1
00:00:00,160 --> 00:00:03,040
Speaker 1: Quest Love Supreme is a production of iHeartRadio.

2
00:00:05,760 --> 00:00:08,840
Speaker 2: Yo, Yo, what's up y'all? This is Fonte Fontigelow with

3
00:00:09,200 --> 00:00:13,200
Speaker 2: this week's QLs classic. Back in December twenty twenty, we

4
00:00:13,480 --> 00:00:17,560
Speaker 2: interview my man jazz legend Branford Marcellus. You're gonna hear

5
00:00:17,560 --> 00:00:20,240
Speaker 2: me laughing a lot in this episode because Branford is direct,

6
00:00:20,320 --> 00:00:23,599
Speaker 2: he holds nothing back, he don't sugarcoat shit, and he

7
00:00:23,760 --> 00:00:27,400
Speaker 2: is also wrapping my alma mater, NCC Gorth Front the

8
00:00:27,400 --> 00:00:30,560
Speaker 2: City University. Even Bride up in this thing. We have

9
00:00:30,760 --> 00:00:34,280
Speaker 2: Overlappentie and this is just a guy that I truly

10
00:00:34,560 --> 00:00:35,199
Speaker 2: just love.

11
00:00:35,080 --> 00:00:36,800
Speaker 3: And just admire his work.

12
00:00:37,080 --> 00:00:39,160
Speaker 2: And we had a great time in this episode. Y'all

13
00:00:39,280 --> 00:00:39,560
Speaker 2: enjoy it.

14
00:00:39,680 --> 00:00:54,560
Speaker 4: All right, ladies and gentlemen, welcome to another episode of

15
00:00:54,760 --> 00:00:55,680
Speaker 4: Quest Love Supreme.

16
00:00:56,400 --> 00:01:00,720
Speaker 3: I'm your host Questlove. We have Teams Supreme with us. Uh,

17
00:01:01,000 --> 00:01:06,040
Speaker 3: we're a La Eels. So this one is quite an episode.

18
00:01:06,280 --> 00:01:11,360
Speaker 2: Is on vacation took. He's taking a pandemic vacation, a.

19
00:01:11,240 --> 00:01:16,120
Speaker 1: Pandemic pandemication, all right, So we got a sugar.

20
00:01:15,800 --> 00:01:17,680
Speaker 3: Steve and I paid Bill.

21
00:01:18,720 --> 00:01:20,240
Speaker 5: How's going live in the street?

22
00:01:20,640 --> 00:01:23,800
Speaker 1: I saw your anniversary photo on Sesame Street today on Twitter,

23
00:01:23,840 --> 00:01:25,560
Speaker 1: So gratulations.

24
00:01:24,959 --> 00:01:28,800
Speaker 2: Or made it congratulations on paper.

25
00:01:30,160 --> 00:01:33,880
Speaker 1: Year eleven, dang, oh year eleven for you, but fifty

26
00:01:33,880 --> 00:01:35,440
Speaker 1: for the institution of Sesame Street.

27
00:01:35,480 --> 00:01:35,840
Speaker 3: I get it.

28
00:01:36,000 --> 00:01:37,680
Speaker 6: I said before that I hadn't held a job for

29
00:01:37,720 --> 00:01:40,560
Speaker 6: like fifty hours, so it's good I can have that one.

30
00:01:41,120 --> 00:01:44,480
Speaker 1: Well, bruh, I'm proud of you. I'm super proud of you,

31
00:01:45,640 --> 00:01:49,560
Speaker 1: ladies and gentlemen. Uh what can I say? Our guests

32
00:01:50,000 --> 00:01:54,520
Speaker 1: really doesn't need any introduction, but he's so legendary. You know,

33
00:01:54,560 --> 00:01:58,120
Speaker 1: this gentleman is part of one of the probably one

34
00:01:58,280 --> 00:02:03,440
Speaker 1: of the most important musical dynastiest music.

35
00:02:05,360 --> 00:02:06,440
Speaker 3: Second to the Jacksons.

36
00:02:06,560 --> 00:02:08,840
Speaker 1: Yo, I mean yo, man, accept your flowers, yo, like

37
00:02:08,919 --> 00:02:12,799
Speaker 1: no cat, no cat, real flowers right now.

38
00:02:12,840 --> 00:02:15,480
Speaker 3: He's trying to stop me already, you know.

39
00:02:15,639 --> 00:02:29,760
Speaker 1: Saxophonist, uh, jazz historian, hip hop aficionado, actor, late night bandleader, composer, conductor, scorer, everything, Uh,

40
00:02:29,880 --> 00:02:33,720
Speaker 1: this this, this, this man is a true renaissance gentlemen.

41
00:02:34,160 --> 00:02:36,280
Speaker 1: We're very honored to have him on the show. Please

42
00:02:36,320 --> 00:02:39,600
Speaker 1: welcome be great brand from Marcellos to quest lof Supreme.

43
00:02:40,280 --> 00:02:46,519
Speaker 3: Sir, how's it? Where are you right now? North? Carolina.

44
00:02:47,240 --> 00:02:48,799
Speaker 2: Oh, okay, you're right round the right for me. I'm

45
00:02:48,800 --> 00:02:51,919
Speaker 2: in Raleigh. Wow, all right, I didn't know if you

46
00:02:51,960 --> 00:02:53,639
Speaker 2: were still in the area. I saw you. I think

47
00:02:53,919 --> 00:02:56,040
Speaker 2: we saw each other. It was on a flight. This

48
00:02:56,120 --> 00:02:59,359
Speaker 2: has been like pre Rona times. We saw you on

49
00:02:59,360 --> 00:02:59,639
Speaker 2: a flight.

50
00:02:59,680 --> 00:03:01,480
Speaker 3: And what's right to you?

51
00:03:01,840 --> 00:03:02,200
Speaker 2: For real?

52
00:03:02,320 --> 00:03:08,560
Speaker 3: Right? Yeah, that's what here? Okay, So you're you're still

53
00:03:08,600 --> 00:03:14,560
Speaker 3: at You're teaching at u n C s C Central?

54
00:03:14,639 --> 00:03:14,919
Speaker 2: Right?

55
00:03:15,400 --> 00:03:17,160
Speaker 3: How many? How many?

56
00:03:17,360 --> 00:03:18,040
Speaker 5: I one day?

57
00:03:18,040 --> 00:03:20,080
Speaker 3: I want? I want someone? They properly explained to me.

58
00:03:20,240 --> 00:03:26,360
Speaker 1: All the North Carolina institutions.

59
00:03:24,720 --> 00:03:28,720
Speaker 7: North Carolina State is in Raleigh, is an engineering school?

60
00:03:29,400 --> 00:03:32,919
Speaker 7: Uh hm in the triangle alone, I think we have.

61
00:03:33,280 --> 00:03:40,400
Speaker 3: Three HBCUs Shaw, Saint All and n CCU. Yes, sir,

62
00:03:41,000 --> 00:03:44,280
Speaker 3: North Carolina Central. I see. And how how long you've

63
00:03:44,320 --> 00:03:48,240
Speaker 3: been at North Carolina Central? Since two thousand and five?

64
00:03:48,280 --> 00:03:51,960
Speaker 3: I think? And what are you teaching there? Right now? Music?

65
00:03:52,040 --> 00:03:55,120
Speaker 5: That's economics right right?

66
00:03:59,000 --> 00:04:01,880
Speaker 7: You know it's actually more of a philosophy course than

67
00:04:01,960 --> 00:04:06,240
Speaker 7: anything else. It's not really a course, it's just how

68
00:04:06,280 --> 00:04:07,840
Speaker 7: to think in musical terms.

69
00:04:08,240 --> 00:04:08,680
Speaker 5: That's cool.

70
00:04:08,960 --> 00:04:15,720
Speaker 1: Okay, Since since you've been there for fifteen years, do

71
00:04:15,840 --> 00:04:20,880
Speaker 1: you find is it harder each increasing year to get

72
00:04:20,920 --> 00:04:24,000
Speaker 1: people to understand a point of view of music that

73
00:04:24,080 --> 00:04:28,520
Speaker 1: might have seemed easier, say when if you were teaching

74
00:04:29,240 --> 00:04:32,320
Speaker 1: a class of like, say nineteen ninety six, nineteen ninety seven,

75
00:04:33,000 --> 00:04:36,120
Speaker 1: that's closer to the music that you were involved in,

76
00:04:36,160 --> 00:04:38,680
Speaker 1: as opposed to dealing with gen Z in their way

77
00:04:38,720 --> 00:04:40,599
Speaker 1: of life? Or are they teaching you? There was a

78
00:04:40,600 --> 00:04:43,440
Speaker 1: point where I was teaching my students, and then the

79
00:04:43,520 --> 00:04:47,279
Speaker 1: last year of school, I slowly realized, oh, they're teaching me,

80
00:04:47,960 --> 00:04:51,000
Speaker 1: and that that was scary to me, right, But it's.

81
00:04:50,839 --> 00:04:54,760
Speaker 3: Always an exchange. I teach them more than that they

82
00:04:54,800 --> 00:04:55,200
Speaker 3: teach me.

83
00:04:55,680 --> 00:04:58,000
Speaker 7: But almost all of the kids that are at the

84
00:04:58,040 --> 00:05:03,320
Speaker 7: school are from the North Carolina here uh and they all.

85
00:05:03,040 --> 00:05:04,280
Speaker 3: Basically come out of the church.

86
00:05:05,200 --> 00:05:08,880
Speaker 7: Okay, So their exposure to jazz per se is when

87
00:05:08,920 --> 00:05:09,800
Speaker 7: they get to school.

88
00:05:10,520 --> 00:05:12,400
Speaker 3: They didn't grow up playing jazz, they didn't grow up

89
00:05:12,480 --> 00:05:17,240
Speaker 3: listening to it. And I enjoy that. I enjoy that.

90
00:05:17,600 --> 00:05:20,640
Speaker 7: And the goal is not to create jazz musicians, but

91
00:05:20,760 --> 00:05:24,120
Speaker 7: to use jazz's kind of a template to develop a

92
00:05:24,160 --> 00:05:26,560
Speaker 7: thought process regardless of what style of music you end

93
00:05:26,600 --> 00:05:29,640
Speaker 7: up playing. Most of our students that are doing well

94
00:05:29,680 --> 00:05:30,800
Speaker 7: don't play jazz.

95
00:05:30,920 --> 00:05:35,479
Speaker 3: And that's that's okay with you. Oh, I'm horrified. It's terrible.

96
00:05:37,560 --> 00:05:39,440
Speaker 2: What what's hard fining about it?

97
00:05:39,440 --> 00:05:43,920
Speaker 7: What making I'm learning every bit what I did for

98
00:05:44,080 --> 00:05:45,160
Speaker 7: twenty years of my life.

99
00:05:45,960 --> 00:05:49,440
Speaker 3: No, I can't. I get that.

100
00:05:49,480 --> 00:05:52,240
Speaker 1: But people arrive at a different place in their life,

101
00:05:52,279 --> 00:05:53,520
Speaker 1: at different points in our life.

102
00:05:53,520 --> 00:05:57,000
Speaker 3: And no, but I'm at a different place in my life. Okay.

103
00:05:57,160 --> 00:05:59,039
Speaker 7: It doesn't mean that everybody else needs to be in

104
00:05:59,080 --> 00:06:00,160
Speaker 7: a place where I am.

105
00:06:00,839 --> 00:06:03,159
Speaker 3: All right, I got to ask the hard questions. I

106
00:06:03,240 --> 00:06:06,520
Speaker 3: was talking to the students today and it was about that.

107
00:06:06,560 --> 00:06:08,960
Speaker 7: It was about like, how I'm like, I'm sixty now,

108
00:06:09,040 --> 00:06:11,760
Speaker 7: so I don't listen to the same music that I did.

109
00:06:11,600 --> 00:06:13,560
Speaker 3: When I was thirty, and I definitely would listen to

110
00:06:13,640 --> 00:06:14,480
Speaker 3: it in the same way.

111
00:06:15,520 --> 00:06:19,200
Speaker 7: Okay, And the idea, And the idea isn't a question

112
00:06:19,240 --> 00:06:23,480
Speaker 7: of liking or hating. It's just just like, at various

113
00:06:23,480 --> 00:06:27,960
Speaker 7: points of your life, without gradually knowing it, without knowing it,

114
00:06:28,000 --> 00:06:30,000
Speaker 7: you very gradually just move away from things.

115
00:06:30,680 --> 00:06:32,599
Speaker 3: It doesn't mean that you hate them, you just just

116
00:06:32,680 --> 00:06:33,520
Speaker 3: move away from it.

117
00:06:34,160 --> 00:06:36,720
Speaker 2: What's an example of something you listen to, say when

118
00:06:36,720 --> 00:06:39,680
Speaker 2: you were thirty and you listen to now and you

119
00:06:39,760 --> 00:06:41,599
Speaker 2: hear it in a different way. What's different about it?

120
00:06:41,920 --> 00:06:46,480
Speaker 3: Oh? No, it depends on what it is. Okay. If

121
00:06:47,160 --> 00:06:50,240
Speaker 3: I'm listening to like one of those old show beers

122
00:06:50,279 --> 00:06:54,320
Speaker 3: in AG records, yess her, it sounds like it did then.

123
00:06:54,760 --> 00:06:56,839
Speaker 7: I mean, it's not like, oh no, oh, I didn't

124
00:06:56,880 --> 00:07:01,440
Speaker 7: never heard that before, you know, of like Premier's records

125
00:07:01,560 --> 00:07:04,520
Speaker 7: or just stuff that I was around, you know, Public

126
00:07:04,640 --> 00:07:09,880
Speaker 7: Enemy or KRS, just that whole style. Like what is

127
00:07:10,080 --> 00:07:14,040
Speaker 7: hip hop now is like vastly different in general from.

128
00:07:13,840 --> 00:07:15,080
Speaker 3: What it was back then.

129
00:07:15,680 --> 00:07:18,560
Speaker 2: Oh you got to tell me, do right.

130
00:07:20,520 --> 00:07:22,520
Speaker 3: This is a whole different kind of thing.

131
00:07:22,600 --> 00:07:25,120
Speaker 7: So when I hear it, it's like, oh, it brings

132
00:07:25,120 --> 00:07:29,760
Speaker 7: me back to that time, and I enjoy it. But

133
00:07:29,960 --> 00:07:32,679
Speaker 7: like like unlike a lot of my friends from high school,

134
00:07:32,720 --> 00:07:34,920
Speaker 7: and they openly tease me about it, and I tease them.

135
00:07:35,280 --> 00:07:38,119
Speaker 3: I am the person least likely that listens to listen

136
00:07:38,160 --> 00:07:42,320
Speaker 3: to seventies classic R and B radio.

137
00:07:43,800 --> 00:07:45,920
Speaker 7: You know, I did that, and I was there and

138
00:07:46,000 --> 00:07:47,640
Speaker 7: I loved it, and then I move on to this

139
00:07:47,680 --> 00:07:50,240
Speaker 7: other thing and I keep moving forward. Even if the

140
00:07:50,280 --> 00:07:52,640
Speaker 7: music is one hundred years old, it's new to me.

141
00:07:53,960 --> 00:07:56,880
Speaker 7: I get exposed to things and I try not to.

142
00:07:57,800 --> 00:08:00,240
Speaker 7: And it's not like I'm cool with the style. If

143
00:08:00,240 --> 00:08:01,960
Speaker 7: it comes on, I'm gonna listen to it.

144
00:08:01,880 --> 00:08:04,480
Speaker 3: And go, Man, I love that, but I'm not going

145
00:08:04,560 --> 00:08:06,000
Speaker 3: to actively put that on.

146
00:08:06,960 --> 00:08:09,960
Speaker 2: Yeah, I think the playlist, like culture now, the way

147
00:08:10,000 --> 00:08:13,520
Speaker 2: people consume music is really kind of made that even

148
00:08:13,600 --> 00:08:17,040
Speaker 2: more pronounced because now there's really no such thing as music.

149
00:08:17,360 --> 00:08:19,480
Speaker 2: There's no such thing as old music or new music.

150
00:08:19,520 --> 00:08:21,600
Speaker 2: It's just either you know it or you don't. So

151
00:08:22,600 --> 00:08:24,720
Speaker 2: if I'm listening to a playlist and it's a song

152
00:08:24,800 --> 00:08:28,720
Speaker 2: on there from twenty fifteen, I don't know, you know

153
00:08:28,720 --> 00:08:30,600
Speaker 2: what I mean. I could have been yesterday, you know

154
00:08:30,640 --> 00:08:30,960
Speaker 2: what I mean.

155
00:08:31,320 --> 00:08:34,480
Speaker 1: And I guess the temptation to not go to your

156
00:08:34,520 --> 00:08:38,079
Speaker 1: default place, Like right now, I'm really trying to force

157
00:08:38,160 --> 00:08:41,920
Speaker 1: myself to not go to the playlist I curate, because

158
00:08:42,760 --> 00:08:44,680
Speaker 1: I'm gonna I fall in a rabbit hole of just

159
00:08:44,720 --> 00:08:47,680
Speaker 1: the stuff that I'm used to, And you know, I'm

160
00:08:47,679 --> 00:08:49,920
Speaker 1: trying to discover new music and I'm kind of running

161
00:08:49,960 --> 00:08:51,640
Speaker 1: the well is getting a little dry right now, So

162
00:08:51,720 --> 00:08:54,280
Speaker 1: I don't know. There's a few friends that I trust

163
00:08:54,440 --> 00:08:57,319
Speaker 1: in their playlist and I'll sneak on their Spotify is

164
00:08:57,320 --> 00:08:59,360
Speaker 1: to see what they got, and you know, I might

165
00:08:59,400 --> 00:09:01,600
Speaker 1: discover like five or six new songs I have. But

166
00:09:01,679 --> 00:09:04,080
Speaker 1: now that the wells getting dry, like the temptation to

167
00:09:04,240 --> 00:09:08,800
Speaker 1: just not go to my default comfort zone is that's

168
00:09:08,800 --> 00:09:10,960
Speaker 1: a scary thing now, Like I'm running out of music

169
00:09:11,040 --> 00:09:15,200
Speaker 1: that I don't know about, and that's that's a scary

170
00:09:15,200 --> 00:09:17,800
Speaker 1: thing to me because I know there's much more out there.

171
00:09:18,720 --> 00:09:21,240
Speaker 2: What's the difference, I'll be curious to know, branth or

172
00:09:21,280 --> 00:09:24,280
Speaker 2: your take on what is the difference between music? What

173
00:09:24,280 --> 00:09:26,600
Speaker 2: would you say is the difference between music that is

174
00:09:26,840 --> 00:09:30,719
Speaker 2: challenging versus something that you just don't like, you know

175
00:09:30,720 --> 00:09:32,880
Speaker 2: what I mean? Like me's talking about, you know, kind

176
00:09:32,880 --> 00:09:35,160
Speaker 2: of getting out of your comfort zone. But where is

177
00:09:35,200 --> 00:09:37,560
Speaker 2: that line for you between Okay, this is something that's

178
00:09:37,679 --> 00:09:40,160
Speaker 2: challenging me a little bit versus this is just something

179
00:09:40,160 --> 00:09:41,839
Speaker 2: that I just ain't I ain't really rocking with.

180
00:09:42,559 --> 00:09:45,080
Speaker 3: Well, for me, the musicians have to sound like they're

181
00:09:45,120 --> 00:09:49,480
Speaker 3: interacting with one another for me to like it. I

182
00:09:49,520 --> 00:09:51,320
Speaker 3: can kind of tell when.

183
00:09:51,760 --> 00:09:55,000
Speaker 7: Records are kind of produced in a way that one

184
00:09:55,040 --> 00:09:56,959
Speaker 7: track was done on Wednesday and another track was.

185
00:09:56,880 --> 00:10:01,280
Speaker 3: Done on Thursday. A lot of records are productions now right.

186
00:10:01,760 --> 00:10:03,720
Speaker 7: All you have to do is put on just about

187
00:10:03,760 --> 00:10:06,760
Speaker 7: any record in any style from the sixties and compare

188
00:10:06,760 --> 00:10:09,320
Speaker 7: it to now. And there's an organic energy in those

189
00:10:09,320 --> 00:10:11,920
Speaker 7: records because it was human beings in a room.

190
00:10:12,720 --> 00:10:15,240
Speaker 3: That's the stuff that I prefer to listen to.

191
00:10:16,120 --> 00:10:19,480
Speaker 7: But I don't really I don't really get with the like,

192
00:10:19,559 --> 00:10:22,480
Speaker 7: you know, like I don't hear things and go oh,

193
00:10:22,600 --> 00:10:23,240
Speaker 7: you know, I don't.

194
00:10:23,240 --> 00:10:25,480
Speaker 3: I don't like that. I'll listen to it first and go, yeah,

195
00:10:25,640 --> 00:10:26,440
Speaker 3: that's not my thing.

196
00:10:27,240 --> 00:10:30,240
Speaker 7: But challenging music is interesting because it goes against kind

197
00:10:30,240 --> 00:10:33,880
Speaker 7: of the tenets of popular culture. Because if it's something

198
00:10:33,920 --> 00:10:36,480
Speaker 7: that's really challenging, really good, your first instinct is not

199
00:10:36,520 --> 00:10:37,000
Speaker 7: to like it.

200
00:10:37,040 --> 00:10:40,160
Speaker 3: You have to grow to like it. And we don't

201
00:10:40,200 --> 00:10:43,360
Speaker 3: usually give music that much time. You know.

202
00:10:43,600 --> 00:10:46,720
Speaker 7: It's not like it's like it's not like, yeah, this

203
00:10:46,760 --> 00:10:49,560
Speaker 7: shit sucks, I'm gonna put it on tomorrow.

204
00:10:50,800 --> 00:10:53,880
Speaker 3: It's like, no, it is over.

205
00:10:54,240 --> 00:10:57,480
Speaker 1: Yeah, I mean, but sometimes I mean I might, I

206
00:10:57,559 --> 00:11:00,199
Speaker 1: might get fomo. There will be something like I I'll

207
00:11:00,200 --> 00:11:02,640
Speaker 1: give you an example, when the Chronic came out. I

208
00:11:02,679 --> 00:11:06,200
Speaker 1: hated the Chronic, right, and I said, Yo, this shit sucks, man,

209
00:11:06,520 --> 00:11:10,760
Speaker 1: you hate this ship. And but I had fomo because

210
00:11:10,800 --> 00:11:14,760
Speaker 1: everyone else had this whole fifty million Elvis fans can't

211
00:11:14,760 --> 00:11:15,240
Speaker 1: be wrong.

212
00:11:15,720 --> 00:11:17,480
Speaker 3: And I thought like, well, what is it me that's

213
00:11:17,520 --> 00:11:18,199
Speaker 3: not accepting it?

214
00:11:18,200 --> 00:11:22,000
Speaker 1: And I realized that, you know, sonically, doctor Dre was

215
00:11:22,040 --> 00:11:26,839
Speaker 1: taking I wanted my hip hop dirty and nasty and

216
00:11:27,200 --> 00:11:31,520
Speaker 1: kind of like this amateurist uh diy thing, and he

217
00:11:31,520 --> 00:11:34,960
Speaker 1: he just made it sound so clean that you know,

218
00:11:35,160 --> 00:11:37,640
Speaker 1: it took me a good decade to really open up

219
00:11:37,679 --> 00:11:40,880
Speaker 1: and accept that. Okay, this really great piece of work.

220
00:11:41,000 --> 00:11:43,520
Speaker 1: So it's a lot different than the East Coast sound.

221
00:11:44,360 --> 00:11:46,680
Speaker 1: It really well at that time it was well, yeah,

222
00:11:46,760 --> 00:11:47,040
Speaker 1: it was.

223
00:11:47,720 --> 00:11:50,559
Speaker 3: I wasn't used to that cleaning cleanliness. You know, hey,

224
00:11:50,880 --> 00:11:56,079
Speaker 3: where do you? Where do you fall in your you're brewed?

225
00:11:56,559 --> 00:11:58,920
Speaker 3: And and your brothers? Where do you? Are? You the

226
00:11:59,440 --> 00:12:01,640
Speaker 3: the top number one? You're the oldest? Okay?

227
00:12:02,440 --> 00:12:06,079
Speaker 1: So what the question we start with as far as

228
00:12:06,080 --> 00:12:08,400
Speaker 1: like your musical discovery? Do you remember the first album

229
00:12:08,600 --> 00:12:09,400
Speaker 1: you ever purchased?

230
00:12:10,240 --> 00:12:13,720
Speaker 3: Yeah? I remember the first two albums, ever, what is it?

231
00:12:13,880 --> 00:12:17,559
Speaker 7: The Elton Ghen record called Honky Chateau and a record

232
00:12:18,160 --> 00:12:19,199
Speaker 7: Chawn called the Big.

233
00:12:19,080 --> 00:12:22,440
Speaker 2: Bamboo Smoky shat told. Is that the one with Mona

234
00:12:22,440 --> 00:12:23,480
Speaker 2: Lisa's and Manhatters on it?

235
00:12:24,000 --> 00:12:27,800
Speaker 7: No, maybe it did, ba Bay, that's the one with

236
00:12:27,880 --> 00:12:32,319
Speaker 7: a Honky Cat on Okay, okay, wait, maybe.

237
00:12:32,040 --> 00:12:35,200
Speaker 3: Mona Lisa's is on that record. Maybe Mona Lisa's is

238
00:12:35,200 --> 00:12:35,840
Speaker 3: on that records.

239
00:12:35,880 --> 00:12:38,800
Speaker 2: Well, okay, you'll cover that. That was the first time

240
00:12:38,800 --> 00:12:39,600
Speaker 2: I ever heard that song.

241
00:12:40,120 --> 00:12:42,760
Speaker 3: I saw, great, it's like one of them things.

242
00:12:42,760 --> 00:12:44,400
Speaker 7: But when I heard it as a kid, I said,

243
00:12:44,400 --> 00:12:45,920
Speaker 7: one day, when I make a record, I'm going to

244
00:12:45,960 --> 00:12:50,240
Speaker 7: record this song. And thirty years later we were sitting

245
00:12:50,240 --> 00:12:51,800
Speaker 7: there with Premier said, man, what are we gonna do?

246
00:12:51,800 --> 00:12:53,000
Speaker 7: I said, I got an idea. I want to do

247
00:12:53,040 --> 00:12:54,360
Speaker 7: this song. I'll be wanting to do it since I

248
00:12:54,440 --> 00:12:57,400
Speaker 7: was ten. We yeah, we kind of sketched out there,

249
00:12:57,440 --> 00:13:00,320
Speaker 7: you know, the arrangement of it, and uh, it was

250
00:13:00,360 --> 00:13:04,000
Speaker 7: you know it probably is, you know, I don't that's

251
00:13:04,040 --> 00:13:06,200
Speaker 7: a long time ago. I don't I know the songs,

252
00:13:06,200 --> 00:13:08,319
Speaker 7: but I don't remember. And I had so many John records,

253
00:13:08,320 --> 00:13:09,839
Speaker 7: I don't know which ones was on which.

254
00:13:11,360 --> 00:13:13,679
Speaker 5: On that side too, yeah, side too of that.

255
00:13:13,720 --> 00:13:16,640
Speaker 3: Oh it's on side to a Honkey Chatau. Thank you. Yeah,

256
00:13:16,679 --> 00:13:18,760
Speaker 3: that's a good record. Man, but those are the first

257
00:13:18,960 --> 00:13:19,720
Speaker 3: records I have a buck.

258
00:13:20,240 --> 00:13:23,120
Speaker 1: Okay, well this I guess I'm just going to dive

259
00:13:23,160 --> 00:13:26,240
Speaker 1: in the fire. I was shocked because, you know, I

260
00:13:26,280 --> 00:13:31,200
Speaker 1: guess the perception that most people have of anyone that

261
00:13:31,280 --> 00:13:35,079
Speaker 1: comes from the Marcella's household is that you guys were

262
00:13:35,120 --> 00:13:40,880
Speaker 1: intravenously breathing, sleeping, and eating anything jazz and nothing else.

263
00:13:40,880 --> 00:13:43,760
Speaker 1: At least, that was the kind of perception that most

264
00:13:43,760 --> 00:13:45,080
Speaker 1: of us have had.

265
00:13:44,880 --> 00:13:48,160
Speaker 7: About That's fair enough, because I mean a lot of people,

266
00:13:48,200 --> 00:13:51,480
Speaker 7: when you decided to play something that's not popular, people

267
00:13:51,520 --> 00:13:53,480
Speaker 7: try to try to invent an explanation for.

268
00:13:53,480 --> 00:13:54,120
Speaker 3: Why that is.

269
00:13:55,400 --> 00:13:57,040
Speaker 7: Oh, you know, they've been doing it since they were kids.

270
00:13:57,080 --> 00:13:59,800
Speaker 7: I hated jazz when I was a kid, just did

271
00:13:59,840 --> 00:14:00,319
Speaker 7: not like.

272
00:14:00,280 --> 00:14:00,960
Speaker 3: It at all.

273
00:14:01,559 --> 00:14:04,960
Speaker 7: Okay, went and started digging it when he was about twelve,

274
00:14:05,080 --> 00:14:07,199
Speaker 7: and I was like, yeah, that's nice, man, keep listening

275
00:14:07,240 --> 00:14:11,640
Speaker 7: to that shit if you want to. Yeah, you know

276
00:14:11,840 --> 00:14:13,760
Speaker 7: that was My dad was a jazz musician. He was like,

277
00:14:13,800 --> 00:14:15,720
Speaker 7: you know, to me, no different than the dude. You know,

278
00:14:16,240 --> 00:14:20,080
Speaker 7: some dads some moms are lawyers. Some moms some dads

279
00:14:20,080 --> 00:14:23,120
Speaker 7: of carpenters. My dad played music, you know, and it

280
00:14:23,160 --> 00:14:26,240
Speaker 7: wasn't like, oh jazz. You know, my dad would put

281
00:14:26,240 --> 00:14:27,640
Speaker 7: on these jazz records, I leave the room.

282
00:14:28,360 --> 00:14:31,120
Speaker 3: Oh. So he tried to force like King Oliver on

283
00:14:31,160 --> 00:14:31,600
Speaker 3: you guys.

284
00:14:31,600 --> 00:14:34,360
Speaker 7: And it's just like I didn't even know that he

285
00:14:34,480 --> 00:14:35,880
Speaker 7: was mostly a post bop dude.

286
00:14:35,920 --> 00:14:36,080
Speaker 3: You know.

287
00:14:36,120 --> 00:14:40,040
Speaker 7: It's like, you know, all that late forties up until

288
00:14:40,080 --> 00:14:42,120
Speaker 7: when he started having kids and couldn't afford to buy

289
00:14:42,120 --> 00:14:45,320
Speaker 7: records no more so from late forties to sixty that

290
00:14:45,440 --> 00:14:49,560
Speaker 7: was more his thing, especially Coltran, fifty seven Coltrane all

291
00:14:49,560 --> 00:14:51,200
Speaker 7: the way up to sixty seven Coltrane.

292
00:14:51,280 --> 00:14:52,040
Speaker 3: That was that was his.

293
00:14:52,400 --> 00:14:57,400
Speaker 1: That was very My introduction to your dad was via

294
00:14:57,720 --> 00:15:01,840
Speaker 1: your brothers thank you at the the Grammy Awards, right,

295
00:15:02,160 --> 00:15:08,520
Speaker 1: and your brother thanked your dad for forcing him to practice,

296
00:15:09,320 --> 00:15:13,320
Speaker 1: which sparked a fire in my own dad, who was watching.

297
00:15:13,440 --> 00:15:16,280
Speaker 3: You know. That was the year that Michael Jackson had.

298
00:15:16,920 --> 00:15:18,600
Speaker 1: That was the year that Michael Jackson had, you know,

299
00:15:18,800 --> 00:15:21,680
Speaker 1: won all those awards, and your brother had won for

300
00:15:21,760 --> 00:15:25,280
Speaker 1: Classical in Jazz, and that was like kind of his

301
00:15:24,880 --> 00:15:29,360
Speaker 1: his arrival party, and that moment was such a profound

302
00:15:30,000 --> 00:15:31,840
Speaker 1: That was one of the worst moments of my life

303
00:15:31,880 --> 00:15:35,040
Speaker 1: in eighty four and my dad will say that was

304
00:15:35,080 --> 00:15:37,440
Speaker 1: the most profound moment of his life because that's when

305
00:15:37,480 --> 00:15:39,800
Speaker 1: he was like, all right, you're now going to come

306
00:15:39,800 --> 00:15:43,120
Speaker 1: straight home after school and start practicing four to five

307
00:15:43,200 --> 00:15:50,960
Speaker 1: hours every day, I feel. And so, what like was

308
00:15:51,560 --> 00:15:54,560
Speaker 1: practice mandatory in this household or was it just like,

309
00:15:54,640 --> 00:15:58,280
Speaker 1: at what point were you guys to take your missicians?

310
00:15:58,280 --> 00:16:02,560
Speaker 7: Well, specifically you uh as the oldest like that knows

311
00:16:02,600 --> 00:16:04,320
Speaker 7: how to tell a good story. I mean, my dad

312
00:16:04,320 --> 00:16:05,680
Speaker 7: didn't make anybody practice.

313
00:16:06,440 --> 00:16:09,960
Speaker 1: Man, don't tell me that I freaking sacrificed my damn

314
00:16:10,000 --> 00:16:11,440
Speaker 1: wife off of an urban legend.

315
00:16:12,040 --> 00:16:17,680
Speaker 3: Yep. Fuck it worked out well for you. Don't worry

316
00:16:17,680 --> 00:16:19,240
Speaker 3: about getting hurt. Man.

317
00:16:19,600 --> 00:16:21,600
Speaker 1: This is this is this is worse than finding out

318
00:16:21,920 --> 00:16:25,120
Speaker 1: the Sugarfoot Love roller coaster scream wasn't a real thing.

319
00:16:25,160 --> 00:16:25,680
Speaker 2: It wasn't real.

320
00:16:26,120 --> 00:16:27,960
Speaker 3: I went up to him like, hey, wasn't a really

321
00:16:28,040 --> 00:16:32,320
Speaker 3: stone boy. That wasn't a real thing. Yeah y'all heard that.

322
00:16:34,040 --> 00:16:37,440
Speaker 7: Oh yeah, it's actually it was actually fop that was

323
00:16:37,480 --> 00:16:38,640
Speaker 7: a girl getting murdered.

324
00:16:39,080 --> 00:16:41,680
Speaker 3: No, I'm telling you. People think it's love roller coaster.

325
00:16:41,840 --> 00:16:45,760
Speaker 1: At the end of Fop on on side to was

326
00:16:45,800 --> 00:16:47,560
Speaker 1: that murderous scream.

327
00:16:47,280 --> 00:16:49,360
Speaker 3: And it was just there's this one. I love roller

328
00:16:49,360 --> 00:16:51,960
Speaker 3: coaster too. In the second half after they break it down,

329
00:16:52,240 --> 00:16:55,400
Speaker 3: there's the worst one on FIP. Trust me, i'n't heard

330
00:16:55,440 --> 00:16:57,960
Speaker 3: the going on FIP. Yes, I was just listening in

331
00:16:57,960 --> 00:16:59,160
Speaker 3: the FOP couple of weeks ago. Man.

332
00:16:59,160 --> 00:17:01,320
Speaker 7: I did a nostalgia run for my kids because they't

333
00:17:01,320 --> 00:17:02,280
Speaker 7: never heard none of that stuff.

334
00:17:02,320 --> 00:17:03,040
Speaker 3: They never heard it.

335
00:17:03,080 --> 00:17:06,399
Speaker 6: Okay, okay, So your career is based off of a

336
00:17:06,440 --> 00:17:07,560
Speaker 6: Winton Marcells live.

337
00:17:07,720 --> 00:17:08,280
Speaker 2: So there you go.

338
00:17:08,400 --> 00:17:12,080
Speaker 3: I could go regulated regulation. No.

339
00:17:12,440 --> 00:17:14,720
Speaker 7: Winton was very self motivated. He practiced three hours a

340
00:17:14,760 --> 00:17:17,760
Speaker 7: day on his own, and he did just three I

341
00:17:17,880 --> 00:17:18,480
Speaker 7: was five.

342
00:17:19,240 --> 00:17:22,600
Speaker 3: Well, Winton was. He was an interesting specimen.

343
00:17:22,680 --> 00:17:26,560
Speaker 7: He was a national A merit scholar, so you know

344
00:17:26,800 --> 00:17:29,680
Speaker 7: he had like you know, he got free ride scholarships

345
00:17:29,680 --> 00:17:33,560
Speaker 7: from Stanford and from Harvard and all these places because

346
00:17:33,560 --> 00:17:35,520
Speaker 7: he was academically on the top of it. He was

347
00:17:35,520 --> 00:17:38,040
Speaker 7: a national A merit scholar, and he would have to

348
00:17:38,080 --> 00:17:41,639
Speaker 7: practice in increments. They practiced by half an hour day

349
00:17:41,640 --> 00:17:44,240
Speaker 7: in the morning before school. They would come home for lunch.

350
00:17:44,600 --> 00:17:47,720
Speaker 7: We practicing a half an hour between lunch. Then we

351
00:17:47,760 --> 00:17:49,399
Speaker 7: would go to the music school. Because we had this

352
00:17:49,600 --> 00:17:51,640
Speaker 7: interesting thing. We had to go to academic school from

353
00:17:51,640 --> 00:17:54,200
Speaker 7: eight to twelve and the music school from one to six.

354
00:17:54,920 --> 00:17:56,439
Speaker 7: So then we went to the New Orleans Center of

355
00:17:56,440 --> 00:17:58,800
Speaker 7: Creative Arts, and you practice for an hour or so

356
00:17:58,920 --> 00:18:02,880
Speaker 7: at school in between classes. It adds up to an hour,

357
00:18:02,920 --> 00:18:05,399
Speaker 7: and then at Homie practiced for an hour after the

358
00:18:05,400 --> 00:18:08,280
Speaker 7: homework and then repeat that cycle every day.

359
00:18:08,680 --> 00:18:11,320
Speaker 3: I was impressed, and I'm glad it wasn't me, but

360
00:18:11,400 --> 00:18:12,160
Speaker 3: I was impressed.

361
00:18:13,200 --> 00:18:15,399
Speaker 7: So what were you doing during this time here? Because

362
00:18:15,560 --> 00:18:19,280
Speaker 7: I mean I was learning Bob. I was listening to

363
00:18:19,359 --> 00:18:23,359
Speaker 7: Parliament Funkadelic, the Barcades. I was fourteen years old. I

364
00:18:23,400 --> 00:18:24,720
Speaker 7: was in a R and B band with a bunch

365
00:18:24,720 --> 00:18:27,280
Speaker 7: of men who had jobs. So I was basically the

366
00:18:27,280 --> 00:18:30,040
Speaker 7: piano player in that band, and I was learning all

367
00:18:30,080 --> 00:18:32,880
Speaker 7: the songs that won the radio and all their parts

368
00:18:33,119 --> 00:18:34,760
Speaker 7: because they had real jobs.

369
00:18:35,000 --> 00:18:36,639
Speaker 3: So I promised them, like when.

370
00:18:36,520 --> 00:18:39,000
Speaker 7: We had practice on Thursday, I wouldn't know all their

371
00:18:39,040 --> 00:18:41,280
Speaker 7: parts too, so they wouldn't have to deal with it

372
00:18:41,320 --> 00:18:44,880
Speaker 7: then because if because what I noticed when I joined

373
00:18:44,880 --> 00:18:46,800
Speaker 7: the band, we were playing like the same ten songs

374
00:18:46,840 --> 00:18:48,040
Speaker 7: every week.

375
00:18:48,560 --> 00:18:52,199
Speaker 3: You know, the Love I Lost, Wake Up Everybody?

376
00:18:52,920 --> 00:18:55,639
Speaker 7: And I was like, man, are we going to do

377
00:18:55,720 --> 00:18:58,760
Speaker 7: anything else, and they're like, we got real jobs. We

378
00:18:58,760 --> 00:19:00,600
Speaker 7: ain't got no time for that shit. All right, I'll

379
00:19:00,640 --> 00:19:03,480
Speaker 7: learn the songs. I learned the songs. I would learn

380
00:19:03,520 --> 00:19:05,399
Speaker 7: all the songs that would hear a song on the radio.

381
00:19:05,520 --> 00:19:08,640
Speaker 7: I go by the forty five ninety nine cents. Learned

382
00:19:08,640 --> 00:19:10,480
Speaker 7: the songs, and they didn't read music, so it's not

383
00:19:10,520 --> 00:19:12,359
Speaker 7: like I could write a chart. So I would learn

384
00:19:12,400 --> 00:19:14,600
Speaker 7: the bassline, the guitar part, everybody's parks, and then I

385
00:19:14,640 --> 00:19:17,640
Speaker 7: would sing the parts. Didn't if they were questionable about anything.

386
00:19:18,000 --> 00:19:20,399
Speaker 7: And my mother was pissed. She was like, you know,

387
00:19:20,440 --> 00:19:22,760
Speaker 7: they just using you, And my dad is like, man,

388
00:19:22,760 --> 00:19:24,280
Speaker 7: that's good hit training and lead the boy alone.

389
00:19:24,320 --> 00:19:28,119
Speaker 3: Let him do it. So after about a year of

390
00:19:28,240 --> 00:19:30,200
Speaker 3: doing that, it was hard at first.

391
00:19:30,920 --> 00:19:32,560
Speaker 7: By the time I was fifteen, I could learn the

392
00:19:32,560 --> 00:19:34,359
Speaker 7: song off the radio as it was coming off the radio,

393
00:19:34,359 --> 00:19:36,080
Speaker 7: because you know, the whole point of those songs is

394
00:19:36,080 --> 00:19:37,239
Speaker 7: that they're not hard to listen to.

395
00:19:37,320 --> 00:19:38,280
Speaker 3: That's part of the appeal.

396
00:19:39,320 --> 00:19:42,359
Speaker 1: So you just start writing the chord charts right there.

397
00:19:42,600 --> 00:19:43,240
Speaker 3: They didn't read.

398
00:19:43,560 --> 00:19:45,439
Speaker 7: I was nobody in the band read but me and

399
00:19:45,480 --> 00:19:47,320
Speaker 7: my brother, So no, I wasn't writing nothing down. I

400
00:19:47,359 --> 00:19:49,359
Speaker 7: was just learning songs and telling them what the notes

401
00:19:49,359 --> 00:19:51,840
Speaker 7: were and singing the bassline, sing.

402
00:19:51,560 --> 00:19:53,520
Speaker 3: The guitar part. We put the forty five on.

403
00:19:53,640 --> 00:19:55,800
Speaker 7: I bring the forty five to practice, put them on,

404
00:19:56,000 --> 00:19:57,560
Speaker 7: and we learned songs that way, and that way we

405
00:19:57,640 --> 00:19:59,600
Speaker 7: could play more of a variety of songs.

406
00:20:00,560 --> 00:20:03,480
Speaker 1: What was the level of musicians, like, I'm assuming this

407
00:20:03,520 --> 00:20:05,920
Speaker 1: is New Orleans, correct, as in New Orleans? All right,

408
00:20:06,000 --> 00:20:10,679
Speaker 1: So what was the level of musicians, especially funk musicianship? Like,

409
00:20:10,800 --> 00:20:14,399
Speaker 1: can I assume that for every meters there were forty

410
00:20:14,480 --> 00:20:16,719
Speaker 1: other bands that could kick their ass that we just

411
00:20:16,760 --> 00:20:17,440
Speaker 1: never heard of.

412
00:20:17,520 --> 00:20:21,760
Speaker 3: Or all meters were special man, okay needed special? There

413
00:20:21,760 --> 00:20:23,720
Speaker 3: were you know, there were a lot of good bands

414
00:20:23,720 --> 00:20:26,639
Speaker 3: in New Orleans. Either meters come on, that was something else.

415
00:20:26,840 --> 00:20:28,520
Speaker 3: I mean, we would always go and check them out.

416
00:20:28,560 --> 00:20:30,240
Speaker 7: And there was a place called the Labor Union Hall

417
00:20:31,400 --> 00:20:33,320
Speaker 7: on North Clayborne Street and they'd be playing that for

418
00:20:33,359 --> 00:20:37,199
Speaker 7: five bucks, you know. So here the Meters, Yeah, I

419
00:20:37,240 --> 00:20:39,080
Speaker 7: was some special ship man, you know. And that's the

420
00:20:39,160 --> 00:20:41,640
Speaker 7: music from their neighborhood. I grew up in their neighborhood.

421
00:20:41,640 --> 00:20:43,679
Speaker 7: I grew above town. So I mean they you know,

422
00:20:44,720 --> 00:20:47,680
Speaker 7: their neighborhood, they had that thing. But there were a

423
00:20:47,720 --> 00:20:48,040
Speaker 7: lot of.

424
00:20:47,960 --> 00:20:51,400
Speaker 3: Great musicians in town, you know, a lot of great musicians.

425
00:20:51,440 --> 00:20:54,159
Speaker 7: We had brass band musicians, we had jazz musicians, we

426
00:20:54,200 --> 00:20:57,800
Speaker 7: had trad musicians, R and B musicians, rock and roll musicians,

427
00:20:58,280 --> 00:21:00,560
Speaker 7: R and B musicians. We had that New Orleans flunk,

428
00:21:00,840 --> 00:21:04,080
Speaker 7: like Professor long Hair and all that stuff. Yeah, Professor

429
00:21:04,119 --> 00:21:07,159
Speaker 7: long Hair. And then then his his descendant was H.

430
00:21:07,880 --> 00:21:11,159
Speaker 7: James James, with doctor John too. But see, by the

431
00:21:11,160 --> 00:21:13,600
Speaker 7: time I was conscious, doctor Mackett already moved.

432
00:21:13,480 --> 00:21:14,120
Speaker 3: To La Body.

433
00:21:14,960 --> 00:21:17,520
Speaker 7: Oh okaytch mac was gone by the time, like in

434
00:21:17,520 --> 00:21:21,439
Speaker 7: the seventies. My my musical consciousness starts around nineteen seventy

435
00:21:21,680 --> 00:21:24,639
Speaker 7: seventy one, and Mackott already moved to LA and you

436
00:21:24,680 --> 00:21:27,560
Speaker 7: know he was doing like was that song that a

437
00:21:27,640 --> 00:21:28,080
Speaker 7: big hit?

438
00:21:28,160 --> 00:21:30,800
Speaker 3: Right place, wrong time, right wrong time, you know, And

439
00:21:30,840 --> 00:21:32,640
Speaker 3: my dad would laugh whenever it came on. He goes,

440
00:21:32,640 --> 00:21:34,919
Speaker 3: manlet's know, old man, that's great. And that's what I

441
00:21:34,960 --> 00:21:37,879
Speaker 3: loved about ving from Like we didn't have you know,

442
00:21:37,880 --> 00:21:38,200
Speaker 3: when I.

443
00:21:38,160 --> 00:21:40,000
Speaker 7: Moved to New York and suddenly they were like jazz

444
00:21:40,040 --> 00:21:42,840
Speaker 7: camp over here, R and B camp over here. But

445
00:21:42,920 --> 00:21:44,680
Speaker 7: in New Orleans, I mean it's such a small city.

446
00:21:44,880 --> 00:21:47,480
Speaker 7: All the musicians was just in there. So anytime anybody

447
00:21:47,560 --> 00:21:51,960
Speaker 7: get well, everybody cheered. Yeah really in wait Philly is

448
00:21:52,000 --> 00:21:54,560
Speaker 7: that way too though? No, No, we're the worst fans

449
00:21:54,560 --> 00:21:55,080
Speaker 7: of all time.

450
00:21:55,359 --> 00:22:01,120
Speaker 8: So about as the musicians musicians and for what with

451
00:22:01,119 --> 00:22:05,920
Speaker 8: my outsider interpretation of Philly musicians don't really.

452
00:22:05,680 --> 00:22:09,600
Speaker 7: They don't, they don't. They're like the cross genre really easily.

453
00:22:09,640 --> 00:22:13,480
Speaker 7: They're not trying to be especialist in a category. That's

454
00:22:13,520 --> 00:22:15,640
Speaker 7: my perception in the little time that.

455
00:22:15,640 --> 00:22:16,240
Speaker 3: I spent there.

456
00:22:17,040 --> 00:22:20,360
Speaker 7: Okayheas in New York it's very territorial and I kind

457
00:22:20,359 --> 00:22:23,560
Speaker 7: of laughed at them, but you know, New Orleans was

458
00:22:23,600 --> 00:22:24,320
Speaker 7: just great that way.

459
00:22:24,920 --> 00:22:27,879
Speaker 1: So if you're saying that at the time when you

460
00:22:27,960 --> 00:22:31,159
Speaker 1: were in this band, how old were you were you

461
00:22:31,240 --> 00:22:33,159
Speaker 1: like fourteen, fifteen, twelve?

462
00:22:33,200 --> 00:22:36,080
Speaker 3: Son nineteen seventy two? Wait, how old were they? If

463
00:22:36,119 --> 00:22:40,960
Speaker 3: you were twelve? There were men bad jobs? Oh Okay.

464
00:22:41,520 --> 00:22:43,200
Speaker 1: At this point, are you saying that this is what

465
00:22:43,240 --> 00:22:45,880
Speaker 1: you want to do or I know what I wanted

466
00:22:45,880 --> 00:22:46,080
Speaker 1: to be?

467
00:22:46,720 --> 00:22:50,200
Speaker 3: So when did you take your musicianship seriously? I took

468
00:22:50,200 --> 00:22:52,960
Speaker 3: that shit seriously then, but it didn't mean that I

469
00:22:53,000 --> 00:22:57,040
Speaker 3: wanted to do it, okay, you know, think of it.

470
00:22:57,080 --> 00:23:00,760
Speaker 3: You know, it's like, you know, it's I played sports.

471
00:23:00,760 --> 00:23:02,760
Speaker 3: I tried to play football. I took it seriously. I sucked.

472
00:23:02,760 --> 00:23:04,879
Speaker 7: I wasn't gonna be nobody's football player. But it's not like, well,

473
00:23:04,920 --> 00:23:06,840
Speaker 7: I'm I'm not gonna take it seriously since I'm not

474
00:23:06,840 --> 00:23:08,879
Speaker 7: gonna play it in college. I'm not gonna play in

475
00:23:08,880 --> 00:23:10,920
Speaker 7: the NFL. It's like, you know, you out there trying

476
00:23:10,960 --> 00:23:13,000
Speaker 7: to play, you out there trying. So I was in

477
00:23:13,000 --> 00:23:16,480
Speaker 7: this band, and I took it very seriously. I learned everybody,

478
00:23:16,600 --> 00:23:17,720
Speaker 7: learned everybody's damn parts.

479
00:23:17,760 --> 00:23:19,080
Speaker 3: How's definitely not taking it seriously.

480
00:23:19,280 --> 00:23:21,639
Speaker 7: I knew I was like a musical director, and I

481
00:23:21,680 --> 00:23:26,760
Speaker 7: was thirteen, so you know, I took it very seriously,

482
00:23:26,800 --> 00:23:29,280
Speaker 7: and I was prepared, and I learned all these songs

483
00:23:29,280 --> 00:23:31,800
Speaker 7: and I did all my stuff, and that was where.

484
00:23:31,600 --> 00:23:33,280
Speaker 3: My head was, you know.

485
00:23:33,320 --> 00:23:37,520
Speaker 7: And then went got to Clifford Brown and classical music,

486
00:23:37,560 --> 00:23:38,400
Speaker 7: and I thought it was great.

487
00:23:38,400 --> 00:23:40,320
Speaker 3: I played classical music when I was younger. I played

488
00:23:40,320 --> 00:23:42,320
Speaker 3: clarinet in the youth orchestra. Right.

489
00:23:43,000 --> 00:23:46,720
Speaker 7: I remember this is actually the most well, it's as

490
00:23:46,760 --> 00:23:47,960
Speaker 7: an old man, it's pathetic.

491
00:23:48,080 --> 00:23:48,879
Speaker 3: As a young person.

492
00:23:48,960 --> 00:23:51,240
Speaker 7: It's probably a very common story every so when you

493
00:23:51,240 --> 00:23:55,480
Speaker 7: switch to play saxophone. I said, I was thirteen years

494
00:23:55,520 --> 00:23:58,600
Speaker 7: old and I saw these girls and it was like

495
00:23:58,600 --> 00:23:59,760
Speaker 7: the first time that I saw girls.

496
00:24:00,320 --> 00:24:02,720
Speaker 3: Damn they fun.

497
00:24:02,960 --> 00:24:05,920
Speaker 7: So they're walking and I'm like filing behind them because

498
00:24:05,920 --> 00:24:08,400
Speaker 7: I don't know what to do. And they walked into

499
00:24:08,440 --> 00:24:12,199
Speaker 7: a dance and I went in and there was a

500
00:24:12,280 --> 00:24:14,800
Speaker 7: band player, you know, And I looked in and I

501
00:24:14,800 --> 00:24:16,359
Speaker 7: saw the band, and I said, I got join one

502
00:24:16,400 --> 00:24:18,879
Speaker 7: of those bands so I can eat girls. So I

503
00:24:18,920 --> 00:24:21,439
Speaker 7: went home and said, I want a saxophone. Said so

504
00:24:21,480 --> 00:24:23,919
Speaker 7: I joined the band, and my dad laughed and said, okay,

505
00:24:23,920 --> 00:24:26,480
Speaker 7: whatever that's you know. And then Christmas I got in saxophone.

506
00:24:26,520 --> 00:24:28,920
Speaker 7: I was already in the band playing piano. I didn't

507
00:24:28,920 --> 00:24:32,240
Speaker 7: want to play piano. I wanted to play saxophone in

508
00:24:32,280 --> 00:24:35,240
Speaker 7: the band. So when I was fourteen, I convinced his

509
00:24:35,280 --> 00:24:37,720
Speaker 7: friend of mine, Kerman Campbell, who was a really great

510
00:24:38,040 --> 00:24:40,000
Speaker 7: piano player, because I was. I was not a great

511
00:24:40,119 --> 00:24:43,320
Speaker 7: I was a functional piano player, you know, three note chords,

512
00:24:43,359 --> 00:24:45,960
Speaker 7: the whole thing. I got Kerman, who was in this

513
00:24:46,040 --> 00:24:49,120
Speaker 7: other band. I think it was like jam incorporator. I said, man,

514
00:24:49,160 --> 00:24:51,159
Speaker 7: come join the creators man, and he thought I was

515
00:24:51,160 --> 00:24:52,719
Speaker 7: trying to double where. I say, wait a minute, man,

516
00:24:52,760 --> 00:24:55,040
Speaker 7: you played piano. I said, not really, I.

517
00:24:55,000 --> 00:24:57,600
Speaker 3: Don't play the vienna. Join the vienna player.

518
00:24:57,920 --> 00:24:59,439
Speaker 7: You should come join the band because I want to

519
00:24:59,440 --> 00:25:02,120
Speaker 7: get a horns because we have one horn player. John

520
00:25:02,200 --> 00:25:04,679
Speaker 7: Roche was the trumpet player, said I want to get

521
00:25:04,720 --> 00:25:06,840
Speaker 7: a horn section, and I want to get me on

522
00:25:06,960 --> 00:25:08,760
Speaker 7: alto and went into the other.

523
00:25:08,640 --> 00:25:10,680
Speaker 3: Trumpet, and we have this three piece horn section. It'd

524
00:25:10,720 --> 00:25:12,520
Speaker 3: be great. I don't know, bro, I don't know.

525
00:25:12,560 --> 00:25:15,000
Speaker 7: I said, come on, Kerman and he did it. So

526
00:25:15,080 --> 00:25:17,360
Speaker 7: then I played saxophone in the band and Kerman took

527
00:25:17,400 --> 00:25:20,520
Speaker 7: over there. And then Kermit is a really musically knowledgeable guy.

528
00:25:20,560 --> 00:25:22,760
Speaker 7: You know, he played in church. So we really got

529
00:25:22,800 --> 00:25:26,080
Speaker 7: this music thing happening in the band. So the bass

530
00:25:26,080 --> 00:25:27,679
Speaker 7: player was like, Okay, it's getting too heavy for me.

531
00:25:27,720 --> 00:25:28,680
Speaker 7: I'm just going to be the manager.

532
00:25:28,680 --> 00:25:31,840
Speaker 3: Why don't you go get a better bax What the hell?

533
00:25:32,200 --> 00:25:32,760
Speaker 2: Wow?

534
00:25:33,000 --> 00:25:34,919
Speaker 3: He was right. I mean we were going to the

535
00:25:34,920 --> 00:25:36,880
Speaker 3: fire him if he didn't do that anyway, and.

536
00:25:36,760 --> 00:25:37,639
Speaker 2: He saw it.

537
00:25:38,119 --> 00:25:40,720
Speaker 7: So he became the manager of the band and we

538
00:25:40,800 --> 00:25:43,399
Speaker 7: got the Hamilton Brothers the drummer got mad at me

539
00:25:43,440 --> 00:25:45,880
Speaker 7: and just quit Bertrane and said, you know, who do you.

540
00:25:45,800 --> 00:25:46,320
Speaker 3: Think you are?

541
00:25:46,400 --> 00:25:46,600
Speaker 9: Man?

542
00:25:46,640 --> 00:25:48,440
Speaker 3: You know your little punk? I mean, I'm a grown

543
00:25:48,480 --> 00:25:51,560
Speaker 3: ass man. I quit. Damn great.

544
00:25:53,320 --> 00:25:55,240
Speaker 7: So he quit, and then we called the Hamilton brothers,

545
00:25:55,280 --> 00:25:56,479
Speaker 7: Shannon and Anthony Hamilton.

546
00:25:56,560 --> 00:25:58,280
Speaker 3: They joined the band, and that was pretty much what

547
00:25:58,320 --> 00:25:59,680
Speaker 3: the band was for a long time.

548
00:26:00,359 --> 00:26:02,040
Speaker 1: And you, it was you and your brother went in

549
00:26:02,160 --> 00:26:04,879
Speaker 1: this band, Me and Wynton and John Rochie with a

550
00:26:04,960 --> 00:26:08,760
Speaker 1: horn section, Anthony Hamilton on bass, Shannon Hamilton on drums,

551
00:26:09,240 --> 00:26:10,000
Speaker 1: Michael hs on.

552
00:26:10,080 --> 00:26:13,840
Speaker 3: Guitar, Gavin Bell was the singer, Kermit was the keyboard player.

553
00:26:15,359 --> 00:26:20,080
Speaker 1: Pretty much it Wow, Okay, I'm glad I knew this

554
00:26:20,200 --> 00:26:25,679
Speaker 1: story again. Like I guess, my all time profession was

555
00:26:25,680 --> 00:26:28,560
Speaker 1: that you guys were just born with these scepters and

556
00:26:28,840 --> 00:26:29,400
Speaker 1: capes of.

557
00:26:30,920 --> 00:26:33,639
Speaker 3: World, and everybody wants to believe it. I don't know

558
00:26:33,680 --> 00:26:35,200
Speaker 3: why they want to believe it, but it's fine.

559
00:26:35,400 --> 00:26:38,359
Speaker 1: So I'm not the only person that comes to you.

560
00:26:38,359 --> 00:26:41,640
Speaker 1: You're already flying, you're already swatting flies. All my questions,

561
00:26:41,680 --> 00:26:43,760
Speaker 1: I don't know, do you know what's coming?

562
00:26:44,359 --> 00:26:47,200
Speaker 3: No, it's just like you know, yeah, it's not true.

563
00:26:47,240 --> 00:26:50,520
Speaker 3: But people need to believe it's fine, you know, like, yeah,

564
00:26:50,560 --> 00:26:53,000
Speaker 3: we're we're the Black von Trapps. Ye, you know, we've

565
00:26:53,000 --> 00:26:53,919
Speaker 3: been singing.

566
00:26:55,160 --> 00:27:00,640
Speaker 7: Dead stands over us and says no, let's do it.

567
00:27:00,880 --> 00:27:01,399
Speaker 3: That's great.

568
00:27:03,040 --> 00:27:05,919
Speaker 1: So you're telling me that, like your brother knows a

569
00:27:06,000 --> 00:27:08,439
Speaker 1: horn line that like pee wee from the Ohio Players

570
00:27:08,480 --> 00:27:09,680
Speaker 1: once did in this lifetime.

571
00:27:10,119 --> 00:27:13,920
Speaker 3: Yeah, absolutely, I just refuse to believe that he knows

572
00:27:13,960 --> 00:27:17,240
Speaker 3: anything outside of jazz that. Okay, you're right, he doesn't

573
00:27:17,240 --> 00:27:17,520
Speaker 3: know it.

574
00:27:18,320 --> 00:27:22,960
Speaker 7: Well, I see that. Okay, Well explain that to me.

575
00:27:23,040 --> 00:27:25,359
Speaker 7: And I don't want to make this about like you

576
00:27:25,359 --> 00:27:26,560
Speaker 7: can make it about whatever you want.

577
00:27:27,160 --> 00:27:27,560
Speaker 3: I know that.

578
00:27:28,119 --> 00:27:30,439
Speaker 1: I know it must be tiring answering all these questions

579
00:27:30,440 --> 00:27:33,040
Speaker 1: all this time, But you know I always saw you,

580
00:27:33,400 --> 00:27:35,639
Speaker 1: at least my perception. Again, this is like our first

581
00:27:35,680 --> 00:27:38,840
Speaker 1: real in depth conversation, and we've casually seen each other

582
00:27:38,840 --> 00:27:41,480
Speaker 1: passing by or whatever. But I mean I always saw

583
00:27:41,520 --> 00:27:45,199
Speaker 1: you as the king of yes, the king of open

584
00:27:45,560 --> 00:27:47,240
Speaker 1: I'll do this, and I'll do that, and I'll do

585
00:27:47,280 --> 00:27:49,560
Speaker 1: the other, whereas I would see your brother as the

586
00:27:49,600 --> 00:27:52,720
Speaker 1: polar opposite, which I mean, I respect it both because

587
00:27:52,720 --> 00:27:55,400
Speaker 1: I guess in hip hop, my true heart is kind

588
00:27:55,400 --> 00:27:57,520
Speaker 1: of close to where your brother was where I like tradition,

589
00:27:58,080 --> 00:28:00,480
Speaker 1: and I like people that are well skilled at their

590
00:28:00,480 --> 00:28:02,000
Speaker 1: talent and that.

591
00:28:01,920 --> 00:28:02,440
Speaker 3: Sort of thing.

592
00:28:02,480 --> 00:28:06,119
Speaker 1: But I you know, I also understand that I'm in

593
00:28:06,160 --> 00:28:08,959
Speaker 1: a whole another generation now, and what I perceived as

594
00:28:09,000 --> 00:28:12,560
Speaker 1: great might not be what someone born in two thousand

595
00:28:12,640 --> 00:28:16,359
Speaker 1: things is great. So I mean I get it, But like,

596
00:28:16,520 --> 00:28:18,600
Speaker 1: what made you just stick to your guns to be

597
00:28:19,119 --> 00:28:20,679
Speaker 1: open to.

598
00:28:22,680 --> 00:28:26,680
Speaker 3: Things that we would otherwise think that I didn't have

599
00:28:26,760 --> 00:28:29,200
Speaker 3: to stick to any guns. Went and stuck to his guns.

600
00:28:29,560 --> 00:28:31,320
Speaker 7: I mean I always when I was okay, I'm telling you,

601
00:28:31,359 --> 00:28:33,640
Speaker 7: I played with the creators, I played in youth orchestra,

602
00:28:33,840 --> 00:28:37,760
Speaker 7: I played trad jazz, I played all of these things,

603
00:28:38,120 --> 00:28:41,680
Speaker 7: and uh, you know, I mean I liked them and

604
00:28:41,720 --> 00:28:43,920
Speaker 7: I was good at it. Went is one of the

605
00:28:43,920 --> 00:28:49,520
Speaker 7: greatest trumpet players in the world. He played funk, but

606
00:28:49,840 --> 00:28:53,360
Speaker 7: you know, he didn't play it like you know, he.

607
00:28:53,320 --> 00:28:55,280
Speaker 3: Didn't kill it. He just played it.

608
00:28:55,320 --> 00:28:57,360
Speaker 7: And he was a great trumpet player. I mean John Roche,

609
00:28:57,400 --> 00:28:59,560
Speaker 7: who was a more natural funk player, was like, bruh.

610
00:29:00,240 --> 00:29:02,240
Speaker 3: I ain't even heard of fucking trumpet? Sound like that?

611
00:29:02,720 --> 00:29:03,640
Speaker 3: What's wrong with him?

612
00:29:03,840 --> 00:29:08,080
Speaker 7: But Lincoln couldn't even think of man just destined for

613
00:29:08,120 --> 00:29:11,080
Speaker 7: other things, and you know it proved to be right

614
00:29:11,240 --> 00:29:13,200
Speaker 7: for him. But for me, I mean, I always had

615
00:29:13,200 --> 00:29:15,840
Speaker 7: a knack I mean for playing funk. And I'm trying

616
00:29:15,840 --> 00:29:17,880
Speaker 7: to find his picture if you see my eyes on laundering.

617
00:29:18,240 --> 00:29:21,280
Speaker 7: Somebody sent me a picture of the band and wow

618
00:29:21,880 --> 00:29:23,520
Speaker 7: and Wenton's in it, and I'm trying to find his

619
00:29:23,560 --> 00:29:24,920
Speaker 7: picture so I can send it to you.

620
00:29:26,360 --> 00:29:26,600
Speaker 3: Boy.

621
00:29:26,840 --> 00:29:30,760
Speaker 1: Okay, what is your what's your preferred weapon of choice

622
00:29:31,160 --> 00:29:40,480
Speaker 1: as far as your access concerned, and you know bourbon? Well, okay,

623
00:29:40,560 --> 00:29:45,160
Speaker 1: so I'm asking this only because I know that you're

624
00:29:45,200 --> 00:29:50,280
Speaker 1: proficient on tenor and soprano, and like, no disrespect to

625
00:29:51,280 --> 00:29:55,800
Speaker 1: you know, Sidney pochet or or or Shorter or Lacy

626
00:29:56,960 --> 00:29:59,320
Speaker 1: or whatever, but I was just always on the impression

627
00:29:59,360 --> 00:30:05,280
Speaker 1: that I mean, for like as has Coltrane sort of

628
00:30:06,280 --> 00:30:10,680
Speaker 1: not ruined the soprano, but has he made it a

629
00:30:10,720 --> 00:30:15,600
Speaker 1: hard mountain to climb for people to pursue a career

630
00:30:15,640 --> 00:30:17,680
Speaker 1: in soprano because you've stuck to soprano.

631
00:30:18,680 --> 00:30:21,760
Speaker 7: No, not really, Coltrane wasn't really what I would call

632
00:30:21,840 --> 00:30:22,880
Speaker 7: a good soprano player.

633
00:30:23,720 --> 00:30:27,440
Speaker 3: What John did was he ran out a room on.

634
00:30:27,400 --> 00:30:29,160
Speaker 7: The tennis, so he picked up the soprano because he

635
00:30:29,200 --> 00:30:32,840
Speaker 7: wanted the notes to get higher. What made Wyn's shortest

636
00:30:33,000 --> 00:30:36,880
Speaker 7: soprano playing fascinating to me was that he didn't play

637
00:30:36,920 --> 00:30:40,000
Speaker 7: the soprano the same way he played the tenor. The

638
00:30:40,000 --> 00:30:43,400
Speaker 7: soprano wasn't a higher extension of his tenor plane. He

639
00:30:43,480 --> 00:30:46,680
Speaker 7: treated it like it was a completely separate instrument. And

640
00:30:46,800 --> 00:30:48,640
Speaker 7: that was the thing that I was more drawn to.

641
00:30:51,600 --> 00:30:54,360
Speaker 7: One of the most incredible soprano players I've ever heard,

642
00:30:55,000 --> 00:30:58,080
Speaker 7: John Coltrane is one of the most incredible tenor saxophone

643
00:30:58,080 --> 00:31:01,280
Speaker 7: players I've ever heard, and he just transferred his tenor

644
00:31:01,360 --> 00:31:03,000
Speaker 7: ship to the soprano because the.

645
00:31:02,960 --> 00:31:08,000
Speaker 3: Tenor wasn't the right sound. But biche, I can play

646
00:31:08,000 --> 00:31:08,760
Speaker 3: you recordings of.

647
00:31:08,760 --> 00:31:13,360
Speaker 7: The set playing in a room in Paris in the thirties,

648
00:31:13,400 --> 00:31:16,280
Speaker 7: and you can hear the sound of the instrument double

649
00:31:16,360 --> 00:31:19,720
Speaker 7: backing in the room. The sound was so I mean,

650
00:31:19,760 --> 00:31:21,400
Speaker 7: I was like, that's the sound I want.

651
00:31:22,560 --> 00:31:25,400
Speaker 5: So it was harder to find a sound on though.

652
00:31:25,640 --> 00:31:26,720
Speaker 5: I feel like the soprano.

653
00:31:27,040 --> 00:31:29,160
Speaker 6: I grew up a player too, and I never got

654
00:31:29,240 --> 00:31:33,040
Speaker 6: laid playing the clarinet also, and I switch like like

655
00:31:33,160 --> 00:31:35,800
Speaker 6: I found the soprano that I could. I'm not you,

656
00:31:35,960 --> 00:31:38,480
Speaker 6: but like I never found the it always it was

657
00:31:38,520 --> 00:31:40,920
Speaker 6: easier to sound like someone else than it was to

658
00:31:41,440 --> 00:31:43,600
Speaker 6: the sound. Where I feel like the tenor, you're able

659
00:31:43,640 --> 00:31:46,360
Speaker 6: to create your own sound. Maybe that's totally well.

660
00:31:46,400 --> 00:31:49,080
Speaker 7: The thing for me was that when this is how

661
00:31:49,080 --> 00:31:54,760
Speaker 7: I got a soprano was Grogo was playing played the

662
00:31:54,800 --> 00:31:58,440
Speaker 7: soprano right, and I said, damn, I want a soprano.

663
00:31:58,560 --> 00:32:00,959
Speaker 7: So my grandfather said, ram block one of them things.

664
00:32:02,000 --> 00:32:04,760
Speaker 7: So there was a company called California Music.

665
00:32:04,520 --> 00:32:07,760
Speaker 3: Instruments, and you call them.

666
00:32:07,080 --> 00:32:09,520
Speaker 7: Send them whatever was six hundred dollars or whatever, and

667
00:32:09,560 --> 00:32:10,480
Speaker 7: they would send you.

668
00:32:11,000 --> 00:32:13,400
Speaker 3: A soprano in the mill. So I got it, and

669
00:32:13,440 --> 00:32:15,000
Speaker 3: I was excited, but I'm like, well, why the hell

670
00:32:15,040 --> 00:32:15,760
Speaker 3: am I gonna play it?

671
00:32:16,680 --> 00:32:19,120
Speaker 7: So I just kind of had it, and all I

672
00:32:19,120 --> 00:32:22,400
Speaker 7: would do is pick it up, and what I would

673
00:32:22,440 --> 00:32:24,080
Speaker 7: do is use it. I could make it sound like

674
00:32:24,080 --> 00:32:26,880
Speaker 7: a clarinet, So I would just pull out clarinet music

675
00:32:26,920 --> 00:32:29,160
Speaker 7: and play the soprano and make the tone sound like

676
00:32:29,200 --> 00:32:31,840
Speaker 7: a clarinet. I think a lot of people that played

677
00:32:31,840 --> 00:32:34,360
Speaker 7: a soprano the only person they ever listened to is Coltrane,

678
00:32:35,320 --> 00:32:37,720
Speaker 7: which has that real bright, pinched kind of whining sound

679
00:32:37,720 --> 00:32:38,280
Speaker 7: on the soprano.

680
00:32:38,320 --> 00:32:39,880
Speaker 3: They don't even listen to these other guys.

681
00:32:40,600 --> 00:32:45,959
Speaker 7: So for me, just the idea of creating that clarinet

682
00:32:46,040 --> 00:32:48,959
Speaker 7: sound on a soprano immediately gave it more of a

683
00:32:49,000 --> 00:32:52,760
Speaker 7: woody sound than a tiny sound. And then listening to

684
00:32:52,760 --> 00:32:55,040
Speaker 7: Wayne Shorter, who also had a more round.

685
00:32:54,720 --> 00:32:57,160
Speaker 3: Sound than a bright piercing sound, that.

686
00:32:57,200 --> 00:33:00,400
Speaker 7: Kind of set me in a place whereas the already

687
00:33:00,400 --> 00:33:02,600
Speaker 7: in my colleagues were going straight from the train thing.

688
00:33:02,800 --> 00:33:06,040
Speaker 3: So their soprano sound was real thin, kind of bright.

689
00:33:06,400 --> 00:33:08,000
Speaker 3: I had the exact opposite sound.

690
00:33:08,840 --> 00:33:12,200
Speaker 2: What was your in your opinion? Where does Pharoh Sanders

691
00:33:12,240 --> 00:33:14,560
Speaker 2: fit into all of this, because he's like one of

692
00:33:14,560 --> 00:33:18,640
Speaker 2: my favorite I mean just I'm not a jazz musician

693
00:33:18,720 --> 00:33:21,479
Speaker 2: or like a jazz like nerd like that, but I

694
00:33:21,560 --> 00:33:24,040
Speaker 2: just love his I just I just love his sound.

695
00:33:24,320 --> 00:33:25,920
Speaker 7: I was just talking to that guy about that had

696
00:33:25,920 --> 00:33:28,720
Speaker 7: never heard from his body is incredible, like the way

697
00:33:28,760 --> 00:33:29,840
Speaker 7: he sounds on the instrument.

698
00:33:29,880 --> 00:33:32,280
Speaker 3: But he is completely out of cold traning school. As

699
00:33:32,280 --> 00:33:34,520
Speaker 3: a matter of fact, he was playing with Johnny when

700
00:33:34,560 --> 00:33:40,040
Speaker 3: he got so his whole thing is he comes out

701
00:33:40,080 --> 00:33:41,000
Speaker 3: of cold traning school.

702
00:33:41,000 --> 00:33:43,000
Speaker 7: But the sound he has on the instrument, the hef

703
00:33:43,320 --> 00:33:45,880
Speaker 7: of his sound is an amazing thing to listen to.

704
00:33:45,920 --> 00:33:49,000
Speaker 3: And it was something that was very inspiring. And uh

705
00:33:50,000 --> 00:33:53,520
Speaker 3: remember when uh phil peeling Philips Hymen.

706
00:33:53,320 --> 00:33:56,800
Speaker 7: Saying on that on on that uh on Gene Karn's

707
00:33:56,840 --> 00:34:01,040
Speaker 7: husband's record. I think it was maybe un com as

708
00:34:01,080 --> 00:34:03,240
Speaker 7: you are when Pharaoh played that solo and as you.

709
00:34:03,200 --> 00:34:05,240
Speaker 3: Are, yeah, I don't want to.

710
00:34:07,000 --> 00:34:12,000
Speaker 1: Yeah, yeah, yeah, yeah, just flipped it, you know.

711
00:34:12,480 --> 00:34:15,239
Speaker 3: And that's my first time checking him out. Man, that's

712
00:34:15,320 --> 00:34:18,480
Speaker 3: killing man, you know, other than you know, what's the

713
00:34:18,520 --> 00:34:20,360
Speaker 3: other thing Googie.

714
00:34:20,480 --> 00:34:22,520
Speaker 2: Created as a massive plan.

715
00:34:23,560 --> 00:34:28,719
Speaker 1: So fante, I'm realizing now because he dropped a hot

716
00:34:28,760 --> 00:34:35,200
Speaker 1: take in saying that Wayne Wayne is slightly not more

717
00:34:35,239 --> 00:34:38,360
Speaker 1: advanced in his soprano playing than Coltrank, that I realized

718
00:34:38,400 --> 00:34:45,440
Speaker 1: that Branford might be the f m W j of of.

719
00:34:46,680 --> 00:34:49,319
Speaker 3: Of jazz opinions. Wait, I just want to drop this

720
00:34:49,400 --> 00:34:53,240
Speaker 3: gym in there. I didn't say that, Okay, okay, because

721
00:34:53,280 --> 00:34:55,240
Speaker 3: that's right. I've I've misquoted you before.

722
00:34:55,360 --> 00:34:59,640
Speaker 7: So let'sten, let's let's make a cuche. But anyways, Wayne

723
00:34:59,719 --> 00:35:02,880
Speaker 7: comes out of cold. Wayne know I got that. I

724
00:35:02,920 --> 00:35:07,600
Speaker 7: know that Wayne soprano sound is molded in a different

725
00:35:07,880 --> 00:35:10,240
Speaker 7: it's much rounder sound, the sound that I prefer.

726
00:35:10,600 --> 00:35:12,520
Speaker 3: Other people totally preferred.

727
00:35:12,280 --> 00:35:14,799
Speaker 7: Trained sound, and that they're they're entitled to that. But

728
00:35:14,840 --> 00:35:17,399
Speaker 7: for me, Wayne was always the guy I wanted to.

729
00:35:17,320 --> 00:35:19,879
Speaker 2: Sound more like just one of the listeners. We're talking

730
00:35:19,920 --> 00:35:23,120
Speaker 2: about Wayne Shorter. Just to be clear, that's the all.

731
00:35:23,200 --> 00:35:24,480
Speaker 3: About about Wayne Newton.

732
00:35:26,760 --> 00:35:32,760
Speaker 1: Sometimes we got to break it down my homeboy, don't

733
00:35:32,760 --> 00:35:36,400
Speaker 1: even get me started anyway. So wait, there's all right.

734
00:35:36,440 --> 00:35:40,040
Speaker 1: So there's there's a good friend of mine that is

735
00:35:40,080 --> 00:35:43,640
Speaker 1: well respected in the jazz world who kind of broke

736
00:35:43,719 --> 00:35:47,680
Speaker 1: my heart when he told me that that Carter wasn't

737
00:35:47,719 --> 00:35:49,360
Speaker 1: even in his top five.

738
00:35:51,000 --> 00:35:52,160
Speaker 3: Bass player Ron Carter.

739
00:35:52,800 --> 00:35:57,239
Speaker 1: Well you know, okay, okay, right, And the thing was no, no, no,

740
00:35:57,280 --> 00:35:59,560
Speaker 1: And I had to investigate this and everyone was like,

741
00:36:00,040 --> 00:36:03,799
Speaker 1: oh yeah, Miles never let Ron solo on any of

742
00:36:03,840 --> 00:36:06,440
Speaker 1: his things because he wasn't a good soloist.

743
00:36:06,560 --> 00:36:08,759
Speaker 3: And I didn't go to the bass.

744
00:36:10,000 --> 00:36:14,240
Speaker 1: I didn't realize that that was a popular like what

745
00:36:14,239 --> 00:36:14,960
Speaker 1: what other.

746
00:36:15,120 --> 00:36:17,080
Speaker 3: Bass is the anchor of the band and not to

747
00:36:17,120 --> 00:36:19,400
Speaker 3: be solo. The purpose of the bass.

748
00:36:19,440 --> 00:36:21,480
Speaker 7: You can solo if you want, but the purpose of

749
00:36:21,520 --> 00:36:24,640
Speaker 7: the bass is to anchor the band in any style

750
00:36:24,680 --> 00:36:25,120
Speaker 7: of music.

751
00:36:26,160 --> 00:36:27,560
Speaker 3: You know what I mean? I mean, like you take

752
00:36:27,600 --> 00:36:29,640
Speaker 3: a song like Hocky good Time. What is the bass player?

753
00:36:31,160 --> 00:36:34,160
Speaker 3: People of du bo people do b beople dubb for

754
00:36:34,200 --> 00:36:36,440
Speaker 3: seven minutes? Can he solo? I don't know, like give

755
00:36:36,440 --> 00:36:43,600
Speaker 3: a fuck, not really, I tell you, I love.

756
00:36:44,080 --> 00:36:47,759
Speaker 7: The bass player's job is like you know, Okay, it's

757
00:36:47,840 --> 00:36:51,040
Speaker 7: really nice if you have a seven foot guy who

758
00:36:51,040 --> 00:36:53,520
Speaker 7: can dribble the ball like a point guard. But we

759
00:36:53,560 --> 00:36:55,360
Speaker 7: don't need you to play point We need you to

760
00:36:55,440 --> 00:36:57,880
Speaker 7: dump there in the paint and get your assat and

761
00:36:57,960 --> 00:37:01,520
Speaker 7: take them bits. I need bass players that can play

762
00:37:01,520 --> 00:37:04,919
Speaker 7: the bass. And whoever your guy is, all that is

763
00:37:04,920 --> 00:37:07,160
Speaker 7: is just like you know, the bassis. You know, it's

764
00:37:07,200 --> 00:37:11,319
Speaker 7: like just regular people hearing jazz. One of the reasons

765
00:37:11,360 --> 00:37:11,840
Speaker 7: they hate.

766
00:37:11,719 --> 00:37:13,279
Speaker 3: Jaz because they say it all sounds the same.

767
00:37:13,800 --> 00:37:15,640
Speaker 7: And one reason it all sounds the same is because

768
00:37:15,640 --> 00:37:18,800
Speaker 7: everybody's playing the same ship now, So the bass players

769
00:37:18,840 --> 00:37:19,560
Speaker 7: are playing the same.

770
00:37:19,440 --> 00:37:22,480
Speaker 3: Shit that the saxophone players play. If you listen to

771
00:37:22,480 --> 00:37:23,080
Speaker 3: a record.

772
00:37:22,840 --> 00:37:25,040
Speaker 7: From the forties, the one thing that's is that saxophone

773
00:37:25,040 --> 00:37:27,440
Speaker 7: players sound different than trumpet players, who sound different than

774
00:37:27,440 --> 00:37:29,520
Speaker 7: bass players who sound different than drummers. Now they all

775
00:37:29,560 --> 00:37:32,359
Speaker 7: playing the same two five one legs. So of course

776
00:37:32,640 --> 00:37:36,440
Speaker 7: to an untrained ear, it all sounds the same. Because

777
00:37:36,760 --> 00:37:38,520
Speaker 7: I have a trained deer, and the ship all sounds

778
00:37:38,520 --> 00:37:41,520
Speaker 7: the same. To me, I would rather hear a bass

779
00:37:41,520 --> 00:37:44,399
Speaker 7: player sound like a bass rather than go.

780
00:37:46,360 --> 00:37:47,759
Speaker 3: And you know another music to be like whoa.

781
00:37:47,800 --> 00:37:51,520
Speaker 1: I'm like, man, play the guitar, then, so can I

782
00:37:51,600 --> 00:37:58,160
Speaker 1: ask what does that mean for uh not even I'm like,

783
00:37:58,160 --> 00:38:01,400
Speaker 1: what does that mean for Ray Brown's or Mingus legacy

784
00:38:01,920 --> 00:38:03,760
Speaker 1: or mingas?

785
00:38:04,000 --> 00:38:06,960
Speaker 7: Mingas didn't do a lot when he did, and when

786
00:38:06,960 --> 00:38:09,239
Speaker 7: he did solo, he sounded like a bass player when he's.

787
00:38:09,160 --> 00:38:16,000
Speaker 3: Solo, dodoo pop boo do peer boo boo boo. He

788
00:38:16,040 --> 00:38:20,640
Speaker 3: didn't go, but he didn't do that ship. He played

789
00:38:20,640 --> 00:38:23,840
Speaker 3: bass solos and then he would just swing you to death.

790
00:38:26,840 --> 00:38:28,360
Speaker 3: I means, come on, man, that's bass.

791
00:38:28,640 --> 00:38:31,120
Speaker 7: Because the whole thing is all right, because because my

792
00:38:31,160 --> 00:38:33,759
Speaker 7: bass player, we got into this thing ten fifteen years ago.

793
00:38:33,880 --> 00:38:36,160
Speaker 7: It was more of like fifteen where he started like

794
00:38:36,200 --> 00:38:39,040
Speaker 7: wanting to take these big modern bass lofers.

795
00:38:39,080 --> 00:38:40,640
Speaker 3: I'm like, man, can you please not do that ship?

796
00:38:40,680 --> 00:38:44,680
Speaker 1: Because he hears a Pastorius head or like was he

797
00:38:44,719 --> 00:38:45,440
Speaker 1: a jack ohead?

798
00:38:45,520 --> 00:38:48,279
Speaker 3: Or like no, no way. He plays acoustics, so it's

799
00:38:48,280 --> 00:38:51,160
Speaker 3: hard to play like you can't play that on acoustic bass.

800
00:38:51,400 --> 00:38:51,879
Speaker 3: You just can't.

801
00:38:51,920 --> 00:38:55,520
Speaker 7: All right, well mcbrithan, you know, well, no, he's older

802
00:38:55,560 --> 00:38:57,799
Speaker 7: than Chris. I mean, we all love Christian so but

803
00:38:57,840 --> 00:39:00,200
Speaker 7: it was just more like he's he's you know, because

804
00:39:00,200 --> 00:39:02,480
Speaker 7: there's a legacy of that, you know, Ray Brown and

805
00:39:02,640 --> 00:39:04,480
Speaker 7: Oscar Peditford, all of these guys.

806
00:39:04,840 --> 00:39:06,879
Speaker 3: I said, I would appreciate it. If you wouldn't do it,

807
00:39:07,880 --> 00:39:10,360
Speaker 3: You're like, man, you know, I got to express myself.

808
00:39:10,560 --> 00:39:13,560
Speaker 7: What about I said, all right, tonight, when we play

809
00:39:13,600 --> 00:39:16,239
Speaker 7: this song, rhythm changes, I'm like, go ahead, play whatever

810
00:39:16,280 --> 00:39:19,080
Speaker 7: you want. And then the second night, I said, I

811
00:39:19,120 --> 00:39:21,560
Speaker 7: want you to just walk a base baseline, walk a

812
00:39:21,600 --> 00:39:24,520
Speaker 7: bass solo. So he's walking the bass solo and if

813
00:39:24,560 --> 00:39:28,920
Speaker 7: he's doing it, you hear the audience. By the fourth course,

814
00:39:29,040 --> 00:39:32,520
Speaker 7: they're all ploding and screaming. And I said, he says,

815
00:39:32,600 --> 00:39:33,759
Speaker 7: I don't even understand that.

816
00:39:33,800 --> 00:39:34,759
Speaker 3: I said, you.

817
00:39:34,719 --> 00:39:36,960
Speaker 7: Gotta think like people who don't know nothing about music,

818
00:39:37,320 --> 00:39:40,200
Speaker 7: you're the only instrument that can do that. Like if

819
00:39:40,239 --> 00:39:46,080
Speaker 7: I started solo and I started going. It sounds ridiculous

820
00:39:46,080 --> 00:39:48,680
Speaker 7: for me to do that. It's not the function of

821
00:39:48,719 --> 00:39:51,120
Speaker 7: the saxophone. But if you walk in the bass and

822
00:39:51,320 --> 00:39:55,040
Speaker 7: walking with intensity, it's going d D D D. The

823
00:39:55,080 --> 00:39:57,440
Speaker 7: only only instrument on the stage that can do that.

824
00:39:57,480 --> 00:39:59,239
Speaker 7: So when you do that, the audience has never heard

825
00:39:59,280 --> 00:40:01,959
Speaker 7: anything like that. So an audience is sitting there trying

826
00:40:01,960 --> 00:40:03,880
Speaker 7: to like the music, and they hear a piano player

827
00:40:03,880 --> 00:40:05,640
Speaker 7: and a sax player and a trumpet player, not a

828
00:40:05,680 --> 00:40:06,200
Speaker 7: damn base play.

829
00:40:06,239 --> 00:40:07,520
Speaker 3: It's gonna sound just like them.

830
00:40:07,560 --> 00:40:10,280
Speaker 7: There's no change in color everything, no change in anything.

831
00:40:10,480 --> 00:40:12,920
Speaker 7: It's all these same licks regurgitated over and over and

832
00:40:12,960 --> 00:40:15,080
Speaker 7: over again.

833
00:40:14,760 --> 00:40:18,600
Speaker 3: Song. Everybody's ready to leave. There's no changes in color,

834
00:40:18,920 --> 00:40:22,160
Speaker 3: no changes in dynamics. All right. So I'm trying to

835
00:40:22,400 --> 00:40:23,960
Speaker 3: now parallel this to my world.

836
00:40:24,239 --> 00:40:28,560
Speaker 1: So maybe what I figure saying is the way that

837
00:40:28,600 --> 00:40:30,879
Speaker 1: I sort of feel about gospel chop.

838
00:40:32,400 --> 00:40:35,120
Speaker 3: Patty started. Man, that's just got nothing to do with it.

839
00:40:35,120 --> 00:40:36,960
Speaker 2: Go in, go in, go in.

840
00:40:39,200 --> 00:40:39,839
Speaker 3: I get it now.

841
00:40:40,040 --> 00:40:43,560
Speaker 1: So it's just like I'm more impressed with the pocket

842
00:40:43,560 --> 00:40:44,960
Speaker 1: than I am with how.

843
00:40:44,800 --> 00:40:47,520
Speaker 7: Many you know, except the musicians. I mean, this is

844
00:40:47,520 --> 00:40:50,120
Speaker 7: what jazz has become. It's like a bunch of musicians

845
00:40:50,120 --> 00:40:53,319
Speaker 7: playing for other musicians, and in a lot of ways

846
00:40:53,320 --> 00:40:55,440
Speaker 7: in some of the classical music communities, that's what it is.

847
00:40:56,040 --> 00:40:59,319
Speaker 7: Really adventurous, highly technical, high and skilled musicians playing for

848
00:40:59,360 --> 00:41:02,840
Speaker 7: other musicians. And you know, gospel chops dot com is

849
00:41:03,000 --> 00:41:06,520
Speaker 7: musicians playing for musicians. I mean, if I was able

850
00:41:06,560 --> 00:41:09,359
Speaker 7: to get a band and they had some band full

851
00:41:09,360 --> 00:41:13,960
Speaker 7: of young gospel cats and they all playing, and I

852
00:41:14,040 --> 00:41:20,200
Speaker 7: just started going, I'd win every time. Every time I win,

853
00:41:20,239 --> 00:41:22,840
Speaker 7: the audience would start clapping, they start screaming, they start.

854
00:41:22,600 --> 00:41:24,160
Speaker 3: Feeling the spirit I win.

855
00:41:25,280 --> 00:41:27,319
Speaker 7: And that's what I'm talking about when I talked about

856
00:41:27,360 --> 00:41:30,560
Speaker 7: the bass earlier, is that music has a function. Depending

857
00:41:30,600 --> 00:41:32,879
Speaker 7: on the style of it is and the context it is,

858
00:41:33,600 --> 00:41:36,520
Speaker 7: it has a function. And what modern musicians want to

859
00:41:36,560 --> 00:41:41,120
Speaker 7: do is remove the function from their instrument because suddenly

860
00:41:41,680 --> 00:41:43,799
Speaker 7: being a great instrumentalist is more important than.

861
00:41:43,800 --> 00:41:44,720
Speaker 3: Being a great musician.

862
00:41:45,000 --> 00:41:47,239
Speaker 2: I was gonna ask for you, braver, how do you

863
00:41:47,360 --> 00:41:51,400
Speaker 2: determine as a musician kind of when to walk the

864
00:41:51,400 --> 00:41:53,920
Speaker 2: line between just kind of you know, being you know,

865
00:41:53,960 --> 00:41:57,719
Speaker 2: a musician and then kind of being more you know,

866
00:41:57,880 --> 00:42:00,480
Speaker 2: a virtuals Like when is it when is it time

867
00:42:00,520 --> 00:42:02,279
Speaker 2: to show off or is there ever a time to

868
00:42:02,320 --> 00:42:02,680
Speaker 2: show off?

869
00:42:02,680 --> 00:42:05,480
Speaker 3: And the song requires it? No other time? Gotcha?

870
00:42:05,480 --> 00:42:07,279
Speaker 7: If I played with The Grateful Dead, that shit is

871
00:42:07,360 --> 00:42:13,959
Speaker 7: never required, I could do it. But who's that for, right?

872
00:42:14,600 --> 00:42:18,160
Speaker 7: That's just like a certain kind of self aggrandizement where

873
00:42:18,160 --> 00:42:20,960
Speaker 7: you go in and you play all of this hardcore

874
00:42:21,000 --> 00:42:23,759
Speaker 7: shit and they ain't but literally, two people in a

875
00:42:23,840 --> 00:42:25,680
Speaker 7: room full of eighteen thousand people that will even know

876
00:42:25,719 --> 00:42:29,560
Speaker 7: what it is you suddenly become so disconnected from what

877
00:42:29,600 --> 00:42:31,840
Speaker 7: it is you're supposed to be doing. You playing a

878
00:42:31,880 --> 00:42:33,600
Speaker 7: horn section, what does that mean? That means you in

879
00:42:33,640 --> 00:42:36,520
Speaker 7: the background. That's what it means. You're gonna have your

880
00:42:36,560 --> 00:42:38,440
Speaker 7: horn parts, You're gonna be dancing, You're gonna be doing

881
00:42:38,480 --> 00:42:40,880
Speaker 7: all your things. I mean, you know, you go to

882
00:42:40,960 --> 00:42:43,200
Speaker 7: Earth Wind and Fire concert. There a great horn section.

883
00:42:43,480 --> 00:42:47,200
Speaker 7: You know, Don Mark was playing alto killing. Didn't nobody

884
00:42:47,239 --> 00:42:48,799
Speaker 7: in the audience know the name of the horn section?

885
00:42:48,840 --> 00:42:51,799
Speaker 7: Didn't even notice it. You know, everybody knew who Verdeine was,

886
00:42:51,840 --> 00:42:54,680
Speaker 7: everybody knew who Maurice was, you know what I mean,

887
00:42:54,960 --> 00:42:55,720
Speaker 7: everybody knew.

888
00:42:55,560 --> 00:42:58,080
Speaker 3: Philip Bailey was. They didn't know what the horn section was.

889
00:42:58,080 --> 00:42:59,960
Speaker 7: But that's the thing we always function in the background,

890
00:43:00,120 --> 00:43:03,080
Speaker 7: so I come from that and then I start playing jazz.

891
00:43:03,160 --> 00:43:04,920
Speaker 3: I'm still cool with being in the background.

892
00:43:05,000 --> 00:43:07,960
Speaker 7: I don't need to be the center of the attention,

893
00:43:08,080 --> 00:43:09,759
Speaker 7: even though the nature of what it is, I wind

894
00:43:09,840 --> 00:43:13,439
Speaker 7: up being the center of attention. But when I would play,

895
00:43:13,440 --> 00:43:15,200
Speaker 7: people would say, why do you always walk to the

896
00:43:15,239 --> 00:43:18,960
Speaker 7: back of the stage when you ain't soloing, I said,

897
00:43:18,960 --> 00:43:20,759
Speaker 7: because if I stand there, people are gonna look.

898
00:43:20,680 --> 00:43:22,720
Speaker 3: At me, and I want them to look at whoever

899
00:43:22,760 --> 00:43:23,400
Speaker 3: else is solo.

900
00:43:24,120 --> 00:43:25,479
Speaker 7: So if I walk to the back of the stage

901
00:43:25,520 --> 00:43:27,600
Speaker 7: behind the piano and I've become a shadow, They're going

902
00:43:27,680 --> 00:43:28,600
Speaker 7: to look around and deduce.

903
00:43:28,680 --> 00:43:30,879
Speaker 3: Soh the piano players planning, let me check him out.

904
00:43:31,120 --> 00:43:33,560
Speaker 7: I'm not just gonna stand there in preen imposture because

905
00:43:33,600 --> 00:43:35,719
Speaker 7: I'm not that insecure. I don't need the attention to

906
00:43:35,719 --> 00:43:38,040
Speaker 7: be on me. You know, I remember Sting was doing

907
00:43:38,080 --> 00:43:41,800
Speaker 7: this this. You know he did these Rainforest Foundation concerts.

908
00:43:41,840 --> 00:43:44,319
Speaker 7: He do these Rainforest Foundation concerts for twenty years. He

909
00:43:44,360 --> 00:43:46,319
Speaker 7: did them at Carnegie Hall once a year, and they

910
00:43:46,360 --> 00:43:48,680
Speaker 7: would always have run team. And he caused me, He says,

911
00:43:48,719 --> 00:43:50,520
Speaker 7: I need some help. I need a horn section. We're

912
00:43:50,520 --> 00:43:52,560
Speaker 7: gonna do Stack to Night and I said, all right,

913
00:43:52,600 --> 00:43:55,040
Speaker 7: I'll get back to you. So I said, I called

914
00:43:55,120 --> 00:43:57,320
Speaker 7: Lou Solof, who was the trumpet player with Blood Sweating

915
00:43:57,360 --> 00:43:58,240
Speaker 7: Tears and played.

916
00:43:58,040 --> 00:44:01,160
Speaker 3: In the Saturday Night Live band. I said, look, let's

917
00:44:01,200 --> 00:44:01,800
Speaker 3: do this gig.

918
00:44:02,120 --> 00:44:05,319
Speaker 7: Called this trombone player from Berkeley, Tim Williams, and I said,

919
00:44:05,320 --> 00:44:07,359
Speaker 7: I got. It's a three piece horn section, Lose sol Off,

920
00:44:07,440 --> 00:44:09,719
Speaker 7: Tim Williams and me, And this think says, now, wait

921
00:44:09,719 --> 00:44:11,040
Speaker 7: a minute, mae. You know we don't have any of

922
00:44:11,040 --> 00:44:13,160
Speaker 7: these step off performances. I said, Man, I grew up

923
00:44:13,200 --> 00:44:15,840
Speaker 7: in a horn section. I don't need a step up performance.

924
00:44:15,920 --> 00:44:17,719
Speaker 7: I just want to be in the horn section. I

925
00:44:17,760 --> 00:44:21,319
Speaker 7: have never played these tunes. I love these tunes. Just

926
00:44:21,400 --> 00:44:22,799
Speaker 7: leave me alone, let me do my thing.

927
00:44:24,719 --> 00:44:26,080
Speaker 3: You know, I'm not.

928
00:44:26,160 --> 00:44:28,239
Speaker 7: We're playing these horn parts and were just having a

929
00:44:28,320 --> 00:44:30,160
Speaker 7: good ass time. And then there were a couple of

930
00:44:30,200 --> 00:44:32,840
Speaker 7: sax solos. It's like them eight ball little things like

931
00:44:33,040 --> 00:44:35,080
Speaker 7: I'll put a spell on you, you know.

932
00:44:35,360 --> 00:44:39,520
Speaker 2: Oh wow, screaming hawkins.

933
00:44:42,239 --> 00:44:43,719
Speaker 3: From me. I used that once in the beat. That

934
00:44:43,760 --> 00:44:47,359
Speaker 3: was great anyway, I know y'all know.

935
00:44:47,680 --> 00:44:50,200
Speaker 7: So, and then it came for the solo and I'm

936
00:44:50,200 --> 00:44:53,640
Speaker 7: playing the solo, and Steve Cropper turns around and.

937
00:44:53,640 --> 00:44:57,360
Speaker 3: Says, God, damn somewhere you're from New Orleans. Yeah, figures

938
00:44:57,680 --> 00:44:58,760
Speaker 3: when we got back to say.

939
00:45:00,800 --> 00:45:03,200
Speaker 1: With me, wait, that's the first time you met Steve

940
00:45:03,280 --> 00:45:06,799
Speaker 1: Croppers the first time you met me? Ah yeah, I

941
00:45:06,800 --> 00:45:08,799
Speaker 1: was about to say you were brand from Marcellus.

942
00:45:09,719 --> 00:45:11,080
Speaker 3: I don't mean shit to him.

943
00:45:11,600 --> 00:45:15,480
Speaker 7: He's just old boy from Alabama playing some funky ass tunes.

944
00:45:15,480 --> 00:45:17,200
Speaker 7: He was like when he told me playing he turned away.

945
00:45:17,200 --> 00:45:19,440
Speaker 7: It was it was more of a compliment that he's like, damn, man,

946
00:45:19,480 --> 00:45:22,520
Speaker 7: that's how good where you from? You know, Vietnam was

947
00:45:23,280 --> 00:45:26,040
Speaker 7: the fact that he didn't know made it hipper, and

948
00:45:26,080 --> 00:45:27,160
Speaker 7: that was our games.

949
00:45:27,360 --> 00:45:27,919
Speaker 3: That was it.

950
00:45:33,160 --> 00:45:33,360
Speaker 10: You know.

951
00:45:33,800 --> 00:45:37,759
Speaker 1: I never got a chance to really chop it up

952
00:45:37,800 --> 00:45:42,560
Speaker 1: with someone who was of age at the time when

953
00:45:42,640 --> 00:45:46,520
Speaker 1: jazz was really going through its eighties transition, you know,

954
00:45:46,600 --> 00:45:51,760
Speaker 1: with Miles sort of going on his terrain trying to

955
00:45:51,760 --> 00:45:55,400
Speaker 1: refine or redefine himself, and just at the time you

956
00:45:55,440 --> 00:45:58,239
Speaker 1: were twenty, I assumed by the age of twenty you

957
00:45:58,239 --> 00:46:02,280
Speaker 1: were serious about your craft, and you were at least

958
00:46:02,440 --> 00:46:07,080
Speaker 1: in the the young Lions category by this point, Like,

959
00:46:07,160 --> 00:46:11,640
Speaker 1: at what point are you no good and all right,

960
00:46:11,840 --> 00:46:13,640
Speaker 1: come on, Bran, will you work with me? At what

961
00:46:13,719 --> 00:46:19,520
Speaker 1: age were you when when you arrived? What age were you?

962
00:46:20,320 --> 00:46:25,279
Speaker 3: Because I'm asking this because myself, yes, when did you

963
00:46:25,320 --> 00:46:25,799
Speaker 3: feel that?

964
00:46:26,040 --> 00:46:28,839
Speaker 1: When was your arrival? When when your father was like, yeah,

965
00:46:28,920 --> 00:46:30,960
Speaker 1: my son's killing it. As far as that.

966
00:46:31,080 --> 00:46:34,359
Speaker 7: My father never said that, but uh okay, I did.

967
00:46:35,920 --> 00:46:39,200
Speaker 1: The whole point was that with two thousands with cats,

968
00:46:39,239 --> 00:46:43,480
Speaker 1: with cats like well, I'm just saying, with cats like

969
00:46:43,520 --> 00:46:48,760
Speaker 1: Crouch and George Butler, Sony and all that with them sort.

970
00:46:48,560 --> 00:46:50,359
Speaker 3: Of as the old jazz guard.

971
00:46:50,920 --> 00:46:52,920
Speaker 1: And you know, I've talked to like David Murray and

972
00:46:52,960 --> 00:46:56,279
Speaker 1: all those cats like an mbase trying to do their thing.

973
00:46:56,920 --> 00:46:58,840
Speaker 3: Like what what was the environment?

974
00:46:59,000 --> 00:47:02,000
Speaker 1: Was it a civil war environment of people wrestling trying

975
00:47:02,000 --> 00:47:02,600
Speaker 1: to figure out?

976
00:47:03,120 --> 00:47:04,680
Speaker 7: I guess it may have been a civil war for

977
00:47:04,680 --> 00:47:07,759
Speaker 7: those who gave a fuck, But I wasn't one of them,

978
00:47:07,800 --> 00:47:10,520
Speaker 7: so I don't know civil war for me.

979
00:47:11,040 --> 00:47:12,520
Speaker 3: No, I love it.

980
00:47:12,640 --> 00:47:14,120
Speaker 2: I love it.

981
00:47:14,320 --> 00:47:18,720
Speaker 3: Well, then's my question, like, what was it in that environment?

982
00:47:18,760 --> 00:47:22,360
Speaker 1: Like you just didn't care about jazz critics and jazz

983
00:47:22,360 --> 00:47:24,120
Speaker 1: critics please, it was.

984
00:47:24,040 --> 00:47:26,799
Speaker 7: A simple environment. There's a simple question for me, right,

985
00:47:27,440 --> 00:47:30,120
Speaker 7: that's the young man in nineteen fifty seven. You got

986
00:47:30,120 --> 00:47:32,240
Speaker 7: all these dudes that can play all these sixteenth notes,

987
00:47:32,640 --> 00:47:35,480
Speaker 7: they can't play a fucking eighth notes solo. You can't

988
00:47:35,520 --> 00:47:37,759
Speaker 7: play a lesser young solo with the right tone in

989
00:47:37,800 --> 00:47:41,280
Speaker 7: the right style. And that included me. So my thinking

990
00:47:41,400 --> 00:47:44,319
Speaker 7: is is that if we're moving jazz forward, how come

991
00:47:44,360 --> 00:47:47,640
Speaker 7: we can't play none of this other shit m Because like,

992
00:47:47,719 --> 00:47:50,920
Speaker 7: I have a friend who's a physicist, right, Physicists are

993
00:47:50,960 --> 00:47:56,080
Speaker 7: really good at math. If my friend Barry Abart flew

994
00:47:56,120 --> 00:47:59,200
Speaker 7: in here from the Jet Proportion laboratory where he works

995
00:47:59,239 --> 00:48:01,120
Speaker 7: and I said, hey, man.

996
00:48:01,000 --> 00:48:03,719
Speaker 3: My daughter is a sophomore and high school, can you

997
00:48:03,760 --> 00:48:04,600
Speaker 3: help up with this math?

998
00:48:04,640 --> 00:48:06,960
Speaker 7: He wouldn't say, well, you know that's cool, man, But

999
00:48:07,040 --> 00:48:09,279
Speaker 7: you know we're working on this new thing here and

1000
00:48:09,320 --> 00:48:10,480
Speaker 7: I think it's way more advanced.

1001
00:48:10,520 --> 00:48:12,200
Speaker 3: That was cool back in this day. He would say, yeah,

1002
00:48:12,200 --> 00:48:13,920
Speaker 3: no problem, I'm a physicists.

1003
00:48:14,280 --> 00:48:16,680
Speaker 7: Now you think about modern music, that old shit, Yeah,

1004
00:48:16,680 --> 00:48:18,359
Speaker 7: that shit was cool, but you know that's that we've

1005
00:48:18,400 --> 00:48:20,520
Speaker 7: gone beyond that. I say, is that French for you

1006
00:48:20,600 --> 00:48:23,239
Speaker 7: can't fucking do it parallel? That's friend for you can't

1007
00:48:23,239 --> 00:48:25,080
Speaker 7: play it cool? Well, you know what I can't either,

1008
00:48:25,080 --> 00:48:26,000
Speaker 7: But I'm gonna learn how.

1009
00:48:26,440 --> 00:48:28,719
Speaker 3: Man, when you listen to that old shit fuck, do

1010
00:48:28,840 --> 00:48:33,440
Speaker 3: your think? Do your think y'all? You know the critics say,

1011
00:48:33,560 --> 00:48:34,560
Speaker 3: what do the critics play?

1012
00:48:36,880 --> 00:48:39,000
Speaker 7: It's like a friend of mine listens to these sports

1013
00:48:39,480 --> 00:48:41,719
Speaker 7: you know, saxophone player friend named Paul Carry listens to

1014
00:48:41,719 --> 00:48:44,360
Speaker 7: these sports radio shows, which.

1015
00:48:44,200 --> 00:48:45,440
Speaker 3: I'll listen to sometimes.

1016
00:48:45,840 --> 00:48:49,200
Speaker 7: A guy who's five foot six, who has strong opinions

1017
00:48:49,239 --> 00:48:51,280
Speaker 7: about people who play a game that he.

1018
00:48:51,440 --> 00:48:54,359
Speaker 3: Was never good enough to play. How much credence can

1019
00:48:54,360 --> 00:48:56,680
Speaker 3: I take in that? Seriously? Facts?

1020
00:48:57,040 --> 00:49:00,000
Speaker 7: You know, when Jim Rohme decided to call Jim every

1021
00:49:00,000 --> 00:49:02,160
Speaker 7: who was a football player Chris Everett because he plays

1022
00:49:02,200 --> 00:49:05,680
Speaker 7: like a girl, Jim made him famous by beating his

1023
00:49:05,719 --> 00:49:10,000
Speaker 7: ass on the studio. What Jim should have done? It said,

1024
00:49:10,200 --> 00:49:13,560
Speaker 7: you know what, you got a point. That's why I'm

1025
00:49:13,560 --> 00:49:15,000
Speaker 7: gonna set it up so that you can come to

1026
00:49:15,040 --> 00:49:17,560
Speaker 7: training camp and I'm gonna get you a uniform. We're

1027
00:49:17,560 --> 00:49:19,440
Speaker 7: gonna film you, and you're gonna show us how to

1028
00:49:19,520 --> 00:49:22,320
Speaker 7: do it. And I imagine if he had said that, Madgine,

1029
00:49:22,320 --> 00:49:25,160
Speaker 7: if I mean, this guy from San Francisco is ripping

1030
00:49:25,200 --> 00:49:28,040
Speaker 7: Sting saying Sting ain't shit band such blah blah blah.

1031
00:49:28,040 --> 00:49:30,279
Speaker 7: Sting writes him a letter in the newspaper. Yeah, this

1032
00:49:30,320 --> 00:49:32,120
Speaker 7: is a lot harder than you think. That's why when

1033
00:49:32,120 --> 00:49:34,520
Speaker 7: we come back in six months, I'm gonna reserve ten

1034
00:49:34,520 --> 00:49:36,640
Speaker 7: minutes for you and you can come on stage and

1035
00:49:36,680 --> 00:49:37,640
Speaker 7: you can do whatever you want.

1036
00:49:37,680 --> 00:49:39,560
Speaker 3: You can read poetry, it don't matter. You ain't got

1037
00:49:39,560 --> 00:49:48,040
Speaker 3: to sing a song. Yeah, the ten minutes are yours.

1038
00:49:48,400 --> 00:49:52,400
Speaker 7: And he received the universal condemnation from all these critics

1039
00:49:52,680 --> 00:49:54,760
Speaker 7: because they know, because.

1040
00:49:54,400 --> 00:49:56,600
Speaker 3: They know, and they're like, you're the one who's rich

1041
00:49:56,640 --> 00:49:58,960
Speaker 3: in famous, take your lumps. And he's like, no, I

1042
00:49:58,960 --> 00:50:02,080
Speaker 3: ain't about taking lump. You are trying to make yourself

1043
00:50:02,120 --> 00:50:04,680
Speaker 3: an authority on some shit you don't know how to do,

1044
00:50:05,120 --> 00:50:06,880
Speaker 3: so come on up here and show me how to

1045
00:50:06,920 --> 00:50:09,040
Speaker 3: do it. And that's how I feel. And it ain't

1046
00:50:09,080 --> 00:50:10,879
Speaker 3: like I'm because like people would say, you know, man,

1047
00:50:11,080 --> 00:50:12,000
Speaker 3: critics are really killing you.

1048
00:50:12,080 --> 00:50:15,440
Speaker 7: I'm like, so most of my real critics are like

1049
00:50:15,480 --> 00:50:17,080
Speaker 7: these dead dudes, And I'm trying to learn how to

1050
00:50:17,120 --> 00:50:19,839
Speaker 7: play like I got good enough years. I know if

1051
00:50:19,840 --> 00:50:21,680
Speaker 7: I can play this ship well or if I can't

1052
00:50:21,680 --> 00:50:24,319
Speaker 7: play it well. And if I can't play it well,

1053
00:50:24,400 --> 00:50:25,920
Speaker 7: I have to figure out how to learn how to

1054
00:50:25,920 --> 00:50:29,839
Speaker 7: play it well. And about me, they're not going they're

1055
00:50:29,840 --> 00:50:31,160
Speaker 7: not gonna help me learn how to do that.

1056
00:50:31,920 --> 00:50:34,759
Speaker 2: It was an example of something that if it's an

1057
00:50:34,760 --> 00:50:37,320
Speaker 2: older style or older music, something that you had to

1058
00:50:37,400 --> 00:50:38,520
Speaker 2: learn how to play well.

1059
00:50:38,920 --> 00:50:39,120
Speaker 3: Dude.

1060
00:50:39,120 --> 00:50:41,040
Speaker 7: There's so many of those, but I think the easiest

1061
00:50:41,040 --> 00:50:44,160
Speaker 7: one is playing balance. Most modern players don't know how

1062
00:50:44,160 --> 00:50:44,399
Speaker 7: to play.

1063
00:50:44,440 --> 00:50:47,319
Speaker 3: But I tell you what I told y'all.

1064
00:50:47,760 --> 00:50:50,840
Speaker 7: So they, you know, because they listen to train, you know,

1065
00:50:50,880 --> 00:50:52,600
Speaker 7: because train would play the melody and then you go

1066
00:50:52,600 --> 00:50:54,239
Speaker 7: into a two field and start playing all this shit.

1067
00:50:54,280 --> 00:50:55,440
Speaker 3: So they're like, I want to do that.

1068
00:50:56,080 --> 00:50:57,759
Speaker 7: But the thing is is that if you listen to

1069
00:50:57,840 --> 00:51:01,920
Speaker 7: train chronologically, he could also play a ballid very simply

1070
00:51:01,920 --> 00:51:05,880
Speaker 7: and very beautifully. So what they do is they listened

1071
00:51:05,880 --> 00:51:08,040
Speaker 7: to train at the end of his process and that's

1072
00:51:08,080 --> 00:51:10,399
Speaker 7: where they start their process. And I was the same,

1073
00:51:10,480 --> 00:51:12,080
Speaker 7: there's no different, gotcha.

1074
00:51:12,360 --> 00:51:15,080
Speaker 3: So part Blakey was like, man, you can't play a

1075
00:51:15,120 --> 00:51:17,320
Speaker 3: ballot where the ship. You know, you're horrible.

1076
00:51:18,120 --> 00:51:21,839
Speaker 7: I'm like, great, okay, you know true, but that's all

1077
00:51:21,880 --> 00:51:23,400
Speaker 7: you got. Is there a solution in there? And they

1078
00:51:23,400 --> 00:51:24,960
Speaker 7: read said, yeah it go check out Ben Webster.

1079
00:51:25,560 --> 00:51:25,880
Speaker 2: All right.

1080
00:51:26,160 --> 00:51:29,640
Speaker 7: I listened to it a little bit at my brother Delphia.

1081
00:51:29,719 --> 00:51:31,640
Speaker 7: We would we would always talk about music. I said, man,

1082
00:51:31,640 --> 00:51:32,960
Speaker 7: I got to get some more Ben wefter. So I

1083
00:51:33,040 --> 00:51:34,640
Speaker 7: was getting ready to go on stings first tour in

1084
00:51:34,719 --> 00:51:38,200
Speaker 7: eighty five. My brother says, I got a package coming

1085
00:51:38,239 --> 00:51:41,239
Speaker 7: for you, and it was two cassettes. Back in the

1086
00:51:41,280 --> 00:51:46,440
Speaker 7: good old days we had cassettes, right, and a package. Yeah,

1087
00:51:46,600 --> 00:51:49,440
Speaker 7: two cassetts because the walkman was that they didn't have

1088
00:51:49,560 --> 00:51:50,200
Speaker 7: disc men yet.

1089
00:51:50,239 --> 00:51:53,279
Speaker 3: They weren't out yet play c D yet. They weren't

1090
00:51:53,280 --> 00:51:53,840
Speaker 3: there yet.

1091
00:51:54,239 --> 00:51:57,960
Speaker 7: So it was a two Ben Webster records, one with

1092
00:51:58,000 --> 00:51:59,080
Speaker 7: the Oscar pedis.

1093
00:51:58,760 --> 00:52:01,960
Speaker 3: And trio and the other one strings. I listened to

1094
00:52:02,000 --> 00:52:03,839
Speaker 3: these shits every.

1095
00:52:03,680 --> 00:52:06,480
Speaker 7: Day for a year and a half. Now I was

1096
00:52:06,480 --> 00:52:09,719
Speaker 7: playing with things, I was rocking out, but every day

1097
00:52:09,880 --> 00:52:12,719
Speaker 7: at least once a day, sometimes I'm playing twice a day.

1098
00:52:13,120 --> 00:52:14,640
Speaker 3: I would listen to both of these.

1099
00:52:14,480 --> 00:52:17,839
Speaker 7: Cassettes, and a year and a half later, I could

1100
00:52:17,840 --> 00:52:20,160
Speaker 7: play like Ben web without.

1101
00:52:19,840 --> 00:52:21,919
Speaker 3: Even trying to play. It just came out the horn.

1102
00:52:22,000 --> 00:52:26,160
Speaker 7: I'm like, damn, that works, okay, great, And that was

1103
00:52:26,200 --> 00:52:27,040
Speaker 7: just the beginning.

1104
00:52:27,440 --> 00:52:30,840
Speaker 3: But in the break in the middle of it, we.

1105
00:52:30,640 --> 00:52:32,440
Speaker 7: Were off for six weeks and I went to the

1106
00:52:32,520 --> 00:52:35,239
Speaker 7: Vanguard and I was playing with some people and this

1107
00:52:35,320 --> 00:52:39,040
Speaker 7: old tenor man, Buddy Take, he played with Basie's band

1108
00:52:39,080 --> 00:52:39,760
Speaker 7: in the thirties.

1109
00:52:41,200 --> 00:52:43,440
Speaker 3: I said, oh, Take, you know you got an advice

1110
00:52:43,480 --> 00:52:45,279
Speaker 3: from me? Says, Son, You're the worst ballet player I

1111
00:52:45,280 --> 00:52:48,080
Speaker 3: ever heard in my life. And I said, I know,

1112
00:52:48,160 --> 00:52:50,200
Speaker 3: I know. I'm working on it. He says, really, you're

1113
00:52:50,200 --> 00:52:51,040
Speaker 3: working on it? What you're doing?

1114
00:52:51,080 --> 00:52:53,840
Speaker 7: I said, I'm listening to these two Ben Webster see things.

1115
00:52:53,840 --> 00:52:56,400
Speaker 7: He goes, that's gonna take care of it. You just

1116
00:52:56,480 --> 00:52:58,480
Speaker 7: keep listening to them. I said, but I've been listening

1117
00:52:58,520 --> 00:52:59,759
Speaker 7: for a year and it sounds like shit.

1118
00:52:59,800 --> 00:53:00,319
Speaker 3: He's his son.

1119
00:53:00,360 --> 00:53:02,480
Speaker 7: The only way to get better is to keep sounding

1120
00:53:02,520 --> 00:53:04,480
Speaker 7: like ship till it don't sound like shit no more.

1121
00:53:06,320 --> 00:53:08,880
Speaker 3: There ain't no shortcuts. And I said, okay, cool.

1122
00:53:09,280 --> 00:53:11,560
Speaker 7: And then when I came back, it's like there it was,

1123
00:53:12,400 --> 00:53:14,200
Speaker 7: you know. And then I would start playing all these

1124
00:53:14,239 --> 00:53:16,640
Speaker 7: old songs and guys say, man, why are you playing

1125
00:53:16,640 --> 00:53:18,600
Speaker 7: that old ship? And I'm like, why is a dog

1126
00:53:18,680 --> 00:53:26,440
Speaker 7: lickors balls? Because he can't? You know, It's just like

1127
00:53:26,920 --> 00:53:29,200
Speaker 7: why did I do it? Because I learned how to

1128
00:53:29,239 --> 00:53:32,160
Speaker 7: do it. Why can't you do it? I don't want to.

1129
00:53:32,080 --> 00:53:35,920
Speaker 11: Do that, sure you don't like And it was just

1130
00:53:35,920 --> 00:53:38,520
Speaker 11: like sing after thing I tried to learn, you know,

1131
00:53:39,000 --> 00:53:41,319
Speaker 11: I practiced Sonny Rollins, trying to play like Sonny for

1132
00:53:41,320 --> 00:53:44,799
Speaker 11: two years nothing and then like eight months later the

1133
00:53:44,840 --> 00:53:46,160
Speaker 11: Sunny Stuff starts coming out.

1134
00:53:46,200 --> 00:53:48,640
Speaker 3: And then after Sunny you just learned how to.

1135
00:53:48,560 --> 00:53:50,000
Speaker 2: Play like I was gonna ask you. I was gonna

1136
00:53:50,000 --> 00:53:51,759
Speaker 2: ask you about Ornate Cole when he was someone that

1137
00:53:52,520 --> 00:53:55,600
Speaker 2: I never could get into. It was just so it

1138
00:53:55,640 --> 00:53:58,239
Speaker 2: seems so far out from me, like what was his thing.

1139
00:53:58,440 --> 00:54:01,239
Speaker 7: That's the only that's the only time Stanley Krout and

1140
00:54:01,280 --> 00:54:03,160
Speaker 7: I ever had a conversation where at the end of it,

1141
00:54:03,200 --> 00:54:07,000
Speaker 7: I'm like, thanks, man, because you need to check out.

1142
00:54:08,560 --> 00:54:10,640
Speaker 3: I know Stanley was one for always wanting to fight out,

1143
00:54:10,800 --> 00:54:11,040
Speaker 3: you know.

1144
00:54:11,600 --> 00:54:14,520
Speaker 7: My He gave me this record, The Shape of Jazz

1145
00:54:14,560 --> 00:54:16,200
Speaker 7: to Come, and I listened to it for a week.

1146
00:54:16,239 --> 00:54:18,200
Speaker 3: I said, yeah, this just sucks, man. He goes, yeah,

1147
00:54:18,200 --> 00:54:19,120
Speaker 3: you need to keep listening.

1148
00:54:21,000 --> 00:54:22,560
Speaker 1: You didn't like to save the Jazz to Come when

1149
00:54:22,560 --> 00:54:24,520
Speaker 1: it first came out, But I know when it first

1150
00:54:24,560 --> 00:54:27,399
Speaker 1: came out, when you first heard three years old, when

1151
00:54:27,440 --> 00:54:30,280
Speaker 1: I first heard it, it was like, this sucks.

1152
00:54:30,840 --> 00:54:34,600
Speaker 7: Two weeks in. Three weeks in, I'm like, okay, that man.

1153
00:54:35,200 --> 00:54:38,560
Speaker 7: It took four months of listening to this record every day,

1154
00:54:39,080 --> 00:54:42,160
Speaker 7: and then in the fourth month suddenly I heard what

1155
00:54:42,280 --> 00:54:45,120
Speaker 7: it actually was and I'm like, holy shit, it's not

1156
00:54:45,200 --> 00:54:48,400
Speaker 7: even out. It's all in. It's all based on standard

1157
00:54:48,440 --> 00:54:50,520
Speaker 7: song for him. And I came back and started telling

1158
00:54:50,560 --> 00:54:52,440
Speaker 7: case y'all said, on that's out, this shit's in. It's

1159
00:54:52,440 --> 00:54:54,439
Speaker 7: sand Just the man, You're crazy. That's not standard song

1160
00:54:54,480 --> 00:54:59,200
Speaker 7: for song, standard song for you just have to listen

1161
00:54:59,200 --> 00:55:00,440
Speaker 7: to it enough to fig it out.

1162
00:55:01,040 --> 00:55:04,600
Speaker 2: Him and the other cat Rassam Roll and Kurt out there.

1163
00:55:05,120 --> 00:55:06,719
Speaker 2: It was the same kind of thing I was try

1164
00:55:06,760 --> 00:55:08,400
Speaker 2: and I'm just like, all right, maybe I just don't

1165
00:55:08,560 --> 00:55:10,840
Speaker 2: I'm not advanced enough to get it. What is it.

1166
00:55:10,880 --> 00:55:13,000
Speaker 7: There's a there's a documentary on Rassian that you should

1167
00:55:13,080 --> 00:55:14,799
Speaker 7: check out. I can't remember the name of.

1168
00:55:14,760 --> 00:55:16,840
Speaker 5: It, The Three Sided Dream.

1169
00:55:16,840 --> 00:55:19,000
Speaker 3: Thank You Face, The Three Sided Dream.

1170
00:55:19,440 --> 00:55:22,960
Speaker 7: And he did an eight minute performance on the Ed

1171
00:55:23,080 --> 00:55:25,239
Speaker 7: Sullivan Show at a time when jazz was not on

1172
00:55:25,400 --> 00:55:28,200
Speaker 7: Ed Sullivan at all, and that is some of the

1173
00:55:28,200 --> 00:55:30,920
Speaker 7: most electric shit you will see, Like some.

1174
00:55:31,000 --> 00:55:33,520
Speaker 3: Of the documentary. It slows down. It's kind of boring.

1175
00:55:33,680 --> 00:55:38,200
Speaker 7: And but then this makes like if you you check

1176
00:55:38,239 --> 00:55:42,239
Speaker 7: out on Rassiana and that you good, you know, then I.

1177
00:55:42,239 --> 00:55:44,840
Speaker 2: Promise you I got it, I got it down.

1178
00:55:45,760 --> 00:55:47,440
Speaker 3: You'd be like, oh, I get it?

1179
00:55:47,600 --> 00:55:50,440
Speaker 1: Was there was your tenure? Was your tenure with Blakie

1180
00:55:50,600 --> 00:55:56,239
Speaker 1: your first time in a professional like established jazz unit.

1181
00:55:56,960 --> 00:55:58,840
Speaker 1: And was that also in the studio or just on

1182
00:55:58,840 --> 00:55:59,200
Speaker 1: the road?

1183
00:55:59,680 --> 00:56:01,719
Speaker 3: Well, we did it was all It was mostly on

1184
00:56:01,760 --> 00:56:02,120
Speaker 3: the road.

1185
00:56:02,200 --> 00:56:05,560
Speaker 7: Yes, it was my first established I did some things

1186
00:56:05,560 --> 00:56:08,000
Speaker 7: in New Orleans would established musicians and my dad and

1187
00:56:08,040 --> 00:56:11,200
Speaker 7: we had this regular gig these uh, these older New

1188
00:56:11,320 --> 00:56:13,400
Speaker 7: Orleans cats, I mean older, like ten years older than me.

1189
00:56:13,800 --> 00:56:15,480
Speaker 3: John Vadakovich was on drums.

1190
00:56:16,080 --> 00:56:19,040
Speaker 7: David Torkanowski was the pianist's dad was the conductor of

1191
00:56:19,120 --> 00:56:27,200
Speaker 7: Louisiana Philharmony of the New Orleans and uh and uh.

1192
00:56:25,840 --> 00:56:27,000
Speaker 3: Jim Singleton on base.

1193
00:56:27,080 --> 00:56:28,719
Speaker 7: And they called me and went and said, hey man,

1194
00:56:28,719 --> 00:56:30,879
Speaker 7: we got these gigs at Tyler's Beer Guard march y'all

1195
00:56:30,880 --> 00:56:32,960
Speaker 7: come play with us. So we had this one gig

1196
00:56:33,000 --> 00:56:35,120
Speaker 7: a week where we would come in and play.

1197
00:56:34,880 --> 00:56:37,279
Speaker 3: Tunes with these cats, and you know, went was.

1198
00:56:37,239 --> 00:56:39,319
Speaker 7: Firing and I was just playing a pentatonic scale on

1199
00:56:39,400 --> 00:56:43,080
Speaker 7: everything because that you know.

1200
00:56:43,160 --> 00:56:44,719
Speaker 3: But it was great. We had a great time. I

1201
00:56:44,719 --> 00:56:46,520
Speaker 3: mean everybody looked out for us. I mean we had

1202
00:56:46,640 --> 00:56:48,680
Speaker 3: really cool experiences.

1203
00:56:48,000 --> 00:56:51,360
Speaker 7: You know, playing in bars when we were not legal age,

1204
00:56:51,400 --> 00:56:52,840
Speaker 7: and it was great.

1205
00:56:53,160 --> 00:56:55,800
Speaker 2: Did you ever do anything anytime New Orleans ever do

1206
00:56:55,880 --> 00:56:57,120
Speaker 2: anything with Alan Tucson?

1207
00:56:57,960 --> 00:57:01,799
Speaker 3: No? No, he didn't. They didn't. You know, they got

1208
00:57:01,880 --> 00:57:03,640
Speaker 3: to call me. It's not like I'm because you know

1209
00:57:03,719 --> 00:57:04,240
Speaker 3: it's female.

1210
00:57:04,480 --> 00:57:06,080
Speaker 2: But that's what I was thinking. Did he ever call you?

1211
00:57:06,200 --> 00:57:07,640
Speaker 2: That's what I meant, because.

1212
00:57:07,400 --> 00:57:09,279
Speaker 3: By the time I left me once a seventy nine,

1213
00:57:09,880 --> 00:57:11,880
Speaker 3: Oh okay, gotcha. And then when the whole when it

1214
00:57:11,920 --> 00:57:14,160
Speaker 3: all started happening, I was in New York. He didn't.

1215
00:57:14,239 --> 00:57:16,160
Speaker 7: There were plenty of sacks players he could use at home.

1216
00:57:16,600 --> 00:57:19,840
Speaker 7: He okay, but Christian, I.

1217
00:57:19,840 --> 00:57:21,880
Speaker 3: Mean here, yes, R Blake.

1218
00:57:21,920 --> 00:57:24,720
Speaker 7: It was my first professional organization and it was mostly

1219
00:57:24,760 --> 00:57:26,600
Speaker 7: on the road. Even the record we did wasn't a

1220
00:57:26,640 --> 00:57:29,000
Speaker 7: studio record. It was a live record at the Keystone

1221
00:57:29,000 --> 00:57:30,120
Speaker 7: Corner in San Francisco.

1222
00:57:30,600 --> 00:57:35,320
Speaker 1: Okay, what's your brother's debut album? Your first time in

1223
00:57:35,400 --> 00:57:39,320
Speaker 1: a studio setting. As far as jazz was concerned or yes,

1224
00:57:39,520 --> 00:57:42,080
Speaker 1: as far as Jadge was concerned. Yeah, no, not true.

1225
00:57:42,440 --> 00:57:43,120
Speaker 3: That's not true.

1226
00:57:43,480 --> 00:57:46,040
Speaker 7: Because we had done this record called Fathers and Sons

1227
00:57:46,560 --> 00:57:51,200
Speaker 7: with me and went and Dead and uh Chico Freeman

1228
00:57:51,280 --> 00:57:53,080
Speaker 7: and Von Freeman on one side and me and went

1229
00:57:53,200 --> 00:57:56,360
Speaker 7: and Dead with some new with James Black and uh

1230
00:57:57,000 --> 00:57:59,439
Speaker 7: Charles Family, Yo Homie on base.

1231
00:58:00,080 --> 00:58:02,320
Speaker 3: That was the first thing, like with Winton's record. Yeah,

1232
00:58:02,320 --> 00:58:03,360
Speaker 3: that was the first.

1233
00:58:04,320 --> 00:58:07,280
Speaker 7: Yeah, the second one, you know, and the first time

1234
00:58:07,280 --> 00:58:09,320
Speaker 7: in the studio I was a kid. There was a

1235
00:58:09,320 --> 00:58:11,800
Speaker 7: guy named It was a guy he did a song

1236
00:58:11,840 --> 00:58:16,080
Speaker 7: called Mad Mad Mardi Gras. He hired me Winton and

1237
00:58:16,440 --> 00:58:20,200
Speaker 7: this saxophone player, Donald Harrison to play the part. And

1238
00:58:20,240 --> 00:58:23,120
Speaker 7: I wrote the arrangements because that was my I've been

1239
00:58:23,120 --> 00:58:25,360
Speaker 7: listening to that stuff. So we didn't have a baritone sax,

1240
00:58:25,440 --> 00:58:26,680
Speaker 7: so we took an alto and.

1241
00:58:26,680 --> 00:58:28,800
Speaker 3: Dropped it in octave so it sounded like a baton.

1242
00:58:28,880 --> 00:58:29,439
Speaker 3: We did all these.

1243
00:58:29,320 --> 00:58:31,840
Speaker 7: Crazy things, so we made like a six or seven

1244
00:58:31,840 --> 00:58:35,480
Speaker 7: piece horn section on this song Mad Mad Madira from

1245
00:58:35,480 --> 00:58:37,280
Speaker 7: this from this guy in New Orleans. It was it

1246
00:58:37,320 --> 00:58:40,800
Speaker 7: was cool and I played a little corny ass so

1247
00:58:41,440 --> 00:58:44,880
Speaker 7: with I guess that debut record, whose idea was.

1248
00:58:44,880 --> 00:58:48,360
Speaker 3: It to use the classic H.

1249
00:58:48,520 --> 00:58:52,520
Speaker 1: Davis Quintet as the background at least with Us Shorter

1250
00:58:52,600 --> 00:58:53,880
Speaker 1: and your brother's moles.

1251
00:58:53,920 --> 00:58:56,920
Speaker 3: But Ron Carter and.

1252
00:58:56,880 --> 00:58:59,400
Speaker 7: Well Wenton was playing with them. Wentton was doing a

1253
00:58:59,480 --> 00:59:01,960
Speaker 7: tour with them as a quartet with Ron Herby and

1254
00:59:02,000 --> 00:59:05,240
Speaker 7: Tony Okay he was playing. Was that by design or

1255
00:59:05,440 --> 00:59:08,560
Speaker 7: just like, yeah, they hired him to play on the road,

1256
00:59:09,000 --> 00:59:11,600
Speaker 7: So I'm saying, yeah, it was by design. So he

1257
00:59:12,160 --> 00:59:15,720
Speaker 7: was on tour with them when they recorded that part

1258
00:59:15,720 --> 00:59:17,960
Speaker 7: of the record. It was in Tokyo, and so went

1259
00:59:18,000 --> 00:59:19,720
Speaker 7: and called me and said, hey, man, you're doing the record,

1260
00:59:19,760 --> 00:59:20,560
Speaker 7: Fly to Tokyo.

1261
00:59:21,200 --> 00:59:22,120
Speaker 3: I flew to Tokyo.

1262
00:59:22,840 --> 00:59:28,280
Speaker 1: I see just growing up listening to your records, I

1263
00:59:28,440 --> 00:59:33,280
Speaker 1: have to personally say that, you know, I got your

1264
00:59:33,640 --> 00:59:36,240
Speaker 1: The first album I've got of yours was Scenes in

1265
00:59:36,280 --> 00:59:40,960
Speaker 1: the City, and the thing that struck me, Like I

1266
00:59:41,000 --> 00:59:43,760
Speaker 1: was thirteen when it came out, So the one thing

1267
00:59:43,800 --> 00:59:47,280
Speaker 1: that struck me about that record was the title cut

1268
00:59:47,520 --> 00:59:51,440
Speaker 1: and the fact that you kind of predated Doctor Dre

1269
00:59:52,360 --> 00:59:55,640
Speaker 1: Prince Paul as far as like you know the way

1270
00:59:55,640 --> 01:00:01,200
Speaker 1: that you crafted that song as a or as more

1271
01:00:01,360 --> 01:00:04,320
Speaker 1: like I don't know how to describe it like Stevie

1272
01:00:04,360 --> 01:00:07,480
Speaker 1: Wonder's the only person I know that used like uh

1273
01:00:07,760 --> 01:00:11,280
Speaker 1: dialogue or Marlena Shaw, she did it a little bit

1274
01:00:11,560 --> 01:00:14,880
Speaker 1: on that Uh uh, whose bitch is this?

1275
01:00:15,280 --> 01:00:16,640
Speaker 3: I forget that album on Blue Note.

1276
01:00:16,680 --> 01:00:20,200
Speaker 1: But what was at least with the title cut with

1277
01:00:20,280 --> 01:00:23,360
Speaker 1: scenes of the city, what was in your mind frame

1278
01:00:23,400 --> 01:00:26,280
Speaker 1: when you were crafting that, like as far as presenting

1279
01:00:26,320 --> 01:00:29,440
Speaker 1: a story of poetry and the way that you weaved

1280
01:00:29,480 --> 01:00:31,240
Speaker 1: in different music genres.

1281
01:00:30,800 --> 01:00:32,439
Speaker 3: In and out, like it's not mine.

1282
01:00:32,480 --> 01:00:34,120
Speaker 1: That was unheard of an eighty four at least for

1283
01:00:34,200 --> 01:00:36,000
Speaker 1: me as a thirteen year old, I never.

1284
01:00:35,840 --> 01:00:38,240
Speaker 7: Heard anything like that. If you passed the prolog that

1285
01:00:38,280 --> 01:00:40,960
Speaker 7: was a mingus mingus did it? If I heard it

1286
01:00:41,000 --> 01:00:42,680
Speaker 7: in the city, Yeah, that would be great to do that.

1287
01:00:43,160 --> 01:00:45,560
Speaker 7: And I used my homeboy. Wendell Pearce was the narrator

1288
01:00:45,640 --> 01:00:45,800
Speaker 7: on it.

1289
01:00:46,360 --> 01:00:49,560
Speaker 3: That was Wendell Perce. Wow, Wendel. It just got to

1290
01:00:49,600 --> 01:00:51,800
Speaker 3: New York. He was at ju Yord. Hey, bro, come

1291
01:00:51,840 --> 01:00:54,200
Speaker 3: do this for me. I'll pay you. Yeah, man, I'll

1292
01:00:54,200 --> 01:00:58,280
Speaker 3: do it. That's up. I'll pay you.

1293
01:00:58,280 --> 01:01:00,400
Speaker 7: You know, he's a student's struggling like yeah, I men,

1294
01:01:00,400 --> 01:01:01,720
Speaker 7: you're gonna get paid for this shit. I mean like,

1295
01:01:01,920 --> 01:01:03,959
Speaker 7: it's not like in New Orleans where you.

1296
01:01:03,600 --> 01:01:05,800
Speaker 3: Do me a solid, you know, and I'll write some

1297
01:01:06,000 --> 01:01:07,680
Speaker 3: music for your movie. It was like, no, you're gonna

1298
01:01:07,680 --> 01:01:10,720
Speaker 3: get paid to do it. Come do this thing. Steve

1299
01:01:10,760 --> 01:01:13,160
Speaker 3: Coleman alto play on that.

1300
01:01:13,280 --> 01:01:17,320
Speaker 1: Steve Coleman, yeap, oh mom boy, Okay, Steve, all right,

1301
01:01:17,400 --> 01:01:21,600
Speaker 1: So you had some inbased ties in there with the

1302
01:01:21,720 --> 01:01:24,600
Speaker 1: but yes, and a four in base wasn't established.

1303
01:01:25,200 --> 01:01:30,160
Speaker 7: It was eighty three was recorded in eighty two out

1304
01:01:30,160 --> 01:01:32,000
Speaker 7: of the vanguard. I'm like, I'm doing this song, man,

1305
01:01:32,040 --> 01:01:32,920
Speaker 7: come do this hit with me.

1306
01:01:33,480 --> 01:01:33,840
Speaker 3: Okay.

1307
01:01:34,160 --> 01:01:36,440
Speaker 7: It was him in your Home where Robin you Banks,

1308
01:01:36,800 --> 01:01:38,680
Speaker 7: you know, Smithy was on it, you know, and it

1309
01:01:38,720 --> 01:01:40,800
Speaker 7: was just it was yeah, it was just it.

1310
01:01:40,840 --> 01:01:42,520
Speaker 3: Was a cool thing to do. So yeah, it was

1311
01:01:42,520 --> 01:01:44,360
Speaker 3: a It was an old Mingus tune called scenes in

1312
01:01:44,360 --> 01:01:44,760
Speaker 3: the City.

1313
01:01:45,040 --> 01:01:47,919
Speaker 1: And I talked about those cats because like I idolized those

1314
01:01:47,960 --> 01:01:54,000
Speaker 1: cats growing up like tain uh Kirkland uh, even staring

1315
01:01:54,040 --> 01:01:56,800
Speaker 1: at Montfett, like what were those cats like? Like in

1316
01:01:56,920 --> 01:02:01,560
Speaker 1: general he described their musicianship or I get the I

1317
01:02:01,560 --> 01:02:04,040
Speaker 1: get the already, I already know you're you're you're, you're

1318
01:02:04,360 --> 01:02:09,000
Speaker 1: you're deflating my balloon of the romanticized musicians thing.

1319
01:02:09,200 --> 01:02:11,320
Speaker 7: So no, what I mean, you know, they were They

1320
01:02:11,360 --> 01:02:14,959
Speaker 7: were complete musicians. It's like that thing everybody heard Tane

1321
01:02:15,000 --> 01:02:17,520
Speaker 7: playing with. When I met Tange, Like when I got

1322
01:02:17,560 --> 01:02:20,400
Speaker 7: to Berkeley, i was R and B saxophone and I'm like,

1323
01:02:20,760 --> 01:02:23,560
Speaker 7: I'm interested in this jazz thing. When Tange got to Berkeley,

1324
01:02:23,680 --> 01:02:28,560
Speaker 7: he was basically a fusion Okay, you know Billy cobbam

1325
01:02:28,680 --> 01:02:30,640
Speaker 7: Nerod and Michael Walden. He was out of that gid

1326
01:02:31,640 --> 01:02:32,720
Speaker 7: right and uh.

1327
01:02:34,280 --> 01:02:38,280
Speaker 3: Yeah, you know Early Atlantic, Yeah yeah, early well yeah,

1328
01:02:38,320 --> 01:02:39,080
Speaker 3: when he was playing with.

1329
01:02:42,520 --> 01:02:44,680
Speaker 7: So it was like we both got there and started

1330
01:02:44,760 --> 01:02:47,040
Speaker 7: checking out jazz at the same time, different things, but

1331
01:02:48,320 --> 01:02:51,760
Speaker 7: our bass was something else. And then we started listening

1332
01:02:51,800 --> 01:02:54,080
Speaker 7: to jazz and he got heavy into the oven thing,

1333
01:02:54,760 --> 01:02:57,600
Speaker 7: and I was listening to Wayne playing with Miles Davis

1334
01:02:58,000 --> 01:03:01,240
Speaker 7: and Lester Young and he was just a brilliant musician.

1335
01:03:01,320 --> 01:03:03,400
Speaker 7: There were a couple of musicians, because I had never

1336
01:03:03,480 --> 01:03:06,840
Speaker 7: played with Jeff and there were a couple of musicians.

1337
01:03:07,000 --> 01:03:11,040
Speaker 3: Said, yeah, man, Jeff Man, I don't know what he's playing. Yeah,

1338
01:03:11,120 --> 01:03:13,520
Speaker 3: sh it's not happening. So I'm like, damn, it must

1339
01:03:13,560 --> 01:03:15,600
Speaker 3: be happening then, because if they think it's not happening.

1340
01:03:16,080 --> 01:03:17,640
Speaker 3: So I'd say, hey, man, let's do a session.

1341
01:03:17,680 --> 01:03:19,680
Speaker 7: And I heard him playing, I'm like, oh, it's killing

1342
01:03:19,840 --> 01:03:23,040
Speaker 7: because it was so melodic and it defied what you

1343
01:03:23,160 --> 01:03:25,280
Speaker 7: thought the drummer was supposed to do because he was

1344
01:03:25,320 --> 01:03:27,440
Speaker 7: so used to hearing him and then playing in the

1345
01:03:27,480 --> 01:03:31,040
Speaker 7: middle of song, you know, So he was kind of bringing.

1346
01:03:30,800 --> 01:03:33,480
Speaker 3: That y you know, along with the tony thing. And

1347
01:03:34,280 --> 01:03:38,200
Speaker 3: his timing is immaculate. Yeah, and his musicianship is you

1348
01:03:38,360 --> 01:03:40,480
Speaker 3: like we would like. Kurt Ellen was was doing a

1349
01:03:40,560 --> 01:03:45,640
Speaker 3: record called The Question about three years ago. Yeah, I was.

1350
01:03:45,920 --> 01:03:49,400
Speaker 7: I was thinking about using tang like some musicians said

1351
01:03:49,440 --> 01:03:52,000
Speaker 7: that he's just the kind of cat that's just going

1352
01:03:52,080 --> 01:03:54,439
Speaker 7: to play what he wants to play. And it's really

1353
01:03:54,480 --> 01:03:59,320
Speaker 7: funny when you have musicians that don't really understand jazz language.

1354
01:04:00,160 --> 01:04:03,600
Speaker 3: Can they airtain play? That's what they think he's doing.

1355
01:04:04,600 --> 01:04:06,400
Speaker 3: They think he's just playing whatever he wants.

1356
01:04:07,520 --> 01:04:10,920
Speaker 7: And I just told Kurt Man Tane is one of

1357
01:04:10,960 --> 01:04:13,240
Speaker 7: the best musicians on the planet, and he's going to

1358
01:04:13,280 --> 01:04:15,520
Speaker 7: play your music and hook it up to the degree

1359
01:04:15,600 --> 01:04:18,360
Speaker 7: that you will be depressed anytime you hear another drummer

1360
01:04:18,640 --> 01:04:23,520
Speaker 7: trying to pay, and when the record was done, He's like,

1361
01:04:23,760 --> 01:04:25,840
Speaker 7: I can already tell I'm going to be depressed a

1362
01:04:25,920 --> 01:04:29,200
Speaker 7: lot because changes everything he plays is based on what

1363
01:04:29,280 --> 01:04:30,400
Speaker 7: the melody of the song is.

1364
01:04:30,480 --> 01:04:34,520
Speaker 3: I mean, you know, his logic, his brain was is unbelievable.

1365
01:04:34,840 --> 01:04:37,480
Speaker 1: How much rope do you give him as a drummer too,

1366
01:04:38,520 --> 01:04:41,600
Speaker 1: Because what I last storing to him is just his

1367
01:04:41,840 --> 01:04:46,880
Speaker 1: ability to change time signature and reconfigure a song a

1368
01:04:46,880 --> 01:04:49,000
Speaker 1: different way that you don't hear it. And that's the

1369
01:04:49,040 --> 01:04:49,920
Speaker 1: one thing I borrow.

1370
01:04:49,800 --> 01:04:50,480
Speaker 3: From him the most.

1371
01:04:51,080 --> 01:04:53,160
Speaker 1: Where I'll be in the pocket, then I'll just you know,

1372
01:04:53,240 --> 01:04:55,320
Speaker 1: I'll switch something in that's still in the pocket, but

1373
01:04:55,880 --> 01:04:59,000
Speaker 1: it's a different time signature, Like when these songs, when

1374
01:04:59,040 --> 01:05:01,320
Speaker 1: you're writing these songs and you're arranging these songs, Like

1375
01:05:02,200 --> 01:05:05,240
Speaker 1: how much leeway are you giving him at least in

1376
01:05:05,280 --> 01:05:07,160
Speaker 1: the studio. I know that live is a different thing

1377
01:05:07,200 --> 01:05:09,080
Speaker 1: and you guys just go from your gut.

1378
01:05:09,040 --> 01:05:13,880
Speaker 3: But no studio is the same. Like what you hear,

1379
01:05:15,080 --> 01:05:17,640
Speaker 3: what you hear, make it better, all right?

1380
01:05:17,720 --> 01:05:19,560
Speaker 1: I can nerd out on your jazz career a lot,

1381
01:05:19,600 --> 01:05:22,560
Speaker 1: but there's other areas of your life we gotta get on.

1382
01:05:23,760 --> 01:05:25,680
Speaker 3: I got to get to film before you even get

1383
01:05:25,720 --> 01:05:26,800
Speaker 3: to your hip hop part.

1384
01:05:27,480 --> 01:05:30,560
Speaker 1: The first thing I saw you and was on probably

1385
01:05:30,600 --> 01:05:33,440
Speaker 1: one of the blackest episodes of Saturday Night Live. I've

1386
01:05:33,480 --> 01:05:39,000
Speaker 1: ever seen Malcolm Jamal Warner episode with run DMC and

1387
01:05:39,440 --> 01:05:43,320
Speaker 1: that's Mack in eighty six when they would let filmmakers

1388
01:05:43,400 --> 01:05:48,360
Speaker 1: do these shorts, and I guess, Spike Lee, yeah, spikey.

1389
01:05:48,320 --> 01:05:49,200
Speaker 3: Yeah, warned plenty.

1390
01:05:50,000 --> 01:05:53,200
Speaker 1: Is that the first time you met with Spike or like,

1391
01:05:53,280 --> 01:05:55,919
Speaker 1: how did you how are you even available or open

1392
01:05:56,040 --> 01:05:58,520
Speaker 1: to even be in that lane.

1393
01:05:59,440 --> 01:06:02,160
Speaker 3: I did some theater in high school and I was

1394
01:06:02,240 --> 01:06:07,240
Speaker 3: not afraid dad, but I met Spike Spike. It's really

1395
01:06:07,280 --> 01:06:10,000
Speaker 3: funny story. Spike was going around the neighborhood trying to

1396
01:06:10,000 --> 01:06:12,720
Speaker 3: get people to invest in She's got to have it,

1397
01:06:12,800 --> 01:06:17,320
Speaker 3: She's gonna have that's right. So he rings the doorbell

1398
01:06:17,480 --> 01:06:18,040
Speaker 3: me and went Now.

1399
01:06:18,040 --> 01:06:21,120
Speaker 7: They were living in Brooklyn on Washington Avenue, basically six

1400
01:06:21,200 --> 01:06:21,880
Speaker 7: box from Spike.

1401
01:06:22,560 --> 01:06:25,080
Speaker 3: He says, hey, you know, hey man Brandon winning is

1402
01:06:25,200 --> 01:06:26,680
Speaker 3: My name is Spike Lee. I'm a filmmaker.

1403
01:06:27,440 --> 01:06:30,000
Speaker 7: You know, my dad's a musician, you know, And it's

1404
01:06:30,040 --> 01:06:31,680
Speaker 7: just like I just want to welcome you to the neighborhood.

1405
01:06:31,720 --> 01:06:34,360
Speaker 7: He didn't have the courage to take throw us some

1406
01:06:34,440 --> 01:06:35,240
Speaker 7: money for the movie.

1407
01:06:35,240 --> 01:06:37,520
Speaker 3: He never brought it up. He never brought it up.

1408
01:06:37,840 --> 01:06:39,880
Speaker 3: He says, you know, my dad's a musician. I said, really,

1409
01:06:39,880 --> 01:06:42,920
Speaker 3: what's his name? Bill Lee went and is the bass player? Yeah,

1410
01:06:43,000 --> 01:06:45,040
Speaker 3: how you know that? He says, Man, we heard your

1411
01:06:45,160 --> 01:06:48,240
Speaker 3: dad when he was we were little kids. He had

1412
01:06:48,280 --> 01:06:50,720
Speaker 3: this band with like a folk band. And I said, oh,

1413
01:06:50,840 --> 01:06:53,680
Speaker 3: ship the descendant of Mike in Phoebe. And he goes,

1414
01:06:53,720 --> 01:06:57,840
Speaker 3: oh my god, y'all know that. Yeah, my dad. We

1415
01:06:57,880 --> 01:06:59,680
Speaker 3: didn't want to go, but my dad said, your going

1416
01:07:00,440 --> 01:07:02,720
Speaker 3: this guys from New York. And it was fun. I mean,

1417
01:07:02,760 --> 01:07:05,120
Speaker 3: you know, it was storytelling, It was a little jazz

1418
01:07:05,200 --> 01:07:07,080
Speaker 3: in it, little folklore. It was great. It was a

1419
01:07:07,120 --> 01:07:10,400
Speaker 3: great little concert. I was like eight or nine, like

1420
01:07:10,480 --> 01:07:12,360
Speaker 3: if I was eight, Winton was seven. I was nine.

1421
01:07:12,400 --> 01:07:14,800
Speaker 3: Winton was eight, and they came to New Orleans and

1422
01:07:14,840 --> 01:07:16,520
Speaker 3: the sending some mic and phebe and that really freaked

1423
01:07:16,600 --> 01:07:17,200
Speaker 3: him out, you know.

1424
01:07:17,320 --> 01:07:19,640
Speaker 7: And we just hung out and had a great time

1425
01:07:19,960 --> 01:07:21,520
Speaker 7: and we would see each other on the stupid And

1426
01:07:21,600 --> 01:07:23,160
Speaker 7: he never asked for any money.

1427
01:07:24,840 --> 01:07:26,280
Speaker 3: As old you should have. I would have got a

1428
01:07:26,360 --> 01:07:29,480
Speaker 3: return then some I would have done it, but we

1429
01:07:29,640 --> 01:07:31,640
Speaker 3: just hit it off, you know, and I go to

1430
01:07:31,720 --> 01:07:33,560
Speaker 3: his house and we would just sit around and then

1431
01:07:33,600 --> 01:07:35,400
Speaker 3: he told me one day I had had to shoot

1432
01:07:35,440 --> 01:07:37,720
Speaker 3: this short. You want to be in it. I'm like, yeah,

1433
01:07:37,760 --> 01:07:39,520
Speaker 3: whatever you want, man, you know.

1434
01:07:39,600 --> 01:07:41,880
Speaker 7: And he's playing explaining what it was, and I'm like, yeah,

1435
01:07:41,880 --> 01:07:43,560
Speaker 7: I'll stand on the corner in Brooklyn and play.

1436
01:07:44,960 --> 01:07:46,760
Speaker 3: Stand on the corner and play and crack jokes on

1437
01:07:46,880 --> 01:07:49,720
Speaker 3: people that went by. He's like, just insult people when

1438
01:07:49,760 --> 01:07:54,960
Speaker 3: they walk by. I say, yeah, I'm from Newman, mpressure

1439
01:07:55,000 --> 01:07:58,040
Speaker 3: on me. I hope it's still on YouTube. Yeah. It's

1440
01:07:58,080 --> 01:07:59,160
Speaker 3: basically short of.

1441
01:08:01,040 --> 01:08:04,560
Speaker 1: Branford needing to rustle up some money for for you know,

1442
01:08:05,600 --> 01:08:08,480
Speaker 1: diapers and a formula.

1443
01:08:08,320 --> 01:08:10,880
Speaker 3: You child and the great And I walked outside. I'm

1444
01:08:10,920 --> 01:08:12,160
Speaker 3: a musician, what do you want me to do?

1445
01:08:12,720 --> 01:08:13,320
Speaker 2: Go be a man?

1446
01:08:13,400 --> 01:08:16,120
Speaker 3: So I walked outside. I started playing for Chambers. Wait,

1447
01:08:16,280 --> 01:08:19,040
Speaker 3: who who was the on Fulton Avenue. It was like

1448
01:08:19,280 --> 01:08:21,480
Speaker 3: the premise of it, if you know Brooklyn is hilarious.

1449
01:08:21,720 --> 01:08:26,760
Speaker 3: What kind of money you're gonna make on Fulton? Yeah,

1450
01:08:26,840 --> 01:08:31,080
Speaker 3: there's also so how did you get and throw Mama

1451
01:08:31,160 --> 01:08:32,840
Speaker 3: from the train? And like, at this point are.

1452
01:08:32,800 --> 01:08:35,200
Speaker 2: You damn, I forgot about.

1453
01:08:37,160 --> 01:08:40,080
Speaker 3: Yes, I think it was after they saw the Sting movie.

1454
01:08:40,240 --> 01:08:41,800
Speaker 3: I was just talking all kind of crazy ship in

1455
01:08:41,880 --> 01:08:45,599
Speaker 3: the movie. Wait, I do have one Sting question.

1456
01:08:46,320 --> 01:08:51,120
Speaker 1: Can you please tell me what you and Sting were

1457
01:08:51,240 --> 01:08:53,479
Speaker 1: laughing at at the end of the title track of

1458
01:08:53,600 --> 01:08:54,639
Speaker 1: Dreaming of the Blue Turtles?

1459
01:08:55,080 --> 01:09:00,800
Speaker 3: Anyway? Please please? Because you know what someone asked me.

1460
01:09:00,960 --> 01:09:03,639
Speaker 3: Someone asked me, what is the genesis of my laugh?

1461
01:09:04,439 --> 01:09:08,759
Speaker 1: And I think hearing you two laugh and that goofy laughing,

1462
01:09:08,840 --> 01:09:12,320
Speaker 1: what like, I can tell there's an inside joke so

1463
01:09:12,560 --> 01:09:13,439
Speaker 1: obvious that I.

1464
01:09:14,360 --> 01:09:17,360
Speaker 3: When this ship ain't rolling, I'll tell you, Stink won't

1465
01:09:17,400 --> 01:09:22,800
Speaker 3: tell me, you'll I'll tell you that's how you do.

1466
01:09:22,880 --> 01:09:27,040
Speaker 7: It's good, it's not really, it's mundane really, but still

1467
01:09:27,880 --> 01:09:29,800
Speaker 7: it ain't gonna come from me on record.

1468
01:09:30,040 --> 01:09:31,880
Speaker 3: All good, I get it.

1469
01:09:32,000 --> 01:09:35,000
Speaker 1: I just when whenever that laugh breakdown happens, I just

1470
01:09:35,439 --> 01:09:38,519
Speaker 1: you know, all right. You know, we've had Spike on

1471
01:09:38,600 --> 01:09:41,800
Speaker 1: the show. We've we've we've talked about the scene for

1472
01:09:41,960 --> 01:09:46,200
Speaker 1: five minutes, and then after the show was edited and completed,

1473
01:09:46,800 --> 01:09:49,680
Speaker 1: I went back to look at this clip, and I

1474
01:09:49,960 --> 01:09:55,760
Speaker 1: believe that you had a hand in that fight scene.

1475
01:09:57,920 --> 01:10:00,760
Speaker 3: In school days. He told you you didn't see it

1476
01:10:00,920 --> 01:10:03,040
Speaker 3: wasn't it wasn't. Okay, Well.

1477
01:10:05,040 --> 01:10:08,240
Speaker 1: No, no, no, when we I asked him because someone

1478
01:10:08,280 --> 01:10:12,639
Speaker 1: told I think I talked to Ernest Dickerson. Ernest told

1479
01:10:12,720 --> 01:10:17,320
Speaker 1: me that when that step show happened, Uh, when when

1480
01:10:17,360 --> 01:10:20,760
Speaker 1: the fight occurred? That was a real fight. And then

1481
01:10:20,800 --> 01:10:22,560
Speaker 1: I asked Spike about it. He was like, yes, that

1482
01:10:22,640 --> 01:10:25,439
Speaker 1: was a real fight. And when I went back to

1483
01:10:25,920 --> 01:10:34,200
Speaker 1: look at the tape, you insta he drinks water, went

1484
01:10:34,280 --> 01:10:38,160
Speaker 1: to he's sipping tea right now. He's literally I wish

1485
01:10:38,240 --> 01:10:40,439
Speaker 1: I was sipping bourbon. Then I tell you the story.

1486
01:10:40,560 --> 01:10:44,200
Speaker 3: So and I was, what was the deal with school days?

1487
01:10:44,560 --> 01:10:48,160
Speaker 3: And was the tension that real? For some? It was?

1488
01:10:48,800 --> 01:10:49,479
Speaker 3: For some it was.

1489
01:10:49,560 --> 01:10:52,640
Speaker 7: I mean Spike tried to create this environment so the

1490
01:10:52,720 --> 01:10:55,040
Speaker 7: light skinned people were in a better hotel and we

1491
01:10:55,160 --> 01:10:57,760
Speaker 7: went this raggedy ass hotel. But the reality is is, man,

1492
01:10:58,240 --> 01:10:59,519
Speaker 7: he's a professional actress.

1493
01:11:00,240 --> 01:11:01,920
Speaker 3: You know what I mean. You didn't have to create

1494
01:11:02,000 --> 01:11:03,960
Speaker 3: that kind of tension. I mean, they can create it

1495
01:11:04,040 --> 01:11:04,839
Speaker 3: on command.

1496
01:11:05,600 --> 01:11:09,479
Speaker 7: I really don't remember us being mad because we went

1497
01:11:09,560 --> 01:11:10,960
Speaker 7: one hotel and they won another one.

1498
01:11:11,040 --> 01:11:13,920
Speaker 3: I don't remember that at all. Maybe some people felt

1499
01:11:13,960 --> 01:11:14,800
Speaker 3: that way, but not.

1500
01:11:14,920 --> 01:11:18,120
Speaker 7: The crew I was hanging with. And the fight, well,

1501
01:11:18,160 --> 01:11:20,760
Speaker 7: the fight was it was mostly in character. It had

1502
01:11:20,840 --> 01:11:26,000
Speaker 7: nothing to do with off set anything. Is we were

1503
01:11:26,160 --> 01:11:29,519
Speaker 7: ridiculing the g FI g's throughout the whole movie. Yeah,

1504
01:11:29,840 --> 01:11:33,840
Speaker 7: So then they were doing their little song and we

1505
01:11:33,960 --> 01:11:37,920
Speaker 7: came out with this daddy longstroke thing without we're gonna

1506
01:11:37,920 --> 01:11:40,240
Speaker 7: do our step We're gonna do our step show, you know,

1507
01:11:40,680 --> 01:11:41,759
Speaker 7: oh daddy.

1508
01:11:44,080 --> 01:11:48,040
Speaker 3: So we're coming onto the stage.

1509
01:11:48,479 --> 01:11:51,120
Speaker 7: Oh yeah, off of that stage. I don't really remember,

1510
01:11:51,240 --> 01:11:55,880
Speaker 7: and TJ. Campbell's character said something to me, so I

1511
01:11:56,000 --> 01:11:58,160
Speaker 7: said something to her. I ain't gonna tell you. I

1512
01:11:58,200 --> 01:11:59,840
Speaker 7: don't even remember what I said, but it wasn't con

1513
01:12:00,160 --> 01:12:04,280
Speaker 7: whatever it was. And gian Carlo says, don't you talk

1514
01:12:04,320 --> 01:12:06,719
Speaker 7: to my woman like that? So I slapped him upside

1515
01:12:06,720 --> 01:12:10,479
Speaker 7: his head and said, shut up, blankety blank, and then

1516
01:12:10,520 --> 01:12:13,639
Speaker 7: he bum rushed me, and then everybody just bum rushes

1517
01:12:13,720 --> 01:12:15,240
Speaker 7: and then it starts and it's on.

1518
01:12:17,520 --> 01:12:19,920
Speaker 2: So like with Spike Yell's cut, are y'all cool after that?

1519
01:12:20,040 --> 01:12:21,040
Speaker 2: Or how does it? How does it go?

1520
01:12:22,080 --> 01:12:25,680
Speaker 3: What is going on? That's all it does all And

1521
01:12:26,000 --> 01:12:31,840
Speaker 3: Fishburn is absolutely furious because he says fight scenes need

1522
01:12:31,920 --> 01:12:34,639
Speaker 3: to be choreographed this is how people get hurt.

1523
01:12:34,680 --> 01:12:37,240
Speaker 7: And I didn't disagree with him. I didn't think that

1524
01:12:37,320 --> 01:12:40,080
Speaker 7: would happen. It was just we were I was in

1525
01:12:40,200 --> 01:12:42,360
Speaker 7: this character and I was the whole movie. I was

1526
01:12:42,439 --> 01:12:45,160
Speaker 7: poking and priding at the g fids, you know, we

1527
01:12:45,280 --> 01:12:47,519
Speaker 7: were all doing it, and it just went and it

1528
01:12:47,760 --> 01:12:49,400
Speaker 7: escalated to this thing.

1529
01:12:50,400 --> 01:12:52,879
Speaker 3: How long did it take to alleviate that situation?

1530
01:12:53,680 --> 01:12:56,760
Speaker 7: I don't know, manute, maybe I mean just a minute.

1531
01:12:56,760 --> 01:12:58,880
Speaker 7: It wasn't think about fighting. I mean, it's like it's

1532
01:12:58,920 --> 01:13:00,800
Speaker 7: hard to fight for three I mean, you have a

1533
01:13:00,880 --> 01:13:02,400
Speaker 7: tried boxing for three minutes, you know what I mean,

1534
01:13:02,400 --> 01:13:04,560
Speaker 7: your arms get tired. So it was just all that

1535
01:13:04,640 --> 01:13:08,160
Speaker 7: screaming and minute and a half Spikes laughing his ass often.

1536
01:13:12,360 --> 01:13:16,160
Speaker 1: You know, there's there's a scene in No Better that

1537
01:13:16,600 --> 01:13:18,479
Speaker 1: I always wanted to know. First of all, was the

1538
01:13:18,600 --> 01:13:20,439
Speaker 1: music created before the film was shot?

1539
01:13:21,000 --> 01:13:23,160
Speaker 3: Yeah? It had to be because they had to choreographed it.

1540
01:13:23,439 --> 01:13:27,680
Speaker 1: Okay, So that said, I was really impressed with the

1541
01:13:27,920 --> 01:13:35,600
Speaker 1: authenticity of that first moment when Denzel comes to interrupt

1542
01:13:36,160 --> 01:13:42,640
Speaker 1: Wesley solo on Stay Hey, and on the soundtrack, you

1543
01:13:43,040 --> 01:13:47,640
Speaker 1: actually recreate that moment where you're mid solo and then

1544
01:13:47,680 --> 01:13:50,519
Speaker 1: when it comes to the head and you stop. I

1545
01:13:50,560 --> 01:13:52,599
Speaker 1: always thought that shit was so genius because I heard

1546
01:13:52,640 --> 01:13:55,960
Speaker 1: the soundtrack first before I saw the movie and wanted

1547
01:13:56,000 --> 01:13:59,240
Speaker 1: to know why was that mistake there? So even even

1548
01:13:59,320 --> 01:14:02,599
Speaker 1: way before then, Spike asked you to create a moment

1549
01:14:02,720 --> 01:14:05,559
Speaker 1: in which Terrence interrupts you're.

1550
01:14:05,479 --> 01:14:10,720
Speaker 3: Playing and you take that. Wow, Okay, yeah, it was

1551
01:14:10,800 --> 01:14:13,360
Speaker 3: choreographed to the choreograph. They had to be that way

1552
01:14:13,439 --> 01:14:15,040
Speaker 3: because he wanted it to be that way in the film.

1553
01:14:15,240 --> 01:14:17,600
Speaker 3: So we had that count for that. I see. We

1554
01:14:17,920 --> 01:14:21,200
Speaker 3: got to jump to My Rainie because I got Eves

1555
01:14:21,240 --> 01:14:26,559
Speaker 3: by question all other ship. Yes, that was fun.

1556
01:14:27,080 --> 01:14:30,400
Speaker 7: Yeah, So My Rainy is very similar because the musicians

1557
01:14:30,479 --> 01:14:33,720
Speaker 7: had to choreograph. They had the choreograph, you know, and

1558
01:14:33,880 --> 01:14:37,400
Speaker 7: and and my my thing was always about and that's

1559
01:14:37,439 --> 01:14:40,200
Speaker 7: the look real And it's really not that hard to do.

1560
01:14:41,320 --> 01:14:43,479
Speaker 3: You have to erase any notions of what you think

1561
01:14:43,640 --> 01:14:46,600
Speaker 3: musicians are like and to look at films. You have

1562
01:14:46,720 --> 01:14:50,520
Speaker 3: to have a physical presence where you're playing the instrument physically.

1563
01:14:50,960 --> 01:14:53,640
Speaker 7: And the most important part is that when there's no

1564
01:14:53,800 --> 01:14:56,360
Speaker 7: sound on the on the recording, your fingers should never

1565
01:14:56,520 --> 01:14:57,320
Speaker 7: ever be moving.

1566
01:14:57,840 --> 01:14:59,360
Speaker 3: So you need to learn it. You don't need to

1567
01:14:59,439 --> 01:15:02,439
Speaker 3: learn how to play the instrument. You just need to

1568
01:15:02,479 --> 01:15:03,360
Speaker 3: make sure that we're theos.

1569
01:15:03,400 --> 01:15:06,320
Speaker 7: No sound your fingers on a movie and you want

1570
01:15:06,360 --> 01:15:08,160
Speaker 7: to closing your eyes and doing this and there's no

1571
01:15:08,280 --> 01:15:11,960
Speaker 7: sound coming, that's the giveaway. So when we went to

1572
01:15:12,200 --> 01:15:15,920
Speaker 7: h to do the filming in Pittsburgh, I saw some

1573
01:15:16,040 --> 01:15:17,800
Speaker 7: of the early things and said, look, I need to

1574
01:15:18,120 --> 01:15:19,120
Speaker 7: meet with the musicians.

1575
01:15:19,760 --> 01:15:22,080
Speaker 3: You know, everybody has their handler. And they're like, look,

1576
01:15:22,120 --> 01:15:24,720
Speaker 3: you know the musicians. It's like a big thing. It's

1577
01:15:24,760 --> 01:15:27,360
Speaker 3: like a c So the movie people were like, oh,

1578
01:15:27,439 --> 01:15:29,080
Speaker 3: these guys are the stars and they don't have time

1579
01:15:29,120 --> 01:15:31,720
Speaker 3: for this. I'm like, well, I'll be honest that the

1580
01:15:31,800 --> 01:15:35,120
Speaker 3: Pirates are playing at one today. I'm getting bad. I'm good,

1581
01:15:35,400 --> 01:15:37,600
Speaker 3: you know. So if you want them to look like

1582
01:15:37,680 --> 01:15:41,080
Speaker 3: shit on the film, that's on you, fine with me.

1583
01:15:41,280 --> 01:15:43,040
Speaker 3: So I went to The Pirates. Irque?

1584
01:15:43,520 --> 01:15:47,800
Speaker 1: Does it irque when directors are sort of dismissive of

1585
01:15:48,760 --> 01:15:51,400
Speaker 1: musical authenticity because I am a cat that will watch

1586
01:15:51,479 --> 01:15:52,800
Speaker 1: to see what the fingering.

1587
01:15:52,560 --> 01:15:56,559
Speaker 3: Is to make sure that I think it's to their detriment.

1588
01:15:56,960 --> 01:16:00,080
Speaker 7: Because you want people to believe that something's real, it

1589
01:16:00,160 --> 01:16:04,200
Speaker 7: needs to look real and it's not super hard. Like

1590
01:16:04,320 --> 01:16:06,360
Speaker 7: this was the whole thing that I was telling the

1591
01:16:06,439 --> 01:16:08,160
Speaker 7: guys that are more better. It's like, you don't need

1592
01:16:08,240 --> 01:16:08,800
Speaker 7: to learn how.

1593
01:16:08,720 --> 01:16:11,080
Speaker 3: To play an instrot, you just need to understand the

1594
01:16:11,080 --> 01:16:12,040
Speaker 3: answering physically.

1595
01:16:12,120 --> 01:16:15,000
Speaker 7: So when Chadwick was playing, for instance, like they finally

1596
01:16:15,040 --> 01:16:16,559
Speaker 7: told me where you can have them for half an

1597
01:16:16,600 --> 01:16:18,880
Speaker 7: hour following day, so I.

1598
01:16:18,920 --> 01:16:21,080
Speaker 3: Had already seen them, so I knew what all of

1599
01:16:21,120 --> 01:16:21,920
Speaker 3: the problems were like.

1600
01:16:22,040 --> 01:16:25,400
Speaker 7: So Chadwick was playing, and he was marching his back

1601
01:16:25,560 --> 01:16:28,640
Speaker 7: and playing like that like Miles, and I said, yeah, man,

1602
01:16:28,680 --> 01:16:31,160
Speaker 7: first of all, you playing a cornet number two.

1603
01:16:31,400 --> 01:16:34,760
Speaker 3: Miles Davis is two years old. You can't light like

1604
01:16:34,880 --> 01:16:36,599
Speaker 3: Miles in nineteen twenty nine.

1605
01:16:37,760 --> 01:16:41,920
Speaker 7: Go get some YouTube videos and watch Louis Armstrong play cornett,

1606
01:16:42,760 --> 01:16:45,720
Speaker 7: not trumpet, but watching There are a couple of videos.

1607
01:16:45,360 --> 01:16:48,200
Speaker 3: From him in the early thirties and watching it, he

1608
01:16:48,320 --> 01:16:50,880
Speaker 3: holds his body and he came back the next day

1609
01:16:51,120 --> 01:16:53,000
Speaker 3: he had it wowed down.

1610
01:16:53,439 --> 01:16:57,120
Speaker 7: He was just a consonant professional and with each musician

1611
01:16:57,280 --> 01:17:00,479
Speaker 7: like Glenn Turnman was playing piano, and piano players back

1612
01:17:00,479 --> 01:17:06,160
Speaker 7: then played stride h strider candles. You know, so your

1613
01:17:06,240 --> 01:17:08,599
Speaker 7: hands go from left and right to the center.

1614
01:17:08,720 --> 01:17:12,439
Speaker 3: That's essentially what it is. Think that's what you know.

1615
01:17:12,960 --> 01:17:15,880
Speaker 3: So your hands are going out and then in. So

1616
01:17:16,200 --> 01:17:18,120
Speaker 3: when he was doing that, his hands were going in

1617
01:17:18,360 --> 01:17:26,840
Speaker 3: too out. So I'm like, bro yeah, out in, not

1618
01:17:27,160 --> 01:17:30,120
Speaker 3: into out. And there's certain rhythms.

1619
01:17:29,800 --> 01:17:30,320
Speaker 9: You have to know.

1620
01:17:30,439 --> 01:17:33,559
Speaker 3: And then the piano player who did the recording was great.

1621
01:17:33,680 --> 01:17:35,960
Speaker 3: He kept it simple. So a lot of the music

1622
01:17:36,000 --> 01:17:37,519
Speaker 3: he had this little this little rhythm where.

1623
01:17:37,360 --> 01:17:42,679
Speaker 7: He's going to bumped bomb, bomped bump the whole time

1624
01:17:42,760 --> 01:17:43,679
Speaker 7: through all of the changes.

1625
01:17:43,720 --> 01:17:46,439
Speaker 3: And I said, that's your rhythm. Sing it every day.

1626
01:17:47,120 --> 01:17:50,479
Speaker 3: And then when you sing it, play and he says,

1627
01:17:50,520 --> 01:17:52,080
Speaker 3: but you know, I don't. I said, it doesn't matter.

1628
01:17:52,160 --> 01:17:55,080
Speaker 7: When they shoot you, they're going to see your shoulders,

1629
01:17:55,120 --> 01:17:57,679
Speaker 7: and if you're not playing the piano, your shoulders won't move.

1630
01:17:58,920 --> 01:18:00,360
Speaker 3: So you have to play the piano and they're not

1631
01:18:00,360 --> 01:18:01,800
Speaker 3: going to show you your fingers. You just have to

1632
01:18:01,840 --> 01:18:04,519
Speaker 3: play that rhythm. And he got in. They all got

1633
01:18:04,600 --> 01:18:07,080
Speaker 3: into it, and when you see them it looks like

1634
01:18:07,120 --> 01:18:08,599
Speaker 3: they're playing. It made a difference.

1635
01:18:08,840 --> 01:18:11,120
Speaker 7: And then Michael pots the acting, well, he just had

1636
01:18:11,160 --> 01:18:12,800
Speaker 7: to show everybody up and learn how to play the

1637
01:18:12,880 --> 01:18:13,320
Speaker 7: damn bass.

1638
01:18:13,360 --> 01:18:17,680
Speaker 3: So he was actually playing the bass. Really, you're you're

1639
01:18:18,680 --> 01:18:20,439
Speaker 3: how long did it take them to nail his parts?

1640
01:18:20,640 --> 01:18:22,400
Speaker 3: He could play the damn bass. It took him no time.

1641
01:18:22,439 --> 01:18:27,720
Speaker 7: He played the BASSA made me say, all right, you

1642
01:18:27,840 --> 01:18:30,360
Speaker 7: go away. And then Colman playing trombone.

1643
01:18:30,840 --> 01:18:31,280
Speaker 3: It was great.

1644
01:18:31,280 --> 01:18:32,880
Speaker 7: I mean, they were great, they really you know, they

1645
01:18:33,000 --> 01:18:35,479
Speaker 7: took to you know, and you know, and then I

1646
01:18:35,560 --> 01:18:38,679
Speaker 7: had a little station away from the set because.

1647
01:18:38,479 --> 01:18:41,600
Speaker 12: The set was closed, right and it was inside of

1648
01:18:41,680 --> 01:18:44,720
Speaker 12: this big sound stage and we would just outside of

1649
01:18:44,760 --> 01:18:46,840
Speaker 12: that with a little keyboard so they would come in

1650
01:18:46,960 --> 01:18:50,360
Speaker 12: if they had any issues with rehearsals or questions about things.

1651
01:18:50,439 --> 01:18:55,759
Speaker 3: And uh, where would you record? We recorded in New Orleans? Oh, okay.

1652
01:18:56,280 --> 01:18:59,519
Speaker 7: New Orleans musicians are perfect because they're the only musicians

1653
01:18:59,600 --> 01:19:00,720
Speaker 7: left in They.

1654
01:19:00,320 --> 01:19:04,360
Speaker 3: That had outside voices, I mean, speaking generically, but more

1655
01:19:04,400 --> 01:19:06,360
Speaker 3: often than not, I see.

1656
01:19:06,840 --> 01:19:10,839
Speaker 2: Oh, there was a scene in the movie where Chadwick

1657
01:19:10,960 --> 01:19:14,880
Speaker 2: his characters talking about Buddy Bolden and he's someone that

1658
01:19:15,640 --> 01:19:17,439
Speaker 2: there was a movie made about him, like a couple

1659
01:19:17,479 --> 01:19:19,599
Speaker 2: of years ago, but there's not a lot that's known

1660
01:19:19,640 --> 01:19:22,480
Speaker 2: about him, Like what what was kind of his importance?

1661
01:19:23,760 --> 01:19:26,599
Speaker 7: Buddy Bolden is kind of considered to be the father

1662
01:19:26,800 --> 01:19:30,719
Speaker 7: of traditional jazz, trump Be playing in New Orleans. Everybody

1663
01:19:30,800 --> 01:19:32,519
Speaker 7: that heard him says he had the biggest sound they

1664
01:19:32,520 --> 01:19:34,880
Speaker 7: ever heard in their lives. There are no recordings of him,

1665
01:19:34,920 --> 01:19:37,360
Speaker 7: and there's only one picture of him. He had some

1666
01:19:37,479 --> 01:19:40,640
Speaker 7: sort of breakdown, so he didn't you know, sometime in

1667
01:19:40,720 --> 01:19:44,240
Speaker 7: his thirties. But Louis armstrong and got swear by man,

1668
01:19:44,240 --> 01:19:48,200
Speaker 7: you should have hear everybody sure it's actually a good

1669
01:19:48,240 --> 01:19:50,160
Speaker 7: subjectau then you can mythologize all of it.

1670
01:19:50,479 --> 01:19:51,320
Speaker 3: No one knows anything.

1671
01:19:52,120 --> 01:19:54,360
Speaker 2: Yeah, he was like the jazz or manigo.

1672
01:19:56,520 --> 01:19:58,479
Speaker 3: Everybody talks to. All the old guys used to talk

1673
01:19:58,520 --> 01:20:07,600
Speaker 3: about him. Okay, the fun dunk god.

1674
01:20:09,040 --> 01:20:12,640
Speaker 5: People waited fucking ship Premiere Bucks, all the funk go.

1675
01:20:14,720 --> 01:20:18,160
Speaker 2: Come on, man, No, no, you're good. You're it's your show.

1676
01:20:18,200 --> 01:20:20,800
Speaker 2: You're the you're the co leader, dude, I just wanted

1677
01:20:21,439 --> 01:20:26,720
Speaker 2: this movie and scoring quexielm welcome here you.

1678
01:20:26,760 --> 01:20:31,320
Speaker 3: Go all right anyway? Anyway, Look, you're for raising the

1679
01:20:31,400 --> 01:20:34,519
Speaker 3: hip hop. Uh have been legendary. I mean, you know

1680
01:20:35,000 --> 01:20:37,439
Speaker 3: we can name them all, fight the power whatnot? What

1681
01:20:37,680 --> 01:20:38,800
Speaker 3: was your attraction to it?

1682
01:20:39,560 --> 01:20:44,120
Speaker 1: And again, like coming from the traditional bass that you

1683
01:20:45,120 --> 01:20:49,880
Speaker 1: kind of entered our our conscious like how easy was

1684
01:20:49,960 --> 01:20:50,719
Speaker 1: this to explain?

1685
01:20:51,320 --> 01:20:53,680
Speaker 3: Or I guess I can hear the answer already. You're

1686
01:20:53,680 --> 01:20:55,320
Speaker 3: saying I didn't give a fuck, but.

1687
01:20:58,720 --> 01:20:59,680
Speaker 5: Correct got it.

1688
01:21:00,439 --> 01:21:04,559
Speaker 1: Was there any blowback from like your your your inner

1689
01:21:04,640 --> 01:21:08,280
Speaker 1: circle of New Orleans cats or no, or by that

1690
01:21:08,520 --> 01:21:11,760
Speaker 1: you left New Orleans or your family or anything about you.

1691
01:21:11,840 --> 01:21:13,640
Speaker 3: No, my family. We got into it. It was the

1692
01:21:13,680 --> 01:21:16,600
Speaker 3: whole thing with going on the road, and so that

1693
01:21:16,880 --> 01:21:20,200
Speaker 3: wasn't that wasn't encouraged or I mean, it was more

1694
01:21:20,200 --> 01:21:21,680
Speaker 3: about it was more philosophical.

1695
01:21:21,840 --> 01:21:24,120
Speaker 7: It was more like, you know, he could get anybody

1696
01:21:24,200 --> 01:21:27,000
Speaker 7: to do that job, jazz is really unique and needs

1697
01:21:27,040 --> 01:21:28,800
Speaker 7: you out there. And I say, well, way you're wrong

1698
01:21:28,960 --> 01:21:30,599
Speaker 7: is he can't get anybody to do it that job.

1699
01:21:30,640 --> 01:21:34,280
Speaker 7: I do that shit bet than anybody, So right, and then.

1700
01:21:34,200 --> 01:21:36,439
Speaker 3: It was over. It was like, you know, y'all do

1701
01:21:36,520 --> 01:21:38,360
Speaker 3: what y'all do. I'll be back. I'll see it in

1702
01:21:38,360 --> 01:21:39,479
Speaker 3: a couple of years. It's great.

1703
01:21:39,720 --> 01:21:42,479
Speaker 1: I had a great so weird man, because I maybe

1704
01:21:42,960 --> 01:21:45,600
Speaker 1: I'm just shocked at the perception of that being so

1705
01:21:45,760 --> 01:21:48,800
Speaker 1: short sighted, because that would draw me in seeing you

1706
01:21:49,400 --> 01:21:51,600
Speaker 1: in spaces that quote you weren't supposed to be in.

1707
01:21:52,360 --> 01:21:54,679
Speaker 3: Well, it's not. It brings me back to the base

1708
01:21:54,760 --> 01:21:57,960
Speaker 3: that you came from, because well not most people. That

1709
01:21:58,360 --> 01:22:00,000
Speaker 3: might be you, because you're a musician, but most peop

1710
01:22:00,520 --> 01:22:04,000
Speaker 3: will not make that journey. I already knew that. I watched,

1711
01:22:04,680 --> 01:22:06,839
Speaker 3: you know, as a as a big you know, Headhunter

1712
01:22:07,000 --> 01:22:09,080
Speaker 3: fan and a big Weather Reporter fan. I used to

1713
01:22:09,160 --> 01:22:11,479
Speaker 3: hear all the musicians say, oh, yeah, you know, we're

1714
01:22:11,520 --> 01:22:12,759
Speaker 3: just bringing jazz to the masses.

1715
01:22:12,800 --> 01:22:16,280
Speaker 7: No, I didn't even know you guys played jazz. I

1716
01:22:16,360 --> 01:22:18,040
Speaker 7: went to Berkeley and Smittie Smith put on.

1717
01:22:18,040 --> 01:22:20,479
Speaker 3: A never t d record, he says, I said, Man,

1718
01:22:20,520 --> 01:22:21,840
Speaker 3: who the hell is that? He goes Man, that's the

1719
01:22:21,920 --> 01:22:24,519
Speaker 3: great Mom's nags with Wayne Short, I said, Wayne Shorter.

1720
01:22:24,800 --> 01:22:28,160
Speaker 7: Like the guy who plays with Weather Report. You give

1721
01:22:28,280 --> 01:22:31,719
Speaker 7: me it's the same guy. I'm like, it is no idea,

1722
01:22:32,200 --> 01:22:34,320
Speaker 7: Herbie Hancock, the guy from Headhunters.

1723
01:22:35,080 --> 01:22:38,280
Speaker 3: And I'm a musician, So no, I mean that. That's like,

1724
01:22:38,640 --> 01:22:41,000
Speaker 3: I don't even know why musicians embark on that line

1725
01:22:42,000 --> 01:22:44,600
Speaker 3: that they always come back to their base. If you

1726
01:22:44,800 --> 01:22:48,639
Speaker 3: feel like doing some shit, do it. If you ain't

1727
01:22:48,680 --> 01:22:50,880
Speaker 3: no good at it, maybe you learn how to be

1728
01:22:51,040 --> 01:22:53,880
Speaker 3: better at it. But I was always good at it.

1729
01:22:53,960 --> 01:22:56,479
Speaker 3: I was good at it as a kid, so it

1730
01:22:56,680 --> 01:22:59,800
Speaker 3: wasn't so traumatic for me. I was just going home.

1731
01:23:00,439 --> 01:23:05,679
Speaker 3: So when the Machines started in the seventies late seventies,

1732
01:23:06,439 --> 01:23:08,920
Speaker 3: that whole sound was so milk toast to me.

1733
01:23:09,600 --> 01:23:11,519
Speaker 7: Remember the old t R Italy and all the R

1734
01:23:11,560 --> 01:23:14,640
Speaker 7: and B songs were suddenly going like from hitting, you know,

1735
01:23:14,760 --> 01:23:16,160
Speaker 7: from fop to like.

1736
01:23:20,880 --> 01:23:25,280
Speaker 3: Post sexual healing. Yes, I know. So I was like,

1737
01:23:26,400 --> 01:23:28,760
Speaker 3: I'm like, the shit's over, It's over.

1738
01:23:28,960 --> 01:23:32,479
Speaker 10: So for me, when sampling started, I'm like, ship the

1739
01:23:32,600 --> 01:23:36,400
Speaker 10: hits back, you know, the vibe is back, the attitude

1740
01:23:36,479 --> 01:23:37,439
Speaker 10: is back to beat the.

1741
01:23:37,520 --> 01:23:40,720
Speaker 3: Swag, you know. And and that was the thing that

1742
01:23:40,800 --> 01:23:42,040
Speaker 3: I liked about it the most.

1743
01:23:42,560 --> 01:23:45,120
Speaker 1: So have you tried to explain to your family that,

1744
01:23:46,320 --> 01:23:48,400
Speaker 1: you know, the music that the Bomb Squad was doing

1745
01:23:48,560 --> 01:23:52,720
Speaker 1: was just as urgent as something that they just.

1746
01:23:53,720 --> 01:23:55,680
Speaker 7: Because I wouldn't spend any time trying to tell the

1747
01:23:55,760 --> 01:23:57,839
Speaker 7: Bomb Squad that they need to check all the love Supreme.

1748
01:23:58,120 --> 01:24:00,240
Speaker 3: I wouldn't even waste my time. Jazz cats Wing come

1749
01:24:00,280 --> 01:24:03,320
Speaker 3: to you. I know Premiere must have because half the

1750
01:24:03,360 --> 01:24:05,439
Speaker 3: stuff that he sampled Premiere is different.

1751
01:24:05,920 --> 01:24:07,479
Speaker 7: Let's see what I'm saying is that, like, look, a

1752
01:24:07,560 --> 01:24:10,280
Speaker 7: lot of guys sampled a lot of jazz stuff, but

1753
01:24:10,400 --> 01:24:12,400
Speaker 7: they put the album on and they skip across until

1754
01:24:12,400 --> 01:24:13,519
Speaker 7: they find something that they like.

1755
01:24:13,760 --> 01:24:16,360
Speaker 3: PROMI you would actually listen to the records. Premiere is different.

1756
01:24:16,400 --> 01:24:19,160
Speaker 7: I mean, you know, you can't use him as a

1757
01:24:19,280 --> 01:24:22,760
Speaker 7: metaphor for everybody else. But like most people who are

1758
01:24:22,800 --> 01:24:23,160
Speaker 7: good at the.

1759
01:24:23,200 --> 01:24:24,599
Speaker 3: Thing, that's the thing, they're interesting.

1760
01:24:25,400 --> 01:24:28,760
Speaker 7: It's like there was this there was this musician magazine

1761
01:24:29,479 --> 01:24:32,600
Speaker 7: or Rolling Stone the eighties, and it's like, give me

1762
01:24:32,680 --> 01:24:35,640
Speaker 7: your top ten records or top twenty.

1763
01:24:35,439 --> 01:24:37,240
Speaker 3: Or whatever it was. I think it was Top and

1764
01:24:37,479 --> 01:24:39,240
Speaker 3: all these musicians and they stuck me in.

1765
01:24:39,920 --> 01:24:42,519
Speaker 7: And the hip hop guys picked ten hip hop CDs,

1766
01:24:42,600 --> 01:24:44,879
Speaker 7: the rock and roll guys picked ten rock and roll CDs.

1767
01:24:45,600 --> 01:24:48,040
Speaker 3: I had all kinds of shit there. That's just me.

1768
01:24:49,000 --> 01:24:51,320
Speaker 7: So my thing is is that, all right, I'm already weird,

1769
01:24:51,600 --> 01:24:53,559
Speaker 7: Like I listened to all these different styles of music.

1770
01:24:53,960 --> 01:24:56,559
Speaker 7: I just think that a lot of people that gave

1771
01:24:56,640 --> 01:24:59,800
Speaker 7: went and shit for not like in pop music. But

1772
01:25:00,080 --> 01:25:03,599
Speaker 7: nobody gives pop musicians ship for not liking anything other

1773
01:25:03,680 --> 01:25:06,840
Speaker 7: than pop music. I've never heard an interview where they say, oh,

1774
01:25:06,880 --> 01:25:10,720
Speaker 7: you know, that she's cooler. Do you sing opera but

1775
01:25:10,840 --> 01:25:13,200
Speaker 7: a jazz guy, well, do you play anything contemporary? Do

1776
01:25:13,280 --> 01:25:15,479
Speaker 7: you play anything pop? Why does he have to do that?

1777
01:25:15,760 --> 01:25:16,040
Speaker 3: Prince?

1778
01:25:16,120 --> 01:25:19,479
Speaker 7: I mean, Prince said, like, look left handed things about jazz.

1779
01:25:19,520 --> 01:25:21,720
Speaker 7: But I never took offense to it, because you know,

1780
01:25:21,880 --> 01:25:23,599
Speaker 7: the ship is daunting to a lot of people.

1781
01:25:23,640 --> 01:25:24,400
Speaker 3: It's intimidated.

1782
01:25:25,120 --> 01:25:28,280
Speaker 7: We universitally thought that Prince was a genius, and you know,

1783
01:25:29,080 --> 01:25:30,760
Speaker 7: he didn't really know a lot about jazz, so he

1784
01:25:30,760 --> 01:25:35,559
Speaker 7: would always say, oh, jazz whatever, man, music.

1785
01:25:35,400 --> 01:25:37,160
Speaker 3: Is still great. It don't matter to me. He would

1786
01:25:37,160 --> 01:25:41,080
Speaker 3: do us for a raising too. It bad versions of it,

1787
01:25:41,400 --> 01:25:44,000
Speaker 3: I know, I know, I don't want to shout anywhere

1788
01:25:46,760 --> 01:25:48,280
Speaker 3: that she was insult.

1789
01:25:50,720 --> 01:25:53,639
Speaker 2: So like mad House, I mean, the first eight was cool.

1790
01:25:53,720 --> 01:25:56,000
Speaker 2: I mean, the song was that A one.

1791
01:25:56,040 --> 01:25:58,920
Speaker 3: Was kind of sad. But those guys the song the

1792
01:25:59,080 --> 01:25:59,640
Speaker 3: song was.

1793
01:25:59,720 --> 01:26:00,519
Speaker 2: But I'm I wouldn't.

1794
01:26:02,040 --> 01:26:05,280
Speaker 3: Eric Leeds is my boy. It ain't got nothing to

1795
01:26:05,320 --> 01:26:05,960
Speaker 3: do with jazz.

1796
01:26:06,000 --> 01:26:08,960
Speaker 7: He'll tell you that itself, you know what I mean.

1797
01:26:09,120 --> 01:26:13,920
Speaker 7: Like Eric Lee's brother is like a James Brown fucking authority. Yeah,

1798
01:26:17,040 --> 01:26:18,720
Speaker 7: I'm saying you know what I'm saying. So I mean,

1799
01:26:18,960 --> 01:26:20,320
Speaker 7: and I'm good with that.

1800
01:26:21,000 --> 01:26:21,560
Speaker 3: It's just like this.

1801
01:26:22,040 --> 01:26:24,240
Speaker 7: People have this weird relationship with jazz. But the thing

1802
01:26:24,320 --> 01:26:26,800
Speaker 7: is is that they don't know this shit. They have

1803
01:26:26,880 --> 01:26:28,360
Speaker 7: these opinions about the music.

1804
01:26:28,160 --> 01:26:30,840
Speaker 3: That they have barely heard or barely listened to.

1805
01:26:31,560 --> 01:26:35,320
Speaker 7: And I'm not saying that they should, because you know,

1806
01:26:35,400 --> 01:26:38,639
Speaker 7: when you do strange ship for a living, you really

1807
01:26:38,720 --> 01:26:40,120
Speaker 7: something's really got to be wrong with you.

1808
01:26:40,240 --> 01:26:44,679
Speaker 3: When you it's like, you know, somebody who's a poet,

1809
01:26:45,400 --> 01:26:47,000
Speaker 3: not a slam poet, but a poet.

1810
01:26:47,240 --> 01:26:50,720
Speaker 7: They know what that shit means. It means obscurity, and

1811
01:26:50,800 --> 01:26:52,760
Speaker 7: you feel compelled to do it anyway. And you have

1812
01:26:52,880 --> 01:26:54,840
Speaker 7: colleagues who are just as strange as you are. And

1813
01:26:54,960 --> 01:26:58,200
Speaker 7: there are books, there are magazines about poets. Poets talk

1814
01:26:58,280 --> 01:27:01,200
Speaker 7: to other poets, they have a war for poetry, and

1815
01:27:01,320 --> 01:27:03,360
Speaker 7: they win these awards and nobody in the world gives

1816
01:27:03,360 --> 01:27:05,600
Speaker 7: a damn. You know, I sat on a plane with

1817
01:27:05,680 --> 01:27:08,720
Speaker 7: a guy who got an award because in the in

1818
01:27:08,800 --> 01:27:12,040
Speaker 7: the atom chain it was already Einstein theorized that there

1819
01:27:12,120 --> 01:27:15,120
Speaker 7: was seven quarks in the atom chain. They only found six.

1820
01:27:15,200 --> 01:27:17,000
Speaker 7: But I was on a plane with the guy who found.

1821
01:27:16,800 --> 01:27:20,080
Speaker 3: The seventh cork. Don't nobody know his name. Don't nobody

1822
01:27:20,120 --> 01:27:21,920
Speaker 3: give a damn. You think he's sitting around saying I'm

1823
01:27:21,960 --> 01:27:24,880
Speaker 3: pissed off that I'm not recognized. You love what you do.

1824
01:27:26,040 --> 01:27:29,479
Speaker 3: None of that other shit matters. And that's how I

1825
01:27:29,560 --> 01:27:31,599
Speaker 3: feel about all of this. I don't you know, how

1826
01:27:31,640 --> 01:27:33,760
Speaker 3: do you feel that people don't like this? I like it.

1827
01:27:33,840 --> 01:27:34,599
Speaker 3: I don't give a damn.

1828
01:27:35,240 --> 01:27:35,840
Speaker 1: I don't care.

1829
01:27:36,760 --> 01:27:39,880
Speaker 3: I like it. You know, well, I like you when

1830
01:27:39,880 --> 01:27:43,000
Speaker 3: you play with the dead Great. I like that shit too.

1831
01:27:45,280 --> 01:27:47,400
Speaker 3: This thing was great, Yes, he was great.

1832
01:27:47,560 --> 01:27:48,360
Speaker 2: I like that too.

1833
01:27:48,880 --> 01:27:51,360
Speaker 3: What's the point. It's like, what are you trying to say?

1834
01:27:51,800 --> 01:27:54,519
Speaker 3: If I didn't like it, I wouldn't do it. You

1835
01:27:54,640 --> 01:27:57,840
Speaker 3: have you met up a collaboration that you were man,

1836
01:27:58,520 --> 01:28:00,760
Speaker 3: I should have done that because I don't do those.

1837
01:28:01,640 --> 01:28:02,760
Speaker 3: Can I try him in here? Now?

1838
01:28:03,960 --> 01:28:08,599
Speaker 13: I've in so I'm ti collaborated with the late Great

1839
01:28:09,280 --> 01:28:12,960
Speaker 13: Rob Washerman with the We have Bruce Hornsby on the

1840
01:28:13,000 --> 01:28:13,880
Speaker 13: show a few weeks ago.

1841
01:28:13,920 --> 01:28:16,760
Speaker 3: I forgot to ask him about this. A song called

1842
01:28:16,800 --> 01:28:22,000
Speaker 3: White Wheeled Limousine nice for on an album called Trios

1843
01:28:22,240 --> 01:28:24,000
Speaker 3: and no one's ever heard of this album.

1844
01:28:24,360 --> 01:28:28,600
Speaker 13: Like, like Nobe, people don't care whatever, But do you

1845
01:28:28,640 --> 01:28:31,720
Speaker 13: have any recollections of that session or of playing with

1846
01:28:31,920 --> 01:28:32,519
Speaker 13: Rob Washington.

1847
01:28:33,360 --> 01:28:35,280
Speaker 7: Yeah, well Rob was always kind of shy. He didn't

1848
01:28:35,520 --> 01:28:38,559
Speaker 7: he wasn't a real rose cat. Like I was still

1849
01:28:38,600 --> 01:28:41,280
Speaker 7: living in La then, and uh, and Bruce was living

1850
01:28:41,320 --> 01:28:42,560
Speaker 7: in La then. He spent a lot of time he

1851
01:28:42,640 --> 01:28:44,960
Speaker 7: was staying at Sringsteen's house. So Rob kind of said, hey, many,

1852
01:28:44,960 --> 01:28:47,320
Speaker 7: don't you down one of my tubes? And it was

1853
01:28:47,640 --> 01:28:50,960
Speaker 7: because I think Bruce sang on the tune. Yeah, so uh,

1854
01:28:51,560 --> 01:28:53,519
Speaker 7: Bruce said, hey, man, let's go do this thing with washermon.

1855
01:28:53,560 --> 01:28:55,240
Speaker 7: I'm like, yeah, cool, let's go do it. Met up,

1856
01:28:55,280 --> 01:28:56,800
Speaker 7: you know, and I always tease him because you know,

1857
01:28:56,880 --> 01:28:58,840
Speaker 7: he's really he wasn't very shy cat.

1858
01:28:58,960 --> 01:29:01,400
Speaker 3: He didn't really and I would always like get in

1859
01:29:01,479 --> 01:29:02,760
Speaker 3: his face and be all from post and said what

1860
01:29:02,800 --> 01:29:06,040
Speaker 3: do you think about that? He goes, come on, had

1861
01:29:06,080 --> 01:29:09,120
Speaker 3: a good time. I mean we did one rehearsal take

1862
01:29:09,240 --> 01:29:11,400
Speaker 3: and then the real thing and then we hugged and

1863
01:29:11,479 --> 01:29:15,040
Speaker 3: we split. But you had known Rob Washman prior to that.

1864
01:29:15,560 --> 01:29:18,439
Speaker 7: Yeah, oh yeah, you know I made him through how

1865
01:29:18,520 --> 01:29:21,200
Speaker 7: Will because Hal had him doing some stuff and then

1866
01:29:21,240 --> 01:29:24,160
Speaker 7: I met Rob and I did some other thing with Rob.

1867
01:29:24,560 --> 01:29:27,720
Speaker 3: Yeah, yeah, man, I knew all the cats man, So.

1868
01:29:27,840 --> 01:29:30,639
Speaker 5: What what did you think of his bass playing?

1869
01:29:30,880 --> 01:29:35,320
Speaker 3: It's kind of where where where do you? I don't

1870
01:29:35,520 --> 01:29:37,640
Speaker 3: I don't try to place people. But the thing is

1871
01:29:37,720 --> 01:29:40,280
Speaker 3: is that Rob's bass playing was greatful the music he

1872
01:29:40,479 --> 01:29:43,600
Speaker 3: was doing. Yeah, I mean, I mean, I like the

1873
01:29:43,640 --> 01:29:45,800
Speaker 3: way he plays bass in the stuff that he was doing.

1874
01:29:45,880 --> 01:29:47,759
Speaker 3: Like if he was trying to play a Love Supreme,

1875
01:29:47,840 --> 01:29:51,320
Speaker 3: it probably wouldn't have worked. Yeah, y, he was playing upright,

1876
01:29:51,360 --> 01:29:52,960
Speaker 3: but it was more like a stick base, you know.

1877
01:29:53,240 --> 01:29:55,680
Speaker 3: It wasn't like an acoustic upright base. It was like this.

1878
01:29:56,160 --> 01:30:00,320
Speaker 3: It was like this solid body electric thing that a stick.

1879
01:30:00,360 --> 01:30:01,479
Speaker 3: I think they called it the stick.

1880
01:30:01,760 --> 01:30:03,559
Speaker 5: Chapman stick, that Chapman stick.

1881
01:30:03,600 --> 01:30:05,479
Speaker 3: Okay, cool, Yeah, he was playing the Chapmain stick.

1882
01:30:06,080 --> 01:30:08,760
Speaker 13: Is that the only time you recorded with with with

1883
01:30:09,160 --> 01:30:09,839
Speaker 13: Bruce Hornsby?

1884
01:30:10,520 --> 01:30:13,720
Speaker 3: No. I played on a couple of Bruce's records, the

1885
01:30:13,840 --> 01:30:18,200
Speaker 3: one with a Talk of the Town? I played on

1886
01:30:18,320 --> 01:30:21,040
Speaker 3: that record. Aren't you want shadow Lands too? Is that

1887
01:30:21,160 --> 01:30:24,800
Speaker 3: your soprano or is that someone else's? Probably? Okay, Yeah,

1888
01:30:24,800 --> 01:30:26,240
Speaker 3: I was about to say I think you are which

1889
01:30:26,320 --> 01:30:30,920
Speaker 3: record shadow Lands? Spike always uses that mean?

1890
01:30:32,240 --> 01:30:35,960
Speaker 1: Okay, I do want to know have you properly scored

1891
01:30:36,120 --> 01:30:39,759
Speaker 1: a Spike movie at all? Or is that just always

1892
01:30:39,840 --> 01:30:42,519
Speaker 1: Terrence's lane? Like I thought that would have been a

1893
01:30:42,600 --> 01:30:43,960
Speaker 1: natural progression.

1894
01:30:43,560 --> 01:30:45,600
Speaker 7: For you if I asked me to do it and

1895
01:30:45,920 --> 01:30:48,200
Speaker 7: I was on the road, you know, really funny thing

1896
01:30:48,280 --> 01:30:51,200
Speaker 7: is is dead, you know, digital audio workstations around, and

1897
01:30:51,240 --> 01:30:52,759
Speaker 7: I would have done it, but I just said.

1898
01:30:52,640 --> 01:30:54,639
Speaker 3: Man, I can't do the music justice, I'm not here.

1899
01:30:55,439 --> 01:30:58,840
Speaker 3: Tarrence is here. Chance plays keyboards. He's a piano player

1900
01:30:58,920 --> 01:31:02,080
Speaker 3: and a trumpet player. He great stuff. Just get Terrence,

1901
01:31:02,240 --> 01:31:03,840
Speaker 3: you get Tea, that's your man. It would be great.

1902
01:31:04,040 --> 01:31:06,760
Speaker 3: And it's been great because we lived four blocks from

1903
01:31:06,800 --> 01:31:09,679
Speaker 3: one another, Okay, parents all the time.

1904
01:31:10,320 --> 01:31:12,400
Speaker 2: We had Premiere on the show a while back, and

1905
01:31:12,479 --> 01:31:15,759
Speaker 2: he would always talk about the time y'all living together.

1906
01:31:15,960 --> 01:31:17,439
Speaker 2: He said, y'all live together for our brother.

1907
01:31:17,840 --> 01:31:18,360
Speaker 7: What was that?

1908
01:31:18,600 --> 01:31:18,640
Speaker 3: Like?

1909
01:31:19,400 --> 01:31:21,519
Speaker 2: His premiere is a whole dude.

1910
01:31:21,960 --> 01:31:26,760
Speaker 3: Ain't that wow? Crew Son?

1911
01:31:27,920 --> 01:31:30,040
Speaker 7: Well, first of all, we were we were doing spite

1912
01:31:30,120 --> 01:31:33,639
Speaker 7: wanting me to work with them on that jazz thing something.

1913
01:31:34,280 --> 01:31:36,280
Speaker 2: Yeah, and we just hit it off.

1914
01:31:37,160 --> 01:31:39,559
Speaker 3: We just hit it off. And you know they cool kid,

1915
01:31:39,640 --> 01:31:42,519
Speaker 3: did you know? They cool? Cats and funny and they

1916
01:31:42,680 --> 01:31:44,400
Speaker 3: just mentioned, you know, ship man we.

1917
01:31:44,479 --> 01:31:46,880
Speaker 7: Just got evicted and say, well, ship man, you know,

1918
01:31:47,040 --> 01:31:49,479
Speaker 7: I got this big ass house in Brooklyn, me and

1919
01:31:49,520 --> 01:31:51,519
Speaker 7: my wife and my kid, come on, come hang out.

1920
01:31:52,240 --> 01:31:58,320
Speaker 3: And it wound up being six months. What was that

1921
01:31:58,439 --> 01:31:59,680
Speaker 3: last it was?

1922
01:32:00,160 --> 01:32:02,439
Speaker 9: It was like jayru the damage, But back then it

1923
01:32:02,560 --> 01:32:09,640
Speaker 9: was just and Lil Dap, you know, from a you know,

1924
01:32:09,800 --> 01:32:11,840
Speaker 9: so so I got to hang with the whole crew.

1925
01:32:12,200 --> 01:32:14,920
Speaker 9: You know, it was good, It was fun.

1926
01:32:15,640 --> 01:32:18,920
Speaker 2: There was a song on on buck Shot, the first

1927
01:32:18,960 --> 01:32:21,040
Speaker 2: book shot, not the music evolution when the first one,

1928
01:32:22,280 --> 01:32:25,679
Speaker 2: ain't it funny? I can't remember who's the girl singing

1929
01:32:25,760 --> 01:32:30,000
Speaker 2: on that? And what Tammy town Tammy Townsend? What's she

1930
01:32:30,160 --> 01:32:32,280
Speaker 2: up to now? Like, what's her story? Do you I

1931
01:32:32,400 --> 01:32:33,280
Speaker 2: really liked her voice.

1932
01:32:33,560 --> 01:32:37,360
Speaker 14: She was she still lives in LA and she's a

1933
01:32:37,400 --> 01:32:40,439
Speaker 14: couple of shows. She was recently on some show on

1934
01:32:41,760 --> 01:32:44,960
Speaker 14: one of those Disney Channel shows. Okay, I don't remember

1935
01:32:45,000 --> 01:32:46,800
Speaker 14: which one it was, but she's been on that show

1936
01:32:46,840 --> 01:32:47,320
Speaker 14: for a while.

1937
01:32:48,200 --> 01:32:54,400
Speaker 3: That's what's up Disney Channel shows.

1938
01:32:54,800 --> 01:32:57,080
Speaker 2: Okay. I always loved that song man that that.

1939
01:32:58,200 --> 01:32:59,479
Speaker 7: Was one of them things where it's like, you know,

1940
01:32:59,520 --> 01:33:02,880
Speaker 7: I used to you know, I grew up listening to telphonics.

1941
01:33:02,920 --> 01:33:04,320
Speaker 3: Man I always wanted to write something like it.

1942
01:33:05,000 --> 01:33:06,559
Speaker 7: It was a really great thing too, because I said,

1943
01:33:06,720 --> 01:33:08,840
Speaker 7: you know, I'm never gonna do another record like this,

1944
01:33:08,920 --> 01:33:10,240
Speaker 7: so I'm just gonna put all kinds of shit.

1945
01:33:10,520 --> 01:33:12,760
Speaker 3: And that's what I told you here you wanted to be.

1946
01:33:12,920 --> 01:33:15,320
Speaker 3: I said, that's the great question. Why do we have

1947
01:33:15,439 --> 01:33:16,240
Speaker 3: to answer that question?

1948
01:33:16,560 --> 01:33:18,680
Speaker 7: And everybody that was on the project, I would call

1949
01:33:18,760 --> 01:33:20,000
Speaker 7: him and say, hey, man, come you on this project?

1950
01:33:20,080 --> 01:33:21,519
Speaker 7: Said what is I said, I have no fucking idea

1951
01:33:21,560 --> 01:33:21,880
Speaker 7: what it is?

1952
01:33:21,960 --> 01:33:22,360
Speaker 3: Come play?

1953
01:33:24,240 --> 01:33:24,400
Speaker 7: You know.

1954
01:33:24,720 --> 01:33:26,600
Speaker 3: It was a lofkin guitar player who was at that

1955
01:33:26,720 --> 01:33:28,760
Speaker 3: time playing with Springsteen. I said, hey, I got this

1956
01:33:28,800 --> 01:33:30,680
Speaker 3: song for you to come playing. What is it? I

1957
01:33:30,720 --> 01:33:33,519
Speaker 3: don't know, just come played on one song and this

1958
01:33:33,640 --> 01:33:35,639
Speaker 3: is great. You have the other songs. I'm like, yeah,

1959
01:33:35,640 --> 01:33:39,760
Speaker 3: I play on this one. Greg villain Gains came in. Yes, Greg,

1960
01:33:39,800 --> 01:33:41,160
Speaker 3: I need doing this thing. He says, what is it?

1961
01:33:41,280 --> 01:33:45,600
Speaker 3: I said, I don't know, it's just this thing. And

1962
01:33:46,720 --> 01:33:47,760
Speaker 3: you got another song.

1963
01:33:47,840 --> 01:33:50,400
Speaker 7: And we was just like we would make ten minute tracks.

1964
01:33:51,360 --> 01:33:54,519
Speaker 7: Every song was ten minutes long. And they said, well,

1965
01:33:54,560 --> 01:33:55,960
Speaker 7: when we figueret what the hell it is, then we

1966
01:33:55,960 --> 01:33:56,720
Speaker 7: can whittle it down.

1967
01:33:56,720 --> 01:33:58,120
Speaker 3: But we didn't know what it was. Who was going

1968
01:33:58,200 --> 01:33:59,720
Speaker 3: to sing? Who's gonna do this? We would put these

1969
01:33:59,760 --> 01:34:03,200
Speaker 3: tracks together except for that song. Ain't it funny? And uh?

1970
01:34:04,320 --> 01:34:08,960
Speaker 3: I got Tammy to sing it, and I used, when

1971
01:34:09,080 --> 01:34:11,080
Speaker 3: was it? Claire Fisher wrote the string arranger?

1972
01:34:11,560 --> 01:34:13,240
Speaker 2: Whoa Claire Frisher read the strings?

1973
01:34:13,280 --> 01:34:16,320
Speaker 3: Claire Fisher bro so Claire raised the string arrangements. And

1974
01:34:16,360 --> 01:34:20,439
Speaker 3: you know Claire's a herd ass. Yes, so he ranks

1975
01:34:20,479 --> 01:34:22,080
Speaker 3: the string arrangers and he has both.

1976
01:34:22,400 --> 01:34:26,679
Speaker 7: He has Arco bass, So I'm like, okay, Claire, Yeah,

1977
01:34:26,800 --> 01:34:29,560
Speaker 7: I don't need the Arco bass because we have a

1978
01:34:29,640 --> 01:34:33,360
Speaker 7: bass player playing in it classes with the bass. He's

1979
01:34:33,400 --> 01:34:37,680
Speaker 7: so used to doing these productions with these producers that

1980
01:34:37,840 --> 01:34:40,680
Speaker 7: don't know shit. So he says, well, why don't you

1981
01:34:40,800 --> 01:34:42,519
Speaker 7: come out here and show me the parts that you're

1982
01:34:42,560 --> 01:34:45,160
Speaker 7: talking about passive aggressive?

1983
01:34:45,479 --> 01:34:48,040
Speaker 3: And I said okay, And I walked out there and

1984
01:34:48,080 --> 01:34:49,960
Speaker 3: I looked at the score. I took a pencil. I

1985
01:34:49,960 --> 01:34:53,000
Speaker 3: said from here to here, and he says, oh, oh no,

1986
01:34:53,160 --> 01:34:55,000
Speaker 3: it's fine, no problem. As soon as he realized I

1987
01:34:55,040 --> 01:34:57,760
Speaker 3: can read the score, he realized you knew what it was. Yeah,

1988
01:34:59,160 --> 01:35:00,679
Speaker 3: I didn't have to deal with this ship anymore.

1989
01:35:00,680 --> 01:35:02,960
Speaker 7: But he's just he you know, he would like to

1990
01:35:03,160 --> 01:35:05,840
Speaker 7: like get these poor producers in there and you hire me,

1991
01:35:05,920 --> 01:35:09,560
Speaker 7: and he would like humiliated. And I'm like, nah, I

1992
01:35:09,680 --> 01:35:11,719
Speaker 7: know what I'm talking about here, bro, get the base

1993
01:35:11,760 --> 01:35:13,840
Speaker 7: out of there. And he struck the base and yeah,

1994
01:35:13,880 --> 01:35:16,599
Speaker 7: it's not were good, you know, And it was a good.

1995
01:35:16,640 --> 01:35:20,240
Speaker 7: It's great arrangement except you know, the basses. But I

1996
01:35:20,439 --> 01:35:21,479
Speaker 7: enjoyed that whole project.

1997
01:35:21,520 --> 01:35:21,960
Speaker 3: It was great.

1998
01:35:23,200 --> 01:35:25,400
Speaker 2: Yeah, that was I was fifteen in the camp. That

1999
01:35:25,479 --> 01:35:28,000
Speaker 2: was like my sophomore year high school when it came out.

2000
01:35:30,640 --> 01:35:33,840
Speaker 2: You know, No, man, I was not you.

2001
01:35:34,000 --> 01:35:36,559
Speaker 3: I'm just telling you, like, like, right man, this record sucks.

2002
01:35:36,600 --> 01:35:38,960
Speaker 3: I'm like, yeah, okay, what is it. I don't know.

2003
01:35:39,080 --> 01:35:42,559
Speaker 3: That's the good, bro, I'm just telling you what happened,

2004
01:35:43,200 --> 01:35:46,120
Speaker 3: right you. You weren't the one. I wasn't talking to you. Okay.

2005
01:35:49,560 --> 01:35:51,720
Speaker 3: You have these writers and they say, well, there's a

2006
01:35:51,840 --> 01:35:54,439
Speaker 3: rapper on it, so it must be hip hop. No

2007
01:35:54,640 --> 01:35:58,760
Speaker 3: it's not right, it's not. It's just like not what

2008
01:35:58,920 --> 01:36:01,240
Speaker 3: you're trying to make it. And even on Colombia.

2009
01:36:01,960 --> 01:36:05,200
Speaker 7: Columbia, they had this meeting with them and they said this,

2010
01:36:05,439 --> 01:36:07,840
Speaker 7: you know, it's like they have this this is what

2011
01:36:07,920 --> 01:36:08,880
Speaker 7: they do with black people.

2012
01:36:08,960 --> 01:36:11,920
Speaker 3: Think, So we got our street team out there. I'm like,

2013
01:36:11,960 --> 01:36:13,880
Speaker 3: you're a street team? Are you fucking crazy? This is

2014
01:36:13,960 --> 01:36:14,920
Speaker 3: not a street team record.

2015
01:36:15,000 --> 01:36:17,040
Speaker 7: No, it's gonna buy it. They're not gonna buy this record.

2016
01:36:17,560 --> 01:36:20,800
Speaker 7: And they said, so we have our street team and

2017
01:36:20,920 --> 01:36:23,040
Speaker 7: we put up stickers. All of us said, oh my god,

2018
01:36:23,400 --> 01:36:24,920
Speaker 7: this is not that kind of record.

2019
01:36:25,680 --> 01:36:28,920
Speaker 3: But they didn't have a plan B for a black

2020
01:36:29,000 --> 01:36:31,479
Speaker 3: person that wasn't making a jazz record.

2021
01:36:31,520 --> 01:36:34,439
Speaker 7: It's like they have this machine and they're gonna stick

2022
01:36:34,479 --> 01:36:37,479
Speaker 7: you in the machine and they're gonna put the record

2023
01:36:37,560 --> 01:36:39,680
Speaker 7: in the in the hands of DJ's.

2024
01:36:39,439 --> 01:36:41,479
Speaker 3: And I'm like, who aren't gonna play it? And they're

2025
01:36:41,520 --> 01:36:44,479
Speaker 3: like and they just but they didn't. They couldn't conceptualize

2026
01:36:44,520 --> 01:36:47,599
Speaker 3: the idea that they couldn't put it into the box

2027
01:36:47,720 --> 01:36:49,479
Speaker 3: that they put all the arts.

2028
01:36:50,200 --> 01:36:52,280
Speaker 2: Was it a little better for the second album of

2029
01:36:52,400 --> 01:36:52,960
Speaker 2: Music Evolution?

2030
01:36:53,120 --> 01:36:56,080
Speaker 3: Did they get it? But by then I was like, Okay,

2031
01:36:56,720 --> 01:36:59,080
Speaker 3: I already know what this shit is. Yeah, you know

2032
01:36:59,120 --> 01:36:59,439
Speaker 3: what I mean.

2033
01:36:59,640 --> 01:37:02,240
Speaker 7: I'm not I'm just if they tried to have a

2034
01:37:02,920 --> 01:37:05,400
Speaker 7: publicity meeting with me, I'm just not even gonna attend

2035
01:37:05,920 --> 01:37:07,519
Speaker 7: because we had a band by then and we were

2036
01:37:07,560 --> 01:37:10,759
Speaker 7: touring and we were having a good time, and we started,

2037
01:37:11,360 --> 01:37:14,160
Speaker 7: uh some of those what do they call it jam bands,

2038
01:37:14,680 --> 01:37:18,080
Speaker 7: like string Sell Williams.

2039
01:37:19,880 --> 01:37:21,479
Speaker 3: We started playing with these bands and like it was

2040
01:37:21,560 --> 01:37:23,840
Speaker 3: going to be its own thing. I don't know. I

2041
01:37:23,960 --> 01:37:25,479
Speaker 3: just decided, yeah, I don't know if I want to

2042
01:37:25,520 --> 01:37:28,000
Speaker 3: be doing this when I'm fifty. So, you know, we

2043
01:37:28,080 --> 01:37:30,439
Speaker 3: got to that last tour. Frank wanted to go out

2044
01:37:30,520 --> 01:37:32,560
Speaker 3: the single wanted to go out and do his own thing. This,

2045
01:37:32,720 --> 01:37:36,240
Speaker 3: Frank McComb, Frank McComb, Frank McCall his own thing.

2046
01:37:36,640 --> 01:37:39,600
Speaker 7: The trumpet player, Russell Gunn wanted to go do his

2047
01:37:39,760 --> 01:37:41,720
Speaker 7: own thing. So it all kind of just I said, well,

2048
01:37:41,720 --> 01:37:42,519
Speaker 7: if y'all ain't.

2049
01:37:42,280 --> 01:37:44,280
Speaker 3: Doing it, I don't. I don't even want to do this.

2050
01:37:45,040 --> 01:37:47,200
Speaker 2: And were you doing Tonight Show as well around the time.

2051
01:37:48,120 --> 01:37:55,240
Speaker 3: I didn't want to ask answer your questions. I want

2052
01:37:55,320 --> 01:37:58,960
Speaker 3: this to be to be Tonight's Show, free interview. No,

2053
01:37:59,080 --> 01:38:02,920
Speaker 3: it's fine. So I was doing it Tonight Show when

2054
01:38:03,040 --> 01:38:05,840
Speaker 3: we were producing the first buck Shot record.

2055
01:38:06,320 --> 01:38:09,280
Speaker 7: Okay, but I left the show in ninety five. I

2056
01:38:09,400 --> 01:38:12,160
Speaker 7: left the show in ninety five to tour with the

2057
01:38:12,240 --> 01:38:15,080
Speaker 7: band that you know that became Buckshot.

2058
01:38:15,360 --> 01:38:15,880
Speaker 3: I can dig it.

2059
01:38:16,360 --> 01:38:19,479
Speaker 2: Did you just enjoy that more than doing being on TV?

2060
01:38:20,360 --> 01:38:22,240
Speaker 3: I think that, which is what I told you.

2061
01:38:22,840 --> 01:38:26,599
Speaker 7: If Tonight Show were in New York, I probably would

2062
01:38:26,600 --> 01:38:30,360
Speaker 7: have stayed. But there was no way living in Los Angeles.

2063
01:38:30,920 --> 01:38:36,080
Speaker 7: There was no consistent creative musical outlet. So if I

2064
01:38:36,240 --> 01:38:38,600
Speaker 7: was going to stay, I was basically going to be

2065
01:38:38,640 --> 01:38:40,920
Speaker 7: saying that I was giving up playing music because there

2066
01:38:41,000 --> 01:38:44,000
Speaker 7: was no place to play and there was no audience

2067
01:38:44,080 --> 01:38:48,040
Speaker 7: for it. So we were playing gigs in restaurants. It

2068
01:38:48,160 --> 01:38:51,479
Speaker 7: was just really and then and then I could start

2069
01:38:51,520 --> 01:38:53,920
Speaker 7: a feeling slipping away. So it really wasn't about the

2070
01:38:54,040 --> 01:38:56,240
Speaker 7: show or Jay or any of those other things. It's

2071
01:38:56,320 --> 01:38:59,519
Speaker 7: just my instincts, you know. I just it was a

2072
01:38:59,560 --> 01:39:02,960
Speaker 7: simple quest question. If you stay here, you're gonna make

2073
01:39:03,000 --> 01:39:06,240
Speaker 7: a lot of money. So is that okay that you

2074
01:39:06,880 --> 01:39:08,599
Speaker 7: make a lot of money and you do this show

2075
01:39:08,760 --> 01:39:12,360
Speaker 7: and you cease being a functioning musician on the level

2076
01:39:12,400 --> 01:39:14,880
Speaker 7: that you're accustomed to and the.

2077
01:39:14,960 --> 01:39:15,760
Speaker 3: And the answer was no.

2078
01:39:16,280 --> 01:39:17,680
Speaker 7: But if it had been in New York where I

2079
01:39:17,720 --> 01:39:20,559
Speaker 7: could go still like play gigs at night and keep

2080
01:39:20,600 --> 01:39:22,439
Speaker 7: my chops up and keep that whole music and get

2081
01:39:22,479 --> 01:39:25,360
Speaker 7: that musical input, but it always a very isolating place.

2082
01:39:26,600 --> 01:39:28,519
Speaker 7: It's a very isolating place. So I was really excited

2083
01:39:28,560 --> 01:39:31,280
Speaker 7: for you all, especially when Jimmy was gonna move to

2084
01:39:31,360 --> 01:39:31,680
Speaker 7: New York.

2085
01:39:31,680 --> 01:39:33,479
Speaker 3: I'm like, oh, this is great, man. You get to be,

2086
01:39:34,080 --> 01:39:35,679
Speaker 3: you know, in the city, and you can play gigs

2087
01:39:35,720 --> 01:39:37,920
Speaker 3: after us. If you want to do that, you're around.

2088
01:39:38,920 --> 01:39:41,920
Speaker 3: He wanted to come to l A. For a second, what.

2089
01:39:43,479 --> 01:39:45,880
Speaker 1: They were they were trying to consider it, like MAYB,

2090
01:39:45,880 --> 01:39:48,760
Speaker 1: where'd you go to l A? And but that's when

2091
01:39:49,400 --> 01:39:52,519
Speaker 1: the other that's when the other Jimmy was starting to

2092
01:39:52,560 --> 01:39:53,280
Speaker 1: pick up some heat.

2093
01:39:54,200 --> 01:39:55,479
Speaker 2: Ah got you.

2094
01:39:56,200 --> 01:39:56,920
Speaker 3: You didn't want to do it.

2095
01:39:57,280 --> 01:40:01,200
Speaker 1: You've done everything I forgot. You're Chinese, is like, I

2096
01:40:01,280 --> 01:40:01,920
Speaker 1: love your smile.

2097
01:40:02,600 --> 01:40:06,719
Speaker 3: Yeah, all this shit. I get paid for that ship

2098
01:40:06,760 --> 01:40:11,439
Speaker 3: either Norada got you? Damn man, I.

2099
01:40:11,479 --> 01:40:15,040
Speaker 7: Don't really care because all I would I got was

2100
01:40:15,040 --> 01:40:16,040
Speaker 7: like two hundred and fifty bucks.

2101
01:40:16,040 --> 01:40:19,000
Speaker 3: Anyway, right, He's like, you know, you're like, do you

2102
01:40:19,120 --> 01:40:22,080
Speaker 3: know the union rate? Whatever it was? I need whatever

2103
01:40:22,840 --> 01:40:23,360
Speaker 3: we were playing.

2104
01:40:23,400 --> 01:40:26,439
Speaker 7: We're playing a gig at this jazz club, Caesar's East

2105
01:40:26,479 --> 01:40:27,880
Speaker 7: in Memoryville, and Narady.

2106
01:40:27,560 --> 01:40:29,040
Speaker 15: Came to the gigs, man, I need you to play

2107
01:40:29,040 --> 01:40:32,799
Speaker 15: on this too. I went, okay, yeah, sure when tonight,

2108
01:40:32,880 --> 01:40:37,400
Speaker 15: I'm like, bro, come on, he goes, please creaking singing shitise, Wilson,

2109
01:40:37,439 --> 01:40:38,240
Speaker 15: it's gonna be a big.

2110
01:40:38,160 --> 01:40:39,880
Speaker 3: Hit, said, I don't care if it's gonna be a

2111
01:40:39,920 --> 01:40:42,240
Speaker 3: big hit. Man, I want to get to sleep. He said, man,

2112
01:40:42,240 --> 01:40:43,240
Speaker 3: can you ass us that? Fine?

2113
01:40:43,280 --> 01:40:45,920
Speaker 10: So we went over the bridge to Marine County where

2114
01:40:45,960 --> 01:40:49,439
Speaker 10: his crib was, and he said, this is her rough track.

2115
01:40:49,320 --> 01:40:51,640
Speaker 3: And I played at the rough time. I never met her.

2116
01:40:52,200 --> 01:40:55,720
Speaker 3: Oh okay, never met her. I thought you negotiated that

2117
01:40:55,880 --> 01:40:58,680
Speaker 3: shout out, so you know, no, I asked him not

2118
01:40:58,800 --> 01:40:59,120
Speaker 3: to do it.

2119
01:41:00,120 --> 01:41:00,760
Speaker 2: He said wow.

2120
01:41:00,880 --> 01:41:02,160
Speaker 3: He said, uh yeah, man.

2121
01:41:02,120 --> 01:41:03,559
Speaker 7: I'm gonna get it to say blue brand for good.

2122
01:41:03,600 --> 01:41:05,599
Speaker 7: I said, please don't do it, because okay, I won't.

2123
01:41:08,600 --> 01:41:13,880
Speaker 3: It comes out. I'm like, no, I knew it was.

2124
01:41:14,360 --> 01:41:16,439
Speaker 3: I knew everywhere I went I was gonna hear.

2125
01:41:16,400 --> 01:41:22,920
Speaker 2: That frestmas bell Air.

2126
01:41:23,000 --> 01:41:28,000
Speaker 3: His cameo, oh yeah, I forgot what yeh, Well, we

2127
01:41:28,080 --> 01:41:29,880
Speaker 3: were in the same studio. That's what made it work.

2128
01:41:30,360 --> 01:41:33,320
Speaker 3: Oh okay, we would that's right, NBC. I forgot.

2129
01:41:35,040 --> 01:41:38,240
Speaker 1: Was there a collaboration opportunity that was presented to you

2130
01:41:38,360 --> 01:41:41,280
Speaker 1: that you couldn't do that? Wound up being something significant,

2131
01:41:42,360 --> 01:41:43,000
Speaker 1: not that I can.

2132
01:41:43,160 --> 01:41:47,479
Speaker 3: Think of, Okay, okay, like what I don't even know,

2133
01:41:47,680 --> 01:41:48,680
Speaker 3: like no, no, no.

2134
01:41:48,800 --> 01:41:51,680
Speaker 1: I just meant like a chance to do like a

2135
01:41:52,320 --> 01:41:54,320
Speaker 1: I don't know, plan on a track call, quest record,

2136
01:41:54,400 --> 01:41:58,080
Speaker 1: like someone requesting you to do something and you weren't

2137
01:41:58,080 --> 01:41:59,799
Speaker 1: able to do it because of scheduling reasons.

2138
01:42:00,280 --> 01:42:02,920
Speaker 3: They were never they were never. No, Okay, I don't

2139
01:42:02,960 --> 01:42:04,920
Speaker 3: think that man. Yo.

2140
01:42:05,160 --> 01:42:08,320
Speaker 2: So I didn't realize have you and Dave Matthews done anymore?

2141
01:42:08,320 --> 01:42:10,960
Speaker 2: Because I saw that you would played. It was a

2142
01:42:11,080 --> 01:42:13,680
Speaker 2: live version of Loverlyay Down, which is like one of

2143
01:42:13,760 --> 01:42:15,719
Speaker 2: my favorite Dave Matthew songs.

2144
01:42:15,920 --> 01:42:16,759
Speaker 3: We did that in Rolly.

2145
01:42:17,240 --> 01:42:20,720
Speaker 7: But yeah, well you know Jeff Coffin, the guy who

2146
01:42:20,720 --> 01:42:23,240
Speaker 7: pleted the saxophone player in the band. Yeah, I guess

2147
01:42:23,479 --> 01:42:26,280
Speaker 7: uh Leroy really liked me. I didn't really get to

2148
01:42:26,360 --> 01:42:28,880
Speaker 7: know Larroy that well. The one time that they played

2149
01:42:28,880 --> 01:42:31,240
Speaker 7: in New York and playing at Jones Beach and I

2150
01:42:31,360 --> 01:42:32,200
Speaker 7: wanted to take my son.

2151
01:42:32,720 --> 01:42:34,599
Speaker 3: So they're like, come sit in with the band. I said, nah,

2152
01:42:34,720 --> 01:42:36,759
Speaker 3: my son's ten, We're just gonna go to a concert.

2153
01:42:36,800 --> 01:42:38,760
Speaker 7: And they have like a you know, falling sun night

2154
01:42:38,840 --> 01:42:41,800
Speaker 7: out go hear the music, you know, And then I

2155
01:42:41,880 --> 01:42:43,880
Speaker 7: wrote them a nice letter because they hooked up the

2156
01:42:43,920 --> 01:42:45,519
Speaker 7: tickets and I wrote them a nice letter to the

2157
01:42:45,560 --> 01:42:46,479
Speaker 7: man in the same thanks.

2158
01:42:46,520 --> 01:42:48,680
Speaker 3: It was great, you know. And the next time I

2159
01:42:48,800 --> 01:42:52,240
Speaker 3: come play and then Lroy had that weird ATV accident

2160
01:42:52,320 --> 01:42:53,679
Speaker 3: and died. It was wild.

2161
01:42:53,800 --> 01:42:57,040
Speaker 7: But I know Jeff Coffin really well. So Jeff will

2162
01:42:57,080 --> 01:42:58,439
Speaker 7: call me and say, hey, man, the guys want you

2163
01:42:58,520 --> 01:43:01,679
Speaker 7: to come play, and I'm like, okay, yeah, sim Raley.

2164
01:43:01,720 --> 01:43:03,800
Speaker 7: That's forty minute driving from me, so I'll come through.

2165
01:43:04,400 --> 01:43:06,120
Speaker 7: And then it just started to do They say hey,

2166
01:43:06,160 --> 01:43:07,000
Speaker 7: can you make this gig?

2167
01:43:07,080 --> 01:43:09,200
Speaker 3: And you do this? You know, yeah, anytime I could

2168
01:43:09,240 --> 01:43:10,920
Speaker 3: do it, I'm happy to do it. That was fun.

2169
01:43:11,040 --> 01:43:12,880
Speaker 3: I mean, it's a great band. I love the band

2170
01:43:13,040 --> 01:43:15,080
Speaker 3: so and they write great songs.

2171
01:43:16,320 --> 01:43:19,360
Speaker 1: How long does it take you, especially when you're doing

2172
01:43:19,840 --> 01:43:22,040
Speaker 1: a Dead and Company or even when you were doing

2173
01:43:22,080 --> 01:43:22,679
Speaker 1: Grateful Dead.

2174
01:43:23,280 --> 01:43:26,680
Speaker 3: Their catalog is so damn expansive. How long does it

2175
01:43:26,720 --> 01:43:29,280
Speaker 3: take you to study that? Or like do they just

2176
01:43:29,320 --> 01:43:30,880
Speaker 3: tell you to get in where you fit in, or

2177
01:43:31,040 --> 01:43:32,920
Speaker 3: like how does that work? And I do? Then I

2178
01:43:33,040 --> 01:43:34,680
Speaker 3: go in to play and they just they call that

2179
01:43:34,800 --> 01:43:36,320
Speaker 3: something like unlike a lot of men.

2180
01:43:36,439 --> 01:43:39,280
Speaker 7: Those guys used to just call the songs on the stage.

2181
01:43:40,080 --> 01:43:41,120
Speaker 7: They didn't have a set list.

2182
01:43:41,920 --> 01:43:44,920
Speaker 3: I would always kind of you lay back. In the

2183
01:43:45,040 --> 01:43:47,160
Speaker 3: first course, I wouldn't.

2184
01:43:46,760 --> 01:43:50,880
Speaker 10: Play, And I was learning them, learn learning the forum

2185
01:43:51,320 --> 01:43:53,479
Speaker 10: and listening to the ideas that they play in the

2186
01:43:53,520 --> 01:43:55,560
Speaker 10: little motiefs and where can I play and where is

2187
01:43:55,560 --> 01:43:58,320
Speaker 10: it fit in? So then on the second churse if

2188
01:43:58,360 --> 01:43:59,559
Speaker 10: I can get in there, I'll get in there.

2189
01:43:59,560 --> 01:44:00,920
Speaker 3: And if I can, I just won't play.

2190
01:44:01,840 --> 01:44:04,920
Speaker 2: I see, man, I want to know. I want you

2191
01:44:05,000 --> 01:44:07,280
Speaker 2: to talk about your time is Central, that's my alma

2192
01:44:07,360 --> 01:44:10,479
Speaker 2: mad I graduated in uh one. All right, what brought

2193
01:44:10,479 --> 01:44:13,840
Speaker 2: you to Central? And what is the climate like? You

2194
01:44:13,920 --> 01:44:16,640
Speaker 2: know you're talking earlier about all the gospel players. It

2195
01:44:16,760 --> 01:44:18,960
Speaker 2: was very much like that when I was there as well.

2196
01:44:19,000 --> 01:44:21,120
Speaker 2: Everybody came out of church. What's it like now?

2197
01:44:21,439 --> 01:44:24,560
Speaker 3: They're great? I mean this some of the most. I

2198
01:44:24,640 --> 01:44:27,240
Speaker 3: mean there's some of the most. They're just great. They're

2199
01:44:27,320 --> 01:44:30,760
Speaker 3: just great kids and they're not ambitious.

2200
01:44:30,960 --> 01:44:32,720
Speaker 7: And that's perfect for me because when you go to

2201
01:44:32,800 --> 01:44:35,640
Speaker 7: those regular music schools, so many musicians are ambitious.

2202
01:44:36,560 --> 01:44:38,760
Speaker 3: You know. Like we had a situation where one of

2203
01:44:38,840 --> 01:44:41,400
Speaker 3: our students had some problems.

2204
01:44:42,520 --> 01:44:45,280
Speaker 7: She had to go to the hospital, and all of

2205
01:44:45,320 --> 01:44:48,760
Speaker 7: the kids start texting and saying, you know, we need

2206
01:44:48,840 --> 01:44:49,559
Speaker 7: to go to the hospital.

2207
01:44:50,120 --> 01:44:52,880
Speaker 3: We need to be with our girl. I mean, men, men,

2208
01:44:53,000 --> 01:44:55,080
Speaker 3: the whole thing. Everybody, when you're gonna come to me

2209
01:44:55,200 --> 01:44:58,679
Speaker 3: when you going to the hospital that happened at Berkeley,

2210
01:44:58,720 --> 01:45:01,040
Speaker 3: he'd be like, well, yeah, that's too bad, you know, Yeah,

2211
01:45:01,160 --> 01:45:02,120
Speaker 3: so what time is the hit?

2212
01:45:02,479 --> 01:45:04,479
Speaker 7: I mean, it was just like a whole different kind

2213
01:45:04,520 --> 01:45:09,040
Speaker 7: of thing, you know, the uh we uh Joey Calgarazzo

2214
01:45:09,080 --> 01:45:10,840
Speaker 7: and I went to this restaurant and there were a

2215
01:45:10,880 --> 01:45:13,000
Speaker 7: lot of the singers from the vocal on someboy and

2216
01:45:13,080 --> 01:45:15,160
Speaker 7: so what a y'all doing this Because of COVID we

2217
01:45:15,240 --> 01:45:17,160
Speaker 7: can't meet the freshman, so we just meet him here

2218
01:45:17,920 --> 01:45:21,120
Speaker 7: and we sit around. So you got upperclassmen needing freshmens

2219
01:45:21,280 --> 01:45:24,400
Speaker 7: to just have lunch with them because they can't be

2220
01:45:24,520 --> 01:45:28,040
Speaker 7: together under the normal circumstance. So I just love the

2221
01:45:28,160 --> 01:45:31,240
Speaker 7: camaraderie and the energy. I mean, it's it's it's it's

2222
01:45:31,280 --> 01:45:34,600
Speaker 7: an amazing place. Ara Wiggins runs the program, and it

2223
01:45:34,680 --> 01:45:37,640
Speaker 7: was there when I was there. Yeah, so Wigans, you know,

2224
01:45:37,720 --> 01:45:40,120
Speaker 7: he's my boss. So I mean, they've just set up

2225
01:45:40,240 --> 01:45:44,320
Speaker 7: such a great environment there, and the kids are really

2226
01:45:44,400 --> 01:45:47,880
Speaker 7: curious and really smart, and some of them are super

2227
01:45:47,960 --> 01:45:51,759
Speaker 7: talented too, you know, and they just use the material

2228
01:45:51,800 --> 01:45:53,280
Speaker 7: and then move on and do other things.

2229
01:45:54,439 --> 01:45:56,680
Speaker 2: Do you have to have the talk with you know,

2230
01:45:56,800 --> 01:45:59,200
Speaker 2: being who you are, do you have to kind of

2231
01:45:59,240 --> 01:46:01,400
Speaker 2: have that talk with the students? Like I watched the

2232
01:46:02,200 --> 01:46:05,679
Speaker 2: actually a elling like master class he was doing where

2233
01:46:05,720 --> 01:46:07,760
Speaker 2: he just told the kids straight up, he was like, look,

2234
01:46:07,800 --> 01:46:09,519
Speaker 2: this is not your big break, Like, we ain't here

2235
01:46:09,600 --> 01:46:12,360
Speaker 2: for that. Do you have to do something similar with

2236
01:46:12,479 --> 01:46:14,800
Speaker 2: the kids now? So do they understand this education and

2237
01:46:14,920 --> 01:46:18,000
Speaker 2: not I'm trying to get on press Branford.

2238
01:46:18,400 --> 01:46:20,960
Speaker 3: Yeah, it's different. It's a different thing because it's not

2239
01:46:21,080 --> 01:46:21,880
Speaker 3: a master class.

2240
01:46:22,439 --> 01:46:25,519
Speaker 7: I mean, I'm there, they see me all the time,

2241
01:46:25,600 --> 01:46:27,320
Speaker 7: and I dog them when they first get there, so

2242
01:46:27,400 --> 01:46:28,479
Speaker 7: I scared the hell out of them.

2243
01:46:28,920 --> 01:46:31,479
Speaker 3: So it takes them almost a whole year to figure

2244
01:46:31,479 --> 01:46:35,920
Speaker 3: out that I was just fucking with him. You know.

2245
01:46:36,200 --> 01:46:38,240
Speaker 10: The upper classmen know what it is because they went

2246
01:46:38,320 --> 01:46:41,280
Speaker 10: through I don't say nothing, and the kids were scared down,

2247
01:46:41,400 --> 01:46:44,080
Speaker 10: egg shells and all of it, you know, and then.

2248
01:46:45,000 --> 01:46:48,439
Speaker 3: Eventually they realized he's just playing me. So then the

2249
01:46:48,560 --> 01:46:52,120
Speaker 3: whole thing. It opens up and it's cool, you know,

2250
01:46:52,280 --> 01:46:54,680
Speaker 3: it opens up and it's cool. But yeah, it's uh.

2251
01:46:55,520 --> 01:46:57,960
Speaker 3: I take it very seriously and I can't around with him.

2252
01:46:57,960 --> 01:46:59,320
Speaker 3: We joke. I mean, we have a good time, but

2253
01:46:59,360 --> 01:47:02,479
Speaker 3: it's a serious thing, and it's more about thought process.

2254
01:47:02,680 --> 01:47:05,439
Speaker 7: Like I didn't really want to hear him play, you know,

2255
01:47:05,600 --> 01:47:07,640
Speaker 7: And once they and I told him, I said, the

2256
01:47:07,720 --> 01:47:09,840
Speaker 7: lessons ain't gonna get good till it ain't about playing.

2257
01:47:10,520 --> 01:47:13,880
Speaker 16: And then what the upper classmen do is because they're

2258
01:47:13,920 --> 01:47:16,560
Speaker 16: half hour lessons. You know, before COVID, they would be

2259
01:47:16,760 --> 01:47:20,280
Speaker 16: half hour lessons starting at ten thirty, So three people

2260
01:47:20,640 --> 01:47:24,639
Speaker 16: would sign up for ten thirty, eleven, and eleven thirty,

2261
01:47:24,760 --> 01:47:26,479
Speaker 16: and then it would all come at ten thirty and

2262
01:47:26,520 --> 01:47:27,719
Speaker 16: we would just play music.

2263
01:47:27,520 --> 01:47:28,599
Speaker 3: And talk for an hour and a half.

2264
01:47:29,600 --> 01:47:31,240
Speaker 2: Wow, gotcha, you know.

2265
01:47:31,320 --> 01:47:33,519
Speaker 7: So and then it became this thing where the lesson

2266
01:47:33,680 --> 01:47:36,880
Speaker 7: wasn't your private lesson. It was like a class that

2267
01:47:37,160 --> 01:47:41,200
Speaker 7: other students were monitoring you. And sometimes people just come

2268
01:47:41,240 --> 01:47:42,800
Speaker 7: in to check out the lesson. I'm like, yeah, come

2269
01:47:42,840 --> 01:47:45,320
Speaker 7: on in, And then some of the students would say, well,

2270
01:47:45,360 --> 01:47:47,760
Speaker 7: you know, man, I didn't think he was gonna be

2271
01:47:47,800 --> 01:47:49,760
Speaker 7: I said man, you want to play for people for

2272
01:47:49,840 --> 01:47:51,879
Speaker 7: a vivid you better get used to the idea.

2273
01:47:51,680 --> 01:47:53,800
Speaker 3: Of criticizing you and checking you out and all this

2274
01:47:53,920 --> 01:47:56,880
Speaker 3: other shit. You know, you don't have secret lessons. I mean,

2275
01:47:56,920 --> 01:47:59,680
Speaker 3: it's the big deal. You banded at something. Shit, what's

2276
01:47:59,680 --> 01:48:00,439
Speaker 3: wrong with him knowing?

2277
01:48:01,240 --> 01:48:03,560
Speaker 7: And then they're like, all right, cool, Yeah, so you

2278
01:48:03,680 --> 01:48:05,599
Speaker 7: have kids coming and sitting on another kids lessons.

2279
01:48:05,680 --> 01:48:07,320
Speaker 3: This is a great it's a great situation.

2280
01:48:07,880 --> 01:48:08,360
Speaker 2: That's what's up.

2281
01:48:08,600 --> 01:48:11,160
Speaker 1: See, I'm waiting for a black version of Whiplash to

2282
01:48:11,240 --> 01:48:12,200
Speaker 1: come out in the movies.

2283
01:48:17,360 --> 01:48:20,040
Speaker 7: Had an experience like the experience in Whip. I said, no,

2284
01:48:20,160 --> 01:48:25,120
Speaker 7: I'd beat it if he touched me, Like the writer

2285
01:48:25,320 --> 01:48:28,680
Speaker 7: was like, he was like, really, trust me, trust.

2286
01:48:28,479 --> 01:48:34,880
Speaker 3: Met me in the class. Yeah, it's happening. It's going

2287
01:48:35,000 --> 01:48:37,280
Speaker 3: down well. I mean, but do you come from a

2288
01:48:37,360 --> 01:48:41,880
Speaker 3: place where you feel like this generation might be.

2289
01:48:42,080 --> 01:48:45,720
Speaker 7: Too used to praise and but I don't care. I

2290
01:48:45,880 --> 01:48:47,880
Speaker 7: guess they are used to praise, but I don't care.

2291
01:48:48,439 --> 01:48:50,719
Speaker 7: I mean, so you don't use the tough teacher approach,

2292
01:48:51,520 --> 01:48:56,439
Speaker 7: like or to the JK approach. They would call it

2293
01:48:56,640 --> 01:48:59,680
Speaker 7: a tough teacher okay, like throwing ship and all of that.

2294
01:49:00,560 --> 01:49:02,599
Speaker 7: I'm not gonna throw something on it. They suck, they suck.

2295
01:49:03,160 --> 01:49:04,840
Speaker 7: I just tell them they suck. But I'm gonna tell

2296
01:49:04,840 --> 01:49:07,519
Speaker 7: them why they suck. I'm not gonna sit there. It's

2297
01:49:07,560 --> 01:49:08,560
Speaker 7: not like I'm gonna have to.

2298
01:49:08,840 --> 01:49:09,080
Speaker 3: I'm not.

2299
01:49:09,200 --> 01:49:12,439
Speaker 7: I'm not trying to establish my dominance over you because

2300
01:49:12,960 --> 01:49:15,760
Speaker 7: I don't have this deep tragic thing where I was

2301
01:49:15,840 --> 01:49:18,559
Speaker 7: on a bandstand and I was humiliated. So I'm gonna

2302
01:49:18,600 --> 01:49:21,479
Speaker 7: act that out on every student that psycho trauma that

2303
01:49:21,680 --> 01:49:22,320
Speaker 7: you know JK.

2304
01:49:22,479 --> 01:49:26,679
Speaker 10: Simmons character had. Then they've been my experience. Oh okay, okay,

2305
01:49:26,720 --> 01:49:30,720
Speaker 10: it's not been my experience. No, I appreciate it. And

2306
01:49:31,280 --> 01:49:33,400
Speaker 10: you know I've been dying for this moment. But I

2307
01:49:33,560 --> 01:49:36,680
Speaker 10: know that you hate cats be nerd out on you.

2308
01:49:37,720 --> 01:49:40,720
Speaker 10: I do, you know, every second of the day. So

2309
01:49:40,840 --> 01:49:43,960
Speaker 10: I really appreciate you taking the time. I appreciate you.

2310
01:49:44,040 --> 01:49:45,880
Speaker 10: Thanks for inviting me to speak to me.

2311
01:49:45,960 --> 01:49:48,280
Speaker 2: No, thank you, man, And just as a as a

2312
01:49:48,640 --> 01:49:50,519
Speaker 2: as a central graduate man, it really means a lot

2313
01:49:50,680 --> 01:49:53,760
Speaker 2: that you're like, you know, at my university, man like that.

2314
01:49:55,520 --> 01:49:59,160
Speaker 3: Can't imagine being nowhere else. It's awesome. Well on behalf

2315
01:49:59,200 --> 01:50:03,800
Speaker 3: of it. I'm paid Bill Sugar Steve uh earned in

2316
01:50:03,920 --> 01:50:05,000
Speaker 3: bi bigelow.

2317
01:50:05,560 --> 01:50:08,960
Speaker 1: This questlove with the Great Brandon Marcellus or West Love

2318
01:50:09,040 --> 01:50:10,559
Speaker 1: Supreme and we will see you one of.

2319
01:50:10,520 --> 01:50:11,080
Speaker 3: The next ground.

2320
01:50:11,160 --> 01:50:15,919
Speaker 2: Thank you very much, Yo, what's up? This is spontane.

2321
01:50:16,360 --> 01:50:18,559
Speaker 2: Make sure you keep up with us on Instagram at

2322
01:50:18,720 --> 01:50:21,040
Speaker 2: QLs and let us know what you think we should

2323
01:50:21,040 --> 01:50:22,920
Speaker 2: be next to sit down with us. Don't forget to

2324
01:50:22,960 --> 01:50:25,479
Speaker 2: subscribe to our podcast, all right peace.

2325
01:50:31,400 --> 01:50:37,519
Speaker 3: West Love Supreme is a production of iHeart Radio. For

2326
01:50:37,680 --> 01:50:40,720
Speaker 3: more podcasts from iHeart Radio, visit the iHeart Radio app,

2327
01:50:41,000 --> 01:50:44,000
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.