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Speaker 1: This is Alec Baldwin and you're listening to Here's the thing.

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Speaker 1: If you were listening to the radio in n it

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Speaker 1: was a true hodgepodge of what was then considered popular music.

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Speaker 1: And right up there with the Supremes and Simon and

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Speaker 1: Garf Uncle and Frank Sinatra and even the Beatles, was

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Speaker 1: this guy, Yes, that signature Tiajuana Brass sound. Herb Albert

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Speaker 1: had no Latin roots, but wanted to recreate the sound

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Speaker 1: he'd heard at the bullfights in Tijuana. When he decided

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Speaker 1: to overdub his trumpet on two different tape machines, he

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Speaker 1: captured it, and he captured more than that. Whipped Cream

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Speaker 1: and Other Delights was the number one album in the

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Speaker 1: country in nineteen sixty remaining on the charts for three years.

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Speaker 1: In nineteen sixty six, the Tijuana Brass sold over thirteen

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Speaker 1: million records, out selling the Beatles. I started playing when

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Speaker 1: I was eight, and I was earning a living on

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Speaker 1: weekends playing. I love playing. What happened when you were eight? Well,

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Speaker 1: what had you seen or heard that made you say

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Speaker 1: I want to pick up a trumpet? Some fine? Well, yeah,

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Speaker 1: I was really fortunate in my elementary school they had

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Speaker 1: a band appreciation class and they had this table filled

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Speaker 1: with various instruments and I was able to just pick

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Speaker 1: one up. And where were you going to school? Melrose

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Speaker 1: Elementary School in Los Angeles. What did your dad do?

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Speaker 1: Ladies coats and suits? Yeah, that was he was in

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Speaker 1: the clothing business. He was a Schneider. You know. My

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Speaker 1: brother was a professional drummer. My sister played the piano,

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Speaker 1: mother violin, and my dad played the mandolin by ear.

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Speaker 1: So your parents were musical, very musical, but it wasn't

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Speaker 1: their professional No, not at all. What did your parents

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Speaker 1: think about when you were so devoted to music? Were

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Speaker 1: they discouraging you? We doing there? Then? Dad wasn't so

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Speaker 1: crazy about it. He thought, what do you want to play?

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Speaker 1: And sawdust pits the rest of your life? That was

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Speaker 1: his image of it. The Brass as they were called,

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Speaker 1: toured often as a kind of review in the sixties.

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Speaker 1: We played some college affairs in uh, Upper California. What

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Speaker 1: do you Allen opened the show for us as a

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Speaker 1: stand up comic. Yeah, it wasn't a concert style music.

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Speaker 1: You had comics open for you in different kinds of Yeah,

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Speaker 1: what are you open for us? George Carlin opened for us,

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Speaker 1: Jim Carey opened for us. I go back aways, Man,

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Speaker 1: I'm older than dirt, you know. At the time he

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Speaker 1: didn't know it, but Albert was on just beginning an

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Speaker 1: extraordinary career as a musician, eventually earning five number one hits,

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Speaker 1: eight Grammys, fourteen platinum albums, and fifteen gold However, those

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Speaker 1: achievements might be seen as a kind of act one

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Speaker 1: to his later, unimaginably successful career as a music producer.

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Speaker 1: We've only just speak use. In nineteen sixty two, with

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Speaker 1: his friend Jerry Moss, Albert founded what would become the

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Speaker 1: world's largest independent record label, A and M Records. They

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Speaker 1: signed such artists as The Carpenters, Cheryl Crow, Janet Jackson,

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Speaker 1: and the Police Rocks You Don't Have to the Red

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Speaker 1: Night those days to the nine. Albert and Moss started

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Speaker 1: the whole thing with two hundred bucks and a handshake,

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Speaker 1: ultimately selling A and M to PolyGram Records for half

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Speaker 1: a billion dollars. Today, Albert's a prolific sculptor and painter

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Speaker 1: and continues to make music, touring occasionally. He's seventy six

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Speaker 1: and still as handsome as ever. Herb Albert has always

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Speaker 1: had matinee idle looks, but he never took up acting.

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Speaker 1: Let me tell you something. When I was in high school,

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Speaker 1: I was working at a gym. This agent came up

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Speaker 1: to me says, man, you look like you should be

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Speaker 1: in the movies. So I said, well, what can you

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Speaker 1: do for me? He set me up with the people

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Speaker 1: at Paramount. I auditioned. They said I was a little green,

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Speaker 1: so I started taking lessons. I studied with Jeff Corey

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Speaker 1: and also Leonard Nimoy, and I realized I didn't have it.

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Speaker 1: I'm passionate about playing the horn. What's the music scene

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Speaker 1: like in Los Angeles? Then? For a young guy who

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Speaker 1: wants to play, well, it was quite different. It was

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Speaker 1: shah Boom, shah boom, sixty minute man in those type

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Speaker 1: of songs that were kind of popular at the time.

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Speaker 1: I had a great experience, though. I was partners with

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Speaker 1: Lou Adler at the time. How did you become partners

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Speaker 1: with him? Well, he was dating my ex wife. Oh Hollywood, yeah,

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Speaker 1: I forgot. We're talking about l a. Lou was writing

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Speaker 1: poetry and I started writing some some you know, music

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Speaker 1: to his poetry. And he's kind of a knock on

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Speaker 1: every door type of guy, and I'm on the shy one.

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Speaker 1: So we got this job at Keen Records in Los

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Speaker 1: Angeles and started working for Bumps Blackwell, who was the

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Speaker 1: producer for Sam Cook and Lou and I became really

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Speaker 1: close friends with Sam Cooke. We wrote Wonderful World together

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Speaker 1: with him. He was really special. He had something very unusual.

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Speaker 1: He's very unpretentious guy, but very elegant. What did he

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Speaker 1: teach you? Sam had this number one records you sent

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Speaker 1: me and his follow up was I love you for

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Speaker 1: sentimental reasons. And so the owner of this company that

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Speaker 1: I was working for was like an amateur piano player.

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Speaker 1: So Sam was recording, goes into the control room and

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Speaker 1: starts listening to a playback. I was there with this owner,

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Speaker 1: and the owner walks up to Sam and says, Sam,

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Speaker 1: you know in bar twelve you can put in a

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Speaker 1: whoa whoa, and in bar thirty five you can put

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Speaker 1: it in another wow. You know. He had the sheet music,

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Speaker 1: and Sam looked at the guy and says, it's jack, Yeah,

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Speaker 1: just put in a whoa whoa whenever you want. Man,

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Speaker 1: you gotta feel it, he says, Man, you're listening to

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Speaker 1: a cold piece. Of wax, and it either makes it

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Speaker 1: or it don't you know? He broke it right down

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Speaker 1: to the nub. For me, what's interesting about your career

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Speaker 1: is not just virtuosic musicianship, but you go on to

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Speaker 1: become a very serious and like incredibly successful producer. Did

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Speaker 1: you feel when you met those people did you have

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Speaker 1: that skill as well? Oh? No, I didn't have any

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Speaker 1: skills wise. No, in producing wise. I didn't even think

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Speaker 1: about it. I had an experience at a place, uh

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Speaker 1: called the Annex in Los Angeles, a recording studio, and

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Speaker 1: I was watching a reasonably famous producer producer record. So

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Speaker 1: the musicians rehearsing. Plas Johnson was a saxophone player. He

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Speaker 1: was a saxophone player that played on the Pink Panther. Yeah,

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Speaker 1: they rehearse Plas played this incredible solo. Producer gets on

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Speaker 1: the horn and said, okay, Plass, beautiful, just play the

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Speaker 1: same thing again. Plas, what do you mean? He said,

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Speaker 1: just play that solo again? I love that. He says,

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Speaker 1: did you record it? He says, no, but you know what,

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Speaker 1: you know what you did? Just play it again? I said,

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Speaker 1: well I can do this. This is always be rolling.

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Speaker 1: Oh well, I always do that. Oh yeah, No, great

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Speaker 1: success for you with t Juana Brass and great success

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Speaker 1: for you recording albums. And when does producing become something,

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Speaker 1: if ever, that was as important to you? I mean

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Speaker 1: A and M is not some mom and pop shop.

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Speaker 1: You and Moss set up a huge company that you

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Speaker 1: sold to PolyGram for an enormous amount of money. Could

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Speaker 1: you strike me as a guy that's there is a

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Speaker 1: real artist. You're painting and your sculpting, and you're playing music.

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Speaker 1: When does it start to really take over the business side?

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Speaker 1: And A and M? Well, you know, I surround you

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Speaker 1: let Jerry do that well exactly, and I surround myself

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Speaker 1: with really quality people that people that can do things

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Speaker 1: that I can't. And I'm a right brain guy, you know,

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Speaker 1: I'm percent on the right side of my brain. So

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Speaker 1: business is uh was always a little funny for me,

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Speaker 1: you know. Jerry and I always discussed the big broad

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Speaker 1: stroke of n M, but you know, the little incidental

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Speaker 1: things that happened on daily basis. I wasn't interested in

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Speaker 1: front of the house, back of the house. Yeah, exactly.

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Speaker 1: What was it about Jerry that you think it lasted

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Speaker 1: so long and it was so successful? He's just a

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Speaker 1: really good guy. He's an honest he has a lot

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Speaker 1: of integrity. He doesn't lie. It sounds strange, but we

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Speaker 1: never had a contract. Jerry and I had a and

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Speaker 1: M on a handshake and the only time we ever

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Speaker 1: signed a contract was when we sold to PolyGram. Now,

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Speaker 1: during that period when you're producing, I know nothing about

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Speaker 1: how records are made, which must be just completely unrecognizable

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Speaker 1: now from what it was back in technically completely I

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Speaker 1: did an album called Whip. We ripped, we whipped, you know,

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Speaker 1: re whipped. Yeah, thank you very much. I'm your pr

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Speaker 1: man than the guy who got the concept for this album.

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Speaker 1: You know, got a bunch of young producers together to

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Speaker 1: redo the Whip prim and Other Delights album. So they

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Speaker 1: sent me music files on a c D or on

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Speaker 1: a DVD or through the net. I would put my

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Speaker 1: trumpet on, put the trumpet on a CD because it's

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Speaker 1: all time coded, send the CD back to them. They

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Speaker 1: would slip it right into their master recordings. And I

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Speaker 1: never met these guys. I spoke to one, but ultimate

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Speaker 1: Internet dating. These guys could have been in Afghanistan. It

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Speaker 1: will work the same way. What was it like before

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Speaker 1: when you recorded Whip Creaming of the Delights, which is

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Speaker 1: obviously one of the most famous records you ever made.

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Speaker 1: Where did you record that album? Well, it was recorded

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Speaker 1: at gold Star Studios in Los Angeles. But you know,

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Speaker 1: prior to that, my first recorder recorder was a wire recorder.

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Speaker 1: I had a webcord wire recorders. If you wanted to,

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Speaker 1: you know, inter cut some things, you need a soldering iron. Yeah.

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Speaker 1: Do you feel that all this technology and all of

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Speaker 1: the power that comes with that, has it made people lazy?

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Speaker 1: Like people can't get in a room and they just

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Speaker 1: can't play a song all the way through anymore. I

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Speaker 1: don't think it makes them lazy. I think it gives

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Speaker 1: them too many options. You know, now with the digital

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Speaker 1: you know set up, you have empty album tracks and

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Speaker 1: you can just keep going and keep going, and then

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Speaker 1: you can tune them up and you can shift it around,

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Speaker 1: take something that was happening at the end of the

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Speaker 1: song and move it up to the front. Too many options.

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Speaker 1: I think it takes some of the hardaway. Yeah. I

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Speaker 1: mean I also wonder people say, what's the difference between

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Speaker 1: you know, theater and film and more and more the

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Speaker 1: technical cost of these highly technical fields, whether it's filmmaking, television,

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Speaker 1: recorded music. It's expensive, and so they want everybody. It's

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Speaker 1: almost to the point now where they don't care how

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Speaker 1: you feel about the experience, because I'll stand there and

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Speaker 1: I'll say, well, I want to do another take, man,

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Speaker 1: and I want to feel it. You know, I want

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Speaker 1: to do this whole speech on page two all the

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Speaker 1: way to the bottom of page four. It's like a

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Speaker 1: ski run. I want to ski that hill all the

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Speaker 1: way to the bottom without falling. And everybody looks, goes,

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Speaker 1: we don't have time for that, man, we gotta get

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Speaker 1: out of here. Yeah, that's the way the music businesses now. No,

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Speaker 1: I don't think so. I mean it depends on you

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Speaker 1: know what artists you're talking about. Who's someone that you

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Speaker 1: recorded that you sat there and you were like, wow, man,

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Speaker 1: this is really a thrill for me as an artist

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Speaker 1: to watch this man or woman. Well, there are a

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Speaker 1: lot of men. We had a must incredible artists with

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Speaker 1: the name A couple that you dug cast Stevens was wow,

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Speaker 1: unusually special. Now I've been happy lately thinking about the

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Speaker 1: good things to come and believe it could be something

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Speaker 1: good at it begun, get us something magical. You guys

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Speaker 1: signed him. Oh yeah, but I mean he was so

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Speaker 1: passionate and so you know, the lyrics and so unusual.

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Speaker 1: He had his own interpretation of all these songs that

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Speaker 1: it was. He was beautiful. I remember those records, and

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Speaker 1: of course, you know the police. Sting just writes a

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Speaker 1: great song. And when we saw them, you know, Sting

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Speaker 1: was bouncing around the stage like he was on a

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Speaker 1: pogo stick. They were great to watch. And of course

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Speaker 1: I had an unusual experience with the carpenters. I signed

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Speaker 1: the carpenters, and on my iPod I have the Carpenters,

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Speaker 1: I have Sting, and then I have Home. On a second,

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Speaker 1: I have Cat Stevens on my iPhone. Oh yeah, you

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Speaker 1: got a lot of my money. Man. Well, you know,

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Speaker 1: in nineteen sixty this is an interesting story if you

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Speaker 1: want to hear this joke. In nineteen sixty uh six seven,

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Speaker 1: were I was doing a special for NBC. Jack Hayley Jr.

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Speaker 1: Was directing. He said, why don't you sing a song?

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Speaker 1: I said, well, if if I can find the right song,

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Speaker 1: I'll give it a go. So, you know, I go

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Speaker 1: through my brolla decks and I called Bert back rack.

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Speaker 1: I said, Bert is there a song that you have

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Speaker 1: that do you think I could handle? That you have

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Speaker 1: tucked away in your drawer someplace where you find yourself

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Speaker 1: whistling in the morning, or you know a tune that

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Speaker 1: haunts you well. Three days later he sent me this

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Speaker 1: Girl's in love with You? You see this guy? This

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Speaker 1: guy love with you? Yes? Uh? Who looks at you

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Speaker 1: the way? When I watched the video this morning of

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Speaker 1: what have you singing the song? When he saw my

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Speaker 1: ex wife, then that's your wife. Cute? I record the song,

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Speaker 1: I go, I fly to New York. So how David

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Speaker 1: Hell David would change you know, the lyrics to suit me.

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Speaker 1: As I'm marking out of Hell's door, I said, how

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Speaker 1: is there a song that do you think I might

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Speaker 1: be able to handle? Or song that you have talked

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Speaker 1: away in the door in the same yard I gave Bert.

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Speaker 1: Two days later he sent me close to You, which

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Speaker 1: was going to be the follow up to This Guy's

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Speaker 1: in Love with You. I recorded it in the studio.

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Speaker 1: I'm listening to the playback and my engineer friend Larry

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Speaker 1: Levine rested. So look to me, says, man, you sound

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Speaker 1: terrible singing this. I don't forget it. I lost my confidence.

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Speaker 1: I put that thing in the drawer. When I signed

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Speaker 1: the Carpenters in nineteen seventy, they had an album that

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Speaker 1: didn't sell. I mean, the first album was zero and

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Speaker 1: people have described the first album to rely on Richard Carpenter. No, no,

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Speaker 1: it has had Karen. But it was very soft. It

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Speaker 1: was very delicate and very it wasn't really radio friendly.

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Speaker 1: Uh So a year later I gave him Close to You.

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Speaker 1: They recorded it and it was really light. Again. I

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Speaker 1: said this, we need we need a little bit more

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Speaker 1: energy on this one, because because Karen thought she was

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Speaker 1: a drummer, I mean she and she played drums and

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Speaker 1: she was good, but she wanted to record and I

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Speaker 1: when I listened to the recording, I said, no, it's

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Speaker 1: a little too too light. You know, we need some more.

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Speaker 1: They recorded again and it still wasn't quite there, and

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Speaker 1: so finally we got the Wrecking Crew. I don't know

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Speaker 1: if you know that name. Those these guys that did

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Speaker 1: most of the sessions in l A. They held Held

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Speaker 1: Blame on drums and Tommy Tedesco on guitar and Carol Kaye.

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Speaker 1: The third recording was The Charm Why from every Time

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Speaker 1: You Want just like me. What's the difference? How do

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Speaker 1: they get there? For you? As a person who has

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Speaker 1: this ear, this gift, something happens for you like an

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Speaker 1: alchemy where you just go that's it. They got it? Well, yeah,

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Speaker 1: how do they get there? How do you help them

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Speaker 1: get there? Or do you you try to flag them

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Speaker 1: down to the runway. You know, That's what we did

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Speaker 1: with most of our artists. You know, we didn't try

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Speaker 1: to sign the beat of the week. We tried to

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Speaker 1: get you know, like I'm saying that Cat Stevens and

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Speaker 1: the artists we chose, we're artists that just had their

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Speaker 1: own little identity which we loved, and the carpenters had that.

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Speaker 1: I mean, I signed them because it wasn't the type

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Speaker 1: of music that I normally listened to. But they were

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Speaker 1: so sincere about it, and we were so passionate about

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Speaker 1: the music. Apologetic, Oh beautiful, one of the most clarion voices. Well,

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Speaker 1: when I heard the original tape, you know they are.

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Speaker 1: And the original tape was presented to me like studied

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Speaker 1: one era tape, you know, And when he handed me

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Speaker 1: a tape through the gates at A and M and

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Speaker 1: I sat down in my couch at in my office

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Speaker 1: at a m and I did what I usually do,

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Speaker 1: put on the tape. The speakers were on the floor

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Speaker 1: about ten feet in front of me. Closed my eyes

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Speaker 1: and it felt like Karen's voice was sitting right next

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Speaker 1: to me on the on the couch. So I was

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Speaker 1: just really intrigued to meet them. And when I did,

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Speaker 1: I just realized, this is the real deal. So you

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Speaker 1: build this big company, you know, you gotta, you gotta,

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Speaker 1: You've got a great record company, you and Jerry, and

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Speaker 1: then the time comes and aside from deal making and

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Speaker 1: aside from you know, PolyGram making it well worth your while,

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Speaker 1: what was it like in terms of the decision to

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Speaker 1: let it go and to sell the company. Well, I

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Speaker 1: felt something coming. I felt the music file sharing, and

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Speaker 1: something just just felt like the time is right. It

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Speaker 1: was well in most of these companies were run by

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Speaker 1: these big corporations, and you know, they were throwing millions

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Speaker 1: and millions and dollars around for new artists, and we

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Speaker 1: felt that, you know, you make one mistake at our

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Speaker 1: size and then you your your ship is sinking. So

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Speaker 1: we just thought it was it was time. And originally

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Speaker 1: we were just going to sell, which we held on

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Speaker 1: too for a long time, and then they said, look,

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Speaker 1: we'd like to gobble the whole thing. And I thought,

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Speaker 1: what can I do to throw in a little something.

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Speaker 1: I'd like my catalog back, her Bopera, Tijuana Brass and

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Speaker 1: her boper single catalog plus Lonnie Hall's catalog. And I

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Speaker 1: got it. I mean, that's what all artists crave, right,

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Speaker 1: is to control their own music. I wanted it back,

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Speaker 1: and they agreed to it. We signed the contract and

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Speaker 1: you may the deal and sold the company. Yea, to them,

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Speaker 1: was painting and sculpting becoming more important in your life

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Speaker 1: right at the same time you decided to get rid

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Speaker 1: of A and m to polygraph. Not really those two

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Speaker 1: things intersecting. No, no, no, I've been painting for forty

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Speaker 1: two years. I started painting in nineteen seventy. I'm not

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Speaker 1: a Sunday painter. I'm not a Sunday artist. I do

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Speaker 1: it every day, you know, traveling in the sixties with

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Speaker 1: the two Wanter Brass around the world, I used to

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Speaker 1: go to museums and I go to the modern arts section.

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Speaker 1: For whatever reason, that just appealed to me. And you know,

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Speaker 1: I see these paintings like a black painting with a

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Speaker 1: purple dot or something hanging on the wall, and I think,

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Speaker 1: let me try something like that. I wasn't doing it

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Speaker 1: to think something would come of it. I'll tell you

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Speaker 1: what's great. And I know, Alec you know about this.

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Speaker 1: It's just there's something about being an artist, being a musician,

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Speaker 1: being a painter, being a sculpture. When you're doing it,

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Speaker 1: you're in the exact moment of your life, and that's rare.

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Speaker 1: You know, when you're not in that mode, you're you're

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Speaker 1: thinking about yesterday or tomorrow or some other house a

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00:20:01,480 --> 00:20:04,520
Speaker 1: rye that really doesn't make any sense. But when you're

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Speaker 1: doing it, man, it just feels so right on the moment.

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Speaker 1: I feel that we would have'm on my boat. Well

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Speaker 1: I don't paint, and I don't I wish I could paint.

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Speaker 1: Well I should try it. I mean when I started painting,

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Speaker 1: I painted like a monkey, you know. I would just

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Speaker 1: I squeezed some paint on a canvas and moved it

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Speaker 1: around with Yeah, you had no training, no training. I

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Speaker 1: didn't know what I was doing. But I think there's

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Speaker 1: an advantage to that. I think when you're an amateur

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Speaker 1: and you're just fooling around, you have infinite possibilities. You know,

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Speaker 1: if you go to a professional, they'll tell you what

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Speaker 1: not to do and what to do and how to

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Speaker 1: do it and blah blah blah. And I didn't know

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Speaker 1: about that. I just did whatever. I'm always going for

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Speaker 1: a feel, you know. It's it's I do that in

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Speaker 1: music and sculpting and painting. It's like, I'm not looking

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Speaker 1: for something that's going to, you know, excite my eyes.

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Speaker 1: I wanted to something that's excites my soul, you know,

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Speaker 1: it's something that really resonates. I'm assuming there's no preference

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Speaker 1: between paint and canvas and sculpture for you. You enjoy

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Speaker 1: them both equally. I got a copy from your office

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Speaker 1: of the Black Totem's exhibit in the work you've done. Now,

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00:21:10,200 --> 00:21:16,600
Speaker 1: these are obviously immense pieces there in bronze, and these

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Speaker 1: exclusively for people who have cliff side homes in Malibu

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Speaker 1: with Really, I'm not interested in really selling, you know.

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Speaker 1: I know, I'm to say they're big, they're big. Yeah,

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Speaker 1: they're huge. I think of my homes in New York

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Speaker 1: and on Long Island. I would be interested in buying

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Speaker 1: the lower four feet of this way. If we could

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Speaker 1: cut this into sections. Actually, that would be kind of

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Speaker 1: that would work quite well for me. I don't have

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Speaker 1: eighteen feet in Manhattan, but they're absolutely stunning. This is

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Speaker 1: Alec Baldwin and I'm talking with Herb Albert. More in

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Speaker 1: a minute. This is Alec Baldwin and you're listening to

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Speaker 1: Here's the Thing today. Talking with Herb Albert. What is

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Speaker 1: music for you? Now? I know that's the the ultimate

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Speaker 1: cliche question, but how do you how do you view

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Speaker 1: the music world now beyond zeros and ones in the

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Speaker 1: digital and everything. You must be sitting home and sometimes

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Speaker 1: you sit there and go, wow, that sounds great. I

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Speaker 1: really did that. Well, you know, I have really varied taste.

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Speaker 1: So I love classical music. I love you know, listening

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Speaker 1: to your favorite composer. Well, yeah, I love revel. I

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Speaker 1: mean actually Ravel taught me a lesson. Actually, I was

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Speaker 1: going to sc for a few moments. I was in

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Speaker 1: the orchestra there and they were playing um Pictures at

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Speaker 1: an exhibition, you know. I was in the Yorkshire playing that. Yeah,

387
00:22:53,520 --> 00:22:57,320
Speaker 1: Missoursky wrote it, Ravel arranged arranged it good for you,

388
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Speaker 1: and they were playing the last Monte rate Gate of Kiev,

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Speaker 1: you know, And I was like, so intrigued with the

390
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Speaker 1: sound of the orchestra. I was leaning forward listening to

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Speaker 1: everybody and sounded like, wow, it's like natural stereo, and

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Speaker 1: I forgot to come in. I've had to come in

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Speaker 1: on my part. Right at that moment, I thought, hey,

394
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Speaker 1: you know, this isn't for me. What I really want

395
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Speaker 1: to do is just close my eyes and play. I

396
00:23:18,200 --> 00:23:20,920
Speaker 1: love Miles Davis, I love Louis Armstrong. I love those

397
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Speaker 1: guys that just, you know, create I want to try

398
00:23:23,440 --> 00:23:26,479
Speaker 1: doing that. And so I started, you know, working on jazz,

399
00:23:26,480 --> 00:23:29,439
Speaker 1: which is a very specific language. I mean, just because

400
00:23:29,480 --> 00:23:32,600
Speaker 1: you want to play jazz doesn't mean you can play jazz.

401
00:23:33,280 --> 00:23:35,200
Speaker 1: Had you been asked to score a lot of film,

402
00:23:35,280 --> 00:23:36,800
Speaker 1: did you pass up? And you must have been asked

403
00:23:36,800 --> 00:23:39,560
Speaker 1: to score? Well, I did. I did the title song

404
00:23:39,640 --> 00:23:43,399
Speaker 1: of or I out with Bert backrack, but that was

405
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Speaker 1: about it. Now, I don't think that's my thing. I don't.

406
00:23:46,960 --> 00:23:49,040
Speaker 1: I don't think I didn feel it. I didn't feel it.

407
00:23:51,359 --> 00:23:54,560
Speaker 1: Maybe my wife thinks I should still, you know, pursue that.

408
00:23:54,640 --> 00:23:56,800
Speaker 1: But you know, I had an experience this is like

409
00:23:56,840 --> 00:24:01,000
Speaker 1: a little different aside by it. I was in the

410
00:24:01,040 --> 00:24:06,800
Speaker 1: studio recording the Going Places album and the brass was

411
00:24:06,840 --> 00:24:10,359
Speaker 1: already going crazy. I mean, we were selling you know,

412
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Speaker 1: it was going well. Yeah, it was going well. And

413
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Speaker 1: I get a call from my partner. I said we

414
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Speaker 1: and the album wasn't finished yet. I get a call

415
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Speaker 1: from chair and he says, we just have advanced orders

416
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Speaker 1: of a million, four hundred thousand, and I got depressed.

417
00:24:25,480 --> 00:24:28,840
Speaker 1: I felt like tea. You know, if people love the

418
00:24:28,880 --> 00:24:32,040
Speaker 1: album by it, if you don't, you know this. I

419
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Speaker 1: just it was a strange feeling. I I know it

420
00:24:36,720 --> 00:24:41,520
Speaker 1: sounds a little I just didn't want to be prejudged.

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00:24:41,560 --> 00:24:43,719
Speaker 1: I mean, I wanted people to listen to the album

422
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Speaker 1: here and if they liked it, by it, purity what

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Speaker 1: a yeah. I don't don't mean to be but I mean, yeah,

424
00:24:51,040 --> 00:24:53,240
Speaker 1: I was looking for that real ride. Until we find

425
00:24:53,280 --> 00:24:55,840
Speaker 1: a better word, will say purity. Okay, you know I

426
00:24:55,840 --> 00:24:57,679
Speaker 1: was looking for that ride. Do you like it? By it?

427
00:24:58,040 --> 00:25:02,080
Speaker 1: I love him? Where did you meet your second wife? Okay,

428
00:25:02,280 --> 00:25:04,960
Speaker 1: you're obviously madly in love? Yeah so you don't know

429
00:25:05,040 --> 00:25:07,920
Speaker 1: that story, right, let's hear it. This is good. So

430
00:25:08,119 --> 00:25:13,520
Speaker 1: you know musicians as the nineteen sixty six I auditioned

431
00:25:13,840 --> 00:25:19,359
Speaker 1: Brazil sixty six. Brazil sixty six, Lonnie was the lead singer.

432
00:25:20,800 --> 00:25:24,280
Speaker 1: Jerry and I signed them to a long term contract.

433
00:25:24,520 --> 00:25:27,520
Speaker 1: This was when the Brass was really cooking and we

434
00:25:27,640 --> 00:25:30,119
Speaker 1: hired them to open the show for us, so they

435
00:25:30,119 --> 00:25:33,359
Speaker 1: were playing for eighteen thousand people at a time. Lonnie

436
00:25:33,359 --> 00:25:35,800
Speaker 1: and I became friends. We were just really good friends.

437
00:25:35,800 --> 00:25:39,399
Speaker 1: She's very unusual. She's from Chicago. She can sing in

438
00:25:39,480 --> 00:25:44,879
Speaker 1: Portuguese like a like a native, beautiful voice. And she

439
00:25:45,000 --> 00:25:47,959
Speaker 1: loves music. Oh she have You have a similar kind

440
00:25:48,000 --> 00:25:50,159
Speaker 1: of I don't want to say passion for music, but

441
00:25:50,240 --> 00:25:53,040
Speaker 1: you have a similar ethic for music, is she? Oh? Completely.

442
00:25:53,080 --> 00:25:55,720
Speaker 1: She loves jazz, she loves you know, all kinds of music.

443
00:25:55,760 --> 00:25:59,960
Speaker 1: But we are really the opposite. You know, she's out well,

444
00:26:00,880 --> 00:26:03,680
Speaker 1: I'm really quiet. I'm really kind of like a low

445
00:26:03,760 --> 00:26:06,960
Speaker 1: key type of guy. She's more, you know, has more

446
00:26:07,080 --> 00:26:11,880
Speaker 1: energy and more zip zapp. Yeah, more outgoing. Who makes

447
00:26:11,880 --> 00:26:14,600
Speaker 1: the dinner reservations out there in California for you? Who's

448
00:26:14,600 --> 00:26:18,080
Speaker 1: who's picking the restaurants? Your wife? No, she does not

449
00:26:18,200 --> 00:26:20,200
Speaker 1: do that? Or do you really? Yeah? I just want

450
00:26:20,200 --> 00:26:21,320
Speaker 1: to look at my wife and I want to go.

451
00:26:21,520 --> 00:26:24,119
Speaker 1: Whatever you say, baby, what do you want to you

452
00:26:24,119 --> 00:26:26,560
Speaker 1: want Indian food? You got it there. I don't want

453
00:26:26,560 --> 00:26:28,480
Speaker 1: to have to make those decisions. I got this stuff

454
00:26:28,480 --> 00:26:30,159
Speaker 1: I gotta think about. You know, it's it's kind of

455
00:26:30,240 --> 00:26:33,919
Speaker 1: mutual with us. I mean, she's um. You know. I

456
00:26:33,960 --> 00:26:36,320
Speaker 1: met her at a time and we became friendly and

457
00:26:36,920 --> 00:26:41,640
Speaker 1: she was able to identify my neurosis, which is what well,

458
00:26:41,920 --> 00:26:43,359
Speaker 1: you know, at the time, I was going through a

459
00:26:43,400 --> 00:26:45,760
Speaker 1: divorce and I couldn't play the horn. How did that

460
00:26:45,800 --> 00:26:49,040
Speaker 1: manifest itself? Well, I took a trip to Europe. We

461
00:26:49,119 --> 00:26:51,639
Speaker 1: had a little time off. When I got back, we

462
00:26:51,680 --> 00:26:54,000
Speaker 1: had some obligations to go back to Europe and do

463
00:26:54,080 --> 00:26:56,879
Speaker 1: some concerts, and I had like two or three weeks

464
00:26:56,880 --> 00:26:59,800
Speaker 1: to get back in shape. And I just couldn't do it.

465
00:27:00,080 --> 00:27:02,840
Speaker 1: HUNG wouldn't go in the right place. I was all

466
00:27:02,880 --> 00:27:06,159
Speaker 1: bottled up. I was stiff, my neck was tight. I

467
00:27:06,240 --> 00:27:08,520
Speaker 1: couldn't make a sound out of the horn. It was

468
00:27:08,680 --> 00:27:12,960
Speaker 1: really painful, you know. I was really upset about the

469
00:27:12,960 --> 00:27:16,600
Speaker 1: divorce and I had, you know, a bottle of Melanta

470
00:27:16,680 --> 00:27:19,520
Speaker 1: at my side there because you were unhappy. There was

471
00:27:19,520 --> 00:27:21,800
Speaker 1: a hole in the stomach. You know. I just wasn't

472
00:27:21,840 --> 00:27:24,919
Speaker 1: happening and I just couldn't execute. I couldn't play the

473
00:27:24,920 --> 00:27:28,720
Speaker 1: home I lasted for years. Really, yeah, it did it?

474
00:27:28,880 --> 00:27:32,760
Speaker 1: I mean it finally wanted would play down well nineteen

475
00:27:32,880 --> 00:27:36,919
Speaker 1: sixty seventy. So right after you have this huge crest

476
00:27:37,000 --> 00:27:40,720
Speaker 1: of the greatest score as a as a performer of

477
00:27:40,800 --> 00:27:43,600
Speaker 1: your life, you kind of crashing and you know, did

478
00:27:43,640 --> 00:27:46,600
Speaker 1: you literally didn't play well? I played, but it was painful.

479
00:27:46,640 --> 00:27:48,879
Speaker 1: I had an experience in Germany. I did you know

480
00:27:48,880 --> 00:27:52,399
Speaker 1: I had this obligation to play these concerts in Europe.

481
00:27:52,440 --> 00:27:55,520
Speaker 1: I was in Germany in Frankfort, and I was on

482
00:27:55,560 --> 00:27:58,399
Speaker 1: the stage, painfully playing, and all of a sudden, I

483
00:27:58,400 --> 00:28:00,440
Speaker 1: had this out of body experience. Of a sudden, I

484
00:28:00,520 --> 00:28:03,280
Speaker 1: was in the third row looking at me. You know,

485
00:28:03,320 --> 00:28:05,159
Speaker 1: I was thinking to myself, well, gee, this guy is

486
00:28:05,800 --> 00:28:09,159
Speaker 1: usually pretty comfortable on the stage, but when he's you know,

487
00:28:09,280 --> 00:28:11,320
Speaker 1: off the stage, and he's in a in a room

488
00:28:11,400 --> 00:28:13,960
Speaker 1: of you know, at a party or whatever, he's totally

489
00:28:14,040 --> 00:28:17,119
Speaker 1: out of control, which I felt I was at the time.

490
00:28:18,400 --> 00:28:20,680
Speaker 1: I said, when I get back to Los Angeles after

491
00:28:20,720 --> 00:28:24,159
Speaker 1: this series of concerts, I'm gonna either throw this horn away,

492
00:28:25,080 --> 00:28:26,920
Speaker 1: sell a and m do whatever. I just want to

493
00:28:26,960 --> 00:28:28,879
Speaker 1: find out who I am and why I'm here. I mean,

494
00:28:28,920 --> 00:28:31,679
Speaker 1: everybody's looking for the same thing. I think, a life

495
00:28:31,720 --> 00:28:34,680
Speaker 1: of purpose and meaning. Without that, what else is there?

496
00:28:36,040 --> 00:28:40,280
Speaker 1: Luckily I met a teacher in New York here. His

497
00:28:40,360 --> 00:28:45,160
Speaker 1: name was Carmine Caruso. He played violin, he played saxophone.

498
00:28:45,200 --> 00:28:47,080
Speaker 1: He didn't play trumpet, but he taught a lot of

499
00:28:47,080 --> 00:28:50,760
Speaker 1: trumpet players. He likened the musician to an athlete. And

500
00:28:50,800 --> 00:28:54,840
Speaker 1: you had to sink your body muscles to rhythm. And

501
00:28:54,920 --> 00:28:58,600
Speaker 1: over a period of time, I just kind of unwoldness,

502
00:28:58,960 --> 00:29:02,840
Speaker 1: terrible problem. And how long did it take? It took

503
00:29:03,880 --> 00:29:08,760
Speaker 1: before I was really comfortable? Probably eight years? Really? Yeah,

504
00:29:09,240 --> 00:29:14,920
Speaker 1: did you when you started painting? Well, that's interesting question,

505
00:29:14,960 --> 00:29:17,920
Speaker 1: you know you said you started painting? Its Yeah, and

506
00:29:17,960 --> 00:29:20,440
Speaker 1: you and you started to lose your mojo horn wise

507
00:29:20,480 --> 00:29:23,360
Speaker 1: and sixty nine you did, painting and sculpting come into

508
00:29:23,360 --> 00:29:24,880
Speaker 1: your life as you found you didn't want to play

509
00:29:24,880 --> 00:29:28,600
Speaker 1: the horn. Well, sculpting came in later. Painting was a

510
00:29:28,680 --> 00:29:34,640
Speaker 1: big relief. You had't have somewhere to put that energy exactly. Um.

511
00:29:34,800 --> 00:29:37,680
Speaker 1: It was a rough period for me, but I've been there, man,

512
00:29:38,720 --> 00:29:40,680
Speaker 1: And mine was a result of a divorce too, you know,

513
00:29:41,000 --> 00:29:43,520
Speaker 1: and not like I thought I needed to be to

514
00:29:43,640 --> 00:29:46,160
Speaker 1: stay in that marriage. But it was the way that

515
00:29:46,200 --> 00:29:48,480
Speaker 1: those things ends. Oh yeah, need to sit there and

516
00:29:48,480 --> 00:29:51,520
Speaker 1: go You're like, this is not not when you planned it,

517
00:29:51,800 --> 00:29:56,440
Speaker 1: not what I bargained for. Let's hit rewind here trying

518
00:29:56,440 --> 00:29:58,840
Speaker 1: to figure this out man, and he had the lete, yeah,

519
00:29:59,160 --> 00:30:02,200
Speaker 1: we gotta, we gotta, you gotta do this again. When

520
00:30:02,200 --> 00:30:06,880
Speaker 1: did you marry your current wife? So during this time

521
00:30:07,880 --> 00:30:11,320
Speaker 1: as years have you not feeling great when you meet

522
00:30:11,320 --> 00:30:13,160
Speaker 1: her and you meet this woman who's obviously the love

523
00:30:13,160 --> 00:30:15,680
Speaker 1: of your life, right, But at the same time I

524
00:30:15,720 --> 00:30:19,360
Speaker 1: was still playing. I was like I was playing forcing yourself, well,

525
00:30:19,440 --> 00:30:23,000
Speaker 1: forcing myself. And seventy four we had a command performance

526
00:30:23,040 --> 00:30:26,520
Speaker 1: for the Queen of England. We played, we played there

527
00:30:26,560 --> 00:30:29,880
Speaker 1: and the bands, yeah, the band sounded great. And then

528
00:30:30,680 --> 00:30:33,840
Speaker 1: meet Prince Charles who said, oh heavo you record in

529
00:30:33,880 --> 00:30:37,320
Speaker 1: the in the den? You know I couldn't picture the den.

530
00:30:38,280 --> 00:30:42,320
Speaker 1: Met the Queen, very lovely, nice smile. Uh. This was

531
00:30:42,320 --> 00:30:45,000
Speaker 1: in nineteen seventy four. I was feeling pretty puffed up.

532
00:30:45,040 --> 00:30:47,920
Speaker 1: I felt good about that. So go out the back

533
00:30:47,960 --> 00:30:50,120
Speaker 1: door and there were hundreds and hundreds of people that

534
00:30:50,120 --> 00:30:51,960
Speaker 1: are just waiting for the various artists that were on

535
00:30:52,000 --> 00:30:55,120
Speaker 1: this show and this as I'm walking through the crowd

536
00:30:55,160 --> 00:30:57,200
Speaker 1: that I hear these two ladies Tarry, I don't know

537
00:30:57,240 --> 00:31:00,080
Speaker 1: that Chap. Who was that Chap? And for friends it

538
00:31:00,160 --> 00:31:05,920
Speaker 1: I think that Sergio Mendez after feeling so good, I

539
00:31:05,920 --> 00:31:07,800
Speaker 1: gotta get over here more often, man, I gotta get

540
00:31:07,800 --> 00:31:11,360
Speaker 1: these people straightened up. You don't know me from Sergio. Yeah,

541
00:31:12,240 --> 00:31:14,000
Speaker 1: so that's why I think that's a great thing that

542
00:31:14,080 --> 00:31:16,719
Speaker 1: you're someone who you weren't feeling all that great at

543
00:31:16,720 --> 00:31:18,600
Speaker 1: that time in your life, but you fooled the King

544
00:31:18,640 --> 00:31:21,560
Speaker 1: and the Queen of England. Man with the band sounded

545
00:31:21,640 --> 00:31:23,200
Speaker 1: no what I'm saying that you you got you got

546
00:31:23,200 --> 00:31:26,680
Speaker 1: it done. Yeah, but you know there's something about you know,

547
00:31:26,720 --> 00:31:29,840
Speaker 1: when you're you're good at something, you can you can

548
00:31:29,840 --> 00:31:33,960
Speaker 1: fake it and and nobody really knows you know. No

549
00:31:34,200 --> 00:31:38,280
Speaker 1: Now for you, who's a horn player that you take

550
00:31:38,320 --> 00:31:41,080
Speaker 1: your head up? Whose one just giving one? Years? Just

551
00:31:41,320 --> 00:31:51,200
Speaker 1: really dug? Listening to Miles David, I love Myles. You know,

552
00:31:51,280 --> 00:31:54,520
Speaker 1: Myles was the real thing. Miles y well because he

553
00:31:54,600 --> 00:31:58,680
Speaker 1: was completely authentic. He was just playing the music that

554
00:31:58,760 --> 00:32:05,320
Speaker 1: was coming out of him. Uh, no compromise. He understood space,

555
00:32:05,720 --> 00:32:10,320
Speaker 1: you know, the the silence that happens between the notes.

556
00:32:10,560 --> 00:32:12,880
Speaker 1: You know. He understood that, and I think he was

557
00:32:14,760 --> 00:32:17,600
Speaker 1: the key you know, you know, jazz musician of the

558
00:32:17,600 --> 00:32:31,960
Speaker 1: twentieth century. I've met some really incredible jazz musicians in

559
00:32:32,000 --> 00:32:35,680
Speaker 1: my day, and each one has their own little take

560
00:32:35,720 --> 00:32:37,960
Speaker 1: on how to do it. Stan Guests was like a

561
00:32:38,000 --> 00:32:42,680
Speaker 1: brother to me. I produced two albums with Stan and

562
00:32:42,760 --> 00:32:45,040
Speaker 1: he played this one song. It was just men. Goose

563
00:32:45,040 --> 00:32:55,520
Speaker 1: bumps were flying up my back. I said, man, what

564
00:32:55,560 --> 00:32:59,959
Speaker 1: are you thinking when you're playing? And he says, oh,

565
00:33:00,000 --> 00:33:02,200
Speaker 1: I think it like I'm in front of the whaling

566
00:33:02,280 --> 00:33:09,280
Speaker 1: wall in Jerusalem and I'm dobvining stand. Oh. He was great, man.

567
00:33:09,320 --> 00:33:12,160
Speaker 1: I love the sky. He wore his stuff right close

568
00:33:12,200 --> 00:33:15,240
Speaker 1: to the surface. I had an experience with Guests where,

569
00:33:15,320 --> 00:33:17,640
Speaker 1: you know, I did these amms and he said, can

570
00:33:17,680 --> 00:33:19,440
Speaker 1: I do anything for you? I said, yeah, Man, give me,

571
00:33:19,440 --> 00:33:22,720
Speaker 1: how about giving me some bebop lessons? He says sure,

572
00:33:22,880 --> 00:33:24,760
Speaker 1: He says, how how honest you want me to be?

573
00:33:25,080 --> 00:33:27,800
Speaker 1: I said, just because I'm just trying to get up

574
00:33:27,800 --> 00:33:30,200
Speaker 1: to my own water level. I didn't play with Charlie

575
00:33:30,240 --> 00:33:32,040
Speaker 1: Parker like he did. I just wanted to see how

576
00:33:32,040 --> 00:33:35,520
Speaker 1: far I can take this thing. This is fine in

577
00:33:35,600 --> 00:33:38,440
Speaker 1: my studio at home, and he's sitting down. I said,

578
00:33:38,280 --> 00:33:40,600
Speaker 1: do you think, for one, I should work on the

579
00:33:40,680 --> 00:33:45,400
Speaker 1: two five one chords in every key, which is page

580
00:33:45,400 --> 00:33:47,760
Speaker 1: one if they teach at Berkeley. I mean that's how

581
00:33:47,760 --> 00:33:49,600
Speaker 1: they you know, they start this thing. To five one

582
00:33:49,680 --> 00:33:52,560
Speaker 1: is an all pop songs. It's just one of those things.

583
00:33:53,160 --> 00:33:54,800
Speaker 1: I said, do you think I should work on this

584
00:33:54,880 --> 00:33:58,480
Speaker 1: in every key five one chords? You know what? He said?

585
00:33:59,720 --> 00:34:04,640
Speaker 1: What's that? He didn't think like that though. I mean,

586
00:34:04,680 --> 00:34:07,240
Speaker 1: those old timers didn't play off of that ship that

587
00:34:07,240 --> 00:34:10,040
Speaker 1: they're teaching at school. You know, who do you think

588
00:34:10,080 --> 00:34:15,560
Speaker 1: made Sinatra? Sinatra? Oh Man very musical? He really was smart.

589
00:34:16,080 --> 00:34:19,279
Speaker 1: He was grateful to the songwriters and the musicians whom

590
00:34:19,320 --> 00:34:21,879
Speaker 1: he knew they made him. He brought what he brought.

591
00:34:21,960 --> 00:34:24,200
Speaker 1: But he was a kind of man. The guy was.

592
00:34:24,480 --> 00:34:26,720
Speaker 1: He was magic and plus the sound in his voice

593
00:34:26,760 --> 00:34:29,960
Speaker 1: was beautiful, his timing. But I learned a great lesson.

594
00:34:30,040 --> 00:34:32,120
Speaker 1: You know, when things started happening for me. My ex

595
00:34:32,160 --> 00:34:35,560
Speaker 1: wife was friends with Nancy Sinatra, and I met Frank

596
00:34:35,640 --> 00:34:38,399
Speaker 1: and I stayed at his house and then we flew

597
00:34:38,480 --> 00:34:43,640
Speaker 1: to Las Vegas and the way After the show, Frank

598
00:34:43,680 --> 00:34:44,960
Speaker 1: comes up to me and says, you want to play?

599
00:34:45,000 --> 00:34:46,919
Speaker 1: It's in bakra. I said, I don't know how to play,

600
00:34:46,920 --> 00:34:49,280
Speaker 1: but I'll go with you. He says, down on the Barbara.

601
00:34:49,760 --> 00:34:53,799
Speaker 1: I'm standing behind him, and in twenty minutes he must

602
00:34:53,800 --> 00:34:58,480
Speaker 1: have went around twenty seven thirty thou dollars, I know,

603
00:34:58,560 --> 00:35:01,120
Speaker 1: and Nancy was standing right next me. So every time

604
00:35:01,120 --> 00:35:06,720
Speaker 1: you want a party, throw off like ten bills to Nancy.

605
00:35:06,800 --> 00:35:09,000
Speaker 1: So she had this pile looked like a bowling ball

606
00:35:09,040 --> 00:35:12,640
Speaker 1: in her hands of a hundred dollar bills. And so

607
00:35:12,800 --> 00:35:15,640
Speaker 1: Frank gets up abruptly and he he just leaves, you know,

608
00:35:15,680 --> 00:35:18,759
Speaker 1: and Nancy looks at me, says, I hear her. We

609
00:35:18,960 --> 00:35:21,279
Speaker 1: go take some of this and go gamble. And I

610
00:35:21,320 --> 00:35:23,040
Speaker 1: looked at this pilot said, what do you mean takes?

611
00:35:23,280 --> 00:35:24,799
Speaker 1: You want me to take a half a pound you want?

612
00:35:24,880 --> 00:35:27,839
Speaker 1: What are you talking about? And I realized at that point, man,

613
00:35:28,080 --> 00:35:30,760
Speaker 1: I'm never going to treat money like that. I'm gonna,

614
00:35:31,120 --> 00:35:34,719
Speaker 1: you know, honor in a whole different ways. It could

615
00:35:34,719 --> 00:35:40,960
Speaker 1: be that frivolous Herbalbert established the her Balbert Foundation in

616
00:35:41,000 --> 00:35:45,080
Speaker 1: the nineteen eighties, giving away money his way ever since.

617
00:35:45,480 --> 00:35:48,319
Speaker 1: In two thousand seven, he gave thirty million dollars to

618
00:35:48,360 --> 00:35:50,960
Speaker 1: form the Herb Alpert's School of Music. How do you see,

619
00:35:51,080 --> 00:35:55,120
Speaker 1: l A. I love music. I think music needs to survive.

620
00:35:55,200 --> 00:35:59,160
Speaker 1: I think jazz needs to survive. It's a great American legacy.

621
00:35:59,360 --> 00:36:01,880
Speaker 1: It's such an portant ingredient for a kid's health, you know.

622
00:36:01,880 --> 00:36:04,160
Speaker 1: And I think through that they learned discipline and what's

623
00:36:04,160 --> 00:36:07,240
Speaker 1: gonna help him in the academics. So it's just a natural.

624
00:36:07,480 --> 00:36:09,320
Speaker 1: It should be a core subject. Do you teach to

625
00:36:09,360 --> 00:36:11,920
Speaker 1: you over there and guest teach and so no, I don't,

626
00:36:11,960 --> 00:36:14,880
Speaker 1: but I you know, I'm not. That's really not my

627
00:36:14,960 --> 00:36:16,640
Speaker 1: strongest I think it would be very happy for you

628
00:36:16,680 --> 00:36:19,520
Speaker 1: to show up, that wouldn't Isn't that your great gift

629
00:36:19,560 --> 00:36:21,800
Speaker 1: that you just have to play? I think my great

630
00:36:21,840 --> 00:36:24,560
Speaker 1: gift is that I have my own personality on the horn.

631
00:36:24,920 --> 00:36:27,480
Speaker 1: A lot of musicians are trying to track Miles Davis

632
00:36:27,560 --> 00:36:30,040
Speaker 1: or trying to check Charlie Parker, try to play like

633
00:36:30,840 --> 00:36:33,000
Speaker 1: you know, I'm just trying to play like myself, and

634
00:36:33,040 --> 00:36:36,719
Speaker 1: that's I think what everybody should be going for their

635
00:36:36,760 --> 00:36:40,719
Speaker 1: only unique voice. It's just been it's been a nice ride.

636
00:36:41,000 --> 00:36:45,319
Speaker 1: I feel thankful. Herb recently finished a sold out two

637
00:36:45,400 --> 00:36:48,560
Speaker 1: week run at the Carlisle Hotel with his wife, singer

638
00:36:48,719 --> 00:36:52,600
Speaker 1: Lonnie Hall, and I mean sold out. He couldn't get

639
00:36:52,640 --> 00:37:04,600
Speaker 1: me any tickets. This is Albert and Hall performing I

640
00:37:04,640 --> 00:37:11,880
Speaker 1: Feel You. Just another afternoon on the sidewalks of London,

641
00:37:13,800 --> 00:37:22,840
Speaker 1: all the green and rainy days run together, hidden in

642
00:37:22,960 --> 00:37:31,759
Speaker 1: the streets of stone. Suddenly I'm not alone. I feel you.

643
00:37:34,360 --> 00:37:44,400
Speaker 1: I feel every time I think I have lost you,

644
00:37:45,400 --> 00:37:50,799
Speaker 1: it seems like you find me, blowing through me, like

645
00:37:50,920 --> 00:37:59,280
Speaker 1: the winds of decad where though you've gone away so far,

646
00:38:00,800 --> 00:38:06,560
Speaker 1: still I turn and there you are. I feel you.

647
00:38:09,120 --> 00:38:20,040
Speaker 1: I feel you. I feel you beside me, my head

648
00:38:20,120 --> 00:38:27,759
Speaker 1: on your shoulder, your fragrance, your laughter, your ti I

649
00:38:28,080 --> 00:38:42,000
Speaker 1: must in remembering reasons I miss you. So how could

650
00:38:42,040 --> 00:38:48,960
Speaker 1: I ever think about a lifetime that happens without you,

651
00:38:50,400 --> 00:38:57,800
Speaker 1: even if my only hope is a mad Please start,

652
00:38:58,000 --> 00:39:05,799
Speaker 1: let us be apart, rub yourself around, mind, let me

653
00:39:06,600 --> 00:40:01,319
Speaker 1: feed you. This is al Baldwin and you're listening to

654
00:40:01,440 --> 00:40:02,120
Speaker 1: here's the thing