making up for I thought, okay, Well,

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Speaker 1: he had a rigid, strict childhood in the beginning, and

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Speaker 1: then once he became a kyleege jage an adult and

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Speaker 1: it's like, I'm gonna you know that that scene where

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Speaker 1: in Home Alone where what's his name just goes crazy

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Speaker 1: in the house. Uh mcauleay, call I thought it was that,

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Speaker 1: or maybe you know, since the age of two, you

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Speaker 1: were the class clown type, like always disruptive noises in

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Speaker 1: those things, Like I didn't expect this answer that you

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Speaker 1: developed into who you are ten fifteen years later in life,

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Speaker 1: Like well, because to develop the gift that you have,

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Speaker 1: I feel like that is beyond the ten thousand hour

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Speaker 1: genius theory. I feel like that takes forty thousand hours

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Speaker 1: of because it's fearlessness and you know, you can sing

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Speaker 1: our peggios.

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Speaker 10: What's interesting is that for the longest time. You know,

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Speaker 10: even though I was studying piano and playing piano, I

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Speaker 10: always had a nagging suspicion that I wasn't a pianist.

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Speaker 10: You know, there was something that I wasn't satisfyed with

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Speaker 10: just playing piano. Piano didn't do enough for me. And

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Speaker 10: as I was asking myself this question about you.

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Speaker 7: Know, who am I really?

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Speaker 10: Am I a pianist even though I, in my inner

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Speaker 10: self knew that the answer was in the negative, that

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Speaker 10: I was not a pianist. I discovered Keith Jarrett and

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Speaker 10: his solo concerts. So I thought to myself, if he

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Speaker 10: can be on stage alone without knowing having the slightest

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Speaker 10: idea of what he's going to play when he sits down,

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Speaker 10: why can't I do something like that? So I decided

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Speaker 10: to explore myself as a vocalist and dedicated six years

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Speaker 10: to learning teaching myself my technique, and for about six

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Speaker 10: years I practiced about two hours a day before I

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Speaker 10: did my first solo.

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Speaker 8: Concert and it started at twenty seven.

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Speaker 7: Though I started at twenty seven, that is unheard.

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Speaker 1: That is unheard.

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Speaker 5: So what were you doing before? And then, like, what

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Speaker 5: were you doing for a living?

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Speaker 10: And I was doing casual gigs, you know, playing weddings

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Speaker 10: and going on the road and playing lounges with lounge

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Speaker 10: bands and playing stuff for covering the pop stuff on

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Speaker 10: the radio.

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Speaker 1: Give me example, what was like your repertoire in let's say,

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Speaker 1: whatever band.

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Speaker 10: You were in nineteen seventy nine, Like, well, by seventy nine,

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Speaker 10: I was doing solo concerts.

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Speaker 1: Okay, So this spirit is seventy five seventy four the spirit, No, no, no,

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Speaker 1: I mean just like you're pre pre solo concerts, solo

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Speaker 1: concerts I was. I was playing in bands from playing

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Speaker 1: piano and what songs were like hot at the time

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Speaker 1: that you had to have.

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Speaker 7: Marvin Gaye.

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Speaker 10: And others, I mean, just other stuff. Yeah, I guess

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Speaker 10: Stevie Wonder he's my prompter here.

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Speaker 8: I've heard a lot of stories. I want to make

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Speaker 8: sure that they like.

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Speaker 1: That's amazing. Okay, So I have a question real quick

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Speaker 1: before we move on from Keith Jarrett.

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Speaker 11: So he does that thing where he's sort of singing

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Speaker 11: and grunting while he's playing. So was that part of

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Speaker 11: the influence on what you're talking about?

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Speaker 7: No influence on me at all. His grunting and squealing

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Speaker 7: so it's just.

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Speaker 1: His bravery up on stage or his improv.

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Speaker 10: The fact that could walk and sit. I thought it

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Speaker 10: was a very brave act action on his part to

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Speaker 10: simply sit at the piano, greet the instrument, and engage

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Speaker 10: in this musical dance that he had with, you know,

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Speaker 10: with with that instrument, with that grand instrument. And I

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Speaker 10: wanted to do that as a vocalist. Now, it took

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Speaker 10: me some time to get enough courage to do it

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Speaker 10: and enough stamina to be on stage alone for ninety

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Speaker 10: minutes without any idea of what I was going to play.

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Speaker 10: That's very, very difficult to do. It's funny, though I would.

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Speaker 10: I made a rule for myself early on that my

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Speaker 10: first two pieces would be completely improv complete improvisation. The

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Speaker 10: first piece was easier than the second. The second one

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Speaker 10: was really difficult to do.

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Speaker 7: For some reason.

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Speaker 10: I had the hardest time pushing through that wall of

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Speaker 10: of anything, wall of just something that stopped me from

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Speaker 10: going on.

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Speaker 7: You know.

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Speaker 10: The first piece was just so easy to sit down

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Speaker 10: and don't launch it, baby leive about And sometimes my

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Speaker 10: first improvs would be ten minutes. Sometimes they'd be fifteen

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Speaker 10: or twenty minutes. Then to stop and re enter into

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Speaker 10: that improvisational space. Was for some reason a lot harder

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Speaker 10: for me to do this. You know, the second piece

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Speaker 10: was very, very difficult, so that that became part of

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Speaker 10: my role do the riskiest thing first.

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Speaker 1: Really yeah, well that one show that you and I

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Speaker 1: did together at town Hall. I've never in my adult

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Speaker 1: life lost more sleep or had more anxiety about any performance.

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Speaker 1: And I'm in I've been in situations that like where

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Speaker 1: I've had to give speeches and things I didn't want

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Speaker 1: to do publicly.

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Speaker 5: How do you even prepare for a BODYMC theory?

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Speaker 1: That's the thing I kind of called and hinted like, okay,

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Speaker 1: so to draw a map what should I do? And

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Speaker 1: which is nothing, We'll just we'll figure it out on stage.

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Speaker 1: And I'm like wait. So then it was to the

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Speaker 1: point where I was like going to Jill new like

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Speaker 1: how much your tickets? Okay, so how much people? How

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Speaker 1: much entertainment does a person expect for? Blah blah blah?

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Speaker 10: Right?

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Speaker 1: Right, Because usually when I, like, when I plan my

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Speaker 1: shows or whatever, I start with what are the last

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Speaker 1: three songs? Because in my mind, I'm like a person

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Speaker 1: in the audience remembers the first ten minutes, how you

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Speaker 1: come on stage, and even if you have an absolute

381
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Speaker 1: shit show, if the last three songs ye are straight,

382
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Speaker 1: then they that men in black flashies them and they

383
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Speaker 1: forget and for the I was just like, well, wait,

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Speaker 1: only have four things going for me? And I was like,

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Speaker 1: all right, I have an electronic drum set, a real

386
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Speaker 1: drum set, and my turntables. And then even then I

387
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Speaker 1: had like five things going for But once we got

388
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Speaker 1: once we got into the groove, though, it was over

389
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Speaker 1: and it was over and in this second and this

390
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Speaker 1: is just you on drums and him on and him

391
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Speaker 1: that's it. Yeah, never rehearsed, never like it was just

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Speaker 1: a musical conversation.

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Speaker 8: And then by the end you guys switched and he

394
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Speaker 8: got on drums and you started doing something.

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Speaker 1: Yeah, anyway, sir, I just want to say so, by uh,

396
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Speaker 1: when I actually discovered you on your second album, The Voice,

397
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Speaker 1: which you know, most Mcfharrinheit's are like that's their album.

398
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Speaker 1: Assuming that you perfected or at least found, uh a

399
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Speaker 1: formula if you will, on the Voice project previously, like

400
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Speaker 1: what notes did you keep? Because I assuming that from

401
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Speaker 1: your very first time that you did a solo show

402
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Speaker 1: until that point in eighty four where at least sounded

403
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Speaker 1: like you were comfortable on that album. What techniques have

404
00:24:50,520 --> 00:24:53,000
Speaker 1: you learned besides the first and the second song, as

405
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Speaker 1: far as like breath control and harmony and audience participation.

406
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Speaker 10: In well, let me back up. I used to go

407
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Speaker 10: to my father's recitals. He used to do classical recitals,

408
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Speaker 10: and it always ended his shows with spirit negro spirituals,

409
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Speaker 10: and he had a way on stage where he invited

410
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Speaker 10: the audience and it was really genuine and comforting and

411
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Speaker 10: caring and all these positive words that I can't think

412
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Speaker 10: of right now. But I loved watching him on stage.

413
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Speaker 10: He was very easy going and I wanted. I felt

414
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Speaker 10: that the best thing for me to be on stage

415
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Speaker 10: was to be as relaxed as possible, and that's a

416
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Speaker 10: big key to the success of my concerts. You had

417
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Speaker 10: to relax your audience. They have to feel very comfortable

418
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Speaker 10: with you, and I allowed them to be participants with me.

419
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Speaker 10: So it wasn't only myself singing, but it was the

420
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Speaker 10: audience engaged in singing.

421
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Speaker 7: Along with me.

422
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Speaker 10: My technique was more than myself. It was me and

423
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Speaker 10: the audience. You know what, I couldn't do the audience

424
00:26:14,040 --> 00:26:17,960
Speaker 10: could do or they could hear, so they would fill

425
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Speaker 10: in the blanks. So my solo technique is more about us.

426
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Speaker 7: Than me, you know what I mean?

427
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Speaker 1: Do you have a formula as far as the delivery

428
00:26:31,800 --> 00:26:35,800
Speaker 1: upset song? Because even in doing the roll call theme,

429
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Speaker 1: I was panicled like should I be the drums? Should

430
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Speaker 1: it be? The bass? Should harmony? Should I?

431
00:26:41,040 --> 00:26:41,080
Speaker 10: So?

432
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Speaker 1: Is there some sort of polarizing because when I hear

433
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Speaker 1: you sing a song, I can hear the blanks filled in,

434
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Speaker 1: even the parts that I don't hear. I hear where

435
00:26:51,480 --> 00:26:56,600
Speaker 1: you're going. So is it Is it a formula you've

436
00:26:56,760 --> 00:26:58,920
Speaker 1: established where it's like, Okay, I'll do a little vocal

437
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Speaker 1: here and then the established the basin.

438
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Speaker 10: No, everything is a surprise. Every note is a surprise.

439
00:27:05,680 --> 00:27:10,520
Speaker 10: I don't have any rules. I don't have any plans.

440
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Speaker 10: I enter the stage empty and I exit full.

441
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Speaker 1: Is that on the time?

442
00:27:19,119 --> 00:27:20,520
Speaker 7: That's the time.

443
00:27:25,960 --> 00:27:27,080
Speaker 1: So I'm going to ask you a question that I

444
00:27:27,119 --> 00:27:31,040
Speaker 1: ask most stand up comedians, because you're up there alone

445
00:27:31,920 --> 00:27:38,000
Speaker 1: four year solo shows. How do you deal with the

446
00:27:38,920 --> 00:27:44,920
Speaker 1: disruptive or heckler kind of incorporated? So that's how you

447
00:27:45,280 --> 00:27:47,440
Speaker 1: extinguish the fire, That's.

448
00:27:47,280 --> 00:27:50,080
Speaker 10: How I deal with it. I just I just take

449
00:27:50,160 --> 00:27:58,480
Speaker 10: whatever the heckler is heckling me about and musicalize it.

450
00:28:01,280 --> 00:28:05,480
Speaker 10: One time a guy came in late and he was

451
00:28:05,560 --> 00:28:09,560
Speaker 10: sitting in a balcony and when he sat down, the

452
00:28:10,200 --> 00:28:15,879
Speaker 10: chair squeaked. So I squeaked, and he squeaked, and I

453
00:28:16,040 --> 00:28:19,520
Speaker 10: squeaked some more. So he started he started playing his

454
00:28:19,720 --> 00:28:22,879
Speaker 10: seat the squeak. So I did a duet with the

455
00:28:22,920 --> 00:28:23,879
Speaker 10: squeak and his seat.

456
00:28:25,080 --> 00:28:29,000
Speaker 1: You know, So it's almost like you welcome it, because

457
00:28:29,880 --> 00:28:31,320
Speaker 1: I don't know if you're thinking of like a show

458
00:28:31,400 --> 00:28:33,520
Speaker 1: like oh time eater, Oh good, I have something to

459
00:28:33,600 --> 00:28:36,840
Speaker 1: eat up this particularly two minutes or whatever. But so

460
00:28:37,000 --> 00:28:42,480
Speaker 1: you do you welcome those types of distractions or well?

461
00:28:42,680 --> 00:28:42,840
Speaker 4: Is it?

462
00:28:44,160 --> 00:28:47,520
Speaker 10: I guess it does depend, But I can honestly say

463
00:28:47,560 --> 00:28:49,680
Speaker 10: that at least ninety percent of the time I use

464
00:28:49,800 --> 00:28:53,720
Speaker 10: whatever is given to me. I just take it and

465
00:28:54,160 --> 00:28:59,600
Speaker 10: incorporate it. And whatever the improvisation is, whatever the landscape is,

466
00:29:01,640 --> 00:29:04,640
Speaker 10: I take it and I use it. So I don't

467
00:29:06,040 --> 00:29:09,080
Speaker 10: I don't fear anything on stage really. In fact, I'm

468
00:29:09,120 --> 00:29:10,960
Speaker 10: scared sitting in this chair just thinking about it.

469
00:29:13,720 --> 00:29:16,240
Speaker 1: Yeah, just like everything I do, always have to map

470
00:29:16,280 --> 00:29:19,200
Speaker 1: it out before I do it so well.

471
00:29:19,320 --> 00:29:21,880
Speaker 10: I used to be that way as a composition student.

472
00:29:22,600 --> 00:29:25,560
Speaker 10: You know, you're writing everything down exactly the way that

473
00:29:25,680 --> 00:29:30,080
Speaker 10: you want it, and even solos. I would even write

474
00:29:30,160 --> 00:29:33,120
Speaker 10: the solos out because I wanted to the solo was

475
00:29:33,160 --> 00:29:34,960
Speaker 10: to go on a certain direction.

476
00:29:36,560 --> 00:29:37,080
Speaker 7: But then.

477
00:29:38,520 --> 00:29:42,160
Speaker 10: Miles Davis was playing at a club in Los Angeles

478
00:29:42,200 --> 00:29:47,720
Speaker 10: called Shelley's Manhole. Shelley man the drummer, and the band

479
00:29:47,800 --> 00:29:53,560
Speaker 10: included Keith Jarrett, h Michael Henderson, who was I think

480
00:29:53,640 --> 00:29:56,960
Speaker 10: borrowed from James Brown or Slider family Stone or something.

481
00:29:57,160 --> 00:30:03,400
Speaker 10: He was in Motown. Yeah, right, well you're right. Jack

482
00:30:03,480 --> 00:30:10,120
Speaker 10: Djanet on drums, Gary bart On soprano, sacks. My Miles

483
00:30:10,280 --> 00:30:13,120
Speaker 10: was sporting some black leather pants and a black shirt,

484
00:30:13,600 --> 00:30:16,160
Speaker 10: playing a drag a black trumpet hooked up to a

485
00:30:16,600 --> 00:30:22,200
Speaker 10: wild wah pedal. And when I left the club that night,

486
00:30:22,280 --> 00:30:26,240
Speaker 10: I literally was walking on air. My feet didn't touch

487
00:30:26,280 --> 00:30:30,080
Speaker 10: the ground for at least two weeks because I understood

488
00:30:30,840 --> 00:30:34,320
Speaker 10: what improvisation was. From that moment on, I understood it.

489
00:30:35,360 --> 00:30:37,440
Speaker 10: You know, it's complete musical freedom.

490
00:30:38,360 --> 00:30:40,040
Speaker 8: You should tell that story, though, because that's a pretty

491
00:30:40,080 --> 00:30:42,080
Speaker 8: good story of going to that show.

492
00:30:42,520 --> 00:30:42,960
Speaker 7: When I was.

493
00:30:43,120 --> 00:30:47,320
Speaker 10: When I arrived to the show, there was a line

494
00:30:47,400 --> 00:30:50,160
Speaker 10: down the block and around the corner. The place was

495
00:30:50,240 --> 00:30:53,360
Speaker 10: already packed with people, so the people that were standing

496
00:30:53,400 --> 00:30:55,360
Speaker 10: in line, it was just hopeless that you were going

497
00:30:55,400 --> 00:30:59,000
Speaker 10: to get in. So I'm standing there with my date.

498
00:31:00,720 --> 00:31:03,480
Speaker 10: A woman walks out of the club and for some

499
00:31:03,640 --> 00:31:07,640
Speaker 10: reason she stopped at me and said, do you would

500
00:31:07,680 --> 00:31:15,160
Speaker 10: you like two tickets? And I said, well yes, So

501
00:31:15,720 --> 00:31:19,120
Speaker 10: I had my two tickets, walked into the club and

502
00:31:19,240 --> 00:31:25,880
Speaker 10: the last two seats were right next to the band stand,

503
00:31:25,960 --> 00:31:28,720
Speaker 10: I mean just to butted the bandstand, so I got

504
00:31:28,760 --> 00:31:32,120
Speaker 10: a full view of the entire band, last two seats.

505
00:31:33,360 --> 00:31:35,440
Speaker 7: So that was the night that I was introduced to

506
00:31:35,520 --> 00:31:38,840
Speaker 7: Keith Jarrett and the band just blew me away.

507
00:31:39,920 --> 00:31:42,560
Speaker 1: Was this a Bitch's Brew tour or something like that?

508
00:31:42,760 --> 00:31:44,160
Speaker 7: This was Live Evil?

509
00:31:44,480 --> 00:31:50,640
Speaker 1: Okay, okay, right before on the corner right, yeah, you

510
00:31:50,680 --> 00:31:52,840
Speaker 1: should have been. There was James in to me. There

511
00:31:53,000 --> 00:31:53,760
Speaker 1: is percussionists.

512
00:31:55,000 --> 00:31:57,480
Speaker 7: I don't recall percussion okay.

513
00:31:57,880 --> 00:32:02,640
Speaker 1: Yeah, James, he came in seventy two, slightly.

514
00:32:02,960 --> 00:32:05,040
Speaker 7: Yeah, this was in February of seventy one.

515
00:32:05,600 --> 00:32:13,120
Speaker 1: Yeah, right beforehand. So with well, that's good to see

516
00:32:13,160 --> 00:32:16,680
Speaker 1: that you were open to that because then I know

517
00:32:17,080 --> 00:32:22,800
Speaker 1: many a jazz snob. Who you know, depending on who

518
00:32:22,880 --> 00:32:27,480
Speaker 1: you speak to, like former writer for The Village Voice

519
00:32:27,480 --> 00:32:30,080
Speaker 1: of Boys, Stanley Kroud Stanley, Yeah, crowds would have been

520
00:32:30,200 --> 00:32:35,360
Speaker 1: like whatever you know. But it's it's almost it's good

521
00:32:35,400 --> 00:32:41,400
Speaker 1: to hear your your perspective of it as as a younger.

522
00:32:42,120 --> 00:32:44,280
Speaker 1: Uh well, I mean, I know that you were immersed

523
00:32:44,280 --> 00:32:48,040
Speaker 1: in jazz already, haven't grown up in it, but you know,

524
00:32:48,280 --> 00:32:55,800
Speaker 1: usually people have different points of view of Miles's early period,

525
00:32:56,200 --> 00:33:01,560
Speaker 1: right right? So who were your just as far as

526
00:33:01,640 --> 00:33:05,600
Speaker 1: your musical idols at the time in the early seventies

527
00:33:05,720 --> 00:33:09,760
Speaker 1: as you're finding yourself, like who were your absolute heroes?

528
00:33:11,080 --> 00:33:11,320
Speaker 7: Oka?

529
00:33:11,520 --> 00:33:16,640
Speaker 10: So mm hmmm, whoa Okay, Fred Astaire and Ginger Rogers.

530
00:33:19,200 --> 00:33:24,080
Speaker 7: H I've drawn I'm drawing a blank.

531
00:33:24,520 --> 00:33:31,280
Speaker 1: Keith Jarrett, Herbie well, Herbie for sure. Wow, it's amazing.

532
00:33:31,800 --> 00:33:35,360
Speaker 1: So okay, I want to skip slightly ahead to simple

533
00:33:35,400 --> 00:33:41,720
Speaker 1: pleasures without mentioning the D word. But what I want

534
00:33:42,280 --> 00:33:47,080
Speaker 1: but what I want to what I want to know

535
00:33:47,360 --> 00:33:52,960
Speaker 1: is not that were you shocked at this success? But

536
00:33:54,240 --> 00:34:00,160
Speaker 1: I'm certain that with the audience that discovered you, and

537
00:34:00,240 --> 00:34:01,920
Speaker 1: I won't lie like I won't say like, oh, yes,

538
00:34:01,960 --> 00:34:03,520
Speaker 1: I knew you were a bomb mean fair the whole time.

539
00:34:04,040 --> 00:34:06,320
Speaker 1: When I first saw you on the Grammys, I think, uh,

540
00:34:07,120 --> 00:34:11,719
Speaker 1: you're doing around about Midnight with Herbie Hancock R. My

541
00:34:11,840 --> 00:34:14,640
Speaker 1: first response was, Yo, that's the that's the Levi's file

542
00:34:14,840 --> 00:34:19,960
Speaker 1: fiber one cluse die oh he sings. So the way

543
00:34:20,040 --> 00:34:24,719
Speaker 1: that audiences have discovered you were you not slightly dismayed.

544
00:34:24,880 --> 00:34:28,880
Speaker 1: But I know that it had to have been a

545
00:34:29,040 --> 00:34:33,840
Speaker 1: weird change after Simple Pleasures comes out with with the

546
00:34:34,200 --> 00:34:39,200
Speaker 1: with the massive success of Don't Worry Be Happy, whereas

547
00:34:39,440 --> 00:34:47,640
Speaker 1: now maybe non jazz fans or non uh sophisticated music.

548
00:34:47,800 --> 00:34:47,920
Speaker 4: Uh.

549
00:34:48,239 --> 00:34:50,480
Speaker 5: He was on VH one, The video was on VH one.

550
00:34:50,760 --> 00:34:52,400
Speaker 1: Yeah, But I'm just saying that is it.

551
00:34:54,320 --> 00:34:54,360
Speaker 5: Is.

552
00:34:54,440 --> 00:34:58,800
Speaker 1: It was it somewhat dismaying for you to have this

553
00:34:58,920 --> 00:35:02,280
Speaker 1: new audience that really doesn't understand the art of jazz

554
00:35:02,320 --> 00:35:04,279
Speaker 1: and what it is that you were about and you

555
00:35:04,560 --> 00:35:05,959
Speaker 1: just want to don't Worry Be Happy.

556
00:35:06,040 --> 00:35:06,160
Speaker 11: Guy.

557
00:35:06,200 --> 00:35:06,640
Speaker 1: I never.

558
00:35:08,560 --> 00:35:11,600
Speaker 10: I never really thought of myself as a jazz musician

559
00:35:11,640 --> 00:35:14,359
Speaker 10: because I did so many different kinds of pieces during

560
00:35:14,400 --> 00:35:17,000
Speaker 10: an evening. I mean I might follow up a James

561
00:35:17,040 --> 00:35:20,919
Speaker 10: Brown piece, you know, seeing the Ave Maria by Bob

562
00:35:21,840 --> 00:35:23,960
Speaker 10: then follow it up with the Beatles tune, and then

563
00:35:24,040 --> 00:35:27,000
Speaker 10: follow that up with something just completely wild and crazy

564
00:35:27,080 --> 00:35:31,480
Speaker 10: and out of hand and chaotic and rambunctious and and all.

565
00:35:32,239 --> 00:35:36,360
Speaker 10: So I never thought I never promoted myself as a

566
00:35:36,520 --> 00:35:40,480
Speaker 10: jazz singer, though I did sing jazz pieces.

567
00:35:40,960 --> 00:35:43,960
Speaker 1: You know, of course, what was the process like just

568
00:35:44,120 --> 00:35:46,520
Speaker 1: kind of going back a little bit to signing your

569
00:35:46,560 --> 00:35:49,400
Speaker 1: record deal, like, how were you able you know, what

570
00:35:49,680 --> 00:35:51,920
Speaker 1: was the market like for what you were doing at

571
00:35:51,960 --> 00:35:53,720
Speaker 1: that time, because it was it was really unique.

572
00:35:53,760 --> 00:35:57,560
Speaker 10: So how well after my first album, which was you know, selfish,

573
00:35:58,040 --> 00:36:01,120
Speaker 10: self titled Bobby mcfair, and after that one.

574
00:36:02,160 --> 00:36:05,520
Speaker 7: They wanted to make me into the new algi Row.

575
00:36:06,840 --> 00:36:08,520
Speaker 1: I was going to say, my first album is rather

576
00:36:08,719 --> 00:36:10,640
Speaker 1: traditional for what was right.

577
00:36:12,040 --> 00:36:17,200
Speaker 10: So they hired a top Hollywood arranger by the name

578
00:36:17,200 --> 00:36:22,240
Speaker 10: of Johnny Mandel, who was a fabulous musician.

579
00:36:22,120 --> 00:36:25,959
Speaker 1: Any relations Steve no but he wrote the mash theme.

580
00:36:26,000 --> 00:36:27,040
Speaker 1: I think also did that.

581
00:36:27,760 --> 00:36:31,120
Speaker 7: Johnny Mandel, Oh really okay?

582
00:36:32,560 --> 00:36:36,960
Speaker 10: And I was down in Los Angeles working in his

583
00:36:37,480 --> 00:36:40,120
Speaker 10: studio for about two weeks when at the end of

584
00:36:40,160 --> 00:36:42,560
Speaker 10: the session I said to him, you know, this doesn't

585
00:36:42,640 --> 00:36:48,000
Speaker 10: feel right. I don't feel good about the direction that

586
00:36:49,120 --> 00:36:54,839
Speaker 10: that they're pushing me towards. And so I called off

587
00:36:55,120 --> 00:37:01,160
Speaker 10: that particular project and was immediately summoned into the Presidents office.

588
00:37:02,880 --> 00:37:03,280
Speaker 7: AH.

589
00:37:04,880 --> 00:37:08,759
Speaker 10: By the name of Bruce Lunvall. He had what was

590
00:37:08,800 --> 00:37:11,680
Speaker 10: the name of the what was the name of the

591
00:37:11,800 --> 00:37:19,200
Speaker 10: label musician elect Electric Musician, you see the logo, and

592
00:37:19,480 --> 00:37:23,160
Speaker 10: he says, well, Bobby, what's what's going on. Why didn't

593
00:37:23,200 --> 00:37:26,839
Speaker 10: you want to do the project? And I said, it's

594
00:37:26,920 --> 00:37:30,760
Speaker 10: because I have in my heart to do solo pieces,

595
00:37:30,880 --> 00:37:33,759
Speaker 10: solo concerts. And he asked me what that was, and

596
00:37:33,880 --> 00:37:35,640
Speaker 10: I tried to explain to him. I said, well, it

597
00:37:35,680 --> 00:37:41,040
Speaker 10: would just be me recording shows and improvising. And he says,

598
00:37:41,080 --> 00:37:43,480
Speaker 10: this is really important to you, is it? And I said, yes,

599
00:37:44,239 --> 00:37:49,200
Speaker 10: God wants me to do it. Yeah, that's what I said,

600
00:37:49,680 --> 00:37:51,919
Speaker 10: And that's exactly what Bruce says. Well, we can't argue

601
00:37:51,960 --> 00:37:57,320
Speaker 10: with God. So he allowed me to do my second

602
00:37:57,360 --> 00:37:58,520
Speaker 10: album of the Voice.

603
00:37:59,600 --> 00:38:01,400
Speaker 1: The way that you wanted to do it than I

604
00:38:01,480 --> 00:38:06,480
Speaker 1: wanted to do. You did. There were a few a

605
00:38:06,560 --> 00:38:13,399
Speaker 1: few a cappella esque songs on the first record, right, yeah,

606
00:38:15,600 --> 00:38:18,320
Speaker 1: So I interrupted you to you I'm sorry, no, no, no,

607
00:38:18,440 --> 00:38:21,239
Speaker 1: I was just figuring if maybe that was added after

608
00:38:21,320 --> 00:38:22,880
Speaker 1: the fact that you had the talking and said this

609
00:38:23,040 --> 00:38:25,880
Speaker 1: is what I'm more about as opposed.

610
00:38:25,480 --> 00:38:29,640
Speaker 10: To Right, that's pretty much I wanted to introduce my

611
00:38:29,760 --> 00:38:35,040
Speaker 10: audience to the South. Then I knew that I was.

612
00:38:36,200 --> 00:38:41,719
Speaker 1: I think Bruce later was president Blue Note right at

613
00:38:41,760 --> 00:38:44,360
Speaker 1: the time when we were doing the Elvis Costello project.

614
00:38:44,440 --> 00:38:45,480
Speaker 7: That's that's correct.

615
00:38:45,840 --> 00:38:51,319
Speaker 1: Bruce also, I think, famously signed Bill Withers to Columbia

616
00:38:52,239 --> 00:39:01,800
Speaker 1: after Clarence Avont dissolved Success Records. So that's how Bruce.

617
00:39:02,120 --> 00:39:03,920
Speaker 10: So for the.

618
00:39:06,200 --> 00:39:11,080
Speaker 1: How did the commercial world discover you with the Levi's

619
00:39:11,120 --> 00:39:14,960
Speaker 1: stuff and the Ocean Spray and all the others.

620
00:39:14,760 --> 00:39:18,920
Speaker 10: I don't know, in the Cosby theme, you know, all

621
00:39:18,960 --> 00:39:20,920
Speaker 10: those those pieces, those those.

622
00:39:21,040 --> 00:39:23,320
Speaker 1: Well, by the time Cosby came along, you were a

623
00:39:23,440 --> 00:39:26,719
Speaker 1: household name. But I mean just in the beginning I

624
00:39:26,880 --> 00:39:29,799
Speaker 1: heard your voice on commercials and that sort of thing like.

625
00:39:30,280 --> 00:39:31,280
Speaker 7: Like Ocean Spray.

626
00:39:31,520 --> 00:39:34,840
Speaker 1: Yeah, was it was it? Mark? Was there marketing geniuses

627
00:39:34,920 --> 00:39:36,600
Speaker 1: behind this, like this is how we're going to promote you?

628
00:39:36,680 --> 00:39:39,560
Speaker 10: Or was it just how do people don't know how

629
00:39:39,560 --> 00:39:44,920
Speaker 10: to answer that? Yeah, Linda is probably the answer to

630
00:39:45,040 --> 00:39:53,719
Speaker 10: that question, manager. Okay, So with uh, you're is is

631
00:39:53,800 --> 00:39:59,000
Speaker 10: the project? With wait, wait before I say anything, I

632
00:39:59,120 --> 00:40:07,240
Speaker 10: got to figure out how Freddie Freeloader was recorded with Algio,

633
00:40:07,400 --> 00:40:09,320
Speaker 10: John Hendricks and George Benson.

634
00:40:09,600 --> 00:40:11,480
Speaker 1: Yeah, who wrote the lyrics?

635
00:40:12,400 --> 00:40:13,160
Speaker 7: John Hendricks?

636
00:40:14,600 --> 00:40:16,799
Speaker 1: How long did it take you to study? Because at

637
00:40:16,840 --> 00:40:19,160
Speaker 1: the time when I heard it, someone explained to me

638
00:40:19,480 --> 00:40:25,240
Speaker 1: that you guys literally transposed every solo on the original

639
00:40:25,280 --> 00:40:28,799
Speaker 1: Miles Davis piece applied words to it right and once

640
00:40:29,000 --> 00:40:30,719
Speaker 1: I at first I didn't believe it, and then I

641
00:40:30,840 --> 00:40:35,759
Speaker 1: had to literally get both copies and go and I

642
00:40:35,920 --> 00:40:39,040
Speaker 1: was mind blown at the commitment that it took. Could

643
00:40:39,160 --> 00:40:43,200
Speaker 1: you discuss the recording process of recording? Like was it

644
00:40:43,280 --> 00:40:44,160
Speaker 1: done in parts or.

645
00:40:44,719 --> 00:40:49,400
Speaker 10: It was done each singer recorded their part individually, you know,

646
00:40:49,880 --> 00:40:51,160
Speaker 10: in their own studio.

647
00:40:51,600 --> 00:40:51,880
Speaker 1: Okay.

648
00:40:52,880 --> 00:40:58,400
Speaker 10: And I can't remember if I learned the original solo

649
00:40:58,520 --> 00:41:03,880
Speaker 10: by Tommy Flanagan or if I if I had studied

650
00:41:03,880 --> 00:41:08,320
Speaker 10: the words first. I don't remember, Okay, but it took me.

651
00:41:09,600 --> 00:41:12,640
Speaker 10: It took me about four or five days, I think,

652
00:41:13,680 --> 00:41:17,480
Speaker 10: to get it down. And what's really interesting is that

653
00:41:17,760 --> 00:41:21,160
Speaker 10: he left out a verse. You know, he wrote he

654
00:41:21,239 --> 00:41:25,000
Speaker 10: wrote all these words and I said, well, John, you

655
00:41:25,160 --> 00:41:29,840
Speaker 10: forgot this verse, And he sat down in the studio

656
00:41:30,200 --> 00:41:31,480
Speaker 10: and wrote the lyrics out.

657
00:41:32,840 --> 00:41:34,680
Speaker 7: Then at that moment, I'm not sure.

658
00:41:34,719 --> 00:41:38,040
Speaker 10: The spot on the spot, because he could he could

659
00:41:38,120 --> 00:41:41,319
Speaker 10: hear words in melody, you know, he had this gift

660
00:41:41,360 --> 00:41:45,759
Speaker 10: of understanding what the melodies were saying. So he wrote

661
00:41:45,800 --> 00:41:50,480
Speaker 10: it out and we recorded it, and and it was

662
00:41:50,840 --> 00:41:54,120
Speaker 10: It was a delightful. It had a delighted, delightful outcome.

663
00:41:54,239 --> 00:41:55,240
Speaker 10: It was a good experience.

664
00:41:55,480 --> 00:41:58,080
Speaker 1: Did you commit that entire solo to memory or was

665
00:41:58,120 --> 00:41:59,880
Speaker 1: it like, Okay, I'll do eight bars here and then

666
00:42:00,040 --> 00:42:01,759
Speaker 1: listen to the original and figure out Like.

667
00:42:01,840 --> 00:42:07,239
Speaker 10: Nons, I believe my memory serves me well that I

668
00:42:07,880 --> 00:42:12,759
Speaker 10: pretty much had it nearly perfectly memorized. But I think

669
00:42:12,840 --> 00:42:16,000
Speaker 10: I even but I think I used the lyrics on

670
00:42:16,080 --> 00:42:19,040
Speaker 10: a music stand, just just in case I should in

671
00:42:19,600 --> 00:42:23,080
Speaker 10: recording the piece, you know, have a misstep and my

672
00:42:23,280 --> 00:42:28,239
Speaker 10: memory and forget certain words. But but I think it

673
00:42:28,320 --> 00:42:29,160
Speaker 10: came off pretty well.

674
00:42:30,480 --> 00:42:35,680
Speaker 1: Yeah. That that that is probably, bar none, my favorite

675
00:42:36,600 --> 00:42:39,799
Speaker 1: performance of you. But I'll say that maybe like it's

676
00:42:40,360 --> 00:42:44,360
Speaker 1: maybe my top ten songs of all time because beyond

677
00:42:44,520 --> 00:42:52,200
Speaker 1: beyond the just beyond the magnitude of hearing. You know,

678
00:42:52,480 --> 00:42:58,640
Speaker 1: four very unique vocalists again Algebra, George Benson, John Hendricks,

679
00:42:58,760 --> 00:43:03,440
Speaker 1: and Bob McFerrin attempt this. John John Hendricks is like

680
00:43:03,520 --> 00:43:06,640
Speaker 1: the father of what they call vocalist like they'll they'll

681
00:43:06,719 --> 00:43:10,080
Speaker 1: often or you remember we were laughing at Eddie Jefferson

682
00:43:10,160 --> 00:43:11,200
Speaker 1: doing bitches brus.

683
00:43:13,400 --> 00:43:13,440
Speaker 8: No.

684
00:43:13,640 --> 00:43:16,880
Speaker 1: But even even even Eddie Jefferson fault like I mean,

685
00:43:16,960 --> 00:43:20,640
Speaker 1: Eddie Jefferson is more like I would say he's close

686
00:43:20,680 --> 00:43:24,120
Speaker 1: to to like Rufus Thomas if Rufus Thomas were jazz

687
00:43:24,160 --> 00:43:26,680
Speaker 1: center right or whatever or od b I don't know,

688
00:43:28,040 --> 00:43:33,120
Speaker 1: but yeah, John Hendricks of formerly of A, Lambert Hendricks

689
00:43:33,200 --> 00:43:37,160
Speaker 1: and Ross. I mean they were like the original Manhattan

690
00:43:37,239 --> 00:43:38,240
Speaker 1: transfer slash.

691
00:43:40,440 --> 00:43:42,239
Speaker 5: So is that why so because I'm looking, I'm looking

692
00:43:42,320 --> 00:43:43,279
Speaker 5: up for free Loader?

693
00:43:43,400 --> 00:43:43,520
Speaker 1: Is that?

694
00:43:43,719 --> 00:43:45,560
Speaker 5: Is that why only John Hendrix is listed on the

695
00:43:45,640 --> 00:43:46,760
Speaker 5: song on his album?

696
00:43:47,280 --> 00:43:49,600
Speaker 1: Yeah, it's on his album. So it's sort of like,

697
00:43:50,320 --> 00:43:55,520
Speaker 1: you know, getting the most unique vocals. But even George

698
00:43:55,600 --> 00:44:00,279
Speaker 1: Benson's uh approach, Uh you know that's an I tell

699
00:44:00,360 --> 00:44:01,640
Speaker 1: him that's my favorite.

700
00:44:01,800 --> 00:44:04,280
Speaker 5: Is this post Simple Pleasures or this pre Simple Pleasures?

701
00:44:04,880 --> 00:44:08,160
Speaker 1: You guys did that in ninety I think I'd like

702
00:44:08,239 --> 00:44:09,879
Speaker 1: to think it was nineteen ninety. I'm not sure.

703
00:44:09,920 --> 00:44:11,840
Speaker 7: I think we were still living in San Francisco.

704
00:44:13,120 --> 00:44:14,360
Speaker 8: If it was ninety, I wasn't a.

705
00:44:19,480 --> 00:44:25,040
Speaker 7: Yeah, I think before me. Yeah, that's right, Yeah around

706
00:44:25,080 --> 00:44:26,360
Speaker 7: that time there, I.

707
00:44:26,440 --> 00:44:28,399
Speaker 5: Asked because I was just wanted to in the still

708
00:44:28,400 --> 00:44:30,400
Speaker 5: in the simple Pleasures bad because you said that you

709
00:44:30,480 --> 00:44:32,640
Speaker 5: don't consider yourself a jazz vocalist. But I wonder if

710
00:44:32,640 --> 00:44:36,400
Speaker 5: you consider yourself like a conduit to all music because

711
00:44:36,400 --> 00:44:38,000
Speaker 5: a lot sometimes people don't know if you're aware of this,

712
00:44:38,080 --> 00:44:41,680
Speaker 5: but sometimes people learn of other musical genres and songs

713
00:44:41,760 --> 00:44:42,040
Speaker 5: through you.

714
00:44:42,520 --> 00:44:46,000
Speaker 10: Well, I would call myself a folk musician, okay, okay,

715
00:44:47,360 --> 00:44:50,160
Speaker 10: you know music music of the folk. You know. I

716
00:44:50,640 --> 00:44:53,800
Speaker 10: tried to whenever I go to different countries, if I

717
00:44:53,880 --> 00:44:57,920
Speaker 10: have an opportunity to hear some of the musical styles

718
00:44:58,080 --> 00:45:01,440
Speaker 10: that come from that culture, I try and incorporate it

719
00:45:01,480 --> 00:45:05,600
Speaker 10: in my improvs, you know, as well as I can.

720
00:45:05,719 --> 00:45:09,040
Speaker 10: I've gone to several music schools, you know, in different

721
00:45:09,120 --> 00:45:12,640
Speaker 10: countries where they would have ensembles play for me and

722
00:45:12,800 --> 00:45:15,960
Speaker 10: invite me to participate with them. So I would take

723
00:45:16,920 --> 00:45:19,239
Speaker 10: what I could from that experience, you know, onto the

724
00:45:19,320 --> 00:45:23,080
Speaker 10: stage with me and play with the sounds and the

725
00:45:23,160 --> 00:45:26,879
Speaker 10: scales and hm, how.

726
00:45:26,800 --> 00:45:29,279
Speaker 5: Many countries do you think you've done that in, like

727
00:45:30,719 --> 00:45:32,560
Speaker 5: improvising with other cultures like that?

728
00:45:33,760 --> 00:45:34,120
Speaker 7: Lots?

729
00:45:36,840 --> 00:45:38,279
Speaker 8: Are there any that have stumped you?

730
00:45:41,680 --> 00:45:42,320
Speaker 7: Stumped me?

731
00:45:42,880 --> 00:45:45,760
Speaker 8: Like, what's been the hardest to incorporate.

732
00:45:46,719 --> 00:45:47,120
Speaker 5: Language?

733
00:45:50,000 --> 00:45:54,560
Speaker 10: That's a good question. I can't think of any off

734
00:45:54,600 --> 00:46:11,280
Speaker 10: the top of my head. Stumpers. Meet one man dare

735
00:46:11,760 --> 00:46:16,359
Speaker 10: to up escape Yeah, like did.

736
00:46:16,320 --> 00:46:19,400
Speaker 1: You see red Pepper? Yes, we often fall in the

737
00:46:19,600 --> 00:46:21,440
Speaker 1: rabbit holes on this show. Wait you you're the one

738
00:46:21,480 --> 00:46:23,279
Speaker 1: that put the link up right? Yeah? Yeah, I got

739
00:46:23,360 --> 00:46:26,040
Speaker 1: I got to meet that dude. Man is black, Yes,

740
00:46:26,080 --> 00:46:28,040
Speaker 1: a black as a brother in London that does like

741
00:46:28,120 --> 00:46:31,720
Speaker 1: all that stuff that's the scary Uh in a world

742
00:46:31,800 --> 00:46:32,600
Speaker 1: where so and something?

743
00:46:32,640 --> 00:46:33,800
Speaker 5: I thought that was a white man with a my

744
00:46:33,880 --> 00:46:37,239
Speaker 5: snad it was it was he died.

745
00:46:37,440 --> 00:46:41,200
Speaker 1: He has but he looks like it looks like ving

746
00:46:41,320 --> 00:46:48,400
Speaker 1: rains now like but has a polite accent co accent.

747
00:46:48,600 --> 00:46:48,799
Speaker 7: Yeah.

748
00:46:49,160 --> 00:46:50,560
Speaker 1: I think I said it right.

749
00:46:50,600 --> 00:46:54,120
Speaker 5: Right, Yeah, sat on the streets saying crazy ship.

750
00:46:56,040 --> 00:47:00,279
Speaker 1: I'm straat, I'm straight man. So okay, now I guess

751
00:47:00,320 --> 00:47:03,160
Speaker 1: I will bring up the D word. Uh. At what

752
00:47:03,400 --> 00:47:09,280
Speaker 1: point did you realize that this song was going beyond

753
00:47:09,520 --> 00:47:13,520
Speaker 1: just having a hit single and that about d W

754
00:47:13,760 --> 00:47:26,239
Speaker 1: B A W we got we got it, that's what you.

755
00:47:27,760 --> 00:47:27,800
Speaker 8: Know.

756
00:47:27,920 --> 00:47:33,600
Speaker 1: What I showed showed the shirt that he had on. Yeah, yeah,

757
00:47:33,640 --> 00:47:36,880
Speaker 1: I gave it to Slan you did. Yeah, they laughed

758
00:47:36,880 --> 00:47:39,920
Speaker 1: at it. He had a shirt that said don't worry beyond.

759
00:47:40,200 --> 00:47:42,800
Speaker 8: Yeah, I saw that it was my shirt, but I

760
00:47:42,880 --> 00:47:43,759
Speaker 8: made him wear it for.

761
00:47:46,080 --> 00:47:51,440
Speaker 1: That's hilarious. They got a kick out. Yeah. So, I mean,

762
00:47:51,600 --> 00:47:55,279
Speaker 1: was there a point where you because assuming that you

763
00:47:55,760 --> 00:47:58,040
Speaker 1: took it out your repertoire or if you ever I

764
00:47:58,040 --> 00:47:59,960
Speaker 1: don't know if you ever performed it live and kind

765
00:48:00,320 --> 00:48:00,600
Speaker 1: or whatever.

766
00:48:00,760 --> 00:48:05,319
Speaker 10: But I haven't performed that song live in concert since

767
00:48:05,400 --> 00:48:07,040
Speaker 10: November of nineteen eighty eight.

768
00:48:07,239 --> 00:48:09,080
Speaker 1: Why why are you so specific?

769
00:48:10,400 --> 00:48:10,560
Speaker 4: Oh?

770
00:48:11,840 --> 00:48:17,600
Speaker 7: Because the election. The tune came out September September before that,

771
00:48:17,840 --> 00:48:18,680
Speaker 7: I believe.

772
00:48:18,920 --> 00:48:25,960
Speaker 5: Thirty year anniversary, Yes thirty I'm late, sorry, mass Well.

773
00:48:25,920 --> 00:48:29,480
Speaker 1: Why specifically November? Like, what's the significance of.

774
00:48:29,760 --> 00:48:33,280
Speaker 10: I just remember that when I started doing solo concerts

775
00:48:33,320 --> 00:48:36,320
Speaker 10: that I refused to do that that peace on stage

776
00:48:36,880 --> 00:48:40,719
Speaker 10: because I wanted the audience to to know me as

777
00:48:40,760 --> 00:48:47,000
Speaker 10: an improviser, right, you know, So I didn't want to go,

778
00:48:47,280 --> 00:48:49,439
Speaker 10: you know, be falling back on that tune all the time,

779
00:48:49,960 --> 00:48:53,440
Speaker 10: or have them expected they they they grew out of

780
00:48:53,480 --> 00:48:55,360
Speaker 10: it over time, you know, they said, well, he's not

781
00:48:55,440 --> 00:48:56,759
Speaker 10: going to do that, he's not going to do that

782
00:48:56,880 --> 00:48:58,680
Speaker 10: sound because he doesn't do it anymore.

783
00:48:59,320 --> 00:49:00,680
Speaker 7: And I still do it.

784
00:49:00,840 --> 00:49:03,160
Speaker 8: You still get asked, I still get hill.

785
00:49:03,280 --> 00:49:04,880
Speaker 5: Do you make mean faces when they ask or you

786
00:49:05,000 --> 00:49:05,480
Speaker 5: just say no.

787
00:49:05,680 --> 00:49:09,080
Speaker 7: I don't make faces. I just say no. I probably

788
00:49:09,080 --> 00:49:09,520
Speaker 7: won't do it.

789
00:49:10,000 --> 00:49:15,560
Speaker 10: I occasionally might hint to the melody in the middle

790
00:49:15,600 --> 00:49:19,600
Speaker 10: of an improv, you know, it might come up. I

791
00:49:19,680 --> 00:49:23,120
Speaker 10: don't intentionally do it. And the only exceptions that I

792
00:49:23,239 --> 00:49:26,120
Speaker 10: make are for kids. You know, for kids should say would.

793
00:49:25,880 --> 00:49:26,799
Speaker 7: You sing that song?

794
00:49:27,400 --> 00:49:31,399
Speaker 10: I might sing the chorus, you know, a chorus or something.

795
00:49:31,440 --> 00:49:33,600
Speaker 8: And I've probably heard you sing like one verse in

796
00:49:33,719 --> 00:49:34,560
Speaker 8: my entire life.

797
00:49:35,000 --> 00:49:38,319
Speaker 1: Wow, probably okay, next show, I'm fringing like.

798
00:49:42,239 --> 00:49:44,040
Speaker 8: The only time I've ever seen you do some of

799
00:49:44,080 --> 00:49:46,320
Speaker 8: it in a show setting was one time when we

800
00:49:46,400 --> 00:49:49,480
Speaker 8: were on tour and there was a kid who was

801
00:49:49,560 --> 00:49:53,440
Speaker 8: severely disabled who asked, and so then I think you

802
00:49:53,520 --> 00:49:55,799
Speaker 8: did like a verse and a chorus, But we did

803
00:49:55,880 --> 00:49:58,160
Speaker 8: it in like a samba style or something like that,

804
00:49:58,840 --> 00:49:59,799
Speaker 8: like it wasn't the same.

805
00:50:07,920 --> 00:50:08,279
Speaker 10: What's that.

806
00:50:11,360 --> 00:50:13,640
Speaker 1: That might be? Don't HERVEI be handcoffed?

807
00:50:16,160 --> 00:50:19,000
Speaker 5: Didn't nobody asked you to circle around around the I

808
00:50:19,080 --> 00:50:20,480
Speaker 5: hate to bring it on a downturn, but on the

809
00:50:20,560 --> 00:50:24,000
Speaker 5: death of Robin Williams. Did anyone asked you to bring

810
00:50:24,040 --> 00:50:25,960
Speaker 5: it back around during that then the time of the

811
00:50:26,040 --> 00:50:28,479
Speaker 5: death of Robin Williams since the video.

812
00:50:28,800 --> 00:50:28,840
Speaker 3: No.

813
00:50:28,960 --> 00:50:31,800
Speaker 10: The weirdest request I ever had to do that to

814
00:50:32,640 --> 00:50:36,040
Speaker 10: was the one year at the Academy Awards they wanted

815
00:50:36,080 --> 00:50:37,319
Speaker 10: me to sing that song to.

816
00:50:37,400 --> 00:50:43,840
Speaker 7: The losers and I said, shil are you out of

817
00:50:43,920 --> 00:50:47,040
Speaker 7: your mind? You want me to sing that show? Sing

818
00:50:47,120 --> 00:50:49,480
Speaker 7: that song on national television to the losers?

819
00:50:50,600 --> 00:50:56,000
Speaker 1: You got to be ridiculous, speaking of which you hold

820
00:50:56,120 --> 00:51:04,200
Speaker 1: the uh the Doobies honor of winning both Records and

821
00:51:04,400 --> 00:51:07,120
Speaker 1: Song of the Year in a time in which I

822
00:51:07,400 --> 00:51:10,400
Speaker 1: thought that man in the Mirror was going to be

823
00:51:10,719 --> 00:51:13,800
Speaker 1: Michael Jackson's redemption from losing the five awards of the

824
00:51:13,880 --> 00:51:17,880
Speaker 1: previous year for the Bad Awards, and he didn't.

825
00:51:18,000 --> 00:51:18,320
Speaker 8: I was.

826
00:51:19,560 --> 00:51:22,440
Speaker 1: I was elated and happy that you won. What was

827
00:51:22,480 --> 00:51:26,680
Speaker 1: your when did you feel as though like you had

828
00:51:26,719 --> 00:51:27,440
Speaker 1: a chance.

829
00:51:27,320 --> 00:51:30,279
Speaker 10: Or was it just like I didn't really pay much

830
00:51:31,480 --> 00:51:32,440
Speaker 10: much attention to it.

831
00:51:33,400 --> 00:51:38,040
Speaker 1: Yeah, you scattered your thank you thinging. I was like,

832
00:51:42,640 --> 00:51:45,319
Speaker 1: I used to watch it all the time, like a stop.

833
00:51:47,200 --> 00:51:50,560
Speaker 8: Is that the year that Michael sent you Beatles albums?

834
00:51:50,640 --> 00:51:53,279
Speaker 8: That's like congratulations or something like that.

835
00:51:53,680 --> 00:51:54,600
Speaker 1: He's about it.

836
00:51:54,760 --> 00:51:56,319
Speaker 5: I wouldn't have known about the Beatles if it wasn't

837
00:51:56,320 --> 00:51:57,759
Speaker 5: for Bob may Fair and not for nothing, I would

838
00:51:57,800 --> 00:51:59,719
Speaker 5: have took me a little longer. I will say that,

839
00:51:59,880 --> 00:52:02,040
Speaker 5: like your driving my car was like oh, and then

840
00:52:02,040 --> 00:52:02,400
Speaker 5: I heard it.

841
00:52:02,560 --> 00:52:03,560
Speaker 9: I was like, oh, they did it too.

842
00:52:07,840 --> 00:52:10,600
Speaker 1: Right, all right, I'll be honest. Yeah, I'll say that

843
00:52:12,640 --> 00:52:16,799
Speaker 1: ninety percent of the Beatles catalog I discovered cover everyone else.

844
00:52:17,600 --> 00:52:21,439
Speaker 8: Yeah, I was like, oh blackbird the Yeah, I didn't

845
00:52:21,480 --> 00:52:24,120
Speaker 8: know Blackbird Bird was a Beatles song for a very

846
00:52:24,200 --> 00:52:24,600
Speaker 8: long time.

847
00:52:25,440 --> 00:52:32,640
Speaker 1: And what's weird is I still consider his version the version, Yeah,

848
00:52:32,760 --> 00:52:35,640
Speaker 1: even when McCartney still does it now, and in my

849
00:52:35,760 --> 00:52:41,279
Speaker 1: head I can't imagine anyone not singing the it's hard

850
00:52:41,320 --> 00:52:46,560
Speaker 1: to go to I've lost my voice voice, how do

851
00:52:46,640 --> 00:52:49,080
Speaker 1: you handle sickness on the road?

852
00:52:50,200 --> 00:52:53,759
Speaker 10: And I use what voice I've got If I've got

853
00:52:53,840 --> 00:52:56,120
Speaker 10: two octaves I just used the two octaves.

854
00:52:56,800 --> 00:52:58,960
Speaker 1: How many octaves? What's your octave range for?

855
00:53:00,840 --> 00:53:05,239
Speaker 7: Wow, that's the average person health.

856
00:53:05,320 --> 00:53:06,520
Speaker 5: I'm gonna say, translate.

857
00:53:06,200 --> 00:53:06,560
Speaker 8: That for me.

858
00:53:07,560 --> 00:53:11,439
Speaker 1: Yeah, I was break you. I mean your octave range

859
00:53:11,520 --> 00:53:17,279
Speaker 1: is I mean that average person? I'm sure me Steve octapers,

860
00:53:17,480 --> 00:53:21,640
Speaker 1: I'm sure a singer, maybe fan taking maybe yeah, because

861
00:53:21,640 --> 00:53:24,319
Speaker 1: he sings in this so maybe three. But when you're

862
00:53:24,320 --> 00:53:27,160
Speaker 1: dealing with four and five octave range, that means you're special.

863
00:53:28,520 --> 00:53:33,960
Speaker 10: So hello, everybody, aren't we.

864
00:53:35,480 --> 00:53:40,440
Speaker 1: You? Have you ever had uh offers for Saturday Morning.

865
00:53:40,239 --> 00:53:44,000
Speaker 10: Cartoons and voiceovers stuff like that, like.

866
00:53:44,080 --> 00:53:45,880
Speaker 1: But a regular series, not just like.

867
00:53:48,680 --> 00:53:49,000
Speaker 5: It though.

868
00:53:49,280 --> 00:53:50,920
Speaker 8: I've been telling him that he needs to do it

869
00:53:50,960 --> 00:53:53,920
Speaker 8: for the longest because this man, Yes, but this man

870
00:53:54,520 --> 00:53:57,719
Speaker 8: gives the best story time ever.

871
00:53:58,600 --> 00:53:59,720
Speaker 1: You Madison mcerne.

872
00:54:00,160 --> 00:54:02,000
Speaker 8: I had him read me stories until I was twelve

873
00:54:02,080 --> 00:54:08,480
Speaker 8: years old in bed because it was like and I

874
00:54:08,520 --> 00:54:11,279
Speaker 8: wouldn't even have my mom read me stories because she

875
00:54:11,360 --> 00:54:14,120
Speaker 8: couldn't do all the voices. It wasn't it wasn't the

876
00:54:14,239 --> 00:54:14,719
Speaker 8: same thing.

877
00:54:20,200 --> 00:54:23,520
Speaker 1: Where were Okay, So by the time you're born via

878
00:54:23,719 --> 00:54:27,480
Speaker 1: medicine music, all right, I'll at least start you at three.

879
00:54:28,760 --> 00:54:31,520
Speaker 8: I think I was like one when medicine music came out, right, I.

880
00:54:31,560 --> 00:54:34,279
Speaker 1: Know that, but I'm just saying that, how are you

881
00:54:34,640 --> 00:54:37,640
Speaker 1: when are you processing what you're in? Because you're the

882
00:54:37,840 --> 00:54:42,080
Speaker 1: youngest of this brute, and I'm certain that your brothers

883
00:54:42,120 --> 00:54:48,719
Speaker 1: are even via trickle down talent or just as spontaneous

884
00:54:48,760 --> 00:54:52,319
Speaker 1: and creative as he was, Like, how are you processing

885
00:54:52,680 --> 00:54:53,840
Speaker 1: the situation that you're in?

886
00:54:57,120 --> 00:55:02,160
Speaker 8: I didn't realize the magnitude of who he was or

887
00:55:02,239 --> 00:55:03,880
Speaker 8: what he could do until I got to college.

888
00:55:04,520 --> 00:55:06,600
Speaker 1: So wait, say what before then?

889
00:55:06,760 --> 00:55:11,000
Speaker 8: Yeah, you met me my freshman year of college, first semester, So.

890
00:55:11,440 --> 00:55:13,160
Speaker 1: Before then he was just oh, that's dad.

891
00:55:13,680 --> 00:55:15,840
Speaker 8: Yeah, pretty much to the records.

892
00:55:15,880 --> 00:55:16,720
Speaker 1: You didn't realize.

893
00:55:16,880 --> 00:55:18,959
Speaker 8: Well, see, here's the thing is like he my friend

894
00:55:19,160 --> 00:55:21,200
Speaker 8: pointed this out to me, and I hadn't even realized

895
00:55:21,239 --> 00:55:23,440
Speaker 8: until she did. I guess she got asked in a

896
00:55:23,520 --> 00:55:26,400
Speaker 8: class once they were talking about my dad. She mentioned

897
00:55:26,600 --> 00:55:28,120
Speaker 8: that she knew him and this is a friend of

898
00:55:28,160 --> 00:55:30,759
Speaker 8: mine who I've known since we were three, And the

899
00:55:31,080 --> 00:55:33,200
Speaker 8: professor was like, Oh, what's it like knowing him? And

900
00:55:33,280 --> 00:55:35,640
Speaker 8: she said, oh, he makes noise all the time. And

901
00:55:35,760 --> 00:55:38,600
Speaker 8: I didn't even recognize that that was a thing until

902
00:55:38,640 --> 00:55:41,120
Speaker 8: she pointed that out to me, because he is, in

903
00:55:41,200 --> 00:55:43,399
Speaker 8: fact making noise all the time, and when your dad

904
00:55:43,520 --> 00:55:45,839
Speaker 8: is just making noise all the time, that doesn't Yeah,

905
00:55:45,840 --> 00:55:49,080
Speaker 8: it doesn't register as something that's like particularly unique or

906
00:55:49,200 --> 00:55:53,040
Speaker 8: particularly different or strange. Like I didn't realize. I didn't

907
00:55:53,080 --> 00:55:57,120
Speaker 8: listen to his music as a musician until I got

908
00:55:57,160 --> 00:55:59,359
Speaker 8: to college, and then all of a sudden, I was like, oh, wow,

909
00:55:59,480 --> 00:56:02,279
Speaker 8: this is very difficult to do. But this is somebody who,

910
00:56:02,360 --> 00:56:04,560
Speaker 8: like I have been going to shows of his as

911
00:56:04,760 --> 00:56:07,600
Speaker 8: long as I can remember, and so it's just like normal.

912
00:56:08,120 --> 00:56:14,439
Speaker 1: So I want to ask, how can you take someone

913
00:56:14,560 --> 00:56:18,520
Speaker 1: serious that's like have your ass home by ten? That's

914
00:56:18,600 --> 00:56:19,080
Speaker 1: also like.

915
00:56:21,360 --> 00:56:24,120
Speaker 8: It's he was never really the enforcer of that. That

916
00:56:24,280 --> 00:56:28,000
Speaker 8: was my mom. So I didn't bad he was asleep,

917
00:56:28,160 --> 00:56:30,279
Speaker 8: He goes to bed at like nine o'clock. He was

918
00:56:30,400 --> 00:56:33,719
Speaker 8: kind of the Yeah he was in terms of good

919
00:56:33,800 --> 00:56:37,400
Speaker 8: cop bad cop dynamic, he's the good cop okay slash

920
00:56:37,520 --> 00:56:39,120
Speaker 8: the cop who's on the road all the time. So

921
00:56:39,239 --> 00:56:41,480
Speaker 8: mom has to be bad cop hangers.

922
00:56:41,640 --> 00:56:44,799
Speaker 1: Like in my mind, you're you're And I said, even

923
00:56:44,920 --> 00:56:47,040
Speaker 1: the day where I first met you and your brothers,

924
00:56:47,120 --> 00:56:49,680
Speaker 1: like you guys are like the animaniacs.

925
00:56:49,160 --> 00:56:50,600
Speaker 8: To me, pretty pretty accurate.

926
00:56:50,920 --> 00:56:58,120
Speaker 1: And he's doctor, uh, the one that in the tower

927
00:56:58,239 --> 00:57:03,640
Speaker 1: with them. So yeah, So to you, did you know

928
00:57:03,800 --> 00:57:06,040
Speaker 1: that you wanted to sing as well?

929
00:57:06,280 --> 00:57:08,960
Speaker 8: Or just I decided I wanted to be a singer

930
00:57:09,040 --> 00:57:12,440
Speaker 8: when I was five, And I don't know if that

931
00:57:12,760 --> 00:57:16,320
Speaker 8: was It definitely wasn't because like my parents were like, oh,

932
00:57:16,360 --> 00:57:18,440
Speaker 8: you're going to be a singer. I think it was

933
00:57:18,680 --> 00:57:21,520
Speaker 8: like I saw my dad was a singer and he

934
00:57:21,880 --> 00:57:24,040
Speaker 8: enjoyed doing it. I liked going to shows, I liked

935
00:57:24,080 --> 00:57:27,200
Speaker 8: singing with him, and I was like, Oh, if dad

936
00:57:27,240 --> 00:57:28,840
Speaker 8: can do it, I can do it. And then I

937
00:57:28,920 --> 00:57:32,800
Speaker 8: kind of just didn't question that thought, which I'm curious

938
00:57:32,800 --> 00:57:35,320
Speaker 8: about as an adult, like if that was really I mean,

939
00:57:35,440 --> 00:57:38,000
Speaker 8: I still love doing it, but it was very much like, oh,

940
00:57:38,000 --> 00:57:39,080
Speaker 8: I'm going to be a singer, and then I just

941
00:57:39,160 --> 00:57:40,040
Speaker 8: didn't question.

942
00:57:41,920 --> 00:57:45,960
Speaker 5: Decision inclines as you get older, your friend, exactly, how

943
00:57:46,000 --> 00:57:46,160
Speaker 5: are you.

944
00:57:46,160 --> 00:57:49,320
Speaker 11: All making decisions at age five and six? I don't

945
00:57:49,360 --> 00:57:52,479
Speaker 11: even remember deciding anything at that age.

946
00:57:52,520 --> 00:57:54,440
Speaker 8: Well before that, I wanted to be a tightrope walker.

947
00:57:54,560 --> 00:57:59,760
Speaker 5: Okay, how does it feel?

948
00:57:59,760 --> 00:57:59,880
Speaker 10: Boy?

949
00:58:00,280 --> 00:58:02,320
Speaker 5: It's funny because I just saw Madison show for the

950
00:58:02,360 --> 00:58:03,720
Speaker 5: first time, even though I've known her for a few

951
00:58:03,800 --> 00:58:04,800
Speaker 5: years now, I'm like that, but I just saw her

952
00:58:04,840 --> 00:58:06,720
Speaker 5: for the first time this year, and it is so

953
00:58:07,080 --> 00:58:11,680
Speaker 5: derivative of you, but also just like her own fresh take. Yeah, like,

954
00:58:11,840 --> 00:58:13,800
Speaker 5: what does that feel like watching your kids do that?

955
00:58:13,880 --> 00:58:17,400
Speaker 10: I'm glad that they have taken what I've done and

956
00:58:17,560 --> 00:58:21,600
Speaker 10: expanded on it, you know, and have developed it to.

957
00:58:23,760 --> 00:58:24,320
Speaker 7: Something that.

958
00:58:27,040 --> 00:58:29,680
Speaker 10: Then I feel I feel like I'm a part of it,

959
00:58:30,320 --> 00:58:32,520
Speaker 10: you know what, Whatever they do, I feel like I

960
00:58:32,600 --> 00:58:33,280
Speaker 10: am a part.

961
00:58:33,120 --> 00:58:33,320
Speaker 1: Of it.

962
00:58:34,840 --> 00:58:37,480
Speaker 7: Because of the influence I guess I've had on them

963
00:58:38,800 --> 00:58:40,360
Speaker 7: in the musical.

964
00:58:40,040 --> 00:58:41,800
Speaker 8: Field slash literal DNA.

965
00:58:42,040 --> 00:58:46,560
Speaker 1: But I got I got, I got it right.

966
00:58:47,440 --> 00:58:49,600
Speaker 5: But it's also to your father and your mom. It's

967
00:58:49,600 --> 00:58:52,160
Speaker 5: all trickled down, and so it must be Sometimes you

968
00:58:52,280 --> 00:58:53,880
Speaker 5: have a conscious moment of like, oh.

969
00:58:53,760 --> 00:58:59,919
Speaker 10: My god, my parents, we're in a Broadway I can't

970
00:59:00,000 --> 00:59:02,600
Speaker 10: remember if it was a Broadway show in nineteen forty

971
00:59:02,720 --> 00:59:04,680
Speaker 10: nine called Lost in the Stars.

972
00:59:06,320 --> 00:59:09,840
Speaker 7: Do you know this piece? No, Yeah, lost in the Stars.

973
00:59:09,880 --> 00:59:14,240
Speaker 10: I've got an old program that someone found with the

974
00:59:14,400 --> 00:59:16,439
Speaker 10: cast of characters, and at the bottom of the list

975
00:59:17,000 --> 00:59:22,040
Speaker 10: is Robert McFerrin Villager. So he had a small role,

976
00:59:22,560 --> 00:59:27,640
Speaker 10: and my mother was in the chorus, and so they

977
00:59:27,720 --> 00:59:30,440
Speaker 10: had a chance to sing together. I remember early in

978
00:59:30,520 --> 00:59:33,960
Speaker 10: my childhood they were away a lot, which I didn't like.

979
00:59:34,160 --> 00:59:37,400
Speaker 10: I was very lonely for them as a kid. But

980
00:59:37,840 --> 00:59:40,000
Speaker 10: we eventually ended up in Los Angeles.

981
00:59:40,600 --> 00:59:42,160
Speaker 1: Do you have any other siblings or it's just you.

982
00:59:43,320 --> 00:59:47,560
Speaker 7: I have a sister who's also a singer.

983
00:59:48,160 --> 00:59:51,360
Speaker 1: Really still currently.

984
00:59:52,600 --> 00:59:53,640
Speaker 7: In and out of jobs.

985
00:59:53,680 --> 00:59:56,280
Speaker 10: You know, the life of a musician, it can be

986
00:59:56,720 --> 01:00:01,000
Speaker 10: really tough, especially in musical mecca life Los Angeles.

987
01:00:01,640 --> 01:00:05,840
Speaker 1: Okay, how do you get other people out of their

988
01:00:05,880 --> 01:00:11,920
Speaker 1: comfort zone? Because, uh, my introduction to Yoyo Mam was

989
01:00:12,280 --> 01:00:15,880
Speaker 1: through you. But then seeing him in his regular environment

990
01:00:16,760 --> 01:00:21,320
Speaker 1: and in such a strict discipline atmosphere as classical music,

991
01:00:22,560 --> 01:00:27,240
Speaker 1: I mean, you're really pulling him towards the the jazz

992
01:00:27,320 --> 01:00:32,280
Speaker 1: world almost, you know, doing improvising and soloing. So one,

993
01:00:32,720 --> 01:00:36,720
Speaker 1: how do you do you plan all your collaborations that way, Like,

994
01:00:36,920 --> 01:00:38,840
Speaker 1: let's just throw some spaghetti on the wall and see

995
01:00:38,880 --> 01:00:39,800
Speaker 1: what sticks.

996
01:00:39,560 --> 01:00:43,360
Speaker 7: And well with yo Yo. We we just brought it.

997
01:00:43,520 --> 01:00:45,480
Speaker 10: We didn't we didn't know what the album was going

998
01:00:45,560 --> 01:00:50,600
Speaker 10: to sound like. We just got together and had a

999
01:00:50,680 --> 01:00:53,800
Speaker 10: stack of music yeah. I remember, we must have had

1000
01:00:53,960 --> 01:00:57,080
Speaker 10: hundreds of pieces and we just went through them and said, well,

1001
01:00:57,160 --> 01:01:00,320
Speaker 10: let's try this, try that. And I had had also

1002
01:01:00,360 --> 01:01:07,240
Speaker 10: written five pieces I think for the album, and so

1003
01:01:07,400 --> 01:01:09,280
Speaker 10: we just kind of went through a lot of material

1004
01:01:09,800 --> 01:01:14,520
Speaker 10: and we worked. We worked on my stuff. I think

1005
01:01:14,520 --> 01:01:18,840
Speaker 10: it took about a week to record all this material.

1006
01:01:20,640 --> 01:01:25,120
Speaker 10: And I sensed from playing with him that he could

1007
01:01:25,240 --> 01:01:29,000
Speaker 10: improvise if he wanted to, just because of the spirit

1008
01:01:29,160 --> 01:01:32,040
Speaker 10: of his behind his playing. He had a very strong

1009
01:01:32,200 --> 01:01:36,880
Speaker 10: spirit and I could tell. I could tell that he

1010
01:01:36,960 --> 01:01:40,920
Speaker 10: would make a great improviser, and I kept telling him, so,

1011
01:01:41,120 --> 01:01:43,040
Speaker 10: I said, you can, you can do this, you can.

1012
01:01:44,240 --> 01:01:47,520
Speaker 10: So what I did to aid him was give him

1013
01:01:47,560 --> 01:01:53,080
Speaker 10: some some points for him to play too, you know,

1014
01:01:53,240 --> 01:01:55,600
Speaker 10: and then once he played to that point, that I

1015
01:01:55,640 --> 01:01:58,840
Speaker 10: would direct him to another point and have him play

1016
01:01:58,920 --> 01:02:03,080
Speaker 10: to that point. And I knew he could handle it.

1017
01:02:03,240 --> 01:02:07,200
Speaker 10: Even though he probably doesn't improvise much anymore, I really

1018
01:02:07,240 --> 01:02:12,200
Speaker 10: don't know. He has a group called the Silk Road Project, okay,

1019
01:02:12,960 --> 01:02:18,160
Speaker 10: and it's music gathered from various cultures. Then he's brought

1020
01:02:18,200 --> 01:02:21,360
Speaker 10: together as an ensemble, and I'm not sure exactly how

1021
01:02:21,440 --> 01:02:26,280
Speaker 10: he works within that ensemble. But I hope that he's

1022
01:02:26,360 --> 01:02:27,200
Speaker 10: doing some improv.

1023
01:02:27,520 --> 01:02:29,920
Speaker 1: Do you feel as though that your influence on him

1024
01:02:30,000 --> 01:02:32,920
Speaker 1: has caused him to step outside.

1025
01:02:32,560 --> 01:02:34,400
Speaker 7: Of his comfort zone?

1026
01:02:34,520 --> 01:02:34,720
Speaker 1: Yeah?

1027
01:02:35,920 --> 01:02:38,040
Speaker 7: Maybe a little, maybe a little.

1028
01:02:39,480 --> 01:02:49,440
Speaker 1: The Voice Sester project, which you know, as far as

1029
01:02:49,520 --> 01:02:53,320
Speaker 1: the phrasing, like, as far as the phrasing is concerned

1030
01:02:53,360 --> 01:02:58,920
Speaker 1: and the arrangements, how did you tackle that particularly because

1031
01:02:59,160 --> 01:03:02,480
Speaker 1: I don't I would assume that nothing on that album

1032
01:03:02,680 --> 01:03:07,520
Speaker 1: or any of your projects with Voice Voices Throw was spontaneous.

1033
01:03:06,880 --> 01:03:08,560
Speaker 5: Like it took so how many people?

1034
01:03:10,440 --> 01:03:14,400
Speaker 1: Yeah, so as far as writing parts for like, as

1035
01:03:14,440 --> 01:03:15,720
Speaker 1: far as rehearsal and all that.

1036
01:03:15,960 --> 01:03:19,640
Speaker 7: Well, you're you're referring to vocabularies that project.

1037
01:03:20,120 --> 01:03:25,080
Speaker 1: I'm sorry, I said voices, Yes, vocabularies yeah, how many?

1038
01:03:26,560 --> 01:03:29,240
Speaker 1: I read that it was over twelve hundred vocal tracks,

1039
01:03:29,280 --> 01:03:32,960
Speaker 1: the vocal tracks, yes, and everything on that project was done.

1040
01:03:32,760 --> 01:03:34,840
Speaker 7: By the voice was done by voice.

1041
01:03:34,920 --> 01:03:37,040
Speaker 10: Yes, what does that?

1042
01:03:37,640 --> 01:03:39,000
Speaker 1: There's me there's a project?

1043
01:03:39,080 --> 01:03:39,280
Speaker 8: Have you?

1044
01:03:39,440 --> 01:03:41,400
Speaker 1: Have you ever heard of vocal sampling from Cuba?

1045
01:03:41,600 --> 01:03:41,800
Speaker 7: Yes?

1046
01:03:42,840 --> 01:03:47,640
Speaker 1: Okay, yeah, like I thought, vocal sampling from it. They

1047
01:03:47,720 --> 01:03:50,200
Speaker 1: were it was like three cousins and three brothers, almost

1048
01:03:50,240 --> 01:03:52,680
Speaker 1: like the Take six Soil, but they're in Cuba. But

1049
01:03:53,600 --> 01:03:58,840
Speaker 1: when they do percussion, I swear to God it was

1050
01:03:59,160 --> 01:04:01,800
Speaker 1: the real thing, like I thought. I made them prove

1051
01:04:01,880 --> 01:04:11,280
Speaker 1: to me that. Yeah. And but this how as far

1052
01:04:11,320 --> 01:04:14,040
Speaker 1: as engineering and all that stuff, is that just you?

1053
01:04:14,440 --> 01:04:21,200
Speaker 10: And project began. I worked with an arranger by the

1054
01:04:21,280 --> 01:04:26,760
Speaker 10: name of Roger Trees, and he went through the vocester files.

1055
01:04:27,040 --> 01:04:28,080
Speaker 7: He just went through everything.

1056
01:04:28,200 --> 01:04:33,120
Speaker 10: He listened to all the the solo the the improvisational

1057
01:04:33,280 --> 01:04:38,160
Speaker 10: concerts that we did, and he found certain themes and

1058
01:04:38,320 --> 01:04:43,280
Speaker 10: developed them and he's responsible for all of the arrangements.

1059
01:04:44,960 --> 01:04:47,160
Speaker 10: I think we worked on the project for a good

1060
01:04:47,440 --> 01:04:48,160
Speaker 10: two years.

1061
01:04:49,240 --> 01:04:50,560
Speaker 1: Yeah, yeah.

1062
01:04:51,200 --> 01:04:57,560
Speaker 10: And he would record, say the basis for a while,

1063
01:04:57,600 --> 01:05:00,960
Speaker 10: and then he record another group, you know, the tenors

1064
01:05:01,160 --> 01:05:02,960
Speaker 10: and the altos and sopranos.

1065
01:05:03,520 --> 01:05:08,560
Speaker 7: So he did the one group at a time. Sorry

1066
01:05:08,600 --> 01:05:11,320
Speaker 7: I was coughing, and with my parts.

1067
01:05:12,480 --> 01:05:16,840
Speaker 10: He would simply put the recording on a loop so

1068
01:05:17,160 --> 01:05:20,440
Speaker 10: that you know, for example, he wanted a funky basline,

1069
01:05:20,560 --> 01:05:23,120
Speaker 10: so he would have me seeing a funky based line

1070
01:05:23,160 --> 01:05:25,120
Speaker 10: for eight bars and then he'd loop it around. So

1071
01:05:25,800 --> 01:05:29,480
Speaker 10: I would do twenty eight baselines, and then he'd choose

1072
01:05:30,000 --> 01:05:33,320
Speaker 10: the one that he wanted to work off of and

1073
01:05:33,440 --> 01:05:35,480
Speaker 10: That's pretty much how we worked. I just go into

1074
01:05:35,560 --> 01:05:39,600
Speaker 10: the studio and he'd say, I need a new melody

1075
01:05:39,920 --> 01:05:44,120
Speaker 10: for this line, and so I would just sing that

1076
01:05:44,320 --> 01:05:49,360
Speaker 10: melody or that line a multitude of times, and then

1077
01:05:49,400 --> 01:05:53,000
Speaker 10: he would take it, work on and expand and develop it.

1078
01:05:54,640 --> 01:05:56,200
Speaker 10: And that's pretty much how we worked on it.

1079
01:05:56,360 --> 01:05:57,919
Speaker 1: So it's physically only twelve people.

1080
01:06:00,000 --> 01:06:04,040
Speaker 10: There's probably more than twelve, but I'm not sure how

1081
01:06:04,160 --> 01:06:11,040
Speaker 10: many voices voices voice group, the performing group is twelve people.

1082
01:06:13,440 --> 01:06:17,200
Speaker 1: Has the Vocabulary Project ever done anything live?

1083
01:06:19,280 --> 01:06:23,680
Speaker 10: Uh? Well, a couple of pieces, say lad.

1084
01:06:24,240 --> 01:06:30,880
Speaker 8: No, it was like the Garden right, like when we

1085
01:06:30,960 --> 01:06:33,000
Speaker 8: went to Poland that time, there was that group that

1086
01:06:33,120 --> 01:06:37,840
Speaker 8: did some stuff from like two pieces from.

1087
01:06:37,720 --> 01:06:47,560
Speaker 7: It from good Danks, Goodanks with me. I've forgotten the question.

1088
01:06:48,240 --> 01:06:54,600
Speaker 1: No, it was just one of the Yes. No, just

1089
01:06:54,840 --> 01:06:58,480
Speaker 1: I'm trying to imagine you guys recreating any of those songs.

1090
01:06:58,920 --> 01:07:03,080
Speaker 10: Yeah, it's today. Well, yeah, there is a group I

1091
01:07:03,160 --> 01:07:05,480
Speaker 10: think it's called They're called called.

1092
01:07:05,360 --> 01:07:14,120
Speaker 8: Sticks s t y Oh yeah, is that that you're

1093
01:07:14,160 --> 01:07:15,280
Speaker 8: thinking of Pentatonics?

1094
01:07:15,760 --> 01:07:16,560
Speaker 7: No, I'm not thinking.

1095
01:07:17,120 --> 01:07:17,360
Speaker 1: I don't know.

1096
01:07:17,720 --> 01:07:20,480
Speaker 8: Oh, the German group that was in Poland with us,

1097
01:07:21,280 --> 01:07:22,000
Speaker 8: I think they were.

1098
01:07:22,000 --> 01:07:27,640
Speaker 5: Called sticks, but not another Jesus got about Pentatonics, though.

1099
01:07:30,280 --> 01:07:36,080
Speaker 8: I actually heard over the holidays Pentatonics. I guess they

1100
01:07:36,080 --> 01:07:37,880
Speaker 8: came out with a Christmas album or something like that.

1101
01:07:38,240 --> 01:07:39,960
Speaker 1: That's the only time I hear from me, right, And

1102
01:07:40,480 --> 01:07:40,760
Speaker 1: I was.

1103
01:07:40,760 --> 01:07:44,040
Speaker 8: In Bloomingdale's and you know, they're playing only Christmas music,

1104
01:07:44,080 --> 01:07:45,360
Speaker 8: and all of a sudden, I hear they don't Worry

1105
01:07:45,440 --> 01:07:47,840
Speaker 8: Be Happy theme and it's not him, you know, And

1106
01:07:47,960 --> 01:07:50,920
Speaker 8: so I recorded a video of myself being like, oh goodness,

1107
01:07:51,040 --> 01:07:54,400
Speaker 8: what is this all of a sudden, All of a sudden,

1108
01:07:54,480 --> 01:07:57,920
Speaker 8: it goes it goes from thank thank God. I was

1109
01:07:58,000 --> 01:08:01,760
Speaker 8: recording myself because it goes from the don't Worry Be

1110
01:08:01,800 --> 01:08:05,160
Speaker 8: Happy theme into sleigh bells ring, and I was like,

1111
01:08:09,840 --> 01:08:13,760
Speaker 8: the shock on my face was I'm still shocked. I

1112
01:08:13,800 --> 01:08:14,760
Speaker 8: don't know how to deal with that.

1113
01:08:19,840 --> 01:08:23,120
Speaker 1: You did a song it was a couple of years ago,

1114
01:08:23,280 --> 01:08:25,559
Speaker 1: was a minute ago for Pixar short.

1115
01:08:27,000 --> 01:08:28,160
Speaker 8: Knick Knack Nick Knack?

1116
01:08:28,640 --> 01:08:30,639
Speaker 1: Is that out? Can like? But I love that song?

1117
01:08:31,120 --> 01:08:31,280
Speaker 8: Is it?

1118
01:08:31,920 --> 01:08:32,080
Speaker 10: Is it?

1119
01:08:32,600 --> 01:08:34,560
Speaker 1: Can you purchase it? Or can you email it to me?

1120
01:08:39,040 --> 01:08:41,800
Speaker 1: As his vocal was actually one of up being the

1121
01:08:42,000 --> 01:08:44,840
Speaker 1: that was the one they used. Yeah, yeah, and that

1122
01:08:44,920 --> 01:08:46,800
Speaker 1: which I forget which one was it that was in

1123
01:08:48,120 --> 01:08:51,679
Speaker 1: it was Finding Nemo. Yeah, because my son be around.

1124
01:08:52,240 --> 01:08:54,840
Speaker 8: Well then it actually you had actually done it in

1125
01:08:54,920 --> 01:08:58,640
Speaker 8: the eighties though, right, the original one, and then they

1126
01:08:58,720 --> 01:09:02,559
Speaker 8: brought it back they did for Finding Nemo.

1127
01:09:03,000 --> 01:09:05,960
Speaker 10: Which you supplying me with a fresh cup of tea.

1128
01:09:08,400 --> 01:09:10,920
Speaker 5: For I'm not even gonna touch.

1129
01:09:14,880 --> 01:09:16,639
Speaker 7: Zerr spoon from Yes.

1130
01:09:17,439 --> 01:09:20,439
Speaker 8: We actually saw that together, that we saw Finding Nemo together,

1131
01:09:20,800 --> 01:09:24,640
Speaker 8: just the two of us and Nick Knack came on,

1132
01:09:25,240 --> 01:09:29,320
Speaker 8: which apparently side note in the original one, the Mermaids

1133
01:09:29,400 --> 01:09:32,559
Speaker 8: boobs are a lot bigger, and so they shrunk them

1134
01:09:33,080 --> 01:09:36,800
Speaker 8: for the for the Disney a little more, a little

1135
01:09:36,800 --> 01:09:39,439
Speaker 8: more PG. And at the end of Nick Knack, you

1136
01:09:39,520 --> 01:09:42,160
Speaker 8: know in big letters, it says Bobby McFerrin, and my

1137
01:09:42,280 --> 01:09:43,880
Speaker 8: dad just leaned over and he was like, I wonder

1138
01:09:43,960 --> 01:09:44,880
Speaker 8: what he's doing right now.

1139
01:09:50,680 --> 01:09:53,760
Speaker 1: I love that song. I love immediately when I'm seeing it,

1140
01:09:53,920 --> 01:09:55,400
Speaker 1: seeing it and in here I was like, that's Bobby.

1141
01:09:55,439 --> 01:09:57,240
Speaker 1: It's got to be him. And then when it came

1142
01:09:57,320 --> 01:10:01,560
Speaker 1: out and I was like, that's cool. You had a

1143
01:10:01,720 --> 01:10:04,200
Speaker 1: really good, uh Finding Nemo experience.

1144
01:10:04,680 --> 01:10:05,760
Speaker 9: I mean, because.

1145
01:10:08,920 --> 01:10:14,360
Speaker 1: Finding experience, how is that possible? A long story, long story.

1146
01:10:15,040 --> 01:10:17,920
Speaker 1: Was it a date that feel bad? No, that's when

1147
01:10:18,320 --> 01:10:24,800
Speaker 1: Prince tired me and played Finding Nemo instead. I remember

1148
01:10:24,840 --> 01:10:27,400
Speaker 1: that that was like, you're so bad, I want to

1149
01:10:27,479 --> 01:10:30,000
Speaker 1: put this Dy in the club.

1150
01:10:34,560 --> 01:10:35,760
Speaker 8: Is a great movie though, so you know.

1151
01:10:36,120 --> 01:10:38,320
Speaker 1: Just I wasn't big on Dory though, was kind of

1152
01:10:38,360 --> 01:10:39,160
Speaker 1: like I thought it was.

1153
01:10:39,160 --> 01:10:41,880
Speaker 8: A decent follow up. It was a decent follow up,

1154
01:10:41,920 --> 01:10:43,560
Speaker 8: but like Finding Nemo is definitely not.

1155
01:10:43,640 --> 01:10:45,200
Speaker 1: That's the one that bigs all kind of but they

1156
01:10:45,240 --> 01:10:46,760
Speaker 1: got to get back on they was. I don't Yeah,

1157
01:10:46,800 --> 01:10:49,800
Speaker 1: I don't know if I can trust their the because

1158
01:10:49,880 --> 01:10:54,000
Speaker 1: now everything's just getting like top tier Rotten Tomato ratings,

1159
01:10:55,720 --> 01:10:58,920
Speaker 1: the cars and that was the one that like printed

1160
01:10:58,960 --> 01:11:00,160
Speaker 1: money and.

1161
01:11:00,400 --> 01:11:05,960
Speaker 8: You know the merchandise queens. He's actually to circle a background.

1162
01:11:06,000 --> 01:11:10,360
Speaker 8: He's wearing a Monster's Inc. Shirt right now, right now

1163
01:11:10,680 --> 01:11:11,960
Speaker 8: underneath if it was so cold in here.

1164
01:11:12,160 --> 01:11:17,720
Speaker 1: Yeah, from your visit, I said, right, I want to

1165
01:11:17,760 --> 01:11:22,200
Speaker 1: talk about the Paper Music Project. Okay, first of all,

1166
01:11:22,800 --> 01:11:28,240
Speaker 1: did you were you conducting and singing at the same

1167
01:11:28,280 --> 01:11:28,920
Speaker 1: time or was that.

1168
01:11:29,160 --> 01:11:33,040
Speaker 10: Just as far as on concerts I would conduct and

1169
01:11:33,160 --> 01:11:35,800
Speaker 10: sing at the same time, which I really didn't like

1170
01:11:35,920 --> 01:11:36,080
Speaker 10: to do.

1171
01:11:36,320 --> 01:11:38,559
Speaker 1: Yeah, I was like, how can you do that, because that's.

1172
01:11:39,920 --> 01:11:42,920
Speaker 10: Well the pieces would have to be. They'd have to be,

1173
01:11:43,040 --> 01:11:46,559
Speaker 10: first off, not very complicated. They'd have to be something

1174
01:11:46,640 --> 01:11:48,960
Speaker 10: that the orchestra could play by themselves.

1175
01:11:50,960 --> 01:11:52,920
Speaker 1: So you were still conduct them by hand. And I

1176
01:11:53,040 --> 01:11:56,240
Speaker 1: still turn the page and still sing your solos.

1177
01:11:56,840 --> 01:11:57,679
Speaker 7: Yeah, pretty much.

1178
01:11:58,760 --> 01:12:00,360
Speaker 5: What did you I mean, I'm not just to as

1179
01:12:00,400 --> 01:12:02,559
Speaker 5: soon as you learn the art of conducting back when

1180
01:12:02,600 --> 01:12:03,000
Speaker 5: you were in.

1181
01:12:07,600 --> 01:12:08,519
Speaker 1: Know what happened.

1182
01:12:08,840 --> 01:12:12,400
Speaker 10: What happened was as my fortieth birthday was approaching, I

1183
01:12:12,479 --> 01:12:16,880
Speaker 10: wanted to give myself a special gift, and I went

1184
01:12:17,439 --> 01:12:20,800
Speaker 10: through a list of all kinds of ideas, and I

1185
01:12:21,439 --> 01:12:27,560
Speaker 10: had written down conducting on that list, and so I

1186
01:12:27,640 --> 01:12:29,800
Speaker 10: started attending. I was living in San Francisco at the time.

1187
01:12:29,800 --> 01:12:34,000
Speaker 10: I started attending concerts, classical concerts, and would end up

1188
01:12:34,000 --> 01:12:36,720
Speaker 10: backstage and I drop hints, you know, I'd say, boy,

1189
01:12:36,720 --> 01:12:38,280
Speaker 10: it'd be great to conduct you one day.

1190
01:12:39,760 --> 01:12:42,920
Speaker 1: Wait a minute, I'm sorry because you just said that.

1191
01:12:43,520 --> 01:12:46,280
Speaker 1: And I'm in my fortieth birthday and the only option

1192
01:12:46,439 --> 01:12:48,920
Speaker 1: I was thinking of, like are we doing Sylvia's or Red?

1193
01:12:54,760 --> 01:12:57,480
Speaker 5: I never wanting deeper.

1194
01:12:58,439 --> 01:12:59,839
Speaker 1: For real, Jesus.

1195
01:13:00,400 --> 01:13:05,040
Speaker 10: So I finally got a phone call from the from

1196
01:13:05,080 --> 01:13:11,120
Speaker 10: the Orchestra inviting me to to conduct them. This, you know,

1197
01:13:11,240 --> 01:13:13,280
Speaker 10: this is after of course, don't worry, be happy. So

1198
01:13:13,360 --> 01:13:17,040
Speaker 10: they're thinking pension, fun and all that kind of stuff, right,

1199
01:13:18,120 --> 01:13:18,439
Speaker 10: And so.

1200
01:13:19,560 --> 01:13:21,320
Speaker 1: Is this why you moved to Minnesota or is this

1201
01:13:21,680 --> 01:13:22,879
Speaker 1: because you were in Minnesota?

1202
01:13:23,520 --> 01:13:23,560
Speaker 8: No?

1203
01:13:23,680 --> 01:13:26,760
Speaker 10: I wasn't in Minnesota yet, okay, but eventually I got

1204
01:13:26,800 --> 01:13:28,760
Speaker 10: there through conduct you know, it was it was all

1205
01:13:28,800 --> 01:13:32,599
Speaker 10: about conducting anyway. So they invited me to conduct them,

1206
01:13:32,840 --> 01:13:37,519
Speaker 10: and my my fortieth birthday was available. So I conducted

1207
01:13:37,560 --> 01:13:41,280
Speaker 10: Beethoven seventh on my fortieth birthday. That was my That

1208
01:13:41,439 --> 01:13:45,280
Speaker 10: was my conducting debut, and as far as I was concerned,

1209
01:13:46,040 --> 01:13:48,080
Speaker 10: that was all the conducting I was I was going

1210
01:13:48,160 --> 01:13:48,320
Speaker 10: to do.

1211
01:13:48,439 --> 01:13:50,560
Speaker 7: I mean, it was a really difficult.

1212
01:13:50,200 --> 01:13:52,519
Speaker 5: Thing to That's what I'm saying. How did you know

1213
01:13:52,760 --> 01:13:53,040
Speaker 5: how to?

1214
01:13:53,320 --> 01:13:56,280
Speaker 10: Just? Well? I studied, I studied the score, and I

1215
01:13:56,439 --> 01:14:02,760
Speaker 10: had a couple of teachers. I had some lessons with Segozawa.

1216
01:14:02,200 --> 01:14:03,560
Speaker 7: One with Leonard Bernstein.

1217
01:14:04,680 --> 01:14:07,240
Speaker 10: I ended up working on a continual basis with my

1218
01:14:07,360 --> 01:14:11,040
Speaker 10: conducting teacher, Gustav Meyer, who passed about a year ago.

1219
01:14:12,600 --> 01:14:15,200
Speaker 10: We went to the score, so I knew it pretty well.

1220
01:14:15,280 --> 01:14:17,400
Speaker 10: I conducted the piece and then I thought I was done,

1221
01:14:18,680 --> 01:14:23,479
Speaker 10: but I started getting phone calls. They started calling Linda,

1222
01:14:23,760 --> 01:14:26,800
Speaker 10: what can we get him to conduct our come to

1223
01:14:26,880 --> 01:14:30,639
Speaker 10: our city and conduct our orchestra. So all of a sudden,

1224
01:14:30,640 --> 01:14:34,760
Speaker 10: I found myself with all these conducting engagements. And when

1225
01:14:34,800 --> 01:14:38,280
Speaker 10: I was conducting the Saint Paul Chamber Orchestra in Minneapolis,

1226
01:14:42,080 --> 01:14:45,080
Speaker 10: there was a position open, and I asked for it

1227
01:14:46,120 --> 01:14:49,439
Speaker 10: because I wanted to At this point, I'm serious about conducting.

1228
01:14:49,520 --> 01:14:51,599
Speaker 7: I want to learn the art of conducting.

1229
01:14:52,200 --> 01:14:54,720
Speaker 10: So I asked for the position and got it and

1230
01:14:54,800 --> 01:14:58,360
Speaker 10: stayed with the stayed with the chamber orchestra for seven seasons.

1231
01:14:59,040 --> 01:15:02,040
Speaker 1: Can you explain us as exactly what goes into conducting,

1232
01:15:02,040 --> 01:15:04,599
Speaker 1: because it just like it's just you waving the Potomac's

1233
01:15:04,640 --> 01:15:05,759
Speaker 1: got No, it's.

1234
01:15:06,120 --> 01:15:08,400
Speaker 10: About your entire body. I mean, the way you look

1235
01:15:08,479 --> 01:15:14,519
Speaker 10: at an orchestra can influence that play. It's the gestures

1236
01:15:14,600 --> 01:15:17,960
Speaker 10: of the body. You display the music that's being played

1237
01:15:18,040 --> 01:15:22,479
Speaker 10: through through your body. You inform your orchestra what you

1238
01:15:22,600 --> 01:15:26,800
Speaker 10: want by the motion of your hands, the gestures of

1239
01:15:26,920 --> 01:15:33,040
Speaker 10: your of your body, you know, smiling at them, scowling

1240
01:15:33,080 --> 01:15:33,840
Speaker 10: at them, or whatever.

1241
01:15:35,800 --> 01:15:37,639
Speaker 7: But it takes a lot of work.

1242
01:15:37,960 --> 01:15:41,200
Speaker 10: It's it's tedious work, at least it us for me,

1243
01:15:42,720 --> 01:15:45,920
Speaker 10: and after eighteen years of doing it, I decided to stop.

1244
01:15:47,520 --> 01:15:52,240
Speaker 1: So you that's a challenge that was like a challenge

1245
01:15:52,280 --> 01:15:55,640
Speaker 1: that made you think twice about it, and.

1246
01:15:57,479 --> 01:16:01,800
Speaker 10: Well, I really do love it. I love conducting Mozart

1247
01:16:02,240 --> 01:16:06,479
Speaker 10: most of all. He's a very impish kind of character.

1248
01:16:07,479 --> 01:16:13,280
Speaker 10: He has. He tells lots of musical jokes. He's very playful,

1249
01:16:13,840 --> 01:16:18,000
Speaker 10: boisterous and serious and deep. I conducted a piece of

1250
01:16:18,080 --> 01:16:19,800
Speaker 10: his that he wrote when he was eight, and, for

1251
01:16:19,880 --> 01:16:22,360
Speaker 10: the life of mare, I can't think of the name

1252
01:16:22,439 --> 01:16:25,760
Speaker 10: of it. It was a short symphony, it was about

1253
01:16:25,800 --> 01:16:28,519
Speaker 10: fifty minutes in length, but as a piece that he

1254
01:16:28,600 --> 01:16:30,320
Speaker 10: wrote when he was eight years old, and when you

1255
01:16:30,439 --> 01:16:34,320
Speaker 10: listen to it, you wonder, how can an eight year

1256
01:16:34,360 --> 01:16:40,000
Speaker 10: old have those kinds, have this deep emotional depth of

1257
01:16:40,160 --> 01:16:48,280
Speaker 10: understanding of the human condition. You know, the emotions that

1258
01:16:48,439 --> 01:16:54,240
Speaker 10: he that he discovered through music was pretty profound. I

1259
01:16:54,320 --> 01:16:59,200
Speaker 10: couldn't understand how he could write something so deep at eight,

1260
01:17:00,920 --> 01:17:05,680
Speaker 10: But he was that well developed a musician, and he

1261
01:17:05,760 --> 01:17:09,560
Speaker 10: burned out in his thirties, you know, after writing some

1262
01:17:09,800 --> 01:17:10,960
Speaker 10: incredible music.

1263
01:17:11,479 --> 01:17:13,000
Speaker 7: He's my favorite to the dark.

1264
01:17:14,680 --> 01:17:17,200
Speaker 1: The world of classical music is so discipline. Do you

1265
01:17:17,280 --> 01:17:23,719
Speaker 1: feel as though maybe perhaps it rarely allowed any sort

1266
01:17:23,760 --> 01:17:24,720
Speaker 1: of spontaneity.

1267
01:17:25,479 --> 01:17:28,760
Speaker 10: Well, you know what surprised me standing in front of

1268
01:17:28,840 --> 01:17:37,200
Speaker 10: an orchestra, a full orchestra with eight bases. And during

1269
01:17:38,439 --> 01:17:41,200
Speaker 10: this time I was doing, I'd open up with a

1270
01:17:41,240 --> 01:17:44,840
Speaker 10: classical piece or two, and then i'd do a solo

1271
01:17:44,960 --> 01:17:47,840
Speaker 10: set and then the concept. Then there'd be an intermission,

1272
01:17:47,880 --> 01:17:51,160
Speaker 10: and then there'd be a classical piece, you know, Beethoven

1273
01:17:51,280 --> 01:17:54,799
Speaker 10: piece or Bernstein or something.

1274
01:17:55,000 --> 01:17:56,679
Speaker 7: Something would take place in the second half.

1275
01:17:57,880 --> 01:18:00,280
Speaker 10: And I remember walking over to the base section one

1276
01:18:00,360 --> 01:18:04,120
Speaker 10: by one, asked if one of them would be interested

1277
01:18:04,200 --> 01:18:06,639
Speaker 10: in playing a B flat blues with me? And none

1278
01:18:06,680 --> 01:18:09,760
Speaker 10: of them could do it. Wow, And that blew me

1279
01:18:09,880 --> 01:18:14,439
Speaker 10: away because I thought, how can you not play? How

1280
01:18:14,520 --> 01:18:17,400
Speaker 10: can you not give me a B flat blues? So

1281
01:18:17,520 --> 01:18:21,040
Speaker 10: I can, you know, improvise. On top of that, I

1282
01:18:21,200 --> 01:18:24,720
Speaker 10: just thought every bass player could you know, either classically

1283
01:18:24,840 --> 01:18:28,000
Speaker 10: trained or not, could play a B flat, A blues

1284
01:18:28,000 --> 01:18:28,599
Speaker 10: and B flat.

1285
01:18:28,880 --> 01:18:32,640
Speaker 1: Yeah. I think we're classical musicians. They conditioned themselves to

1286
01:18:32,800 --> 01:18:34,040
Speaker 1: read on the spot.

1287
01:18:34,760 --> 01:18:38,000
Speaker 10: That's why I call it paper music, because they live

1288
01:18:38,080 --> 01:18:38,719
Speaker 10: on the page.

1289
01:18:40,280 --> 01:18:46,679
Speaker 7: Starts work right, but I love classical music.

1290
01:18:46,920 --> 01:18:50,360
Speaker 1: Well, you live in between worlds because you I assume

1291
01:18:50,439 --> 01:18:54,080
Speaker 1: that you can read on site. We're given five ten

1292
01:18:54,120 --> 01:18:58,960
Speaker 1: minutes to recap it. Okay, yes, so I mean do

1293
01:18:59,040 --> 01:19:03,040
Speaker 1: you when that blew your way? Like they didn't even

1294
01:19:03,080 --> 01:19:06,439
Speaker 1: know the technical the technical notes to do, like the

1295
01:19:06,600 --> 01:19:09,120
Speaker 1: one chord and then the four chord and the five four.

1296
01:19:09,640 --> 01:19:12,599
Speaker 10: Well that wasn't true of all orders. Says that there

1297
01:19:12,640 --> 01:19:16,320
Speaker 10: were some that could you know, play blues and B flat,

1298
01:19:16,439 --> 01:19:21,640
Speaker 10: but lots of things shocked me about that that world is.

1299
01:19:21,840 --> 01:19:25,680
Speaker 10: It's very very different. Everything he's organized, everything has to

1300
01:19:25,800 --> 01:19:29,360
Speaker 10: be discussed, even down to what are we going to wear?

1301
01:19:30,120 --> 01:19:35,200
Speaker 10: I conducted controversions of Porgy and Bess, and I wanted

1302
01:19:35,280 --> 01:19:37,960
Speaker 10: the orchestra in the chorus to be as colorful as possible.

1303
01:19:38,000 --> 01:19:41,400
Speaker 10: I didn't want the blacks, black and white suits and

1304
01:19:41,479 --> 01:19:43,920
Speaker 10: all that kind of stuff in Acquirro wearing black and

1305
01:19:44,040 --> 01:19:44,639
Speaker 10: white whatever.

1306
01:19:45,320 --> 01:19:45,920
Speaker 7: I didn't want that.

1307
01:19:46,080 --> 01:19:50,640
Speaker 10: I said, where everything where African garb? Where just be

1308
01:19:51,080 --> 01:19:54,920
Speaker 10: colorful because we're talking about catfish row here, we're talking

1309
01:19:54,920 --> 01:19:58,439
Speaker 10: about a village of people. So they didn't walk around

1310
01:19:58,479 --> 01:20:01,439
Speaker 10: in suits and ties. They walked around in bare feet

1311
01:20:01,520 --> 01:20:04,799
Speaker 10: and patches on their clothes and different colors.

1312
01:20:04,840 --> 01:20:05,600
Speaker 5: They must have loved it.

1313
01:20:06,200 --> 01:20:10,320
Speaker 10: So as soon as the cars would come in, even

1314
01:20:10,360 --> 01:20:12,920
Speaker 10: before we played a note, the audience knew that something

1315
01:20:13,080 --> 01:20:16,120
Speaker 10: was up, something wonderful was going at was going to happen,

1316
01:20:16,920 --> 01:20:19,280
Speaker 10: just because of the way everyone looked, even the orchestra.

1317
01:20:19,720 --> 01:20:22,599
Speaker 10: But they'd have to have meetings about this kind of stuff.

1318
01:20:23,720 --> 01:20:25,200
Speaker 10: What do you mean wear color?

1319
01:20:25,360 --> 01:20:26,160
Speaker 7: What colors?

1320
01:20:26,240 --> 01:20:31,200
Speaker 10: And I said many, many colors, short sleeve, long sleeve.

1321
01:20:31,560 --> 01:20:36,400
Speaker 10: I said, I don't care, jean slacks doesn't matter.

1322
01:20:37,040 --> 01:20:42,400
Speaker 7: I don't care. You know, free, You're free. Just play.

1323
01:20:46,880 --> 01:20:48,920
Speaker 1: Madison. What was this like for you growing up? Because

1324
01:20:48,920 --> 01:20:50,479
Speaker 1: you seen he seems like he would be like the

1325
01:20:50,560 --> 01:20:55,120
Speaker 1: coolest dad ever, Like, well, did he allow you to

1326
01:20:55,160 --> 01:20:57,760
Speaker 1: express yourself like that as well? Yeah?

1327
01:20:57,920 --> 01:21:02,200
Speaker 8: We were always really encouraged to express ourselves in whatever ways.

1328
01:21:03,200 --> 01:21:07,480
Speaker 1: They are, the Animaniacs, the Smallest.

1329
01:21:09,640 --> 01:21:14,400
Speaker 10: Stay, I have no idea what you're talking about.

1330
01:21:14,479 --> 01:21:18,000
Speaker 1: The Smalletts, Journey Smilett, the family. We had them on

1331
01:21:18,080 --> 01:21:20,200
Speaker 1: the show, like the whole When I see you know,

1332
01:21:20,320 --> 01:21:24,760
Speaker 1: the Tasmanian double, I just see that with the four them.

1333
01:21:24,720 --> 01:21:26,639
Speaker 5: Together, the Little Girl from East Byue, I was trying

1334
01:21:26,640 --> 01:21:29,120
Speaker 5: to give him a I'm like, what's the well.

1335
01:21:30,560 --> 01:21:33,240
Speaker 8: I mean, it was interesting and like similar to what

1336
01:21:33,320 --> 01:21:35,519
Speaker 8: I had mentioned earlier about not really putting two and

1337
01:21:35,560 --> 01:21:38,880
Speaker 8: two together until I got to college. We were always

1338
01:21:38,920 --> 01:21:41,439
Speaker 8: going to shows, you know, we were always going to

1339
01:21:41,520 --> 01:21:44,320
Speaker 8: whether it was a solo show or a classical show.

1340
01:21:46,280 --> 01:21:46,439
Speaker 1: You know.

1341
01:21:46,600 --> 01:21:49,040
Speaker 8: I just remember being little and needing to like sit

1342
01:21:49,120 --> 01:21:51,320
Speaker 8: on my mom's jacket because I wasn't big enough to

1343
01:21:51,400 --> 01:21:53,240
Speaker 8: see the stage type of thing, you know.

1344
01:21:53,880 --> 01:21:56,800
Speaker 1: And and this was in San Francisco. This is where

1345
01:21:56,840 --> 01:21:57,040
Speaker 1: you were.

1346
01:21:58,160 --> 01:22:02,120
Speaker 8: I'm we moved from San Francisco when I was just

1347
01:22:02,280 --> 01:22:05,200
Speaker 8: under three, and then I did like elementary school in

1348
01:22:05,280 --> 01:22:09,519
Speaker 8: Minneapolis and then pretty much middle school and high school

1349
01:22:09,520 --> 01:22:13,240
Speaker 8: in Philadelphia. Uh. But it was another one of those

1350
01:22:13,280 --> 01:22:17,240
Speaker 8: things where you really take for granted that like I'm

1351
01:22:17,280 --> 01:22:19,200
Speaker 8: not thinking about the fact that, oh, all my friends

1352
01:22:19,200 --> 01:22:22,519
Speaker 8: aren't going to see classical shows like every other weekend.

1353
01:22:22,680 --> 01:22:25,920
Speaker 8: You know. Like that didn't that really didn't compute. And

1354
01:22:27,120 --> 01:22:29,880
Speaker 8: it also didn't connect because you know, he was gone

1355
01:22:29,960 --> 01:22:33,559
Speaker 8: a decent amount on the road and my two best friends,

1356
01:22:34,040 --> 01:22:37,120
Speaker 8: one of them her dad was a like a consultant

1357
01:22:37,160 --> 01:22:38,760
Speaker 8: who was on the road all the time, and the

1358
01:22:38,840 --> 01:22:40,840
Speaker 8: other one her mom was a businesswoman who was on

1359
01:22:40,920 --> 01:22:42,479
Speaker 8: the road all the time. So I was kind of like, oh,

1360
01:22:42,560 --> 01:22:46,280
Speaker 8: apparent is gone. That's just kind of the vibe.

1361
01:22:46,560 --> 01:22:49,600
Speaker 1: What did you did your mom? She was not a

1362
01:22:49,680 --> 01:22:51,880
Speaker 1: singer or anything like that. No, music, not at all.

1363
01:22:52,080 --> 01:22:54,639
Speaker 8: No, my mom has wonderful taste in music.

1364
01:22:55,640 --> 01:22:59,880
Speaker 1: She's not chicken.

1365
01:23:00,320 --> 01:23:02,679
Speaker 10: Is very very very Yeah.

1366
01:23:05,240 --> 01:23:06,240
Speaker 5: And she's from the West Coast.

1367
01:23:06,400 --> 01:23:09,880
Speaker 8: No, she's from Illinois. Okay, but apparently, I mean dad

1368
01:23:10,000 --> 01:23:12,080
Speaker 8: can say this better than I can. But apparently one

1369
01:23:12,120 --> 01:23:14,479
Speaker 8: of the things that caught his eye when they met

1370
01:23:14,520 --> 01:23:16,919
Speaker 8: in seventy five is that when he went to her apartment,

1371
01:23:17,160 --> 01:23:19,400
Speaker 8: and this is a white woman, she had a copy

1372
01:23:19,439 --> 01:23:30,519
Speaker 8: of Downbeat magazine in her apartment. Did and so. But

1373
01:23:30,680 --> 01:23:32,559
Speaker 8: she is a different kind of artist in the sense

1374
01:23:32,600 --> 01:23:37,040
Speaker 8: of she is an incredible interior designer and has an

1375
01:23:37,120 --> 01:23:40,040
Speaker 8: eye for that kind of detail. And but she always

1376
01:23:40,080 --> 01:23:42,479
Speaker 8: says that if she could sing, she'd be a blues singer.

1377
01:23:43,040 --> 01:23:45,439
Speaker 8: So she had a voice, she would want to do that.

1378
01:23:46,120 --> 01:23:47,840
Speaker 5: But that is not what she does.

1379
01:23:49,320 --> 01:23:51,280
Speaker 8: But I think it's actually better that way, since he

1380
01:23:51,479 --> 01:23:54,559
Speaker 8: is like such a virtuoso. I feel like having two

1381
01:23:54,840 --> 01:23:56,480
Speaker 8: musician couple.

1382
01:23:59,560 --> 01:24:05,320
Speaker 1: Lawyer if not so like, have y'all collaborated? We are.

1383
01:24:05,640 --> 01:24:07,960
Speaker 8: I'm in his band in one of his bands with

1384
01:24:08,160 --> 01:24:13,840
Speaker 8: him called Spirit You Wall. So we did about two

1385
01:24:13,960 --> 01:24:19,760
Speaker 8: years of touring together, which was really fun. I said,

1386
01:24:19,800 --> 01:24:22,080
Speaker 8: I essentially got paid to travel the world.

1387
01:24:21,880 --> 01:24:26,800
Speaker 10: And last because we would something would happen on stage

1388
01:24:26,840 --> 01:24:28,960
Speaker 10: and we would get to laughing so hard so we

1389
01:24:29,000 --> 01:24:30,200
Speaker 10: couldn't even look at each other.

1390
01:24:30,840 --> 01:24:35,080
Speaker 8: Yeah, it was bad. His sound guy, Dan Vaccari, he

1391
01:24:35,600 --> 01:24:37,439
Speaker 8: after one show he told me he was like, if

1392
01:24:37,479 --> 01:24:39,800
Speaker 8: something happens like you, you can't look at your dad

1393
01:24:40,040 --> 01:24:42,200
Speaker 8: because you guys will look at each other and he'll

1394
01:24:42,280 --> 01:24:45,720
Speaker 8: fall out and until turn into a whole thing. But

1395
01:24:45,840 --> 01:24:48,599
Speaker 8: we definitely have a way of setting each other off.

1396
01:24:48,640 --> 01:24:52,320
Speaker 8: I actually recently found a photo of the two of

1397
01:24:52,479 --> 01:24:54,800
Speaker 8: us sitting at the piano when I'm probably like six

1398
01:24:54,920 --> 01:24:57,280
Speaker 8: or something, and we're both making silly faces, and it

1399
01:24:57,360 --> 01:24:59,559
Speaker 8: pretty much sums up Yeah.

1400
01:24:59,720 --> 01:25:02,800
Speaker 1: Pretty What was What was your training like? Did you

1401
01:25:03,120 --> 01:25:05,040
Speaker 1: were you formally trained or did you just kind of

1402
01:25:05,120 --> 01:25:05,639
Speaker 1: pick it up.

1403
01:25:05,600 --> 01:25:10,840
Speaker 8: Yourself a little bit of both yourself. Uh. I started

1404
01:25:10,880 --> 01:25:12,680
Speaker 8: taking piano lessons when I was about like three or

1405
01:25:12,760 --> 01:25:16,120
Speaker 8: four or something like that. But then when we moved

1406
01:25:16,200 --> 01:25:20,400
Speaker 8: to Philadelphia. I still took up lessons, but I wasn't

1407
01:25:20,560 --> 01:25:23,240
Speaker 8: as serious about it. And then I also took drum

1408
01:25:23,439 --> 01:25:27,559
Speaker 8: lessons simultaneously, and same vibe. Wasn't as serious, and same thing.

1409
01:25:27,640 --> 01:25:30,360
Speaker 8: I took quarter lessons and wasn't as serious about it.

1410
01:25:32,880 --> 01:25:36,040
Speaker 8: I have a wooden recorder that my dad got me.

1411
01:25:36,200 --> 01:25:37,120
Speaker 8: That's pretty legit.

1412
01:25:38,200 --> 01:25:39,720
Speaker 1: And then how were you when you did that?

1413
01:25:40,560 --> 01:25:46,439
Speaker 8: Uh ten or eleven something like that to twelve?

1414
01:25:47,560 --> 01:25:48,240
Speaker 5: I could? I could.

1415
01:25:48,439 --> 01:25:50,160
Speaker 8: I could play pretty well. I was decent.

1416
01:25:50,320 --> 01:25:50,760
Speaker 5: I wasn't.

1417
01:25:50,960 --> 01:25:53,320
Speaker 8: I wasn't like the squeaky because I you know, they

1418
01:25:53,400 --> 01:25:54,960
Speaker 8: play that in school and I would always have to

1419
01:25:55,000 --> 01:25:56,640
Speaker 8: be put to the side because it was like you,

1420
01:25:56,880 --> 01:25:59,479
Speaker 8: this is past or this is below your pay grade.

1421
01:26:03,600 --> 01:26:05,800
Speaker 8: I couldn't. I mean, they never gave it to me,

1422
01:26:05,880 --> 01:26:07,920
Speaker 8: but I guess I probably could. I would have to

1423
01:26:07,960 --> 01:26:10,080
Speaker 8: like sit in the hallway while everybody else was learning

1424
01:26:10,120 --> 01:26:12,120
Speaker 8: something else because they were like, here's the more advanced

1425
01:26:12,160 --> 01:26:15,240
Speaker 8: piece that you can figure out for yourself. But I

1426
01:26:15,280 --> 01:26:18,200
Speaker 8: always knew I wanted to be a singer, so I

1427
01:26:18,400 --> 01:26:21,600
Speaker 8: was like in choirs and in high school, I was

1428
01:26:21,680 --> 01:26:23,840
Speaker 8: like in the a cappella group in the choir and

1429
01:26:23,920 --> 01:26:26,800
Speaker 8: the Madrials like and all that stuff. So I was

1430
01:26:26,880 --> 01:26:31,400
Speaker 8: singing every day of the week pretty much, and then

1431
01:26:31,439 --> 01:26:35,519
Speaker 8: we'd sing in the house, not anything like formally, and

1432
01:26:35,600 --> 01:26:37,320
Speaker 8: anytime he had a show that I was at a

1433
01:26:37,720 --> 01:26:41,760
Speaker 8: we always would do some kind of duet together. But

1434
01:26:42,080 --> 01:26:44,880
Speaker 8: definitely the most formal training I got was probably at Berkeley.

1435
01:26:45,520 --> 01:26:48,680
Speaker 1: After the facts, well, I know he produces, but does

1436
01:26:48,720 --> 01:26:49,120
Speaker 1: he is.

1437
01:26:49,360 --> 01:26:53,280
Speaker 8: Just dipping into the into the singing because he definitely

1438
01:26:54,640 --> 01:26:59,680
Speaker 8: he steered away from doing what Dad does, and I

1439
01:26:59,760 --> 01:27:01,760
Speaker 8: think as the oldest it was kind of like I'm

1440
01:27:01,880 --> 01:27:04,400
Speaker 8: trying to prove that I'm not my dad type of thing.

1441
01:27:05,400 --> 01:27:08,439
Speaker 8: So he's just now dipping into it. Whereas Javon and

1442
01:27:08,520 --> 01:27:10,800
Speaker 8: I both like were active in choirs and stuff. But

1443
01:27:10,880 --> 01:27:16,519
Speaker 8: Javon also always wanted to be an actor. Okay, I

1444
01:27:16,520 --> 01:27:17,679
Speaker 8: went to Germantown Friends School.

1445
01:27:17,720 --> 01:27:23,000
Speaker 1: Oh, Javon went to Kappa Okay, yeah, wait why Philadelphia,

1446
01:27:24,720 --> 01:27:27,600
Speaker 1: that's the question. Was it just like coming to America, like.

1447
01:27:29,520 --> 01:27:33,320
Speaker 7: It's the windsors Man the windsor.

1448
01:27:33,840 --> 01:27:35,559
Speaker 1: Minnesota was pretty bad, I can imagine.

1449
01:27:38,479 --> 01:27:41,360
Speaker 10: I was invited by the Philadelphia Orchestra to conduct him

1450
01:27:41,560 --> 01:27:46,360
Speaker 10: in April and so one. So I'm sitting with my

1451
01:27:46,479 --> 01:27:51,559
Speaker 10: soundman then at an outdoor cafe with the trees blooming

1452
01:27:52,560 --> 01:27:56,240
Speaker 10: and everything, and and I called up my wife and

1453
01:27:56,320 --> 01:27:58,120
Speaker 10: I said maybe we should think about because we were

1454
01:27:58,160 --> 01:28:00,280
Speaker 10: thinking about moving, but we didn't know where.

1455
01:28:00,880 --> 01:28:04,320
Speaker 7: I said, well, let's take a look at Philadelphia. And

1456
01:28:04,400 --> 01:28:05,200
Speaker 7: they were also.

1457
01:28:06,720 --> 01:28:06,760
Speaker 5: No.

1458
01:28:07,280 --> 01:28:11,840
Speaker 1: No Prince runnings in Minnesota. Nothing, No, no trips to

1459
01:28:11,920 --> 01:28:12,519
Speaker 1: Paisley Park.

1460
01:28:12,600 --> 01:28:13,960
Speaker 7: No, Yeah, we went to Paisley Park.

1461
01:28:14,320 --> 01:28:17,800
Speaker 1: Okay, have you ever played with him or done one of.

1462
01:28:17,800 --> 01:28:20,639
Speaker 10: His He's come to some couple I think a show

1463
01:28:20,760 --> 01:28:21,400
Speaker 10: or two of mine.

1464
01:28:21,560 --> 01:28:23,760
Speaker 8: Okay, didn't you see him in the club once or

1465
01:28:23,800 --> 01:28:24,160
Speaker 8: something like?

1466
01:28:24,320 --> 01:28:26,280
Speaker 7: So him in the club, we met and talked for

1467
01:28:26,320 --> 01:28:26,800
Speaker 7: a little bit.

1468
01:28:28,320 --> 01:28:30,479
Speaker 1: I did a show in La He.

1469
01:28:32,000 --> 01:28:34,000
Speaker 10: They cleared out the balcony so that he could sit

1470
01:28:34,040 --> 01:28:37,000
Speaker 10: in the balcony alone, so he could watch me in peace.

1471
01:28:38,560 --> 01:28:41,439
Speaker 10: And that was He was a very I wish I

1472
01:28:41,520 --> 01:28:43,599
Speaker 10: had gotten to know him. He was a very quiet.

1473
01:28:43,640 --> 01:28:46,639
Speaker 10: He had a very quiet voice. He was very small,

1474
01:28:48,520 --> 01:28:52,600
Speaker 10: but he had such a presence about him, you know,

1475
01:28:53,240 --> 01:28:55,720
Speaker 10: And it would have been great to have sat down

1476
01:28:55,800 --> 01:28:58,560
Speaker 10: with him as as we're as we are and just

1477
01:28:58,640 --> 01:29:01,360
Speaker 10: talk about music and talk about our lives.

1478
01:29:01,160 --> 01:29:09,919
Speaker 1: And so and finding your your voice, especially for your projects,

1479
01:29:10,160 --> 01:29:16,920
Speaker 1: Like how how much not nerve or how did you

1480
01:29:17,080 --> 01:29:20,120
Speaker 1: deal with any reservations you had with sharing your music

1481
01:29:20,200 --> 01:29:23,880
Speaker 1: with your family, let alone the world.

1482
01:29:24,240 --> 01:29:24,640
Speaker 10: But just.

1483
01:29:27,160 --> 01:29:30,400
Speaker 8: Well, I thankfully I got. I used to be really

1484
01:29:30,479 --> 01:29:33,760
Speaker 8: nervous when I would sing, especially in high school. But

1485
01:29:33,880 --> 01:29:35,240
Speaker 8: then when I was in college, I was in a

1486
01:29:35,320 --> 01:29:39,600
Speaker 8: band called Cosmodrome and we played a lot, and I

1487
01:29:39,680 --> 01:29:40,439
Speaker 8: did go to Berkeley.

1488
01:29:40,680 --> 01:29:43,240
Speaker 1: What was that like? Because that's a very doggy dog world.

1489
01:29:45,479 --> 01:29:47,240
Speaker 5: Her eyes are closed and she's thinking, wait a.

1490
01:29:47,240 --> 01:29:52,840
Speaker 1: Minute about it, Okay, Berkeley, wait right now.

1491
01:29:53,400 --> 01:29:57,200
Speaker 8: Berkeley is a place where I think I had a

1492
01:29:57,400 --> 01:30:03,120
Speaker 8: very interesting experien being my father's daughter that I was

1493
01:30:03,320 --> 01:30:07,200
Speaker 8: slightly unprepared for, just because you know, you go to

1494
01:30:07,360 --> 01:30:09,800
Speaker 8: college and you want to kind of be anonymous and

1495
01:30:10,040 --> 01:30:14,439
Speaker 8: figure out your own stuff. And even though I was

1496
01:30:14,479 --> 01:30:18,599
Speaker 8: outed before I even got there, apparently there were people

1497
01:30:18,680 --> 01:30:22,360
Speaker 8: who were talking administration. Yeah, administration had been like telling

1498
01:30:22,400 --> 01:30:25,479
Speaker 8: people that I was going to be there, and.

1499
01:30:25,680 --> 01:30:29,880
Speaker 1: So I it does a person that service, though, right,

1500
01:30:29,960 --> 01:30:31,080
Speaker 1: And so it was this it was this.

1501
01:30:31,160 --> 01:30:33,439
Speaker 8: Thing where like you know, obviously there's a little bit

1502
01:30:33,520 --> 01:30:36,360
Speaker 8: of you know, it's cool and popular type of thing.

1503
01:30:36,840 --> 01:30:41,920
Speaker 8: But then it was also this thing of like it

1504
01:30:42,000 --> 01:30:44,040
Speaker 8: was like that kind of thing, but also you know,

1505
01:30:44,240 --> 01:30:47,479
Speaker 8: like people introducing themselves and the first thing they would

1506
01:30:47,479 --> 01:30:49,400
Speaker 8: ask me is like, how's your dad doing? And I'm like,

1507
01:30:49,479 --> 01:30:51,840
Speaker 8: you don't want to know right exactly, And so it

1508
01:30:51,960 --> 01:30:57,160
Speaker 8: really it ended up giving me a lot of hesitation

1509
01:30:57,360 --> 01:31:01,000
Speaker 8: towards getting to know certain people because with a motivation, yeah,

1510
01:31:01,000 --> 01:31:02,600
Speaker 8: I don't know what their motivation is. And at the

1511
01:31:02,640 --> 01:31:04,519
Speaker 8: same time, it's like, like I had mentioned, it's like

1512
01:31:04,600 --> 01:31:06,559
Speaker 8: I hadn't really listened to him as a musician until

1513
01:31:06,600 --> 01:31:09,480
Speaker 8: I got there. So it's like people are freaking.

1514
01:31:09,479 --> 01:31:11,920
Speaker 5: Out because they've been studying him all right.

1515
01:31:12,120 --> 01:31:14,479
Speaker 8: They're freaking out, and I'm like, Yo, this is just

1516
01:31:14,560 --> 01:31:17,000
Speaker 8: my dad, and like he's a really wonderful father, and

1517
01:31:17,160 --> 01:31:19,479
Speaker 8: like that's cool that you really admire him, but like

1518
01:31:19,560 --> 01:31:21,720
Speaker 8: I'm still trying to figure out my stuff. People would

1519
01:31:21,760 --> 01:31:23,840
Speaker 8: automatically assume that I was like a really good scatter

1520
01:31:23,920 --> 01:31:25,560
Speaker 8: and it's like, no, like that's not what I do.

1521
01:31:27,520 --> 01:31:30,320
Speaker 1: Did you ever meet home from work day?

1522
01:31:30,479 --> 01:31:31,880
Speaker 5: Like that's the thing.

1523
01:31:32,080 --> 01:31:34,280
Speaker 8: He helped me move into my college norm room, you know,

1524
01:31:34,439 --> 01:31:35,320
Speaker 8: And so then people are like.

1525
01:31:35,320 --> 01:31:42,640
Speaker 5: Oh my god, bom fairness, like, but wait, do you

1526
01:31:42,720 --> 01:31:44,840
Speaker 5: know your story sounds similar to late Leila Halthaway in

1527
01:31:44,880 --> 01:31:48,280
Speaker 5: that way that doesn't surprise me, But her dad wasn't.

1528
01:31:50,479 --> 01:31:52,800
Speaker 8: I'm sorry, I'm sorry, but.

1529
01:31:55,640 --> 01:31:56,240
Speaker 5: I'm awkward.

1530
01:32:00,160 --> 01:32:03,160
Speaker 8: I actually I actually d m her on Instagram on time,

1531
01:32:03,200 --> 01:32:05,679
Speaker 8: so I was like, I'm happy to see like fellow

1532
01:32:05,840 --> 01:32:07,000
Speaker 8: daughters of you.

1533
01:32:07,040 --> 01:32:13,040
Speaker 1: Know God, Yeah, did she hit?

1534
01:32:13,120 --> 01:32:13,840
Speaker 5: You did your back?

1535
01:32:14,040 --> 01:32:14,280
Speaker 1: She did?

1536
01:32:15,560 --> 01:32:19,400
Speaker 8: We following each other, but yeah, so I had I

1537
01:32:19,560 --> 01:32:23,400
Speaker 8: was able to like do the cosmodrome thing and then.

1538
01:32:23,479 --> 01:32:25,599
Speaker 1: I still that was how I just goage you. Actually

1539
01:32:25,680 --> 01:32:26,200
Speaker 1: I did well.

1540
01:32:26,120 --> 01:32:28,920
Speaker 8: Because that's when I was still doing my music music

1541
01:32:28,960 --> 01:32:31,880
Speaker 8: blog and I and Amir actually was like, oh if

1542
01:32:31,920 --> 01:32:35,040
Speaker 8: you write about foreign exchange fontale probably like.

1543
01:32:37,000 --> 01:32:37,439
Speaker 10: I saw it.

1544
01:32:37,600 --> 01:32:39,559
Speaker 1: I was like, And the thing was, though, like did

1545
01:32:39,640 --> 01:32:40,920
Speaker 1: you ever get that album one hundred?

1546
01:32:41,160 --> 01:32:41,439
Speaker 10: I did?

1547
01:32:41,560 --> 01:32:41,880
Speaker 1: She did?

1548
01:32:42,720 --> 01:32:46,000
Speaker 8: Album was Pippa Butterfly was number one.

1549
01:32:46,000 --> 01:32:48,120
Speaker 1: Because you know what I know all ninety nine, I

1550
01:32:48,200 --> 01:32:50,240
Speaker 1: didn't know what your hundred record yea, because the thing

1551
01:32:50,439 --> 01:32:52,760
Speaker 1: was I didn't even know I didn't find out who

1552
01:32:52,840 --> 01:32:56,080
Speaker 1: you were until afterwards, Like I was just reading your blog,

1553
01:32:56,200 --> 01:32:57,640
Speaker 1: like you did I join. I was like, okay, let

1554
01:32:57,680 --> 01:32:58,960
Speaker 1: me see what else she does. So then I was

1555
01:32:59,040 --> 01:33:01,840
Speaker 1: just following your blog. It wasn't until later on that

1556
01:33:02,000 --> 01:33:05,800
Speaker 1: I realized that, oh that's Madison Fair. I was like, oh,

1557
01:33:05,920 --> 01:33:07,919
Speaker 1: she's Bobby's dog. Was like, oh, okay, some people.

1558
01:33:07,760 --> 01:33:09,920
Speaker 8: It takes a while for them to put the connection together.

1559
01:33:09,920 --> 01:33:11,360
Speaker 8: I don't know if it's because i'mlight skinned or what,

1560
01:33:11,520 --> 01:33:13,120
Speaker 8: but it's like some people I saw.

1561
01:33:13,160 --> 01:33:15,280
Speaker 1: It was then like because you would put up pictures

1562
01:33:15,360 --> 01:33:17,200
Speaker 1: like on Instagram and with you of your mom and

1563
01:33:17,280 --> 01:33:20,040
Speaker 1: you and your mom have like the exact twins. Yeah, dude,

1564
01:33:20,520 --> 01:33:20,960
Speaker 1: like for real?

1565
01:33:21,280 --> 01:33:22,840
Speaker 5: So can I ask the question? Because the first time

1566
01:33:22,920 --> 01:33:24,760
Speaker 5: I met Madison was with you and Miir and she

1567
01:33:24,920 --> 01:33:27,120
Speaker 5: was already singing live on stage. She was about to

1568
01:33:27,120 --> 01:33:29,320
Speaker 5: sing for Roots Picnic and sing some of the parts.

1569
01:33:29,600 --> 01:33:31,760
Speaker 1: So yeah, that's right. I forgot we did work together. Yeah,

1570
01:33:31,840 --> 01:33:32,640
Speaker 1: so I forget what.

1571
01:33:32,800 --> 01:33:36,120
Speaker 5: Made you go, Madison come over here sing come to

1572
01:33:36,160 --> 01:33:37,680
Speaker 5: the Roots Picnic? And how did that work?

1573
01:33:37,800 --> 01:33:38,719
Speaker 8: Because I was background?

1574
01:33:39,760 --> 01:33:41,479
Speaker 5: Okay, so that's what I was trying to go together.

1575
01:33:42,120 --> 01:33:43,479
Speaker 5: I know she sings a lot of singers.

1576
01:33:43,560 --> 01:33:47,720
Speaker 1: You know, there's no method in my math. Come real quick,

1577
01:33:48,479 --> 01:33:49,439
Speaker 1: And that's how it was.

1578
01:33:49,800 --> 01:33:51,560
Speaker 8: You asked me like a week before it happened or

1579
01:33:51,600 --> 01:33:52,040
Speaker 8: something like that.

1580
01:33:52,160 --> 01:33:54,600
Speaker 1: It was like very I prepare very late, and I

1581
01:33:54,720 --> 01:33:56,920
Speaker 1: realized like, oh, someone's gonna have to sing these day

1582
01:33:57,160 --> 01:33:58,080
Speaker 1: songs and it won't be me.

1583
01:34:00,120 --> 01:34:00,160
Speaker 5: Know.

1584
01:34:00,240 --> 01:34:03,040
Speaker 1: That was and I definitely like, it took me forever

1585
01:34:03,160 --> 01:34:07,120
Speaker 1: to meet you. Yeah, I purposely hid from him forever.

1586
01:34:07,720 --> 01:34:09,439
Speaker 5: You was you said that real fast. You was singing

1587
01:34:09,479 --> 01:34:12,840
Speaker 5: backgrounds for Daylight. But I'm just yeah, just well.

1588
01:34:12,840 --> 01:34:17,760
Speaker 8: Just at the Roots picnic and then another time on

1589
01:34:17,960 --> 01:34:25,200
Speaker 8: Valin and then there was like a Super Bowl Budweiser party. Yeah,

1590
01:34:27,200 --> 01:34:29,240
Speaker 8: but that was before I was even doing solo stuff.

1591
01:34:30,280 --> 01:34:32,559
Speaker 8: I just started doing solo stuff about two years ago,

1592
01:34:33,240 --> 01:34:36,439
Speaker 8: so that was. But I thankfully had enough practice under

1593
01:34:36,479 --> 01:34:39,080
Speaker 8: my belt and had played music for my family and

1594
01:34:39,200 --> 01:34:40,559
Speaker 8: my friends to be able to be like.

1595
01:34:40,560 --> 01:34:43,479
Speaker 1: Okay, let me do that, like like playing music for

1596
01:34:44,479 --> 01:34:45,400
Speaker 1: your family.

1597
01:34:45,160 --> 01:34:51,040
Speaker 8: I mean, like the solo stuff. Well I was really,

1598
01:34:51,800 --> 01:34:53,240
Speaker 8: I mean I was. This was the first time that

1599
01:34:53,320 --> 01:34:56,040
Speaker 8: I was releasing solo music, and I was really happy

1600
01:34:56,120 --> 01:34:59,439
Speaker 8: with what I had come out with, and the fact

1601
01:34:59,520 --> 01:35:02,880
Speaker 8: that it was a cappella stuff actually made me a

1602
01:35:02,920 --> 01:35:05,920
Speaker 8: little more comfortable, which I think some people probably would

1603
01:35:05,960 --> 01:35:10,320
Speaker 8: assume that I would be less comfortable playing it for

1604
01:35:10,600 --> 01:35:14,559
Speaker 8: my dad, but it for me it was more like, oh,

1605
01:35:14,640 --> 01:35:17,240
Speaker 8: I have this amazing resource to be like, what do

1606
01:35:17,360 --> 01:35:20,880
Speaker 8: you think of this music that is completely derivative of you?

1607
01:35:22,120 --> 01:35:25,080
Speaker 8: And you have been around the block a few times,

1608
01:35:25,200 --> 01:35:28,280
Speaker 8: and even like I did the first one by myself

1609
01:35:28,520 --> 01:35:35,160
Speaker 8: using his studio, after he'd go to sleep, I'd like, no,

1610
01:35:35,240 --> 01:35:36,920
Speaker 8: I wasn't sneaking. He knew I was doing it, but

1611
01:35:37,000 --> 01:35:38,560
Speaker 8: I was like, he goes to bed at nine, and

1612
01:35:38,640 --> 01:35:40,160
Speaker 8: so I'd be in there from like ten to four.

1613
01:35:40,840 --> 01:35:44,000
Speaker 8: And so then the second time around, I was much

1614
01:35:44,080 --> 01:35:44,479
Speaker 8: more time.

1615
01:35:45,200 --> 01:35:47,320
Speaker 1: At four o'clock in the morning, No, I get up.

1616
01:35:49,280 --> 01:35:52,080
Speaker 8: But I had to go to bed. Oh school I

1617
01:35:52,160 --> 01:35:55,240
Speaker 8: forgot Well, no, I wasn't in school anymore. She's like,

1618
01:35:55,280 --> 01:36:04,040
Speaker 8: I like sleep changing. Yeah. But then the second time around,

1619
01:36:04,080 --> 01:36:06,880
Speaker 8: I was much more with finding Foundations volume two, I

1620
01:36:07,040 --> 01:36:10,240
Speaker 8: was even that much more intentional with having him be

1621
01:36:10,400 --> 01:36:13,080
Speaker 8: a part of the process, and just while I was

1622
01:36:13,160 --> 01:36:14,960
Speaker 8: making it, be like, what do you think of this?

1623
01:36:15,520 --> 01:36:17,760
Speaker 8: What are your arrangement notes? Like do you think I

1624
01:36:17,840 --> 01:36:19,880
Speaker 8: should take something out? Do you think I should put

1625
01:36:19,920 --> 01:36:22,920
Speaker 8: something in? And there were definitely some key parts.

1626
01:36:23,160 --> 01:36:25,280
Speaker 1: Is it hard to be honest or not. Is it

1627
01:36:25,400 --> 01:36:28,719
Speaker 1: hard to be honest because the one thing in life

1628
01:36:28,920 --> 01:36:34,200
Speaker 1: I can't do is give a critique. I'd rather end

1629
01:36:34,240 --> 01:36:34,799
Speaker 1: of friendship.

1630
01:36:38,240 --> 01:36:42,080
Speaker 5: I've never given donatique staying in a family since Like, it's.

1631
01:36:42,520 --> 01:36:47,160
Speaker 1: I don't critique nobody. I hate doing vocals like I

1632
01:36:47,320 --> 01:36:51,559
Speaker 1: just I. So you're saying you don't critique in terms

1633
01:36:51,600 --> 01:36:54,599
Speaker 1: of like while you're recording or like after the record

1634
01:36:54,680 --> 01:36:59,280
Speaker 1: is done this period, I like, give me your honest opinion, like,

1635
01:36:59,479 --> 01:37:02,719
Speaker 1: because if I discover your music, it's because I actually

1636
01:37:02,880 --> 01:37:05,760
Speaker 1: like you and I dig you. But you know, but

1637
01:37:05,920 --> 01:37:07,360
Speaker 1: so if somebody's like, give me honest to be on this,

1638
01:37:07,479 --> 01:37:09,000
Speaker 1: you don't. You're just like nah.

1639
01:37:09,960 --> 01:37:12,479
Speaker 8: I found that out very early because I asked him

1640
01:37:12,520 --> 01:37:14,599
Speaker 8: an opinion about something and he was like, I don't

1641
01:37:14,640 --> 01:37:18,120
Speaker 8: do that, and I was like, all right, I mean

1642
01:37:18,280 --> 01:37:21,479
Speaker 8: you know, I mean this was also like six seven

1643
01:37:21,560 --> 01:37:21,880
Speaker 8: years ago.

1644
01:37:22,240 --> 01:37:28,400
Speaker 1: Love does not do emotions? Well is this same? So

1645
01:37:28,520 --> 01:37:30,560
Speaker 1: what's the next around the bend for you?

1646
01:37:32,720 --> 01:37:40,599
Speaker 8: I have produced music in the works, okay and right, yeah,

1647
01:37:41,000 --> 01:37:43,280
Speaker 8: but that was stuff. This is the thing. I wrote

1648
01:37:43,360 --> 01:37:47,040
Speaker 8: this produced stuff before I wrote the a cappella stuff.

1649
01:37:47,640 --> 01:37:51,840
Speaker 8: But I, similar to my dad, had a vision of

1650
01:37:52,000 --> 01:37:56,840
Speaker 8: me being on stage by myself and so, but I

1651
01:37:56,960 --> 01:37:59,920
Speaker 8: can't play all these other instruments, and I don't even

1652
01:38:00,080 --> 01:38:03,439
Speaker 8: I can play the piano. I don't feel super confident

1653
01:38:03,520 --> 01:38:07,200
Speaker 8: playing and singing at the same time, even though that's

1654
01:38:07,200 --> 01:38:09,320
Speaker 8: how I wrote the songs that are going to be produced.

1655
01:38:09,560 --> 01:38:11,920
Speaker 8: And so I was like, oh, snap, I need something

1656
01:38:11,960 --> 01:38:14,160
Speaker 8: else if I'm going to do these solo shows. And

1657
01:38:14,280 --> 01:38:17,080
Speaker 8: so I wrote some a cappella tunes with my loop pedal,

1658
01:38:17,120 --> 01:38:18,719
Speaker 8: and I was like, oh, these are pretty cool. I'll

1659
01:38:18,920 --> 01:38:20,840
Speaker 8: like record these and then just put these out.

1660
01:38:21,920 --> 01:38:26,120
Speaker 1: All those loops are programmed inside your loop.

1661
01:38:26,000 --> 01:38:28,720
Speaker 8: Pedal when I do it live, but when I record them,

1662
01:38:28,760 --> 01:38:31,559
Speaker 8: I record each track individually. Each track is doubled.

1663
01:38:32,360 --> 01:38:34,439
Speaker 5: I don't want no shading nobody else. But watching Madison

1664
01:38:34,520 --> 01:38:38,320
Speaker 5: on stage is like watching what Eric could be trying

1665
01:38:38,360 --> 01:38:40,439
Speaker 5: to do with her machine on stage, but then you

1666
01:38:40,640 --> 01:38:44,600
Speaker 5: kind of just execute it in a Sometimes she use

1667
01:38:44,640 --> 01:38:46,479
Speaker 5: a machine on stage, but you execute it like.

1668
01:38:49,640 --> 01:38:51,639
Speaker 1: But air could put that machine down.

1669
01:38:52,120 --> 01:38:53,839
Speaker 5: Yeah, that was a compliment.

1670
01:38:58,240 --> 01:39:00,280
Speaker 8: That was Actually the first time I saw somebody use

1671
01:39:00,400 --> 01:39:03,400
Speaker 8: loop pedal was at Roots Picnic when two Yards played

1672
01:39:03,920 --> 01:39:06,880
Speaker 8: like the second Yeah, like the second Roots Picnic or something.

1673
01:39:06,960 --> 01:39:07,120
Speaker 5: Well.

1674
01:39:07,160 --> 01:39:10,240
Speaker 1: I was asking because when Kirk used to do that

1675
01:39:10,360 --> 01:39:13,920
Speaker 1: on his guitar solos, he would lose the information at

1676
01:39:13,920 --> 01:39:15,679
Speaker 1: the end turn it off. I was like, well, damn,

1677
01:39:15,720 --> 01:39:20,800
Speaker 1: what's the sense in looping if you can't keep you know,

1678
01:39:20,880 --> 01:39:23,000
Speaker 1: in a hard drive or whatever. But I was asking, like,

1679
01:39:23,080 --> 01:39:23,840
Speaker 1: in your pedal, you.

1680
01:39:24,560 --> 01:39:27,000
Speaker 8: You can keep, you can save it. Okay, so I

1681
01:39:27,160 --> 01:39:30,040
Speaker 8: save stuff and you can like technically save it and

1682
01:39:30,080 --> 01:39:31,760
Speaker 8: then just put it into the computer and have that

1683
01:39:31,920 --> 01:39:35,640
Speaker 8: be that. But I much prefer you can't get like

1684
01:39:35,760 --> 01:39:39,120
Speaker 8: doubles and panning and all, like I'm trying to get

1685
01:39:39,160 --> 01:39:39,799
Speaker 8: it rich.

1686
01:39:39,760 --> 01:39:42,240
Speaker 5: And it's phenomenal to watch. It's dope.

1687
01:39:42,880 --> 01:39:46,080
Speaker 8: But yeah, so that the acapella thing happened totally by accident,

1688
01:39:46,200 --> 01:39:48,600
Speaker 8: so it was just like and people are really into that.

1689
01:39:48,720 --> 01:39:52,320
Speaker 8: So I was like, okay, I'll do that. And also

1690
01:39:52,560 --> 01:39:55,960
Speaker 8: is very easy for me to travel, you know. It's like, yeah,

1691
01:39:57,320 --> 01:40:00,400
Speaker 8: one pedal that I put in a backpack and then

1692
01:40:01,160 --> 01:40:02,360
Speaker 8: I'm off to the race.

1693
01:40:02,400 --> 01:40:03,280
Speaker 1: I hope you don't lose that.

1694
01:40:05,000 --> 01:40:07,160
Speaker 8: Well you know, it stays on my back, you know,

1695
01:40:07,640 --> 01:40:09,800
Speaker 8: and even if I do lose it, it's like I

1696
01:40:10,600 --> 01:40:13,400
Speaker 8: all of my tracks, I performed them live, so if

1697
01:40:13,439 --> 01:40:16,280
Speaker 8: I lose it, then like that sucks, but like it doesn't,

1698
01:40:16,479 --> 01:40:18,000
Speaker 8: so you just don't have a background. I just need

1699
01:40:18,120 --> 01:40:20,519
Speaker 8: to go to a guitar center and like buy a pedal.

1700
01:40:23,560 --> 01:40:28,680
Speaker 8: I have not lost a pedal, but yeah, but I know.

1701
01:40:29,760 --> 01:40:32,040
Speaker 8: But I'm just saying that, like it's not even though

1702
01:40:32,040 --> 01:40:36,080
Speaker 8: there are ideas in there that I would love to have,

1703
01:40:36,640 --> 01:40:39,280
Speaker 8: I'm not so attached to them that if I were

1704
01:40:39,360 --> 01:40:41,280
Speaker 8: to lose it, I would be like, oh my god,

1705
01:40:42,800 --> 01:40:48,360
Speaker 8: there's one there's one idea in there that I composed

1706
01:40:48,520 --> 01:40:51,920
Speaker 8: that I don't know how to remake it. And I

1707
01:40:52,000 --> 01:40:53,760
Speaker 8: even played it for my dad and he was like, WHOA.

1708
01:40:54,560 --> 01:40:56,800
Speaker 8: But I still to this day am like there are

1709
01:40:56,840 --> 01:40:59,439
Speaker 8: too many lines and parts where I'm like, I don't

1710
01:40:59,479 --> 01:41:01,560
Speaker 8: know how to re constructed. I really would too, so

1711
01:41:01,640 --> 01:41:03,400
Speaker 8: that'd probably be the only one that I would be

1712
01:41:03,520 --> 01:41:04,000
Speaker 8: sad about.

1713
01:41:04,520 --> 01:41:07,000
Speaker 1: Are you and Taylor do y'all do anything together? Because

1714
01:41:07,000 --> 01:41:09,600
Speaker 1: I really liked this album. Was supposed to be on

1715
01:41:09,640 --> 01:41:15,880
Speaker 1: that album We Want Something Something, but no, I love

1716
01:41:15,960 --> 01:41:17,560
Speaker 1: that record and like I like what you do.

1717
01:41:17,680 --> 01:41:22,040
Speaker 8: So you know, he's actually supposed to produce what the

1718
01:41:22,200 --> 01:41:25,840
Speaker 8: next produced project is. Hopefully he's got to finish his album. First,

1719
01:41:26,120 --> 01:41:29,799
Speaker 8: I have one song that is finished and it's actually

1720
01:41:29,960 --> 01:41:33,160
Speaker 8: a song that's on Finding Foundations Volume one that I

1721
01:41:33,240 --> 01:41:36,400
Speaker 8: had written for the first produced project and then he

1722
01:41:37,680 --> 01:41:41,080
Speaker 8: he produced it and I'm really excited about it. But

1723
01:41:41,680 --> 01:41:44,479
Speaker 8: it's funny. We used to live in the same building

1724
01:41:44,640 --> 01:41:46,240
Speaker 8: and like kept being like, we need to make music,

1725
01:41:46,320 --> 01:41:48,360
Speaker 8: we need to make music, and then like it didn't happen,

1726
01:41:48,439 --> 01:41:50,360
Speaker 8: and now he lives in LA and it's like, so

1727
01:41:50,560 --> 01:41:55,479
Speaker 8: when we make a music, but he makes he I mean, granted,

1728
01:41:55,520 --> 01:41:58,479
Speaker 8: I'm so biased, but like he produces the kind of

1729
01:41:58,600 --> 01:42:00,680
Speaker 8: music that like I hear in my head, you know,

1730
01:42:01,160 --> 01:42:03,599
Speaker 8: which I'm sure that comes from. We have the same upbringing.

1731
01:42:04,080 --> 01:42:07,160
Speaker 8: But whenever I think about I would love to, Yeah,

1732
01:42:07,280 --> 01:42:09,240
Speaker 8: I would love to get into production at some point

1733
01:42:09,280 --> 01:42:12,679
Speaker 8: in time, but like until that point, like he produces

1734
01:42:12,760 --> 01:42:14,920
Speaker 8: the kind of music that I right.

1735
01:42:15,240 --> 01:42:21,639
Speaker 10: So DNA, DNA. You know what's really interesting is Taylor

1736
01:42:21,640 --> 01:42:23,880
Speaker 10: would come to me sometimes he said, Dad, you gotta

1737
01:42:23,920 --> 01:42:26,240
Speaker 10: hear this, you gotta hear this, and he played for

1738
01:42:26,439 --> 01:42:29,360
Speaker 10: me and I go, man, this was my favorite favorite

1739
01:42:29,400 --> 01:42:32,280
Speaker 10: piece you know when I was your age. You know,

1740
01:42:32,439 --> 01:42:34,639
Speaker 10: he plays something else for me and I said, he said, Dad,

1741
01:42:34,720 --> 01:42:37,800
Speaker 10: you got to hear this. This is really great. I say, man,

1742
01:42:38,560 --> 01:42:39,559
Speaker 10: I love that piece.

1743
01:42:39,680 --> 01:42:40,760
Speaker 7: I already knew that piece.

1744
01:42:40,840 --> 01:42:43,599
Speaker 10: You know it must be DNA thing because I would

1745
01:42:43,840 --> 01:42:47,120
Speaker 10: be constantly shocked at the stuff that he loved was

1746
01:42:47,160 --> 01:42:50,280
Speaker 10: also stuff that I loved, you know, before I even

1747
01:42:50,360 --> 01:42:52,360
Speaker 10: had kids, right, you know what I mean?

1748
01:42:52,479 --> 01:42:54,599
Speaker 7: This is George Duke album.

1749
01:42:54,760 --> 01:42:56,840
Speaker 10: Like I don't know if it was his first one

1750
01:42:57,000 --> 01:42:59,400
Speaker 10: or his second one, but he was working with Frank

1751
01:42:59,479 --> 01:43:02,040
Speaker 10: Zapp at the time, and he produced his own album.

1752
01:43:02,439 --> 01:43:05,240
Speaker 10: And the opening piece on this album I used to play.

1753
01:43:05,120 --> 01:43:06,960
Speaker 7: Over and over and over and over and over again.

1754
01:43:07,320 --> 01:43:09,080
Speaker 10: And so he comes to me by day and says, Dad,

1755
01:43:09,160 --> 01:43:09,760
Speaker 10: you got to hear this.

1756
01:43:10,160 --> 01:43:11,800
Speaker 7: And it's the George do the same thing.

1757
01:43:12,000 --> 01:43:14,479
Speaker 10: It's the same thing he didn't even he didn't remember.

1758
01:43:14,640 --> 01:43:18,720
Speaker 5: Just just way with our parents, I feel like all

1759
01:43:18,720 --> 01:43:19,240
Speaker 5: of us are not.

1760
01:43:19,960 --> 01:43:25,320
Speaker 1: Yeah, maybe now I'm playing. You know you are joking.

1761
01:43:25,400 --> 01:43:27,759
Speaker 1: I'm joking, all right, So have my dad's record collection

1762
01:43:28,920 --> 01:43:31,880
Speaker 1: before we split. I just want to know about the

1763
01:43:32,920 --> 01:43:37,320
Speaker 1: Give Me Five project, And well, yeah.

1764
01:43:37,880 --> 01:43:40,040
Speaker 7: It's a miniature voice sister, Okay.

1765
01:43:40,160 --> 01:43:43,479
Speaker 10: It incorporates I have one soprano one out to one

1766
01:43:43,600 --> 01:43:47,120
Speaker 10: tenor in one base and myself, and it's all improvised.

1767
01:43:47,880 --> 01:43:48,920
Speaker 7: It's just five of us.

1768
01:43:49,920 --> 01:43:52,640
Speaker 1: Ah, well, you guys have been singing together forever, so

1769
01:43:53,000 --> 01:43:54,639
Speaker 1: oh my goodness. I would hope that you know each

1770
01:43:54,640 --> 01:43:56,680
Speaker 1: other that well. But that was so scary to me to.

1771
01:43:58,720 --> 01:44:00,160
Speaker 7: Not know what's gonna happ.

1772
01:44:00,600 --> 01:44:03,040
Speaker 1: Well, they would they trust that you're the alpha? Would

1773
01:44:03,040 --> 01:44:05,160
Speaker 1: they trust that? Okay, we'll follow his lead and when

1774
01:44:05,200 --> 01:44:06,439
Speaker 1: you end the song, and.

1775
01:44:07,240 --> 01:44:10,719
Speaker 10: Yeah, pretty much we've been working. Some of them, like Rhiannon,

1776
01:44:10,760 --> 01:44:14,960
Speaker 10: who's thet sits to my left. We met in nineteen eighty.

1777
01:44:15,040 --> 01:44:16,679
Speaker 10: We've been working since nineteen eighty.

1778
01:44:17,000 --> 01:44:18,559
Speaker 1: Okay, so.

1779
01:44:20,240 --> 01:44:22,840
Speaker 7: That's that's what it is. It's just a small improv group,

1780
01:44:23,479 --> 01:44:24,200
Speaker 7: five voices.

1781
01:44:25,240 --> 01:44:27,960
Speaker 1: Well, I'm really glad and happy that we finally have

1782
01:44:28,080 --> 01:44:33,320
Speaker 1: this conversation. It's like our first real conversation. We did it.

1783
01:44:33,520 --> 01:44:34,000
Speaker 10: We did it.

1784
01:44:36,080 --> 01:44:36,800
Speaker 7: Fifteen years.

1785
01:44:38,960 --> 01:44:43,919
Speaker 1: No, I really appreciate it, and I pluge your artistry

1786
01:44:43,960 --> 01:44:47,640
Speaker 1: and it's effect on me, even though I'm one of

1787
01:44:47,680 --> 01:44:52,799
Speaker 1: those stick to what I know, stay in my comfort

1788
01:44:52,880 --> 01:44:56,840
Speaker 1: zone type people. But yeah, thank you for your music. Man.

1789
01:44:57,320 --> 01:44:59,320
Speaker 1: It's so many parts of my childhood, Like I have

1790
01:45:00,080 --> 01:45:02,479
Speaker 1: distinct memories of like stuff you've done and like just

1791
01:45:03,520 --> 01:45:05,160
Speaker 1: your voice. It like takes me back to when I

1792
01:45:05,280 --> 01:45:05,599
Speaker 1: was a kid.

1793
01:45:05,760 --> 01:45:08,800
Speaker 5: So think you Simple Pleasures was me and my father's joy.

1794
01:45:09,479 --> 01:45:11,479
Speaker 5: Like that's what we would play on the weekends and just.

1795
01:45:15,720 --> 01:45:16,240
Speaker 8: Won't cry.

1796
01:45:19,040 --> 01:45:26,720
Speaker 1: We're gonna just out this way, gentlemen on behalf of

1797
01:45:26,840 --> 01:45:35,560
Speaker 1: the Supreme team. Sugar Steve paid up and about to

1798
01:45:35,600 --> 01:45:43,960
Speaker 1: cry down down.

1799
01:45:49,200 --> 01:45:55,960
Speaker 5: I got a little manitude call him in the morning.

1800
01:45:56,120 --> 01:46:01,639
Speaker 8: That take kids, it's sound and they get on their.

1801
01:46:01,560 --> 01:46:04,880
Speaker 10: Clothes, ball the silly, your loud and.

1802
01:46:06,960 --> 01:46:07,479
Speaker 8: King these.

1803
01:46:08,560 --> 01:46:11,240
Speaker 4: Then I come a bet, David.

1804
01:46:11,240 --> 01:46:13,680
Speaker 1: I said, there to get it, get it.

1805
01:46:14,160 --> 01:46:18,000
Speaker 5: It's trying to get yourself together. It's such a beautiful

1806
01:46:18,160 --> 01:46:18,959
Speaker 5: d outside.

1807
01:46:20,280 --> 01:46:28,080
Speaker 8: Simple get there, I'll go happen. I'm a happy man and.

1808
01:46:32,479 --> 01:46:35,559
Speaker 5: So simple things all the.

1809
01:46:35,760 --> 01:46:45,679
Speaker 1: Bad simple things on the board. That's it. Please say

1810
01:46:45,760 --> 01:46:46,479
Speaker 1: that work.

1811
01:46:53,200 --> 01:46:53,559
Speaker 7: Thank you.

1812
01:47:03,600 --> 01:47:06,920
Speaker 1: Of course. Love Supreme is a production of iHeartRadio. This

1813
01:47:07,080 --> 01:47:13,760
Speaker 1: classic episode was produced by the team at Pandora. For

1814
01:47:13,880 --> 01:47:18,080
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1815
01:47:18,520 --> 01:47:20,240
Speaker 1: or wherever you listen to your favorite shows.