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Speaker 1: This is Master's in Business with Barry Ridholts on Bloomberg Radio.

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Speaker 1: This week on the podcast, we have a return guest,

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Speaker 1: and and what a delight Lawrence Juber one of the

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Speaker 1: world's greatest acoustic guitarists, highly regarded by his peers. Everybody

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Speaker 1: who I know who is a professional or amateur musician

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Speaker 1: or guitarist is in awe of this guy's technical skills, prowess, musicology, musicality.

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Speaker 1: He is just a quadruple threat. The work he does

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Speaker 1: is really quite fascinating. I found him because I'm such

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Speaker 1: a huge Beatles fan, and his cover versions of Paul

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Speaker 1: McCartney's Wings and three albums of Beatles songs, it's just

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Speaker 1: astonishing and delightful and there's really nothing else, nothing else

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Speaker 1: like it. My my recording engineer Medina, was just blown

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Speaker 1: away by the version he did of Uh, she Loves You.

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Speaker 1: But any of the songs he he does are just

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Speaker 1: so unique to him and yet so obviously a Beatles song.

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Speaker 1: They're just just amazing. And what's really fascinating is the

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Speaker 1: depth of his musical knowledge and his understanding of the

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Speaker 1: history of both the guitar as an instrument and the

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Speaker 1: history of music and how it's developed. It's it's really fascinating.

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Speaker 1: I love his work. I find him fascinating. I was

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Speaker 1: thrilled to be able to sit here and and listen

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Speaker 1: to him. Um. I recorded two of his songs and

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Speaker 1: I put them up on YouTube. One of the Beatles.

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Speaker 1: The other is Little Wing, which is just insane version

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Speaker 1: of that song. So, with no further ado, here is

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Speaker 1: my conversation with Lawrence Duber, my extra special guest today,

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Speaker 1: is one of my very every musicians in the world.

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Speaker 1: His name is Lawrence Juber. He was born and raised

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Speaker 1: in London, uh Immediately upon graduation from university, began working

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Speaker 1: as a session guitarist with a little known producer named

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Speaker 1: George Martin. He was a studio musician on thousands of

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Speaker 1: sessions before he was invited by Sir Paul McCartney's band

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Speaker 1: Wings for their ninety eight tour. That's really what brought

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Speaker 1: him to wider spread public notice. He has recorded twenty

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Speaker 1: five solo albums, many of which have received critical acclaim.

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Speaker 1: He has won two Grammys. He was named top acoustic

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Speaker 1: guitar player of all time by Acoustic Guitar Magazine and

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Speaker 1: has been called a master of the acoustic guitar by

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Speaker 1: no less than the Who's Peter Townsend, Lawrence Juber. Welcome

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Speaker 1: back to Bloomberg. Happy to be here. So we could

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Speaker 1: do the whole conversation with you, just answering music without

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Speaker 1: so before we get into the specifics, I have to

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Speaker 1: give you kudos. The last time you were here and

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Speaker 1: people I did not mention that you're also a musicologist.

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Speaker 1: We had a long conversation about what was the copyright

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Speaker 1: suit against led Zeppelin to Heaven, and you very specifically said,

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Speaker 1: I don't see how both of them, meaning Zeppelin and

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Speaker 1: the plaintiff didn't steal the music from this, this classical

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Speaker 1: piece of work from the fifteen hundreds or sixteen hundred.

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Speaker 1: And it turned out the court more or less agreed

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Speaker 1: with you. It was basically it was a public domain

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Speaker 1: and you can't steal. But you've got to look at

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Speaker 1: the context in terms of led Zeppelin, that they were

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Speaker 1: in the habit of purloining existing material. Oh really, that

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Speaker 1: was I mean, one can one can look at that,

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Speaker 1: but it's not uncommon when you say proloining. There's a

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Speaker 1: difference between inspired by and stolen front and like having

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Speaker 1: to add other composers to the credits down the line

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Speaker 1: when they got caught out. We just saw that happened

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Speaker 1: recently with with blurred Lines, and we saw that not

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Speaker 1: too long ago with another big song, Birdlines. Bloodlines is

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Speaker 1: a weird one. Yeah, I was surprised by that. It

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Speaker 1: was almost like the drum line was well, yeah, the

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Speaker 1: thing that the weird thing about it was the judge

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Speaker 1: didn't allow the record to be played, and yet it

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Speaker 1: was the groove on the record that was actually what

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Speaker 1: had been taken. And you know, if that was the case,

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Speaker 1: if groove was the issue, you know, Bo Diddley would

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Speaker 1: have been a multimillionaire on the basis of everybody from him,

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Speaker 1: whereas like Chuck Berry actually did get you know, did

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Speaker 1: get compensated for Beach Boys, you know, surfing USA taking,

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Speaker 1: you know, and John and and got sued, you know

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Speaker 1: because here comes on the flat top, you know, and um,

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Speaker 1: it's from you Can't Catch Me. It's did he lose? Yeah,

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Speaker 1: he loves that. And obviously George Harrison, well, but George

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Speaker 1: Harrison was really weird because Alan Klein owned the publishing

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Speaker 1: catalog for both that for both songs, so he was

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Speaker 1: basically himself yeah, that can that happens my my my

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Speaker 1: brother in law, Ross Handles, has handled the Beach Boys

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Speaker 1: record company for a while and there was one particular lawsuit,

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Speaker 1: you know, there's all this intrigue within the Beach Boys,

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Speaker 1: you know where Al al Jardine was on both sides

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Speaker 1: of a lawsuit. He was basically suing himself and the

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Speaker 1: judge pointed that out. So the problem with that is

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Speaker 1: that your legal costs or twice as much, but you're

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Speaker 1: guaranteed to win. That's right. So you lose, so you

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Speaker 1: can lose, but you can also win. So so is

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Speaker 1: this an ongoing problem with copyright issues and music? You

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Speaker 1: would think that everything is always based loosely on what

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Speaker 1: came before. Well, there is that, I mean, there are

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Speaker 1: there are elements that the substance of music is in

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Speaker 1: the public domain. I mean very simply. You know, you

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Speaker 1: take a string is a guitar straight and you touch

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Speaker 1: it halfway. You have an octave, You touch it in thirds,

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Speaker 1: you have a fifth, fourth, five, and then you you

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Speaker 1: keep going up there and you get what's called the

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Speaker 1: harmonic series. And out of that harmonic series you build chords,

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Speaker 1: you build melodies. The building blocks are pretty fundamental and

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Speaker 1: how you arrange those building blocks and do it in

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Speaker 1: a way to avoid stepping on somebody else's copyright is

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Speaker 1: the challenge. And in in the songwriting world, the the

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Speaker 1: the the adage is right a hit, get it rid

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Speaker 1: because the well you saw the Tom Petty song sounded

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Speaker 1: so much so, and I bet you that he didn't

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Speaker 1: actually copy here. It was just simply that that's kind

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Speaker 1: of a progression that you and I mean that there

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Speaker 1: were some Australian guys that put together a YouTube video

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Speaker 1: where they took dozens of songs, all of which were

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Speaker 1: number one records, and all had exactly the same court

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Speaker 1: sequence because there's no copyright on the court sequence copyright

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Speaker 1: strictly speaking copyrights on melody and lyrics, so in the

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Speaker 1: case of blurred lines, they were going outside of the

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Speaker 1: bounds of that. And what you end up with is

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Speaker 1: is just aggressive proactive musicologists finding lawyers and lawyers that

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Speaker 1: they team up with that that can really muddy the

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Speaker 1: waters with all of it. What was the talking pacabell

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Speaker 1: Cannons and geek that everybody said that that a lot

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Speaker 1: of songs have loosely been based on It's a similar sequence.

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Speaker 1: I mean that's the pacabell But for example, you know,

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Speaker 1: these kind of sequences is not uncommon, so you get

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Speaker 1: that that sequence. So many songs, you know, like Journey,

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Speaker 1: you know, Don't Stop Believing is based on that. But

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Speaker 1: it's not a copyright herble thing. That substance of it

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Speaker 1: is just is truly in the public domain. It's how

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Speaker 1: you articulate it. It's what lyrics you put to it,

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Speaker 1: what you do melodically, and how much of a melody

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Speaker 1: is the same as something else. My special guest today

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Speaker 1: is Lawrence Duber. He played with Sir Paul McCartney and

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Speaker 1: Wings on tour in the late seventies and recorded too,

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Speaker 1: And what did you record with them? I'm back to

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Speaker 1: the Egg album. What's the big song from that? The

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Speaker 1: single that was contemporaneous with that was coming up, It

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Speaker 1: was good Night Tonight and then it was getting closer

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Speaker 1: and arrow through me that that period the late like

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Speaker 1: the Indian Summer of Wings as they call it. But

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Speaker 1: then after that coming because the last Wings number one

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Speaker 1: was coming up, which was live and that you're playing

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Speaker 1: with George Martin, You're doing a lot of session work.

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Speaker 1: What's it like when the call comes from McCartney, Hey,

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Speaker 1: I need a guitarist for the next tour. It didn't

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Speaker 1: quite come that way. I had been playing on a

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Speaker 1: TV show with David Essex, was big English pop star

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Speaker 1: at the time, and each week they would have a

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Speaker 1: different musical guest. So one week was Twiggy, which was

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Speaker 1: kind of fun. They did send in the clowns together

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Speaker 1: Um Ronnie Specter the next week. Then the next week

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Speaker 1: was Denny Lane, and Denny was one of the founding

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Speaker 1: member of Wings with Paul and Linda and Um had

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Speaker 1: originally been the lead singer with the Moody Blues and

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Speaker 1: We did Go Now, which was a big Moody Blues hit.

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Speaker 1: UM and Denny liked my playing and we kind of bonded.

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Speaker 1: And then a couple of months after I ran into

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Speaker 1: him at a London studio where Paul and Linda were

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Speaker 1: working with him, and then he introduced me, but there

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Speaker 1: was still I mean, this was kind of September October

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Speaker 1: of seventy seven. I got the call in April of

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Speaker 1: seventy eight, so it wasn't like an overnight thing, and

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Speaker 1: I was very entrenched as a studio musician. I had

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Speaker 1: that would been my ambition from the time I was thirteen. Now,

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Speaker 1: of course, if I knew then what I know now,

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Speaker 1: I would have oriented myself to be being a songwriters

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Speaker 1: a lot more money at that. But nonetheless, my my

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Speaker 1: goal was to play guitar and make a living doing

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Speaker 1: I wanted to be a professional guitar player, whatever that took,

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Speaker 1: being in top forty bands, playing in jazz bands. I

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Speaker 1: played in the National Uth Jazz Orchestra. I'd established myself

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Speaker 1: and I was working at abbey Road in the Iconic

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Speaker 1: studio to the Beatles Studio on a session and I

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Speaker 1: got a phone call. Now getting a phone call on

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Speaker 1: a session at abbey Road was usual. This is for

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Speaker 1: for the younger listeners. Back then. We didn't all have

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Speaker 1: cell phones. It was literally white courtesy phone. Lawrence Juber

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Speaker 1: coming in for you, and the phone was up in

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Speaker 1: the next of the control room. And there's a big

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Speaker 1: long staircase. And you never went up there as as

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Speaker 1: a musician, you know, you stayed down stayed downstairs on

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Speaker 1: the studio floor. But I had to go up. And

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Speaker 1: I've never seen the control room before. So go up

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Speaker 1: in the control room, go take the phone call, and

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Speaker 1: it's McCartney's office as MPL and the guy says, Jenny

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Speaker 1: wants to know if you can come and jam on Monday,

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Speaker 1: and oh, by the way, Paul and Linda will be there.

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Speaker 1: And as it happens, I was free, thank goodness. And

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Speaker 1: if you weren't, if I wasn't, I would have made myself.

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Speaker 1: And I kind of went into a slight panic because

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Speaker 1: I didn't really know any of the Wings stuff. You know,

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Speaker 1: at that time, I was into being a hot shot

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Speaker 1: studio player, and it wasn't. I was listening to pop records,

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Speaker 1: but you know, there weren't a lot of guitar solos

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Speaker 1: on the Wing records, and now that was the thing,

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Speaker 1: you know. I was much more into more of the

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Speaker 1: progressive FUSIONI Staff and Weather Report and UM returned to Forever,

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Speaker 1: and I was listening to like Chick Career and then

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Speaker 1: like Los Angeles guitar players like Larry Carton, Lee Written On,

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Speaker 1: you know, those kind of like jazz guy, fusion guy

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Speaker 1: studio players and UM. But so I brought some LPs

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Speaker 1: from my brother and listened over the weekend. But I

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Speaker 1: realized there was no way I was going to be

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Speaker 1: able to anticipate what we were going to do, and

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Speaker 1: as it turned out, we jammed on some chuck Berry

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Speaker 1: grooves and some reggae kind of field things, and they said,

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Speaker 1: what are you doing for the next few years, at

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Speaker 1: which point I had to think about it deeply for

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Speaker 1: a nano second, because you know, I'd established myself so

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Speaker 1: when I worked really hard and I was making a

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Speaker 1: decent living doing it, but I couldn't turn down the

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Speaker 1: opportunity to work with Paul McCartney. So you know, I said, well,

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Speaker 1: I guess I'm playing with you. I think the rule

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Speaker 1: of thumb is when Paul McCartney says, what are you

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Speaker 1: doing for the next few years, you tell me exactly.

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Speaker 1: So it was it was a big change now, but

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Speaker 1: personally it happened at a really crucial point in my

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Speaker 1: life because my father passed away a month earlier, so

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Speaker 1: it was a very kind of emotionally wrenching period. And

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Speaker 1: you know, to then step into the situation where not

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Speaker 1: only was I working for Paul, but he was kind

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Speaker 1: of an artistic mentor as well, and it really was.

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Speaker 1: It became an extension of my education because I had

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Speaker 1: studied London University got about your music degree in musicology

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Speaker 1: and music theory. I never really studied guitar formally, except

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Speaker 1: in high school. I had classical guitar lessons, but it

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Speaker 1: wasn't my ambition to be a classical guitar player. It

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Speaker 1: was simply a way to have the necessary grade level

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Speaker 1: in performance to be able to continue to study music theory,

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Speaker 1: because what intrigued me was the way that music was

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Speaker 1: put together, and watching you play various songs, it's clear

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Speaker 1: that you don't just pick up a guitar and strum.

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Speaker 1: All of the compositions I've seen you perform have been

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Speaker 1: constructed painstakingly with great a forethought, if that's even a word.

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Speaker 1: But it's clear that these aren't just oh, let me

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Speaker 1: run off a few riffs. You really spend time charting

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Speaker 1: these things out in great theme, figuring out how all

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Speaker 1: the parts work together. I mean, that's that's the challenge,

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Speaker 1: that's the technique. So McCartney's and Linda say to you, hey,

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Speaker 1: let's go on tour. What's actually not not straight away? No,

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Speaker 1: first thing that happens when we went up to Scotland

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Speaker 1: to his farm and spent a few weeks just working

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Speaker 1: through potential material for an album. So before we're even

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Speaker 1: rehearsing for the tour came away date way later because

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Speaker 1: he owed he had just signed with Columbia Records, had

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Speaker 1: been on Capitol for years. Signed with Columbia as a

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Speaker 1: signing bonus, he got a great deal on the Frank

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Speaker 1: Music CBS Songs Frank Music catalog, which included Greece, chorus

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Speaker 1: Line and Annie, all of which got made into movies

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Speaker 1: within a year of him acquiring those copyrights. Yeah, hit,

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Speaker 1: Paul was well on the way to becoming the largest

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Speaker 1: independent music publisher in the world. Because if Linda's father,

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Speaker 1: Lee represented a lot of the composers. Lee Eastman was

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Speaker 1: big time, big time music lawyer, and in fact, after

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Speaker 1: we had spent some time in Scotland and we shot

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Speaker 1: a video from an existing track, we then came to

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Speaker 1: New York, went out to Long Island, out to the

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Speaker 1: Hampton's and spent a few days getting to know chat

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Speaker 1: about the business end of it with with Lee Eastman,

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Speaker 1: which was pretty impressive, I have to say. And then

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Speaker 1: we went back to England and then went up to

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Speaker 1: Scotland again and started recording an album, which we continued

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Speaker 1: to do in Scotland, and then we went down to

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Speaker 1: a castle on the South coast of England, Limb Castle,

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Speaker 1: which like a thirteenth century with battlements and ghosts and

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Speaker 1: spiral stay cases. It was great. And then we went

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Speaker 1: into Abbey Road and did some recording there and ended

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Speaker 1: up actually in the basement of Paul's studio, Paul's office

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Speaker 1: in Soho Square, London, one Soho Square, which is like

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Speaker 1: a great addressed and we built a replica of the

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Speaker 1: control room of Abbey Road studio too so that we

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Speaker 1: could mix the album because we couldn't get into Abbey

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Speaker 1: Row because Kate Bush I think Cliff Richard and Kate

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Speaker 1: Busch were using it and we couldn't get the studio

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Speaker 1: that we wanted, so we just Paul created his own.

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Speaker 1: Let's talk a little bit about the business of music.

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Speaker 1: You mentioned you were happy earning a living as a

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Speaker 1: studio musician. Do those careers still exists to the same

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Speaker 1: degree they used to? They do to some extent, I mean,

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Speaker 1: you know, the union a for them used to have

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Speaker 1: a lot of cloud and in some areas it still does.

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Speaker 1: I mean in television movies as long as their studio movies.

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Speaker 1: This you know, and and it certainly can be rewarding,

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Speaker 1: but it's not as reliable a source of income as

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Speaker 1: it was even twenty years ago. I mean it really

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Speaker 1: the amount of that kind of work has diminished because

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Speaker 1: the technology has had an enormous impact. Whereas it used

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Speaker 1: to be that you'd have to put together an orchestra

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Speaker 1: to do a score, and now you can do it,

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Speaker 1: you know, in your bedroom basically, um with a laptop.

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Speaker 1: So it doesn't necessarily have the same dimension to it.

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Speaker 1: But then you know, that depends on the budget. But

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Speaker 1: but being a studio musician is was always really going

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Speaker 1: back to the twenties, was a viable way of making

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Speaker 1: a living, just not nearly as much as it was

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Speaker 1: not nearly as much today as it once was. Correct,

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Speaker 1: I mean, now really we had the money. Is is

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Speaker 1: in the songwriting and my daughter Elsie, for example, is

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Speaker 1: has becoming a successful songwriter, and I see how it

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Speaker 1: works for her in terms of and it's not just records.

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Speaker 1: It's not just records and television streaming is streaming is

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Speaker 1: not a great source of revenue for songwriters. For performers,

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Speaker 1: it's better the ratio for they find something of mine

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Speaker 1: gets played on serious example, Pandora. Hopefully Pandora will still

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Speaker 1: be around for a while if it gets played there.

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Speaker 1: I make seventeen times as much as a performer as

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Speaker 1: I would as the as the writer publishing. Does that

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Speaker 1: make any sense? That seems it makes sense if you're

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Speaker 1: the performer, but if you're the performer writer, I guess

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Speaker 1: there's a certain comma involved because performers never got and

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Speaker 1: still don't get money from terrestrial radio at all. It

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Speaker 1: was always looked at as promotional and not exactly exactly.

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Speaker 1: It's free promotion for your concerts, but that which is

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Speaker 1: why it used to be free promotion for your albums.

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Speaker 1: Well before that was free promotion for your live performances.

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Speaker 1: So we went from live performances as a big source

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Speaker 1: of income to albums album and now we're back to

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Speaker 1: live performances to a largic live performances and T shirts,

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Speaker 1: merchandise um and and CDs have you know, dropped off

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Speaker 1: a lot, but you know, show merchandise in terms. I mean,

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Speaker 1: you've seen me at my shows, you know, with with

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Speaker 1: a stack of CDs and a line of people running

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Speaker 1: signatures and stuff. So that's that's a away And it's

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Speaker 1: great because I would get to meet the fans, but

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Speaker 1: I also get to hand over the work you know

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Speaker 1: the artistic work. But but the real money in songwriting

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Speaker 1: is in first of all, is in radio, airplay and

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Speaker 1: television and synchronization licenses. So a song, I mean, for example,

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Speaker 1: else co wrote Fireball for Pitball and that got used

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Speaker 1: big song got used on Dancing with the Stars. They

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Speaker 1: pay a synchronization license for the right to use it,

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Speaker 1: and then b m I collect performance royalties for it.

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Speaker 1: So there are revenue streams that develop out of that. UM.

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Speaker 1: Cell phone company might license it or CBS, you know

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Speaker 1: se Um. She also co wrote a song for Major

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Speaker 1: Laser called Powerful and CBS Television we're using it as

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Speaker 1: background for promos for upcoming shows, so they pay a

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Speaker 1: license fee for that that generates b m I UM.

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Speaker 1: So there are there are solid revenue streams that come

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Speaker 1: from that kind of activity. UM. And that's really where

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Speaker 1: the music publishes, you know, that's that's their lifeblood, is

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Speaker 1: that kind of activity, and it's worth their while to

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Speaker 1: have a roster of successful songwriters that who's publishing they administer,

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Speaker 1: and that you know, publishing is typically kind of a

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Speaker 1: a lot of pennies that add up to a substantial stream.

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Speaker 1: So so the thought of a couple of people getting

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Speaker 1: together in a garage, recording an album, going on tour

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Speaker 1: still a viable business model, and there are people that

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Speaker 1: are doing that, especially if they get good social media support,

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Speaker 1: who can actually make some decent money. And I hear

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Speaker 1: rumor of people that actually make money out of YouTube videos.

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Speaker 1: But but the reality of it is that YouTube doesn't

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Speaker 1: really monetize as well as some other outlets. But it's

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Speaker 1: a it's a new frontier because digital just changed everything basically. Really,

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Speaker 1: that's that's fascinating. So so given the shift to digital

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Speaker 1: from analog recordings and the way you as a musician

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Speaker 1: have changed, um where you focus your time. What does

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Speaker 1: this mean for people who want to go into the

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Speaker 1: field of music. Is their emphasis completely different than it

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Speaker 1: once was to some extent, yes, I mean I think

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Speaker 1: it's it's actually broadened the field. I mean, thirty years ago,

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Speaker 1: there were no video game that's a source of revenue

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Speaker 1: from I've written for video I've written for Blizzard Entertainment, Activision, Blizzard.

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Speaker 1: I did music for Diablo three, which is a big

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Speaker 1: game that was a giant game, and that's something that

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Speaker 1: didn't exist in a previous generation. As a man named

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Speaker 1: Tom Tommy Tallarico, who is the most successful of all

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Speaker 1: the video game composers, going back to like Super Mario

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Speaker 1: Brothers kind of like you know, those very like Nintendo games.

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Speaker 1: That's a new end of the business. Let's talk a

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Speaker 1: little bit about some of the guitarists you mentioned. You

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Speaker 1: mentioned a few names earlier. Remind me of who you

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Speaker 1: referred to out in l A. Well, I mean the

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Speaker 1: number one on the list I think for everybody is

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Speaker 1: Jango Reinhart. Oh well, yeah, but the guys in l

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Speaker 1: A would be like Larry Carlton and Lee Writtener, you

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Speaker 1: know who. And that started off the studio players. There

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Speaker 1: was a pass of being a studio player in l A.

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Speaker 1: That was followed by like Bonnie Castle, um, and and

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Speaker 1: players like that who were studio guys but also were

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Speaker 1: jazz players so they could do and roll. They could,

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Speaker 1: but they preferred the jazz. I mean Bonnie Castle, for example,

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Speaker 1: was actually a mentor to Phil Specter really and played

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Speaker 1: on a number of the records. And you know, like, um,

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Speaker 1: but when you go back and you listen to some

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Speaker 1: of those, especially like the fifties movie score, some of

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Speaker 1: the Man Seni stuff, and you're here, like some really

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Speaker 1: kind of like jazz guy. Well, I'm not tuned for

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Speaker 1: the man seen you right now, but um, but some

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Speaker 1: but some of the jazz guy you know, like especially

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Speaker 1: at Barney Kessele, who was a big hero of mine.

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Speaker 1: And you mentioned the jangle. Yeah, the Belgian Gypsy who

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Speaker 1: I think everybody kind of looks to us being probably

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Speaker 1: the greatest guitarist of all time. Really certainly the father

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Speaker 1: of that style of on the European side, yes, but

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Speaker 1: but the father of American jazz guitar was Eddie Lang. Um.

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Speaker 1: And then how does he differ from Reinhardt. Well, Eddie

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Speaker 1: lang was of Italian descent, and you know he worked

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Speaker 1: with Bing Crosby. I mean he was being Crossby's right

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Speaker 1: hand man, so different stylistic area. I mean, Django was

396
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Speaker 1: very much in the Gypsy chairs kind of It's kind

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Speaker 1: of like there's that rhythm is what they called the

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Speaker 1: pump pump, and it kind of just sits in the

399
00:24:14,520 --> 00:24:18,320
Speaker 1: particular kind of groove. Um, Eddie Lange was was a

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Speaker 1: very versatile guitar player. I did a lot of records

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Speaker 1: with Joe Anuti around thirty but even prior to that,

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Speaker 1: I mean the first Bona fide recorded blues guitar solo

403
00:24:31,040 --> 00:24:36,679
Speaker 1: was Lonnie Johnson recorded a piece called hight Glide in

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00:24:37,800 --> 00:24:41,240
Speaker 1: seven and that has all the you know, all those

405
00:24:41,320 --> 00:24:54,920
Speaker 1: kind of with him and a piano player, but all

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Speaker 1: those bent notes and vibrato and improvised blues solos. That's

407
00:24:59,480 --> 00:25:01,679
Speaker 1: that was really the beginning of it, because the guitar

408
00:25:01,720 --> 00:25:04,600
Speaker 1: didn't really kind of have make a big mark in

409
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Speaker 1: the recording industry until the mid mid to late twenties.

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Speaker 1: Let's talk about some of your contemporaries, or let's let's

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Speaker 1: I'll work my way, um historically, let's talk about Less

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Speaker 1: Paul a little bit. Oh yeah, what what is my

413
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Speaker 1: great regret in life? As a grad students, I lived

414
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Speaker 1: on seventeenth and third, around the corner from Fat Tuesdays,

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Speaker 1: where he played every week, and I kept saying to myself, Oh,

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Speaker 1: I have to go see less Ball. And five years later,

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Speaker 1: well then he was led over to Iridium. M I

418
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Speaker 1: missed the window closed before. Yeah. I actually went to

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Speaker 1: play with him at Iridium on a Monday, a very

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Speaker 1: rainy Monday night after a huge northeaster, and he couldn't

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00:25:45,480 --> 00:25:47,359
Speaker 1: get there, He couldn't get out of his house because

422
00:25:47,400 --> 00:25:50,639
Speaker 1: the bridge had been washed washed over. But I played

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Speaker 1: with his band. I played with the Less Paul band.

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Speaker 1: What I never got to actually play with Less. What

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Speaker 1: do you think of him as a guitarist? Fabulous, one

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00:25:58,160 --> 00:26:01,400
Speaker 1: of the great jazz guitar play before it became kind

427
00:26:01,400 --> 00:26:04,760
Speaker 1: of a pop star with with Mary Ford and and

428
00:26:04,800 --> 00:26:07,840
Speaker 1: of course not not just a great jazz player, but

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00:26:07,920 --> 00:26:12,560
Speaker 1: also really the father of the modern recording technology. I mean,

430
00:26:13,000 --> 00:26:15,720
Speaker 1: you know, the modern studio, modern recording studio. Pretty much

431
00:26:16,840 --> 00:26:19,919
Speaker 1: Les Paul is to the recording studio what Thomas Edison

432
00:26:20,000 --> 00:26:23,040
Speaker 1: was to the lightbulb, and not only to the recording studio,

433
00:26:23,400 --> 00:26:27,199
Speaker 1: but also to the electric guitar. Song electric guitar to

434
00:26:27,280 --> 00:26:29,919
Speaker 1: some degree. But he didn't invent the electric guitar, but

435
00:26:30,040 --> 00:26:33,040
Speaker 1: he did invent a lot of things like multitrack recording.

436
00:26:33,400 --> 00:26:36,600
Speaker 1: So you you recorded a version of Peter Towns It's

437
00:26:36,760 --> 00:26:40,960
Speaker 1: you did a few Who songs, which I believe you

438
00:26:41,359 --> 00:26:44,919
Speaker 1: once said Towns had said was impossible to do on guitar.

439
00:26:46,000 --> 00:26:49,399
Speaker 1: He didn't say that to me. He was amazed that

440
00:26:49,440 --> 00:26:51,720
Speaker 1: I could do it on guitar. I mean, you know,

441
00:26:51,760 --> 00:26:57,800
Speaker 1: I do it in dad gad tuning, which is one

442
00:26:57,840 --> 00:27:03,000
Speaker 1: of the alter tunings that I use the intro, which

443
00:27:03,080 --> 00:27:09,520
Speaker 1: is a synthesizer like a sequence synthesizer thing, which is

444
00:27:09,520 --> 00:27:11,800
Speaker 1: why he thought it could be done on a guitar.

445
00:27:18,240 --> 00:27:21,600
Speaker 1: So you know, it's like that, and it's you. You

446
00:27:21,680 --> 00:27:24,359
Speaker 1: have to be you have to figure it out, and

447
00:27:24,440 --> 00:27:27,159
Speaker 1: you can't do it in standard tuning. And then it

448
00:27:27,240 --> 00:27:34,200
Speaker 1: kind of breaks into I don't do Roger Daughters scream.

449
00:27:34,240 --> 00:27:36,040
Speaker 1: What do you think of towns It as a writer

450
00:27:36,119 --> 00:27:38,240
Speaker 1: and a guitar. Oh, it's fabulous. I mean one of

451
00:27:38,280 --> 00:27:41,640
Speaker 1: the great great rock is what makes him so good

452
00:27:42,920 --> 00:27:49,160
Speaker 1: to pull a line from? That's right, it's just that

453
00:27:50,240 --> 00:27:53,720
Speaker 1: the combination of talent and clearly there's a genetic component

454
00:27:53,760 --> 00:28:00,760
Speaker 1: because his dad was a musician. There's a combination of talent, persistence, experience.

455
00:28:02,080 --> 00:28:07,159
Speaker 1: You know, you can't do what he does without having

456
00:28:07,200 --> 00:28:12,960
Speaker 1: that that intensity of dedication. It's not easy to maintain

457
00:28:13,480 --> 00:28:17,000
Speaker 1: a career, to to start a career in the music business,

458
00:28:17,000 --> 00:28:20,400
Speaker 1: and then to maintain it for thirty or forty years. Yeah,

459
00:28:20,480 --> 00:28:22,520
Speaker 1: I mean, but look at and look at McCartney. I mean,

460
00:28:22,520 --> 00:28:25,439
Speaker 1: it's still going out and doing tree. Yeah, it's amazing.

461
00:28:25,760 --> 00:28:29,760
Speaker 1: That's um. What about Mark Knopfler, who I find to

462
00:28:29,800 --> 00:28:32,359
Speaker 1: be fast, great player, really interesting because he you know,

463
00:28:32,359 --> 00:28:35,240
Speaker 1: he plays fingerstyle, yes, and he's a lefty, but he

464
00:28:35,240 --> 00:28:38,680
Speaker 1: plays right handed. There's a few a few guitar players

465
00:28:38,960 --> 00:28:41,400
Speaker 1: who are lefties, who are leftist who play right does

466
00:28:41,440 --> 00:28:43,440
Speaker 1: that well? We know Hendrix used to play in a

467
00:28:43,440 --> 00:28:46,720
Speaker 1: handful of other guys used to play actually lefty. What

468
00:28:46,840 --> 00:28:49,280
Speaker 1: does it do if you're a lefty playing right? He

469
00:28:49,360 --> 00:28:51,480
Speaker 1: does it give you an advantage with your left hand?

470
00:28:51,600 --> 00:28:53,520
Speaker 1: You know it? That's you do? You have to ask

471
00:28:53,560 --> 00:29:00,720
Speaker 1: a neurologist. Um, I mean, it's remarkable to me what

472
00:29:00,720 --> 00:29:02,640
Speaker 1: what I can do with my left hand, and yet

473
00:29:02,680 --> 00:29:06,000
Speaker 1: if I pick up a pen, it's it's like hopeless,

474
00:29:06,080 --> 00:29:11,120
Speaker 1: you know. But but but the fact is that both

475
00:29:11,160 --> 00:29:14,560
Speaker 1: hands have to be especially with fingerstyle, they really have

476
00:29:14,640 --> 00:29:17,760
Speaker 1: to be equally quiet, and the left hand is actually

477
00:29:17,760 --> 00:29:20,840
Speaker 1: doing more, but the left hand corresponds to the right brain.

478
00:29:21,600 --> 00:29:25,720
Speaker 1: So it's kind of there's a creative flow that happens.

479
00:29:25,880 --> 00:29:29,480
Speaker 1: Makes sense, your most cock cockingen, Oh, you're amost great.

480
00:29:30,120 --> 00:29:33,560
Speaker 1: I saw him at a tiny pub in college and

481
00:29:33,600 --> 00:29:36,880
Speaker 1: he was just mesmerized. You know, he's great. Um, I

482
00:29:37,000 --> 00:29:41,280
Speaker 1: taught he has a camp in Pomeroy, Ohio called fur

483
00:29:41,360 --> 00:29:46,240
Speaker 1: Piece Ranch, and I taught there and got to hang

484
00:29:46,280 --> 00:29:49,240
Speaker 1: with him, and you know, and like we're in breakfast

485
00:29:49,240 --> 00:29:51,600
Speaker 1: one morning, yourman pulls out his guitar and starts singing

486
00:29:51,640 --> 00:29:53,760
Speaker 1: songs for us, and it's so cool. Just out a

487
00:29:53,840 --> 00:29:58,200
Speaker 1: left field. Yeah, just really a very talented individual. I

488
00:29:58,240 --> 00:30:00,600
Speaker 1: was never a giant hot tune a fan, but I

489
00:30:00,640 --> 00:30:04,479
Speaker 1: always thought he was a fascinating musician. I liked what

490
00:30:04,520 --> 00:30:08,719
Speaker 1: he did. An interesting point of background is that he

491
00:30:08,920 --> 00:30:13,400
Speaker 1: studied from the DC area originally and studied with Sophocles Papas,

492
00:30:13,440 --> 00:30:19,600
Speaker 1: who was one of Segovia's proteges. Interesting, I have a

493
00:30:19,680 --> 00:30:21,720
Speaker 1: handful of guitarists they have to run. I have to

494
00:30:21,760 --> 00:30:26,160
Speaker 1: ask you about Eric Clapton. Yeah, well, you know, what

495
00:30:26,200 --> 00:30:30,200
Speaker 1: can you say The Blues Breaker's album with Joe male

496
00:30:30,960 --> 00:30:38,240
Speaker 1: Um hide Away, You know, I mean that that was

497
00:30:39,760 --> 00:30:43,120
Speaker 1: an epiphany for me hearing that for the first time.

498
00:30:43,800 --> 00:30:47,720
Speaker 1: And then Frank Zappa talk about Zappa that much brilliant

499
00:30:47,720 --> 00:30:51,480
Speaker 1: guitarists and an even more brilliant composer, one of the greats.

500
00:30:52,320 --> 00:30:55,520
Speaker 1: But you know, just so eccentric, you kind of you

501
00:30:55,720 --> 00:31:01,840
Speaker 1: don't even realized just how how dense and what kind

502
00:31:01,840 --> 00:31:06,360
Speaker 1: of what kind of granular detail is on it? Going

503
00:31:06,360 --> 00:31:07,840
Speaker 1: on his music. I used to see him a lot

504
00:31:07,840 --> 00:31:09,719
Speaker 1: in London when he I saw him at the Albert

505
00:31:09,720 --> 00:31:12,520
Speaker 1: Hall with Don Preston playing the huge organ there. That

506
00:31:12,600 --> 00:31:15,880
Speaker 1: was really cool. What's fascinating is his son Dweezel, who's

507
00:31:15,920 --> 00:31:19,560
Speaker 1: also a good guitarist, pulls out each year these kids

508
00:31:19,600 --> 00:31:23,280
Speaker 1: out of Berkeley College and Music and they're nineteen and

509
00:31:23,320 --> 00:31:27,000
Speaker 1: twenty years old and they tour playing Zappa's music and

510
00:31:27,040 --> 00:31:31,400
Speaker 1: they're amazing. But there's a lesson in estate planning because

511
00:31:31,440 --> 00:31:34,120
Speaker 1: you know that there's a conflict within the Zappa family

512
00:31:34,680 --> 00:31:39,360
Speaker 1: and Dweezel can't promoted a Zappa plays Zappa but you

513
00:31:39,400 --> 00:31:43,360
Speaker 1: know this litigation ongoing, and yeah, yeah, you gotta, you

514
00:31:43,440 --> 00:31:46,520
Speaker 1: gotta get stuff like that straight. To say the least,

515
00:31:46,920 --> 00:31:49,800
Speaker 1: we have been speaking with Lawrence Jubber. I'll be sure

516
00:31:49,840 --> 00:31:53,080
Speaker 1: and check out my daily column on Bloomberg View dot com.

517
00:31:53,680 --> 00:31:56,120
Speaker 1: You can follow me on Twitter at rid Halts. We

518
00:31:56,200 --> 00:32:00,240
Speaker 1: love your comments, feedback and suggestions right to us at

519
00:32:00,720 --> 00:32:04,320
Speaker 1: m IB podcast at Bloomberg dot net. I'm Barry Ridholtz.

520
00:32:04,320 --> 00:32:23,920
Speaker 1: You're listening to Masters in Business on Bloomberg Radio. Welcome

521
00:32:23,960 --> 00:32:26,760
Speaker 1: to the podcast, Lawrence. Thank you so much for doing

522
00:32:26,760 --> 00:32:31,560
Speaker 1: this and bringing your acts and playing a little bit um.

523
00:32:31,760 --> 00:32:35,760
Speaker 1: We were just saying, you develop an intuitive sense of

524
00:32:35,760 --> 00:32:40,280
Speaker 1: of timing. You can you can tell when you've done

525
00:32:40,280 --> 00:32:42,720
Speaker 1: a ninety minutes show, you have a pretty good sense

526
00:32:42,800 --> 00:32:47,240
Speaker 1: of how long the show just ninety minutes, sixty minutes,

527
00:32:47,320 --> 00:32:51,960
Speaker 1: forty five, kind of you just you know how many tunes. Well,

528
00:32:52,000 --> 00:32:55,280
Speaker 1: it's partially a number of tunes, but also just you

529
00:32:55,360 --> 00:32:58,800
Speaker 1: kind of just feel it, you know, I mean, And

530
00:32:58,880 --> 00:33:01,560
Speaker 1: that's for me, that's always been part of the professionalism

531
00:33:01,560 --> 00:33:03,920
Speaker 1: of it is to you know, the contract says you

532
00:33:03,920 --> 00:33:06,120
Speaker 1: play for ninety minutes. I play for ninety minutes and

533
00:33:06,120 --> 00:33:09,240
Speaker 1: then maybe do an encore after that. But but it's

534
00:33:09,280 --> 00:33:14,360
Speaker 1: always important to me to deliver. And my philosophy was

535
00:33:14,400 --> 00:33:19,040
Speaker 1: always make myself indispensable, you know, which means be professional,

536
00:33:19,120 --> 00:33:22,880
Speaker 1: be on time, be in tune with the right instruments.

537
00:33:23,200 --> 00:33:26,360
Speaker 1: And and then that translated once I got onto the

538
00:33:26,400 --> 00:33:30,040
Speaker 1: stage where I was being the artist to be able

539
00:33:30,120 --> 00:33:33,920
Speaker 1: to deliver and be entertaining and engage an audience and

540
00:33:33,960 --> 00:33:36,480
Speaker 1: all of those things. So let's let's talk about engaging

541
00:33:36,480 --> 00:33:41,800
Speaker 1: an audience. I have seen you sometimes deliver lots of

542
00:33:41,880 --> 00:33:46,080
Speaker 1: stage pattern, lots of backstory, not quite full on John

543
00:33:46,160 --> 00:33:50,600
Speaker 1: Pizreeli anecdotes. But I can do anecdotes at times. But

544
00:33:50,720 --> 00:33:52,560
Speaker 1: then there are other times I've seen you were your

545
00:33:52,600 --> 00:33:55,400
Speaker 1: all business and I'm playing music and nothing's getting in

546
00:33:55,480 --> 00:33:58,400
Speaker 1: my way, especially when I'm I'm kind of I mean,

547
00:33:58,440 --> 00:34:00,360
Speaker 1: I've been on the road now for over a week,

548
00:34:01,280 --> 00:34:05,959
Speaker 1: and the more gigs I do, the more my chops

549
00:34:06,000 --> 00:34:08,960
Speaker 1: get kind of you know, like get so you have

550
00:34:09,000 --> 00:34:11,359
Speaker 1: to limber up. You you can have you can come

551
00:34:11,400 --> 00:34:13,800
Speaker 1: off the off the road and be a little rusty

552
00:34:13,840 --> 00:34:18,560
Speaker 1: when you're starting. Um, yeah, a little um. I mean

553
00:34:18,719 --> 00:34:22,400
Speaker 1: it's it. And but it changes from one gig to

554
00:34:22,440 --> 00:34:25,680
Speaker 1: the next. I mean certain shows, depending on the environment,

555
00:34:25,719 --> 00:34:29,360
Speaker 1: I might be more improvisational or lean more towards the

556
00:34:29,400 --> 00:34:33,960
Speaker 1: set pieces. Um, sometimes it'll just feel really loose and

557
00:34:33,960 --> 00:34:36,600
Speaker 1: I'll stretch things out. It's like when I'm playing Little Wing,

558
00:34:36,640 --> 00:34:41,200
Speaker 1: for example, that I and you destroy that song, but

559
00:34:41,280 --> 00:34:44,080
Speaker 1: I leave a space for myself where it's completely improvised.

560
00:34:44,719 --> 00:34:47,040
Speaker 1: You know, I'm playing over the changes. But but but

561
00:34:47,120 --> 00:34:48,879
Speaker 1: I never play it the same way twice. In fact,

562
00:34:48,880 --> 00:34:51,160
Speaker 1: I never try not to play anything exactly at the

563
00:34:51,160 --> 00:34:52,719
Speaker 1: same time. That was the question I was going to

564
00:34:52,840 --> 00:34:55,600
Speaker 1: ask you, because there are certain songs, especially when you're

565
00:34:55,640 --> 00:35:00,439
Speaker 1: doing covers um that they sound pretty similar from song

566
00:35:00,520 --> 00:35:03,680
Speaker 1: to song, and then there are other versions where it's like,

567
00:35:03,800 --> 00:35:06,800
Speaker 1: I didn't never heard that before, Where did that come from?

568
00:35:07,120 --> 00:35:10,360
Speaker 1: Just it's it's the moment, it's being in the musical moment,

569
00:35:11,440 --> 00:35:13,560
Speaker 1: you know, and it's it's kind of I have to

570
00:35:13,560 --> 00:35:16,000
Speaker 1: be very conscious of what I'm doing and where I am,

571
00:35:16,040 --> 00:35:21,880
Speaker 1: but but also allow myself to get to seek transcendence. Okay,

572
00:35:21,960 --> 00:35:25,560
Speaker 1: you know, how does one seek transcendence by not interfering?

573
00:35:26,280 --> 00:35:30,360
Speaker 1: Because where you go what you do is more complex

574
00:35:30,719 --> 00:35:34,600
Speaker 1: than most Because if somebody is just playing a single

575
00:35:35,760 --> 00:35:39,759
Speaker 1: lead and they're there, I don't care how fast or

576
00:35:39,760 --> 00:35:41,640
Speaker 1: slow they're playing, though it's it could be Edi van

577
00:35:41,680 --> 00:35:46,600
Speaker 1: Hallen or whoever. They're thinking about the sequence of those

578
00:35:46,640 --> 00:35:49,839
Speaker 1: notes and what they're playing. You're playing nine things at

579
00:35:49,840 --> 00:35:54,000
Speaker 1: once because it's vertical rather than that's exactly what I'm saying.

580
00:35:54,080 --> 00:35:57,600
Speaker 1: It's one moment to the next. So when when you're playing,

581
00:35:57,920 --> 00:36:00,839
Speaker 1: you're not thinking in terms of no, no, no, you're

582
00:36:00,880 --> 00:36:05,000
Speaker 1: thinking in terms of these six chord, these six strings

583
00:36:05,000 --> 00:36:07,880
Speaker 1: at once and one of my playing and there's a

584
00:36:07,920 --> 00:36:10,480
Speaker 1: lot of things going on when I'm working stuff out, yes,

585
00:36:10,560 --> 00:36:14,680
Speaker 1: but in performance I'm really trying to tell a story.

586
00:36:14,960 --> 00:36:17,440
Speaker 1: The muscle memory just takes off. So the muscle memory

587
00:36:17,480 --> 00:36:19,680
Speaker 1: is in there the and that's really the stuff that

588
00:36:19,719 --> 00:36:22,960
Speaker 1: gets warmed up during the course of the tour is

589
00:36:23,000 --> 00:36:27,680
Speaker 1: that I just become more finely tuned in the narrative

590
00:36:27,760 --> 00:36:30,960
Speaker 1: aspect of it, which then allows me to be the

591
00:36:31,080 --> 00:36:35,359
Speaker 1: freedom to to do um. You know, in music, there's

592
00:36:35,480 --> 00:36:38,640
Speaker 1: a term called rubato, which which means that, you know,

593
00:36:38,719 --> 00:36:40,400
Speaker 1: you can kind of play around with the tempo a

594
00:36:40,440 --> 00:36:46,160
Speaker 1: little bit, but the Italian means to rob and like

595
00:36:46,760 --> 00:36:49,799
Speaker 1: strict rubato, you don't actually slow anything down. It's just

596
00:36:49,840 --> 00:36:52,160
Speaker 1: if you slow down in part of the bar, you

597
00:36:52,160 --> 00:36:55,120
Speaker 1: you speed up, and the rest of the always stay

598
00:36:55,560 --> 00:36:59,120
Speaker 1: you always stay in the pocket. And that stuff that

599
00:36:59,200 --> 00:37:04,239
Speaker 1: I find myself elf being more casual about as a

600
00:37:04,280 --> 00:37:07,920
Speaker 1: tour progressive, which makes it interesting because then it changes

601
00:37:08,360 --> 00:37:11,680
Speaker 1: the texture a little bit. Who is recognizing that when

602
00:37:11,719 --> 00:37:15,799
Speaker 1: you're doing it? I am now a few I mean

603
00:37:15,800 --> 00:37:18,319
Speaker 1: the musicians were. There was a concert pianist in the

604
00:37:18,360 --> 00:37:22,360
Speaker 1: audience last night show. Who who recognize such that that

605
00:37:22,440 --> 00:37:25,480
Speaker 1: kind of you have a conversation afterwards, I noticed you,

606
00:37:26,160 --> 00:37:30,120
Speaker 1: Yeah we did, And that's just But but you know,

607
00:37:30,160 --> 00:37:33,000
Speaker 1: the the average Aorgiance member just is there to be entertained.

608
00:37:33,040 --> 00:37:36,000
Speaker 1: They're not necessarily going to pass things like that. They're

609
00:37:36,040 --> 00:37:40,239
Speaker 1: going to just enjoy the concert. So what sort of

610
00:37:40,280 --> 00:37:44,000
Speaker 1: stuff do you enjoy playing? What is entertaining for you

611
00:37:44,160 --> 00:37:48,719
Speaker 1: when you're out on tour? Oh? I particularly like it

612
00:37:48,760 --> 00:37:51,000
Speaker 1: when I can actually create that space to be able

613
00:37:51,000 --> 00:37:54,080
Speaker 1: to be improvisational. So it doesn't matter what the song is.

614
00:37:54,160 --> 00:37:57,480
Speaker 1: The song is just the backdrop for you. That's the

615
00:37:57,520 --> 00:38:00,920
Speaker 1: canvas for you to paint the bon Yeah, and sometimes

616
00:38:01,000 --> 00:38:03,640
Speaker 1: it's it's you know, paint by not paint by numbers

617
00:38:03,680 --> 00:38:06,399
Speaker 1: in the sense of just being by rote. But but

618
00:38:06,480 --> 00:38:10,320
Speaker 1: you know, I there are areas to fill in the color,

619
00:38:10,480 --> 00:38:13,640
Speaker 1: but other places where it will just kind of take

620
00:38:13,680 --> 00:38:17,880
Speaker 1: off into its own, its own kind of thing. Do

621
00:38:18,320 --> 00:38:21,719
Speaker 1: you when you're being transcendent it works itself out? Do

622
00:38:21,760 --> 00:38:24,440
Speaker 1: you ever paint yourself into a corner totally and think

623
00:38:24,480 --> 00:38:25,719
Speaker 1: how am I going to get out of that? But

624
00:38:25,800 --> 00:38:27,839
Speaker 1: that's that's the fum pie is getting out of it.

625
00:38:28,080 --> 00:38:31,000
Speaker 1: In live in real time. There's no no when you're

626
00:38:31,000 --> 00:38:33,000
Speaker 1: in front of an audience, is no, hey, let's re

627
00:38:33,160 --> 00:38:35,960
Speaker 1: record this. I messed up in Medina. Rewind that I

628
00:38:36,000 --> 00:38:40,040
Speaker 1: screwed up. It's I have to figure out all my

629
00:38:40,080 --> 00:38:42,000
Speaker 1: fingers will figure out a way. But you know, but

630
00:38:42,000 --> 00:38:45,000
Speaker 1: but I have the the musical knowledge. I have the

631
00:38:45,120 --> 00:38:49,640
Speaker 1: understanding that I know where I'm going, and it's not

632
00:38:49,719 --> 00:38:51,839
Speaker 1: where you've been. You know, if you stop and think

633
00:38:51,880 --> 00:38:54,839
Speaker 1: about what you just did, you don't get to the destination.

634
00:38:55,040 --> 00:38:59,200
Speaker 1: And it's all about destination from one move to the next.

635
00:38:59,280 --> 00:39:02,520
Speaker 1: It's where does it go next? What's the resolution of

636
00:39:02,520 --> 00:39:08,200
Speaker 1: this harmony? What's the evolution of this fingering? And you know,

637
00:39:08,280 --> 00:39:12,160
Speaker 1: I mean there could be a certain amount of stress

638
00:39:12,680 --> 00:39:17,040
Speaker 1: involved if it's like, oh, okay, you know. But sometimes

639
00:39:17,080 --> 00:39:19,400
Speaker 1: I mean, you know, I'll like, you know, the stage

640
00:39:19,480 --> 00:39:21,480
Speaker 1: lights will kind of blind me for a second and

641
00:39:21,560 --> 00:39:23,880
Speaker 1: I'll land on the wrong frat. But you know, you

642
00:39:23,960 --> 00:39:26,640
Speaker 1: slide up one or you slide back one, and nobody

643
00:39:26,680 --> 00:39:29,279
Speaker 1: really picks it up, no, because it ends up just

644
00:39:29,320 --> 00:39:31,200
Speaker 1: becoming part of the texture. And then it was like, oh,

645
00:39:31,239 --> 00:39:34,239
Speaker 1: I'll do that again because it sounded cool. You have

646
00:39:34,320 --> 00:39:37,560
Speaker 1: a lot of guitarists and a lot of musicians as fans.

647
00:39:38,120 --> 00:39:40,840
Speaker 1: Does that affect the way you play? Are you thinking

648
00:39:40,880 --> 00:39:44,400
Speaker 1: about that? Hey, if I do this, this subgroup of

649
00:39:44,440 --> 00:39:47,319
Speaker 1: fans are going to appreciate it, or you're you're more

650
00:39:47,320 --> 00:39:50,640
Speaker 1: in the moment and more in the moment people, Although

651
00:39:50,680 --> 00:39:53,759
Speaker 1: it might change if it's a jazz audience. You know,

652
00:39:53,800 --> 00:39:56,560
Speaker 1: if I'm playing with my trio, for example, then I'll

653
00:39:56,600 --> 00:40:00,439
Speaker 1: be less of the solo self sufficiency thing a much

654
00:40:00,480 --> 00:40:02,719
Speaker 1: more into having a bass player there that's going to

655
00:40:02,840 --> 00:40:07,239
Speaker 1: lay down something that I can then really fly over

656
00:40:07,280 --> 00:40:09,920
Speaker 1: the top. And then you know, there's a little bit

657
00:40:09,960 --> 00:40:13,040
Speaker 1: of kind of strutting one stuff for the jazz jury

658
00:40:13,080 --> 00:40:16,520
Speaker 1: as we refer to it. How often are you out

659
00:40:16,560 --> 00:40:20,239
Speaker 1: with the trio versus not that often? I mean if

660
00:40:20,239 --> 00:40:22,879
Speaker 1: a festival thing comes up. Or last December we did

661
00:40:22,880 --> 00:40:25,600
Speaker 1: a Christmas tour for my Christmas album because we recorded

662
00:40:25,640 --> 00:40:29,880
Speaker 1: it that way the previous Christmas bas bas and upright

663
00:40:29,920 --> 00:40:32,680
Speaker 1: bass and drums like you know, just light drums. But

664
00:40:32,719 --> 00:40:34,520
Speaker 1: then you know, second set, I had strapped on an

665
00:40:34,520 --> 00:40:39,040
Speaker 1: electric guitar and we turned into a a um you'll

666
00:40:39,080 --> 00:40:42,239
Speaker 1: tide jam band. Shall we say? Who are some of

667
00:40:42,280 --> 00:40:47,560
Speaker 1: the other musicians that you have been foundational to your development. Well,

668
00:40:47,640 --> 00:40:50,280
Speaker 1: one one musician that was very helpful to me was

669
00:40:50,280 --> 00:40:53,680
Speaker 1: was I Isaacs, who was an English studio guitar player

670
00:40:54,280 --> 00:40:59,600
Speaker 1: for a period, played with with Stephan Grappelli, who's Jenga

671
00:40:59,680 --> 00:41:03,160
Speaker 1: Ryan's violinist, and I was just I think he was

672
00:41:03,200 --> 00:41:06,480
Speaker 1: the one who kind of said, look, you've've got all

673
00:41:06,480 --> 00:41:10,920
Speaker 1: the technique, you just need to learn how to use it. Um.

674
00:41:11,320 --> 00:41:13,279
Speaker 1: And then there was a man named Tony Romano who

675
00:41:13,360 --> 00:41:18,719
Speaker 1: was we talked about Eddie lang and Tony was was

676
00:41:19,040 --> 00:41:21,279
Speaker 1: a singer and a guitar player that traveled with Bob

677
00:41:21,320 --> 00:41:25,400
Speaker 1: Hope and Francis Langford in the USO UM and you

678
00:41:25,440 --> 00:41:27,080
Speaker 1: typically it would just be the three of us and

679
00:41:27,280 --> 00:41:29,719
Speaker 1: three of them and then with Jerry Cologna, the comedian,

680
00:41:29,800 --> 00:41:31,759
Speaker 1: and maybe some dances that would go and do all

681
00:41:31,800 --> 00:41:34,080
Speaker 1: the U s O tours during World War Two. And

682
00:41:34,200 --> 00:41:39,120
Speaker 1: Tony was I mean, the best lesson I ever got

683
00:41:39,400 --> 00:41:43,480
Speaker 1: was with him saying, play big notes. What does that mean? What? What?

684
00:41:43,600 --> 00:41:47,120
Speaker 1: Play big notes and notes that mean something? You know,

685
00:41:47,160 --> 00:41:48,960
Speaker 1: because you can play a whole flurry of notes, but

686
00:41:49,000 --> 00:41:53,560
Speaker 1: they don't necessarily have any kind of substance to them,

687
00:41:53,640 --> 00:41:56,080
Speaker 1: no importance to them. But you know, you want to

688
00:41:56,200 --> 00:42:02,560
Speaker 1: play one note and you put some expression into it

689
00:42:05,200 --> 00:42:08,960
Speaker 1: and it it then has all this dimension to it.

690
00:42:09,080 --> 00:42:12,480
Speaker 1: So I dimensional note, not just a one dimensional note,

691
00:42:12,480 --> 00:42:16,080
Speaker 1: but something you know. I'm going to get very um

692
00:42:16,280 --> 00:42:19,759
Speaker 1: local and retro on you. As a kid, there was

693
00:42:19,800 --> 00:42:22,719
Speaker 1: a local band called the Good Rats. I don't know

694
00:42:22,760 --> 00:42:24,799
Speaker 1: if you know them, I have heard of them, and

695
00:42:24,840 --> 00:42:28,279
Speaker 1: they had a song called Tasty. And you what you've

696
00:42:28,320 --> 00:42:31,000
Speaker 1: just mentioned with big notes is a line from one

697
00:42:31,040 --> 00:42:34,160
Speaker 1: of their songs. Speed ain't nothing without class. You have

698
00:42:34,239 --> 00:42:37,719
Speaker 1: to play tasty. And it's very much along that those

699
00:42:37,760 --> 00:42:40,919
Speaker 1: lines of the notes have to matter. It doesn't matter,

700
00:42:41,200 --> 00:42:43,239
Speaker 1: you know. I mean you can play fast and then

701
00:42:43,280 --> 00:42:45,640
Speaker 1: you know there's value. And you've seen me in concert.

702
00:42:45,640 --> 00:42:48,440
Speaker 1: I mean there's value in playing you know, those those

703
00:42:48,760 --> 00:42:51,680
Speaker 1: that kind of flourishes, you know, those that that kind

704
00:42:51,719 --> 00:42:54,279
Speaker 1: of thing. But but it needs it needs to be

705
00:42:54,320 --> 00:42:59,400
Speaker 1: balanced with expression. So me anyway, One of the questions

706
00:42:59,440 --> 00:43:01,920
Speaker 1: I get from listeners all the time is ask your

707
00:43:01,960 --> 00:43:05,160
Speaker 1: guests about books. What sort of stuff do you read?

708
00:43:05,239 --> 00:43:08,200
Speaker 1: You're you're traveling a lot, a lot of airplane stuff.

709
00:43:08,239 --> 00:43:10,359
Speaker 1: I mean, I just load up my kindle with you know,

710
00:43:10,560 --> 00:43:17,120
Speaker 1: kind of adventure are some extent. Recently, I've been reading

711
00:43:17,560 --> 00:43:21,160
Speaker 1: reading some musicology. David Burns had an interesting book out

712
00:43:21,200 --> 00:43:27,560
Speaker 1: not too long ago, Um of the talking heads to

713
00:43:27,600 --> 00:43:31,120
Speaker 1: be called musicology or something like. I'm into guitar ology,

714
00:43:32,760 --> 00:43:34,880
Speaker 1: where guitar meets musicology. I've been doing a lot of

715
00:43:34,880 --> 00:43:38,600
Speaker 1: study of nineteenth century guitar music, and partially because of

716
00:43:38,600 --> 00:43:42,719
Speaker 1: my association with Martin guitars. Um and I have a

717
00:43:42,760 --> 00:43:45,920
Speaker 1: talk that I give guitar Mania to Beatlemania, which is

718
00:43:45,960 --> 00:43:48,920
Speaker 1: a slide show history of the guitar. And I can

719
00:43:48,960 --> 00:43:54,560
Speaker 1: play some examples of period pieces. And I have an

720
00:43:54,560 --> 00:43:58,160
Speaker 1: eighteen ninety three Martin Parlor guitar that works really nicely

721
00:43:58,239 --> 00:44:01,520
Speaker 1: for stuff. So player an example of I have to

722
00:44:01,560 --> 00:44:06,480
Speaker 1: retune hand. I was in dad gat tuning for the

723
00:44:06,520 --> 00:44:12,840
Speaker 1: whole time. No, just earlier on. Let me go a

724
00:44:12,920 --> 00:44:21,160
Speaker 1: quick example here, Um, I just finished. So you're not

725
00:44:21,239 --> 00:44:23,600
Speaker 1: even looking at I have a tune in here. Yeah,

726
00:44:23,600 --> 00:44:25,839
Speaker 1: but you are you paying attention to it doing doing

727
00:44:25,840 --> 00:44:30,160
Speaker 1: it by year. But I'm listening to because I'm watching

728
00:44:30,200 --> 00:44:32,560
Speaker 1: you not look at that as your tune. But it's

729
00:44:32,600 --> 00:44:53,919
Speaker 1: tucked back here. M h okay, locked in. So there

730
00:44:54,000 --> 00:44:57,880
Speaker 1: was an Italian named len Yanni who was a contemporary

731
00:44:57,920 --> 00:45:00,120
Speaker 1: of Paganini. In fact, there's thought that the two have

732
00:45:00,160 --> 00:45:03,480
Speaker 1: them played together, and he was known as the Paganini

733
00:45:03,520 --> 00:45:06,680
Speaker 1: of the guitar. It would be like eighteen twenties and

734
00:45:07,680 --> 00:45:11,040
Speaker 1: by any modern standards, he was a shredder and he's

735
00:45:11,040 --> 00:45:37,880
Speaker 1: a little bit of Lenani's. Then um Um there was

736
00:45:38,320 --> 00:45:40,400
Speaker 1: an American guitar player. So what happened was that there

737
00:45:40,480 --> 00:45:43,480
Speaker 1: was this kind of what we call classical guitar now

738
00:45:43,600 --> 00:45:47,719
Speaker 1: it's really Spanish classical guitars filtered through Segovia. But there

739
00:45:47,760 --> 00:45:54,120
Speaker 1: were a lot of um Central Northern European guitar players

740
00:45:54,520 --> 00:45:59,680
Speaker 1: in the early nineteenth century who were extremely influential professional

741
00:45:59,680 --> 00:46:02,480
Speaker 1: guitar players. I mean, the only major difference between what

742
00:46:02,520 --> 00:46:04,359
Speaker 1: they did and what we do now is they had

743
00:46:04,360 --> 00:46:10,040
Speaker 1: no recording industry there and the they were very influential

744
00:46:10,160 --> 00:46:14,560
Speaker 1: on the growth of the American classical guitar And in

745
00:46:14,600 --> 00:46:17,040
Speaker 1: the second half of the nineteenth century there was a

746
00:46:17,080 --> 00:46:20,920
Speaker 1: whole school of guitar music in America, which mostly we

747
00:46:21,000 --> 00:46:24,160
Speaker 1: called parlor guitar music, and that ties in with the

748
00:46:24,239 --> 00:46:27,120
Speaker 1: history of Martin guitars, which I know my signature model

749
00:46:27,120 --> 00:46:31,360
Speaker 1: as a Martin Um. Here's an example. Up Martin's agent

750
00:46:31,480 --> 00:46:35,000
Speaker 1: in New York in the middle of the century was

751
00:46:35,239 --> 00:46:39,160
Speaker 1: a manager, Charles de jannon Um and he this is

752
00:46:39,360 --> 00:46:41,680
Speaker 1: a little bit of a Massurka that he published and

753
00:46:41,800 --> 00:46:47,080
Speaker 1: very typically marches Masurka's Waltz is Um published in eighty

754
00:47:05,239 --> 00:47:08,279
Speaker 1: You know that kind of thing played in the parlor. Yeah,

755
00:47:08,280 --> 00:47:11,319
Speaker 1: but a Mazurka, the you know, this kind of little

756
00:47:11,320 --> 00:47:14,880
Speaker 1: bouncy thing is characteristic of the masurk um. So how

757
00:47:14,920 --> 00:47:17,239
Speaker 1: does that go from from what you played earlier to

758
00:47:17,360 --> 00:47:23,680
Speaker 1: this to how does that eventually translate to modern American

759
00:47:23,719 --> 00:47:27,280
Speaker 1: classical and then blues in the Beatles. Well, what happened

760
00:47:27,640 --> 00:47:31,600
Speaker 1: really was the in the classical area, and there were

761
00:47:31,600 --> 00:47:33,720
Speaker 1: by the turn of the century there were two major

762
00:47:34,080 --> 00:47:36,920
Speaker 1: guitar players. It was William Foden, known as the Wizard

763
00:47:36,920 --> 00:47:39,120
Speaker 1: of the Guitar, and then there was a woman named

764
00:47:39,200 --> 00:47:41,960
Speaker 1: verd orch At Bickford who and they were kind of

765
00:47:42,000 --> 00:47:44,759
Speaker 1: polar opposites. He was very technical, he was famous for

766
00:47:44,840 --> 00:47:49,480
Speaker 1: his incredible tremolo technique, and she was very artistic and

767
00:47:49,640 --> 00:47:52,920
Speaker 1: very very much in almost like a precursor of the

768
00:47:53,000 --> 00:47:55,759
Speaker 1: New Age kind of thing. She was actually an astrologer,

769
00:47:56,160 --> 00:47:58,879
Speaker 1: as was her husband too. And then there was something

770
00:47:58,920 --> 00:48:02,440
Speaker 1: called the BMG move which was the banjo mandelin guitar movement,

771
00:48:02,520 --> 00:48:06,799
Speaker 1: which was kind of a marketing things that to help

772
00:48:06,840 --> 00:48:09,319
Speaker 1: sell all these when was that around around the turn

773
00:48:09,320 --> 00:48:12,040
Speaker 1: of the century, and you have you have Gibson had

774
00:48:12,080 --> 00:48:15,719
Speaker 1: mandolin orchestras, and there was a lot of that going on.

775
00:48:15,760 --> 00:48:18,040
Speaker 1: But when Segovia came along in the nineteen twenties, he

776
00:48:18,120 --> 00:48:21,920
Speaker 1: kind of swept away the American side of it and

777
00:48:21,960 --> 00:48:24,239
Speaker 1: replaced it with the kind of the gravitas of the

778
00:48:24,280 --> 00:48:27,920
Speaker 1: Spanish classical guitar. Well, give us, give us an example,

779
00:48:28,680 --> 00:48:32,799
Speaker 1: I mean sego Via. You know it's it's classical in

780
00:48:32,840 --> 00:48:46,520
Speaker 1: that I mean, like Bark it works so well. Was

781
00:48:46,520 --> 00:48:49,319
Speaker 1: that it works so well on guitar? Well, yeah, I

782
00:48:49,320 --> 00:48:52,800
Speaker 1: mean bach Bach wrote that for Loot, so it works

783
00:48:52,800 --> 00:48:55,480
Speaker 1: on guitar. But but here's something to think about, especially

784
00:48:55,560 --> 00:49:05,760
Speaker 1: the second section. I swear Paul got black from chet Atkins.

785
00:49:05,840 --> 00:49:09,760
Speaker 1: Chet Atkins recorded that that particular piece, and Georgia George

786
00:49:09,760 --> 00:49:15,279
Speaker 1: Harrison owned the record chet Atkins in Hi Fi ninety seven. Um,

787
00:49:15,400 --> 00:49:18,600
Speaker 1: So George Harrison's and Paul McCartney. Yes, let's get a

788
00:49:18,600 --> 00:49:23,840
Speaker 1: couple of songs down. Let's see that. I have to

789
00:49:23,920 --> 00:49:27,160
Speaker 1: record this. I don't know if you have another version

790
00:49:27,200 --> 00:49:29,760
Speaker 1: of Little Wing in you, because that was amazing yesterday.

791
00:49:29,800 --> 00:49:33,160
Speaker 1: I'll give you to tunes. I'll do a little Wing,

792
00:49:33,239 --> 00:49:38,080
Speaker 1: but first singing that we were talking Beatles, I'll give

793
00:49:38,080 --> 00:49:41,799
Speaker 1: you a track from my latest CD and I've done. Now.

794
00:49:41,960 --> 00:49:44,960
Speaker 1: This is my third album of Beatle arrangements, really the

795
00:49:45,000 --> 00:49:48,000
Speaker 1: fourth if you include the Wings album. Yeah, but that

796
00:49:48,080 --> 00:49:52,759
Speaker 1: doesn't quite fit in with the Beatles. Thing different. And

797
00:49:52,800 --> 00:49:55,400
Speaker 1: I have to say I love all the Beatles stuff

798
00:49:55,440 --> 00:50:00,520
Speaker 1: you do, but I found this album surprising in some

799
00:50:00,680 --> 00:50:05,480
Speaker 1: of the selection of songs and the arrangements of some

800
00:50:05,640 --> 00:50:08,920
Speaker 1: of them kind of kind of took me a little like,

801
00:50:09,400 --> 00:50:12,480
Speaker 1: that's really interesting. And to some extent this was kind

802
00:50:12,480 --> 00:50:15,480
Speaker 1: of a looser album than some of the others. Um

803
00:50:15,520 --> 00:52:39,640
Speaker 1: but his um, she loves You. That's just fantastic. I

804
00:52:39,680 --> 00:52:41,640
Speaker 1: have to I have to stop this for a second.

805
00:52:42,040 --> 00:52:47,560
Speaker 1: So I had a conversation about you with Derrick Thompson,

806
00:52:47,640 --> 00:52:51,320
Speaker 1: who's an author at the Atlantic who wrote a book

807
00:52:51,480 --> 00:52:55,080
Speaker 1: called How Hits Are Made, and he looked at a

808
00:52:55,120 --> 00:53:00,240
Speaker 1: lot of historical UM trends and hits and how tofferent

809
00:53:00,280 --> 00:53:03,279
Speaker 1: things came about. It was really quite fascinating. And one

810
00:53:03,280 --> 00:53:06,160
Speaker 1: of the things that he talked about was this industrial

811
00:53:06,239 --> 00:53:08,960
Speaker 1: designer in the first half of the twentieth century whose

812
00:53:09,000 --> 00:53:14,360
Speaker 1: name escapes me, but his philosophical insight was called Maya

813
00:53:14,840 --> 00:53:19,279
Speaker 1: most advanced yet acceptable. And what this person did. He's

814
00:53:19,320 --> 00:53:23,560
Speaker 1: the guy who literally designed the standard pencil sharpnry we

815
00:53:23,560 --> 00:53:26,920
Speaker 1: all grew up with, and things like that. You couldn't

816
00:53:26,920 --> 00:53:29,760
Speaker 1: take something too far out into the future because people

817
00:53:30,719 --> 00:53:34,400
Speaker 1: would reject it. It had to be familiar. If you

818
00:53:34,440 --> 00:53:37,320
Speaker 1: wanted to sell something different, he said, make it familiar.

819
00:53:37,760 --> 00:53:39,600
Speaker 1: And if you want to sell something familiar, you had

820
00:53:39,640 --> 00:53:43,440
Speaker 1: to make it a little different. And so so Derek

821
00:53:43,640 --> 00:53:48,120
Speaker 1: describes how this works not only with industrial design, but

822
00:53:48,360 --> 00:53:51,920
Speaker 1: movies and music and and so I bring you up

823
00:53:51,960 --> 00:53:54,920
Speaker 1: as an example of you know, when you hear most

824
00:53:54,960 --> 00:53:58,560
Speaker 1: beatle covers, it's either a note for note reproduction, in

825
00:53:58,600 --> 00:54:03,120
Speaker 1: which case it's worthless, or it's so different that you

826
00:54:03,160 --> 00:54:08,960
Speaker 1: don't even recognize it, with Joe Cocker being the exception, right.

827
00:54:09,280 --> 00:54:14,280
Speaker 1: But he but that stood alone his version of of um,

828
00:54:14,360 --> 00:54:17,160
Speaker 1: I'm trying to remember which cover he did that actually

829
00:54:17,160 --> 00:54:21,160
Speaker 1: worked on on on its own. But when I referenced

830
00:54:21,320 --> 00:54:26,880
Speaker 1: your work, I said, the songs are immediately recognizable melodically

831
00:54:26,920 --> 00:54:31,600
Speaker 1: as each individual Beatles song, and yet they're so different

832
00:54:32,280 --> 00:54:35,480
Speaker 1: that they stand alone. And so it's that that picture,

833
00:54:35,520 --> 00:54:39,520
Speaker 1: the two ven diagrams that overlap of Oh, this is

834
00:54:39,560 --> 00:54:43,240
Speaker 1: something I totally recognize, but it's such a completely fresh

835
00:54:43,280 --> 00:54:46,359
Speaker 1: and different version of it that it makes it really

836
00:54:46,440 --> 00:54:50,399
Speaker 1: quite interesting. And he literally a whole book how hits

837
00:54:50,400 --> 00:54:58,400
Speaker 1: are made. The Beatles music encapsulates that because it's especially

838
00:54:58,480 --> 00:55:01,600
Speaker 1: something like She Loves You, where there are elements of

839
00:55:02,360 --> 00:55:10,760
Speaker 1: tim Panale of Broadway, there are elements of blues, and

840
00:55:11,360 --> 00:55:17,360
Speaker 1: there are elements of even folk, but put together in

841
00:55:17,400 --> 00:55:22,440
Speaker 1: a way that is uniquely them, no doubt about that.

842
00:55:22,800 --> 00:55:28,600
Speaker 1: So it's that absolutely, that's the thing is it's it's familiar. Well,

843
00:55:28,640 --> 00:55:31,720
Speaker 1: that's their work was familiar yet, but I'm talking about

844
00:55:32,800 --> 00:55:36,279
Speaker 1: my version. But but my ability to take that and

845
00:55:36,320 --> 00:55:40,960
Speaker 1: then translate it to the guitar, which and I'm using

846
00:55:41,040 --> 00:55:47,759
Speaker 1: my musicality, my musicianship to do that, then really you know,

847
00:55:48,000 --> 00:55:50,759
Speaker 1: I've got a foundation to build on. And then the

848
00:55:50,800 --> 00:55:54,320
Speaker 1: way that I approached the guitar in terms of working

849
00:55:54,360 --> 00:55:58,000
Speaker 1: to make the melody sing, to make the base interesting,

850
00:55:58,120 --> 00:56:00,640
Speaker 1: and you know, whether it's reproducing what's on the Beetle

851
00:56:00,719 --> 00:56:06,160
Speaker 1: record or some interpretation of that is, it's just it works.

852
00:56:06,520 --> 00:56:08,920
Speaker 1: It seems to work. You know, someone could sit down

853
00:56:09,560 --> 00:56:12,400
Speaker 1: at a piano and play the song and there's who cares.

854
00:56:12,440 --> 00:56:18,560
Speaker 1: There's nothing special there but your versions they're that familiar

855
00:56:18,719 --> 00:56:21,600
Speaker 1: but different enough that apparently apparently I have a voice

856
00:56:21,920 --> 00:56:24,319
Speaker 1: on your guitar, so I think that's part of it,

857
00:56:24,400 --> 00:56:28,600
Speaker 1: to say the least. So you're asking about little wings,

858
00:56:28,640 --> 00:56:30,480
Speaker 1: all right, before you start, I have to get this

859
00:56:30,520 --> 00:56:34,080
Speaker 1: teat up. I'm gonna make you start that over again. Chris. You,

860
00:56:34,320 --> 00:56:36,839
Speaker 1: by the way, you destroyed the room last night, but

861
00:56:36,960 --> 00:56:39,040
Speaker 1: I don't know if you're aware of it. People were.

862
00:56:41,280 --> 00:56:43,759
Speaker 1: So let's let's do a little a little little wing,

863
00:56:43,880 --> 00:56:47,279
Speaker 1: A little little little little wing. Let me put my

864
00:56:47,320 --> 00:56:52,960
Speaker 1: strap on now, agetting serious? Oh yeah, really serious. Pay

865
00:56:53,000 --> 00:56:55,640
Speaker 1: attention to this because his arms on the chair. So

866
00:56:55,719 --> 01:01:38,880
Speaker 1: it's all proof O amazing, Thank you, Lawrence. That that

867
01:01:39,120 --> 01:01:43,600
Speaker 1: is just beyond words. We have been speaking with guitartist

868
01:01:43,680 --> 01:01:48,640
Speaker 1: extraordinarire Lawrence Juber. If you enjoy this conversation. Well before

869
01:01:48,800 --> 01:01:51,480
Speaker 1: I get to that, if you enjoy the music you heard,

870
01:01:52,040 --> 01:01:56,000
Speaker 1: go to Lawrence Duber dot com. There are twenty four

871
01:01:56,160 --> 01:02:00,280
Speaker 1: or five discs available. Is that about right? So I

872
01:02:00,760 --> 01:02:03,919
Speaker 1: count if you're a Beatles fan, you have to get

873
01:02:04,000 --> 01:02:08,200
Speaker 1: all three Beatles albums plus the Wings album, which I

874
01:02:08,240 --> 01:02:11,080
Speaker 1: think the Wings Album reveals songs that I didn't like

875
01:02:11,200 --> 01:02:13,440
Speaker 1: in the seventies and eighties, and I have found a

876
01:02:13,480 --> 01:02:17,400
Speaker 1: newfound uh, I've come upon a newfound respect for them

877
01:02:17,440 --> 01:02:21,080
Speaker 1: having having you reveal different aspects of it. But if

878
01:02:21,120 --> 01:02:25,360
Speaker 1: you are at all a guitar aficionado, a classical music fan,

879
01:02:26,080 --> 01:02:32,080
Speaker 1: Lawrence's original compositions are really a beauty to behold. You

880
01:02:32,080 --> 01:02:36,200
Speaker 1: you played um Guitar Noir last night, which is a

881
01:02:36,240 --> 01:02:41,560
Speaker 1: lovely song. You played Um. I'm trying to remember pH

882
01:02:41,760 --> 01:02:47,840
Speaker 1: not Telegraph Finger, fingerboard Road. His original work is just

883
01:02:48,000 --> 01:02:53,040
Speaker 1: an exposition of uh guitar. I don't even want to

884
01:02:53,040 --> 01:02:58,640
Speaker 1: say prodigy, just just outstanding. There's a reason musicians are

885
01:02:58,680 --> 01:03:02,200
Speaker 1: big fans of his because because of because of his work,

886
01:03:02,480 --> 01:03:06,080
Speaker 1: and and I find his his You know, when my

887
01:03:06,080 --> 01:03:07,560
Speaker 1: my wife and I are in the car and we

888
01:03:07,600 --> 01:03:10,040
Speaker 1: can't agree on what we want to hear we pop

889
01:03:10,040 --> 01:03:12,880
Speaker 1: in one of your discs and everybody's happy. Um So,

890
01:03:13,000 --> 01:03:15,480
Speaker 1: if you enjoyed the music, go to Laune Stupid dot

891
01:03:15,520 --> 01:03:18,240
Speaker 1: com and you could see both his tour dates and

892
01:03:18,440 --> 01:03:21,200
Speaker 1: all the CDs he has for sale. If you enjoy

893
01:03:21,320 --> 01:03:23,320
Speaker 1: this conversation, be sure and look up an inch or

894
01:03:23,360 --> 01:03:26,920
Speaker 1: down an inch on Apple iTunes and you can see

895
01:03:27,480 --> 01:03:30,600
Speaker 1: or Bloomberg dot com or SoundCloud or overcast and you

896
01:03:30,600 --> 01:03:33,200
Speaker 1: could see the other hundred and forty nine or so

897
01:03:33,240 --> 01:03:37,400
Speaker 1: such conversations we've had. We love your comments, feedback and

898
01:03:37,480 --> 01:03:40,640
Speaker 1: suggestions right to us at m IB podcast at Bloomberg

899
01:03:40,680 --> 01:03:43,520
Speaker 1: dot net. I would be remiss if I did not

900
01:03:43,600 --> 01:03:48,800
Speaker 1: thank Taylor Riggs, my producer, and Medina Parwana, my recording

901
01:03:48,880 --> 01:03:55,280
Speaker 1: engineer slash audiologist, who takes my messy recordings and puts

902
01:03:55,320 --> 01:03:59,960
Speaker 1: them all uh in in using her technical production expert

903
01:04:00,000 --> 01:04:03,400
Speaker 1: piece makes it listenable to you. I'm Barry Ridults. You've

904
01:04:03,440 --> 01:04:06,120
Speaker 1: been listening to Masters in Business on Bloomberg Radio.