1 00:00:00,760 --> 00:00:01,440 Speaker 1: Taking a Walk. 2 00:00:01,639 --> 00:00:04,200 Speaker 2: I tell people that if there's advice that I can 3 00:00:04,240 --> 00:00:09,240 Speaker 2: give them, do something in your life that you lose 4 00:00:09,320 --> 00:00:15,360 Speaker 2: yourself into. Just art or welding, you know, I mean 5 00:00:15,960 --> 00:00:19,799 Speaker 2: anything whatever excites you and takes your time where you 6 00:00:19,840 --> 00:00:23,319 Speaker 2: lose yourself in it and don't realize what time of 7 00:00:23,400 --> 00:00:26,160 Speaker 2: day it is, what day it is. You're just into 8 00:00:26,200 --> 00:00:29,880 Speaker 2: that project so much. Do that for a living, and 9 00:00:29,920 --> 00:00:32,640 Speaker 2: inevitably most people will try to talk you out of 10 00:00:32,640 --> 00:00:35,000 Speaker 2: it because you're only concentrating on one thing. 11 00:00:35,159 --> 00:00:38,199 Speaker 1: Welcome to the Taking a Walk Podcast, where Buzz Night 12 00:00:38,479 --> 00:00:42,279 Speaker 1: steps into the lives of fascinating individuals and explores their 13 00:00:42,360 --> 00:00:46,320 Speaker 1: musical journey. Today, Buzz is joined by Lee Locknane, the 14 00:00:46,400 --> 00:00:51,159 Speaker 1: legendary trumpeteer from the iconic band Chicago. Lee shares stories 15 00:00:51,159 --> 00:00:54,720 Speaker 1: of his musical beginnings, from learning tropic techniques to forming 16 00:00:54,840 --> 00:00:59,040 Speaker 1: unforgettable memories with Chicago. Here's Buzz with founding member of 17 00:00:59,080 --> 00:01:02,760 Speaker 1: Chicago lock Name on the Taken a Walk Podcast. 18 00:01:03,880 --> 00:01:05,959 Speaker 3: Well, Lee, thanks for being on taket a Walk. I 19 00:01:06,000 --> 00:01:07,040 Speaker 3: really appreciate it. 20 00:01:07,440 --> 00:01:08,959 Speaker 2: Thanks for having me so. 21 00:01:09,080 --> 00:01:12,080 Speaker 3: Since the podcast is called Taken a Walk, I wanted 22 00:01:12,080 --> 00:01:14,760 Speaker 3: to ask you if you could take a walk with 23 00:01:14,880 --> 00:01:19,520 Speaker 3: somebody living or dead. Doesn't have to be in the 24 00:01:19,640 --> 00:01:23,240 Speaker 3: music business, but it could be. Who would that be? 25 00:01:23,880 --> 00:01:25,240 Speaker 3: And where would you take a walk? 26 00:01:25,319 --> 00:01:27,800 Speaker 2: Lee, I'd like to walk with Terry again? 27 00:01:28,680 --> 00:01:29,080 Speaker 3: Amen? 28 00:01:29,800 --> 00:01:30,240 Speaker 2: Anywhere? 29 00:01:30,440 --> 00:01:34,319 Speaker 3: Yeah, anywhere, anywhere, anytime, right, Yep. 30 00:01:34,800 --> 00:01:37,240 Speaker 2: I don't do that much walking anyway, you know, I 31 00:01:37,280 --> 00:01:39,199 Speaker 2: should around. I have a cup of coffee, I start 32 00:01:39,240 --> 00:01:42,319 Speaker 2: practicing in the morning, and you know, I get up 33 00:01:42,360 --> 00:01:44,720 Speaker 2: and I go into my office. Then I go back 34 00:01:44,760 --> 00:01:48,080 Speaker 2: to where I'm watching TV or you know, continue practicing 35 00:01:48,120 --> 00:01:51,160 Speaker 2: and stuff, and then I drive across town to the 36 00:01:51,160 --> 00:01:55,720 Speaker 2: grocery store or to my studio. So there isn't a 37 00:01:55,720 --> 00:01:58,680 Speaker 2: lot of walking involved. But I guess if it would 38 00:01:58,680 --> 00:02:01,600 Speaker 2: take me about, you know, three four hours to walk 39 00:02:01,640 --> 00:02:03,880 Speaker 2: to the studio the way I walk. 40 00:02:05,000 --> 00:02:08,240 Speaker 3: Well, it's a saunter, right, rather than a walk exactly. 41 00:02:09,480 --> 00:02:13,040 Speaker 3: But let's touch on the importance of Terry Kat You 42 00:02:13,639 --> 00:02:16,560 Speaker 3: mentioned him as the person to take a walk with. Obviously, 43 00:02:17,880 --> 00:02:22,200 Speaker 3: he's an integral part of your life and someone that's 44 00:02:22,280 --> 00:02:26,200 Speaker 3: so unforgettable and had such an influence on you. Can 45 00:02:26,240 --> 00:02:29,400 Speaker 3: you talk about the early beginnings with Terry? 46 00:02:29,919 --> 00:02:32,280 Speaker 2: Well, he and I used to hang out a lot, 47 00:02:32,480 --> 00:02:36,280 Speaker 2: and we lived together for a while in Chicago and 48 00:02:36,600 --> 00:02:41,040 Speaker 2: as the band was starting and Terry was I think 49 00:02:41,240 --> 00:02:44,720 Speaker 2: he was actually wanting to move to California. He had 50 00:02:45,160 --> 00:02:47,080 Speaker 2: a girlfriend named I don't know if it was his 51 00:02:47,200 --> 00:02:48,880 Speaker 2: girlfriend or not, but it was a girl that he 52 00:02:48,960 --> 00:02:53,400 Speaker 2: was infatuated with by the name of Ophelia. And if 53 00:02:53,400 --> 00:02:55,840 Speaker 2: she's watching this, I don't even know if she's alive 54 00:02:56,160 --> 00:02:58,720 Speaker 2: but or what her last name is, or if I 55 00:02:58,760 --> 00:03:00,960 Speaker 2: saw her on the street, I wouldn't be the recognizer. 56 00:03:01,400 --> 00:03:04,440 Speaker 2: But anyway, he was infatuated with her at the time 57 00:03:04,560 --> 00:03:09,080 Speaker 2: and was thinking of moving to California. He changed his 58 00:03:09,160 --> 00:03:13,320 Speaker 2: mind and we were forming. Actually, Walt was forming a 59 00:03:13,320 --> 00:03:16,720 Speaker 2: new band after The Missing Links broke up, and Terry 60 00:03:16,840 --> 00:03:20,000 Speaker 2: was the bass player in the Missing Links. When that 61 00:03:20,120 --> 00:03:25,000 Speaker 2: band broke up, we formed Chicago and we've been doing 62 00:03:25,040 --> 00:03:28,200 Speaker 2: this ever since fifty eight years. Who knew. 63 00:03:28,600 --> 00:03:33,200 Speaker 3: Congratulations. It's an amazing legacy and it's a legacy that's 64 00:03:33,240 --> 00:03:38,000 Speaker 3: still being built Lee, How does a band continue to 65 00:03:38,080 --> 00:03:42,080 Speaker 3: say so precision sharp to this day. 66 00:03:43,520 --> 00:03:46,040 Speaker 2: We enjoy doing what we're doing when we get on 67 00:03:46,120 --> 00:03:49,640 Speaker 2: stage or playing in any capacity. We like what it 68 00:03:49,720 --> 00:03:53,880 Speaker 2: sounds like. So that's the key factor that hasn't changed 69 00:03:53,880 --> 00:03:56,280 Speaker 2: from the first time we got together in Walt's basement 70 00:03:56,960 --> 00:04:03,040 Speaker 2: in Chicago. You know, beyond that, once we started writing music, 71 00:04:03,080 --> 00:04:05,800 Speaker 2: when we were able to play clubs where they allowed 72 00:04:05,880 --> 00:04:09,800 Speaker 2: us to play original music without getting fired, you know, 73 00:04:09,840 --> 00:04:13,080 Speaker 2: we had to either play top forty or get out, 74 00:04:13,320 --> 00:04:17,480 Speaker 2: and so we did like everybody else, including the Beatles. 75 00:04:17,760 --> 00:04:22,120 Speaker 2: I mean, nobody got away with trying to be original 76 00:04:22,200 --> 00:04:25,680 Speaker 2: because no one has heard those songs, so they want 77 00:04:25,720 --> 00:04:29,560 Speaker 2: people to come into the club, not be you know, 78 00:04:30,320 --> 00:04:34,680 Speaker 2: what are these guys playing anyway, So regardless of everybody 79 00:04:34,720 --> 00:04:36,640 Speaker 2: had to play top forty music for a while and 80 00:04:36,680 --> 00:04:40,359 Speaker 2: then start writing their own music. And as that started 81 00:04:40,400 --> 00:04:45,719 Speaker 2: catching on and we started the recording process. Once the 82 00:04:45,760 --> 00:04:52,000 Speaker 2: first hit was accomplished, which was make Me Smile, we 83 00:04:52,080 --> 00:04:54,920 Speaker 2: went back and re released songs off the first album, 84 00:04:54,960 --> 00:04:58,719 Speaker 2: which AM radio would not play at first because we 85 00:04:58,800 --> 00:05:02,560 Speaker 2: hadn't had a hit. Strangely enough, that Catch twenty two problem, 86 00:05:03,440 --> 00:05:07,520 Speaker 2: and our first album was so underground. That's always amazed 87 00:05:07,600 --> 00:05:10,240 Speaker 2: me why the radio wouldn't play the music at first. 88 00:05:10,680 --> 00:05:15,400 Speaker 2: But the album was successful and it was underground, and 89 00:05:14,960 --> 00:05:18,720 Speaker 2: we were like stars in Europe when we first time 90 00:05:18,720 --> 00:05:21,400 Speaker 2: we went to England, we were stars first time we 91 00:05:21,440 --> 00:05:23,880 Speaker 2: went to Europe. It was amazing. We didn't even know 92 00:05:23,920 --> 00:05:28,120 Speaker 2: what to think about that. And the music is so 93 00:05:28,240 --> 00:05:30,200 Speaker 2: ahead of its time. What are they going to do next? 94 00:05:30,279 --> 00:05:33,000 Speaker 2: Oh my god. So then the second album comes out 95 00:05:33,040 --> 00:05:36,800 Speaker 2: and we release make Me Smile, which is a fourteen 96 00:05:36,800 --> 00:05:39,720 Speaker 2: minute piece the ballet for a Girl in Buchanan. Make 97 00:05:39,839 --> 00:05:42,919 Speaker 2: Me Smile as the first movement and the reprise of 98 00:05:43,000 --> 00:05:45,960 Speaker 2: make Me Smile is the last movement. And we just 99 00:05:46,040 --> 00:05:49,200 Speaker 2: cut out all that music stuff in the middle. Who 100 00:05:49,320 --> 00:05:54,360 Speaker 2: needs that classical stuff? Too much? Too much music, too musical, 101 00:05:54,800 --> 00:05:57,560 Speaker 2: and squashed it together and made a three minute, three 102 00:05:57,600 --> 00:05:59,640 Speaker 2: and a half minute song out of it called make 103 00:05:59,640 --> 00:06:03,320 Speaker 2: Me Smile. Well, and that got us started. And when 104 00:06:03,360 --> 00:06:06,360 Speaker 2: we went back and re released the songs on the 105 00:06:06,440 --> 00:06:10,160 Speaker 2: first album, does anybody really know what time it is? 106 00:06:10,320 --> 00:06:14,640 Speaker 2: Beginnings question, sixty seven, sixty eight, they all became hits. 107 00:06:15,320 --> 00:06:19,880 Speaker 2: And the most amazing thing to me is that music 108 00:06:19,960 --> 00:06:22,320 Speaker 2: that was so far ahead of its time, and oh 109 00:06:22,360 --> 00:06:25,520 Speaker 2: my god, these are geniuses. What's going to happen next? 110 00:06:25,960 --> 00:06:29,680 Speaker 2: They said we sold out because the music had become successful. 111 00:06:30,080 --> 00:06:33,760 Speaker 2: We didn't change a note, and that all went on 112 00:06:34,680 --> 00:06:35,400 Speaker 2: pretty crazy. 113 00:06:36,560 --> 00:06:39,880 Speaker 3: That is crazy, And to this day. Sometimes when somebody 114 00:06:40,000 --> 00:06:43,600 Speaker 3: uses the term, oh, this is pop music, you know, 115 00:06:43,680 --> 00:06:47,240 Speaker 3: oh this is pop you know, I remind him, I'm 116 00:06:47,279 --> 00:06:49,320 Speaker 3: sure you do too. You go, wait a minute, pop 117 00:06:49,600 --> 00:06:54,200 Speaker 3: equates popular, so it's like there's no sell out here. 118 00:06:54,760 --> 00:06:59,680 Speaker 3: And in fact, I remember your first album becoming this 119 00:07:00,080 --> 00:07:03,760 Speaker 3: aple of progressive rock radio on FM. 120 00:07:03,839 --> 00:07:07,960 Speaker 2: Yeah yeah, and broad rock bands yeah. 121 00:07:08,120 --> 00:07:11,200 Speaker 3: And it And what was so awesome about it is 122 00:07:11,240 --> 00:07:16,560 Speaker 3: you fused all these sounds together, you know, pop, rock, jazz, 123 00:07:16,720 --> 00:07:19,360 Speaker 3: and it was utter perfection. No one had heard anything 124 00:07:19,440 --> 00:07:19,720 Speaker 3: like this. 125 00:07:19,840 --> 00:07:22,000 Speaker 2: Well, we just we did it naturally. It was it 126 00:07:22,040 --> 00:07:26,120 Speaker 2: was organic for us because we just played the music 127 00:07:26,160 --> 00:07:29,600 Speaker 2: that was written and that's how we heard it and 128 00:07:29,880 --> 00:07:33,320 Speaker 2: felt it and when we saw those notes, that's that's 129 00:07:33,320 --> 00:07:38,440 Speaker 2: what we played. And that style was came from the 130 00:07:38,480 --> 00:07:41,520 Speaker 2: stuff that we had listened to growing up, the big bands, 131 00:07:42,920 --> 00:07:45,600 Speaker 2: classical music, you know, some of the stuff that you 132 00:07:45,680 --> 00:07:48,880 Speaker 2: hear from us as the bomb bump bam bum bum 133 00:07:49,080 --> 00:07:51,920 Speaker 2: bum ba, and some of it is like jazz, you know, 134 00:07:52,360 --> 00:07:57,960 Speaker 2: babu abou bah. You know, you just you have to 135 00:07:57,960 --> 00:08:00,280 Speaker 2: be able to play the different styles and it's that 136 00:08:00,320 --> 00:08:03,680 Speaker 2: you have to. That's what we did to me. And 137 00:08:03,720 --> 00:08:06,600 Speaker 2: I think that's set us apart from other bands. 138 00:08:07,040 --> 00:08:12,160 Speaker 3: Do you remember those that session for CTA and what 139 00:08:12,200 --> 00:08:15,040 Speaker 3: do you remember about that or those sessions. 140 00:08:16,120 --> 00:08:19,240 Speaker 2: On the first album. Yes, well, first of all, we 141 00:08:19,320 --> 00:08:21,920 Speaker 2: had to do it in the dark of night. We started. 142 00:08:22,040 --> 00:08:24,760 Speaker 2: We were the twelve day eight shift. We started at 143 00:08:24,800 --> 00:08:29,040 Speaker 2: midnight and went till eight o'clock in the morning, and 144 00:08:29,080 --> 00:08:30,920 Speaker 2: then we went and got a sandwich and went home 145 00:08:31,280 --> 00:08:35,440 Speaker 2: or to the hotel for a while. And I think 146 00:08:35,480 --> 00:08:39,000 Speaker 2: Simon and Garfunkel had the studio during the day and 147 00:08:39,120 --> 00:08:41,960 Speaker 2: we had it at night. And thank god, we knew 148 00:08:42,000 --> 00:08:44,640 Speaker 2: the music as good as we did, because the hardest 149 00:08:44,679 --> 00:08:47,160 Speaker 2: part for us was learning how to record. We didn't 150 00:08:47,200 --> 00:08:50,120 Speaker 2: know how to record, and you know, you got yourself 151 00:08:50,160 --> 00:08:52,760 Speaker 2: in front of those microphones and they pick up every 152 00:08:52,760 --> 00:08:56,199 Speaker 2: sound that you make, so it you know, you got 153 00:08:56,240 --> 00:09:00,360 Speaker 2: to get past the nervousness of making a mistake and 154 00:09:00,480 --> 00:09:03,280 Speaker 2: learn how to use it in your you know, for 155 00:09:03,320 --> 00:09:03,920 Speaker 2: your benefit. 156 00:09:05,160 --> 00:09:10,720 Speaker 3: How long did those sessions take, Lee. 157 00:09:09,600 --> 00:09:12,160 Speaker 2: I think we recorded the first album and only a 158 00:09:12,200 --> 00:09:14,480 Speaker 2: few weeks. It wasn't all that long because we knew 159 00:09:14,480 --> 00:09:17,920 Speaker 2: the material so well. We were writing it for the 160 00:09:17,960 --> 00:09:23,480 Speaker 2: first We came to California in sixty eight, and during 161 00:09:23,520 --> 00:09:26,440 Speaker 2: that time we were playing small clubs Itchy Foot Mos. 162 00:09:27,559 --> 00:09:30,439 Speaker 2: It was That's club in Alhambra. I don't even know 163 00:09:30,480 --> 00:09:34,800 Speaker 2: if that's open anymore. We played the Whiskey and that's 164 00:09:34,840 --> 00:09:38,480 Speaker 2: where Jimmy Hendrix and Janis Joplin sauce, well, especially Jimmy. 165 00:09:38,480 --> 00:09:42,080 Speaker 2: I'm not sure where Janice saw us, but oh I 166 00:09:42,160 --> 00:09:45,640 Speaker 2: know it was the Fillmore West and she asked us 167 00:09:45,679 --> 00:09:48,000 Speaker 2: to go on the road with her, and so did Jimmy, 168 00:09:48,480 --> 00:09:52,000 Speaker 2: and that was our start in the big time. And 169 00:09:52,320 --> 00:09:54,840 Speaker 2: that was the start where we were the opening act. 170 00:09:54,920 --> 00:09:57,760 Speaker 2: So I want to hear Jimmy, I want, you know. 171 00:09:57,880 --> 00:10:00,800 Speaker 2: So they wanted us off the stage, but enough people, 172 00:10:00,960 --> 00:10:04,440 Speaker 2: I guess, liked what we sounded like to stop yelling 173 00:10:04,480 --> 00:10:06,920 Speaker 2: at us and listen to the first few songs and 174 00:10:07,160 --> 00:10:08,400 Speaker 2: let Jimmy come on stage. 175 00:10:09,400 --> 00:10:14,800 Speaker 3: Amazing. My understanding is Jimmy was one of the softest, 176 00:10:15,480 --> 00:10:19,640 Speaker 3: sweetest gentlemen that anyone could ever run across. 177 00:10:19,679 --> 00:10:21,520 Speaker 2: Well, I didn't spend a lot of time with him, 178 00:10:21,559 --> 00:10:23,920 Speaker 2: but we did, you know, have some talks and you know, 179 00:10:24,000 --> 00:10:27,280 Speaker 2: holiday and hotel rooms and just sort of sat around 180 00:10:27,280 --> 00:10:33,160 Speaker 2: and did some strange smoking things and probably looked for 181 00:10:33,280 --> 00:10:41,040 Speaker 2: cheeseburgers afterwards, you know, Munch and I know he wanted to. 182 00:10:42,480 --> 00:10:45,680 Speaker 2: Walter always said that he was he wanted to record 183 00:10:45,880 --> 00:10:49,240 Speaker 2: an album with us, and unfortunately he passed away before 184 00:10:49,280 --> 00:10:52,480 Speaker 2: we were able to get to that. But I think 185 00:10:52,520 --> 00:10:53,480 Speaker 2: that was in the plans. 186 00:10:54,679 --> 00:10:55,679 Speaker 3: Can you imagine that? 187 00:10:55,880 --> 00:10:56,280 Speaker 1: My god? 188 00:10:56,640 --> 00:10:57,200 Speaker 2: Pretty cool? 189 00:10:57,800 --> 00:11:03,160 Speaker 3: No kidding? Yeah, Now you mentioned the Holiday inn. Is 190 00:11:03,200 --> 00:11:06,400 Speaker 3: it true that while you were out on the road 191 00:11:06,480 --> 00:11:11,439 Speaker 3: and living in those holiday inns there was the Holiday 192 00:11:11,480 --> 00:11:15,000 Speaker 3: Inn room where two of you you know, roomed together, 193 00:11:15,320 --> 00:11:17,440 Speaker 3: and then there was the other Holiday Inn room that 194 00:11:17,600 --> 00:11:18,440 Speaker 3: was the party room. 195 00:11:18,679 --> 00:11:20,680 Speaker 2: There was a party room and all of us slept 196 00:11:20,679 --> 00:11:24,840 Speaker 2: in the other room. We only had two rooms. There 197 00:11:24,880 --> 00:11:27,760 Speaker 2: wasn't much money back then. You know, people think, oh, 198 00:11:27,840 --> 00:11:30,559 Speaker 2: the rock stars, you know, the old money for nothing 199 00:11:30,600 --> 00:11:34,480 Speaker 2: in your chicks for free. Not quite, not quite. You 200 00:11:34,520 --> 00:11:35,720 Speaker 2: got to work for this stuff. 201 00:11:38,800 --> 00:11:43,800 Speaker 3: Now back to the studio aspect of things. How do 202 00:11:43,880 --> 00:11:47,920 Speaker 3: you did you make the studio sound ultimately transfer to 203 00:11:48,000 --> 00:11:50,240 Speaker 3: the sound that would be the concert sound. 204 00:11:51,200 --> 00:11:53,720 Speaker 2: We just we pretty much played it the same way 205 00:11:53,760 --> 00:11:57,559 Speaker 2: that we did in the studio as we did live 206 00:11:58,720 --> 00:12:04,400 Speaker 2: in a club or the harder part was spreading out 207 00:12:04,440 --> 00:12:06,520 Speaker 2: on stage. We didn't want to spread out right away. 208 00:12:06,559 --> 00:12:09,960 Speaker 2: On the big forty foot stages, you would see this 209 00:12:10,000 --> 00:12:13,600 Speaker 2: little band in the middle of it, like, get your 210 00:12:13,600 --> 00:12:17,080 Speaker 2: binoculars out, are those guys up there or what. But 211 00:12:17,200 --> 00:12:20,280 Speaker 2: we were so used to playing close together that it 212 00:12:20,360 --> 00:12:23,520 Speaker 2: took a while to spread it out. And then when 213 00:12:23,600 --> 00:12:27,239 Speaker 2: you do that, you spread out the band. The configuration 214 00:12:27,360 --> 00:12:30,960 Speaker 2: of the band. It's harder to hear each other, and 215 00:12:31,080 --> 00:12:35,600 Speaker 2: there's like a couple milliseconds aren't much, but when you're 216 00:12:35,600 --> 00:12:40,880 Speaker 2: playing music, if the drum hits a beat and you 217 00:12:40,960 --> 00:12:42,719 Speaker 2: hear you're on the other side of the stage a 218 00:12:42,760 --> 00:12:45,400 Speaker 2: couple of milliseconds later, that's when you get the sound. 219 00:12:46,000 --> 00:12:51,760 Speaker 2: So when they finally invented the headphone monitors and you 220 00:12:51,800 --> 00:12:55,200 Speaker 2: could do like a you could hear the drummer right now. 221 00:12:55,640 --> 00:12:58,079 Speaker 2: You didn't have to wait for it to get to you. 222 00:12:58,080 --> 00:13:00,440 Speaker 2: You could hear it right in your ears immediately as 223 00:13:00,440 --> 00:13:05,559 Speaker 2: he plays it. So that helped everybody be able to 224 00:13:06,000 --> 00:13:12,559 Speaker 2: play together in a live setting, the big auditorium live settings. 225 00:13:13,120 --> 00:13:16,840 Speaker 3: I saw you and actually it was fortunate to MC 226 00:13:17,160 --> 00:13:21,160 Speaker 3: bring you guys on stage at a show. It was 227 00:13:21,200 --> 00:13:25,880 Speaker 3: a place called the Pine Crest Country Club in Shelton, Connecticut, 228 00:13:27,120 --> 00:13:29,800 Speaker 3: And so I was working at a radio station in 229 00:13:29,800 --> 00:13:33,000 Speaker 3: Connecticut called I ninety five, and I was able to 230 00:13:33,040 --> 00:13:36,880 Speaker 3: bring you guys out. And I'll never forget it because 231 00:13:37,840 --> 00:13:44,240 Speaker 3: getting that experience being on stage and experiencing the machine 232 00:13:44,520 --> 00:13:50,520 Speaker 3: like you know, masterful approach of Chicago. This would have 233 00:13:50,600 --> 00:13:56,320 Speaker 3: been I think nineteen seventy nine, I believe, so like 234 00:13:56,760 --> 00:13:57,240 Speaker 3: the year. 235 00:13:57,160 --> 00:13:59,520 Speaker 2: After Terry died. Terry was already gone by. 236 00:13:59,440 --> 00:14:03,280 Speaker 3: Then, right, Yeah, I'll never forget it. It was incredible, 237 00:14:03,960 --> 00:14:07,360 Speaker 3: And I think about this amazing legacy of the band. 238 00:14:08,720 --> 00:14:13,040 Speaker 3: You've never missed a year of touring, which is, you know, 239 00:14:13,120 --> 00:14:15,840 Speaker 3: considering what we've been through the last few years with 240 00:14:15,960 --> 00:14:19,120 Speaker 3: COVID and everything, it's even more remarkable. 241 00:14:19,360 --> 00:14:22,920 Speaker 2: We even played the COVID Year in January and February, 242 00:14:23,360 --> 00:14:27,000 Speaker 2: and then the world shut down. Fifteen months later in 243 00:14:27,160 --> 00:14:30,440 Speaker 2: twenty twenty one, we started back up again, so we 244 00:14:30,480 --> 00:14:33,520 Speaker 2: played in the COVID Year twenty twenty and we played 245 00:14:34,240 --> 00:14:38,760 Speaker 2: twenty twenty one, I think June or July or something. 246 00:14:38,800 --> 00:14:44,720 Speaker 2: We started back up, so we continued every year without 247 00:14:44,800 --> 00:14:46,040 Speaker 2: a year off of touring. 248 00:14:46,640 --> 00:14:49,680 Speaker 3: It's incredible. How did it make you feel? Though, you know, 249 00:14:50,040 --> 00:14:53,600 Speaker 3: officially coming back even though you never had left your fans. 250 00:14:54,440 --> 00:14:57,240 Speaker 3: This connection with fans, what does it mean to you 251 00:14:57,320 --> 00:14:59,200 Speaker 3: and the rest of the band members. 252 00:15:00,040 --> 00:15:03,680 Speaker 2: There's nothing like it. I mean, without them, there's no career. 253 00:15:04,320 --> 00:15:08,000 Speaker 2: Somebody doesn't buy tickets that come to see you sit 254 00:15:08,040 --> 00:15:11,040 Speaker 2: at home and you don't get to do zoom interviews. 255 00:15:11,400 --> 00:15:16,440 Speaker 2: And Zoom was created during the pandemic and it afforded 256 00:15:16,480 --> 00:15:19,600 Speaker 2: people not to have to come to work anymore for 257 00:15:19,640 --> 00:15:23,560 Speaker 2: whatever reasons. You do everything right from your house. But 258 00:15:23,640 --> 00:15:25,640 Speaker 2: it's like, you know, all of a sudden, you do 259 00:15:25,680 --> 00:15:28,520 Speaker 2: an interview and you have to be the producer. I 260 00:15:28,520 --> 00:15:30,880 Speaker 2: did all my product I got my Tonight Show production 261 00:15:31,240 --> 00:15:32,640 Speaker 2: curtain behind me here. 262 00:15:34,320 --> 00:15:37,480 Speaker 3: It's wonderful. It's tremendous. 263 00:15:38,880 --> 00:15:40,680 Speaker 2: You know, we got to do all the production too, 264 00:15:41,640 --> 00:15:44,120 Speaker 2: you know, make sure the zoom works and you can 265 00:15:44,240 --> 00:15:48,120 Speaker 2: click the right buttons to see each other. Pretty strange. 266 00:15:48,600 --> 00:15:52,640 Speaker 2: The world has changed and it's continuing to well. 267 00:15:52,760 --> 00:15:57,400 Speaker 3: I must say, sir, for you being curious as a 268 00:15:57,480 --> 00:16:01,080 Speaker 3: musician but also curious in other apps specs of life. 269 00:16:01,200 --> 00:16:06,200 Speaker 3: I think, in fact, I know you're the first Hall 270 00:16:06,240 --> 00:16:10,520 Speaker 3: of Fame musician who I also know runs it for 271 00:16:10,640 --> 00:16:12,880 Speaker 3: his band's organization. 272 00:16:14,000 --> 00:16:16,040 Speaker 2: That's right. I just as a matter of fact, I 273 00:16:16,160 --> 00:16:21,040 Speaker 2: just learned relearned Sibelius program to do a brass chart 274 00:16:21,200 --> 00:16:23,640 Speaker 2: that we're going to rehearse when we get to Las Vegas, 275 00:16:23,680 --> 00:16:28,240 Speaker 2: and we'll see each other on Friday before the show 276 00:16:29,720 --> 00:16:33,000 Speaker 2: and we'll go over that Friday or Saturday that we'll 277 00:16:33,040 --> 00:16:36,360 Speaker 2: do a rehearsal. And pretty interesting. We're doing a fan 278 00:16:36,480 --> 00:16:40,560 Speaker 2: club convention that the second week that we're there in 279 00:16:40,640 --> 00:16:47,160 Speaker 2: Las Vegas and starting right up again. Like it's good 280 00:16:47,200 --> 00:16:49,640 Speaker 2: to be home and it's good to go back on 281 00:16:49,680 --> 00:16:52,880 Speaker 2: the road. I'll miss everything that I've been living with 282 00:16:52,920 --> 00:16:56,360 Speaker 2: here because I enjoy being home as much as I 283 00:16:56,400 --> 00:16:59,120 Speaker 2: do being on the road. Hardest part is always the 284 00:16:59,200 --> 00:17:02,920 Speaker 2: travel there and getting from there back here. 285 00:17:03,360 --> 00:17:06,959 Speaker 3: And this is a residency that you'll have for a 286 00:17:07,080 --> 00:17:10,640 Speaker 3: bunch of shows at the Venetian, Right the Venetian. 287 00:17:10,720 --> 00:17:14,399 Speaker 2: Yeah, we do nine shows in first shows at the 288 00:17:14,520 --> 00:17:18,360 Speaker 2: end of February and then we finish up mid March sometime. 289 00:17:19,760 --> 00:17:23,520 Speaker 3: So did you get your curiosity as a musician, as 290 00:17:23,560 --> 00:17:27,560 Speaker 3: a person leading a course to great music career but 291 00:17:27,640 --> 00:17:32,760 Speaker 3: also this it side job. Did you get that curiosity 292 00:17:32,800 --> 00:17:33,480 Speaker 3: from your dad? 293 00:17:35,119 --> 00:17:39,399 Speaker 2: No, not really, but musical curiosity, yes, because he had 294 00:17:39,440 --> 00:17:42,000 Speaker 2: a lot of big band albums and I would listen 295 00:17:42,040 --> 00:17:44,359 Speaker 2: to those quite a bit. And then when I was 296 00:17:44,600 --> 00:17:47,520 Speaker 2: old enough, at eleven years old, he asked me if 297 00:17:47,520 --> 00:17:50,200 Speaker 2: I wanted to join the band at school, maybe play 298 00:17:50,240 --> 00:17:52,919 Speaker 2: the trumpet. So we went in. He took me in 299 00:17:52,960 --> 00:17:55,960 Speaker 2: and we met the band director. They took a look 300 00:17:55,960 --> 00:17:57,879 Speaker 2: at my teeth to make sure I wasn't going to 301 00:17:59,040 --> 00:18:02,520 Speaker 2: mash myself to you know, the inside of my mouth up. 302 00:18:03,000 --> 00:18:05,879 Speaker 2: And I guess I passed muster because I started playing 303 00:18:05,920 --> 00:18:09,240 Speaker 2: trumpet and then havn't stopped and it's been got over 304 00:18:09,320 --> 00:18:10,640 Speaker 2: sixty years playing the horn. 305 00:18:11,200 --> 00:18:13,359 Speaker 1: We'll be right back with more of the Taking a 306 00:18:13,400 --> 00:18:21,639 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 307 00:18:22,560 --> 00:18:24,640 Speaker 3: Can you talk about some of the horn players that 308 00:18:25,200 --> 00:18:28,439 Speaker 3: you've studied or you continue to study through your career. 309 00:18:29,160 --> 00:18:35,040 Speaker 2: Well, you know Freddie Hubbard and Lee Morden, you know Miles. 310 00:18:35,280 --> 00:18:39,639 Speaker 2: Actually I got into Miles later and more for the 311 00:18:39,680 --> 00:18:43,040 Speaker 2: stuff that he didn't play, the beauty of the stuff 312 00:18:43,040 --> 00:18:45,000 Speaker 2: that he didn't play, as much as the stuff that 313 00:18:45,040 --> 00:18:49,119 Speaker 2: he did. It's pretty crazy how how Miles put it 314 00:18:49,160 --> 00:18:53,879 Speaker 2: together and was different from from all others. And you know, 315 00:18:54,320 --> 00:18:58,000 Speaker 2: talk about a legacy. That's an amazing one. And I 316 00:18:58,040 --> 00:19:01,760 Speaker 2: listened to the big bands, you know, Dorsey and Glenn 317 00:19:01,760 --> 00:19:04,840 Speaker 2: Miller and played along with those records, and then Maynard 318 00:19:04,880 --> 00:19:08,920 Speaker 2: came out and I played everything down and active. I went, 319 00:19:09,000 --> 00:19:11,960 Speaker 2: there's a way I'm it ever going to be able 320 00:19:11,960 --> 00:19:16,840 Speaker 2: to hit those notes, baby. So but as it turns out, 321 00:19:16,880 --> 00:19:21,400 Speaker 2: the more you can get these muscles around the lip 322 00:19:22,080 --> 00:19:25,760 Speaker 2: strong and sturdy, so that I mean, I guess trumpet 323 00:19:25,800 --> 00:19:28,760 Speaker 2: players call it the corners. So when you close your mouth, 324 00:19:29,240 --> 00:19:31,920 Speaker 2: this is like you feel the muscles around here. It's 325 00:19:31,960 --> 00:19:35,120 Speaker 2: like solid, but everything inside here is soft and supple 326 00:19:35,560 --> 00:19:40,719 Speaker 2: and has to be really respected and be easy on 327 00:19:40,800 --> 00:19:43,040 Speaker 2: it and just blow the air through the horn and 328 00:19:43,040 --> 00:19:46,000 Speaker 2: not jam it against your mouth because as soon as 329 00:19:46,000 --> 00:19:48,520 Speaker 2: you jam it in, it's a piece of metal stopping 330 00:19:48,680 --> 00:19:51,760 Speaker 2: the lips from buzzing. That's problematic. 331 00:19:53,160 --> 00:19:55,159 Speaker 3: That's an issue, especially when. 332 00:19:55,000 --> 00:19:56,879 Speaker 2: You're trying to get up and you uppy register and 333 00:19:56,920 --> 00:19:58,919 Speaker 2: you think you're going to pull it this way to 334 00:19:59,000 --> 00:20:01,520 Speaker 2: get the note. That's not the way it works. 335 00:20:01,920 --> 00:20:02,119 Speaker 1: You go. 336 00:20:02,320 --> 00:20:05,520 Speaker 2: You have to just relax and let the lips buzz 337 00:20:05,600 --> 00:20:06,800 Speaker 2: and play the note. 338 00:20:08,119 --> 00:20:10,480 Speaker 3: I love how you're using the term buzz too. 339 00:20:10,840 --> 00:20:14,959 Speaker 2: You got we're buzzing a while. I'm gonna buzz right 340 00:20:15,000 --> 00:20:16,159 Speaker 2: after we finish here. 341 00:20:16,720 --> 00:20:23,160 Speaker 3: Buzzing around. What's a regular part of your rehearsal discipline, 342 00:20:24,000 --> 00:20:26,720 Speaker 3: whether every day or how do how do you stay 343 00:20:26,960 --> 00:20:27,480 Speaker 3: so sharp? 344 00:20:28,520 --> 00:20:30,359 Speaker 2: I just I get up in the morning and I 345 00:20:30,400 --> 00:20:33,640 Speaker 2: have a cup of coffee and start warming up normally, 346 00:20:34,600 --> 00:20:37,960 Speaker 2: And it feels like I'm missing something if I haven't 347 00:20:37,960 --> 00:20:41,120 Speaker 2: gotten to the horn soon enough, like if I don't 348 00:20:41,119 --> 00:20:43,080 Speaker 2: get into it until later in the day. As long 349 00:20:43,080 --> 00:20:45,359 Speaker 2: as I am able to play my horn during the 350 00:20:45,440 --> 00:20:49,919 Speaker 2: day and and get to my routines, it feels like 351 00:20:50,480 --> 00:20:54,440 Speaker 2: I've accomplished something during the day. And just recently, I said, 352 00:20:54,680 --> 00:20:58,600 Speaker 2: you know, I was relearning Sibelius, the music program, and 353 00:20:58,640 --> 00:21:02,159 Speaker 2: that's pretty difficult because you have to learn all the 354 00:21:02,200 --> 00:21:04,399 Speaker 2: ins and outs of which button to push and how 355 00:21:04,440 --> 00:21:07,199 Speaker 2: to move it over there. So thank goodness, I know 356 00:21:07,440 --> 00:21:11,200 Speaker 2: something about music as to how to break up the bars, 357 00:21:11,240 --> 00:21:14,959 Speaker 2: because you have to hit the buttons to split up 358 00:21:15,000 --> 00:21:16,919 Speaker 2: the bar so you can fit the notes that you 359 00:21:17,000 --> 00:21:21,000 Speaker 2: need in there. Da da da d up. That all 360 00:21:21,040 --> 00:21:23,760 Speaker 2: has a look to it, you know. You play those 361 00:21:23,800 --> 00:21:26,359 Speaker 2: sixteenth notes and then da da da da there's a 362 00:21:26,680 --> 00:21:29,000 Speaker 2: rest there. You go, you put a sixteenth rest in, 363 00:21:29,600 --> 00:21:31,400 Speaker 2: click to the next one, and then play the next 364 00:21:31,520 --> 00:21:34,440 Speaker 2: you know, put in the next note. So it's it's 365 00:21:34,480 --> 00:21:38,560 Speaker 2: pretty intricate and a lot of fun. But after you 366 00:21:38,640 --> 00:21:41,520 Speaker 2: do it for a few hours, you're like bleary eyed, 367 00:21:42,520 --> 00:21:45,239 Speaker 2: you know, just sitting there working with a computer. All 368 00:21:45,240 --> 00:21:48,400 Speaker 2: of a sudden, wait a minute, what time is it? 369 00:21:49,359 --> 00:21:51,520 Speaker 2: I got to stop this for a minute. And then, 370 00:21:51,800 --> 00:21:55,119 Speaker 2: you know, I tell people that if there's advice that 371 00:21:55,200 --> 00:21:59,320 Speaker 2: I can give them, do something in your life that 372 00:21:59,880 --> 00:22:04,439 Speaker 2: you lose yourself into like that, like the sibelius or 373 00:22:04,520 --> 00:22:12,200 Speaker 2: practicing I mean, just art or welding, you know, I mean, 374 00:22:12,240 --> 00:22:16,040 Speaker 2: if anything whatever excites you and takes your time where 375 00:22:16,119 --> 00:22:20,080 Speaker 2: you lose yourself in it and don't realize what time 376 00:22:20,119 --> 00:22:22,520 Speaker 2: of day it is, what day it is. You're just 377 00:22:22,720 --> 00:22:25,919 Speaker 2: into that project so much. Do that for a living, 378 00:22:26,640 --> 00:22:29,399 Speaker 2: and inevitably most people will try to talk you out 379 00:22:29,440 --> 00:22:32,080 Speaker 2: of it because you're only concentrating on one thing. Is 380 00:22:34,240 --> 00:22:36,560 Speaker 2: that's what I like though, I want to do that. 381 00:22:37,960 --> 00:22:38,640 Speaker 2: Keep doing it. 382 00:22:39,480 --> 00:22:43,880 Speaker 3: That's that's brilliant. That that is brilliant. Spot on advice 383 00:22:45,040 --> 00:22:48,639 Speaker 3: when you're doing those warm ups, is some of that, 384 00:22:48,880 --> 00:22:53,240 Speaker 3: or you know, a little more than some of it improvisation. 385 00:22:54,240 --> 00:22:57,080 Speaker 2: No, not really, It's stuff that I've been doing, you know, 386 00:22:57,880 --> 00:23:00,840 Speaker 2: day after day for years and years, and you know 387 00:23:00,880 --> 00:23:04,480 Speaker 2: all brass players can relate to that. You keep switching 388 00:23:04,480 --> 00:23:07,480 Speaker 2: off different books, but basically you're playing the same twelve 389 00:23:07,520 --> 00:23:12,879 Speaker 2: notes all your life, you know, it's just a different registers, 390 00:23:12,880 --> 00:23:16,440 Speaker 2: the low register, the middle register, and the upper register, 391 00:23:16,880 --> 00:23:18,439 Speaker 2: as high as you can go and as low as 392 00:23:18,480 --> 00:23:21,159 Speaker 2: you can go. And the easier you can do that, 393 00:23:21,880 --> 00:23:23,520 Speaker 2: the more fun you have with the instrument. 394 00:23:24,280 --> 00:23:28,359 Speaker 3: Any instrument, is that the key that has helped you 395 00:23:28,600 --> 00:23:33,800 Speaker 3: and the band stay so incredibly relevant for fifty eight 396 00:23:33,880 --> 00:23:35,760 Speaker 3: years pretty much. 397 00:23:36,280 --> 00:23:38,919 Speaker 2: You know, like I said, the first time we got together, 398 00:23:38,960 --> 00:23:41,280 Speaker 2: we liked what it sounded like when we played together, 399 00:23:41,880 --> 00:23:45,320 Speaker 2: and that hasn't changed, you know, And as the music 400 00:23:45,359 --> 00:23:49,600 Speaker 2: has been written and wherever that came from, you know, 401 00:23:49,760 --> 00:23:55,200 Speaker 2: Robert and Jimmy and Terry and then a few other 402 00:23:55,240 --> 00:23:58,120 Speaker 2: guys started getting into it along the line. Whenever there 403 00:23:58,240 --> 00:24:00,600 Speaker 2: was a lull in how many songs were being written 404 00:24:00,640 --> 00:24:05,800 Speaker 2: for an album, somebody else in the band stood up 405 00:24:06,560 --> 00:24:12,240 Speaker 2: and presented something to keep the legacy afloat and It's 406 00:24:12,240 --> 00:24:17,160 Speaker 2: been that way our entire career. Somebody else gets up 407 00:24:17,320 --> 00:24:21,119 Speaker 2: and takes the reins and you just keep moving on. 408 00:24:22,160 --> 00:24:24,600 Speaker 3: And your thoughts when you look out into the crowd 409 00:24:24,640 --> 00:24:28,960 Speaker 3: and you see, you know, the multi generational aspect of 410 00:24:29,000 --> 00:24:30,600 Speaker 3: the crowd, how does that make you feel? 411 00:24:31,280 --> 00:24:36,080 Speaker 2: It's very cool because when the songs were written, I know, 412 00:24:36,359 --> 00:24:38,960 Speaker 2: when I wrote call on Me, my first song that 413 00:24:39,080 --> 00:24:43,200 Speaker 2: was on record, I was hoping that anybody besides myself 414 00:24:43,240 --> 00:24:46,359 Speaker 2: would like it, you know. So so for that to 415 00:24:46,440 --> 00:24:50,040 Speaker 2: have the success that that's had since nineteen seventy four, 416 00:24:50,760 --> 00:24:53,400 Speaker 2: and you know, I'm still making royalties on that song, 417 00:24:53,480 --> 00:24:56,440 Speaker 2: even though it wasn't one of our huge hits. It 418 00:24:56,600 --> 00:25:02,680 Speaker 2: was my introduction in helping something to the legacy and 419 00:25:03,080 --> 00:25:06,760 Speaker 2: providing something for the legacy. So it's it's it's great. 420 00:25:07,600 --> 00:25:09,439 Speaker 2: You know, I came in sheepes, so you want to 421 00:25:09,440 --> 00:25:12,600 Speaker 2: hear my song, you know, because all these guys were 422 00:25:12,640 --> 00:25:16,960 Speaker 2: like established songwriters by then. With we had a bunch 423 00:25:17,000 --> 00:25:19,920 Speaker 2: of hits under our belt by the seventh album, you know, 424 00:25:19,960 --> 00:25:23,199 Speaker 2: it was it was a pretty amazing career already and 425 00:25:24,840 --> 00:25:25,960 Speaker 2: we had only begun. 426 00:25:27,160 --> 00:25:30,280 Speaker 3: By the way, call on Me one of many of 427 00:25:30,280 --> 00:25:36,520 Speaker 3: my Chicago favorites, So it's absolutely so brilliant, you know. 428 00:25:36,600 --> 00:25:39,399 Speaker 3: Back to the residency, I don't know if you have 429 00:25:39,800 --> 00:25:43,880 Speaker 3: a thought on the way residencies have become. I think 430 00:25:43,920 --> 00:25:47,879 Speaker 3: they're great for fans and great for musicians, especially based 431 00:25:47,920 --> 00:25:51,239 Speaker 3: on the whole you know, travel aspect of things that 432 00:25:51,280 --> 00:25:55,120 Speaker 3: you referred to. Yeah, right, so I think I think 433 00:25:55,119 --> 00:25:56,919 Speaker 3: it's done a lot of a lot of good in 434 00:25:57,000 --> 00:26:00,600 Speaker 3: terms of the showcasing. But any thought thoughts on the 435 00:26:00,640 --> 00:26:04,640 Speaker 3: new phenomenon the sphere in Las Vegas. 436 00:26:05,960 --> 00:26:08,280 Speaker 2: I haven't been in the building. I've only seen it, 437 00:26:08,920 --> 00:26:13,640 Speaker 2: you know, glowing in the daytime and nighttime, so I'm 438 00:26:13,680 --> 00:26:15,959 Speaker 2: not you know, it's it's sort of like looking at 439 00:26:15,960 --> 00:26:19,480 Speaker 2: an alien and you don't know what is inside or 440 00:26:19,560 --> 00:26:22,360 Speaker 2: how are you how you once you get in there, 441 00:26:22,359 --> 00:26:28,160 Speaker 2: if you're going to be abducted or not. And as 442 00:26:28,200 --> 00:26:30,640 Speaker 2: far as playing there, we haven't been offered a gig there, 443 00:26:30,960 --> 00:26:33,440 Speaker 2: and as far as I know, it costs a lot 444 00:26:33,440 --> 00:26:35,440 Speaker 2: of money for each artist to go in and play 445 00:26:35,480 --> 00:26:39,439 Speaker 2: because they apparently have to redo the productions each time. 446 00:26:39,960 --> 00:26:43,640 Speaker 2: So I'm not sure exactly what it'll what it'll involve, 447 00:26:43,680 --> 00:26:46,000 Speaker 2: but we'll do it. If we're asked, that's for sure. 448 00:26:46,720 --> 00:26:49,080 Speaker 2: If it comes up, I have no problem going into 449 00:26:49,119 --> 00:26:50,399 Speaker 2: another venue. 450 00:26:50,840 --> 00:26:55,000 Speaker 3: Yeah, I think it's going to ultimately whether there's more 451 00:26:55,040 --> 00:26:59,439 Speaker 3: spheres that pop up, or whether elements of it, you know, 452 00:27:00,080 --> 00:27:02,720 Speaker 3: probably are at your residency as well, you know, just 453 00:27:02,800 --> 00:27:06,159 Speaker 3: in the way it's showcase the video and you know, 454 00:27:06,320 --> 00:27:11,520 Speaker 3: the surround sound sort of feel of it. Yeah, it's 455 00:27:11,600 --> 00:27:14,840 Speaker 3: it's pretty intense, so it's it's it's an experience. But 456 00:27:15,520 --> 00:27:20,040 Speaker 3: I think residencies or experiences as well, So I think 457 00:27:20,040 --> 00:27:21,399 Speaker 3: it's just an extension of it. 458 00:27:21,480 --> 00:27:24,320 Speaker 2: You know, they are, and it's they just use a 459 00:27:24,320 --> 00:27:26,760 Speaker 2: different name for They call it a residency now, But 460 00:27:26,840 --> 00:27:29,880 Speaker 2: it was just you know, a long standing gig when 461 00:27:29,920 --> 00:27:32,920 Speaker 2: we did it, before we opened up the Aladdin, when 462 00:27:32,960 --> 00:27:35,400 Speaker 2: no other rock and roll people would go into Las 463 00:27:35,520 --> 00:27:38,840 Speaker 2: Vegas because it was Frank Sinatraville at the time, so 464 00:27:38,880 --> 00:27:42,680 Speaker 2: it was thought of as an older venue, older crowd 465 00:27:42,920 --> 00:27:47,280 Speaker 2: type venue, just Las Vegas in general. And when we 466 00:27:47,359 --> 00:27:51,399 Speaker 2: played the Latin, opened up the Aladdin, and now the 467 00:27:51,400 --> 00:27:54,399 Speaker 2: Aladdin is closed, so we outlived that one too. But 468 00:27:54,520 --> 00:27:57,760 Speaker 2: when that opened up, other artists started coming in. Other 469 00:27:58,080 --> 00:28:01,080 Speaker 2: artists of our generation started coming into Las Vegas, and 470 00:28:01,640 --> 00:28:04,720 Speaker 2: that whole thing turned around, and now it's like residencies 471 00:28:04,800 --> 00:28:08,119 Speaker 2: and bigger and bigger and better and longer and faster 472 00:28:08,240 --> 00:28:11,719 Speaker 2: and higher and all the all the stuff that happens 473 00:28:11,760 --> 00:28:14,280 Speaker 2: in the world. If if a little is good, a 474 00:28:14,359 --> 00:28:15,080 Speaker 2: lot better? 475 00:28:15,560 --> 00:28:21,920 Speaker 3: Right, tell me what the experience was like that yielded 476 00:28:22,880 --> 00:28:25,639 Speaker 3: Chicago at the Kennedy Center, which is is just a 477 00:28:25,680 --> 00:28:26,640 Speaker 3: fabulous collection. 478 00:28:27,320 --> 00:28:31,439 Speaker 2: Right, that was pretty cool. We fuck, I forgot we 479 00:28:31,480 --> 00:28:33,800 Speaker 2: even did that because earlier in the year we did 480 00:28:33,800 --> 00:28:37,880 Speaker 2: the Carnegie Hall Live at Carnegie Hall and we did 481 00:28:39,120 --> 00:28:44,080 Speaker 2: six days, eight shows, and myself and our engineer Tim 482 00:28:44,160 --> 00:28:49,360 Speaker 2: Jessup we restored all eight shows so that that came 483 00:28:49,400 --> 00:28:52,800 Speaker 2: out what it was that last year, last year, the 484 00:28:52,880 --> 00:28:55,240 Speaker 2: year before, I forget what think year before. Yeah, it 485 00:28:55,320 --> 00:28:58,080 Speaker 2: took like ten months for for me and Tim to 486 00:28:58,160 --> 00:29:02,280 Speaker 2: pull that one together though. That was quite an accomplishment 487 00:29:02,360 --> 00:29:05,600 Speaker 2: for us, and I like the way it sounded because 488 00:29:05,640 --> 00:29:09,400 Speaker 2: we were able to get because fifty years later, technology 489 00:29:09,440 --> 00:29:13,720 Speaker 2: has changed, so you could play the tape or the 490 00:29:13,880 --> 00:29:16,520 Speaker 2: file or whatever you know, it's called files now because 491 00:29:16,520 --> 00:29:18,959 Speaker 2: they're digital. You don't see the tape running around the 492 00:29:18,960 --> 00:29:24,840 Speaker 2: machine anymore, but you can see the sound bites on 493 00:29:24,880 --> 00:29:28,360 Speaker 2: the screen and you can see when it comes in 494 00:29:28,440 --> 00:29:32,200 Speaker 2: and when it goes out, so in order to and 495 00:29:32,560 --> 00:29:35,640 Speaker 2: the room is very ambient. It's Carnegie Hall, so it's 496 00:29:35,680 --> 00:29:39,600 Speaker 2: built for concerts, and so the drums are very ambient. 497 00:29:39,720 --> 00:29:44,200 Speaker 2: The microphones are around the drums, all that stuff, and 498 00:29:44,280 --> 00:29:47,400 Speaker 2: you can see the music that you need to save 499 00:29:48,120 --> 00:29:51,800 Speaker 2: and cut out. You can erase that time in between 500 00:29:52,200 --> 00:29:55,040 Speaker 2: and then fade into the first note, so you don't know, 501 00:29:55,280 --> 00:29:59,360 Speaker 2: so whoever's listening doesn't realize that you have cut out. 502 00:29:59,400 --> 00:30:02,720 Speaker 2: All of that's stuff that is just noise. It's just 503 00:30:02,880 --> 00:30:05,760 Speaker 2: ambient noise from the rest of the band playing, you know. 504 00:30:06,080 --> 00:30:09,040 Speaker 2: And then you play that note and then fade out 505 00:30:09,040 --> 00:30:11,280 Speaker 2: of that and wait for the next one. And you 506 00:30:11,400 --> 00:30:15,200 Speaker 2: do that with all brass parts, all the born parts, 507 00:30:15,680 --> 00:30:22,000 Speaker 2: all the vocal parts, and anything that's not direct into 508 00:30:22,080 --> 00:30:25,000 Speaker 2: an amplifier. You have to do that, and then you're 509 00:30:25,040 --> 00:30:28,520 Speaker 2: able to when you're done, be able to you push 510 00:30:28,600 --> 00:30:31,440 Speaker 2: up the instrument. You can actually hear the instrument better 511 00:30:31,760 --> 00:30:34,680 Speaker 2: and you can eque it without having all the other 512 00:30:34,760 --> 00:30:37,640 Speaker 2: noise behind you. That's why we were able to hear 513 00:30:37,680 --> 00:30:42,680 Speaker 2: it and sort of immerse yourself into the crowd. I know, 514 00:30:43,200 --> 00:30:45,400 Speaker 2: we sat there every day. Gone, Man, it feels like 515 00:30:45,440 --> 00:30:49,200 Speaker 2: I'm like right here in the crowd with them. That's 516 00:30:49,200 --> 00:30:53,480 Speaker 2: the whole idea. The Kennedy Center was pretty much like 517 00:30:54,080 --> 00:30:57,640 Speaker 2: doing the Carnegie Hall album, except that, you know, it 518 00:30:57,720 --> 00:30:59,800 Speaker 2: was our next project on so we had learned a 519 00:30:59,840 --> 00:31:03,960 Speaker 2: lot from doing Carnegie Hall. And I was amazed that 520 00:31:04,120 --> 00:31:08,640 Speaker 2: we were so busy back then that we were writing 521 00:31:08,720 --> 00:31:13,800 Speaker 2: songs and performing them as we were writing and recording them. 522 00:31:13,960 --> 00:31:17,920 Speaker 2: Saturday in the Park. We hadn't decided on who the 523 00:31:18,000 --> 00:31:22,880 Speaker 2: lead vocalist was yet, Dialogue hadn't been the second half 524 00:31:22,920 --> 00:31:25,640 Speaker 2: of Dialogue hadn't been written yet, so we just sort 525 00:31:25,640 --> 00:31:27,880 Speaker 2: of did a guitar solo and then ended the song. 526 00:31:33,040 --> 00:31:37,520 Speaker 2: So it reminded me that how ballsy it was for 527 00:31:37,640 --> 00:31:42,920 Speaker 2: us to play current gigs with that kind of pressure, 528 00:31:43,000 --> 00:31:48,000 Speaker 2: playing for, you know, the opening of a venue in Washington, 529 00:31:48,080 --> 00:31:51,280 Speaker 2: d C. And we were like rehearsing songs as well 530 00:31:51,320 --> 00:31:56,520 Speaker 2: as stuff that was already established, you know, established hits 531 00:31:56,560 --> 00:31:58,240 Speaker 2: for us. It's pretty crazy. 532 00:31:58,680 --> 00:32:03,080 Speaker 3: Are there other projects over the horizon past the upcoming 533 00:32:03,160 --> 00:32:04,640 Speaker 3: tour that you can talk about? 534 00:32:05,600 --> 00:32:08,480 Speaker 2: At this point? I know we're writing music, I am 535 00:32:08,560 --> 00:32:11,200 Speaker 2: for sure, and I don't know if it'll be a 536 00:32:11,280 --> 00:32:14,640 Speaker 2: Chicago album or a Lee Locknane album, Like somebody's going 537 00:32:14,680 --> 00:32:16,760 Speaker 2: to go, hey, yeah, well Lee Lockdane. As sure, I'm 538 00:32:16,760 --> 00:32:18,800 Speaker 2: going to go out and pick on one of else. 539 00:32:19,040 --> 00:32:20,800 Speaker 3: But come on, now they will. 540 00:32:22,600 --> 00:32:26,040 Speaker 2: My bread is buttered with the band with the logo 541 00:32:26,160 --> 00:32:29,440 Speaker 2: with Chicago. So that's what I've based my life on, 542 00:32:30,560 --> 00:32:32,560 Speaker 2: or you know, life is based it on me. They 543 00:32:32,560 --> 00:32:35,560 Speaker 2: actually named the city after us. We were so popular. 544 00:32:37,800 --> 00:32:41,280 Speaker 3: Oh. I love it when I think of the collection 545 00:32:41,400 --> 00:32:45,080 Speaker 3: of music over the years, over the decades, and I 546 00:32:45,120 --> 00:32:49,000 Speaker 3: think of what this music does, certainly to me personally 547 00:32:49,280 --> 00:32:53,920 Speaker 3: and to your fans. It's it's so uplifting and so 548 00:32:54,360 --> 00:32:57,760 Speaker 3: just you know, just makes us feel great. I produce 549 00:32:57,880 --> 00:33:02,000 Speaker 3: this other podcast it's called Music Save Me, which is 550 00:33:02,600 --> 00:33:06,400 Speaker 3: about sort of the healing power and what music does 551 00:33:06,480 --> 00:33:12,480 Speaker 3: to us. Basically, do you think music has healing powers? 552 00:33:13,160 --> 00:33:14,600 Speaker 3: For for sure? 553 00:33:15,160 --> 00:33:20,040 Speaker 2: For sure? You know, and brings people together who would 554 00:33:20,040 --> 00:33:25,240 Speaker 2: normally not be together at all. And you know, same 555 00:33:25,320 --> 00:33:29,280 Speaker 2: thing like with twelve step programs, people you've never imagined 556 00:33:29,280 --> 00:33:32,000 Speaker 2: that you would meet on the street, meet in there, 557 00:33:32,120 --> 00:33:35,000 Speaker 2: you know, with big problems that you can work yourself 558 00:33:35,000 --> 00:33:43,000 Speaker 2: out of. But music definitely is a healing, universal healing method. 559 00:33:44,200 --> 00:33:47,320 Speaker 3: Well, I have to tell you continue to give us 560 00:33:47,720 --> 00:33:51,680 Speaker 3: amazing joy. The tour is going to be joyful. The 561 00:33:51,760 --> 00:33:55,760 Speaker 3: residency at the Venetian is something for folks to look 562 00:33:55,920 --> 00:34:00,240 Speaker 3: up to and look forward to as a destination. Also, 563 00:34:00,320 --> 00:34:03,720 Speaker 3: don't forget about the documentary The Last Band on Stage 564 00:34:03,880 --> 00:34:04,440 Speaker 3: as well. 565 00:34:05,200 --> 00:34:08,440 Speaker 2: There was our fifty fifth anniversary of documentary. We have 566 00:34:08,520 --> 00:34:12,520 Speaker 2: the one before that, which was the fiftieth anniversary documentary. 567 00:34:12,600 --> 00:34:17,680 Speaker 3: With your friend Joe Montana right who, Yes, the great Joe, 568 00:34:18,080 --> 00:34:21,319 Speaker 3: the great actor Lee lock Nae. Thank you for so much, 569 00:34:21,719 --> 00:34:25,680 Speaker 3: the iconic band Chicago and Lee lock Nae. Thank you 570 00:34:25,760 --> 00:34:27,520 Speaker 3: for being on Taking a Walk. It's an honor. 571 00:34:27,880 --> 00:34:29,120 Speaker 2: Thanks Boss same here. 572 00:34:30,200 --> 00:34:32,680 Speaker 1: Thanks for listening to this episode of the Taking a 573 00:34:32,719 --> 00:34:36,640 Speaker 1: Walk podcast. Share this and other episodes with your friends 574 00:34:36,719 --> 00:34:40,200 Speaker 1: and follow us so you never miss an episode. Taking 575 00:34:40,239 --> 00:34:44,280 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 576 00:34:44,320 --> 00:34:46,600 Speaker 1: and wherever you get your podcasts.