WEBVTT - Black Music Month QLS Classic: Bobby McFerrin & Madison McFerrin

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio. This classic

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<v Speaker 1>episode was produced by the team at Pandora.

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

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<v Speaker 2>you may have seen throughout June, we are celebrating Black

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

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<v Speaker 2>every day you either hear especially picked a QLs classic,

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<v Speaker 2>and on Wednesdays we are dropping new two part episodes

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<v Speaker 2>with Main Brady and the legendary James Poyser, both of

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<v Speaker 2>which were filmed in studio. Black music is deeply important

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<v Speaker 2>to me and has been an influence throughout my entire career.

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

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<v Speaker 2>QLs had father daughter, Bobby and Madison mcfaranog. This was

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<v Speaker 2>a phone episode really worth revisiting given that they worked

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<v Speaker 2>together on Madison's recent album I Hope You Can Forgive

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<v Speaker 2>Me Enjoy.

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<v Speaker 1>All right?

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<v Speaker 3>Giving Baseline fun day a boom boom? Why are you

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<v Speaker 3>thinking of the Jungle Brother's cool at the end of

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<v Speaker 3>the record.

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<v Speaker 1>My name is Questlove. Yeah, it's fact that one Yeah,

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<v Speaker 1>I can remix my own theme. Yeah, anytime I want.

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<v Speaker 4>Bo call Supreme Sun South Supreme, call Supreme, so Supreme.

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<v Speaker 1>My name is Fante. Some say I'm Locoa. I had

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<v Speaker 1>to sing it like Bobby and do it Aco Poco.

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<v Speaker 1>Supreme Supreme called Supreme.

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<v Speaker 5>Supreme.

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<v Speaker 1>My name is Sugar. Yeah, I always worry. Yeah, I'm

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<v Speaker 1>never happy. Yes, just give up on me already.

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<v Speaker 6>Supreme Supreme Supreme.

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<v Speaker 7>Supreme.

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<v Speaker 1>Yeah, of course, love Supreme. Yeah, Tilling with the man, Yeah,

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<v Speaker 1>I mean the best Cosby Theme.

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<v Speaker 6>Supreme Supreme Supreme Supreme Role.

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

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<v Speaker 5>your friends A Night in the Tunisia and Blackbird. Yeah

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<v Speaker 5>that's all I'm hearing. I don't care.

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<v Speaker 6>Supreme Supreme Supreme.

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<v Speaker 5>Supreme Role.

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<v Speaker 8>My name is Maddie. Yeah, I'm here with dad. Yeah,

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<v Speaker 8>this is my first time. Yeah, and I am happy.

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<v Speaker 6>Supreme Supreme.

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<v Speaker 1>Supreme, Supreme Supreme.

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<v Speaker 9>My name and Bobby super Shabby. Yeah it's still.

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<v Speaker 1>Uber Uber.

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<v Speaker 6>Supreme, Supreme, Supreme, Supreme, Supreme, Supreme, Supreme, super Supreme.

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<v Speaker 1>Do Do Do Bo bo.

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<v Speaker 9>Don't watch me for a bunch of music nerds.

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

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<v Speaker 1>I was like, Okay, where is this going like we

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<v Speaker 1>are the the u exchelon of music knowledge. Yet we

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<v Speaker 1>couldn't just theme breakout six pm every week like you

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<v Speaker 1>you know, okay, often.

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<v Speaker 7>Do you do these? These?

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<v Speaker 1>You? You are what he will? We're past our hunter

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<v Speaker 1>episode now episodes Yeah, yeah, first I was very bad

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

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<v Speaker 1>welcome to another episode of course love Supreme on Pandora.

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<v Speaker 1>As you our guest today is probably one of the

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<v Speaker 1>most purest artists in the sense of the word pure. Uh.

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<v Speaker 1>He is a living, breathing instrument very much Uh, as jazz,

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<v Speaker 1>as he is hip hop, as he is soul, as

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<v Speaker 1>he is classical.

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<v Speaker 10>Uh.

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<v Speaker 1>He is a ten time Grammy winner, absolutely bar none,

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<v Speaker 1>probably one of the most unique chameleons, vocal chameleons and music,

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<v Speaker 1>having collaborated with such illuminaries as Chick Area, Herbie Hancock,

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<v Speaker 1>uh Farah Sanders, vocalists like Algie Road, George Benson, John Hendrix,

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<v Speaker 1>smaal Ding, Manhattan Transfer, his own voice sestra, and his

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<v Speaker 1>mind blowing I really want to talk about the Vocabularies

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<v Speaker 1>project and recording twelve hundred vocal tracks is wow, I

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<v Speaker 1>would say that he's probably the artist in which leaving

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<v Speaker 1>his comfort zone is his actual comfort zone. He's made

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<v Speaker 1>children's he's won Grammys for children's records with Jack Nicholson's

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<v Speaker 1>done projects with Robin Williams simultaneously in Minnesota, with the

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<v Speaker 1>Saint Paul Chamber Orchestra over in Barcelona, the ourrel I

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

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<v Speaker 1>there was one point where I was just doing like

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<v Speaker 1>a bunch of abbreviations. But even his own freaking offspring

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

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<v Speaker 1>noted be box God and he's uh right now in

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<v Speaker 1>the in the contemporary jazz world making stuff with napalm

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<v Speaker 1>from Hiatus Coyote and Robert glasper of course, Javan actor

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<v Speaker 1>in his own right, is currently the title role in

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<v Speaker 1>uh in a very unknown off Broadway production of his

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

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<v Speaker 1>okay anyway, Uh and last but not least are our

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<v Speaker 1>second guest today, uh Madison, Yeah, last but not damn.

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<v Speaker 1>This introducces is like seven minutes the extended disco version

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<v Speaker 1>Our good Friend, Yes, our good Friend Madison McFerrin. She's

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<v Speaker 1>blazing trails in her own right, uh, sort of with

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<v Speaker 1>her brand of what I call sensual lapella. Oh, yes,

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

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<v Speaker 1>Volume one and Volume two. And yeah, I want to

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<v Speaker 1>talk about that insane video too. Yeah. So, ladies and gentlemen,

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

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<v Speaker 1>one day, I'm going to have like a very sustinct

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<v Speaker 1>and just to the point intro that only takes thirty

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<v Speaker 1>thirty second. Yeah, ladies and gentlemen, we have Bob mcferrinn

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<v Speaker 1>on the show. So how how are you today, sir?

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<v Speaker 1>I well, thank you and yourself. I'm fine, easy to

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

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<v Speaker 1>We might as well do it on NPR levels. So

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<v Speaker 1>you're you're fine today? You're good?

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<v Speaker 7>Yes, I am, thank you, Thank you.

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<v Speaker 1>And Madison, how are you?

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<v Speaker 8>I'm doing really well. Thank you.

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<v Speaker 1>I haven't seen you in the month of Sundays, so

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<v Speaker 1>it's good to see you.

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<v Speaker 8>It's been a long time.

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

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<v Speaker 1>you got you guys. I know that you're you have

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<v Speaker 1>roots in Philadelphia, Minnesota and the Bay Area, but like,

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<v Speaker 1>what do you consider home or is it just where

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<v Speaker 1>you lay your dreadlocks that's your home.

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<v Speaker 7>Where I dread.

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<v Speaker 1>Well.

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<v Speaker 7>Probably for me, the answer would be California.

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<v Speaker 1>Okay.

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<v Speaker 7>I grew up in Los Angeles.

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<v Speaker 10>My parents moved to LA when I was eight, so

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<v Speaker 10>I went through all my teenage years. I went to

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<v Speaker 10>college in Sacramento. I went to Sacramento State, right I

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<v Speaker 10>think now it's called California State University in Sacramento, where

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<v Speaker 10>I was a composition student. Then all my kids were

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<v Speaker 10>born in San Francisco, So I think that that pretty

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<v Speaker 10>much covers it.

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<v Speaker 8>And our family, like the people who we really are community,

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<v Speaker 8>they're still in the Bay first.

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<v Speaker 1>Area, so still fighting, still still there. They haven't been

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<v Speaker 1>chased out yet.

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<v Speaker 8>Yeah, my mom is in San Francisco right now. So okay,

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<v Speaker 8>it just goes to show you when dad's away, she

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<v Speaker 8>goes back there, goes back home to visit.

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<v Speaker 1>So you were born and where were you originally?

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<v Speaker 10>Uh?

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<v Speaker 1>Not originally? Like there's a remix remix?

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<v Speaker 7>Are you talking to me?

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<v Speaker 1>Yes? I am. Where were you born?

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<v Speaker 7>I was born here in Manhattan.

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<v Speaker 1>You're in New York. Yeah, okay, okay, So what did

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<v Speaker 1>your parents do for a living?

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<v Speaker 7>They were both singers.

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<v Speaker 10>My father was was the first African American to sign

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<v Speaker 10>a contract with the Metropolitan Opera in nineteen fifty five.

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<v Speaker 10>He was the voice of Sidney Poitier in the movie

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<v Speaker 10>version of Porgy and Porgy and Bess. He was yes,

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<v Speaker 10>in nineteen.

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<v Speaker 7>So that was all this time. I thought that was

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<v Speaker 7>you thought that was Sydney.

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<v Speaker 1>Yeah, I did know.

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<v Speaker 7>No, that was my father.

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<v Speaker 1>That explains a lot. So what what were your your

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<v Speaker 1>your formative years at least before the age of ten,

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<v Speaker 1>as far as exposure to music.

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<v Speaker 10>And well, my parents love jazz and so in addition

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<v Speaker 10>to Beethoven and Bach and Mozart, you know, I was

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<v Speaker 10>exposed to Count Basie, to Joe Williams, to uh Dinah

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<v Speaker 10>Washington and Edda Jones, uh.

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<v Speaker 7>The Loneous mug.

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<v Speaker 8>Uh.

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<v Speaker 7>You know, lots of different different jazz artists.

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<v Speaker 8>Weren't you also in that like Juilliard prodigy?

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<v Speaker 10>I wrote Juilliard when I was six.

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<v Speaker 1>By the way, can we just like mock roll the

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<v Speaker 1>theme right now? That's the end of our.

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<v Speaker 10>Wow?

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<v Speaker 1>Really wow.

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<v Speaker 10>Yeah. They had a program for aspiring musicians. At that

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<v Speaker 10>that age, I was admitted and was under the tutelage

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<v Speaker 10>of Miss Bamberger, and we did some compositions. In fact,

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<v Speaker 10>there's a composition that I wrote when I was six

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<v Speaker 10>that Maddie and I even play together sometimes on the

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<v Speaker 10>piano call the Spanish fiesta do do Do Do Do

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<v Speaker 10>Do Do Do Deep do do do Do Do Do

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<v Speaker 10>do do do.

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<v Speaker 8>But you wrote it on the fly.

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<v Speaker 7>I wrote it on the fly. Yeah.

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<v Speaker 10>I wrote it the night before the class the next

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<v Speaker 10>day and it just it just it just kind of

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<v Speaker 10>stayed out there.

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<v Speaker 8>It's very good. As I like thinking about a six

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<v Speaker 8>year old making this song. I couldn't make this song

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<v Speaker 8>at twenty six. It blows my mind still.

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<v Speaker 10>Wow.

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<v Speaker 1>So initially, like were you studying piano or any other?

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<v Speaker 10>Piano was my main instrument all through college. I played

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<v Speaker 10>flute in the school orchestra. That was my second instrument.

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<v Speaker 10>I was a composition major. I at the time thought

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<v Speaker 10>that I wanted to write for for television and movies

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<v Speaker 10>and do arrangements for various groups. And Dave Grusen was

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<v Speaker 10>my hero at that time. I won one day, made

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<v Speaker 10>a phone call to his home. I got his number

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<v Speaker 10>from the Musicians Union directory, and I called him and

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<v Speaker 10>he called, he called. He returned my call about three

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<v Speaker 10>days later and invited me to his scoring session he

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<v Speaker 10>was filming. He was doing a score for a film

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<v Speaker 10>called Tell Him Willie Boyd's Here with Robert Redford. And

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<v Speaker 10>he told me to bring me down my compositions. And

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<v Speaker 10>so I became a student of his in composition for

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<v Speaker 10>a while, and then later on in life we became friends.

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<v Speaker 10>We worked together and became friends.

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<v Speaker 1>Would that ever work in hip hop?

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<v Speaker 7>Now?

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<v Speaker 1>Fante like, if someone like say Charles Hamilton, I'm sorry,

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<v Speaker 1>God do another example, rapper X okay just calls your

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<v Speaker 1>you know yeah two thousand and one. Yeah, that kind

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<v Speaker 1>of happened to me in twenty eleven. The real rapper

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<v Speaker 1>that just sent me a text and I was like,

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<v Speaker 1>is this really? Are you kidding me? And it was

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<v Speaker 1>really him?

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<v Speaker 5>But really you didn't really respond?

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<v Speaker 1>No, I did respond. I did respond after I vetted

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<v Speaker 1>and see if it was really him. I was like,

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<v Speaker 1>is this really told me? He was like, yeah, so

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<v Speaker 1>you gotta say who it was? Drake? But really, wait,

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<v Speaker 1>that's how I thought Drake just mentioning like an interviews

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<v Speaker 1>I didn't realize that. Like I just got like a

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<v Speaker 1>random text We're about the Blue one day and like

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<v Speaker 1>he was back in like twenty eleven, and I hit

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<v Speaker 1>I was like, yo, is this really him? He was like, nah,

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<v Speaker 1>it's him, dude. I said, okay, oh damn, oh wow,

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<v Speaker 1>Dave Grus, it works for you. No, I always catch him,

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

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<v Speaker 1>A swears that I was just no. John Legend swears

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<v Speaker 1>that also.

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<v Speaker 5>When he was John Stevens, he was kind of I didn't.

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<v Speaker 1>He never made himself known. That's why we gotta get

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<v Speaker 1>him on the show, because I'm tired of him saying

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<v Speaker 1>that I was just sunning him all that time.

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<v Speaker 5>Philly.

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

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<v Speaker 1>throw him under the bus. So yeah, But at six,

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<v Speaker 1>were you you knew what what path you wanted to

0:14:46.680 --> 0:14:49.560
<v Speaker 1>take in life? Or was it just like your parents.

0:14:49.120 --> 0:14:52.800
<v Speaker 10>Just I didn't really know what I wanted to do

0:14:52.960 --> 0:14:56.440
<v Speaker 10>really until I was a senior in high school. And

0:14:56.840 --> 0:15:00.640
<v Speaker 10>up until that time I thought of myself in different ways.

0:15:00.800 --> 0:15:04.160
<v Speaker 10>I wasn't I can't recall off the top of my

0:15:04.200 --> 0:15:06.160
<v Speaker 10>head what I was thinking. At that time, I think

0:15:06.200 --> 0:15:09.040
<v Speaker 10>I was just into being a teenage kid who just

0:15:09.080 --> 0:15:11.720
<v Speaker 10>loved to go to parties and dance and stuff like

0:15:11.720 --> 0:15:15.840
<v Speaker 10>that and hang out. But I was called in to

0:15:16.160 --> 0:15:18.800
<v Speaker 10>the senior counselor's office one day and he asked me

0:15:18.840 --> 0:15:23.040
<v Speaker 10>a question, he said, and he asked, so what do

0:15:23.080 --> 0:15:27.200
<v Speaker 10>you want to do with yourself? Who do you think

0:15:27.280 --> 0:15:32.680
<v Speaker 10>you are? And my answer was, well, I guess I'm

0:15:32.720 --> 0:15:33.400
<v Speaker 10>a musician.

0:15:35.880 --> 0:15:38.760
<v Speaker 1>I don't know why he was understatement.

0:15:38.160 --> 0:15:40.840
<v Speaker 7>Of I'm a musician life.

0:15:41.720 --> 0:15:44.080
<v Speaker 10>And it wasn't until that moment that I actually have

0:15:44.320 --> 0:15:47.320
<v Speaker 10>the thoughts solidified in my mind that that's really the

0:15:47.320 --> 0:15:49.680
<v Speaker 10>path I wanted to take, because I didn't really know

0:15:49.760 --> 0:15:50.520
<v Speaker 10>anything else.

0:15:51.520 --> 0:15:54.440
<v Speaker 5>By his time, though, since your parents were professionals, did

0:15:54.480 --> 0:15:58.480
<v Speaker 5>they notice that you were special in that way? Did

0:15:58.480 --> 0:15:59.000
<v Speaker 5>they see it?

0:15:59.120 --> 0:16:02.720
<v Speaker 10>My parents knew I was a musician before I was two.

0:16:02.960 --> 0:16:03.880
<v Speaker 5>How did they say they know?

0:16:04.080 --> 0:16:05.400
<v Speaker 7>They just they just knew it.

0:16:05.520 --> 0:16:07.360
<v Speaker 1>You're going to be a musician. You're going to be

0:16:07.440 --> 0:16:08.000
<v Speaker 1>a musician.

0:16:08.520 --> 0:16:09.720
<v Speaker 7>What they could tell see?

0:16:09.800 --> 0:16:12.480
<v Speaker 1>I was trying to before we got to this interview,

0:16:12.680 --> 0:16:18.000
<v Speaker 1>I was trying to I guess I was analyzing or

0:16:18.080 --> 0:16:22.440
<v Speaker 1>over analyzing the path that brought you here, and I thought, well, either,

0:16:23.280 --> 0:16:26.760
<v Speaker 1>because the thing is you're you're you're spontaneous, fearless nature.

0:16:28.160 --> 0:16:32.960
<v Speaker 1>It's so daredevil the way that you approach stuff that

0:16:33.040 --> 0:16:38.400
<v Speaker 1>it's almost like you're a permanent thirteen year old. So

0:16:38.560 --> 0:16:43.600
<v Speaker 1>either I thought so. Either, I thought, well, similar to

0:16:43.600 --> 0:16:48.080
<v Speaker 1>Michael Jackson, like you're you're making up for I thought, okay, Well,

0:16:48.240 --> 0:16:51.040
<v Speaker 1>he had a rigid, strict childhood in the beginning, and

0:16:51.080 --> 0:16:53.120
<v Speaker 1>then once he became a kyleege jage an adult and

0:16:53.200 --> 0:16:55.800
<v Speaker 1>it's like, I'm gonna you know that that scene where

0:16:55.920 --> 0:16:58.120
<v Speaker 1>in Home Alone where what's his name just goes crazy

0:16:58.160 --> 0:17:01.360
<v Speaker 1>in the house. Uh mcauleay, call I thought it was that,

0:17:02.600 --> 0:17:06.920
<v Speaker 1>or maybe you know, since the age of two, you

0:17:07.040 --> 0:17:12.560
<v Speaker 1>were the class clown type, like always disruptive noises in

0:17:12.720 --> 0:17:16.240
<v Speaker 1>those things, Like I didn't expect this answer that you

0:17:16.640 --> 0:17:22.280
<v Speaker 1>developed into who you are ten fifteen years later in life,

0:17:22.440 --> 0:17:26.000
<v Speaker 1>Like well, because to develop the gift that you have,

0:17:26.400 --> 0:17:29.320
<v Speaker 1>I feel like that is beyond the ten thousand hour

0:17:30.520 --> 0:17:34.600
<v Speaker 1>genius theory. I feel like that takes forty thousand hours

0:17:34.800 --> 0:17:39.080
<v Speaker 1>of because it's fearlessness and you know, you can sing

0:17:39.160 --> 0:17:39.879
<v Speaker 1>our peggios.

0:17:40.000 --> 0:17:43.359
<v Speaker 10>What's interesting is that for the longest time. You know,

0:17:43.680 --> 0:17:48.840
<v Speaker 10>even though I was studying piano and playing piano, I

0:17:50.200 --> 0:17:53.120
<v Speaker 10>always had a nagging suspicion that I wasn't a pianist.

0:17:54.240 --> 0:17:57.080
<v Speaker 10>You know, there was something that I wasn't satisfyed with

0:17:57.440 --> 0:18:01.440
<v Speaker 10>just playing piano. Piano didn't do enough for me. And

0:18:02.280 --> 0:18:06.960
<v Speaker 10>as I was asking myself this question about you.

0:18:07.000 --> 0:18:08.040
<v Speaker 7>Know, who am I really?

0:18:08.119 --> 0:18:10.680
<v Speaker 10>Am I a pianist even though I, in my inner

0:18:10.760 --> 0:18:12.960
<v Speaker 10>self knew that the answer was in the negative, that

0:18:13.160 --> 0:18:16.760
<v Speaker 10>I was not a pianist. I discovered Keith Jarrett and

0:18:16.880 --> 0:18:23.639
<v Speaker 10>his solo concerts. So I thought to myself, if he

0:18:23.720 --> 0:18:26.680
<v Speaker 10>can be on stage alone without knowing having the slightest

0:18:26.720 --> 0:18:28.920
<v Speaker 10>idea of what he's going to play when he sits down,

0:18:29.560 --> 0:18:33.840
<v Speaker 10>why can't I do something like that? So I decided

0:18:33.920 --> 0:18:38.000
<v Speaker 10>to explore myself as a vocalist and dedicated six years

0:18:38.080 --> 0:18:43.160
<v Speaker 10>to learning teaching myself my technique, and for about six

0:18:43.280 --> 0:18:46.560
<v Speaker 10>years I practiced about two hours a day before I

0:18:46.640 --> 0:18:47.800
<v Speaker 10>did my first solo.

0:18:47.640 --> 0:18:50.119
<v Speaker 8>Concert and it started at twenty seven.

0:18:50.160 --> 0:18:54.080
<v Speaker 7>Though I started at twenty seven, that is unheard.

0:18:55.400 --> 0:18:56.280
<v Speaker 1>That is unheard.

0:18:56.880 --> 0:18:58.520
<v Speaker 5>So what were you doing before? And then, like, what

0:18:58.600 --> 0:18:59.400
<v Speaker 5>were you doing for a living?

0:18:59.520 --> 0:19:04.280
<v Speaker 10>And I was doing casual gigs, you know, playing weddings

0:19:04.480 --> 0:19:07.439
<v Speaker 10>and going on the road and playing lounges with lounge

0:19:07.520 --> 0:19:12.280
<v Speaker 10>bands and playing stuff for covering the pop stuff on

0:19:12.359 --> 0:19:12.800
<v Speaker 10>the radio.

0:19:13.840 --> 0:19:18.960
<v Speaker 1>Give me example, what was like your repertoire in let's say,

0:19:19.280 --> 0:19:20.160
<v Speaker 1>whatever band.

0:19:20.000 --> 0:19:23.800
<v Speaker 10>You were in nineteen seventy nine, Like, well, by seventy nine,

0:19:23.880 --> 0:19:25.320
<v Speaker 10>I was doing solo concerts.

0:19:25.640 --> 0:19:32.960
<v Speaker 1>Okay, So this spirit is seventy five seventy four the spirit, No, no, no,

0:19:33.080 --> 0:19:38.240
<v Speaker 1>I mean just like you're pre pre solo concerts, solo

0:19:38.320 --> 0:19:41.120
<v Speaker 1>concerts I was. I was playing in bands from playing

0:19:41.160 --> 0:19:43.920
<v Speaker 1>piano and what songs were like hot at the time

0:19:44.000 --> 0:19:44.600
<v Speaker 1>that you had to have.

0:19:44.800 --> 0:19:45.840
<v Speaker 7>Marvin Gaye.

0:19:47.520 --> 0:19:53.240
<v Speaker 10>And others, I mean, just other stuff. Yeah, I guess

0:19:53.800 --> 0:19:55.840
<v Speaker 10>Stevie Wonder he's my prompter here.

0:19:57.520 --> 0:19:59.040
<v Speaker 8>I've heard a lot of stories. I want to make

0:19:59.040 --> 0:19:59.760
<v Speaker 8>sure that they like.

0:20:02.000 --> 0:20:05.520
<v Speaker 1>That's amazing. Okay, So I have a question real quick

0:20:05.560 --> 0:20:07.440
<v Speaker 1>before we move on from Keith Jarrett.

0:20:08.480 --> 0:20:11.919
<v Speaker 11>So he does that thing where he's sort of singing

0:20:12.000 --> 0:20:15.560
<v Speaker 11>and grunting while he's playing. So was that part of

0:20:15.960 --> 0:20:18.520
<v Speaker 11>the influence on what you're talking about?

0:20:18.560 --> 0:20:24.560
<v Speaker 7>No influence on me at all. His grunting and squealing

0:20:25.040 --> 0:20:25.560
<v Speaker 7>so it's just.

0:20:25.640 --> 0:20:28.120
<v Speaker 1>His bravery up on stage or his improv.

0:20:27.960 --> 0:20:30.879
<v Speaker 10>The fact that could walk and sit. I thought it

0:20:30.960 --> 0:20:34.600
<v Speaker 10>was a very brave act action on his part to

0:20:34.680 --> 0:20:39.600
<v Speaker 10>simply sit at the piano, greet the instrument, and engage

0:20:39.640 --> 0:20:43.359
<v Speaker 10>in this musical dance that he had with, you know,

0:20:44.320 --> 0:20:48.760
<v Speaker 10>with with that instrument, with that grand instrument. And I

0:20:48.960 --> 0:20:51.880
<v Speaker 10>wanted to do that as a vocalist. Now, it took

0:20:51.960 --> 0:20:55.240
<v Speaker 10>me some time to get enough courage to do it

0:20:55.480 --> 0:20:59.359
<v Speaker 10>and enough stamina to be on stage alone for ninety

0:20:59.480 --> 0:21:02.760
<v Speaker 10>minutes without any idea of what I was going to play.

0:21:02.840 --> 0:21:06.640
<v Speaker 10>That's very, very difficult to do. It's funny, though I would.

0:21:06.680 --> 0:21:08.639
<v Speaker 10>I made a rule for myself early on that my

0:21:08.800 --> 0:21:14.320
<v Speaker 10>first two pieces would be completely improv complete improvisation. The

0:21:14.400 --> 0:21:16.800
<v Speaker 10>first piece was easier than the second. The second one

0:21:16.920 --> 0:21:18.000
<v Speaker 10>was really difficult to do.

0:21:18.640 --> 0:21:19.320
<v Speaker 7>For some reason.

0:21:19.359 --> 0:21:21.760
<v Speaker 10>I had the hardest time pushing through that wall of

0:21:22.760 --> 0:21:29.280
<v Speaker 10>of anything, wall of just something that stopped me from

0:21:29.359 --> 0:21:29.760
<v Speaker 10>going on.

0:21:30.760 --> 0:21:30.920
<v Speaker 7>You know.

0:21:31.000 --> 0:21:33.680
<v Speaker 10>The first piece was just so easy to sit down

0:21:34.280 --> 0:21:41.320
<v Speaker 10>and don't launch it, baby leive about And sometimes my

0:21:41.440 --> 0:21:44.280
<v Speaker 10>first improvs would be ten minutes. Sometimes they'd be fifteen

0:21:44.359 --> 0:21:48.920
<v Speaker 10>or twenty minutes. Then to stop and re enter into

0:21:49.000 --> 0:21:53.800
<v Speaker 10>that improvisational space. Was for some reason a lot harder

0:21:53.840 --> 0:21:56.560
<v Speaker 10>for me to do this. You know, the second piece

0:21:57.520 --> 0:22:00.840
<v Speaker 10>was very, very difficult, so that that became part of

0:22:00.880 --> 0:22:03.680
<v Speaker 10>my role do the riskiest thing first.

0:22:04.600 --> 0:22:08.520
<v Speaker 1>Really yeah, well that one show that you and I

0:22:08.680 --> 0:22:14.520
<v Speaker 1>did together at town Hall. I've never in my adult

0:22:14.720 --> 0:22:22.199
<v Speaker 1>life lost more sleep or had more anxiety about any performance.

0:22:22.280 --> 0:22:24.640
<v Speaker 1>And I'm in I've been in situations that like where

0:22:24.640 --> 0:22:28.160
<v Speaker 1>I've had to give speeches and things I didn't want

0:22:28.200 --> 0:22:28.880
<v Speaker 1>to do publicly.

0:22:30.000 --> 0:22:32.160
<v Speaker 5>How do you even prepare for a BODYMC theory?

0:22:32.240 --> 0:22:34.840
<v Speaker 1>That's the thing I kind of called and hinted like, okay,

0:22:34.920 --> 0:22:37.480
<v Speaker 1>so to draw a map what should I do? And

0:22:38.520 --> 0:22:41.119
<v Speaker 1>which is nothing, We'll just we'll figure it out on stage.

0:22:42.320 --> 0:22:45.240
<v Speaker 1>And I'm like wait. So then it was to the

0:22:45.280 --> 0:22:46.800
<v Speaker 1>point where I was like going to Jill new like

0:22:46.960 --> 0:22:50.320
<v Speaker 1>how much your tickets? Okay, so how much people? How

0:22:50.400 --> 0:22:52.960
<v Speaker 1>much entertainment does a person expect for? Blah blah blah?

0:22:54.200 --> 0:22:54.320
<v Speaker 10>Right?

0:22:54.480 --> 0:22:59.080
<v Speaker 1>Right, Because usually when I, like, when I plan my

0:22:59.240 --> 0:23:02.600
<v Speaker 1>shows or whatever, I start with what are the last

0:23:02.680 --> 0:23:06.080
<v Speaker 1>three songs? Because in my mind, I'm like a person

0:23:06.119 --> 0:23:08.920
<v Speaker 1>in the audience remembers the first ten minutes, how you

0:23:09.000 --> 0:23:12.840
<v Speaker 1>come on stage, and even if you have an absolute

0:23:12.920 --> 0:23:16.639
<v Speaker 1>shit show, if the last three songs ye are straight,

0:23:16.720 --> 0:23:19.199
<v Speaker 1>then they that men in black flashies them and they

0:23:19.280 --> 0:23:22.720
<v Speaker 1>forget and for the I was just like, well, wait,

0:23:22.880 --> 0:23:27.639
<v Speaker 1>only have four things going for me? And I was like,

0:23:27.680 --> 0:23:29.800
<v Speaker 1>all right, I have an electronic drum set, a real

0:23:29.880 --> 0:23:33.639
<v Speaker 1>drum set, and my turntables. And then even then I

0:23:33.720 --> 0:23:39.600
<v Speaker 1>had like five things going for But once we got

0:23:39.640 --> 0:23:42.880
<v Speaker 1>once we got into the groove, though, it was over

0:23:43.240 --> 0:23:47.280
<v Speaker 1>and it was over and in this second and this

0:23:47.359 --> 0:23:49.800
<v Speaker 1>is just you on drums and him on and him

0:23:49.920 --> 0:23:54.280
<v Speaker 1>that's it. Yeah, never rehearsed, never like it was just

0:23:54.320 --> 0:23:55.360
<v Speaker 1>a musical conversation.

0:23:55.520 --> 0:23:57.080
<v Speaker 8>And then by the end you guys switched and he

0:23:57.200 --> 0:23:59.200
<v Speaker 8>got on drums and you started doing something.

0:23:59.440 --> 0:24:12.879
<v Speaker 1>Yeah, anyway, sir, I just want to say so, by uh,

0:24:14.119 --> 0:24:17.359
<v Speaker 1>when I actually discovered you on your second album, The Voice,

0:24:18.200 --> 0:24:21.480
<v Speaker 1>which you know, most Mcfharrinheit's are like that's their album.

0:24:22.520 --> 0:24:29.359
<v Speaker 1>Assuming that you perfected or at least found, uh a

0:24:29.480 --> 0:24:34.359
<v Speaker 1>formula if you will, on the Voice project previously, like

0:24:34.600 --> 0:24:39.480
<v Speaker 1>what notes did you keep? Because I assuming that from

0:24:39.560 --> 0:24:41.960
<v Speaker 1>your very first time that you did a solo show

0:24:42.600 --> 0:24:45.639
<v Speaker 1>until that point in eighty four where at least sounded

0:24:45.720 --> 0:24:50.359
<v Speaker 1>like you were comfortable on that album. What techniques have

0:24:50.520 --> 0:24:53.000
<v Speaker 1>you learned besides the first and the second song, as

0:24:53.040 --> 0:24:59.639
<v Speaker 1>far as like breath control and harmony and audience participation.

0:25:00.720 --> 0:25:04.520
<v Speaker 10>In well, let me back up. I used to go

0:25:04.600 --> 0:25:08.400
<v Speaker 10>to my father's recitals. He used to do classical recitals,

0:25:08.440 --> 0:25:12.640
<v Speaker 10>and it always ended his shows with spirit negro spirituals,

0:25:14.000 --> 0:25:17.440
<v Speaker 10>and he had a way on stage where he invited

0:25:17.480 --> 0:25:23.639
<v Speaker 10>the audience and it was really genuine and comforting and

0:25:23.880 --> 0:25:29.480
<v Speaker 10>caring and all these positive words that I can't think

0:25:29.520 --> 0:25:32.720
<v Speaker 10>of right now. But I loved watching him on stage.

0:25:34.800 --> 0:25:38.200
<v Speaker 10>He was very easy going and I wanted. I felt

0:25:38.840 --> 0:25:42.920
<v Speaker 10>that the best thing for me to be on stage

0:25:44.119 --> 0:25:49.080
<v Speaker 10>was to be as relaxed as possible, and that's a

0:25:49.160 --> 0:25:52.119
<v Speaker 10>big key to the success of my concerts. You had

0:25:52.160 --> 0:25:54.800
<v Speaker 10>to relax your audience. They have to feel very comfortable

0:25:54.880 --> 0:26:00.320
<v Speaker 10>with you, and I allowed them to be participants with me.

0:26:00.880 --> 0:26:03.520
<v Speaker 10>So it wasn't only myself singing, but it was the

0:26:03.600 --> 0:26:05.840
<v Speaker 10>audience engaged in singing.

0:26:05.600 --> 0:26:06.320
<v Speaker 7>Along with me.

0:26:07.160 --> 0:26:10.600
<v Speaker 10>My technique was more than myself. It was me and

0:26:10.840 --> 0:26:13.920
<v Speaker 10>the audience. You know what, I couldn't do the audience

0:26:14.040 --> 0:26:17.960
<v Speaker 10>could do or they could hear, so they would fill

0:26:18.000 --> 0:26:23.760
<v Speaker 10>in the blanks. So my solo technique is more about us.

0:26:24.080 --> 0:26:26.440
<v Speaker 7>Than me, you know what I mean?

0:26:27.560 --> 0:26:31.680
<v Speaker 1>Do you have a formula as far as the delivery

0:26:31.800 --> 0:26:35.800
<v Speaker 1>upset song? Because even in doing the roll call theme,

0:26:36.800 --> 0:26:38.560
<v Speaker 1>I was panicled like should I be the drums? Should

0:26:38.560 --> 0:26:40.520
<v Speaker 1>it be? The bass? Should harmony? Should I?

0:26:41.040 --> 0:26:41.080
<v Speaker 10>So?

0:26:41.880 --> 0:26:45.000
<v Speaker 1>Is there some sort of polarizing because when I hear

0:26:45.080 --> 0:26:49.040
<v Speaker 1>you sing a song, I can hear the blanks filled in,

0:26:49.240 --> 0:26:51.440
<v Speaker 1>even the parts that I don't hear. I hear where

0:26:51.480 --> 0:26:56.600
<v Speaker 1>you're going. So is it Is it a formula you've

0:26:56.760 --> 0:26:58.920
<v Speaker 1>established where it's like, Okay, I'll do a little vocal

0:26:59.000 --> 0:27:00.879
<v Speaker 1>here and then the established the basin.

0:27:01.280 --> 0:27:04.680
<v Speaker 10>No, everything is a surprise. Every note is a surprise.

0:27:05.680 --> 0:27:10.520
<v Speaker 10>I don't have any rules. I don't have any plans.

0:27:11.840 --> 0:27:14.680
<v Speaker 10>I enter the stage empty and I exit full.

0:27:17.480 --> 0:27:18.960
<v Speaker 1>Is that on the time?

0:27:19.119 --> 0:27:20.520
<v Speaker 7>That's the time.

0:27:25.960 --> 0:27:27.080
<v Speaker 1>So I'm going to ask you a question that I

0:27:27.119 --> 0:27:31.040
<v Speaker 1>ask most stand up comedians, because you're up there alone

0:27:31.920 --> 0:27:38.000
<v Speaker 1>four year solo shows. How do you deal with the

0:27:38.920 --> 0:27:44.920
<v Speaker 1>disruptive or heckler kind of incorporated? So that's how you

0:27:45.280 --> 0:27:47.440
<v Speaker 1>extinguish the fire, That's.

0:27:47.280 --> 0:27:50.080
<v Speaker 10>How I deal with it. I just I just take

0:27:50.160 --> 0:27:58.480
<v Speaker 10>whatever the heckler is heckling me about and musicalize it.

0:28:01.280 --> 0:28:05.480
<v Speaker 10>One time a guy came in late and he was

0:28:05.560 --> 0:28:09.560
<v Speaker 10>sitting in a balcony and when he sat down, the

0:28:10.200 --> 0:28:15.879
<v Speaker 10>chair squeaked. So I squeaked, and he squeaked, and I

0:28:16.040 --> 0:28:19.520
<v Speaker 10>squeaked some more. So he started he started playing his

0:28:19.720 --> 0:28:22.879
<v Speaker 10>seat the squeak. So I did a duet with the

0:28:22.920 --> 0:28:23.879
<v Speaker 10>squeak and his seat.

0:28:25.080 --> 0:28:29.000
<v Speaker 1>You know, So it's almost like you welcome it, because

0:28:29.880 --> 0:28:31.320
<v Speaker 1>I don't know if you're thinking of like a show

0:28:31.400 --> 0:28:33.520
<v Speaker 1>like oh time eater, Oh good, I have something to

0:28:33.600 --> 0:28:36.840
<v Speaker 1>eat up this particularly two minutes or whatever. But so

0:28:37.000 --> 0:28:42.480
<v Speaker 1>you do you welcome those types of distractions or well?

0:28:42.680 --> 0:28:42.840
<v Speaker 4>Is it?

0:28:44.160 --> 0:28:47.520
<v Speaker 10>I guess it does depend, But I can honestly say

0:28:47.560 --> 0:28:49.680
<v Speaker 10>that at least ninety percent of the time I use

0:28:49.800 --> 0:28:53.720
<v Speaker 10>whatever is given to me. I just take it and

0:28:54.160 --> 0:28:59.600
<v Speaker 10>incorporate it. And whatever the improvisation is, whatever the landscape is,

0:29:01.640 --> 0:29:04.640
<v Speaker 10>I take it and I use it. So I don't

0:29:06.040 --> 0:29:09.080
<v Speaker 10>I don't fear anything on stage really. In fact, I'm

0:29:09.120 --> 0:29:10.960
<v Speaker 10>scared sitting in this chair just thinking about it.

0:29:13.720 --> 0:29:16.240
<v Speaker 1>Yeah, just like everything I do, always have to map

0:29:16.280 --> 0:29:19.200
<v Speaker 1>it out before I do it so well.

0:29:19.320 --> 0:29:21.880
<v Speaker 10>I used to be that way as a composition student.

0:29:22.600 --> 0:29:25.560
<v Speaker 10>You know, you're writing everything down exactly the way that

0:29:25.680 --> 0:29:30.080
<v Speaker 10>you want it, and even solos. I would even write

0:29:30.160 --> 0:29:33.120
<v Speaker 10>the solos out because I wanted to the solo was

0:29:33.160 --> 0:29:34.960
<v Speaker 10>to go on a certain direction.

0:29:36.560 --> 0:29:37.080
<v Speaker 7>But then.

0:29:38.520 --> 0:29:42.160
<v Speaker 10>Miles Davis was playing at a club in Los Angeles

0:29:42.200 --> 0:29:47.720
<v Speaker 10>called Shelley's Manhole. Shelley man the drummer, and the band

0:29:47.800 --> 0:29:53.560
<v Speaker 10>included Keith Jarrett, h Michael Henderson, who was I think

0:29:53.640 --> 0:29:56.960
<v Speaker 10>borrowed from James Brown or Slider family Stone or something.

0:29:57.160 --> 0:30:03.400
<v Speaker 10>He was in Motown. Yeah, right, well you're right. Jack

0:30:03.480 --> 0:30:10.120
<v Speaker 10>Djanet on drums, Gary bart On soprano, sacks. My Miles

0:30:10.280 --> 0:30:13.120
<v Speaker 10>was sporting some black leather pants and a black shirt,

0:30:13.600 --> 0:30:16.160
<v Speaker 10>playing a drag a black trumpet hooked up to a

0:30:16.600 --> 0:30:22.200
<v Speaker 10>wild wah pedal. And when I left the club that night,

0:30:22.280 --> 0:30:26.240
<v Speaker 10>I literally was walking on air. My feet didn't touch

0:30:26.280 --> 0:30:30.080
<v Speaker 10>the ground for at least two weeks because I understood

0:30:30.840 --> 0:30:34.320
<v Speaker 10>what improvisation was. From that moment on, I understood it.

0:30:35.360 --> 0:30:37.440
<v Speaker 10>You know, it's complete musical freedom.

0:30:38.360 --> 0:30:40.040
<v Speaker 8>You should tell that story, though, because that's a pretty

0:30:40.080 --> 0:30:42.080
<v Speaker 8>good story of going to that show.

0:30:42.520 --> 0:30:42.960
<v Speaker 7>When I was.

0:30:43.120 --> 0:30:47.320
<v Speaker 10>When I arrived to the show, there was a line

0:30:47.400 --> 0:30:50.160
<v Speaker 10>down the block and around the corner. The place was

0:30:50.240 --> 0:30:53.360
<v Speaker 10>already packed with people, so the people that were standing

0:30:53.400 --> 0:30:55.360
<v Speaker 10>in line, it was just hopeless that you were going

0:30:55.400 --> 0:30:59.000
<v Speaker 10>to get in. So I'm standing there with my date.

0:31:00.720 --> 0:31:03.480
<v Speaker 10>A woman walks out of the club and for some

0:31:03.640 --> 0:31:07.640
<v Speaker 10>reason she stopped at me and said, do you would

0:31:07.680 --> 0:31:15.160
<v Speaker 10>you like two tickets? And I said, well yes, So

0:31:15.720 --> 0:31:19.120
<v Speaker 10>I had my two tickets, walked into the club and

0:31:19.240 --> 0:31:25.880
<v Speaker 10>the last two seats were right next to the band stand,

0:31:25.960 --> 0:31:28.720
<v Speaker 10>I mean just to butted the bandstand, so I got

0:31:28.760 --> 0:31:32.120
<v Speaker 10>a full view of the entire band, last two seats.

0:31:33.360 --> 0:31:35.440
<v Speaker 7>So that was the night that I was introduced to

0:31:35.520 --> 0:31:38.840
<v Speaker 7>Keith Jarrett and the band just blew me away.

0:31:39.920 --> 0:31:42.560
<v Speaker 1>Was this a Bitch's Brew tour or something like that?

0:31:42.760 --> 0:31:44.160
<v Speaker 7>This was Live Evil?

0:31:44.480 --> 0:31:50.640
<v Speaker 1>Okay, okay, right before on the corner right, yeah, you

0:31:50.680 --> 0:31:52.840
<v Speaker 1>should have been. There was James in to me. There

0:31:53.000 --> 0:31:53.760
<v Speaker 1>is percussionists.

0:31:55.000 --> 0:31:57.480
<v Speaker 7>I don't recall percussion okay.

0:31:57.880 --> 0:32:02.640
<v Speaker 1>Yeah, James, he came in seventy two, slightly.

0:32:02.960 --> 0:32:05.040
<v Speaker 7>Yeah, this was in February of seventy one.

0:32:05.600 --> 0:32:13.120
<v Speaker 1>Yeah, right beforehand. So with well, that's good to see

0:32:13.160 --> 0:32:16.680
<v Speaker 1>that you were open to that because then I know

0:32:17.080 --> 0:32:22.800
<v Speaker 1>many a jazz snob. Who you know, depending on who

0:32:22.880 --> 0:32:27.480
<v Speaker 1>you speak to, like former writer for The Village Voice

0:32:27.480 --> 0:32:30.080
<v Speaker 1>of Boys, Stanley Kroud Stanley, Yeah, crowds would have been

0:32:30.200 --> 0:32:35.360
<v Speaker 1>like whatever you know. But it's it's almost it's good

0:32:35.400 --> 0:32:41.400
<v Speaker 1>to hear your your perspective of it as as a younger.

0:32:42.120 --> 0:32:44.280
<v Speaker 1>Uh well, I mean, I know that you were immersed

0:32:44.280 --> 0:32:48.040
<v Speaker 1>in jazz already, haven't grown up in it, but you know,

0:32:48.280 --> 0:32:55.800
<v Speaker 1>usually people have different points of view of Miles's early period,

0:32:56.200 --> 0:33:01.560
<v Speaker 1>right right? So who were your just as far as

0:33:01.640 --> 0:33:05.600
<v Speaker 1>your musical idols at the time in the early seventies

0:33:05.720 --> 0:33:09.760
<v Speaker 1>as you're finding yourself, like who were your absolute heroes?

0:33:11.080 --> 0:33:11.320
<v Speaker 7>Oka?

0:33:11.520 --> 0:33:16.640
<v Speaker 10>So mm hmmm, whoa Okay, Fred Astaire and Ginger Rogers.

0:33:19.200 --> 0:33:24.080
<v Speaker 7>H I've drawn I'm drawing a blank.

0:33:24.520 --> 0:33:31.280
<v Speaker 1>Keith Jarrett, Herbie well, Herbie for sure. Wow, it's amazing.

0:33:31.800 --> 0:33:35.360
<v Speaker 1>So okay, I want to skip slightly ahead to simple

0:33:35.400 --> 0:33:41.720
<v Speaker 1>pleasures without mentioning the D word. But what I want

0:33:42.280 --> 0:33:47.080
<v Speaker 1>but what I want to what I want to know

0:33:47.360 --> 0:33:52.960
<v Speaker 1>is not that were you shocked at this success? But

0:33:54.240 --> 0:34:00.160
<v Speaker 1>I'm certain that with the audience that discovered you, and

0:34:00.240 --> 0:34:01.920
<v Speaker 1>I won't lie like I won't say like, oh, yes,

0:34:01.960 --> 0:34:03.520
<v Speaker 1>I knew you were a bomb mean fair the whole time.

0:34:04.040 --> 0:34:06.320
<v Speaker 1>When I first saw you on the Grammys, I think, uh,

0:34:07.120 --> 0:34:11.719
<v Speaker 1>you're doing around about Midnight with Herbie Hancock R. My

0:34:11.840 --> 0:34:14.640
<v Speaker 1>first response was, Yo, that's the that's the Levi's file

0:34:14.840 --> 0:34:19.960
<v Speaker 1>fiber one cluse die oh he sings. So the way

0:34:20.040 --> 0:34:24.719
<v Speaker 1>that audiences have discovered you were you not slightly dismayed.

0:34:24.880 --> 0:34:28.880
<v Speaker 1>But I know that it had to have been a

0:34:29.040 --> 0:34:33.840
<v Speaker 1>weird change after Simple Pleasures comes out with with the

0:34:34.200 --> 0:34:39.200
<v Speaker 1>with the massive success of Don't Worry Be Happy, whereas

0:34:39.440 --> 0:34:47.640
<v Speaker 1>now maybe non jazz fans or non uh sophisticated music.

0:34:47.800 --> 0:34:47.920
<v Speaker 4>Uh.

0:34:48.239 --> 0:34:50.480
<v Speaker 5>He was on VH one, The video was on VH one.

0:34:50.760 --> 0:34:52.400
<v Speaker 1>Yeah, But I'm just saying that is it.

0:34:54.320 --> 0:34:54.360
<v Speaker 5>Is.

0:34:54.440 --> 0:34:58.800
<v Speaker 1>It was it somewhat dismaying for you to have this

0:34:58.920 --> 0:35:02.280
<v Speaker 1>new audience that really doesn't understand the art of jazz

0:35:02.320 --> 0:35:04.279
<v Speaker 1>and what it is that you were about and you

0:35:04.560 --> 0:35:05.959
<v Speaker 1>just want to don't Worry Be Happy.

0:35:06.040 --> 0:35:06.160
<v Speaker 11>Guy.

0:35:06.200 --> 0:35:06.640
<v Speaker 1>I never.

0:35:08.560 --> 0:35:11.600
<v Speaker 10>I never really thought of myself as a jazz musician

0:35:11.640 --> 0:35:14.359
<v Speaker 10>because I did so many different kinds of pieces during

0:35:14.400 --> 0:35:17.000
<v Speaker 10>an evening. I mean I might follow up a James

0:35:17.040 --> 0:35:20.919
<v Speaker 10>Brown piece, you know, seeing the Ave Maria by Bob

0:35:21.840 --> 0:35:23.960
<v Speaker 10>then follow it up with the Beatles tune, and then

0:35:24.040 --> 0:35:27.000
<v Speaker 10>follow that up with something just completely wild and crazy

0:35:27.080 --> 0:35:31.480
<v Speaker 10>and out of hand and chaotic and rambunctious and and all.

0:35:32.239 --> 0:35:36.360
<v Speaker 10>So I never thought I never promoted myself as a

0:35:36.520 --> 0:35:40.480
<v Speaker 10>jazz singer, though I did sing jazz pieces.

0:35:40.960 --> 0:35:43.960
<v Speaker 1>You know, of course, what was the process like just

0:35:44.120 --> 0:35:46.520
<v Speaker 1>kind of going back a little bit to signing your

0:35:46.560 --> 0:35:49.400
<v Speaker 1>record deal, like, how were you able you know, what

0:35:49.680 --> 0:35:51.920
<v Speaker 1>was the market like for what you were doing at

0:35:51.960 --> 0:35:53.720
<v Speaker 1>that time, because it was it was really unique.

0:35:53.760 --> 0:35:57.560
<v Speaker 10>So how well after my first album, which was you know, selfish,

0:35:58.040 --> 0:36:01.120
<v Speaker 10>self titled Bobby mcfair, and after that one.

0:36:02.160 --> 0:36:05.520
<v Speaker 7>They wanted to make me into the new algi Row.

0:36:06.840 --> 0:36:08.520
<v Speaker 1>I was going to say, my first album is rather

0:36:08.719 --> 0:36:10.640
<v Speaker 1>traditional for what was right.

0:36:12.040 --> 0:36:17.200
<v Speaker 10>So they hired a top Hollywood arranger by the name

0:36:17.200 --> 0:36:22.240
<v Speaker 10>of Johnny Mandel, who was a fabulous musician.

0:36:22.120 --> 0:36:25.959
<v Speaker 1>Any relations Steve no but he wrote the mash theme.

0:36:26.000 --> 0:36:27.040
<v Speaker 1>I think also did that.

0:36:27.760 --> 0:36:31.120
<v Speaker 7>Johnny Mandel, Oh really okay?

0:36:32.560 --> 0:36:36.960
<v Speaker 10>And I was down in Los Angeles working in his

0:36:37.480 --> 0:36:40.120
<v Speaker 10>studio for about two weeks when at the end of

0:36:40.160 --> 0:36:42.560
<v Speaker 10>the session I said to him, you know, this doesn't

0:36:42.640 --> 0:36:48.000
<v Speaker 10>feel right. I don't feel good about the direction that

0:36:49.120 --> 0:36:54.839
<v Speaker 10>that they're pushing me towards. And so I called off

0:36:55.120 --> 0:37:01.160
<v Speaker 10>that particular project and was immediately summoned into the Presidents office.

0:37:02.880 --> 0:37:03.280
<v Speaker 7>AH.

0:37:04.880 --> 0:37:08.759
<v Speaker 10>By the name of Bruce Lunvall. He had what was

0:37:08.800 --> 0:37:11.680
<v Speaker 10>the name of the what was the name of the

0:37:11.800 --> 0:37:19.200
<v Speaker 10>label musician elect Electric Musician, you see the logo, and

0:37:19.480 --> 0:37:23.160
<v Speaker 10>he says, well, Bobby, what's what's going on. Why didn't

0:37:23.200 --> 0:37:26.839
<v Speaker 10>you want to do the project? And I said, it's

0:37:26.920 --> 0:37:30.760
<v Speaker 10>because I have in my heart to do solo pieces,

0:37:30.880 --> 0:37:33.759
<v Speaker 10>solo concerts. And he asked me what that was, and

0:37:33.880 --> 0:37:35.640
<v Speaker 10>I tried to explain to him. I said, well, it

0:37:35.680 --> 0:37:41.040
<v Speaker 10>would just be me recording shows and improvising. And he says,

0:37:41.080 --> 0:37:43.480
<v Speaker 10>this is really important to you, is it? And I said, yes,

0:37:44.239 --> 0:37:49.200
<v Speaker 10>God wants me to do it. Yeah, that's what I said,

0:37:49.680 --> 0:37:51.919
<v Speaker 10>And that's exactly what Bruce says. Well, we can't argue

0:37:51.960 --> 0:37:57.320
<v Speaker 10>with God. So he allowed me to do my second

0:37:57.360 --> 0:37:58.520
<v Speaker 10>album of the Voice.

0:37:59.600 --> 0:38:01.400
<v Speaker 1>The way that you wanted to do it than I

0:38:01.480 --> 0:38:06.480
<v Speaker 1>wanted to do. You did. There were a few a

0:38:06.560 --> 0:38:13.399
<v Speaker 1>few a cappella esque songs on the first record, right, yeah,

0:38:15.600 --> 0:38:18.320
<v Speaker 1>So I interrupted you to you I'm sorry, no, no, no,

0:38:18.440 --> 0:38:21.239
<v Speaker 1>I was just figuring if maybe that was added after

0:38:21.320 --> 0:38:22.880
<v Speaker 1>the fact that you had the talking and said this

0:38:23.040 --> 0:38:25.880
<v Speaker 1>is what I'm more about as opposed.

0:38:25.480 --> 0:38:29.640
<v Speaker 10>To Right, that's pretty much I wanted to introduce my

0:38:29.760 --> 0:38:35.040
<v Speaker 10>audience to the South. Then I knew that I was.

0:38:36.200 --> 0:38:41.719
<v Speaker 1>I think Bruce later was president Blue Note right at

0:38:41.760 --> 0:38:44.360
<v Speaker 1>the time when we were doing the Elvis Costello project.

0:38:44.440 --> 0:38:45.480
<v Speaker 7>That's that's correct.

0:38:45.840 --> 0:38:51.319
<v Speaker 1>Bruce also, I think, famously signed Bill Withers to Columbia

0:38:52.239 --> 0:39:01.800
<v Speaker 1>after Clarence Avont dissolved Success Records. So that's how Bruce.

0:39:02.120 --> 0:39:03.920
<v Speaker 10>So for the.

0:39:06.200 --> 0:39:11.080
<v Speaker 1>How did the commercial world discover you with the Levi's

0:39:11.120 --> 0:39:14.960
<v Speaker 1>stuff and the Ocean Spray and all the others.

0:39:14.760 --> 0:39:18.920
<v Speaker 10>I don't know, in the Cosby theme, you know, all

0:39:18.960 --> 0:39:20.920
<v Speaker 10>those those pieces, those those.

0:39:21.040 --> 0:39:23.320
<v Speaker 1>Well, by the time Cosby came along, you were a

0:39:23.440 --> 0:39:26.719
<v Speaker 1>household name. But I mean just in the beginning I

0:39:26.880 --> 0:39:29.799
<v Speaker 1>heard your voice on commercials and that sort of thing like.

0:39:30.280 --> 0:39:31.280
<v Speaker 7>Like Ocean Spray.

0:39:31.520 --> 0:39:34.840
<v Speaker 1>Yeah, was it was it? Mark? Was there marketing geniuses

0:39:34.920 --> 0:39:36.600
<v Speaker 1>behind this, like this is how we're going to promote you?

0:39:36.680 --> 0:39:39.560
<v Speaker 10>Or was it just how do people don't know how

0:39:39.560 --> 0:39:44.920
<v Speaker 10>to answer that? Yeah, Linda is probably the answer to

0:39:45.040 --> 0:39:53.719
<v Speaker 10>that question, manager. Okay, So with uh, you're is is

0:39:53.800 --> 0:39:59.000
<v Speaker 10>the project? With wait, wait before I say anything, I

0:39:59.120 --> 0:40:07.240
<v Speaker 10>got to figure out how Freddie Freeloader was recorded with Algio,

0:40:07.400 --> 0:40:09.320
<v Speaker 10>John Hendricks and George Benson.

0:40:09.600 --> 0:40:11.480
<v Speaker 1>Yeah, who wrote the lyrics?

0:40:12.400 --> 0:40:13.160
<v Speaker 7>John Hendricks?

0:40:14.600 --> 0:40:16.799
<v Speaker 1>How long did it take you to study? Because at

0:40:16.840 --> 0:40:19.160
<v Speaker 1>the time when I heard it, someone explained to me

0:40:19.480 --> 0:40:25.240
<v Speaker 1>that you guys literally transposed every solo on the original

0:40:25.280 --> 0:40:28.799
<v Speaker 1>Miles Davis piece applied words to it right and once

0:40:29.000 --> 0:40:30.719
<v Speaker 1>I at first I didn't believe it, and then I

0:40:30.840 --> 0:40:35.759
<v Speaker 1>had to literally get both copies and go and I

0:40:35.920 --> 0:40:39.040
<v Speaker 1>was mind blown at the commitment that it took. Could

0:40:39.160 --> 0:40:43.200
<v Speaker 1>you discuss the recording process of recording? Like was it

0:40:43.280 --> 0:40:44.160
<v Speaker 1>done in parts or.

0:40:44.719 --> 0:40:49.400
<v Speaker 10>It was done each singer recorded their part individually, you know,

0:40:49.880 --> 0:40:51.160
<v Speaker 10>in their own studio.

0:40:51.600 --> 0:40:51.880
<v Speaker 1>Okay.

0:40:52.880 --> 0:40:58.400
<v Speaker 10>And I can't remember if I learned the original solo

0:40:58.520 --> 0:41:03.880
<v Speaker 10>by Tommy Flanagan or if I if I had studied

0:41:03.880 --> 0:41:08.320
<v Speaker 10>the words first. I don't remember, Okay, but it took me.

0:41:09.600 --> 0:41:12.640
<v Speaker 10>It took me about four or five days, I think,

0:41:13.680 --> 0:41:17.480
<v Speaker 10>to get it down. And what's really interesting is that

0:41:17.760 --> 0:41:21.160
<v Speaker 10>he left out a verse. You know, he wrote he

0:41:21.239 --> 0:41:25.000
<v Speaker 10>wrote all these words and I said, well, John, you

0:41:25.160 --> 0:41:29.840
<v Speaker 10>forgot this verse, And he sat down in the studio

0:41:30.200 --> 0:41:31.480
<v Speaker 10>and wrote the lyrics out.

0:41:32.840 --> 0:41:34.680
<v Speaker 7>Then at that moment, I'm not sure.

0:41:34.719 --> 0:41:38.040
<v Speaker 10>The spot on the spot, because he could he could

0:41:38.120 --> 0:41:41.319
<v Speaker 10>hear words in melody, you know, he had this gift

0:41:41.360 --> 0:41:45.759
<v Speaker 10>of understanding what the melodies were saying. So he wrote

0:41:45.800 --> 0:41:50.480
<v Speaker 10>it out and we recorded it, and and it was

0:41:50.840 --> 0:41:54.120
<v Speaker 10>It was a delightful. It had a delighted, delightful outcome.

0:41:54.239 --> 0:41:55.240
<v Speaker 10>It was a good experience.

0:41:55.480 --> 0:41:58.080
<v Speaker 1>Did you commit that entire solo to memory or was

0:41:58.120 --> 0:41:59.880
<v Speaker 1>it like, Okay, I'll do eight bars here and then

0:42:00.040 --> 0:42:01.759
<v Speaker 1>listen to the original and figure out Like.

0:42:01.840 --> 0:42:07.239
<v Speaker 10>Nons, I believe my memory serves me well that I

0:42:07.880 --> 0:42:12.759
<v Speaker 10>pretty much had it nearly perfectly memorized. But I think

0:42:12.840 --> 0:42:16.000
<v Speaker 10>I even but I think I used the lyrics on

0:42:16.080 --> 0:42:19.040
<v Speaker 10>a music stand, just just in case I should in

0:42:19.600 --> 0:42:23.080
<v Speaker 10>recording the piece, you know, have a misstep and my

0:42:23.280 --> 0:42:28.239
<v Speaker 10>memory and forget certain words. But but I think it

0:42:28.320 --> 0:42:29.160
<v Speaker 10>came off pretty well.

0:42:30.480 --> 0:42:35.680
<v Speaker 1>Yeah. That that that is probably, bar none, my favorite

0:42:36.600 --> 0:42:39.799
<v Speaker 1>performance of you. But I'll say that maybe like it's

0:42:40.360 --> 0:42:44.360
<v Speaker 1>maybe my top ten songs of all time because beyond

0:42:44.520 --> 0:42:52.200
<v Speaker 1>beyond the just beyond the magnitude of hearing. You know,

0:42:52.480 --> 0:42:58.640
<v Speaker 1>four very unique vocalists again Algebra, George Benson, John Hendricks,

0:42:58.760 --> 0:43:03.440
<v Speaker 1>and Bob McFerrin attempt this. John John Hendricks is like

0:43:03.520 --> 0:43:06.640
<v Speaker 1>the father of what they call vocalist like they'll they'll

0:43:06.719 --> 0:43:10.080
<v Speaker 1>often or you remember we were laughing at Eddie Jefferson

0:43:10.160 --> 0:43:11.200
<v Speaker 1>doing bitches brus.

0:43:13.400 --> 0:43:13.440
<v Speaker 8>No.

0:43:13.640 --> 0:43:16.880
<v Speaker 1>But even even even Eddie Jefferson fault like I mean,

0:43:16.960 --> 0:43:20.640
<v Speaker 1>Eddie Jefferson is more like I would say he's close

0:43:20.680 --> 0:43:24.120
<v Speaker 1>to to like Rufus Thomas if Rufus Thomas were jazz

0:43:24.160 --> 0:43:26.680
<v Speaker 1>center right or whatever or od b I don't know,

0:43:28.040 --> 0:43:33.120
<v Speaker 1>but yeah, John Hendricks of formerly of A, Lambert Hendricks

0:43:33.200 --> 0:43:37.160
<v Speaker 1>and Ross. I mean they were like the original Manhattan

0:43:37.239 --> 0:43:38.240
<v Speaker 1>transfer slash.

0:43:40.440 --> 0:43:42.239
<v Speaker 5>So is that why so because I'm looking, I'm looking

0:43:42.320 --> 0:43:43.279
<v Speaker 5>up for free Loader?

0:43:43.400 --> 0:43:43.520
<v Speaker 1>Is that?

0:43:43.719 --> 0:43:45.560
<v Speaker 5>Is that why only John Hendrix is listed on the

0:43:45.640 --> 0:43:46.760
<v Speaker 5>song on his album?

0:43:47.280 --> 0:43:49.600
<v Speaker 1>Yeah, it's on his album. So it's sort of like,

0:43:50.320 --> 0:43:55.520
<v Speaker 1>you know, getting the most unique vocals. But even George

0:43:55.600 --> 0:44:00.279
<v Speaker 1>Benson's uh approach, Uh you know that's an I tell

0:44:00.360 --> 0:44:01.640
<v Speaker 1>him that's my favorite.

0:44:01.800 --> 0:44:04.280
<v Speaker 5>Is this post Simple Pleasures or this pre Simple Pleasures?

0:44:04.880 --> 0:44:08.160
<v Speaker 1>You guys did that in ninety I think I'd like

0:44:08.239 --> 0:44:09.879
<v Speaker 1>to think it was nineteen ninety. I'm not sure.

0:44:09.920 --> 0:44:11.840
<v Speaker 7>I think we were still living in San Francisco.

0:44:13.120 --> 0:44:14.360
<v Speaker 8>If it was ninety, I wasn't a.

0:44:19.480 --> 0:44:25.040
<v Speaker 7>Yeah, I think before me. Yeah, that's right, Yeah around

0:44:25.080 --> 0:44:26.360
<v Speaker 7>that time there, I.

0:44:26.440 --> 0:44:28.399
<v Speaker 5>Asked because I was just wanted to in the still

0:44:28.400 --> 0:44:30.400
<v Speaker 5>in the simple Pleasures bad because you said that you

0:44:30.480 --> 0:44:32.640
<v Speaker 5>don't consider yourself a jazz vocalist. But I wonder if

0:44:32.640 --> 0:44:36.400
<v Speaker 5>you consider yourself like a conduit to all music because

0:44:36.400 --> 0:44:38.000
<v Speaker 5>a lot sometimes people don't know if you're aware of this,

0:44:38.080 --> 0:44:41.680
<v Speaker 5>but sometimes people learn of other musical genres and songs

0:44:41.760 --> 0:44:42.040
<v Speaker 5>through you.

0:44:42.520 --> 0:44:46.000
<v Speaker 10>Well, I would call myself a folk musician, okay, okay,

0:44:47.360 --> 0:44:50.160
<v Speaker 10>you know music music of the folk. You know. I

0:44:50.640 --> 0:44:53.800
<v Speaker 10>tried to whenever I go to different countries, if I

0:44:53.880 --> 0:44:57.920
<v Speaker 10>have an opportunity to hear some of the musical styles

0:44:58.080 --> 0:45:01.440
<v Speaker 10>that come from that culture, I try and incorporate it

0:45:01.480 --> 0:45:05.600
<v Speaker 10>in my improvs, you know, as well as I can.

0:45:05.719 --> 0:45:09.040
<v Speaker 10>I've gone to several music schools, you know, in different

0:45:09.120 --> 0:45:12.640
<v Speaker 10>countries where they would have ensembles play for me and

0:45:12.800 --> 0:45:15.960
<v Speaker 10>invite me to participate with them. So I would take

0:45:16.920 --> 0:45:19.239
<v Speaker 10>what I could from that experience, you know, onto the

0:45:19.320 --> 0:45:23.080
<v Speaker 10>stage with me and play with the sounds and the

0:45:23.160 --> 0:45:26.879
<v Speaker 10>scales and hm, how.

0:45:26.800 --> 0:45:29.279
<v Speaker 5>Many countries do you think you've done that in, like

0:45:30.719 --> 0:45:32.560
<v Speaker 5>improvising with other cultures like that?

0:45:33.760 --> 0:45:34.120
<v Speaker 7>Lots?

0:45:36.840 --> 0:45:38.279
<v Speaker 8>Are there any that have stumped you?

0:45:41.680 --> 0:45:42.320
<v Speaker 7>Stumped me?

0:45:42.880 --> 0:45:45.760
<v Speaker 8>Like, what's been the hardest to incorporate.

0:45:46.719 --> 0:45:47.120
<v Speaker 5>Language?

0:45:50.000 --> 0:45:54.560
<v Speaker 10>That's a good question. I can't think of any off

0:45:54.600 --> 0:46:11.280
<v Speaker 10>the top of my head. Stumpers. Meet one man dare

0:46:11.760 --> 0:46:16.359
<v Speaker 10>to up escape Yeah, like did.

0:46:16.320 --> 0:46:19.400
<v Speaker 1>You see red Pepper? Yes, we often fall in the

0:46:19.600 --> 0:46:21.440
<v Speaker 1>rabbit holes on this show. Wait you you're the one

0:46:21.480 --> 0:46:23.279
<v Speaker 1>that put the link up right? Yeah? Yeah, I got

0:46:23.360 --> 0:46:26.040
<v Speaker 1>I got to meet that dude. Man is black, Yes,

0:46:26.080 --> 0:46:28.040
<v Speaker 1>a black as a brother in London that does like

0:46:28.120 --> 0:46:31.720
<v Speaker 1>all that stuff that's the scary Uh in a world

0:46:31.800 --> 0:46:32.600
<v Speaker 1>where so and something?

0:46:32.640 --> 0:46:33.800
<v Speaker 5>I thought that was a white man with a my

0:46:33.880 --> 0:46:37.239
<v Speaker 5>snad it was it was he died.

0:46:37.440 --> 0:46:41.200
<v Speaker 1>He has but he looks like it looks like ving

0:46:41.320 --> 0:46:48.400
<v Speaker 1>rains now like but has a polite accent co accent.

0:46:48.600 --> 0:46:48.799
<v Speaker 7>Yeah.

0:46:49.160 --> 0:46:50.560
<v Speaker 1>I think I said it right.

0:46:50.600 --> 0:46:54.120
<v Speaker 5>Right, Yeah, sat on the streets saying crazy ship.

0:46:56.040 --> 0:47:00.279
<v Speaker 1>I'm straat, I'm straight man. So okay, now I guess

0:47:00.320 --> 0:47:03.160
<v Speaker 1>I will bring up the D word. Uh. At what

0:47:03.400 --> 0:47:09.280
<v Speaker 1>point did you realize that this song was going beyond

0:47:09.520 --> 0:47:13.520
<v Speaker 1>just having a hit single and that about d W

0:47:13.760 --> 0:47:26.239
<v Speaker 1>B A W we got we got it, that's what you.

0:47:27.760 --> 0:47:27.800
<v Speaker 8>Know.

0:47:27.920 --> 0:47:33.600
<v Speaker 1>What I showed showed the shirt that he had on. Yeah, yeah,

0:47:33.640 --> 0:47:36.880
<v Speaker 1>I gave it to Slan you did. Yeah, they laughed

0:47:36.880 --> 0:47:39.920
<v Speaker 1>at it. He had a shirt that said don't worry beyond.

0:47:40.200 --> 0:47:42.800
<v Speaker 8>Yeah, I saw that it was my shirt, but I

0:47:42.880 --> 0:47:43.759
<v Speaker 8>made him wear it for.

0:47:46.080 --> 0:47:51.440
<v Speaker 1>That's hilarious. They got a kick out. Yeah. So, I mean,

0:47:51.600 --> 0:47:55.279
<v Speaker 1>was there a point where you because assuming that you

0:47:55.760 --> 0:47:58.040
<v Speaker 1>took it out your repertoire or if you ever I

0:47:58.040 --> 0:47:59.960
<v Speaker 1>don't know if you ever performed it live and kind

0:48:00.320 --> 0:48:00.600
<v Speaker 1>or whatever.

0:48:00.760 --> 0:48:05.319
<v Speaker 10>But I haven't performed that song live in concert since

0:48:05.400 --> 0:48:07.040
<v Speaker 10>November of nineteen eighty eight.

0:48:07.239 --> 0:48:09.080
<v Speaker 1>Why why are you so specific?

0:48:10.400 --> 0:48:10.560
<v Speaker 4>Oh?

0:48:11.840 --> 0:48:17.600
<v Speaker 7>Because the election. The tune came out September September before that,

0:48:17.840 --> 0:48:18.680
<v Speaker 7>I believe.

0:48:18.920 --> 0:48:25.960
<v Speaker 5>Thirty year anniversary, Yes thirty I'm late, sorry, mass Well.

0:48:25.920 --> 0:48:29.480
<v Speaker 1>Why specifically November? Like, what's the significance of.

0:48:29.760 --> 0:48:33.280
<v Speaker 10>I just remember that when I started doing solo concerts

0:48:33.320 --> 0:48:36.320
<v Speaker 10>that I refused to do that that peace on stage

0:48:36.880 --> 0:48:40.719
<v Speaker 10>because I wanted the audience to to know me as

0:48:40.760 --> 0:48:47.000
<v Speaker 10>an improviser, right, you know, So I didn't want to go,

0:48:47.280 --> 0:48:49.439
<v Speaker 10>you know, be falling back on that tune all the time,

0:48:49.960 --> 0:48:53.440
<v Speaker 10>or have them expected they they they grew out of

0:48:53.480 --> 0:48:55.360
<v Speaker 10>it over time, you know, they said, well, he's not

0:48:55.440 --> 0:48:56.759
<v Speaker 10>going to do that, he's not going to do that

0:48:56.880 --> 0:48:58.680
<v Speaker 10>sound because he doesn't do it anymore.

0:48:59.320 --> 0:49:00.680
<v Speaker 7>And I still do it.

0:49:00.840 --> 0:49:03.160
<v Speaker 8>You still get asked, I still get hill.

0:49:03.280 --> 0:49:04.880
<v Speaker 5>Do you make mean faces when they ask or you

0:49:05.000 --> 0:49:05.480
<v Speaker 5>just say no.

0:49:05.680 --> 0:49:09.080
<v Speaker 7>I don't make faces. I just say no. I probably

0:49:09.080 --> 0:49:09.520
<v Speaker 7>won't do it.

0:49:10.000 --> 0:49:15.560
<v Speaker 10>I occasionally might hint to the melody in the middle

0:49:15.600 --> 0:49:19.600
<v Speaker 10>of an improv, you know, it might come up. I

0:49:19.680 --> 0:49:23.120
<v Speaker 10>don't intentionally do it. And the only exceptions that I

0:49:23.239 --> 0:49:26.120
<v Speaker 10>make are for kids. You know, for kids should say would.

0:49:25.880 --> 0:49:26.799
<v Speaker 7>You sing that song?

0:49:27.400 --> 0:49:31.399
<v Speaker 10>I might sing the chorus, you know, a chorus or something.

0:49:31.440 --> 0:49:33.600
<v Speaker 8>And I've probably heard you sing like one verse in

0:49:33.719 --> 0:49:34.560
<v Speaker 8>my entire life.

0:49:35.000 --> 0:49:38.319
<v Speaker 1>Wow, probably okay, next show, I'm fringing like.

0:49:42.239 --> 0:49:44.040
<v Speaker 8>The only time I've ever seen you do some of

0:49:44.080 --> 0:49:46.320
<v Speaker 8>it in a show setting was one time when we

0:49:46.400 --> 0:49:49.480
<v Speaker 8>were on tour and there was a kid who was

0:49:49.560 --> 0:49:53.440
<v Speaker 8>severely disabled who asked, and so then I think you

0:49:53.520 --> 0:49:55.799
<v Speaker 8>did like a verse and a chorus, But we did

0:49:55.880 --> 0:49:58.160
<v Speaker 8>it in like a samba style or something like that,

0:49:58.840 --> 0:49:59.799
<v Speaker 8>like it wasn't the same.

0:50:07.920 --> 0:50:08.279
<v Speaker 10>What's that.

0:50:11.360 --> 0:50:13.640
<v Speaker 1>That might be? Don't HERVEI be handcoffed?

0:50:16.160 --> 0:50:19.000
<v Speaker 5>Didn't nobody asked you to circle around around the I

0:50:19.080 --> 0:50:20.480
<v Speaker 5>hate to bring it on a downturn, but on the

0:50:20.560 --> 0:50:24.000
<v Speaker 5>death of Robin Williams. Did anyone asked you to bring

0:50:24.040 --> 0:50:25.960
<v Speaker 5>it back around during that then the time of the

0:50:26.040 --> 0:50:28.479
<v Speaker 5>death of Robin Williams since the video.

0:50:28.800 --> 0:50:28.840
<v Speaker 3>No.

0:50:28.960 --> 0:50:31.800
<v Speaker 10>The weirdest request I ever had to do that to

0:50:32.640 --> 0:50:36.040
<v Speaker 10>was the one year at the Academy Awards they wanted

0:50:36.080 --> 0:50:37.319
<v Speaker 10>me to sing that song to.

0:50:37.400 --> 0:50:43.840
<v Speaker 7>The losers and I said, shil are you out of

0:50:43.920 --> 0:50:47.040
<v Speaker 7>your mind? You want me to sing that show? Sing

0:50:47.120 --> 0:50:49.480
<v Speaker 7>that song on national television to the losers?

0:50:50.600 --> 0:50:56.000
<v Speaker 1>You got to be ridiculous, speaking of which you hold

0:50:56.120 --> 0:51:04.200
<v Speaker 1>the uh the Doobies honor of winning both Records and

0:51:04.400 --> 0:51:07.120
<v Speaker 1>Song of the Year in a time in which I

0:51:07.400 --> 0:51:10.400
<v Speaker 1>thought that man in the Mirror was going to be

0:51:10.719 --> 0:51:13.800
<v Speaker 1>Michael Jackson's redemption from losing the five awards of the

0:51:13.880 --> 0:51:17.880
<v Speaker 1>previous year for the Bad Awards, and he didn't.

0:51:18.000 --> 0:51:18.320
<v Speaker 8>I was.

0:51:19.560 --> 0:51:22.440
<v Speaker 1>I was elated and happy that you won. What was

0:51:22.480 --> 0:51:26.680
<v Speaker 1>your when did you feel as though like you had

0:51:26.719 --> 0:51:27.440
<v Speaker 1>a chance.

0:51:27.320 --> 0:51:30.279
<v Speaker 10>Or was it just like I didn't really pay much

0:51:31.480 --> 0:51:32.440
<v Speaker 10>much attention to it.

0:51:33.400 --> 0:51:38.040
<v Speaker 1>Yeah, you scattered your thank you thinging. I was like,

0:51:42.640 --> 0:51:45.319
<v Speaker 1>I used to watch it all the time, like a stop.

0:51:47.200 --> 0:51:50.560
<v Speaker 8>Is that the year that Michael sent you Beatles albums?

0:51:50.640 --> 0:51:53.279
<v Speaker 8>That's like congratulations or something like that.

0:51:53.680 --> 0:51:54.600
<v Speaker 1>He's about it.

0:51:54.760 --> 0:51:56.319
<v Speaker 5>I wouldn't have known about the Beatles if it wasn't

0:51:56.320 --> 0:51:57.759
<v Speaker 5>for Bob may Fair and not for nothing, I would

0:51:57.800 --> 0:51:59.719
<v Speaker 5>have took me a little longer. I will say that,

0:51:59.880 --> 0:52:02.040
<v Speaker 5>like your driving my car was like oh, and then

0:52:02.040 --> 0:52:02.400
<v Speaker 5>I heard it.

0:52:02.560 --> 0:52:03.560
<v Speaker 9>I was like, oh, they did it too.

0:52:07.840 --> 0:52:10.600
<v Speaker 1>Right, all right, I'll be honest. Yeah, I'll say that

0:52:12.640 --> 0:52:16.799
<v Speaker 1>ninety percent of the Beatles catalog I discovered cover everyone else.

0:52:17.600 --> 0:52:21.439
<v Speaker 8>Yeah, I was like, oh blackbird the Yeah, I didn't

0:52:21.480 --> 0:52:24.120
<v Speaker 8>know Blackbird Bird was a Beatles song for a very

0:52:24.200 --> 0:52:24.600
<v Speaker 8>long time.

0:52:25.440 --> 0:52:32.640
<v Speaker 1>And what's weird is I still consider his version the version, Yeah,

0:52:32.760 --> 0:52:35.640
<v Speaker 1>even when McCartney still does it now, and in my

0:52:35.760 --> 0:52:41.279
<v Speaker 1>head I can't imagine anyone not singing the it's hard

0:52:41.320 --> 0:52:46.560
<v Speaker 1>to go to I've lost my voice voice, how do

0:52:46.640 --> 0:52:49.080
<v Speaker 1>you handle sickness on the road?

0:52:50.200 --> 0:52:53.759
<v Speaker 10>And I use what voice I've got If I've got

0:52:53.840 --> 0:52:56.120
<v Speaker 10>two octaves I just used the two octaves.

0:52:56.800 --> 0:52:58.960
<v Speaker 1>How many octaves? What's your octave range for?

0:53:00.840 --> 0:53:05.239
<v Speaker 7>Wow, that's the average person health.

0:53:05.320 --> 0:53:06.520
<v Speaker 5>I'm gonna say, translate.

0:53:06.200 --> 0:53:06.560
<v Speaker 8>That for me.

0:53:07.560 --> 0:53:11.439
<v Speaker 1>Yeah, I was break you. I mean your octave range

0:53:11.520 --> 0:53:17.279
<v Speaker 1>is I mean that average person? I'm sure me Steve octapers,

0:53:17.480 --> 0:53:21.640
<v Speaker 1>I'm sure a singer, maybe fan taking maybe yeah, because

0:53:21.640 --> 0:53:24.319
<v Speaker 1>he sings in this so maybe three. But when you're

0:53:24.320 --> 0:53:27.160
<v Speaker 1>dealing with four and five octave range, that means you're special.

0:53:28.520 --> 0:53:33.960
<v Speaker 10>So hello, everybody, aren't we.

0:53:35.480 --> 0:53:40.440
<v Speaker 1>You? Have you ever had uh offers for Saturday Morning.

0:53:40.239 --> 0:53:44.000
<v Speaker 10>Cartoons and voiceovers stuff like that, like.

0:53:44.080 --> 0:53:45.880
<v Speaker 1>But a regular series, not just like.

0:53:48.680 --> 0:53:49.000
<v Speaker 5>It though.

0:53:49.280 --> 0:53:50.920
<v Speaker 8>I've been telling him that he needs to do it

0:53:50.960 --> 0:53:53.920
<v Speaker 8>for the longest because this man, Yes, but this man

0:53:54.520 --> 0:53:57.719
<v Speaker 8>gives the best story time ever.

0:53:58.600 --> 0:53:59.720
<v Speaker 1>You Madison mcerne.

0:54:00.160 --> 0:54:02.000
<v Speaker 8>I had him read me stories until I was twelve

0:54:02.080 --> 0:54:08.480
<v Speaker 8>years old in bed because it was like and I

0:54:08.520 --> 0:54:11.279
<v Speaker 8>wouldn't even have my mom read me stories because she

0:54:11.360 --> 0:54:14.120
<v Speaker 8>couldn't do all the voices. It wasn't it wasn't the

0:54:14.239 --> 0:54:14.719
<v Speaker 8>same thing.

0:54:20.200 --> 0:54:23.520
<v Speaker 1>Where were Okay, So by the time you're born via

0:54:23.719 --> 0:54:27.480
<v Speaker 1>medicine music, all right, I'll at least start you at three.

0:54:28.760 --> 0:54:31.520
<v Speaker 8>I think I was like one when medicine music came out, right, I.

0:54:31.560 --> 0:54:34.279
<v Speaker 1>Know that, but I'm just saying that, how are you

0:54:34.640 --> 0:54:37.640
<v Speaker 1>when are you processing what you're in? Because you're the

0:54:37.840 --> 0:54:42.080
<v Speaker 1>youngest of this brute, and I'm certain that your brothers

0:54:42.120 --> 0:54:48.719
<v Speaker 1>are even via trickle down talent or just as spontaneous

0:54:48.760 --> 0:54:52.319
<v Speaker 1>and creative as he was, Like, how are you processing

0:54:52.680 --> 0:54:53.840
<v Speaker 1>the situation that you're in?

0:54:57.120 --> 0:55:02.160
<v Speaker 8>I didn't realize the magnitude of who he was or

0:55:02.239 --> 0:55:03.880
<v Speaker 8>what he could do until I got to college.

0:55:04.520 --> 0:55:06.600
<v Speaker 1>So wait, say what before then?

0:55:06.760 --> 0:55:11.000
<v Speaker 8>Yeah, you met me my freshman year of college, first semester, So.

0:55:11.440 --> 0:55:13.160
<v Speaker 1>Before then he was just oh, that's dad.

0:55:13.680 --> 0:55:15.840
<v Speaker 8>Yeah, pretty much to the records.

0:55:15.880 --> 0:55:16.720
<v Speaker 1>You didn't realize.

0:55:16.880 --> 0:55:18.959
<v Speaker 8>Well, see, here's the thing is like he my friend

0:55:19.160 --> 0:55:21.200
<v Speaker 8>pointed this out to me, and I hadn't even realized

0:55:21.239 --> 0:55:23.440
<v Speaker 8>until she did. I guess she got asked in a

0:55:23.520 --> 0:55:26.400
<v Speaker 8>class once they were talking about my dad. She mentioned

0:55:26.600 --> 0:55:28.120
<v Speaker 8>that she knew him and this is a friend of

0:55:28.160 --> 0:55:30.759
<v Speaker 8>mine who I've known since we were three, And the

0:55:31.080 --> 0:55:33.200
<v Speaker 8>professor was like, Oh, what's it like knowing him? And

0:55:33.280 --> 0:55:35.640
<v Speaker 8>she said, oh, he makes noise all the time. And

0:55:35.760 --> 0:55:38.600
<v Speaker 8>I didn't even recognize that that was a thing until

0:55:38.640 --> 0:55:41.120
<v Speaker 8>she pointed that out to me, because he is, in

0:55:41.200 --> 0:55:43.399
<v Speaker 8>fact making noise all the time, and when your dad

0:55:43.520 --> 0:55:45.839
<v Speaker 8>is just making noise all the time, that doesn't Yeah,

0:55:45.840 --> 0:55:49.080
<v Speaker 8>it doesn't register as something that's like particularly unique or

0:55:49.200 --> 0:55:53.040
<v Speaker 8>particularly different or strange. Like I didn't realize. I didn't

0:55:53.080 --> 0:55:57.120
<v Speaker 8>listen to his music as a musician until I got

0:55:57.160 --> 0:55:59.359
<v Speaker 8>to college, and then all of a sudden, I was like, oh, wow,

0:55:59.480 --> 0:56:02.279
<v Speaker 8>this is very difficult to do. But this is somebody who,

0:56:02.360 --> 0:56:04.560
<v Speaker 8>like I have been going to shows of his as

0:56:04.760 --> 0:56:07.600
<v Speaker 8>long as I can remember, and so it's just like normal.

0:56:08.120 --> 0:56:14.439
<v Speaker 1>So I want to ask, how can you take someone

0:56:14.560 --> 0:56:18.520
<v Speaker 1>serious that's like have your ass home by ten? That's

0:56:18.600 --> 0:56:19.080
<v Speaker 1>also like.

0:56:21.360 --> 0:56:24.120
<v Speaker 8>It's he was never really the enforcer of that. That

0:56:24.280 --> 0:56:28.000
<v Speaker 8>was my mom. So I didn't bad he was asleep,

0:56:28.160 --> 0:56:30.279
<v Speaker 8>He goes to bed at like nine o'clock. He was

0:56:30.400 --> 0:56:33.719
<v Speaker 8>kind of the Yeah he was in terms of good

0:56:33.800 --> 0:56:37.400
<v Speaker 8>cop bad cop dynamic, he's the good cop okay slash

0:56:37.520 --> 0:56:39.120
<v Speaker 8>the cop who's on the road all the time. So

0:56:39.239 --> 0:56:41.480
<v Speaker 8>mom has to be bad cop hangers.

0:56:41.640 --> 0:56:44.799
<v Speaker 1>Like in my mind, you're you're And I said, even

0:56:44.920 --> 0:56:47.040
<v Speaker 1>the day where I first met you and your brothers,

0:56:47.120 --> 0:56:49.680
<v Speaker 1>like you guys are like the animaniacs.

0:56:49.160 --> 0:56:50.600
<v Speaker 8>To me, pretty pretty accurate.

0:56:50.920 --> 0:56:58.120
<v Speaker 1>And he's doctor, uh, the one that in the tower

0:56:58.239 --> 0:57:03.640
<v Speaker 1>with them. So yeah, So to you, did you know

0:57:03.800 --> 0:57:06.040
<v Speaker 1>that you wanted to sing as well?

0:57:06.280 --> 0:57:08.960
<v Speaker 8>Or just I decided I wanted to be a singer

0:57:09.040 --> 0:57:12.440
<v Speaker 8>when I was five, And I don't know if that

0:57:12.760 --> 0:57:16.320
<v Speaker 8>was It definitely wasn't because like my parents were like, oh,

0:57:16.360 --> 0:57:18.440
<v Speaker 8>you're going to be a singer. I think it was

0:57:18.680 --> 0:57:21.520
<v Speaker 8>like I saw my dad was a singer and he

0:57:21.880 --> 0:57:24.040
<v Speaker 8>enjoyed doing it. I liked going to shows, I liked

0:57:24.080 --> 0:57:27.200
<v Speaker 8>singing with him, and I was like, Oh, if dad

0:57:27.240 --> 0:57:28.840
<v Speaker 8>can do it, I can do it. And then I

0:57:28.920 --> 0:57:32.800
<v Speaker 8>kind of just didn't question that thought, which I'm curious

0:57:32.800 --> 0:57:35.320
<v Speaker 8>about as an adult, like if that was really I mean,

0:57:35.440 --> 0:57:38.000
<v Speaker 8>I still love doing it, but it was very much like, oh,

0:57:38.000 --> 0:57:39.080
<v Speaker 8>I'm going to be a singer, and then I just

0:57:39.160 --> 0:57:40.040
<v Speaker 8>didn't question.

0:57:41.920 --> 0:57:45.960
<v Speaker 5>Decision inclines as you get older, your friend, exactly, how

0:57:46.000 --> 0:57:46.160
<v Speaker 5>are you.

0:57:46.160 --> 0:57:49.320
<v Speaker 11>All making decisions at age five and six? I don't

0:57:49.360 --> 0:57:52.479
<v Speaker 11>even remember deciding anything at that age.

0:57:52.520 --> 0:57:54.440
<v Speaker 8>Well before that, I wanted to be a tightrope walker.

0:57:54.560 --> 0:57:59.760
<v Speaker 5>Okay, how does it feel?

0:57:59.760 --> 0:57:59.880
<v Speaker 10>Boy?

0:58:00.280 --> 0:58:02.320
<v Speaker 5>It's funny because I just saw Madison show for the

0:58:02.360 --> 0:58:03.720
<v Speaker 5>first time, even though I've known her for a few

0:58:03.800 --> 0:58:04.800
<v Speaker 5>years now, I'm like that, but I just saw her

0:58:04.840 --> 0:58:06.720
<v Speaker 5>for the first time this year, and it is so

0:58:07.080 --> 0:58:11.680
<v Speaker 5>derivative of you, but also just like her own fresh take. Yeah, like,

0:58:11.840 --> 0:58:13.800
<v Speaker 5>what does that feel like watching your kids do that?

0:58:13.880 --> 0:58:17.400
<v Speaker 10>I'm glad that they have taken what I've done and

0:58:17.560 --> 0:58:21.600
<v Speaker 10>expanded on it, you know, and have developed it to.

0:58:23.760 --> 0:58:24.320
<v Speaker 7>Something that.

0:58:27.040 --> 0:58:29.680
<v Speaker 10>Then I feel I feel like I'm a part of it,

0:58:30.320 --> 0:58:32.520
<v Speaker 10>you know what, Whatever they do, I feel like I

0:58:32.600 --> 0:58:33.280
<v Speaker 10>am a part.

0:58:33.120 --> 0:58:33.320
<v Speaker 1>Of it.

0:58:34.840 --> 0:58:37.480
<v Speaker 7>Because of the influence I guess I've had on them

0:58:38.800 --> 0:58:40.360
<v Speaker 7>in the musical.

0:58:40.040 --> 0:58:41.800
<v Speaker 8>Field slash literal DNA.

0:58:42.040 --> 0:58:46.560
<v Speaker 1>But I got I got, I got it right.

0:58:47.440 --> 0:58:49.600
<v Speaker 5>But it's also to your father and your mom. It's

0:58:49.600 --> 0:58:52.160
<v Speaker 5>all trickled down, and so it must be Sometimes you

0:58:52.280 --> 0:58:53.880
<v Speaker 5>have a conscious moment of like, oh.

0:58:53.760 --> 0:58:59.919
<v Speaker 10>My god, my parents, we're in a Broadway I can't

0:59:00.000 --> 0:59:02.600
<v Speaker 10>remember if it was a Broadway show in nineteen forty

0:59:02.720 --> 0:59:04.680
<v Speaker 10>nine called Lost in the Stars.

0:59:06.320 --> 0:59:09.840
<v Speaker 7>Do you know this piece? No, Yeah, lost in the Stars.

0:59:09.880 --> 0:59:14.240
<v Speaker 10>I've got an old program that someone found with the

0:59:14.400 --> 0:59:16.439
<v Speaker 10>cast of characters, and at the bottom of the list

0:59:17.000 --> 0:59:22.040
<v Speaker 10>is Robert McFerrin Villager. So he had a small role,

0:59:22.560 --> 0:59:27.640
<v Speaker 10>and my mother was in the chorus, and so they

0:59:27.720 --> 0:59:30.440
<v Speaker 10>had a chance to sing together. I remember early in

0:59:30.520 --> 0:59:33.960
<v Speaker 10>my childhood they were away a lot, which I didn't like.

0:59:34.160 --> 0:59:37.400
<v Speaker 10>I was very lonely for them as a kid. But

0:59:37.840 --> 0:59:40.000
<v Speaker 10>we eventually ended up in Los Angeles.

0:59:40.600 --> 0:59:42.160
<v Speaker 1>Do you have any other siblings or it's just you.

0:59:43.320 --> 0:59:47.560
<v Speaker 7>I have a sister who's also a singer.

0:59:48.160 --> 0:59:51.360
<v Speaker 1>Really still currently.

0:59:52.600 --> 0:59:53.640
<v Speaker 7>In and out of jobs.

0:59:53.680 --> 0:59:56.280
<v Speaker 10>You know, the life of a musician, it can be

0:59:56.720 --> 1:00:01.000
<v Speaker 10>really tough, especially in musical mecca life Los Angeles.

1:00:01.640 --> 1:00:05.840
<v Speaker 1>Okay, how do you get other people out of their

1:00:05.880 --> 1:00:11.920
<v Speaker 1>comfort zone? Because, uh, my introduction to Yoyo Mam was

1:00:12.280 --> 1:00:15.880
<v Speaker 1>through you. But then seeing him in his regular environment

1:00:16.760 --> 1:00:21.320
<v Speaker 1>and in such a strict discipline atmosphere as classical music,

1:00:22.560 --> 1:00:27.240
<v Speaker 1>I mean, you're really pulling him towards the the jazz

1:00:27.320 --> 1:00:32.280
<v Speaker 1>world almost, you know, doing improvising and soloing. So one,

1:00:32.720 --> 1:00:36.720
<v Speaker 1>how do you do you plan all your collaborations that way, Like,

1:00:36.920 --> 1:00:38.840
<v Speaker 1>let's just throw some spaghetti on the wall and see

1:00:38.880 --> 1:00:39.800
<v Speaker 1>what sticks.

1:00:39.560 --> 1:00:43.360
<v Speaker 7>And well with yo Yo. We we just brought it.

1:00:43.520 --> 1:00:45.480
<v Speaker 10>We didn't we didn't know what the album was going

1:00:45.560 --> 1:00:50.600
<v Speaker 10>to sound like. We just got together and had a

1:00:50.680 --> 1:00:53.800
<v Speaker 10>stack of music yeah. I remember, we must have had

1:00:53.960 --> 1:00:57.080
<v Speaker 10>hundreds of pieces and we just went through them and said, well,

1:00:57.160 --> 1:01:00.320
<v Speaker 10>let's try this, try that. And I had had also

1:01:00.360 --> 1:01:07.240
<v Speaker 10>written five pieces I think for the album, and so

1:01:07.400 --> 1:01:09.280
<v Speaker 10>we just kind of went through a lot of material

1:01:09.800 --> 1:01:14.520
<v Speaker 10>and we worked. We worked on my stuff. I think

1:01:14.520 --> 1:01:18.840
<v Speaker 10>it took about a week to record all this material.

1:01:20.640 --> 1:01:25.120
<v Speaker 10>And I sensed from playing with him that he could

1:01:25.240 --> 1:01:29.000
<v Speaker 10>improvise if he wanted to, just because of the spirit

1:01:29.160 --> 1:01:32.040
<v Speaker 10>of his behind his playing. He had a very strong

1:01:32.200 --> 1:01:36.880
<v Speaker 10>spirit and I could tell. I could tell that he

1:01:36.960 --> 1:01:40.920
<v Speaker 10>would make a great improviser, and I kept telling him, so,

1:01:41.120 --> 1:01:43.040
<v Speaker 10>I said, you can, you can do this, you can.

1:01:44.240 --> 1:01:47.520
<v Speaker 10>So what I did to aid him was give him

1:01:47.560 --> 1:01:53.080
<v Speaker 10>some some points for him to play too, you know,

1:01:53.240 --> 1:01:55.600
<v Speaker 10>and then once he played to that point, that I

1:01:55.640 --> 1:01:58.840
<v Speaker 10>would direct him to another point and have him play

1:01:58.920 --> 1:02:03.080
<v Speaker 10>to that point. And I knew he could handle it.

1:02:03.240 --> 1:02:07.200
<v Speaker 10>Even though he probably doesn't improvise much anymore, I really

1:02:07.240 --> 1:02:12.200
<v Speaker 10>don't know. He has a group called the Silk Road Project, okay,

1:02:12.960 --> 1:02:18.160
<v Speaker 10>and it's music gathered from various cultures. Then he's brought

1:02:18.200 --> 1:02:21.360
<v Speaker 10>together as an ensemble, and I'm not sure exactly how

1:02:21.440 --> 1:02:26.280
<v Speaker 10>he works within that ensemble. But I hope that he's

1:02:26.360 --> 1:02:27.200
<v Speaker 10>doing some improv.

1:02:27.520 --> 1:02:29.920
<v Speaker 1>Do you feel as though that your influence on him

1:02:30.000 --> 1:02:32.920
<v Speaker 1>has caused him to step outside.

1:02:32.560 --> 1:02:34.400
<v Speaker 7>Of his comfort zone?

1:02:34.520 --> 1:02:34.720
<v Speaker 1>Yeah?

1:02:35.920 --> 1:02:38.040
<v Speaker 7>Maybe a little, maybe a little.

1:02:39.480 --> 1:02:49.440
<v Speaker 1>The Voice Sester project, which you know, as far as

1:02:49.520 --> 1:02:53.320
<v Speaker 1>the phrasing, like, as far as the phrasing is concerned

1:02:53.360 --> 1:02:58.920
<v Speaker 1>and the arrangements, how did you tackle that particularly because

1:02:59.160 --> 1:03:02.480
<v Speaker 1>I don't I would assume that nothing on that album

1:03:02.680 --> 1:03:07.520
<v Speaker 1>or any of your projects with Voice Voices Throw was spontaneous.

1:03:06.880 --> 1:03:08.560
<v Speaker 5>Like it took so how many people?

1:03:10.440 --> 1:03:14.400
<v Speaker 1>Yeah, so as far as writing parts for like, as

1:03:14.440 --> 1:03:15.720
<v Speaker 1>far as rehearsal and all that.

1:03:15.960 --> 1:03:19.640
<v Speaker 7>Well, you're you're referring to vocabularies that project.

1:03:20.120 --> 1:03:25.080
<v Speaker 1>I'm sorry, I said voices, Yes, vocabularies yeah, how many?

1:03:26.560 --> 1:03:29.240
<v Speaker 1>I read that it was over twelve hundred vocal tracks,

1:03:29.280 --> 1:03:32.960
<v Speaker 1>the vocal tracks, yes, and everything on that project was done.

1:03:32.760 --> 1:03:34.840
<v Speaker 7>By the voice was done by voice.

1:03:34.920 --> 1:03:37.040
<v Speaker 10>Yes, what does that?

1:03:37.640 --> 1:03:39.000
<v Speaker 1>There's me there's a project?

1:03:39.080 --> 1:03:39.280
<v Speaker 8>Have you?

1:03:39.440 --> 1:03:41.400
<v Speaker 1>Have you ever heard of vocal sampling from Cuba?

1:03:41.600 --> 1:03:41.800
<v Speaker 7>Yes?

1:03:42.840 --> 1:03:47.640
<v Speaker 1>Okay, yeah, like I thought, vocal sampling from it. They

1:03:47.720 --> 1:03:50.200
<v Speaker 1>were it was like three cousins and three brothers, almost

1:03:50.240 --> 1:03:52.680
<v Speaker 1>like the Take six Soil, but they're in Cuba. But

1:03:53.600 --> 1:03:58.840
<v Speaker 1>when they do percussion, I swear to God it was

1:03:59.160 --> 1:04:01.800
<v Speaker 1>the real thing, like I thought. I made them prove

1:04:01.880 --> 1:04:11.280
<v Speaker 1>to me that. Yeah. And but this how as far

1:04:11.320 --> 1:04:14.040
<v Speaker 1>as engineering and all that stuff, is that just you?

1:04:14.440 --> 1:04:21.200
<v Speaker 10>And project began. I worked with an arranger by the

1:04:21.280 --> 1:04:26.760
<v Speaker 10>name of Roger Trees, and he went through the vocester files.

1:04:27.040 --> 1:04:28.080
<v Speaker 7>He just went through everything.

1:04:28.200 --> 1:04:33.120
<v Speaker 10>He listened to all the the solo the the improvisational

1:04:33.280 --> 1:04:38.160
<v Speaker 10>concerts that we did, and he found certain themes and

1:04:38.320 --> 1:04:43.280
<v Speaker 10>developed them and he's responsible for all of the arrangements.

1:04:44.960 --> 1:04:47.160
<v Speaker 10>I think we worked on the project for a good

1:04:47.440 --> 1:04:48.160
<v Speaker 10>two years.

1:04:49.240 --> 1:04:50.560
<v Speaker 1>Yeah, yeah.

1:04:51.200 --> 1:04:57.560
<v Speaker 10>And he would record, say the basis for a while,

1:04:57.600 --> 1:05:00.960
<v Speaker 10>and then he record another group, you know, the tenors

1:05:01.160 --> 1:05:02.960
<v Speaker 10>and the altos and sopranos.

1:05:03.520 --> 1:05:08.560
<v Speaker 7>So he did the one group at a time. Sorry

1:05:08.600 --> 1:05:11.320
<v Speaker 7>I was coughing, and with my parts.

1:05:12.480 --> 1:05:16.840
<v Speaker 10>He would simply put the recording on a loop so

1:05:17.160 --> 1:05:20.440
<v Speaker 10>that you know, for example, he wanted a funky basline,

1:05:20.560 --> 1:05:23.120
<v Speaker 10>so he would have me seeing a funky based line

1:05:23.160 --> 1:05:25.120
<v Speaker 10>for eight bars and then he'd loop it around. So

1:05:25.800 --> 1:05:29.480
<v Speaker 10>I would do twenty eight baselines, and then he'd choose

1:05:30.000 --> 1:05:33.320
<v Speaker 10>the one that he wanted to work off of and

1:05:33.440 --> 1:05:35.480
<v Speaker 10>That's pretty much how we worked. I just go into

1:05:35.560 --> 1:05:39.600
<v Speaker 10>the studio and he'd say, I need a new melody

1:05:39.920 --> 1:05:44.120
<v Speaker 10>for this line, and so I would just sing that

1:05:44.320 --> 1:05:49.360
<v Speaker 10>melody or that line a multitude of times, and then

1:05:49.400 --> 1:05:53.000
<v Speaker 10>he would take it, work on and expand and develop it.

1:05:54.640 --> 1:05:56.200
<v Speaker 10>And that's pretty much how we worked on it.

1:05:56.360 --> 1:05:57.919
<v Speaker 1>So it's physically only twelve people.

1:06:00.000 --> 1:06:04.040
<v Speaker 10>There's probably more than twelve, but I'm not sure how

1:06:04.160 --> 1:06:11.040
<v Speaker 10>many voices voices voice group, the performing group is twelve people.

1:06:13.440 --> 1:06:17.200
<v Speaker 1>Has the Vocabulary Project ever done anything live?

1:06:19.280 --> 1:06:23.680
<v Speaker 10>Uh? Well, a couple of pieces, say lad.

1:06:24.240 --> 1:06:30.880
<v Speaker 8>No, it was like the Garden right, like when we

1:06:30.960 --> 1:06:33.000
<v Speaker 8>went to Poland that time, there was that group that

1:06:33.120 --> 1:06:37.840
<v Speaker 8>did some stuff from like two pieces from.

1:06:37.720 --> 1:06:47.560
<v Speaker 7>It from good Danks, Goodanks with me. I've forgotten the question.

1:06:48.240 --> 1:06:54.600
<v Speaker 1>No, it was just one of the Yes. No, just

1:06:54.840 --> 1:06:58.480
<v Speaker 1>I'm trying to imagine you guys recreating any of those songs.

1:06:58.920 --> 1:07:03.080
<v Speaker 10>Yeah, it's today. Well, yeah, there is a group I

1:07:03.160 --> 1:07:05.480
<v Speaker 10>think it's called They're called called.

1:07:05.360 --> 1:07:14.120
<v Speaker 8>Sticks s t y Oh yeah, is that that you're

1:07:14.160 --> 1:07:15.280
<v Speaker 8>thinking of Pentatonics?

1:07:15.760 --> 1:07:16.560
<v Speaker 7>No, I'm not thinking.

1:07:17.120 --> 1:07:17.360
<v Speaker 1>I don't know.

1:07:17.720 --> 1:07:20.480
<v Speaker 8>Oh, the German group that was in Poland with us,

1:07:21.280 --> 1:07:22.000
<v Speaker 8>I think they were.

1:07:22.000 --> 1:07:27.640
<v Speaker 5>Called sticks, but not another Jesus got about Pentatonics, though.

1:07:30.280 --> 1:07:36.080
<v Speaker 8>I actually heard over the holidays Pentatonics. I guess they

1:07:36.080 --> 1:07:37.880
<v Speaker 8>came out with a Christmas album or something like that.

1:07:38.240 --> 1:07:39.960
<v Speaker 1>That's the only time I hear from me, right, And

1:07:40.480 --> 1:07:40.760
<v Speaker 1>I was.

1:07:40.760 --> 1:07:44.040
<v Speaker 8>In Bloomingdale's and you know, they're playing only Christmas music,

1:07:44.080 --> 1:07:45.360
<v Speaker 8>and all of a sudden, I hear they don't Worry

1:07:45.440 --> 1:07:47.840
<v Speaker 8>Be Happy theme and it's not him, you know, And

1:07:47.960 --> 1:07:50.920
<v Speaker 8>so I recorded a video of myself being like, oh goodness,

1:07:51.040 --> 1:07:54.400
<v Speaker 8>what is this all of a sudden, All of a sudden,

1:07:54.480 --> 1:07:57.920
<v Speaker 8>it goes it goes from thank thank God. I was

1:07:58.000 --> 1:08:01.760
<v Speaker 8>recording myself because it goes from the don't Worry Be

1:08:01.800 --> 1:08:05.160
<v Speaker 8>Happy theme into sleigh bells ring, and I was like,

1:08:09.840 --> 1:08:13.760
<v Speaker 8>the shock on my face was I'm still shocked. I

1:08:13.800 --> 1:08:14.760
<v Speaker 8>don't know how to deal with that.

1:08:19.840 --> 1:08:23.120
<v Speaker 1>You did a song it was a couple of years ago,

1:08:23.280 --> 1:08:25.559
<v Speaker 1>was a minute ago for Pixar short.

1:08:27.000 --> 1:08:28.160
<v Speaker 8>Knick Knack Nick Knack?

1:08:28.640 --> 1:08:30.639
<v Speaker 1>Is that out? Can like? But I love that song?

1:08:31.120 --> 1:08:31.280
<v Speaker 8>Is it?

1:08:31.920 --> 1:08:32.080
<v Speaker 10>Is it?

1:08:32.600 --> 1:08:34.560
<v Speaker 1>Can you purchase it? Or can you email it to me?

1:08:39.040 --> 1:08:41.800
<v Speaker 1>As his vocal was actually one of up being the

1:08:42.000 --> 1:08:44.840
<v Speaker 1>that was the one they used. Yeah, yeah, and that

1:08:44.920 --> 1:08:46.800
<v Speaker 1>which I forget which one was it that was in

1:08:48.120 --> 1:08:51.679
<v Speaker 1>it was Finding Nemo. Yeah, because my son be around.

1:08:52.240 --> 1:08:54.840
<v Speaker 8>Well then it actually you had actually done it in

1:08:54.920 --> 1:08:58.640
<v Speaker 8>the eighties though, right, the original one, and then they

1:08:58.720 --> 1:09:02.559
<v Speaker 8>brought it back they did for Finding Nemo.

1:09:03.000 --> 1:09:05.960
<v Speaker 10>Which you supplying me with a fresh cup of tea.

1:09:08.400 --> 1:09:10.920
<v Speaker 5>For I'm not even gonna touch.

1:09:14.880 --> 1:09:16.639
<v Speaker 7>Zerr spoon from Yes.

1:09:17.439 --> 1:09:20.439
<v Speaker 8>We actually saw that together, that we saw Finding Nemo together,

1:09:20.800 --> 1:09:24.640
<v Speaker 8>just the two of us and Nick Knack came on,

1:09:25.240 --> 1:09:29.320
<v Speaker 8>which apparently side note in the original one, the Mermaids

1:09:29.400 --> 1:09:32.559
<v Speaker 8>boobs are a lot bigger, and so they shrunk them

1:09:33.080 --> 1:09:36.800
<v Speaker 8>for the for the Disney a little more, a little

1:09:36.800 --> 1:09:39.439
<v Speaker 8>more PG. And at the end of Nick Knack, you

1:09:39.520 --> 1:09:42.160
<v Speaker 8>know in big letters, it says Bobby McFerrin, and my

1:09:42.280 --> 1:09:43.880
<v Speaker 8>dad just leaned over and he was like, I wonder

1:09:43.960 --> 1:09:44.880
<v Speaker 8>what he's doing right now.

1:09:50.680 --> 1:09:53.760
<v Speaker 1>I love that song. I love immediately when I'm seeing it,

1:09:53.920 --> 1:09:55.400
<v Speaker 1>seeing it and in here I was like, that's Bobby.

1:09:55.439 --> 1:09:57.240
<v Speaker 1>It's got to be him. And then when it came

1:09:57.320 --> 1:10:01.560
<v Speaker 1>out and I was like, that's cool. You had a

1:10:01.720 --> 1:10:04.200
<v Speaker 1>really good, uh Finding Nemo experience.

1:10:04.680 --> 1:10:05.760
<v Speaker 9>I mean, because.

1:10:08.920 --> 1:10:14.360
<v Speaker 1>Finding experience, how is that possible? A long story, long story.

1:10:15.040 --> 1:10:17.920
<v Speaker 1>Was it a date that feel bad? No, that's when

1:10:18.320 --> 1:10:24.800
<v Speaker 1>Prince tired me and played Finding Nemo instead. I remember

1:10:24.840 --> 1:10:27.400
<v Speaker 1>that that was like, you're so bad, I want to

1:10:27.479 --> 1:10:30.000
<v Speaker 1>put this Dy in the club.

1:10:34.560 --> 1:10:35.760
<v Speaker 8>Is a great movie though, so you know.

1:10:36.120 --> 1:10:38.320
<v Speaker 1>Just I wasn't big on Dory though, was kind of

1:10:38.360 --> 1:10:39.160
<v Speaker 1>like I thought it was.

1:10:39.160 --> 1:10:41.880
<v Speaker 8>A decent follow up. It was a decent follow up,

1:10:41.920 --> 1:10:43.560
<v Speaker 8>but like Finding Nemo is definitely not.

1:10:43.640 --> 1:10:45.200
<v Speaker 1>That's the one that bigs all kind of but they

1:10:45.240 --> 1:10:46.760
<v Speaker 1>got to get back on they was. I don't Yeah,

1:10:46.800 --> 1:10:49.800
<v Speaker 1>I don't know if I can trust their the because

1:10:49.880 --> 1:10:54.000
<v Speaker 1>now everything's just getting like top tier Rotten Tomato ratings,

1:10:55.720 --> 1:10:58.920
<v Speaker 1>the cars and that was the one that like printed

1:10:58.960 --> 1:11:00.160
<v Speaker 1>money and.

1:11:00.400 --> 1:11:05.960
<v Speaker 8>You know the merchandise queens. He's actually to circle a background.

1:11:06.000 --> 1:11:10.360
<v Speaker 8>He's wearing a Monster's Inc. Shirt right now, right now

1:11:10.680 --> 1:11:11.960
<v Speaker 8>underneath if it was so cold in here.

1:11:12.160 --> 1:11:17.720
<v Speaker 1>Yeah, from your visit, I said, right, I want to

1:11:17.760 --> 1:11:22.200
<v Speaker 1>talk about the Paper Music Project. Okay, first of all,

1:11:22.800 --> 1:11:28.240
<v Speaker 1>did you were you conducting and singing at the same

1:11:28.280 --> 1:11:28.920
<v Speaker 1>time or was that.

1:11:29.160 --> 1:11:33.040
<v Speaker 10>Just as far as on concerts I would conduct and

1:11:33.160 --> 1:11:35.800
<v Speaker 10>sing at the same time, which I really didn't like

1:11:35.920 --> 1:11:36.080
<v Speaker 10>to do.

1:11:36.320 --> 1:11:38.559
<v Speaker 1>Yeah, I was like, how can you do that, because that's.

1:11:39.920 --> 1:11:42.920
<v Speaker 10>Well the pieces would have to be. They'd have to be,

1:11:43.040 --> 1:11:46.559
<v Speaker 10>first off, not very complicated. They'd have to be something

1:11:46.640 --> 1:11:48.960
<v Speaker 10>that the orchestra could play by themselves.

1:11:50.960 --> 1:11:52.920
<v Speaker 1>So you were still conduct them by hand. And I

1:11:53.040 --> 1:11:56.240
<v Speaker 1>still turn the page and still sing your solos.

1:11:56.840 --> 1:11:57.679
<v Speaker 7>Yeah, pretty much.

1:11:58.760 --> 1:12:00.360
<v Speaker 5>What did you I mean, I'm not just to as

1:12:00.400 --> 1:12:02.559
<v Speaker 5>soon as you learn the art of conducting back when

1:12:02.600 --> 1:12:03.000
<v Speaker 5>you were in.

1:12:07.600 --> 1:12:08.519
<v Speaker 1>Know what happened.

1:12:08.840 --> 1:12:12.400
<v Speaker 10>What happened was as my fortieth birthday was approaching, I

1:12:12.479 --> 1:12:16.880
<v Speaker 10>wanted to give myself a special gift, and I went

1:12:17.439 --> 1:12:20.800
<v Speaker 10>through a list of all kinds of ideas, and I

1:12:21.439 --> 1:12:27.560
<v Speaker 10>had written down conducting on that list, and so I

1:12:27.640 --> 1:12:29.800
<v Speaker 10>started attending. I was living in San Francisco at the time.

1:12:29.800 --> 1:12:34.000
<v Speaker 10>I started attending concerts, classical concerts, and would end up

1:12:34.000 --> 1:12:36.720
<v Speaker 10>backstage and I drop hints, you know, I'd say, boy,

1:12:36.720 --> 1:12:38.280
<v Speaker 10>it'd be great to conduct you one day.

1:12:39.760 --> 1:12:42.920
<v Speaker 1>Wait a minute, I'm sorry because you just said that.

1:12:43.520 --> 1:12:46.280
<v Speaker 1>And I'm in my fortieth birthday and the only option

1:12:46.439 --> 1:12:48.920
<v Speaker 1>I was thinking of, like are we doing Sylvia's or Red?

1:12:54.760 --> 1:12:57.480
<v Speaker 5>I never wanting deeper.

1:12:58.439 --> 1:12:59.839
<v Speaker 1>For real, Jesus.

1:13:00.400 --> 1:13:05.040
<v Speaker 10>So I finally got a phone call from the from

1:13:05.080 --> 1:13:11.120
<v Speaker 10>the Orchestra inviting me to to conduct them. This, you know,

1:13:11.240 --> 1:13:13.280
<v Speaker 10>this is after of course, don't worry, be happy. So

1:13:13.360 --> 1:13:17.040
<v Speaker 10>they're thinking pension, fun and all that kind of stuff, right,

1:13:18.120 --> 1:13:18.439
<v Speaker 10>And so.

1:13:19.560 --> 1:13:21.320
<v Speaker 1>Is this why you moved to Minnesota or is this

1:13:21.680 --> 1:13:22.879
<v Speaker 1>because you were in Minnesota?

1:13:23.520 --> 1:13:23.560
<v Speaker 8>No?

1:13:23.680 --> 1:13:26.760
<v Speaker 10>I wasn't in Minnesota yet, okay, but eventually I got

1:13:26.800 --> 1:13:28.760
<v Speaker 10>there through conduct you know, it was it was all

1:13:28.800 --> 1:13:32.599
<v Speaker 10>about conducting anyway. So they invited me to conduct them,

1:13:32.840 --> 1:13:37.519
<v Speaker 10>and my my fortieth birthday was available. So I conducted

1:13:37.560 --> 1:13:41.280
<v Speaker 10>Beethoven seventh on my fortieth birthday. That was my That

1:13:41.439 --> 1:13:45.280
<v Speaker 10>was my conducting debut, and as far as I was concerned,

1:13:46.040 --> 1:13:48.080
<v Speaker 10>that was all the conducting I was I was going

1:13:48.160 --> 1:13:48.320
<v Speaker 10>to do.

1:13:48.439 --> 1:13:50.560
<v Speaker 7>I mean, it was a really difficult.

1:13:50.200 --> 1:13:52.519
<v Speaker 5>Thing to That's what I'm saying. How did you know

1:13:52.760 --> 1:13:53.040
<v Speaker 5>how to?

1:13:53.320 --> 1:13:56.280
<v Speaker 10>Just? Well? I studied, I studied the score, and I

1:13:56.439 --> 1:14:02.760
<v Speaker 10>had a couple of teachers. I had some lessons with Segozawa.

1:14:02.200 --> 1:14:03.560
<v Speaker 7>One with Leonard Bernstein.

1:14:04.680 --> 1:14:07.240
<v Speaker 10>I ended up working on a continual basis with my

1:14:07.360 --> 1:14:11.040
<v Speaker 10>conducting teacher, Gustav Meyer, who passed about a year ago.

1:14:12.600 --> 1:14:15.200
<v Speaker 10>We went to the score, so I knew it pretty well.

1:14:15.280 --> 1:14:17.400
<v Speaker 10>I conducted the piece and then I thought I was done,

1:14:18.680 --> 1:14:23.479
<v Speaker 10>but I started getting phone calls. They started calling Linda,

1:14:23.760 --> 1:14:26.800
<v Speaker 10>what can we get him to conduct our come to

1:14:26.880 --> 1:14:30.639
<v Speaker 10>our city and conduct our orchestra. So all of a sudden,

1:14:30.640 --> 1:14:34.760
<v Speaker 10>I found myself with all these conducting engagements. And when

1:14:34.800 --> 1:14:38.280
<v Speaker 10>I was conducting the Saint Paul Chamber Orchestra in Minneapolis,

1:14:42.080 --> 1:14:45.080
<v Speaker 10>there was a position open, and I asked for it

1:14:46.120 --> 1:14:49.439
<v Speaker 10>because I wanted to At this point, I'm serious about conducting.

1:14:49.520 --> 1:14:51.599
<v Speaker 7>I want to learn the art of conducting.

1:14:52.200 --> 1:14:54.720
<v Speaker 10>So I asked for the position and got it and

1:14:54.800 --> 1:14:58.360
<v Speaker 10>stayed with the stayed with the chamber orchestra for seven seasons.

1:14:59.040 --> 1:15:02.040
<v Speaker 1>Can you explain us as exactly what goes into conducting,

1:15:02.040 --> 1:15:04.599
<v Speaker 1>because it just like it's just you waving the Potomac's

1:15:04.640 --> 1:15:05.759
<v Speaker 1>got No, it's.

1:15:06.120 --> 1:15:08.400
<v Speaker 10>About your entire body. I mean, the way you look

1:15:08.479 --> 1:15:14.519
<v Speaker 10>at an orchestra can influence that play. It's the gestures

1:15:14.600 --> 1:15:17.960
<v Speaker 10>of the body. You display the music that's being played

1:15:18.040 --> 1:15:22.479
<v Speaker 10>through through your body. You inform your orchestra what you

1:15:22.600 --> 1:15:26.800
<v Speaker 10>want by the motion of your hands, the gestures of

1:15:26.920 --> 1:15:33.040
<v Speaker 10>your of your body, you know, smiling at them, scowling

1:15:33.080 --> 1:15:33.840
<v Speaker 10>at them, or whatever.

1:15:35.800 --> 1:15:37.639
<v Speaker 7>But it takes a lot of work.

1:15:37.960 --> 1:15:41.200
<v Speaker 10>It's it's tedious work, at least it us for me,

1:15:42.720 --> 1:15:45.920
<v Speaker 10>and after eighteen years of doing it, I decided to stop.

1:15:47.520 --> 1:15:52.240
<v Speaker 1>So you that's a challenge that was like a challenge

1:15:52.280 --> 1:15:55.640
<v Speaker 1>that made you think twice about it, and.

1:15:57.479 --> 1:16:01.800
<v Speaker 10>Well, I really do love it. I love conducting Mozart

1:16:02.240 --> 1:16:06.479
<v Speaker 10>most of all. He's a very impish kind of character.

1:16:07.479 --> 1:16:13.280
<v Speaker 10>He has. He tells lots of musical jokes. He's very playful,

1:16:13.840 --> 1:16:18.000
<v Speaker 10>boisterous and serious and deep. I conducted a piece of

1:16:18.080 --> 1:16:19.800
<v Speaker 10>his that he wrote when he was eight, and, for

1:16:19.880 --> 1:16:22.360
<v Speaker 10>the life of mare, I can't think of the name

1:16:22.439 --> 1:16:25.760
<v Speaker 10>of it. It was a short symphony, it was about

1:16:25.800 --> 1:16:28.519
<v Speaker 10>fifty minutes in length, but as a piece that he

1:16:28.600 --> 1:16:30.320
<v Speaker 10>wrote when he was eight years old, and when you

1:16:30.439 --> 1:16:34.320
<v Speaker 10>listen to it, you wonder, how can an eight year

1:16:34.360 --> 1:16:40.000
<v Speaker 10>old have those kinds, have this deep emotional depth of

1:16:40.160 --> 1:16:48.280
<v Speaker 10>understanding of the human condition. You know, the emotions that

1:16:48.439 --> 1:16:54.240
<v Speaker 10>he that he discovered through music was pretty profound. I

1:16:54.320 --> 1:16:59.200
<v Speaker 10>couldn't understand how he could write something so deep at eight,

1:17:00.920 --> 1:17:05.680
<v Speaker 10>But he was that well developed a musician, and he

1:17:05.760 --> 1:17:09.560
<v Speaker 10>burned out in his thirties, you know, after writing some

1:17:09.800 --> 1:17:10.960
<v Speaker 10>incredible music.

1:17:11.479 --> 1:17:13.000
<v Speaker 7>He's my favorite to the dark.

1:17:14.680 --> 1:17:17.200
<v Speaker 1>The world of classical music is so discipline. Do you

1:17:17.280 --> 1:17:23.719
<v Speaker 1>feel as though maybe perhaps it rarely allowed any sort

1:17:23.760 --> 1:17:24.720
<v Speaker 1>of spontaneity.

1:17:25.479 --> 1:17:28.760
<v Speaker 10>Well, you know what surprised me standing in front of

1:17:28.840 --> 1:17:37.200
<v Speaker 10>an orchestra, a full orchestra with eight bases. And during

1:17:38.439 --> 1:17:41.200
<v Speaker 10>this time I was doing, I'd open up with a

1:17:41.240 --> 1:17:44.840
<v Speaker 10>classical piece or two, and then i'd do a solo

1:17:44.960 --> 1:17:47.840
<v Speaker 10>set and then the concept. Then there'd be an intermission,

1:17:47.880 --> 1:17:51.160
<v Speaker 10>and then there'd be a classical piece, you know, Beethoven

1:17:51.280 --> 1:17:54.799
<v Speaker 10>piece or Bernstein or something.

1:17:55.000 --> 1:17:56.679
<v Speaker 7>Something would take place in the second half.

1:17:57.880 --> 1:18:00.280
<v Speaker 10>And I remember walking over to the base section one

1:18:00.360 --> 1:18:04.120
<v Speaker 10>by one, asked if one of them would be interested

1:18:04.200 --> 1:18:06.639
<v Speaker 10>in playing a B flat blues with me? And none

1:18:06.680 --> 1:18:09.760
<v Speaker 10>of them could do it. Wow, And that blew me

1:18:09.880 --> 1:18:14.439
<v Speaker 10>away because I thought, how can you not play? How

1:18:14.520 --> 1:18:17.400
<v Speaker 10>can you not give me a B flat blues? So

1:18:17.520 --> 1:18:21.040
<v Speaker 10>I can, you know, improvise. On top of that, I

1:18:21.200 --> 1:18:24.720
<v Speaker 10>just thought every bass player could you know, either classically

1:18:24.840 --> 1:18:28.000
<v Speaker 10>trained or not, could play a B flat, A blues

1:18:28.000 --> 1:18:28.599
<v Speaker 10>and B flat.

1:18:28.880 --> 1:18:32.640
<v Speaker 1>Yeah. I think we're classical musicians. They conditioned themselves to

1:18:32.800 --> 1:18:34.040
<v Speaker 1>read on the spot.

1:18:34.760 --> 1:18:38.000
<v Speaker 10>That's why I call it paper music, because they live

1:18:38.080 --> 1:18:38.719
<v Speaker 10>on the page.

1:18:40.280 --> 1:18:46.679
<v Speaker 7>Starts work right, but I love classical music.

1:18:46.920 --> 1:18:50.360
<v Speaker 1>Well, you live in between worlds because you I assume

1:18:50.439 --> 1:18:54.080
<v Speaker 1>that you can read on site. We're given five ten

1:18:54.120 --> 1:18:58.960
<v Speaker 1>minutes to recap it. Okay, yes, so I mean do

1:18:59.040 --> 1:19:03.040
<v Speaker 1>you when that blew your way? Like they didn't even

1:19:03.080 --> 1:19:06.439
<v Speaker 1>know the technical the technical notes to do, like the

1:19:06.600 --> 1:19:09.120
<v Speaker 1>one chord and then the four chord and the five four.

1:19:09.640 --> 1:19:12.599
<v Speaker 10>Well that wasn't true of all orders. Says that there

1:19:12.640 --> 1:19:16.320
<v Speaker 10>were some that could you know, play blues and B flat,

1:19:16.439 --> 1:19:21.640
<v Speaker 10>but lots of things shocked me about that that world is.

1:19:21.840 --> 1:19:25.680
<v Speaker 10>It's very very different. Everything he's organized, everything has to

1:19:25.800 --> 1:19:29.360
<v Speaker 10>be discussed, even down to what are we going to wear?

1:19:30.120 --> 1:19:35.200
<v Speaker 10>I conducted controversions of Porgy and Bess, and I wanted

1:19:35.280 --> 1:19:37.960
<v Speaker 10>the orchestra in the chorus to be as colorful as possible.

1:19:38.000 --> 1:19:41.400
<v Speaker 10>I didn't want the blacks, black and white suits and

1:19:41.479 --> 1:19:43.920
<v Speaker 10>all that kind of stuff in Acquirro wearing black and

1:19:44.040 --> 1:19:44.639
<v Speaker 10>white whatever.

1:19:45.320 --> 1:19:45.920
<v Speaker 7>I didn't want that.

1:19:46.080 --> 1:19:50.640
<v Speaker 10>I said, where everything where African garb? Where just be

1:19:51.080 --> 1:19:54.920
<v Speaker 10>colorful because we're talking about catfish row here, we're talking

1:19:54.920 --> 1:19:58.439
<v Speaker 10>about a village of people. So they didn't walk around

1:19:58.479 --> 1:20:01.439
<v Speaker 10>in suits and ties. They walked around in bare feet

1:20:01.520 --> 1:20:04.799
<v Speaker 10>and patches on their clothes and different colors.

1:20:04.840 --> 1:20:05.600
<v Speaker 5>They must have loved it.

1:20:06.200 --> 1:20:10.320
<v Speaker 10>So as soon as the cars would come in, even

1:20:10.360 --> 1:20:12.920
<v Speaker 10>before we played a note, the audience knew that something

1:20:13.080 --> 1:20:16.120
<v Speaker 10>was up, something wonderful was going at was going to happen,

1:20:16.920 --> 1:20:19.280
<v Speaker 10>just because of the way everyone looked, even the orchestra.

1:20:19.720 --> 1:20:22.599
<v Speaker 10>But they'd have to have meetings about this kind of stuff.

1:20:23.720 --> 1:20:25.200
<v Speaker 10>What do you mean wear color?

1:20:25.360 --> 1:20:26.160
<v Speaker 7>What colors?

1:20:26.240 --> 1:20:31.200
<v Speaker 10>And I said many, many colors, short sleeve, long sleeve.

1:20:31.560 --> 1:20:36.400
<v Speaker 10>I said, I don't care, jean slacks doesn't matter.

1:20:37.040 --> 1:20:42.400
<v Speaker 7>I don't care. You know, free, You're free. Just play.

1:20:46.880 --> 1:20:48.920
<v Speaker 1>Madison. What was this like for you growing up? Because

1:20:48.920 --> 1:20:50.479
<v Speaker 1>you seen he seems like he would be like the

1:20:50.560 --> 1:20:55.120
<v Speaker 1>coolest dad ever, Like, well, did he allow you to

1:20:55.160 --> 1:20:57.760
<v Speaker 1>express yourself like that as well? Yeah?

1:20:57.920 --> 1:21:02.200
<v Speaker 8>We were always really encouraged to express ourselves in whatever ways.

1:21:03.200 --> 1:21:07.480
<v Speaker 1>They are, the Animaniacs, the Smallest.

1:21:09.640 --> 1:21:14.400
<v Speaker 10>Stay, I have no idea what you're talking about.

1:21:14.479 --> 1:21:18.000
<v Speaker 1>The Smalletts, Journey Smilett, the family. We had them on

1:21:18.080 --> 1:21:20.200
<v Speaker 1>the show, like the whole When I see you know,

1:21:20.320 --> 1:21:24.760
<v Speaker 1>the Tasmanian double, I just see that with the four them.

1:21:24.720 --> 1:21:26.639
<v Speaker 5>Together, the Little Girl from East Byue, I was trying

1:21:26.640 --> 1:21:29.120
<v Speaker 5>to give him a I'm like, what's the well.

1:21:30.560 --> 1:21:33.240
<v Speaker 8>I mean, it was interesting and like similar to what

1:21:33.320 --> 1:21:35.519
<v Speaker 8>I had mentioned earlier about not really putting two and

1:21:35.560 --> 1:21:38.880
<v Speaker 8>two together until I got to college. We were always

1:21:38.920 --> 1:21:41.439
<v Speaker 8>going to shows, you know, we were always going to

1:21:41.520 --> 1:21:44.320
<v Speaker 8>whether it was a solo show or a classical show.

1:21:46.280 --> 1:21:46.439
<v Speaker 1>You know.

1:21:46.600 --> 1:21:49.040
<v Speaker 8>I just remember being little and needing to like sit

1:21:49.120 --> 1:21:51.320
<v Speaker 8>on my mom's jacket because I wasn't big enough to

1:21:51.400 --> 1:21:53.240
<v Speaker 8>see the stage type of thing, you know.

1:21:53.880 --> 1:21:56.800
<v Speaker 1>And and this was in San Francisco. This is where

1:21:56.840 --> 1:21:57.040
<v Speaker 1>you were.

1:21:58.160 --> 1:22:02.120
<v Speaker 8>I'm we moved from San Francisco when I was just

1:22:02.280 --> 1:22:05.200
<v Speaker 8>under three, and then I did like elementary school in

1:22:05.280 --> 1:22:09.519
<v Speaker 8>Minneapolis and then pretty much middle school and high school

1:22:09.520 --> 1:22:13.240
<v Speaker 8>in Philadelphia. Uh. But it was another one of those

1:22:13.280 --> 1:22:17.240
<v Speaker 8>things where you really take for granted that like I'm

1:22:17.280 --> 1:22:19.200
<v Speaker 8>not thinking about the fact that, oh, all my friends

1:22:19.200 --> 1:22:22.519
<v Speaker 8>aren't going to see classical shows like every other weekend.

1:22:22.680 --> 1:22:25.920
<v Speaker 8>You know. Like that didn't that really didn't compute. And

1:22:27.120 --> 1:22:29.880
<v Speaker 8>it also didn't connect because you know, he was gone

1:22:29.960 --> 1:22:33.559
<v Speaker 8>a decent amount on the road and my two best friends,

1:22:34.040 --> 1:22:37.120
<v Speaker 8>one of them her dad was a like a consultant

1:22:37.160 --> 1:22:38.760
<v Speaker 8>who was on the road all the time, and the

1:22:38.840 --> 1:22:40.840
<v Speaker 8>other one her mom was a businesswoman who was on

1:22:40.920 --> 1:22:42.479
<v Speaker 8>the road all the time. So I was kind of like, oh,

1:22:42.560 --> 1:22:46.280
<v Speaker 8>apparent is gone. That's just kind of the vibe.

1:22:46.560 --> 1:22:49.600
<v Speaker 1>What did you did your mom? She was not a

1:22:49.680 --> 1:22:51.880
<v Speaker 1>singer or anything like that. No, music, not at all.

1:22:52.080 --> 1:22:54.639
<v Speaker 8>No, my mom has wonderful taste in music.

1:22:55.640 --> 1:22:59.880
<v Speaker 1>She's not chicken.

1:23:00.320 --> 1:23:02.679
<v Speaker 10>Is very very very Yeah.

1:23:05.240 --> 1:23:06.240
<v Speaker 5>And she's from the West Coast.

1:23:06.400 --> 1:23:09.880
<v Speaker 8>No, she's from Illinois. Okay, but apparently, I mean dad

1:23:10.000 --> 1:23:12.080
<v Speaker 8>can say this better than I can. But apparently one

1:23:12.120 --> 1:23:14.479
<v Speaker 8>of the things that caught his eye when they met

1:23:14.520 --> 1:23:16.919
<v Speaker 8>in seventy five is that when he went to her apartment,

1:23:17.160 --> 1:23:19.400
<v Speaker 8>and this is a white woman, she had a copy

1:23:19.439 --> 1:23:30.519
<v Speaker 8>of Downbeat magazine in her apartment. Did and so. But

1:23:30.680 --> 1:23:32.559
<v Speaker 8>she is a different kind of artist in the sense

1:23:32.600 --> 1:23:37.040
<v Speaker 8>of she is an incredible interior designer and has an

1:23:37.120 --> 1:23:40.040
<v Speaker 8>eye for that kind of detail. And but she always

1:23:40.080 --> 1:23:42.479
<v Speaker 8>says that if she could sing, she'd be a blues singer.

1:23:43.040 --> 1:23:45.439
<v Speaker 8>So she had a voice, she would want to do that.

1:23:46.120 --> 1:23:47.840
<v Speaker 5>But that is not what she does.

1:23:49.320 --> 1:23:51.280
<v Speaker 8>But I think it's actually better that way, since he

1:23:51.479 --> 1:23:54.559
<v Speaker 8>is like such a virtuoso. I feel like having two

1:23:54.840 --> 1:23:56.480
<v Speaker 8>musician couple.

1:23:59.560 --> 1:24:05.320
<v Speaker 1>Lawyer if not so like, have y'all collaborated? We are.

1:24:05.640 --> 1:24:07.960
<v Speaker 8>I'm in his band in one of his bands with

1:24:08.160 --> 1:24:13.840
<v Speaker 8>him called Spirit You Wall. So we did about two

1:24:13.960 --> 1:24:19.760
<v Speaker 8>years of touring together, which was really fun. I said,

1:24:19.800 --> 1:24:22.080
<v Speaker 8>I essentially got paid to travel the world.

1:24:21.880 --> 1:24:26.800
<v Speaker 10>And last because we would something would happen on stage

1:24:26.840 --> 1:24:28.960
<v Speaker 10>and we would get to laughing so hard so we

1:24:29.000 --> 1:24:30.200
<v Speaker 10>couldn't even look at each other.

1:24:30.840 --> 1:24:35.080
<v Speaker 8>Yeah, it was bad. His sound guy, Dan Vaccari, he

1:24:35.600 --> 1:24:37.439
<v Speaker 8>after one show he told me he was like, if

1:24:37.479 --> 1:24:39.800
<v Speaker 8>something happens like you, you can't look at your dad

1:24:40.040 --> 1:24:42.200
<v Speaker 8>because you guys will look at each other and he'll

1:24:42.280 --> 1:24:45.720
<v Speaker 8>fall out and until turn into a whole thing. But

1:24:45.840 --> 1:24:48.599
<v Speaker 8>we definitely have a way of setting each other off.

1:24:48.640 --> 1:24:52.320
<v Speaker 8>I actually recently found a photo of the two of

1:24:52.479 --> 1:24:54.800
<v Speaker 8>us sitting at the piano when I'm probably like six

1:24:54.920 --> 1:24:57.280
<v Speaker 8>or something, and we're both making silly faces, and it

1:24:57.360 --> 1:24:59.559
<v Speaker 8>pretty much sums up Yeah.

1:24:59.720 --> 1:25:02.800
<v Speaker 1>Pretty What was What was your training like? Did you

1:25:03.120 --> 1:25:05.040
<v Speaker 1>were you formally trained or did you just kind of

1:25:05.120 --> 1:25:05.639
<v Speaker 1>pick it up.

1:25:05.600 --> 1:25:10.840
<v Speaker 8>Yourself a little bit of both yourself. Uh. I started

1:25:10.880 --> 1:25:12.680
<v Speaker 8>taking piano lessons when I was about like three or

1:25:12.760 --> 1:25:16.120
<v Speaker 8>four or something like that. But then when we moved

1:25:16.200 --> 1:25:20.400
<v Speaker 8>to Philadelphia. I still took up lessons, but I wasn't

1:25:20.560 --> 1:25:23.240
<v Speaker 8>as serious about it. And then I also took drum

1:25:23.439 --> 1:25:27.559
<v Speaker 8>lessons simultaneously, and same vibe. Wasn't as serious, and same thing.

1:25:27.640 --> 1:25:30.360
<v Speaker 8>I took quarter lessons and wasn't as serious about it.

1:25:32.880 --> 1:25:36.040
<v Speaker 8>I have a wooden recorder that my dad got me.

1:25:36.200 --> 1:25:37.120
<v Speaker 8>That's pretty legit.

1:25:38.200 --> 1:25:39.720
<v Speaker 1>And then how were you when you did that?

1:25:40.560 --> 1:25:46.439
<v Speaker 8>Uh ten or eleven something like that to twelve?

1:25:47.560 --> 1:25:48.240
<v Speaker 5>I could? I could.

1:25:48.439 --> 1:25:50.160
<v Speaker 8>I could play pretty well. I was decent.

1:25:50.320 --> 1:25:50.760
<v Speaker 5>I wasn't.

1:25:50.960 --> 1:25:53.320
<v Speaker 8>I wasn't like the squeaky because I you know, they

1:25:53.400 --> 1:25:54.960
<v Speaker 8>play that in school and I would always have to

1:25:55.000 --> 1:25:56.640
<v Speaker 8>be put to the side because it was like you,

1:25:56.880 --> 1:25:59.479
<v Speaker 8>this is past or this is below your pay grade.

1:26:03.600 --> 1:26:05.800
<v Speaker 8>I couldn't. I mean, they never gave it to me,

1:26:05.880 --> 1:26:07.920
<v Speaker 8>but I guess I probably could. I would have to

1:26:07.960 --> 1:26:10.080
<v Speaker 8>like sit in the hallway while everybody else was learning

1:26:10.120 --> 1:26:12.120
<v Speaker 8>something else because they were like, here's the more advanced

1:26:12.160 --> 1:26:15.240
<v Speaker 8>piece that you can figure out for yourself. But I

1:26:15.280 --> 1:26:18.200
<v Speaker 8>always knew I wanted to be a singer, so I

1:26:18.400 --> 1:26:21.600
<v Speaker 8>was like in choirs and in high school, I was

1:26:21.680 --> 1:26:23.840
<v Speaker 8>like in the a cappella group in the choir and

1:26:23.920 --> 1:26:26.800
<v Speaker 8>the Madrials like and all that stuff. So I was

1:26:26.880 --> 1:26:31.400
<v Speaker 8>singing every day of the week pretty much, and then

1:26:31.439 --> 1:26:35.519
<v Speaker 8>we'd sing in the house, not anything like formally, and

1:26:35.600 --> 1:26:37.320
<v Speaker 8>anytime he had a show that I was at a

1:26:37.720 --> 1:26:41.760
<v Speaker 8>we always would do some kind of duet together. But

1:26:42.080 --> 1:26:44.880
<v Speaker 8>definitely the most formal training I got was probably at Berkeley.

1:26:45.520 --> 1:26:48.680
<v Speaker 1>After the facts, well, I know he produces, but does

1:26:48.720 --> 1:26:49.120
<v Speaker 1>he is.

1:26:49.360 --> 1:26:53.280
<v Speaker 8>Just dipping into the into the singing because he definitely

1:26:54.640 --> 1:26:59.680
<v Speaker 8>he steered away from doing what Dad does, and I

1:26:59.760 --> 1:27:01.760
<v Speaker 8>think as the oldest it was kind of like I'm

1:27:01.880 --> 1:27:04.400
<v Speaker 8>trying to prove that I'm not my dad type of thing.

1:27:05.400 --> 1:27:08.439
<v Speaker 8>So he's just now dipping into it. Whereas Javon and

1:27:08.520 --> 1:27:10.800
<v Speaker 8>I both like were active in choirs and stuff. But

1:27:10.880 --> 1:27:16.519
<v Speaker 8>Javon also always wanted to be an actor. Okay, I

1:27:16.520 --> 1:27:17.679
<v Speaker 8>went to Germantown Friends School.

1:27:17.720 --> 1:27:23.000
<v Speaker 1>Oh, Javon went to Kappa Okay, yeah, wait why Philadelphia,

1:27:24.720 --> 1:27:27.600
<v Speaker 1>that's the question. Was it just like coming to America, like.

1:27:29.520 --> 1:27:33.320
<v Speaker 7>It's the windsors Man the windsor.

1:27:33.840 --> 1:27:35.559
<v Speaker 1>Minnesota was pretty bad, I can imagine.

1:27:38.479 --> 1:27:41.360
<v Speaker 10>I was invited by the Philadelphia Orchestra to conduct him

1:27:41.560 --> 1:27:46.360
<v Speaker 10>in April and so one. So I'm sitting with my

1:27:46.479 --> 1:27:51.559
<v Speaker 10>soundman then at an outdoor cafe with the trees blooming

1:27:52.560 --> 1:27:56.240
<v Speaker 10>and everything, and and I called up my wife and

1:27:56.320 --> 1:27:58.120
<v Speaker 10>I said maybe we should think about because we were

1:27:58.160 --> 1:28:00.280
<v Speaker 10>thinking about moving, but we didn't know where.

1:28:00.880 --> 1:28:04.320
<v Speaker 7>I said, well, let's take a look at Philadelphia. And

1:28:04.400 --> 1:28:05.200
<v Speaker 7>they were also.

1:28:06.720 --> 1:28:06.760
<v Speaker 5>No.

1:28:07.280 --> 1:28:11.840
<v Speaker 1>No Prince runnings in Minnesota. Nothing, No, no trips to

1:28:11.920 --> 1:28:12.519
<v Speaker 1>Paisley Park.

1:28:12.600 --> 1:28:13.960
<v Speaker 7>No, Yeah, we went to Paisley Park.

1:28:14.320 --> 1:28:17.800
<v Speaker 1>Okay, have you ever played with him or done one of.

1:28:17.800 --> 1:28:20.639
<v Speaker 10>His He's come to some couple I think a show

1:28:20.760 --> 1:28:21.400
<v Speaker 10>or two of mine.

1:28:21.560 --> 1:28:23.760
<v Speaker 8>Okay, didn't you see him in the club once or

1:28:23.800 --> 1:28:24.160
<v Speaker 8>something like?

1:28:24.320 --> 1:28:26.280
<v Speaker 7>So him in the club, we met and talked for

1:28:26.320 --> 1:28:26.800
<v Speaker 7>a little bit.

1:28:28.320 --> 1:28:30.479
<v Speaker 1>I did a show in La He.

1:28:32.000 --> 1:28:34.000
<v Speaker 10>They cleared out the balcony so that he could sit

1:28:34.040 --> 1:28:37.000
<v Speaker 10>in the balcony alone, so he could watch me in peace.

1:28:38.560 --> 1:28:41.439
<v Speaker 10>And that was He was a very I wish I

1:28:41.520 --> 1:28:43.599
<v Speaker 10>had gotten to know him. He was a very quiet.

1:28:43.640 --> 1:28:46.639
<v Speaker 10>He had a very quiet voice. He was very small,

1:28:48.520 --> 1:28:52.600
<v Speaker 10>but he had such a presence about him, you know,

1:28:53.240 --> 1:28:55.720
<v Speaker 10>And it would have been great to have sat down

1:28:55.800 --> 1:28:58.560
<v Speaker 10>with him as as we're as we are and just

1:28:58.640 --> 1:29:01.360
<v Speaker 10>talk about music and talk about our lives.

1:29:01.160 --> 1:29:09.919
<v Speaker 1>And so and finding your your voice, especially for your projects,

1:29:10.160 --> 1:29:16.920
<v Speaker 1>Like how how much not nerve or how did you

1:29:17.080 --> 1:29:20.120
<v Speaker 1>deal with any reservations you had with sharing your music

1:29:20.200 --> 1:29:23.880
<v Speaker 1>with your family, let alone the world.

1:29:24.240 --> 1:29:24.640
<v Speaker 10>But just.

1:29:27.160 --> 1:29:30.400
<v Speaker 8>Well, I thankfully I got. I used to be really

1:29:30.479 --> 1:29:33.760
<v Speaker 8>nervous when I would sing, especially in high school. But

1:29:33.880 --> 1:29:35.240
<v Speaker 8>then when I was in college, I was in a

1:29:35.320 --> 1:29:39.600
<v Speaker 8>band called Cosmodrome and we played a lot, and I

1:29:39.680 --> 1:29:40.439
<v Speaker 8>did go to Berkeley.

1:29:40.680 --> 1:29:43.240
<v Speaker 1>What was that like? Because that's a very doggy dog world.

1:29:45.479 --> 1:29:47.240
<v Speaker 5>Her eyes are closed and she's thinking, wait a.

1:29:47.240 --> 1:29:52.840
<v Speaker 1>Minute about it, Okay, Berkeley, wait right now.

1:29:53.400 --> 1:29:57.200
<v Speaker 8>Berkeley is a place where I think I had a

1:29:57.400 --> 1:30:03.120
<v Speaker 8>very interesting experien being my father's daughter that I was

1:30:03.320 --> 1:30:07.200
<v Speaker 8>slightly unprepared for, just because you know, you go to

1:30:07.360 --> 1:30:09.800
<v Speaker 8>college and you want to kind of be anonymous and

1:30:10.040 --> 1:30:14.439
<v Speaker 8>figure out your own stuff. And even though I was

1:30:14.479 --> 1:30:18.599
<v Speaker 8>outed before I even got there, apparently there were people

1:30:18.680 --> 1:30:22.360
<v Speaker 8>who were talking administration. Yeah, administration had been like telling

1:30:22.400 --> 1:30:25.479
<v Speaker 8>people that I was going to be there, and.

1:30:25.680 --> 1:30:29.880
<v Speaker 1>So I it does a person that service, though, right,

1:30:29.960 --> 1:30:31.080
<v Speaker 1>And so it was this it was this.

1:30:31.160 --> 1:30:33.439
<v Speaker 8>Thing where like you know, obviously there's a little bit

1:30:33.520 --> 1:30:36.360
<v Speaker 8>of you know, it's cool and popular type of thing.

1:30:36.840 --> 1:30:41.920
<v Speaker 8>But then it was also this thing of like it

1:30:42.000 --> 1:30:44.040
<v Speaker 8>was like that kind of thing, but also you know,

1:30:44.240 --> 1:30:47.479
<v Speaker 8>like people introducing themselves and the first thing they would

1:30:47.479 --> 1:30:49.400
<v Speaker 8>ask me is like, how's your dad doing? And I'm like,

1:30:49.479 --> 1:30:51.840
<v Speaker 8>you don't want to know right exactly, And so it

1:30:51.960 --> 1:30:57.160
<v Speaker 8>really it ended up giving me a lot of hesitation

1:30:57.360 --> 1:31:01.000
<v Speaker 8>towards getting to know certain people because with a motivation, yeah,

1:31:01.000 --> 1:31:02.600
<v Speaker 8>I don't know what their motivation is. And at the

1:31:02.640 --> 1:31:04.519
<v Speaker 8>same time, it's like, like I had mentioned, it's like

1:31:04.600 --> 1:31:06.559
<v Speaker 8>I hadn't really listened to him as a musician until

1:31:06.600 --> 1:31:09.480
<v Speaker 8>I got there. So it's like people are freaking.

1:31:09.479 --> 1:31:11.920
<v Speaker 5>Out because they've been studying him all right.

1:31:12.120 --> 1:31:14.479
<v Speaker 8>They're freaking out, and I'm like, Yo, this is just

1:31:14.560 --> 1:31:17.000
<v Speaker 8>my dad, and like he's a really wonderful father, and

1:31:17.160 --> 1:31:19.479
<v Speaker 8>like that's cool that you really admire him, but like

1:31:19.560 --> 1:31:21.720
<v Speaker 8>I'm still trying to figure out my stuff. People would

1:31:21.760 --> 1:31:23.840
<v Speaker 8>automatically assume that I was like a really good scatter

1:31:23.920 --> 1:31:25.560
<v Speaker 8>and it's like, no, like that's not what I do.

1:31:27.520 --> 1:31:30.320
<v Speaker 1>Did you ever meet home from work day?

1:31:30.479 --> 1:31:31.880
<v Speaker 5>Like that's the thing.

1:31:32.080 --> 1:31:34.280
<v Speaker 8>He helped me move into my college norm room, you know,

1:31:34.439 --> 1:31:35.320
<v Speaker 8>And so then people are like.

1:31:35.320 --> 1:31:42.640
<v Speaker 5>Oh my god, bom fairness, like, but wait, do you

1:31:42.720 --> 1:31:44.840
<v Speaker 5>know your story sounds similar to late Leila Halthaway in

1:31:44.880 --> 1:31:48.280
<v Speaker 5>that way that doesn't surprise me, But her dad wasn't.

1:31:50.479 --> 1:31:52.800
<v Speaker 8>I'm sorry, I'm sorry, but.

1:31:55.640 --> 1:31:56.240
<v Speaker 5>I'm awkward.

1:32:00.160 --> 1:32:03.160
<v Speaker 8>I actually I actually d m her on Instagram on time,

1:32:03.200 --> 1:32:05.679
<v Speaker 8>so I was like, I'm happy to see like fellow

1:32:05.840 --> 1:32:07.000
<v Speaker 8>daughters of you.

1:32:07.040 --> 1:32:13.040
<v Speaker 1>Know God, Yeah, did she hit?

1:32:13.120 --> 1:32:13.840
<v Speaker 5>You did your back?

1:32:14.040 --> 1:32:14.280
<v Speaker 1>She did?

1:32:15.560 --> 1:32:19.400
<v Speaker 8>We following each other, but yeah, so I had I

1:32:19.560 --> 1:32:23.400
<v Speaker 8>was able to like do the cosmodrome thing and then.

1:32:23.479 --> 1:32:25.599
<v Speaker 1>I still that was how I just goage you. Actually

1:32:25.680 --> 1:32:26.200
<v Speaker 1>I did well.

1:32:26.120 --> 1:32:28.920
<v Speaker 8>Because that's when I was still doing my music music

1:32:28.960 --> 1:32:31.880
<v Speaker 8>blog and I and Amir actually was like, oh if

1:32:31.920 --> 1:32:35.040
<v Speaker 8>you write about foreign exchange fontale probably like.

1:32:37.000 --> 1:32:37.439
<v Speaker 10>I saw it.

1:32:37.600 --> 1:32:39.559
<v Speaker 1>I was like, And the thing was, though, like did

1:32:39.640 --> 1:32:40.920
<v Speaker 1>you ever get that album one hundred?

1:32:41.160 --> 1:32:41.439
<v Speaker 10>I did?

1:32:41.560 --> 1:32:41.880
<v Speaker 1>She did?

1:32:42.720 --> 1:32:46.000
<v Speaker 8>Album was Pippa Butterfly was number one.

1:32:46.000 --> 1:32:48.120
<v Speaker 1>Because you know what I know all ninety nine, I

1:32:48.200 --> 1:32:50.240
<v Speaker 1>didn't know what your hundred record yea, because the thing

1:32:50.439 --> 1:32:52.760
<v Speaker 1>was I didn't even know I didn't find out who

1:32:52.840 --> 1:32:56.080
<v Speaker 1>you were until afterwards, Like I was just reading your blog,

1:32:56.200 --> 1:32:57.640
<v Speaker 1>like you did I join. I was like, okay, let

1:32:57.680 --> 1:32:58.960
<v Speaker 1>me see what else she does. So then I was

1:32:59.040 --> 1:33:01.840
<v Speaker 1>just following your blog. It wasn't until later on that

1:33:02.000 --> 1:33:05.800
<v Speaker 1>I realized that, oh that's Madison Fair. I was like, oh,

1:33:05.920 --> 1:33:07.919
<v Speaker 1>she's Bobby's dog. Was like, oh, okay, some people.

1:33:07.760 --> 1:33:09.920
<v Speaker 8>It takes a while for them to put the connection together.

1:33:09.920 --> 1:33:11.360
<v Speaker 8>I don't know if it's because i'mlight skinned or what,

1:33:11.520 --> 1:33:13.120
<v Speaker 8>but it's like some people I saw.

1:33:13.160 --> 1:33:15.280
<v Speaker 1>It was then like because you would put up pictures

1:33:15.360 --> 1:33:17.200
<v Speaker 1>like on Instagram and with you of your mom and

1:33:17.280 --> 1:33:20.040
<v Speaker 1>you and your mom have like the exact twins. Yeah, dude,

1:33:20.520 --> 1:33:20.960
<v Speaker 1>like for real?

1:33:21.280 --> 1:33:22.840
<v Speaker 5>So can I ask the question? Because the first time

1:33:22.920 --> 1:33:24.760
<v Speaker 5>I met Madison was with you and Miir and she

1:33:24.920 --> 1:33:27.120
<v Speaker 5>was already singing live on stage. She was about to

1:33:27.120 --> 1:33:29.320
<v Speaker 5>sing for Roots Picnic and sing some of the parts.

1:33:29.600 --> 1:33:31.760
<v Speaker 1>So yeah, that's right. I forgot we did work together. Yeah,

1:33:31.840 --> 1:33:32.640
<v Speaker 1>so I forget what.

1:33:32.800 --> 1:33:36.120
<v Speaker 5>Made you go, Madison come over here sing come to

1:33:36.160 --> 1:33:37.680
<v Speaker 5>the Roots Picnic? And how did that work?

1:33:37.800 --> 1:33:38.719
<v Speaker 8>Because I was background?

1:33:39.760 --> 1:33:41.479
<v Speaker 5>Okay, so that's what I was trying to go together.

1:33:42.120 --> 1:33:43.479
<v Speaker 5>I know she sings a lot of singers.

1:33:43.560 --> 1:33:47.720
<v Speaker 1>You know, there's no method in my math. Come real quick,

1:33:48.479 --> 1:33:49.439
<v Speaker 1>And that's how it was.

1:33:49.800 --> 1:33:51.560
<v Speaker 8>You asked me like a week before it happened or

1:33:51.600 --> 1:33:52.040
<v Speaker 8>something like that.

1:33:52.160 --> 1:33:54.600
<v Speaker 1>It was like very I prepare very late, and I

1:33:54.720 --> 1:33:56.920
<v Speaker 1>realized like, oh, someone's gonna have to sing these day

1:33:57.160 --> 1:33:58.080
<v Speaker 1>songs and it won't be me.

1:34:00.120 --> 1:34:00.160
<v Speaker 5>Know.

1:34:00.240 --> 1:34:03.040
<v Speaker 1>That was and I definitely like, it took me forever

1:34:03.160 --> 1:34:07.120
<v Speaker 1>to meet you. Yeah, I purposely hid from him forever.

1:34:07.720 --> 1:34:09.439
<v Speaker 5>You was you said that real fast. You was singing

1:34:09.479 --> 1:34:12.840
<v Speaker 5>backgrounds for Daylight. But I'm just yeah, just well.

1:34:12.840 --> 1:34:17.760
<v Speaker 8>Just at the Roots picnic and then another time on

1:34:17.960 --> 1:34:25.200
<v Speaker 8>Valin and then there was like a Super Bowl Budweiser party. Yeah,

1:34:27.200 --> 1:34:29.240
<v Speaker 8>but that was before I was even doing solo stuff.

1:34:30.280 --> 1:34:32.559
<v Speaker 8>I just started doing solo stuff about two years ago,

1:34:33.240 --> 1:34:36.439
<v Speaker 8>so that was. But I thankfully had enough practice under

1:34:36.479 --> 1:34:39.080
<v Speaker 8>my belt and had played music for my family and

1:34:39.200 --> 1:34:40.559
<v Speaker 8>my friends to be able to be like.

1:34:40.560 --> 1:34:43.479
<v Speaker 1>Okay, let me do that, like like playing music for

1:34:44.479 --> 1:34:45.400
<v Speaker 1>your family.

1:34:45.160 --> 1:34:51.040
<v Speaker 8>I mean, like the solo stuff. Well I was really,

1:34:51.800 --> 1:34:53.240
<v Speaker 8>I mean I was. This was the first time that

1:34:53.320 --> 1:34:56.040
<v Speaker 8>I was releasing solo music, and I was really happy

1:34:56.120 --> 1:34:59.439
<v Speaker 8>with what I had come out with, and the fact

1:34:59.520 --> 1:35:02.880
<v Speaker 8>that it was a cappella stuff actually made me a

1:35:02.920 --> 1:35:05.920
<v Speaker 8>little more comfortable, which I think some people probably would

1:35:05.960 --> 1:35:10.320
<v Speaker 8>assume that I would be less comfortable playing it for

1:35:10.600 --> 1:35:14.559
<v Speaker 8>my dad, but it for me it was more like, oh,

1:35:14.640 --> 1:35:17.240
<v Speaker 8>I have this amazing resource to be like, what do

1:35:17.360 --> 1:35:20.880
<v Speaker 8>you think of this music that is completely derivative of you?

1:35:22.120 --> 1:35:25.080
<v Speaker 8>And you have been around the block a few times,

1:35:25.200 --> 1:35:28.280
<v Speaker 8>and even like I did the first one by myself

1:35:28.520 --> 1:35:35.160
<v Speaker 8>using his studio, after he'd go to sleep, I'd like, no,

1:35:35.240 --> 1:35:36.920
<v Speaker 8>I wasn't sneaking. He knew I was doing it, but

1:35:37.000 --> 1:35:38.560
<v Speaker 8>I was like, he goes to bed at nine, and

1:35:38.640 --> 1:35:40.160
<v Speaker 8>so I'd be in there from like ten to four.

1:35:40.840 --> 1:35:44.000
<v Speaker 8>And so then the second time around, I was much

1:35:44.080 --> 1:35:44.479
<v Speaker 8>more time.

1:35:45.200 --> 1:35:47.320
<v Speaker 1>At four o'clock in the morning, No, I get up.

1:35:49.280 --> 1:35:52.080
<v Speaker 8>But I had to go to bed. Oh school I

1:35:52.160 --> 1:35:55.240
<v Speaker 8>forgot Well, no, I wasn't in school anymore. She's like,

1:35:55.280 --> 1:36:04.040
<v Speaker 8>I like sleep changing. Yeah. But then the second time around,

1:36:04.080 --> 1:36:06.880
<v Speaker 8>I was much more with finding Foundations volume two, I

1:36:07.040 --> 1:36:10.240
<v Speaker 8>was even that much more intentional with having him be

1:36:10.400 --> 1:36:13.080
<v Speaker 8>a part of the process, and just while I was

1:36:13.160 --> 1:36:14.960
<v Speaker 8>making it, be like, what do you think of this?

1:36:15.520 --> 1:36:17.760
<v Speaker 8>What are your arrangement notes? Like do you think I

1:36:17.840 --> 1:36:19.880
<v Speaker 8>should take something out? Do you think I should put

1:36:19.920 --> 1:36:22.920
<v Speaker 8>something in? And there were definitely some key parts.

1:36:23.160 --> 1:36:25.280
<v Speaker 1>Is it hard to be honest or not. Is it

1:36:25.400 --> 1:36:28.719
<v Speaker 1>hard to be honest because the one thing in life

1:36:28.920 --> 1:36:34.200
<v Speaker 1>I can't do is give a critique. I'd rather end

1:36:34.240 --> 1:36:34.799
<v Speaker 1>of friendship.

1:36:38.240 --> 1:36:42.080
<v Speaker 5>I've never given donatique staying in a family since Like, it's.

1:36:42.520 --> 1:36:47.160
<v Speaker 1>I don't critique nobody. I hate doing vocals like I

1:36:47.320 --> 1:36:51.559
<v Speaker 1>just I. So you're saying you don't critique in terms

1:36:51.600 --> 1:36:54.599
<v Speaker 1>of like while you're recording or like after the record

1:36:54.680 --> 1:36:59.280
<v Speaker 1>is done this period, I like, give me your honest opinion, like,

1:36:59.479 --> 1:37:02.719
<v Speaker 1>because if I discover your music, it's because I actually

1:37:02.880 --> 1:37:05.760
<v Speaker 1>like you and I dig you. But you know, but

1:37:05.920 --> 1:37:07.360
<v Speaker 1>so if somebody's like, give me honest to be on this,

1:37:07.479 --> 1:37:09.000
<v Speaker 1>you don't. You're just like nah.

1:37:09.960 --> 1:37:12.479
<v Speaker 8>I found that out very early because I asked him

1:37:12.520 --> 1:37:14.599
<v Speaker 8>an opinion about something and he was like, I don't

1:37:14.640 --> 1:37:18.120
<v Speaker 8>do that, and I was like, all right, I mean

1:37:18.280 --> 1:37:21.479
<v Speaker 8>you know, I mean this was also like six seven

1:37:21.560 --> 1:37:21.880
<v Speaker 8>years ago.

1:37:22.240 --> 1:37:28.400
<v Speaker 1>Love does not do emotions? Well is this same? So

1:37:28.520 --> 1:37:30.560
<v Speaker 1>what's the next around the bend for you?

1:37:32.720 --> 1:37:40.599
<v Speaker 8>I have produced music in the works, okay and right, yeah,

1:37:41.000 --> 1:37:43.280
<v Speaker 8>but that was stuff. This is the thing. I wrote

1:37:43.360 --> 1:37:47.040
<v Speaker 8>this produced stuff before I wrote the a cappella stuff.

1:37:47.640 --> 1:37:51.840
<v Speaker 8>But I, similar to my dad, had a vision of

1:37:52.000 --> 1:37:56.840
<v Speaker 8>me being on stage by myself and so, but I

1:37:56.960 --> 1:37:59.920
<v Speaker 8>can't play all these other instruments, and I don't even

1:38:00.080 --> 1:38:03.439
<v Speaker 8>I can play the piano. I don't feel super confident

1:38:03.520 --> 1:38:07.200
<v Speaker 8>playing and singing at the same time, even though that's

1:38:07.200 --> 1:38:09.320
<v Speaker 8>how I wrote the songs that are going to be produced.

1:38:09.560 --> 1:38:11.920
<v Speaker 8>And so I was like, oh, snap, I need something

1:38:11.960 --> 1:38:14.160
<v Speaker 8>else if I'm going to do these solo shows. And

1:38:14.280 --> 1:38:17.080
<v Speaker 8>so I wrote some a cappella tunes with my loop pedal,

1:38:17.120 --> 1:38:18.719
<v Speaker 8>and I was like, oh, these are pretty cool. I'll

1:38:18.920 --> 1:38:20.840
<v Speaker 8>like record these and then just put these out.

1:38:21.920 --> 1:38:26.120
<v Speaker 1>All those loops are programmed inside your loop.

1:38:26.000 --> 1:38:28.720
<v Speaker 8>Pedal when I do it live, but when I record them,

1:38:28.760 --> 1:38:31.559
<v Speaker 8>I record each track individually. Each track is doubled.

1:38:32.360 --> 1:38:34.439
<v Speaker 5>I don't want no shading nobody else. But watching Madison

1:38:34.520 --> 1:38:38.320
<v Speaker 5>on stage is like watching what Eric could be trying

1:38:38.360 --> 1:38:40.439
<v Speaker 5>to do with her machine on stage, but then you

1:38:40.640 --> 1:38:44.600
<v Speaker 5>kind of just execute it in a Sometimes she use

1:38:44.640 --> 1:38:46.479
<v Speaker 5>a machine on stage, but you execute it like.

1:38:49.640 --> 1:38:51.639
<v Speaker 1>But air could put that machine down.

1:38:52.120 --> 1:38:53.839
<v Speaker 5>Yeah, that was a compliment.

1:38:58.240 --> 1:39:00.280
<v Speaker 8>That was Actually the first time I saw somebody use

1:39:00.400 --> 1:39:03.400
<v Speaker 8>loop pedal was at Roots Picnic when two Yards played

1:39:03.920 --> 1:39:06.880
<v Speaker 8>like the second Yeah, like the second Roots Picnic or something.

1:39:06.960 --> 1:39:07.120
<v Speaker 5>Well.

1:39:07.160 --> 1:39:10.240
<v Speaker 1>I was asking because when Kirk used to do that

1:39:10.360 --> 1:39:13.920
<v Speaker 1>on his guitar solos, he would lose the information at

1:39:13.920 --> 1:39:15.679
<v Speaker 1>the end turn it off. I was like, well, damn,

1:39:15.720 --> 1:39:20.800
<v Speaker 1>what's the sense in looping if you can't keep you know,

1:39:20.880 --> 1:39:23.000
<v Speaker 1>in a hard drive or whatever. But I was asking, like,

1:39:23.080 --> 1:39:23.840
<v Speaker 1>in your pedal, you.

1:39:24.560 --> 1:39:27.000
<v Speaker 8>You can keep, you can save it. Okay, so I

1:39:27.160 --> 1:39:30.040
<v Speaker 8>save stuff and you can like technically save it and

1:39:30.080 --> 1:39:31.760
<v Speaker 8>then just put it into the computer and have that

1:39:31.920 --> 1:39:35.640
<v Speaker 8>be that. But I much prefer you can't get like

1:39:35.760 --> 1:39:39.120
<v Speaker 8>doubles and panning and all, like I'm trying to get

1:39:39.160 --> 1:39:39.799
<v Speaker 8>it rich.

1:39:39.760 --> 1:39:42.240
<v Speaker 5>And it's phenomenal to watch. It's dope.

1:39:42.880 --> 1:39:46.080
<v Speaker 8>But yeah, so that the acapella thing happened totally by accident,

1:39:46.200 --> 1:39:48.600
<v Speaker 8>so it was just like and people are really into that.

1:39:48.720 --> 1:39:52.320
<v Speaker 8>So I was like, okay, I'll do that. And also

1:39:52.560 --> 1:39:55.960
<v Speaker 8>is very easy for me to travel, you know. It's like, yeah,

1:39:57.320 --> 1:40:00.400
<v Speaker 8>one pedal that I put in a backpack and then

1:40:01.160 --> 1:40:02.360
<v Speaker 8>I'm off to the race.

1:40:02.400 --> 1:40:03.280
<v Speaker 1>I hope you don't lose that.

1:40:05.000 --> 1:40:07.160
<v Speaker 8>Well you know, it stays on my back, you know,

1:40:07.640 --> 1:40:09.800
<v Speaker 8>and even if I do lose it, it's like I

1:40:10.600 --> 1:40:13.400
<v Speaker 8>all of my tracks, I performed them live, so if

1:40:13.439 --> 1:40:16.280
<v Speaker 8>I lose it, then like that sucks, but like it doesn't,

1:40:16.479 --> 1:40:18.000
<v Speaker 8>so you just don't have a background. I just need

1:40:18.120 --> 1:40:20.519
<v Speaker 8>to go to a guitar center and like buy a pedal.

1:40:23.560 --> 1:40:28.680
<v Speaker 8>I have not lost a pedal, but yeah, but I know.

1:40:29.760 --> 1:40:32.040
<v Speaker 8>But I'm just saying that, like it's not even though

1:40:32.040 --> 1:40:36.080
<v Speaker 8>there are ideas in there that I would love to have,

1:40:36.640 --> 1:40:39.280
<v Speaker 8>I'm not so attached to them that if I were

1:40:39.360 --> 1:40:41.280
<v Speaker 8>to lose it, I would be like, oh my god,

1:40:42.800 --> 1:40:48.360
<v Speaker 8>there's one there's one idea in there that I composed

1:40:48.520 --> 1:40:51.920
<v Speaker 8>that I don't know how to remake it. And I

1:40:52.000 --> 1:40:53.760
<v Speaker 8>even played it for my dad and he was like, WHOA.

1:40:54.560 --> 1:40:56.800
<v Speaker 8>But I still to this day am like there are

1:40:56.840 --> 1:40:59.439
<v Speaker 8>too many lines and parts where I'm like, I don't

1:40:59.479 --> 1:41:01.560
<v Speaker 8>know how to re constructed. I really would too, so

1:41:01.640 --> 1:41:03.400
<v Speaker 8>that'd probably be the only one that I would be

1:41:03.520 --> 1:41:04.000
<v Speaker 8>sad about.

1:41:04.520 --> 1:41:07.000
<v Speaker 1>Are you and Taylor do y'all do anything together? Because

1:41:07.000 --> 1:41:09.600
<v Speaker 1>I really liked this album. Was supposed to be on

1:41:09.640 --> 1:41:15.880
<v Speaker 1>that album We Want Something Something, but no, I love

1:41:15.960 --> 1:41:17.560
<v Speaker 1>that record and like I like what you do.

1:41:17.680 --> 1:41:22.040
<v Speaker 8>So you know, he's actually supposed to produce what the

1:41:22.200 --> 1:41:25.840
<v Speaker 8>next produced project is. Hopefully he's got to finish his album. First,

1:41:26.120 --> 1:41:29.799
<v Speaker 8>I have one song that is finished and it's actually

1:41:29.960 --> 1:41:33.160
<v Speaker 8>a song that's on Finding Foundations Volume one that I

1:41:33.240 --> 1:41:36.400
<v Speaker 8>had written for the first produced project and then he

1:41:37.680 --> 1:41:41.080
<v Speaker 8>he produced it and I'm really excited about it. But

1:41:41.680 --> 1:41:44.479
<v Speaker 8>it's funny. We used to live in the same building

1:41:44.640 --> 1:41:46.240
<v Speaker 8>and like kept being like, we need to make music,

1:41:46.320 --> 1:41:48.360
<v Speaker 8>we need to make music, and then like it didn't happen,

1:41:48.439 --> 1:41:50.360
<v Speaker 8>and now he lives in LA and it's like, so

1:41:50.560 --> 1:41:55.479
<v Speaker 8>when we make a music, but he makes he I mean, granted,

1:41:55.520 --> 1:41:58.479
<v Speaker 8>I'm so biased, but like he produces the kind of

1:41:58.600 --> 1:42:00.680
<v Speaker 8>music that like I hear in my head, you know,

1:42:01.160 --> 1:42:03.599
<v Speaker 8>which I'm sure that comes from. We have the same upbringing.

1:42:04.080 --> 1:42:07.160
<v Speaker 8>But whenever I think about I would love to, Yeah,

1:42:07.280 --> 1:42:09.240
<v Speaker 8>I would love to get into production at some point

1:42:09.280 --> 1:42:12.679
<v Speaker 8>in time, but like until that point, like he produces

1:42:12.760 --> 1:42:14.920
<v Speaker 8>the kind of music that I right.

1:42:15.240 --> 1:42:21.639
<v Speaker 10>So DNA, DNA. You know what's really interesting is Taylor

1:42:21.640 --> 1:42:23.880
<v Speaker 10>would come to me sometimes he said, Dad, you gotta

1:42:23.920 --> 1:42:26.240
<v Speaker 10>hear this, you gotta hear this, and he played for

1:42:26.439 --> 1:42:29.360
<v Speaker 10>me and I go, man, this was my favorite favorite

1:42:29.400 --> 1:42:32.280
<v Speaker 10>piece you know when I was your age. You know,

1:42:32.439 --> 1:42:34.639
<v Speaker 10>he plays something else for me and I said, he said, Dad,

1:42:34.720 --> 1:42:37.800
<v Speaker 10>you got to hear this. This is really great. I say, man,

1:42:38.560 --> 1:42:39.559
<v Speaker 10>I love that piece.

1:42:39.680 --> 1:42:40.760
<v Speaker 7>I already knew that piece.

1:42:40.840 --> 1:42:43.599
<v Speaker 10>You know it must be DNA thing because I would

1:42:43.840 --> 1:42:47.120
<v Speaker 10>be constantly shocked at the stuff that he loved was

1:42:47.160 --> 1:42:50.280
<v Speaker 10>also stuff that I loved, you know, before I even

1:42:50.360 --> 1:42:52.360
<v Speaker 10>had kids, right, you know what I mean?

1:42:52.479 --> 1:42:54.599
<v Speaker 7>This is George Duke album.

1:42:54.760 --> 1:42:56.840
<v Speaker 10>Like I don't know if it was his first one

1:42:57.000 --> 1:42:59.400
<v Speaker 10>or his second one, but he was working with Frank

1:42:59.479 --> 1:43:02.040
<v Speaker 10>Zapp at the time, and he produced his own album.

1:43:02.439 --> 1:43:05.240
<v Speaker 10>And the opening piece on this album I used to play.

1:43:05.120 --> 1:43:06.960
<v Speaker 7>Over and over and over and over and over again.

1:43:07.320 --> 1:43:09.080
<v Speaker 10>And so he comes to me by day and says, Dad,

1:43:09.160 --> 1:43:09.760
<v Speaker 10>you got to hear this.

1:43:10.160 --> 1:43:11.800
<v Speaker 7>And it's the George do the same thing.

1:43:12.000 --> 1:43:14.479
<v Speaker 10>It's the same thing he didn't even he didn't remember.

1:43:14.640 --> 1:43:18.720
<v Speaker 5>Just just way with our parents, I feel like all

1:43:18.720 --> 1:43:19.240
<v Speaker 5>of us are not.

1:43:19.960 --> 1:43:25.320
<v Speaker 1>Yeah, maybe now I'm playing. You know you are joking.

1:43:25.400 --> 1:43:27.759
<v Speaker 1>I'm joking, all right, So have my dad's record collection

1:43:28.920 --> 1:43:31.880
<v Speaker 1>before we split. I just want to know about the

1:43:32.920 --> 1:43:37.320
<v Speaker 1>Give Me Five project, And well, yeah.

1:43:37.880 --> 1:43:40.040
<v Speaker 7>It's a miniature voice sister, Okay.

1:43:40.160 --> 1:43:43.479
<v Speaker 10>It incorporates I have one soprano one out to one

1:43:43.600 --> 1:43:47.120
<v Speaker 10>tenor in one base and myself, and it's all improvised.

1:43:47.880 --> 1:43:48.920
<v Speaker 7>It's just five of us.

1:43:49.920 --> 1:43:52.640
<v Speaker 1>Ah, well, you guys have been singing together forever, so

1:43:53.000 --> 1:43:54.639
<v Speaker 1>oh my goodness. I would hope that you know each

1:43:54.640 --> 1:43:56.680
<v Speaker 1>other that well. But that was so scary to me to.

1:43:58.720 --> 1:44:00.160
<v Speaker 7>Not know what's gonna happ.

1:44:00.600 --> 1:44:03.040
<v Speaker 1>Well, they would they trust that you're the alpha? Would

1:44:03.040 --> 1:44:05.160
<v Speaker 1>they trust that? Okay, we'll follow his lead and when

1:44:05.200 --> 1:44:06.439
<v Speaker 1>you end the song, and.

1:44:07.240 --> 1:44:10.719
<v Speaker 10>Yeah, pretty much we've been working. Some of them, like Rhiannon,

1:44:10.760 --> 1:44:14.960
<v Speaker 10>who's thet sits to my left. We met in nineteen eighty.

1:44:15.040 --> 1:44:16.679
<v Speaker 10>We've been working since nineteen eighty.

1:44:17.000 --> 1:44:18.559
<v Speaker 1>Okay, so.

1:44:20.240 --> 1:44:22.840
<v Speaker 7>That's that's what it is. It's just a small improv group,

1:44:23.479 --> 1:44:24.200
<v Speaker 7>five voices.

1:44:25.240 --> 1:44:27.960
<v Speaker 1>Well, I'm really glad and happy that we finally have

1:44:28.080 --> 1:44:33.320
<v Speaker 1>this conversation. It's like our first real conversation. We did it.

1:44:33.520 --> 1:44:34.000
<v Speaker 10>We did it.

1:44:36.080 --> 1:44:36.800
<v Speaker 7>Fifteen years.

1:44:38.960 --> 1:44:43.919
<v Speaker 1>No, I really appreciate it, and I pluge your artistry

1:44:43.960 --> 1:44:47.640
<v Speaker 1>and it's effect on me, even though I'm one of

1:44:47.680 --> 1:44:52.799
<v Speaker 1>those stick to what I know, stay in my comfort

1:44:52.880 --> 1:44:56.840
<v Speaker 1>zone type people. But yeah, thank you for your music. Man.

1:44:57.320 --> 1:44:59.320
<v Speaker 1>It's so many parts of my childhood, Like I have

1:45:00.080 --> 1:45:02.479
<v Speaker 1>distinct memories of like stuff you've done and like just

1:45:03.520 --> 1:45:05.160
<v Speaker 1>your voice. It like takes me back to when I

1:45:05.280 --> 1:45:05.599
<v Speaker 1>was a kid.

1:45:05.760 --> 1:45:08.800
<v Speaker 5>So think you Simple Pleasures was me and my father's joy.

1:45:09.479 --> 1:45:11.479
<v Speaker 5>Like that's what we would play on the weekends and just.

1:45:15.720 --> 1:45:16.240
<v Speaker 8>Won't cry.

1:45:19.040 --> 1:45:26.720
<v Speaker 1>We're gonna just out this way, gentlemen on behalf of

1:45:26.840 --> 1:45:35.560
<v Speaker 1>the Supreme team. Sugar Steve paid up and about to

1:45:35.600 --> 1:45:43.960
<v Speaker 1>cry down down.

1:45:49.200 --> 1:45:55.960
<v Speaker 5>I got a little manitude call him in the morning.

1:45:56.120 --> 1:46:01.639
<v Speaker 8>That take kids, it's sound and they get on their.

1:46:01.560 --> 1:46:04.880
<v Speaker 10>Clothes, ball the silly, your loud and.

1:46:06.960 --> 1:46:07.479
<v Speaker 8>King these.

1:46:08.560 --> 1:46:11.240
<v Speaker 4>Then I come a bet, David.

1:46:11.240 --> 1:46:13.680
<v Speaker 1>I said, there to get it, get it.

1:46:14.160 --> 1:46:18.000
<v Speaker 5>It's trying to get yourself together. It's such a beautiful

1:46:18.160 --> 1:46:18.959
<v Speaker 5>d outside.

1:46:20.280 --> 1:46:28.080
<v Speaker 8>Simple get there, I'll go happen. I'm a happy man and.

1:46:32.479 --> 1:46:35.559
<v Speaker 5>So simple things all the.

1:46:35.760 --> 1:46:45.679
<v Speaker 1>Bad simple things on the board. That's it. Please say

1:46:45.760 --> 1:46:46.479
<v Speaker 1>that work.

1:46:53.200 --> 1:46:53.559
<v Speaker 7>Thank you.

1:47:03.600 --> 1:47:06.920
<v Speaker 1>Of course. Love Supreme is a production of iHeartRadio. This

1:47:07.080 --> 1:47:13.760
<v Speaker 1>classic episode was produced by the team at Pandora. For

1:47:13.880 --> 1:47:18.080
<v Speaker 1>more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:47:18.520 --> 1:47:20.240
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