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Speaker 1: Taking a Walk.

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Speaker 2: I always never want to learn a lot of licks

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Speaker 2: or anything, you know. I mean, I've spent time doing

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Speaker 2: that in copying people solos and learning step and I've

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Speaker 2: always been worried about like how to interact with the

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Speaker 2: musicians and how to take someone on they if they

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Speaker 2: don't have an idea, to throw them something that they

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Speaker 2: can grab on to, or there's always a give and take.

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Speaker 1: That's kind of what's exciting about it.

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Speaker 3: Welcome to our musical journey as we take a walk

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Speaker 3: with Robert Walter on the Taking a Walk Podcast with

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Speaker 3: your host Buzz Night. Robert Walter is a key figure

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Speaker 3: in the soul jazz scene and a founding member of

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Speaker 3: the renowned Gray Boy All Stars. He divides his time

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Speaker 3: between the band, his own project called Twentieth Congress, and

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Speaker 3: his thriving career in film soundtrack composition in Los Angeles.

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Speaker 3: Most recently, Walter has been touring with Pink Floyd co

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Speaker 3: founder Roger Waters. Joined Buzznight Now as we step into

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Speaker 3: the world of Robert Walter on the Taking a Walk Podcast.

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Speaker 4: So, Robert, let's start with the origins of the Gray

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Speaker 4: Boy the Gray Boy All Stars. How did you first

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Speaker 4: get involved with uh with the DJ gray Boy.

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Speaker 2: So I had had a band with with Zach Major

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Speaker 2: and Chris still Well, who were the bassis and drummer,

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Speaker 2: the original drummer and still basis for Grave Boy All Stars.

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Speaker 2: But I had been in the band with them previously,

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Speaker 2: and Zach had started to hang around with DJ Gray Boy.

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Speaker 2: He had a studio in the kind of in our neighborhood,

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Speaker 2: and he had been recording some stuff with Carl Danson

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Speaker 2: and he had made that record Freestyling, which was kind

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Speaker 2: of like it was like beats produced, like sampled breakbeats

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Speaker 2: and stuff, but with live horn players and live.

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Speaker 1: Jazz over the top of it.

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Speaker 2: But he he wanted to have a live band to

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Speaker 2: play the record release for that album, so we just

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Speaker 2: kind of put together the band for that one gig.

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Speaker 2: But the chemistry was so good on the first rehearsal

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Speaker 2: that we were just like, let's book some more gigs,

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Speaker 2: and it kind of just grew.

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Speaker 1: Out of that.

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Speaker 2: But that's part of why it's called the Grave Boy

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Speaker 2: All Star. It was supposed to be just this one

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Speaker 2: off sort of promotional gig for his album that none

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Speaker 2: of us are on except for carlum So and what.

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Speaker 4: Was it like at the Green Circle Bar?

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Speaker 1: Do we have that place? Correct? And yeah, so that

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Speaker 1: San Diego.

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Speaker 2: Yeah, So Grave Boy would spin there every Wednesday, and

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Speaker 2: we started to play a first and a second set

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Speaker 2: in between his DJ sets, and then it just became

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Speaker 2: this whole phenomenon where it got It was packed every Wednesday.

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Speaker 2: It was kind of cool that it was on off

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Speaker 2: night so that it was It wasn't for like weekend Warriors.

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Speaker 2: You had to be pretty hard core ext day out

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Speaker 2: to two in the morning on a Wednesday, you know,

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Speaker 2: to see this band. But it became kind of our

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Speaker 2: home home turf and it was a good way. You know,

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Speaker 2: you play the same room, so you're real comfortable with

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Speaker 2: the sound, and we would try different songs out all

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Speaker 2: the time and constantly be working on stuff and adding

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Speaker 2: tunes to the repertoire and it's.

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Speaker 1: Really a great night. And then Gray Boy would spin.

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Speaker 2: He'd usually start off playing like sort of straight up

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Speaker 2: jazz records, maybe like Boogoloo or soul jazz stuff, but

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Speaker 2: not really great backbeat stuff.

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Speaker 1: Then we'd play a set.

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Speaker 2: Then he'd play a bunch of funky jazz stuff like

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Speaker 2: Lou Donaldson Records, Grant Green, some James Brown stuff like that,

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Speaker 2: and then after that he would usually play a kind

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Speaker 2: of hip hop that had sampled all these things. So

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Speaker 2: it was kind of a whole arc and history of

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Speaker 2: Black American music in this one night.

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Speaker 1: So it was a very cool thing.

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Speaker 4: So before you met him, and when you were younger,

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Speaker 4: were you always around this really unique, eclectic bunch of

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Speaker 4: people like you still are.

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Speaker 1: Yeah.

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Speaker 2: I mean, my father was a musician, played drums and bands,

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Speaker 2: and we had a piano, We had a bunch of

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Speaker 2: cynthesizers at the house. He was really into like building

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Speaker 2: sort of like modular synth and stuff, so so we

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Speaker 2: had that. He my parents had a pretty cool record

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Speaker 2: collection with a lot of variety of music. And then

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Speaker 2: I was in the bands that were totally different styles

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Speaker 2: than this. Before I was kind of in the in

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Speaker 2: the punk rock scene in San Diego and playing and

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Speaker 2: you know, I grew up in the eighties, so I

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Speaker 2: was into to sort of heavy music, and you know,

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Speaker 2: my first band was kind of a heavy metal band,

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Speaker 2: and then you know, and then I became interested in

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Speaker 2: jazz sort of from the perspective of the sort of

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Speaker 2: chance taking and the sort of rebellious nature of it,

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Speaker 2: you know, from back in the day, so that that's

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Speaker 2: kind of what attracted me to originally, and then it

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Speaker 2: just kind of grew from there.

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Speaker 1: So but yeah, I always liked all different kinds of music,

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Speaker 1: still do.

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Speaker 4: And how did you learn or how do you continue

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Speaker 4: to learn both the art of collaboration but also you know,

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Speaker 4: the importance and the art of improvisation as well.

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Speaker 2: I always never want to like learn a lot of

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Speaker 2: licks or anything, you know. I mean, I've spent time

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Speaker 2: doing that in copying people solos and learning stuff, but

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Speaker 2: I've always been worried about like how to interact with

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Speaker 2: the musicians and how to egg someone on if they

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Speaker 2: if they don't have an idea, throw them something that

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Speaker 2: they can grab onto or there's always a give and take.

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Speaker 1: That's kind of what's exciting about it.

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Speaker 2: The less you think about, even when you're playing a

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Speaker 2: solo as being your sort of linear thoughts, and the

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Speaker 2: more you think of it as like a conversation with

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Speaker 2: the other players.

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Speaker 1: The more interesting it is.

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Speaker 2: So you know, you always want to leave space for

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Speaker 2: people and and sort of respond in real time to them. So,

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Speaker 2: you know, I've always thought like the less of an

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Speaker 2: agenda you can come into improvisation with the better it's

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Speaker 2: going to sound. You know, if you come there with

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Speaker 2: like an intentional I'm going to try and do this,

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Speaker 2: you're not really living in the moment and react this stuff.

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Speaker 2: So you know, there's always a there's always a goal

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Speaker 2: to kind of get away from your tricks and the

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Speaker 2: comfort zone and push yourself in a place where you're

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Speaker 2: thinking on the spot.

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Speaker 1: It's more exciting to listen to.

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Speaker 4: I think it's almost like what you've learned and what

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Speaker 4: you profess, you could probably teach CEOs and businesses how

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Speaker 4: to benefit from this as well.

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Speaker 2: I think I think it's I mean, I do think

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Speaker 2: it's applicable to a lot of things in life, like

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Speaker 2: if you just kind of if you you know, it's

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Speaker 2: all about being in the moment, you know. You know,

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Speaker 2: actors who improvise talk about that same thing too, is

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Speaker 2: making sure you're you're truly there, not not forcing your

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Speaker 2: will upon it.

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Speaker 4: You know, was there one seminal moment concert wise with

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Speaker 4: a national act whoever that really you know, was so

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Speaker 4: impactful for you still to this day.

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Speaker 2: I mean, you know, one of the coolest things is

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Speaker 2: part of the Grave Boy All Stars sort of philosophy

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Speaker 2: has always been to pull attention to the sort of

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Speaker 2: older artists that had influenced us and to make a

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Speaker 2: real effort if we're obviously like using so much of

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Speaker 2: the things that they gave us, you know, the music

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Speaker 2: that they left for us to be excited about. But

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Speaker 2: we've always tried to make sure that we don't take

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Speaker 2: credit for things that aren't ours. Part of that was

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Speaker 2: working with a lot of people from the generation just

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Speaker 2: before us, So like on the first Grave Boy record,

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Speaker 2: Fred Wesley from you know, from James Brown and Parliament,

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Speaker 2: Fucka Deelic and all that came into play, and then

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Speaker 2: subsequently he's become a good friend of all of ours

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Speaker 2: and we've done tours with him a lot. I still

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Speaker 2: see him, you know, even recently. But to just get

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Speaker 2: first hand knowledge from those kind of guys, you know,

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Speaker 2: over the years, and there's been a bunch of them

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Speaker 2: that we were sort of our heroes that you like,

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Speaker 2: always looked up to. And then you can learn so

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Speaker 2: much from a record, but when you're in the room

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Speaker 2: with somebody and actually working with them and playing every night,

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Speaker 2: it's totally you get something else, which I think, you know,

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Speaker 2: that's sort of a lost thing is that oral tradition

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Speaker 2: of music and sort of.

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Speaker 1: Learning from your elders.

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Speaker 2: Now a lot of people are learning from you two

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Speaker 2: or something like that, which which is cool, but it's

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Speaker 2: like there's something about actually like talking to people and

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Speaker 2: seeing how they do it, you know. I remember we

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Speaker 2: we had Melvin Sparks played with us, and I think

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Speaker 2: just from a couple of gigs with him, we all

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Speaker 2: learned to play better rhythm because just the way, you know,

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Speaker 2: you wouldn't know it even from the records. I mean,

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Speaker 2: he's great on the records, but in the room, the

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Speaker 2: way he would drive the band just by playing rhythm

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Speaker 2: guitar was you know, really great.

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Speaker 1: It made us all funkier. So that's a great quote.

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Speaker 1: It made us all funky.

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Speaker 4: So when did you get so deeply connected with the

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Speaker 4: beautiful ham and B three organ.

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Speaker 2: It's really at the beginning of the Grave Boys, guys.

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Speaker 1: I had played piano.

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Speaker 2: I started off playing drums actually when I was a

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Speaker 2: kid in bands, and then I started writing songs.

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Speaker 1: So the keyboard was a great instrumental right from so.

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Speaker 2: I played piano and I was into synthesizers and all

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Speaker 2: this stuff, but I never really played a Hammonn organ.

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Speaker 1: And then.

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Speaker 2: I got turned onto all those great Blue Note and

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Speaker 2: Prestige sixties records kind of from Gray Boy and these guys,

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Speaker 2: and I started collecting those records and became kind of

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Speaker 2: in love with the instrument. And it was always a

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Speaker 2: sign also that you're gonna the record will be soulful

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Speaker 2: and funky. And you know, if you like the late

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Speaker 2: sixties or mid sixties jazz record, it's based on a

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Speaker 2: hamm An organ. It's it's kind of an indicator of

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Speaker 2: what you're what you're in store for. So I just

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Speaker 2: started getting everything I could and collecting you know, Jim

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Speaker 2: McGriff and Jack McDuff and you know, Richard grow Holmes

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Speaker 2: and John Patton goes on and on, and that just

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Speaker 2: made me fall in love with it. And then you

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Speaker 2: you start learning more about it all the time. It's

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Speaker 2: a it's a very complex instrument. I'm still I still

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Speaker 2: am intimidated by it sometimes, but I.

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Speaker 1: Can't really believe that that you are. I'm sorry, I

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Speaker 1: don't think so, but it's just there's so much to it.

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Speaker 2: And then you like listening to Jimmy Smith and it's

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Speaker 2: just so it's you know, Herbie Hancock said something like,

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Speaker 2: if you ever feel like you're getting good, go listen

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Speaker 2: to Art Tatum record, you know, and it's Jimmy Smith's

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Speaker 2: sort of the same thing for organ players, where it's

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Speaker 2: just you know, he was he kind of invented the language,

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Speaker 2: and you know, it's just it puts you in your

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Speaker 2: place if you listen to that stuff.

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Speaker 4: Now, I know, guitar players sometimes, you know, mess around

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Speaker 4: with their guitar and soup it up differently, add you know,

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Speaker 4: add things to it, reverse engineer things differently.

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Speaker 1: Whatever.

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Speaker 4: Do you do the same with you know, either ham

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Speaker 4: and B three's or other organs. Do you fool around

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Speaker 4: with them to suit your needs?

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Speaker 2: So yeah, I've done things like you know, put put

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Speaker 2: it through effects and do all these things. But basically

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Speaker 2: I'm I'm I play a pretty stock rig. I just

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Speaker 2: turn it all the way up. It's kind of my

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Speaker 2: trick because I really say, and it also sounds great

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Speaker 2: to hit tape hard when you're recording, kind of like,

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Speaker 2: don't be scared of distortion.

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Speaker 1: It's part of the sound.

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Speaker 2: So I get in the back and turn the pre

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Speaker 2: amp all the way up and turn the Levey all

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Speaker 2: the way up, and that's that's the tone.

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Speaker 4: What are some of your other your favorites if you

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Speaker 4: will love you know, instruments wise organ wise, I see

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Speaker 4: one behind you right there.

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Speaker 2: That's just the piano where I write my music. And

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Speaker 2: then you know, I love electric pianos, have a you know,

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Speaker 2: I have a big collection of instruments, so but you know,

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Speaker 2: Fender Rhodes was sort of my my first thing I

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Speaker 2: loved from out of this genre, from Herbie Hancock Records

240
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Speaker 2: and Ramsey Lewis too. I always love so Bender Rhoades

241
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Speaker 2: in Wurlitzer clavinet is a great instrument.

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Speaker 1: You know, it's unique.

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Speaker 2: I love the Honer pionet, which a lot of people

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Speaker 2: don't know about, but that's you know, if you like

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Speaker 2: if you ever listened to Zombies back from the sixties there,

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Speaker 2: the pianet is highly featured in that slice. Stone used

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Speaker 2: one a lot too. And then lately I'm I've been

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Speaker 2: really interested in synthesizers. I grew up loving all that

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Speaker 2: stuff in the eighties, but I went through a phase

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Speaker 2: where I was only playing sort of electro mechanical old instruments,

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Speaker 2: and now I'm really I love like analogue synth.

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Speaker 4: Do you remember the first time you heard the band's

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Speaker 4: chest fever.

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Speaker 1: Oh yeah, and your reaction.

255
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Speaker 2: Yeah, that's the crazy and all that that huge intro.

256
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Speaker 2: My parents were really into the band, so I grew

257
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Speaker 2: up with that stuff. I love the version on what's

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Speaker 2: that record, Rock of Ages with the long Garth, you know,

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Speaker 2: like what they call that molecular something. I forget what

260
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Speaker 2: they called the intro, but he has that bendy thing

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Speaker 2: going on on the it's a lowry organ. It is

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Speaker 2: a lowry yeah, that's what they say. And I met

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Speaker 2: I met him briefly. I did this crazy show in

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Speaker 2: New York. It was supposed to be al Cooper, Garth,

265
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Speaker 2: Marco Benevento, and i Will Lee was in the band.

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Speaker 2: It was pretty cool, like we all played some of

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Speaker 2: our tunes. I'll didn't make it from for some health thing,

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Speaker 2: but Garth did play and it was great to see him.

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Speaker 2: At that time, he was playing a synthesizer, but still

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Speaker 2: like did all the bens and that cool stuff.

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Speaker 4: Can you imagine him playing his his his organ in

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Speaker 4: a in a funeral.

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Speaker 1: Parlor, right right? I always said that old time kind

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Speaker 1: of thing, you know. So tell me.

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Speaker 4: About working with Roger Waters and how you are able

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Speaker 4: to sort of put your own unique stamp on this

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Speaker 4: legacy music.

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Speaker 2: Oh yeah, so I grew up loving Pink Floyd and

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Speaker 2: I remember going to store and buying the Wall when

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Speaker 2: it came out when I was like ten, you know,

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Speaker 2: So I've been listening to that stuff over the years.

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Speaker 2: It's a great part of I love all of rock

283
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Speaker 2: organ players in general.

284
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Speaker 1: So all that Rick stuff was really interesting to me.

285
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Speaker 2: And it's it's it's different than like the guitar chair

286
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Speaker 2: in that group is much more more sort of you

287
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Speaker 2: feel like you have to recreate some of that solos

288
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Speaker 2: because it's so they're so iconic, but the organ parts

289
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Speaker 2: are pretty loose actually, and it's pretty you know, I'm

290
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Speaker 2: I'm playing the sort of like the big footballs of it,

291
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Speaker 2: but within that I can kind of screw around and

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Speaker 2: you know, just create pixtures.

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Speaker 4: And so you've given obviously tremendous room in that relationship

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Speaker 4: with Roger to do what you need to do.

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Speaker 1: Right.

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Speaker 2: Yeah, it's freer than I would have thought, being such

297
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Speaker 2: a classic thing. But that band always improvised a little bit,

298
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Speaker 2: and I think even a lot of the arrangements were

299
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Speaker 2: kind of made out of those things.

300
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Speaker 1: Although he is he has crazy attention to details.

301
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Speaker 2: So he would, you know, here come to sound check

302
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Speaker 2: every day with a yellow legal pad of notes from

303
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Speaker 2: the night before and be like, this part you got

304
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Speaker 2: to bring play play more, play more out or you're

305
00:15:14,680 --> 00:15:17,080
Speaker 2: playing too much here. You know, everybody in the band,

306
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Speaker 2: he kind of hears every little detail, so he does

307
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Speaker 2: kind of like sculpt your parts, but out of things

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Speaker 2: that you're you're playing sort of freely, he'll be like, yeah,

309
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Speaker 2: more of that or less of that.

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Speaker 1: You know, when you.

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Speaker 4: Think about working with with Roger Waters, uh, Mike Gordon

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Speaker 4: of Fish and Stanton More, is there one thing those

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Speaker 4: three have in common in terms of the way they

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Speaker 4: look at their craft.

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Speaker 1: I don't know that there's that much in coming.

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Speaker 2: I mean, part of the reason why I feel blessed

317
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Speaker 2: is to have played with such a variety of collaborators

318
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Speaker 2: and they're they're all kind of have their own.

319
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Speaker 1: Unique their unique quirks, so but.

320
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Speaker 2: They're all different. Like Mike, Mike is very free with

321
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Speaker 2: you know, almost doesn't tell you what to play or

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Speaker 2: very often I'll just be like he wants he wants

323
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Speaker 2: something unique to happen in the moment. It's all about

324
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Speaker 2: setting up sort of a space where anything could go,

325
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Speaker 2: where Roger's very like organized and it's more about like

326
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Speaker 2: this playing around this lyric of the song and stuff.

327
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Speaker 2: But but Mike wants to go off script all the time,

328
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Speaker 2: so it's like it's a totally different thing. He he's

329
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Speaker 2: inspiring because he's so fearless, like he doesn't really worry

330
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Speaker 2: about if anyone I'll like it or not. He just

331
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Speaker 2: kind of wants something. He wants to it to be

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Speaker 2: exciting for him. And then Stanton's just I met Stanton

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Speaker 2: way back in Green Circle days. Galactic had come out

334
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Speaker 2: from New Orleans and they played I think it might

335
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Speaker 2: have been on our night, or it could have been

336
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Speaker 2: the night before something, but the whole Gray boy Band

337
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Speaker 2: went to see them because they were kind of like

338
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Speaker 2: our counterparts in from New Orleans playing this funky music.

339
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Speaker 1: So I met Stanton Inn and we liked each other

340
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Speaker 1: ever since.

341
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Speaker 2: He played on my first solo record, and I've played

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Speaker 2: with him on a bunch of records and written a

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Speaker 2: lot of music that he still plays today. And I

344
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Speaker 2: just thought of a couple of weeks ago. It's been

345
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Speaker 2: a great friend and collaborator.

346
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Speaker 4: Great boy's been around thirty issue years Yeah, what's the

347
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Speaker 4: secret behind longevity here as a band?

348
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Speaker 2: I think, well, I think part of it is we

349
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Speaker 2: take time off. The first five years were amazing and

350
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Speaker 2: the band was so tight, but we were you know,

351
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Speaker 2: you get where you want to kill each other when

352
00:17:46,040 --> 00:17:48,840
Speaker 2: we were playing like tons of dates, like it never

353
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Speaker 2: rested and we'd come off the road and then play

354
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Speaker 2: all our weekly San Diego stept So there was never

355
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Speaker 2: a week where I didn't have a couple of Grave

356
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Speaker 2: boyd gigs for five years probably so. But after that

357
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Speaker 2: we sort of started loosening things up. But everybody has

358
00:18:03,880 --> 00:18:06,159
Speaker 2: side things, so they all you can kind of express

359
00:18:06,200 --> 00:18:08,600
Speaker 2: yourself in all these different ways, and I think the

360
00:18:08,640 --> 00:18:11,560
Speaker 2: great oil starts. It's always kind of kept our mission

361
00:18:11,960 --> 00:18:15,960
Speaker 2: statement the same, which is to play sort of pay

362
00:18:16,040 --> 00:18:19,679
Speaker 2: tribute to this great music and keep it improvisational but

363
00:18:19,760 --> 00:18:23,400
Speaker 2: also sort of dance floor friendly. So it never got

364
00:18:23,440 --> 00:18:27,680
Speaker 2: confused artistically, you know, it's always been like one thing,

365
00:18:27,760 --> 00:18:29,560
Speaker 2: and because we could do other things, we don't feel like.

366
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Speaker 1: We have to force every creative idea into this band.

367
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Speaker 2: This is just this thing we do and we all

368
00:18:34,640 --> 00:18:36,960
Speaker 2: agree on what it is, so it kind of never

369
00:18:37,000 --> 00:18:37,960
Speaker 2: gets older.

370
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Speaker 1: And there's just a kind of a magical chemistry.

371
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Speaker 2: It's just one of those things you never I played

372
00:18:43,240 --> 00:18:46,560
Speaker 2: with better musicians, but I haven't ever played it with

373
00:18:46,640 --> 00:18:47,280
Speaker 2: a better band.

374
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Speaker 1: You know. It's that thing bigger than the South of

375
00:18:51,040 --> 00:18:51,560
Speaker 1: its part to you.

376
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Speaker 4: And you've got grab Bag two thousand and seven to

377
00:18:56,680 --> 00:18:59,120
Speaker 4: twenty twenty three, talk about that collection.

378
00:19:00,080 --> 00:19:01,919
Speaker 2: So yeah, So the new album is kind of a

379
00:19:02,680 --> 00:19:05,280
Speaker 2: it's kind of a B sides pompilation.

380
00:19:05,480 --> 00:19:05,800
Speaker 1: Really.

381
00:19:05,840 --> 00:19:10,600
Speaker 2: It's like things that were either left off the records

382
00:19:11,720 --> 00:19:15,280
Speaker 2: because of time, you know, we didn't have enough space

383
00:19:15,320 --> 00:19:18,399
Speaker 2: on it, or there was they were too weird in

384
00:19:18,400 --> 00:19:20,960
Speaker 2: a sequence, they didn't flow good with the other songs

385
00:19:21,000 --> 00:19:25,280
Speaker 2: are for whatever reason. Things, you know, things didn't make

386
00:19:25,320 --> 00:19:27,119
Speaker 2: it on previous albums. And then there's a couple of

387
00:19:27,160 --> 00:19:29,960
Speaker 2: brand new songs. So it's kind of like a collection

388
00:19:30,040 --> 00:19:34,600
Speaker 2: of odds and ends. But we had been all listening

389
00:19:34,600 --> 00:19:36,520
Speaker 2: to this stuff for years and they became kind of

390
00:19:36,760 --> 00:19:41,760
Speaker 2: inside the band, became our favorite songs, and we were

391
00:19:41,760 --> 00:19:44,240
Speaker 2: always like, we should just release the stuff. This is great, Like,

392
00:19:44,640 --> 00:19:45,879
Speaker 2: you know, what are we scared if some of this

393
00:19:45,880 --> 00:19:48,760
Speaker 2: stuff is a little at the sort of at the

394
00:19:48,840 --> 00:19:52,520
Speaker 2: edges of what we would normally do genre wise, like

395
00:19:52,880 --> 00:19:55,240
Speaker 2: there's a tune that's kind of like a real jazz

396
00:19:55,240 --> 00:19:58,199
Speaker 2: song that has a lot of chord changes, and you know,

397
00:19:58,359 --> 00:20:02,840
Speaker 2: are there's like some kind of atmospheric stuff. There's like

398
00:20:02,880 --> 00:20:06,760
Speaker 2: a little bit stretchy. But I was I was pleasantly

399
00:20:06,760 --> 00:20:08,639
Speaker 2: surprised when we put it all together how well it

400
00:20:08,680 --> 00:20:11,400
Speaker 2: hangs as an album. It sounds like it was conceived

401
00:20:11,720 --> 00:20:15,919
Speaker 2: as a as a set, not not made from you know,

402
00:20:16,280 --> 00:20:19,000
Speaker 2: sort of discarded things. But you know, we had some

403
00:20:19,080 --> 00:20:22,880
Speaker 2: time and where we couldn't tour because Carl, i think,

404
00:20:23,000 --> 00:20:25,720
Speaker 2: was out with the Stones, and you know, everybody was

405
00:20:25,760 --> 00:20:27,880
Speaker 2: sort of spread out, so we kind of went into

406
00:20:27,960 --> 00:20:30,199
Speaker 2: archive and started working on these things and finishing up

407
00:20:30,200 --> 00:20:30,919
Speaker 2: a bunch of stuff.

408
00:20:31,200 --> 00:20:33,320
Speaker 1: And I'm real proud of it at school. Great record,

409
00:20:33,840 --> 00:20:35,119
Speaker 1: congratulations on it.

410
00:20:35,160 --> 00:20:39,479
Speaker 4: And you also have your solo work, the most recent

411
00:20:39,640 --> 00:20:42,840
Speaker 4: called Better Feathers. Can you talk about that project?

412
00:20:43,200 --> 00:20:43,440
Speaker 1: Oh?

413
00:20:43,520 --> 00:20:45,720
Speaker 2: Yeah, so that was That's a bunch of music I

414
00:20:45,840 --> 00:20:50,000
Speaker 2: made during sort of COVID lockdown. I had always I

415
00:20:50,000 --> 00:20:53,600
Speaker 2: always made like sort of home recordings as demos of

416
00:20:53,600 --> 00:20:57,720
Speaker 2: my tunes to bring into bands, but I never made

417
00:20:57,760 --> 00:21:01,679
Speaker 2: like an album at home. So the good thing about

418
00:21:01,840 --> 00:21:04,879
Speaker 2: that time is you had a lot of time, you know,

419
00:21:05,400 --> 00:21:07,199
Speaker 2: a lot of time, and not much to do with it.

420
00:21:07,280 --> 00:21:08,879
Speaker 2: So I just started working on music to say I

421
00:21:08,920 --> 00:21:11,720
Speaker 2: wouldn't go crazy. And I started recording stuff and then

422
00:21:11,760 --> 00:21:14,200
Speaker 2: sending tracks to my friends and they would record at home.

423
00:21:14,480 --> 00:21:19,280
Speaker 1: So that's all sort of homemade music, and it was

424
00:21:19,320 --> 00:21:20,240
Speaker 1: a fun way.

425
00:21:20,040 --> 00:21:23,359
Speaker 2: To sort of keep yourself feel like you're out of

426
00:21:23,400 --> 00:21:25,600
Speaker 2: a gig with Stanton or whatever. You just he would

427
00:21:26,040 --> 00:21:27,760
Speaker 2: send me tracks and he play on them and send

428
00:21:27,800 --> 00:21:30,439
Speaker 2: them back to me, and we started work that way.

429
00:21:30,160 --> 00:21:30,840
Speaker 1: So well.

430
00:21:30,840 --> 00:21:33,880
Speaker 4: In closing, you've worked, as we've discussed, with so many

431
00:21:34,160 --> 00:21:37,680
Speaker 4: unique people, and you continue to. So who's on the

432
00:21:37,800 --> 00:21:40,840
Speaker 4: dream list to work with in some form that you

433
00:21:40,960 --> 00:21:41,720
Speaker 4: haven't worked with.

434
00:21:42,600 --> 00:21:45,359
Speaker 2: I always tell people that I would love to work

435
00:21:45,400 --> 00:21:47,200
Speaker 2: with the York you know, b York.

436
00:21:47,520 --> 00:21:47,760
Speaker 1: Yep.

437
00:21:48,000 --> 00:21:50,280
Speaker 2: Yeah, I'm a huge fan, and that's way out of

438
00:21:50,320 --> 00:21:53,320
Speaker 2: the realm of anyone I would normally meet, you know,

439
00:21:53,800 --> 00:21:56,600
Speaker 2: But that's always sort of been like, oh wow, if

440
00:21:56,640 --> 00:22:00,240
Speaker 2: I could, you know, And then you know, I don't know.

441
00:22:00,280 --> 00:22:03,160
Speaker 2: I still have a bunch of heroes, but I've gotten

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00:22:03,200 --> 00:22:05,680
Speaker 2: to play with most of my heroes, which is what's

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00:22:05,760 --> 00:22:08,240
Speaker 2: really amazing, you know. I wish you could go back

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00:22:08,280 --> 00:22:10,399
Speaker 2: in time and play with Curtis Mayfield or something.

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00:22:10,440 --> 00:22:10,639
Speaker 1: You know.

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00:22:11,720 --> 00:22:14,720
Speaker 4: I could picture because of your you know, ability to

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00:22:15,119 --> 00:22:18,320
Speaker 4: move on the run. I could picture you doing something

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00:22:18,359 --> 00:22:19,240
Speaker 4: on a Dylan tour.

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00:22:20,000 --> 00:22:23,000
Speaker 2: Oh that would be amazing too. Yep, yeah, I grew

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00:22:23,040 --> 00:22:26,040
Speaker 2: up loving all that music. My mom especially is a

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00:22:26,200 --> 00:22:27,080
Speaker 2: huge Dylan.

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00:22:26,840 --> 00:22:30,080
Speaker 4: Fan because he likes keeping the band guessing, and I

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00:22:30,119 --> 00:22:31,639
Speaker 4: think you know how to deal with that.

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00:22:32,359 --> 00:22:33,720
Speaker 1: Yeah, yeah, yeah.

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00:22:33,760 --> 00:22:37,000
Speaker 2: His gigs are interesting because he's never he's I think

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00:22:37,040 --> 00:22:37,879
Speaker 2: it's great.

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00:22:37,640 --> 00:22:39,840
Speaker 1: When people don't sort of go out.

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00:22:39,680 --> 00:22:42,119
Speaker 2: And play the hits like you expect him to call

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00:22:42,160 --> 00:22:44,320
Speaker 2: a weird setlist or play a weird version of a song.

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00:22:44,480 --> 00:22:47,159
Speaker 2: I love how I love it when older I just

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00:22:47,240 --> 00:22:50,479
Speaker 2: keep the thing vital. I just saw Joni Mitchell at

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Speaker 2: the Hollywood Ball That's somebody.

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Speaker 1: Also I would love to meet someday. A huge fan.

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Speaker 2: But it was great because she's still like throwing curveballs

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00:23:00,040 --> 00:23:02,680
Speaker 2: at the audience and it's you know, it's our Herbie

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00:23:02,680 --> 00:23:04,679
Speaker 2: Hancock did the same thing when I said on him recently,

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00:23:05,160 --> 00:23:07,199
Speaker 2: you're still playing very adventurously, you know.

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Speaker 1: I love that. I love it.

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Speaker 4: Robert Walter, the Gray Boy all stars, grab Bag the

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00:23:14,400 --> 00:23:17,800
Speaker 4: new collection. Thank you so much for being on Taking

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Speaker 4: a Walk.

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Speaker 1: I really enjoyed talking with you. Yeah, thank you. Thanks

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00:23:20,760 --> 00:23:21,720
Speaker 1: for having me. It's great.

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00:23:22,960 --> 00:23:25,399
Speaker 3: Thanks for listening to this episode of the Taking a

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00:23:25,440 --> 00:23:29,360
Speaker 3: Walk podcast. Share this and other episodes with your friends

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00:23:29,440 --> 00:23:32,920
Speaker 3: and follow us so you never miss an episode. Taking

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00:23:32,960 --> 00:23:36,840
Speaker 3: a Walk is available on the iHeartRadio app, Apple Podcasts,

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00:23:37,040 --> 00:23:39,360
Speaker 3: and wherever you get your podcasts.