WEBVTT - Sonny Rollins

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<v Speaker 1>Pushkin. Hey everyone, Today we're continuing our celebration of Black

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<v Speaker 1>Music Month with one of my all time favorites, jazz legend,

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<v Speaker 1>Sonny Rollins. Rollins is dubbed the Saxophone Colossus. He's an

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<v Speaker 1>American tenor and composer who was widely regarded as one

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<v Speaker 1>of the most influential jazz musicians ever, with several awards

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<v Speaker 1>under his belt, a Grammy Award for Lifetime Achievement in

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<v Speaker 1>the National Medal of Arts to name a few. Some

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<v Speaker 1>even venture to call him the greatest living improviser. Sadly, now,

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<v Speaker 1>at ninety one years old, Rollins no longer plays as

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<v Speaker 1>a result of pulmonary fibrosis, but he is able to

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<v Speaker 1>look back at an eight decade career that took him

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<v Speaker 1>all the way from the beginnings of bebop to playing

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<v Speaker 1>with the Rolling Stones and all over the world. On

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<v Speaker 1>today's episode, I spoke to Sonny Rollins by phone about

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<v Speaker 1>one of his first big gigs at eighteen way back

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<v Speaker 1>in nineteen forty nine, playing alongside other jazz icons like

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<v Speaker 1>Bud Powell and Fats Navarro. He also explains why he

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<v Speaker 1>no longer actively listens to music, and for the first

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<v Speaker 1>time ever, how Charlie Parker is the reason he kicked drugs.

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<v Speaker 1>This is broken record Liner notes to the digital age.

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<v Speaker 1>I'm justin Mitchman. Here's my phone conversation with the great

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<v Speaker 1>Sonny Rollins. I want to talk about early in your career.

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<v Speaker 1>You were eighteen years old in nineteen forty nine. That

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<v Speaker 1>was your first professional date and the first that I

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<v Speaker 1>can figure was with Babs Gonzales on Saint Louis Blues.

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<v Speaker 1>That does that seem true?

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<v Speaker 2>I know that I had began recording in I've laid foties,

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<v Speaker 2>so I would imagine that it might be true. I

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<v Speaker 2>can't verify exactly.

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<v Speaker 1>Do you remember Babs Gonzales pretty well?

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<v Speaker 2>Oh? Sure? Very dish is like a character you. Yeah,

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<v Speaker 2>I remember Mads very well. Babs. I liked my playing

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<v Speaker 2>a lot, and I used to make some of these

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<v Speaker 2>gigs that dads Gonzales had pole up a lot of

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<v Speaker 2>resists in the car and we go down to Philly,

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<v Speaker 2>or we go up to Boston or president an immediate area,

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<v Speaker 2>and hey, so I got a chance to play with

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<v Speaker 2>some of my idols. I got a chance to play

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<v Speaker 2>with Faction of Varrow.

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<v Speaker 1>I want to bring that up the same year, when

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<v Speaker 1>you're still eighteen, you got to play on some pretty

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<v Speaker 1>incredible un power records, well, Pouncing with Bud, fifty second

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<v Speaker 1>Street Theme, Dance of the Infidels, I mean, just real,

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<v Speaker 1>real classics, and you're playing on there with Fats, with

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<v Speaker 1>Fats and Navarro, the amazing trump of player. It's insane.

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<v Speaker 2>Yeah, I know it was. I mean, I guess I

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<v Speaker 2>had too many dogs in my head to even stop

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<v Speaker 2>and realize what I was doing. Yeah, oh, but you know,

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<v Speaker 2>so this is I credit bad.

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<v Speaker 3>But and Jalous were doing that with getting me on

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<v Speaker 3>a lot of jobs with uh Fast of all, I think,

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<v Speaker 3>I'm sorry, I can't remember.

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<v Speaker 2>Some of me. Some other the the best players around

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<v Speaker 2>played with some.

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<v Speaker 3>Of these jobs, and I was a young, young.

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<v Speaker 2>Pet and my having an opportunity to play with them

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<v Speaker 2>was tremendous.

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<v Speaker 1>At eighteen playing with people like Bud, Poal and Fat

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<v Speaker 1>and Navar. Were you were you nervous at all?

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<v Speaker 2>Well?

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<v Speaker 3>I was too stupid to be nervous, So I always

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<v Speaker 3>felt that if they wanted me there, then I'll just

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<v Speaker 3>you know that I should be there. I was never really.

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<v Speaker 2>One of these guys. Was felt intimidated. I just felt well,

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<v Speaker 2>look if they want me to read, and I'm just

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<v Speaker 2>you know, I guess I'm supposed to be here. So

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<v Speaker 2>it wasn't bad. So I went on and did what

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<v Speaker 2>I did. But it was certainly not on the level

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<v Speaker 2>of JJ Johnson and all of these people that I

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<v Speaker 2>was playing with when I was a teenager, right, I.

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<v Speaker 1>Mean Roy Haynes, who we thankfully, just like you, we

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<v Speaker 1>still have around these days. He was on those Bud

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<v Speaker 1>Powell sessions as well, the drummer Roy Haynes. Do you

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<v Speaker 1>ever have the urge to call someone like that these

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<v Speaker 1>days and just sort of confirm that these things actually happened.

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<v Speaker 2>I called Roy upon his birthdays, and I always call

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<v Speaker 2>him up and we talk about things that we can

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<v Speaker 2>both remember. So Roy, I know from I know Roy.

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<v Speaker 2>We know. We were a bunch of young kids wanting

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<v Speaker 2>to play music. And Roy moved up in our neighborhood,

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<v Speaker 2>up on sugar Hill they called it. We all knew him.

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<v Speaker 2>And then Roy was playing with Leicester.

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<v Speaker 1>Yell, you must have loved Lester. I mean, I can

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<v Speaker 1>imagine Lester must have been an inspiration for you.

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<v Speaker 2>Lester Young was God, you know, and it was so

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<v Speaker 2>good to get to know Lester Yell and to know

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<v Speaker 2>that Lester Young liked to me because we used to

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<v Speaker 2>be up in Leicester's apartment at the Alvin Hotel up

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<v Speaker 2>one Broadway, and guys would be let's look at the

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<v Speaker 2>if for some guys coming musicians. He would call down

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<v Speaker 2>and tell a guy, no, say I'm not home. So

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<v Speaker 2>he you know, a lot of people came to see him,

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<v Speaker 2>but he didn't avide everybody, and he liked me. He

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<v Speaker 2>liked me and Matt Roach used to come out there

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<v Speaker 2>and I got a great friendship with the Great Prayers

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<v Speaker 2>and that gave me a lot of validation that I

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<v Speaker 2>was doing something right. Yeah.

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<v Speaker 1>Absolutely. I'm realizing Roy has a birthday coming up in

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<v Speaker 1>a few days here, so I guess you'll be probably

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<v Speaker 1>calling him.

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<v Speaker 2>Huh oh, yeah, I didn't know it was coming up here.

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<v Speaker 2>I'll find out about it and I will definitely call him, definitely.

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<v Speaker 1>Yeah, yeah, man, Roy will be twenty ninety seven. You're

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<v Speaker 1>ninety one. Now, how long ago does an experience like

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<v Speaker 1>that feel it this point? Like, does it even feel

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<v Speaker 1>like it was in the same lifetime?

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<v Speaker 2>Well? Yes and no it uh, you know, there was

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<v Speaker 2>no in a life that's a tough tough question, because

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<v Speaker 2>lifetime means, you know, the last week could be a

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<v Speaker 2>different lifetime in a way of speaking, in a way

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<v Speaker 2>it's a different yes, but still it was a lifetime

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<v Speaker 2>which I was involved in, so it's not that different.

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<v Speaker 2>But yes, it was different in so many ways, different

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<v Speaker 2>musicians around, different venues around. You know, lifetime is a

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<v Speaker 2>difficult word since I believe in reincarnation. I accept reincarmation.

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<v Speaker 2>So maybe when you say it was a different lifetime,

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<v Speaker 2>it vends up too many contradictory things to be able

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<v Speaker 2>to answer that precisely.

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<v Speaker 1>No, I see what you mean. I see what you mean.

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<v Speaker 1>I was watching an interview did the other night in

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<v Speaker 1>nineteen sixty two on Ralph Gleason's show that I Used

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<v Speaker 1>to Have Jazz Casual. You were the same age during

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<v Speaker 1>the filming of that that I Am. Now you're thirty two,

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<v Speaker 1>and you were referring to yourself as old and not taping.

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<v Speaker 1>You refer to yourself as kind of like an old cat. Now,

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<v Speaker 1>I'm curious what advice you might give yourself at thirty two.

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<v Speaker 2>Now. You know, I've made so many mistakes in life.

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<v Speaker 2>I've done some good things in life.

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<v Speaker 3>You know, I was learning, which I was a learning experience.

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<v Speaker 2>I think I was born a fairly positive person. Used

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<v Speaker 2>to call me the jesture. Well, no, I was your

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<v Speaker 2>little boy so and playing. So I think I had

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<v Speaker 2>a positive personality all through my life. You know, that's

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<v Speaker 2>what we think, and it's good, but things happened to us.

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<v Speaker 2>We get tested in life, and it's a long trip.

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<v Speaker 1>You know.

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<v Speaker 2>And I've known so many people that didn't make it

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<v Speaker 2>all the way and ended up in terribo situations. I

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<v Speaker 2>was talking about my friend. There is a great drummer

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<v Speaker 2>from Chicago named Aike Day. They played with that day

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<v Speaker 2>when I was in Chicago Reagon nineteen forty nine. He

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<v Speaker 2>was strung out on drugs and I was star sort

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<v Speaker 2>of strung out on drugs at the time. So that

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<v Speaker 2>was a different, different world. But it was one of

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<v Speaker 2>those rivers I had to cross, so that it's hard

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<v Speaker 2>to look back, you know. I made a lot of

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<v Speaker 2>mistakes in life. I did some things in life which

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<v Speaker 2>I like my music. I was already trying to get better.

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<v Speaker 2>But as I said, I was a guy that wasn't

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<v Speaker 2>afraid of trying to do something and playing with superior

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<v Speaker 2>musicians and all that. Because you know, I thought that

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<v Speaker 2>I should be there. They wanted me to be there.

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<v Speaker 2>We have to learn we have to try to be

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<v Speaker 2>out the Golden rule when all that stuff got to

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<v Speaker 2>try to do it. We don't get it now, we

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<v Speaker 2>have to try it again. Like it said in the

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<v Speaker 2>TV commercial, pay me now or pay me later.

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<v Speaker 1>I'm quote I'm gonna start quoting that.

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<v Speaker 2>Yeah, man, you gotta get it right. You can't do

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<v Speaker 2>anything and get away with it. You gotta get it right.

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<v Speaker 2>You don't get it right now, you're gonna get happy

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<v Speaker 2>get it right later because you reap. But to so see,

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<v Speaker 2>some of these things are very important to remember that

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<v Speaker 2>what life is aboved life is to find out the

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<v Speaker 2>reason for life? What does it mean? And that goes

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<v Speaker 2>on and on. Man who knows how many lives we

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<v Speaker 2>have to live could read a brilliant Tridian who knows.

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<v Speaker 2>I don't know, but I know that you can't get

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<v Speaker 2>it generally in one lifetime. Some people are really advanced

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<v Speaker 2>that I've read in life. I say, wow, their journey.

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<v Speaker 2>They know a lot more than I do than some people.

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<v Speaker 2>I'm ahead of some other people in their journey. I say, wow,

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<v Speaker 2>I've learned some things. This guy hasn't learned, or this

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<v Speaker 2>girl I even learned. All of these things mean something.

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<v Speaker 1>We're going to take a quick break here, but we'll

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<v Speaker 1>be back with more from Sonny Rollins. We're back with

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<v Speaker 1>more from Sonny Rollins. You know, I'm thinking about what

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<v Speaker 1>you've sewed musically, and that certainly is more and more

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<v Speaker 1>than I think many people, you know, whatever, contribute to

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<v Speaker 1>one lifetime. And I was thinking about the year particular,

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<v Speaker 1>nineteen fifty six for you. That year you played a

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<v Speaker 1>date with Miles Davis that included Charlie Parker. Do you

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<v Speaker 1>remember that date? Oh yeah, Collector's Items, Collector's Items exactly.

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<v Speaker 1>You played Serpent's Tooth. Did you interact with Bird much

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<v Speaker 1>on that session?

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<v Speaker 2>Well, Bird was another one of my gruges, so of

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<v Speaker 2>course there was a lot of other some other things

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<v Speaker 2>happen on that particular session. And well, I guess I

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<v Speaker 2>might as were old say it. At that time, I

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<v Speaker 2>was still on drugs. I hadn't seen Charlie Riff Parker

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<v Speaker 2>or ours, he said, said Sarah. Sonny said.

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<v Speaker 3>I told him.

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<v Speaker 2>I think he said, yeah, how you doing. I think

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<v Speaker 2>he meant that I bet my life together, And I

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<v Speaker 2>tell him, oh, yeah, yeah, Mandham, I'm doing good, you know.

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<v Speaker 2>So I lied to him. I wasn't doing good. And

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<v Speaker 2>some guys in the band later on during the session

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<v Speaker 2>they read it on me. They said, oh, man, Sonny,

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<v Speaker 2>Sonny was getting high with this last night. So anyway,

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<v Speaker 2>later on the session, after he found out that I

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<v Speaker 2>had lied to him, I had noticed something in him

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<v Speaker 2>had destroyed. He was had desponded. He was to know

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<v Speaker 2>that I had and not just me. Then I realized

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<v Speaker 2>maln Bird was so involved with all of the young

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<v Speaker 2>musicians trying to follow his music in his lifestyle was

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<v Speaker 2>killing him. The drug Yeah, knowing that all these young

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<v Speaker 2>guys were using drugs, it worth killing him, It worth

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<v Speaker 2>killing you. And I saw that at this session. So

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<v Speaker 2>you know what I said, Okay, that's it. I said

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<v Speaker 2>this to myself, I'm going to get off of drugs

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<v Speaker 2>and still Charlie Parker that he shouldn't be so down

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<v Speaker 2>because some people are following his positive effect on their life,

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<v Speaker 2>not the negative effect. And that's when I made my

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<v Speaker 2>decision to get off of drugs.

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<v Speaker 1>Wow, I didn't know that. I had no idea.

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<v Speaker 2>Yeah, well that's part of this life that I'm living here.

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<v Speaker 2>So I say, you know what I got off of drugs.

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<v Speaker 2>I didn't know whether they need to know all of that,

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<v Speaker 2>but it wasn't losing.

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<v Speaker 1>It's very fascinating. Did you ever get a chance to

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<v Speaker 1>tell Charlie that you got clean? O?

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<v Speaker 2>Well, what happened was this. There was a drug rehabilitation

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<v Speaker 2>place in Lexington, Kentucky. It was the first place where

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<v Speaker 2>every It was like the Betty Ford Clinic before the

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<v Speaker 2>Betty Ford Clinic, and a lot of people were there,

0:15:27.356 --> 0:15:30.676
<v Speaker 2>people that were into drugs, and movie stars were there.

0:15:31.116 --> 0:15:37.036
<v Speaker 2>We were treated like patients, not as criminals anyway.

0:15:37.236 --> 0:15:39.876
<v Speaker 3>So I was there for the cure.

0:15:40.076 --> 0:15:44.876
<v Speaker 2>The cure was I been four months. I left Lexington

0:15:45.036 --> 0:15:50.396
<v Speaker 2>in five five fifty five. That's when I was this

0:15:50.676 --> 0:15:54.076
<v Speaker 2>charge or whatever you want to call it. But the

0:15:54.836 --> 0:16:01.156
<v Speaker 2>unfortunate maybe so maybe not. A part of it was

0:16:01.236 --> 0:16:08.396
<v Speaker 2>that Charlie Parker passed away one month before I got

0:16:08.436 --> 0:16:14.796
<v Speaker 2>out of Lexington, Kentucky. So I never got the chance

0:16:14.876 --> 0:16:18.796
<v Speaker 2>to which I was waiting to do growing up your

0:16:18.836 --> 0:16:23.436
<v Speaker 2>berth mad him straight, Charlie m straight man. I would

0:16:23.476 --> 0:16:26.716
<v Speaker 2>convince him or he would know that I was so

0:16:26.876 --> 0:16:32.436
<v Speaker 2>anxious because I was so ashamed of lying to him.

0:16:32.636 --> 0:16:36.636
<v Speaker 2>Earlier on this record, Dag he just recalled. So I

0:16:36.756 --> 0:16:40.316
<v Speaker 2>was so anxious for this to happen. I would be

0:16:40.356 --> 0:16:43.596
<v Speaker 2>able to see him and convince him that I was

0:16:44.076 --> 0:16:49.516
<v Speaker 2>that I wasn't going to disgrace him anymore. But unfortunately

0:16:50.556 --> 0:16:51.916
<v Speaker 2>that would denied me.

0:16:52.676 --> 0:16:57.196
<v Speaker 3>However, I do believe in things like.

0:16:57.316 --> 0:17:01.196
<v Speaker 2>The afterlife and all that stuff, So I think Charlie

0:17:01.196 --> 0:17:08.436
<v Speaker 2>Parker knew wherever he was at that. Oh Sonny got

0:17:08.476 --> 0:17:09.116
<v Speaker 2>my message.

0:17:09.716 --> 0:17:13.076
<v Speaker 1>Yeah, no, definitely. And you know, really, when you think

0:17:13.076 --> 0:17:15.916
<v Speaker 1>about it too, it's pretty great timing that you got

0:17:15.916 --> 0:17:18.356
<v Speaker 1>clean in fifty five, because I mean, in fifty six

0:17:18.436 --> 0:17:22.516
<v Speaker 1>your career is really insane. Your output I'm thinking about.

0:17:22.556 --> 0:17:25.836
<v Speaker 1>You know, you do Saxophone Colossus tenor Madness, you do

0:17:26.956 --> 0:17:30.396
<v Speaker 1>Brilliant Corners with The Loneus, You do a lot of

0:17:30.436 --> 0:17:34.076
<v Speaker 1>your work with Max Roach and Clifford Brown Quintet. Just

0:17:34.116 --> 0:17:36.716
<v Speaker 1>really incredible stuff is happening. I wanted to ask you

0:17:36.836 --> 0:17:40.796
<v Speaker 1>that Brilliant Corners album with The Loneus Monk. That record

0:17:41.036 --> 0:17:42.676
<v Speaker 1>really blows my mind when I listened to it. It's

0:17:42.676 --> 0:17:47.156
<v Speaker 1>like spectacularly complex, especially that title track. Do you remember

0:17:47.276 --> 0:17:50.116
<v Speaker 1>was that a tough session? A couple of sessions.

0:17:51.396 --> 0:17:54.756
<v Speaker 2>Yeah, very tough session. It was a little different than

0:17:54.796 --> 0:17:58.356
<v Speaker 2>the music that Monk could play before, as I remember,

0:17:59.916 --> 0:18:04.116
<v Speaker 2>tough music, tough music. But everybody likes that record a lot.

0:18:04.796 --> 0:18:10.156
<v Speaker 2>You already mentioned mad when they're talking about monks accomplishments.

0:18:10.476 --> 0:18:12.716
<v Speaker 1>Yeah, did you enjoy playing on it?

0:18:13.156 --> 0:18:16.396
<v Speaker 2>I think so. I think so. It was a hard

0:18:16.516 --> 0:18:20.516
<v Speaker 2>record to make, you know, it was hard. Everybody didn't

0:18:21.036 --> 0:18:25.996
<v Speaker 2>get it the first first go round, but yeah, sure

0:18:26.236 --> 0:18:29.796
<v Speaker 2>was playing with Mark. Playing with Mark was it was

0:18:29.796 --> 0:18:33.836
<v Speaker 2>a celestial experience. Whatever came out of it, and I

0:18:33.916 --> 0:18:37.996
<v Speaker 2>had that experience. And everybody liked that record a great deal.

0:18:39.036 --> 0:18:41.556
<v Speaker 1>I know. Ernie Henry, another tenor player. He ended up

0:18:41.636 --> 0:18:43.836
<v Speaker 1>leaving I think one of the sessions, and then Clark

0:18:43.916 --> 0:18:46.276
<v Speaker 1>Terry came in to sort of play. Did you ever

0:18:46.276 --> 0:18:46.996
<v Speaker 1>feel like leaving?

0:18:47.716 --> 0:18:50.876
<v Speaker 2>Oh no, no, no, maybe if they kicked me out,

0:18:50.996 --> 0:18:52.796
<v Speaker 2>but I'm not leaving on my own.

0:18:52.916 --> 0:18:54.116
<v Speaker 1>No, you're not quitting.

0:18:55.236 --> 0:18:59.596
<v Speaker 3>Oh, they'd have to show me the door.

0:19:00.516 --> 0:19:02.836
<v Speaker 2>There was a lot of great people on that record.

0:19:02.876 --> 0:19:08.116
<v Speaker 2>There was Oscar Pettiford was there, Max Rhoades, I believe,

0:19:08.636 --> 0:19:13.956
<v Speaker 2>and played the chilette. I forget. Everybody that was under

0:19:14.036 --> 0:19:18.596
<v Speaker 2>regulars from it. Was great. It was a little different

0:19:18.676 --> 0:19:21.316
<v Speaker 2>than some of the music he had done before, so

0:19:21.476 --> 0:19:24.476
<v Speaker 2>it was quite a quite a landmark.

0:19:25.196 --> 0:19:28.196
<v Speaker 1>Yeah, can you tell me about playing in the Max

0:19:28.316 --> 0:19:31.956
<v Speaker 1>Roach Clifford Brown quintet with yourself and George Morrow and

0:19:32.316 --> 0:19:34.836
<v Speaker 1>Richie Powell. It sounds to me like you guys had

0:19:34.996 --> 0:19:37.796
<v Speaker 1>incredible chemistry. Did it feel that way to you at

0:19:37.796 --> 0:19:38.116
<v Speaker 1>the time?

0:19:38.276 --> 0:19:40.716
<v Speaker 2>Of course I had played with Mat for a couple

0:19:40.716 --> 0:19:47.116
<v Speaker 2>of times in New York, but when that was uh,

0:19:48.196 --> 0:19:52.396
<v Speaker 2>the band was Clifford and he it was different. Was

0:19:52.476 --> 0:19:55.436
<v Speaker 2>right now I was doing more. I think I played

0:19:55.436 --> 0:19:59.396
<v Speaker 2>as a side man or something on some record Max

0:19:59.516 --> 0:20:03.236
<v Speaker 2>Roads in New York. But when I played with the band,

0:20:03.356 --> 0:20:06.796
<v Speaker 2>that band, it was really I don't know. I'm glad

0:20:06.836 --> 0:20:14.076
<v Speaker 2>it sounded like that because I had a great experience

0:20:14.156 --> 0:20:18.396
<v Speaker 2>playing with Clifford Brown, and comfort was such a straight

0:20:19.676 --> 0:20:22.716
<v Speaker 2>a straight up guy with such a straight up player,

0:20:23.876 --> 0:20:27.356
<v Speaker 2>one of the mess players as we know. When I

0:20:27.476 --> 0:20:30.836
<v Speaker 2>look back today and I talk to different guys, all

0:20:30.916 --> 0:20:34.596
<v Speaker 2>these young guys, Clifford Brown was their favorite trumpet player.

0:20:35.196 --> 0:20:38.516
<v Speaker 2>So he was quite a guy. But he was also

0:20:39.996 --> 0:20:43.716
<v Speaker 2>a great person. And I learned a lot from Clifford

0:20:43.756 --> 0:20:47.436
<v Speaker 2>because Clifford was playing all of this music, but he

0:20:47.636 --> 0:20:51.836
<v Speaker 2>was not a guy that was messing around with drugs.

0:20:52.436 --> 0:20:57.196
<v Speaker 2>He wasn't a cno. So I said to myself, wow, man,

0:20:57.356 --> 0:21:01.316
<v Speaker 2>listened to all this music he can play and he's

0:21:01.396 --> 0:21:05.276
<v Speaker 2>not had nothing to do with his personal life, So

0:21:05.796 --> 0:21:10.436
<v Speaker 2>you don't have to be using drugs, drinking a lot

0:21:11.036 --> 0:21:14.316
<v Speaker 2>and even gotten bad to play as much music as

0:21:14.316 --> 0:21:19.436
<v Speaker 2>he did. And that was inspirational to me and I

0:21:19.756 --> 0:21:24.356
<v Speaker 2>really learned for that. He said, Wow, man, if Clifton

0:21:24.436 --> 0:21:27.396
<v Speaker 2>should do it, Man, all his music he's playing, I

0:21:27.436 --> 0:21:30.756
<v Speaker 2>can do it. I don't need drugs to play. So

0:21:30.956 --> 0:21:33.556
<v Speaker 2>he was a grand We were good friends. I mean,

0:21:34.436 --> 0:21:38.716
<v Speaker 2>you know, I was really close after he passed away.

0:21:38.836 --> 0:21:43.876
<v Speaker 2>When when we were playing in the band, and sometimes

0:21:45.076 --> 0:21:51.756
<v Speaker 2>I had channel Clifford, I said, Clifford, man, what would

0:21:51.996 --> 0:21:54.516
<v Speaker 2>what should we do right here? I mean I talked

0:21:54.516 --> 0:21:58.636
<v Speaker 2>to him like that about the music and then he'd

0:21:59.236 --> 0:22:03.476
<v Speaker 2>answer me. And that went on for a while run

0:22:04.116 --> 0:22:08.116
<v Speaker 2>before that band broke up. Max goot I did trumpet plays,

0:22:08.196 --> 0:22:12.396
<v Speaker 2>of course, but that happened for a while and then

0:22:13.396 --> 0:22:18.116
<v Speaker 2>after a while I had stopped channeling Clifford and let

0:22:18.196 --> 0:22:22.556
<v Speaker 2>him go on on his journey his life journey, but

0:22:22.716 --> 0:22:27.316
<v Speaker 2>I channeled him for a long time after he passed,

0:22:28.156 --> 0:22:30.996
<v Speaker 2>and then you know, and we had to play the

0:22:31.116 --> 0:22:34.436
<v Speaker 2>same music, a lot of the same music.

0:22:35.636 --> 0:22:38.236
<v Speaker 1>We'll be right back with more from Sonny Rollins after

0:22:38.516 --> 0:22:44.676
<v Speaker 1>a quick break. We're back with the rest of my

0:22:44.756 --> 0:22:48.876
<v Speaker 1>conversation with Sonny Rollins. Do you remember where you were

0:22:48.956 --> 0:22:51.956
<v Speaker 1>when you found out Clifford and Richie Powell passed away

0:22:51.956 --> 0:22:52.956
<v Speaker 1>in that car accident.

0:22:54.076 --> 0:23:01.316
<v Speaker 2>Well, the brand was in uh Brownie and Uh Richie

0:23:01.516 --> 0:23:05.876
<v Speaker 2>were in Philadelphia where they lived. Richie lived in willowgro

0:23:06.316 --> 0:23:11.756
<v Speaker 2>sort of suburb Brownie was in. So we had been

0:23:11.796 --> 0:23:13.676
<v Speaker 2>on the road to ben have been the road. So

0:23:14.036 --> 0:23:16.876
<v Speaker 2>we had a low time off before we went. I

0:23:16.876 --> 0:23:19.836
<v Speaker 2>think they we're going out to California, but on the

0:23:19.876 --> 0:23:23.556
<v Speaker 2>way we were going to play in Chicago. So anyway,

0:23:24.076 --> 0:23:29.076
<v Speaker 2>the days we had off, Marx and myself came to

0:23:29.196 --> 0:23:32.956
<v Speaker 2>New York and Georgia Morrow came to New York. You know.

0:23:33.596 --> 0:23:42.156
<v Speaker 2>The next job was Chicago, and we left Chiclo travel

0:23:42.316 --> 0:23:48.636
<v Speaker 2>by car, and Brownie and Richie Powell left Philadelphia Tavern

0:23:48.756 --> 0:23:53.156
<v Speaker 2>on the Pennsylvania turnbake by car, Mark Say and I

0:23:53.516 --> 0:23:57.396
<v Speaker 2>and George Margutten. We got to Chicago, and we, you know,

0:23:57.556 --> 0:24:01.876
<v Speaker 2>waiting around there. I remember Miles was playing at a

0:24:01.956 --> 0:24:06.676
<v Speaker 2>club right down the street on sixty thirty Street. So

0:24:06.876 --> 0:24:12.076
<v Speaker 2>while we were waiting for cliff to arrive into Carlo,

0:24:12.836 --> 0:24:17.036
<v Speaker 2>we got the bad news. It was a soccer and

0:24:17.036 --> 0:24:21.276
<v Speaker 2>I mean we were quiet like babies, and there was

0:24:21.436 --> 0:24:27.276
<v Speaker 2>you know, there was a big event because everybody loved Brownie. Yeah,

0:24:27.476 --> 0:24:31.076
<v Speaker 2>I mean Richie too, but Brownie was you know, Brownie

0:24:31.156 --> 0:24:40.156
<v Speaker 2>was the leader and had gotten more accolades and Richie,

0:24:40.356 --> 0:24:42.556
<v Speaker 2>you know, Richie was served, but she.

0:24:42.676 --> 0:24:43.876
<v Speaker 1>Was making his name at the time.

0:24:43.916 --> 0:24:46.036
<v Speaker 3>Really, huh, he was making his name.

0:24:45.876 --> 0:24:46.436
<v Speaker 2>At the time.

0:24:47.116 --> 0:24:49.836
<v Speaker 1>Incredible playing Brownie had made his name.

0:24:49.916 --> 0:24:50.236
<v Speaker 2>Really.

0:24:50.716 --> 0:24:53.556
<v Speaker 1>Did you see Bud Powell in the sort of aftermath

0:24:53.556 --> 0:24:54.796
<v Speaker 1>of that or ever get a chance to talk with

0:24:54.956 --> 0:24:57.116
<v Speaker 1>Bud Powell, who was Richie Powell's brother. Do you know

0:24:57.116 --> 0:24:57.756
<v Speaker 1>how he took that?

0:24:58.356 --> 0:25:02.236
<v Speaker 2>I don't know how he took that note? No, I

0:25:02.276 --> 0:25:02.636
<v Speaker 2>don't know.

0:25:03.036 --> 0:25:06.876
<v Speaker 1>Did you feel like that band had more yet to do?

0:25:07.796 --> 0:25:11.196
<v Speaker 2>I think so? We think you didn't know. Clifford and

0:25:11.276 --> 0:25:14.636
<v Speaker 2>now I used to practice together all the time, and

0:25:15.116 --> 0:25:20.396
<v Speaker 2>besides the gigs, but we were trying to get closer,

0:25:21.076 --> 0:25:26.236
<v Speaker 2>you know, as to musicians playing a saxophone and trumpet.

0:25:26.316 --> 0:25:29.716
<v Speaker 2>So we were trying to get closer, trying to get

0:25:29.796 --> 0:25:34.796
<v Speaker 2>tighter with our things. We had to play ensemble and everything,

0:25:34.836 --> 0:25:37.596
<v Speaker 2>and I was new in the bands. I was trying

0:25:37.596 --> 0:25:41.676
<v Speaker 2>to learn the book and all of this stuff. But

0:25:42.396 --> 0:25:47.796
<v Speaker 2>besides that, there was this, besides the repertoire I was

0:25:47.836 --> 0:25:52.636
<v Speaker 2>playing with Clifford that he and I tried to always

0:25:53.076 --> 0:25:56.276
<v Speaker 2>get closer. So yeah, I think we had a lot

0:25:56.356 --> 0:25:56.556
<v Speaker 2>to do.

0:25:57.076 --> 0:26:00.116
<v Speaker 1>Yeah, do you think they had anything to do with

0:26:00.196 --> 0:26:03.036
<v Speaker 1>you sort of stripping things back and go into like

0:26:03.036 --> 0:26:05.716
<v Speaker 1>that trio format the next year just just you on

0:26:05.836 --> 0:26:09.316
<v Speaker 1>sacks and then bass and drums. Was that related musically all?

0:26:10.796 --> 0:26:16.036
<v Speaker 2>I don't remember when I did the first trio albums that.

0:26:15.996 --> 0:26:19.756
<v Speaker 1>Would fifty around that time, yes, maybe six months later,

0:26:19.796 --> 0:26:21.676
<v Speaker 1>eight months later, it would have been just.

0:26:22.036 --> 0:26:26.356
<v Speaker 2>Yeah, I don't know. If no, I don't believe so,

0:26:26.556 --> 0:26:33.596
<v Speaker 2>because I had always I had always uh enjoyed the

0:26:33.636 --> 0:26:41.556
<v Speaker 2>smaller instrumentation. You know. In fact, when our first met

0:26:41.556 --> 0:26:46.676
<v Speaker 2>Miles Davis, I was playing trio and we were playing

0:26:47.516 --> 0:26:51.796
<v Speaker 2>opposite Miles. You know, Miles was the first Stars and

0:26:51.956 --> 0:26:54.916
<v Speaker 2>we was a local band, and I think I was

0:26:54.996 --> 0:26:58.596
<v Speaker 2>playing trio at that time, So no, I think I

0:26:58.676 --> 0:27:04.756
<v Speaker 2>think the trios I did didn't stem from uh the

0:27:04.836 --> 0:27:07.076
<v Speaker 2>cofored Brown period.

0:27:07.756 --> 0:27:10.276
<v Speaker 1>Were you surprised how curious people found that idea of

0:27:10.316 --> 0:27:13.876
<v Speaker 1>you just playing in that small trio you based drums

0:27:13.916 --> 0:27:16.356
<v Speaker 1>like you did on Way out West or not at

0:27:16.356 --> 0:27:16.956
<v Speaker 1>the vanguard.

0:27:17.796 --> 0:27:20.556
<v Speaker 2>I hope that it would be received Well.

0:27:20.316 --> 0:27:22.596
<v Speaker 1>Well, I think it was. I think it absolutely was.

0:27:22.636 --> 0:27:24.076
<v Speaker 1>I mean, it's it's it's it's.

0:27:24.556 --> 0:27:24.796
<v Speaker 2>Uh.

0:27:25.076 --> 0:27:27.636
<v Speaker 1>Those seemed to have really stood the test of time

0:27:27.636 --> 0:27:29.916
<v Speaker 1>in an incredible way. But it's it's funny also just

0:27:30.116 --> 0:27:32.156
<v Speaker 1>in a way, how curious people find that you know

0:27:32.196 --> 0:27:34.556
<v Speaker 1>that that it's like, oh, whoa, you know, this isn't

0:27:34.556 --> 0:27:37.276
<v Speaker 1>this pianoist trio? You know, it seemed to sort of

0:27:38.116 --> 0:27:38.636
<v Speaker 1>well I.

0:27:38.676 --> 0:27:42.676
<v Speaker 2>Always liked that, and not play was a great piano players,

0:27:42.756 --> 0:27:46.356
<v Speaker 2>So there's no reflection on plane. But I liked the

0:27:46.396 --> 0:27:53.756
<v Speaker 2>idea of just a rhythm section and allowing me to

0:27:53.916 --> 0:27:59.116
<v Speaker 2>sort of be free, in a completely free just compose

0:27:59.436 --> 0:28:03.956
<v Speaker 2>things in my own in my own mind and create

0:28:04.076 --> 0:28:10.756
<v Speaker 2>the harmonies and the musical situations, and just came to me.

0:28:11.436 --> 0:28:14.796
<v Speaker 2>I had a rhythm behind me, I had the base,

0:28:14.916 --> 0:28:20.076
<v Speaker 2>and I had the jums to keep things moving. Yeah,

0:28:20.116 --> 0:28:24.676
<v Speaker 2>and I had the freedom to conceive of all of

0:28:24.716 --> 0:28:28.636
<v Speaker 2>these things. So that's why I liked flying Like that

0:28:28.796 --> 0:28:30.596
<v Speaker 2>had nothing to do with anything else.

0:28:31.196 --> 0:28:34.156
<v Speaker 1>Yeah, got you. There's some wild playing on those records

0:28:34.196 --> 0:28:37.516
<v Speaker 1>from you, some and even some incredible you know, evenm

0:28:37.556 --> 0:28:40.476
<v Speaker 1>other cats you know, like not at the Vanguard. There's

0:28:40.516 --> 0:28:43.596
<v Speaker 1>a couple of basils on that record that are great

0:28:43.636 --> 0:28:44.516
<v Speaker 1>as well. You know.

0:28:45.716 --> 0:28:49.556
<v Speaker 2>Yeah, I tried to get his guys that weren't afraid

0:28:49.676 --> 0:28:51.116
<v Speaker 2>to play without a piano.

0:28:51.476 --> 0:28:52.236
<v Speaker 1>Yeah.

0:28:52.396 --> 0:28:54.516
<v Speaker 2>See, a lot of guys just you know, would be

0:28:54.596 --> 0:28:58.156
<v Speaker 2>reticent to do that. Well they had, you know, because

0:28:58.196 --> 0:29:03.676
<v Speaker 2>the piano flits right in with the with a with

0:29:03.916 --> 0:29:08.236
<v Speaker 2>a base you know, like ham and eggs.

0:29:09.276 --> 0:29:11.476
<v Speaker 1>Yeah, yeah, yeah, they I.

0:29:11.396 --> 0:29:16.316
<v Speaker 2>Mean, yes, oh wow, piano and drums here, base here

0:29:16.476 --> 0:29:20.676
<v Speaker 2>is playing years old they have. You know, those guys

0:29:20.716 --> 0:29:23.876
<v Speaker 2>can wake up in the middle of the night and

0:29:24.236 --> 0:29:28.716
<v Speaker 2>throw him and be writ in tune to the next note.

0:29:29.196 --> 0:29:32.956
<v Speaker 2>So it was something which you know, you're it was

0:29:33.116 --> 0:29:35.316
<v Speaker 2>somewhat of a challenge to them.

0:29:35.716 --> 0:29:39.076
<v Speaker 1>Yeah, it was wilbur Ware by the way, be aware.

0:29:39.396 --> 0:29:43.196
<v Speaker 2>Wilbur Aware. We used to have a joke about Bilber.

0:29:43.276 --> 0:29:46.716
<v Speaker 2>We used to call them wilburgh beware.

0:29:50.876 --> 0:29:54.316
<v Speaker 1>That's great. Alvin Jones also on drums on that just

0:29:54.396 --> 0:29:59.756
<v Speaker 1>so j Yeah, incredible, incredible trio man Man.

0:29:59.876 --> 0:30:03.196
<v Speaker 2>Then I had some other guys on that. On other

0:30:03.316 --> 0:30:06.516
<v Speaker 2>parts of the record, I added a Pete le Roker

0:30:07.196 --> 0:30:08.356
<v Speaker 2>and another guy.

0:30:08.396 --> 0:30:10.996
<v Speaker 3>From UH, Donald Bailey, Baltimore.

0:30:11.156 --> 0:30:11.476
<v Speaker 1>Donald.

0:30:11.516 --> 0:30:12.596
<v Speaker 2>Who is Donald Bailey?

0:30:12.996 --> 0:30:15.236
<v Speaker 1>I can't figure out who is Donald Bailey bass player?

0:30:15.236 --> 0:30:17.716
<v Speaker 1>I know there's a drummer, Donald Bailey, right, But there's

0:30:17.716 --> 0:30:20.076
<v Speaker 1>a drummer Donald Bailey. But is there also But I

0:30:20.116 --> 0:30:22.716
<v Speaker 1>can't find anything out about a bass player.

0:30:22.756 --> 0:30:25.436
<v Speaker 2>Donald Bailey was I know, I know he was very

0:30:26.356 --> 0:30:31.596
<v Speaker 2>under uh that's here for music. Nobody know much about him.

0:30:31.996 --> 0:30:32.996
<v Speaker 1>How did you know him?

0:30:33.276 --> 0:30:37.196
<v Speaker 2>My good friend went to school down there at UH.

0:30:38.196 --> 0:30:42.836
<v Speaker 2>I've watched college. I forget what it was, which is

0:30:42.916 --> 0:30:46.196
<v Speaker 2>you have to forgive me. You know, there's when you

0:30:46.316 --> 0:30:51.356
<v Speaker 2>get he said, he your your your memory, you know,

0:30:51.436 --> 0:30:59.116
<v Speaker 2>your short term memory. It goes, you know, like ten

0:30:59.196 --> 0:31:03.076
<v Speaker 2>minutes from now. But I need it now. But I

0:31:03.156 --> 0:31:08.716
<v Speaker 2>had Oh but anyway, no, he's here. Was very but

0:31:09.116 --> 0:31:14.316
<v Speaker 2>he was known in the area, you know, and he's

0:31:14.356 --> 0:31:16.636
<v Speaker 2>a good player. You know, he played good. I liked

0:31:16.716 --> 0:31:17.796
<v Speaker 2>him on those things.

0:31:18.036 --> 0:31:20.436
<v Speaker 1>I always thought maybe was someone that like just couldn't say,

0:31:20.516 --> 0:31:22.996
<v Speaker 1>like you couldn't say who it was for some contractual

0:31:23.076 --> 0:31:26.796
<v Speaker 1>reason or something, because I was like, good, yeah, I can't.

0:31:26.796 --> 0:31:30.876
<v Speaker 2>Know this guy is I know down really and uh

0:31:31.476 --> 0:31:35.716
<v Speaker 2>unfortunately he passed not too long after those records came out,

0:31:36.756 --> 0:31:40.276
<v Speaker 2>but they did a great, great job over your covering

0:31:40.396 --> 0:31:42.156
<v Speaker 2>me on that. Yeah.

0:31:42.196 --> 0:31:44.956
<v Speaker 1>Absolutely did the record Sonny Side Up that you did

0:31:44.996 --> 0:31:48.436
<v Speaker 1>with Dizzy Gillespie and Sunny Stitt in fifty nine. Oh yeah,

0:31:48.556 --> 0:31:49.436
<v Speaker 1>how did that come together?

0:31:49.796 --> 0:31:52.396
<v Speaker 2>Well? I came together to Norman Grange.

0:31:52.716 --> 0:31:54.916
<v Speaker 1>Okay, of course did you know.

0:31:54.836 --> 0:31:56.116
<v Speaker 2>Who Norman Grande is?

0:31:56.676 --> 0:31:58.516
<v Speaker 1>He did jazz at the Philharmonic, right, you put on

0:31:58.516 --> 0:31:59.116
<v Speaker 1>all those all right?

0:31:59.156 --> 0:32:05.756
<v Speaker 2>So he was promote jazz. Yeah, he did a lot

0:32:05.836 --> 0:32:11.476
<v Speaker 2>of promotion of different people. And his crowned segment was

0:32:11.596 --> 0:32:15.196
<v Speaker 2>judged the poo monic. But he was a big time

0:32:15.476 --> 0:32:21.076
<v Speaker 2>or jazz promoter. He ain't replaying someplace. See, he's got

0:32:21.116 --> 0:32:24.876
<v Speaker 2>to be a big fan of mine. And then he

0:32:24.876 --> 0:32:28.596
<v Speaker 2>he was his date, I mean he arranged a date.

0:32:29.516 --> 0:32:33.876
<v Speaker 2>That's it turned out to be, uh, Sunny and Sunny

0:32:33.956 --> 0:32:34.676
<v Speaker 2>and Dizzy.

0:32:34.996 --> 0:32:37.796
<v Speaker 1>Yeah. Were you friendly with Dizzy at that time or

0:32:37.836 --> 0:32:40.036
<v Speaker 1>did you know him? Decently well at all.

0:32:40.716 --> 0:32:43.556
<v Speaker 2>Yeah, I was friendly with Dizzy. You know, if you

0:32:43.716 --> 0:32:46.636
<v Speaker 2>know Dissy at all, you've got to be friendly with him.

0:32:49.316 --> 0:32:52.676
<v Speaker 2>Just that type of guy he's I mean, he's always

0:32:52.716 --> 0:32:59.956
<v Speaker 2>going to be something light and amusing that becomes part

0:33:00.036 --> 0:33:04.516
<v Speaker 2>of the conversation. And you know, Dissey was a wonderful guy.

0:33:04.676 --> 0:33:09.916
<v Speaker 2>Dissey with the guy that always was teaching people stuff.

0:33:10.436 --> 0:33:14.156
<v Speaker 2>You know, he don't really young Musard should be run

0:33:15.236 --> 0:33:18.316
<v Speaker 2>and he'd come in and you know, they showed to

0:33:18.996 --> 0:33:22.756
<v Speaker 2>get him on the piano and show the piano playing

0:33:22.916 --> 0:33:25.916
<v Speaker 2>some chords and sense chords, you know, stuff like that.

0:33:26.956 --> 0:33:30.636
<v Speaker 2>He was a great natural teacher. I mean, I mean

0:33:31.516 --> 0:33:34.556
<v Speaker 2>he wasn't trying to diminish the gad. I don't mean

0:33:34.716 --> 0:33:38.316
<v Speaker 2>like that. I mean we were happy to have Bisy

0:33:38.436 --> 0:33:42.836
<v Speaker 2>Gillespie there. That that was so you won't he wanted

0:33:42.916 --> 0:33:48.436
<v Speaker 2>to uh to teach, you know, not to dispact the

0:33:48.556 --> 0:33:52.156
<v Speaker 2>other guy at all, not in that sense in the least.

0:33:52.876 --> 0:33:55.996
<v Speaker 2>Just everybody was listening to what he was doing, saying.

0:33:55.796 --> 0:33:58.476
<v Speaker 1>And playing that record some side up was kind of

0:33:58.516 --> 0:34:01.636
<v Speaker 1>an anomaly, I feel like in your catalog at least,

0:34:01.636 --> 0:34:03.836
<v Speaker 1>you know, at the time, it felt maybe much more

0:34:03.876 --> 0:34:05.956
<v Speaker 1>like a dizzy record than anything else, which I think

0:34:06.036 --> 0:34:07.756
<v Speaker 1>is probably only natural.

0:34:08.476 --> 0:34:10.596
<v Speaker 2>I think it it's a dissy records it.

0:34:11.156 --> 0:34:12.636
<v Speaker 1>Yeah, I mean it's kind of like the three of

0:34:12.716 --> 0:34:15.676
<v Speaker 1>you got. I mean, you know it's it's named Sonny Sided.

0:34:16.276 --> 0:34:20.276
<v Speaker 2>I mean there was Busy Gillespie. It was his session.

0:34:20.436 --> 0:34:23.236
<v Speaker 1>I mean yeah, yeah, no, no, no, that's fair, that's fair.

0:34:23.516 --> 0:34:24.516
<v Speaker 1>That's such a cool record.

0:34:25.196 --> 0:34:30.876
<v Speaker 2>Yeah, some people liked it a lot. Some people musicians

0:34:32.396 --> 0:34:36.596
<v Speaker 2>really thought that that was one of my best records.

0:34:37.036 --> 0:34:39.236
<v Speaker 1>Yeah, well you know what, you recorded that fifty seven,

0:34:39.316 --> 0:34:43.036
<v Speaker 1>but it comes out fifty nine. The next year, nineteen sixty,

0:34:43.796 --> 0:34:46.916
<v Speaker 1>Lee Morgan quoted you on a Jazz Messengers record. He

0:34:47.036 --> 0:34:51.356
<v Speaker 1>did your little no no down just they're just this

0:34:51.636 --> 0:34:55.596
<v Speaker 1>little phrase that you do. Oh really and yeah, and

0:34:55.676 --> 0:34:57.876
<v Speaker 1>in Lee quoted you on this song called the Opener

0:34:57.996 --> 0:35:00.236
<v Speaker 1>on a Jazz Messengers record just the next year.

0:35:00.316 --> 0:35:04.236
<v Speaker 2>Oh it's good. Yeah. No, Ley is a great player. Yeah,

0:35:04.916 --> 0:35:08.836
<v Speaker 2>Lay used to come whenever's playing with Matts and Confidence

0:35:09.116 --> 0:35:14.476
<v Speaker 2>Philadelphia at a club there. Lee would come by, you know,

0:35:15.116 --> 0:35:18.076
<v Speaker 2>to hat Clifford. I mean, so that's another.

0:35:17.836 --> 0:35:21.476
<v Speaker 3>Guy, I mean, the young guy that all loved Clifford

0:35:21.596 --> 0:35:21.996
<v Speaker 3>so much.

0:35:22.596 --> 0:35:25.316
<v Speaker 2>So anyway, that's when they met to me. And uh,

0:35:26.116 --> 0:35:31.316
<v Speaker 2>he used to play outside the club with his mouthweist alone.

0:35:31.876 --> 0:35:33.996
<v Speaker 2>He would show me what he could do just playing

0:35:34.076 --> 0:35:37.916
<v Speaker 2>his mouth best. And those life says, they say, hey, man,

0:35:38.036 --> 0:35:43.836
<v Speaker 2>that's good. Yeah, Lee Morgan, I mean, but he's great. Man,

0:35:43.956 --> 0:35:45.116
<v Speaker 2>he's a great player.

0:35:45.836 --> 0:35:47.116
<v Speaker 1>You never got to play with him, did you.

0:35:47.516 --> 0:35:50.516
<v Speaker 2>I don't think so. I don't think so.

0:35:50.836 --> 0:35:50.876
<v Speaker 1>No.

0:35:50.996 --> 0:35:54.956
<v Speaker 2>I think that's one one of the trumble players that

0:35:55.116 --> 0:35:55.676
<v Speaker 2>I missed.

0:35:56.156 --> 0:35:57.836
<v Speaker 1>Would have been great to hear you guys together.

0:35:57.956 --> 0:36:02.476
<v Speaker 2>Man, Yeah, wonder Rogerson must have been a yeah, I'm sure.

0:36:03.636 --> 0:36:07.236
<v Speaker 2>I'm sure I would have been inspired.

0:36:07.476 --> 0:36:12.236
<v Speaker 1>Yeah, yeah, yeah, I'm curious. Is anyone you admire outside

0:36:12.276 --> 0:36:13.596
<v Speaker 1>of jazz in terms of musically?

0:36:14.396 --> 0:36:19.596
<v Speaker 2>Oh? Yeah, I admire all of the great musicians from

0:36:19.676 --> 0:36:27.996
<v Speaker 2>those centuries. I like js Bach, I like Brahms, Debut

0:36:28.156 --> 0:36:36.716
<v Speaker 2>C Revel, I like Fat Swawer, Louis Jordan Korsms my favorite,

0:36:36.836 --> 0:36:40.396
<v Speaker 2>you know, and I like everybody. Yeah, I appreciate all

0:36:40.596 --> 0:36:41.396
<v Speaker 2>kinds of music.

0:36:41.996 --> 0:36:44.396
<v Speaker 1>Do you listen to music at all still? These days?

0:36:46.236 --> 0:36:46.716
<v Speaker 2>Sure? Three?

0:36:47.556 --> 0:36:48.796
<v Speaker 1>What do you what do you listen to? What do

0:36:48.796 --> 0:36:49.716
<v Speaker 1>you enjoy listening to?

0:36:49.996 --> 0:36:54.716
<v Speaker 2>Now? I don't listen to too much music. It's srange.

0:36:55.676 --> 0:37:00.436
<v Speaker 2>I've listened to soul much music in my life. I

0:37:00.596 --> 0:37:04.436
<v Speaker 2>still think music all the time. I'm still playing my horn,

0:37:05.236 --> 0:37:08.596
<v Speaker 2>even though I can't play my own anymore. I'm still

0:37:08.956 --> 0:37:13.036
<v Speaker 2>my imagine in passages that I would be fingering on

0:37:13.236 --> 0:37:19.876
<v Speaker 2>my instrumental, although I can't do that anymore. So now

0:37:20.516 --> 0:37:25.356
<v Speaker 2>listening to music. I love music, and occasionally I get

0:37:25.436 --> 0:37:31.116
<v Speaker 2>to hear music, aren't some of the radio stations I have.

0:37:31.396 --> 0:37:34.396
<v Speaker 2>Or I'll hear some music and I love it. But

0:37:34.676 --> 0:37:38.796
<v Speaker 2>I don't go out to listen to music anymore. I

0:37:38.876 --> 0:37:40.756
<v Speaker 2>don't mean go out in the street. I mean I

0:37:40.876 --> 0:37:44.236
<v Speaker 2>don't seek out music anymore.

0:37:44.756 --> 0:37:47.476
<v Speaker 1>Is it frustrating to hear in a sense since you

0:37:47.596 --> 0:37:50.036
<v Speaker 1>can't you just pick up your horn and play some

0:37:50.156 --> 0:37:50.996
<v Speaker 1>figures or anything.

0:37:51.396 --> 0:37:56.196
<v Speaker 2>To a certain extent, I wouldn't look very completely as frustration,

0:37:56.476 --> 0:38:00.596
<v Speaker 2>but that's part of it, because I hear something and

0:38:00.676 --> 0:38:04.476
<v Speaker 2>I fear what I would be doing what I can do,

0:38:06.036 --> 0:38:09.036
<v Speaker 2>so in a sense I was safe. There's not all

0:38:09.156 --> 0:38:15.596
<v Speaker 2>all frustration because I love music and listening to somebody

0:38:16.676 --> 0:38:20.636
<v Speaker 2>that I admire is great. It's a great feeling. So

0:38:22.196 --> 0:38:27.716
<v Speaker 2>frustration might come a little bit because I should contribute

0:38:27.836 --> 0:38:29.796
<v Speaker 2>being that it was part of.

0:38:29.876 --> 0:38:33.716
<v Speaker 1>Your scene, Sonny it is. It was a pleasure and

0:38:33.756 --> 0:38:35.836
<v Speaker 1>an honor speaking with you. I hope we get to

0:38:35.916 --> 0:38:36.356
<v Speaker 1>do it again.

0:38:36.916 --> 0:38:40.476
<v Speaker 2>Okay, man, take it even God bless you as.

0:38:40.356 --> 0:38:47.956
<v Speaker 1>Well, sir. All right man, Hi bye, Sonny. Thanks to

0:38:47.996 --> 0:38:50.876
<v Speaker 1>Sonny Rollins for taking us back to some of the earliest,

0:38:50.996 --> 0:38:55.556
<v Speaker 1>most important moments in American recorded music history. To hear

0:38:55.596 --> 0:38:58.356
<v Speaker 1>our favorite Sonny Rollins songs, check out the playlist at

0:38:58.516 --> 0:39:02.156
<v Speaker 1>broken Record podcast dot com. Be sure to subscribe to

0:39:02.196 --> 0:39:06.156
<v Speaker 1>our YouTube channel at YouTube dot com slash broken Record Podcast,

0:39:06.436 --> 0:39:09.156
<v Speaker 1>where you can find all of our new episodes. You

0:39:09.156 --> 0:39:12.076
<v Speaker 1>can follow us on Twitter at broken Record. Broken Record

0:39:12.156 --> 0:39:15.396
<v Speaker 1>is produced at help from Leah Rose, Jason Gambrell, Ben Talliday,

0:39:15.596 --> 0:39:19.236
<v Speaker 1>Maeric Sandler, and Jennifer Sanchez, with engineering help from Nick Chafe.

0:39:19.956 --> 0:39:23.716
<v Speaker 1>Our executive producer is Mia Lobel. Broken Record is a

0:39:23.796 --> 0:39:26.716
<v Speaker 1>production of Pushkin Industries. If you like this show and

0:39:26.796 --> 0:39:30.876
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0:39:44.116 --> 0:39:47.036
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0:39:47.356 --> 0:39:48.276
<v Speaker 1>I'm justin Richmond.