1 00:00:00,160 --> 00:00:03,840 Speaker 1: This episode is also available as video on YouTube. You 2 00:00:03,880 --> 00:00:06,440 Speaker 1: can visit Nora Jones channel and be sure to subscribe 3 00:00:06,440 --> 00:00:09,720 Speaker 1: while you're there. Hey, I'm Norah Jones and today I'm 4 00:00:09,720 --> 00:00:11,520 Speaker 1: playing along with Long Long. 5 00:00:12,560 --> 00:00:28,480 Speaker 2: I'm just playing Long, I'm just playing Long Wey. 6 00:00:26,160 --> 00:00:28,639 Speaker 3: I'm Nora and this is Sarah Odelcome to our show, 7 00:00:28,720 --> 00:00:32,440 Speaker 3: Playing along, Playing Along Long. Our guest today is an 8 00:00:32,479 --> 00:00:36,480 Speaker 3: internationally acclaimed pianist, one of the most recognizable classical musicians 9 00:00:37,120 --> 00:00:41,440 Speaker 3: in the world. Yes, Long Long, He's played everywhere from 10 00:00:41,440 --> 00:00:44,640 Speaker 3: Carnegie Hall to Royal Albert Hall, to right here and 11 00:00:44,880 --> 00:00:47,680 Speaker 3: to right here, right here, and with also the world's 12 00:00:47,680 --> 00:00:50,640 Speaker 3: greatest orchestras to write here and then back to here. 13 00:00:51,440 --> 00:00:53,199 Speaker 1: He played my piano. 14 00:00:54,760 --> 00:00:57,880 Speaker 3: He's really introduced classical music to a whole new generation. 15 00:00:58,120 --> 00:01:01,440 Speaker 1: He's incredible. He's incredible. I mean he sat here and 16 00:01:01,520 --> 00:01:04,959 Speaker 1: played this piano for me when we first start the episode. 17 00:01:04,959 --> 00:01:08,000 Speaker 1: You'll hear it. It's so beautiful. Yeah, and he's also 18 00:01:08,160 --> 00:01:10,840 Speaker 1: just so cool and easy to hang with and talk to. 19 00:01:11,200 --> 00:01:12,960 Speaker 1: He's really just a special human. 20 00:01:13,080 --> 00:01:16,760 Speaker 3: I think, gosh, yeah, you will hear the first, like 21 00:01:16,800 --> 00:01:20,120 Speaker 3: you said, the first classical, truly classical piece that we've 22 00:01:20,120 --> 00:01:22,080 Speaker 3: done on this show sol a piano piece from the 23 00:01:22,120 --> 00:01:25,000 Speaker 3: eighteen hundreds. Yeah, and it'll just make you cry. 24 00:01:25,120 --> 00:01:28,520 Speaker 1: It's so beautiful that just everything he does, and we 25 00:01:28,600 --> 00:01:29,759 Speaker 1: do a pretty special cover. 26 00:01:30,480 --> 00:01:34,280 Speaker 3: Yes, you might be surprised by the song that you 27 00:01:34,400 --> 00:01:37,920 Speaker 3: and Long Lung chose to take on, but grab your 28 00:01:38,319 --> 00:01:40,919 Speaker 3: pink cowboy hats and stay tuned. 29 00:01:40,959 --> 00:01:41,919 Speaker 4: Wait and give it away? 30 00:01:42,160 --> 00:01:43,000 Speaker 5: Oh does it? 31 00:01:43,160 --> 00:01:46,280 Speaker 1: I don't know. Well, anyway, this is a really fun one. 32 00:01:46,480 --> 00:01:49,640 Speaker 1: I hope you enjoy the episode with Long Long. All right, 33 00:01:49,760 --> 00:01:56,200 Speaker 1: well yeah, I can't wait to hear you play my right, Okay. 34 00:01:56,760 --> 00:02:05,080 Speaker 6: So let me play the romantic composer France list Consolation 35 00:02:05,360 --> 00:02:07,080 Speaker 6: number number two. 36 00:02:07,200 --> 00:03:55,680 Speaker 1: Okay in England. 37 00:04:24,800 --> 00:05:37,239 Speaker 7: After after, I'm gonna cry. 38 00:05:37,680 --> 00:05:40,280 Speaker 1: It's so beautiful. Thank you, thank you, thank you. 39 00:05:41,320 --> 00:05:43,720 Speaker 8: I mean to play in your studio. It's very inspirational. 40 00:05:44,640 --> 00:05:47,400 Speaker 1: Oh good, I was gonna say you. It feels so 41 00:05:49,040 --> 00:05:53,560 Speaker 1: physical watching you play. You're very physical. You're in the 42 00:05:53,640 --> 00:05:55,000 Speaker 1: music in a way. 43 00:05:54,880 --> 00:05:57,320 Speaker 6: That I mean, you know the things for me and 44 00:05:57,400 --> 00:06:02,280 Speaker 6: piano unlike vallein or any other instrument, you can grab it, 45 00:06:02,480 --> 00:06:07,560 Speaker 6: you can, you know, you can play with it. But unfortunately, 46 00:06:07,760 --> 00:06:11,400 Speaker 6: you know, we actually have to go into the pianos 47 00:06:11,480 --> 00:06:16,159 Speaker 6: in order to have that complete connection. That's what I believe, 48 00:06:17,200 --> 00:06:19,400 Speaker 6: and so so that's why we have to go into 49 00:06:19,440 --> 00:06:20,640 Speaker 6: the piano as a pianist. 50 00:06:20,920 --> 00:06:23,920 Speaker 1: It feels totally connected, like you and my piano or 51 00:06:24,040 --> 00:06:28,599 Speaker 1: now what, thanks for playing it? What? What did you think? 52 00:06:28,760 --> 00:06:31,280 Speaker 1: What do you How would you describe this piano and 53 00:06:31,320 --> 00:06:33,720 Speaker 1: the personality. Do you feel like all pianos have sort 54 00:06:33,760 --> 00:06:35,719 Speaker 1: of their own personal. 55 00:06:35,320 --> 00:06:40,560 Speaker 6: I believe every piano, every instrument, has their own kind 56 00:06:40,560 --> 00:06:44,000 Speaker 6: of character. And what do you have is a beautiful 57 00:06:44,360 --> 00:06:49,120 Speaker 6: sounded piano with a lot of substance, and it has 58 00:06:49,360 --> 00:06:54,680 Speaker 6: this very lyrical a little bit more to the kind 59 00:06:54,720 --> 00:06:57,760 Speaker 6: of darker sound. But I really love it because it's 60 00:06:57,800 --> 00:07:01,640 Speaker 6: really shows the depth of. 61 00:07:00,800 --> 00:07:04,000 Speaker 8: The instrument and you can go really into it. 62 00:07:04,279 --> 00:07:07,119 Speaker 1: Yeah, yeah, it's cool. 63 00:07:07,200 --> 00:07:11,240 Speaker 6: It's so interesting to feel that this piano fits your 64 00:07:11,800 --> 00:07:12,720 Speaker 6: voice very well. 65 00:07:12,800 --> 00:07:15,640 Speaker 1: Yeah it does. I had a hard time finding a piano. 66 00:07:15,760 --> 00:07:19,440 Speaker 1: I think I bought this twenty five years ago maybe, yeah, 67 00:07:19,480 --> 00:07:25,320 Speaker 1: And I'm very specifically. It was hard for me to 68 00:07:25,320 --> 00:07:29,800 Speaker 1: find one that I felt connected to because I have 69 00:07:29,880 --> 00:07:34,920 Speaker 1: a problem with very bright sounding pianos. But yeah, I 70 00:07:34,960 --> 00:07:35,640 Speaker 1: love this piano. 71 00:07:36,200 --> 00:07:39,960 Speaker 8: It's great choice and girl, beautiful. 72 00:07:39,880 --> 00:07:43,360 Speaker 1: You got the nicest legs of any piano I've ever seen. 73 00:07:44,040 --> 00:07:48,880 Speaker 1: They're carved, They're so really really handcrafted. Yeah, when you tour, 74 00:07:49,200 --> 00:07:53,080 Speaker 1: do you have do you play? Because you play concert 75 00:07:53,120 --> 00:07:55,720 Speaker 1: halls a lot, do you play? What is there? Do 76 00:07:55,760 --> 00:07:57,040 Speaker 1: you have your own money? 77 00:07:57,160 --> 00:08:02,000 Speaker 6: I used their pianos, you know, very special occasions. Sometimes 78 00:08:02,040 --> 00:08:08,960 Speaker 6: I take some pianos that I chose. And normally every 79 00:08:09,040 --> 00:08:11,680 Speaker 6: concert hall has a very good piano, and specially the 80 00:08:11,800 --> 00:08:16,160 Speaker 6: good Stammy there, and and they also have a great 81 00:08:16,200 --> 00:08:19,920 Speaker 6: technician that you can work with. So even the piano 82 00:08:20,000 --> 00:08:23,560 Speaker 6: is not up to your level, you can basically let 83 00:08:23,680 --> 00:08:27,480 Speaker 6: him or her to make it to the level you want. 84 00:08:27,720 --> 00:08:33,760 Speaker 1: Okay, yeah, yeah. And when you travel do you stay 85 00:08:33,880 --> 00:08:37,800 Speaker 1: you stay in hotels? Do you have a piano ever 86 00:08:37,840 --> 00:08:38,480 Speaker 1: in your hotel? 87 00:08:38,559 --> 00:08:38,719 Speaker 5: Yes? 88 00:08:39,559 --> 00:08:44,199 Speaker 6: Normally Stammy provide an upright piano in my hotel rooms, 89 00:08:44,240 --> 00:08:46,440 Speaker 6: and then we try to find a room which is 90 00:08:46,480 --> 00:08:50,079 Speaker 6: not not in the middle of the hotel on the 91 00:08:50,280 --> 00:08:54,360 Speaker 6: edge so that I can I can practice or finding 92 00:08:55,200 --> 00:08:58,640 Speaker 6: the next door is like one of my friends, of 93 00:08:59,120 --> 00:09:01,680 Speaker 6: my relatives, so when they tour with me, so then 94 00:09:02,440 --> 00:09:04,959 Speaker 6: nobody going to complain. 95 00:09:06,120 --> 00:09:07,280 Speaker 8: I'm trying to do. 96 00:09:07,520 --> 00:09:07,800 Speaker 7: Yeah. 97 00:09:07,880 --> 00:09:09,520 Speaker 1: Yeah, And do you ever play in the middle of 98 00:09:09,559 --> 00:09:09,880 Speaker 1: the night. 99 00:09:09,960 --> 00:09:12,480 Speaker 8: Are you trying to If I do it, I will 100 00:09:12,520 --> 00:09:13,360 Speaker 8: play very soft. 101 00:09:13,480 --> 00:09:17,640 Speaker 6: Yeah, so I will not play something evening exactly. 102 00:09:18,360 --> 00:09:21,760 Speaker 1: I also noticed that you use the soft pedal a lot. 103 00:09:22,280 --> 00:09:25,240 Speaker 1: I do too, And someone told me once that they 104 00:09:25,280 --> 00:09:30,480 Speaker 1: were like surprised because not everybody in my field uses 105 00:09:30,520 --> 00:09:32,840 Speaker 1: it quite as much or something. I don't really know. 106 00:09:32,880 --> 00:09:36,680 Speaker 1: I've never noticed anybody using it like that. That's but 107 00:09:36,720 --> 00:09:38,960 Speaker 1: I noticed you using it a lot, up and down 108 00:09:38,960 --> 00:09:39,520 Speaker 1: and up and down. 109 00:09:39,760 --> 00:09:39,960 Speaker 8: Yeah. 110 00:09:40,080 --> 00:09:40,280 Speaker 1: Yeah. 111 00:09:40,480 --> 00:09:45,280 Speaker 6: For a classical repertoire, especially romantic repertoire, that they need 112 00:09:45,400 --> 00:09:48,920 Speaker 6: always kind of change of colors and the range of 113 00:09:48,960 --> 00:09:54,240 Speaker 6: the subtleness of the soft, like the sweet soft or 114 00:09:54,360 --> 00:09:59,160 Speaker 6: a little bit hard soft or more saddenings. So the 115 00:09:59,320 --> 00:10:03,040 Speaker 6: left pedal make quite a quick difference. 116 00:10:03,280 --> 00:10:03,640 Speaker 1: Yeah. 117 00:10:03,720 --> 00:10:06,559 Speaker 6: Yeah, it doesn't make a huge difference, but when you 118 00:10:06,720 --> 00:10:12,440 Speaker 6: push down, it reacts very fast, so in a way 119 00:10:12,480 --> 00:10:16,120 Speaker 6: that you can hear a quick react. 120 00:10:17,920 --> 00:10:20,200 Speaker 1: Do you think it's consistent or every piano has a 121 00:10:20,200 --> 00:10:21,880 Speaker 1: different level of the soft pedal. 122 00:10:22,880 --> 00:10:28,440 Speaker 6: Some piano maybe has a little deeper softness, yeah, but 123 00:10:29,200 --> 00:10:34,640 Speaker 6: regularly it's similar. Yeah, Because the theory is that when 124 00:10:34,679 --> 00:10:38,800 Speaker 6: you push down and then there's one one of the strings, 125 00:10:39,120 --> 00:10:41,440 Speaker 6: one of the three or one of the two get muted, 126 00:10:42,040 --> 00:10:47,080 Speaker 6: so that's automatically become less or softer. 127 00:10:47,320 --> 00:10:53,080 Speaker 1: Yeh yeah, just less. Sound awesome. That was so pretty. 128 00:10:54,240 --> 00:10:56,720 Speaker 1: Do you know what year that piece was written. 129 00:10:56,720 --> 00:11:01,160 Speaker 6: Around during the Romantic era on the nineteen century. I 130 00:11:01,160 --> 00:11:04,640 Speaker 6: don't know exactly which year, but he wrote three of 131 00:11:04,679 --> 00:11:10,280 Speaker 6: the consolation so beautiful and one is more beautiful than 132 00:11:10,320 --> 00:11:12,000 Speaker 6: the others, really beautiful. 133 00:11:12,240 --> 00:11:14,920 Speaker 1: It was so beautiful, and it had so many elements 134 00:11:14,960 --> 00:11:21,160 Speaker 1: of you know, modern Gershwin or you know, it reminded me. 135 00:11:21,320 --> 00:11:23,960 Speaker 1: It had the dominant seven chord and all the things 136 00:11:24,040 --> 00:11:25,200 Speaker 1: that came later. 137 00:11:26,679 --> 00:11:30,280 Speaker 6: At least was the basically the king of piano. Like 138 00:11:31,000 --> 00:11:34,400 Speaker 6: most of the the great pianists after him, was his 139 00:11:34,440 --> 00:11:36,640 Speaker 6: students or influenced by him. 140 00:11:36,840 --> 00:11:38,720 Speaker 8: So it was a great line. 141 00:11:39,760 --> 00:11:43,679 Speaker 6: And then his music was also very popular. He was 142 00:11:43,760 --> 00:11:47,360 Speaker 6: kind of like the rock star and at his time. Okay, yeah, 143 00:11:47,400 --> 00:11:50,400 Speaker 6: so that's why I think like Gershwin or the later 144 00:11:50,600 --> 00:11:54,520 Speaker 6: great musicians took some ideas from him. And this guy 145 00:11:54,559 --> 00:11:58,960 Speaker 6: also invented the piano recital. Really, he's the first one 146 00:11:59,120 --> 00:12:04,480 Speaker 6: made pianiano become a purer solo instrument rather than a 147 00:12:05,120 --> 00:12:06,480 Speaker 6: collaborative instrument. 148 00:12:07,840 --> 00:12:08,439 Speaker 1: I didn't know that. 149 00:12:08,520 --> 00:12:08,720 Speaker 7: Yeah. 150 00:12:08,760 --> 00:12:12,959 Speaker 6: So he's like and he he's the first person who 151 00:12:13,400 --> 00:12:18,040 Speaker 6: kind of started as a piano solo recital and management, 152 00:12:18,280 --> 00:12:21,000 Speaker 6: you know, the whole music. 153 00:12:20,679 --> 00:12:24,679 Speaker 8: Career profession he created basically. 154 00:12:25,240 --> 00:12:28,760 Speaker 6: So this guy was lable woe and he lived very 155 00:12:28,800 --> 00:12:33,760 Speaker 6: long also and yeah, so he played entire of his 156 00:12:33,920 --> 00:12:39,000 Speaker 6: life and just keep composed, teaching, and it was really 157 00:12:39,240 --> 00:12:43,199 Speaker 6: important for the piano. And also the one very interesting thing. 158 00:12:43,320 --> 00:12:47,320 Speaker 6: He's so powerful and he always destroyed pianos really, so 159 00:12:47,360 --> 00:12:52,080 Speaker 6: he made piano much stronger, yeah, because he would beat 160 00:12:52,080 --> 00:12:55,240 Speaker 6: them up, beat them up big time. And then so 161 00:12:55,480 --> 00:12:59,920 Speaker 6: the modern piano was actually created based on his power. 162 00:13:00,280 --> 00:13:01,840 Speaker 8: Okay, playing piano. 163 00:13:01,600 --> 00:13:05,240 Speaker 1: Wow, yeah, that's awesome. I had no idea. 164 00:13:05,440 --> 00:13:08,040 Speaker 8: Like one of his recital he broke five pianos. 165 00:13:08,280 --> 00:13:10,520 Speaker 1: That's crazy. Have you ever broken a piano? 166 00:13:10,800 --> 00:13:14,120 Speaker 6: I mean not in that way because we're already in 167 00:13:14,160 --> 00:13:17,600 Speaker 6: the modern time, right, Yeah, but sometimes I may break 168 00:13:17,760 --> 00:13:19,240 Speaker 6: some strings. 169 00:13:19,440 --> 00:13:22,640 Speaker 9: By playing so hard, yeah or something, you know, but really, 170 00:13:22,640 --> 00:13:28,040 Speaker 9: but so far not I mean yeah, so god is 171 00:13:28,160 --> 00:13:31,720 Speaker 9: it's not always happened otherwise will be very interesting. 172 00:13:32,200 --> 00:13:36,880 Speaker 1: Get a reputation, it's okay, Well, that's cool. Well that 173 00:13:37,000 --> 00:13:40,760 Speaker 1: was really really a treat. Yeah, you just played Carnegie 174 00:13:40,800 --> 00:13:42,599 Speaker 1: Halls like this week. 175 00:13:42,880 --> 00:13:43,800 Speaker 5: Last night last night. 176 00:13:44,400 --> 00:13:48,960 Speaker 6: Yeah, I played the interesting piece, the bar talk Piano 177 00:13:49,480 --> 00:13:54,200 Speaker 6: number three, and he was kind of in some of 178 00:13:54,240 --> 00:13:59,120 Speaker 6: the work. He's almost like a rock musician. He put 179 00:13:59,160 --> 00:14:03,320 Speaker 6: piano as a rock and roll or percassive, very heavy 180 00:14:03,360 --> 00:14:04,440 Speaker 6: percassive instrument. 181 00:14:05,240 --> 00:14:05,480 Speaker 8: Yeah. 182 00:14:05,520 --> 00:14:12,079 Speaker 6: So normally after you play his music, you're your fingernails 183 00:14:12,280 --> 00:14:14,840 Speaker 6: is really getting a fragile. 184 00:14:14,960 --> 00:14:19,680 Speaker 8: Really you really you really need to cut it. Yeah, 185 00:14:21,280 --> 00:14:24,400 Speaker 8: it's the real destroyer for that. 186 00:14:24,640 --> 00:14:28,360 Speaker 1: Okay, and how long? Like you're playing the bar Tak 187 00:14:28,400 --> 00:14:29,360 Speaker 1: piece on this whole tour? 188 00:14:30,000 --> 00:14:34,240 Speaker 8: No, just partially, but it was with Vienna fil Harmonic. 189 00:14:35,000 --> 00:14:35,320 Speaker 1: Wow. 190 00:14:35,440 --> 00:14:39,840 Speaker 6: Yeah, so so they actually wanted this piece. Yeah, it's 191 00:14:39,880 --> 00:14:42,440 Speaker 6: a really really great I never played this piece before, 192 00:14:42,560 --> 00:14:43,880 Speaker 6: but I learned from this tour. 193 00:14:45,000 --> 00:14:46,200 Speaker 1: So you're doing the whole tour with that? 194 00:14:46,480 --> 00:14:51,760 Speaker 6: Yeah, seven concerts, but we're we're already Yeah, we're only 195 00:14:51,880 --> 00:14:57,160 Speaker 6: three left, and I do my solo pieces solo solo recital. 196 00:14:57,720 --> 00:15:05,040 Speaker 1: Okay, great, Wow, well I'm so excited to try something together. Yeah. 197 00:15:05,160 --> 00:15:05,600 Speaker 1: I don't know. 198 00:15:05,920 --> 00:15:07,320 Speaker 8: I really love your songs. 199 00:15:07,360 --> 00:15:10,440 Speaker 6: Since many years since your first album that was such 200 00:15:10,480 --> 00:15:14,240 Speaker 6: a big hit to the world, and it's such a 201 00:15:14,280 --> 00:15:20,000 Speaker 6: special musical genius, genius of making it. Really, I mean, 202 00:15:20,160 --> 00:15:24,160 Speaker 6: like there's nobody who did something like that before you. So, 203 00:15:24,840 --> 00:15:28,760 Speaker 6: I mean I still remember when your first album came out. 204 00:15:28,920 --> 00:15:29,240 Speaker 1: Wow. 205 00:15:30,000 --> 00:15:32,640 Speaker 8: There was also a big impact on the classical music. 206 00:15:32,400 --> 00:15:36,280 Speaker 6: Theme really, yeah, because in classical music theme that we 207 00:15:36,400 --> 00:15:40,080 Speaker 6: still like more melodic things. And then when you have 208 00:15:40,360 --> 00:15:43,720 Speaker 6: so much like new type of music that it's hard 209 00:15:43,760 --> 00:15:48,320 Speaker 6: for us to to integrate or to connect. But when 210 00:15:48,360 --> 00:15:54,040 Speaker 6: you come out, you get the every music genre, you know, 211 00:15:54,160 --> 00:15:57,200 Speaker 6: kind of they all understand what they were trying to do. 212 00:15:57,320 --> 00:15:58,560 Speaker 6: It was really amazing. 213 00:15:58,800 --> 00:16:01,600 Speaker 1: Yeah, that means a lot of things. You I feel 214 00:16:01,640 --> 00:16:05,120 Speaker 1: like I just lucked out, you know, very much. So, 215 00:16:05,360 --> 00:16:09,800 Speaker 1: but yeah, I mean when you're making music, you don't 216 00:16:09,800 --> 00:16:13,640 Speaker 1: really think about the impact. I don't. You just think 217 00:16:13,680 --> 00:16:16,480 Speaker 1: about how it's making you feel at the time. So yeah, 218 00:16:18,160 --> 00:16:18,720 Speaker 1: thank you. 219 00:16:19,240 --> 00:16:19,400 Speaker 10: Well. 220 00:16:19,440 --> 00:16:24,600 Speaker 1: I liked the song you suggested because I feel like 221 00:16:24,680 --> 00:16:28,760 Speaker 1: it's it's an interesting place for us to meet, you know, 222 00:16:29,440 --> 00:16:32,360 Speaker 1: you suggested to me on which is on my first album. 223 00:16:32,920 --> 00:16:35,840 Speaker 1: I learned it from Nina Simone's version. Have you ever 224 00:16:35,880 --> 00:16:37,320 Speaker 1: heard that it's beautiful? 225 00:16:37,720 --> 00:16:38,320 Speaker 3: Yeah? 226 00:16:38,480 --> 00:16:42,320 Speaker 1: And the songwriter is J. D. Loudermilk, who wrote a 227 00:16:42,320 --> 00:16:45,400 Speaker 1: lot of old sort of more country ish country blues. 228 00:16:45,440 --> 00:16:48,400 Speaker 1: But I feel like more maybe the country genre stuff. 229 00:16:49,160 --> 00:16:56,080 Speaker 1: So it's a it's a cool choice. Yeah, yeah, yeah, yeah, 230 00:16:56,360 --> 00:16:57,960 Speaker 1: So I might play a little with you. 231 00:16:58,160 --> 00:16:58,360 Speaker 6: Is that? 232 00:16:58,840 --> 00:17:02,080 Speaker 1: Is that okay? Is it okay? Or no? 233 00:17:02,200 --> 00:17:03,160 Speaker 8: Please? Please? 234 00:17:03,240 --> 00:17:03,400 Speaker 6: Yeah? 235 00:17:25,440 --> 00:17:27,520 Speaker 11: Lark Flower. 236 00:17:31,920 --> 00:17:34,640 Speaker 5: Waiting to blue. 237 00:17:42,119 --> 00:17:43,440 Speaker 7: Like a lie. 238 00:17:47,359 --> 00:17:49,160 Speaker 11: In a dark glue. 239 00:17:56,040 --> 00:17:57,840 Speaker 5: I'm just sitting here. 240 00:17:59,600 --> 00:18:03,440 Speaker 11: Way please. 241 00:18:06,840 --> 00:18:07,960 Speaker 5: To come on home. 242 00:18:10,880 --> 00:18:26,960 Speaker 11: Term me all like the desert. 243 00:18:31,320 --> 00:18:43,520 Speaker 4: Waiting for the word, like schookee. 244 00:18:48,600 --> 00:19:02,040 Speaker 5: Waiting for the squeeze. I'm just sitting here wait for 245 00:19:02,400 --> 00:19:31,080 Speaker 5: you to come on home. Time me o, my poor hot. 246 00:19:35,200 --> 00:19:49,560 Speaker 12: It's been so die, says you, says you've been long. 247 00:19:57,920 --> 00:20:06,879 Speaker 5: After all, you're the one new turns beyond. 248 00:20:12,640 --> 00:20:14,080 Speaker 11: You're the only. 249 00:20:13,840 --> 00:20:20,679 Speaker 5: One cooking turn me back on. 250 00:20:26,800 --> 00:20:28,280 Speaker 1: My high five. 251 00:20:29,680 --> 00:20:31,199 Speaker 5: Is waiting. 252 00:20:33,600 --> 00:20:40,359 Speaker 11: For a new tube. 253 00:20:41,119 --> 00:20:42,840 Speaker 5: Glasses we he. 254 00:20:47,760 --> 00:20:50,920 Speaker 11: For some fish ice cube. 255 00:20:55,080 --> 00:21:03,919 Speaker 2: I'm just sitting here. 256 00:21:04,960 --> 00:21:20,440 Speaker 5: To come on, turn me on, turn me up. 257 00:21:33,119 --> 00:21:33,479 Speaker 7: Nice. 258 00:21:34,600 --> 00:21:38,600 Speaker 1: That was fine, beautiful, thank you, that was just great work. 259 00:21:39,080 --> 00:21:42,159 Speaker 1: Oh my god, thank you. That was so wild and 260 00:21:42,280 --> 00:21:47,000 Speaker 1: fine and different. You know, when you read music like this, 261 00:21:47,320 --> 00:21:49,439 Speaker 1: do you look at the chord changes? At all or you. 262 00:21:49,320 --> 00:21:52,960 Speaker 6: Only yeah a little bit, a little bit, yeah, yeah, 263 00:21:53,400 --> 00:21:54,480 Speaker 6: especially the second time. 264 00:21:54,600 --> 00:21:56,879 Speaker 8: Yeah, and I get to know better. 265 00:21:56,720 --> 00:22:00,520 Speaker 1: Yeah yeah, Okay, so you read chord changes. I can't 266 00:22:00,600 --> 00:22:03,359 Speaker 1: read music like that, it's too many notes for me 267 00:22:03,400 --> 00:22:07,600 Speaker 1: to focus on. But you can site read just yeah basically. Yeah, 268 00:22:07,600 --> 00:22:09,760 Speaker 1: you've been doing that forever, right, that's. 269 00:22:09,480 --> 00:22:12,520 Speaker 6: What we know as a closet that you have to 270 00:22:12,560 --> 00:22:13,840 Speaker 6: do this totally. 271 00:22:13,920 --> 00:22:18,880 Speaker 8: Yeah. Yeah, but I did learn something with the Herbie hankok. 272 00:22:19,280 --> 00:22:22,240 Speaker 6: You know he showed me many things that how he 273 00:22:23,160 --> 00:22:26,640 Speaker 6: how he does it with the improvisation. So I did 274 00:22:27,160 --> 00:22:31,520 Speaker 6: learn something especially you know, it's the chords change and. 275 00:22:31,600 --> 00:22:34,320 Speaker 1: Yeah, and then the scale you can use over different 276 00:22:34,400 --> 00:22:37,959 Speaker 1: chord changes. It's different, right when you think of music, 277 00:22:38,080 --> 00:22:40,800 Speaker 1: Like when you think of the list piece you played, 278 00:22:41,320 --> 00:22:44,840 Speaker 1: do you ever think of it in terms of what 279 00:22:45,240 --> 00:22:47,680 Speaker 1: key and what chords are happening? 280 00:22:48,080 --> 00:22:51,720 Speaker 6: Yeah, I mean this least maybe less, but if it's 281 00:22:51,720 --> 00:22:55,959 Speaker 6: a Bach piece or like Beethophim, you know, you have 282 00:22:56,040 --> 00:23:01,280 Speaker 6: to think more about the counterpoint. You know, you need 283 00:23:01,359 --> 00:23:05,040 Speaker 6: to think more like a composer, like how this change, 284 00:23:05,320 --> 00:23:10,520 Speaker 6: Like which the seventh or the third? You know, which 285 00:23:10,600 --> 00:23:14,800 Speaker 6: chore you have to push more there's so many notes 286 00:23:14,840 --> 00:23:19,600 Speaker 6: in one passage, so you just need to highlighting the 287 00:23:19,640 --> 00:23:22,480 Speaker 6: more dissonan consonant. 288 00:23:23,600 --> 00:23:23,800 Speaker 8: Yeah. 289 00:23:23,840 --> 00:23:29,119 Speaker 6: So this is kind of uh special moment, like you 290 00:23:29,200 --> 00:23:34,600 Speaker 6: have to kind of pointed out without really showing in 291 00:23:34,640 --> 00:23:37,119 Speaker 6: a very obvious way, you know, but you need. 292 00:23:36,960 --> 00:23:37,880 Speaker 8: To point that out. 293 00:23:38,640 --> 00:23:41,560 Speaker 1: Yeah, it's just so interesting. I feel like we probably 294 00:23:43,119 --> 00:23:46,680 Speaker 1: think about music in slightly different ways, but it's still 295 00:23:46,720 --> 00:23:49,840 Speaker 1: one language, but it's also different languages somehow. 296 00:23:50,000 --> 00:23:52,760 Speaker 6: The great things like to learn things from you is 297 00:23:52,800 --> 00:23:58,400 Speaker 6: that you know, every time you play differently, you sing differently, 298 00:23:58,840 --> 00:24:03,040 Speaker 6: and as classical music that we do have this quite 299 00:24:03,040 --> 00:24:07,080 Speaker 6: a proper score. Yeah, yeah, but every time when you're 300 00:24:07,080 --> 00:24:12,199 Speaker 6: playing it, there's always slight way to go around it. 301 00:24:13,160 --> 00:24:14,240 Speaker 8: Otherwise it's the same. 302 00:24:14,800 --> 00:24:18,760 Speaker 1: Yeah. So you I mean, you probably breathe with the music, 303 00:24:18,840 --> 00:24:21,760 Speaker 1: and sometimes you're breathing faster and sometimes you're breathing slower. 304 00:24:22,359 --> 00:24:23,919 Speaker 1: But do you change notes? Are you? 305 00:24:24,560 --> 00:24:27,720 Speaker 6: We are we are not allowed to change most of 306 00:24:27,800 --> 00:24:33,280 Speaker 6: the notes, only in some kind of like cadenza part slightly, 307 00:24:33,640 --> 00:24:37,359 Speaker 6: but normally I mean, I mean if I change something 308 00:24:37,359 --> 00:24:40,359 Speaker 6: from Beethoven, he will jump out in the you know, 309 00:24:40,720 --> 00:24:42,720 Speaker 6: in my dreams, you know, will never have. 310 00:24:42,680 --> 00:24:46,160 Speaker 8: A good dream anymore exactly. 311 00:24:46,520 --> 00:24:49,440 Speaker 6: Yeah, but we do need to to find a way 312 00:24:49,520 --> 00:24:52,360 Speaker 6: to do slightly different every time. 313 00:24:52,600 --> 00:24:52,800 Speaker 1: Yeah. 314 00:24:52,920 --> 00:24:56,160 Speaker 8: So yeah, but that's that's the same spirit. 315 00:24:56,200 --> 00:24:59,800 Speaker 1: Yeah, because you have such a personality when you play 316 00:25:00,119 --> 00:25:02,679 Speaker 1: right and it's strong, you know. 317 00:25:02,920 --> 00:25:05,280 Speaker 6: So, I mean I think the world and the one 318 00:25:05,440 --> 00:25:07,960 Speaker 6: and every pianist sound the same exactly. 319 00:25:08,080 --> 00:25:09,960 Speaker 1: Yeah, you have to do something well. 320 00:25:09,960 --> 00:25:10,280 Speaker 5: I think. 321 00:25:10,359 --> 00:25:14,000 Speaker 1: I think when you break through and what appeals to 322 00:25:14,080 --> 00:25:17,760 Speaker 1: people is your specific personality. And that's across the board 323 00:25:17,920 --> 00:25:20,240 Speaker 1: for music, I think, and any art. 324 00:25:20,200 --> 00:25:21,440 Speaker 8: You know, any art form. 325 00:25:21,600 --> 00:25:26,679 Speaker 6: Yeah, yeah, you have to be respectful, but you have 326 00:25:26,760 --> 00:25:31,480 Speaker 6: to bring something that you are kind of your special 327 00:25:32,680 --> 00:25:35,640 Speaker 6: kind of style or something. 328 00:25:35,760 --> 00:25:36,000 Speaker 3: Yeah. 329 00:25:36,320 --> 00:25:38,040 Speaker 8: People are actually looking for that. 330 00:25:38,240 --> 00:25:43,600 Speaker 1: Yeah, I agree. Yeah, it's beautiful. You do all kinds 331 00:25:43,640 --> 00:25:47,000 Speaker 1: of things. You have the foundation, yes, can you tell us. 332 00:25:46,920 --> 00:25:48,239 Speaker 8: A little bit, Yes, we have. 333 00:25:48,960 --> 00:25:52,080 Speaker 6: It's a foundation called the lung Lan International Music Foundation, 334 00:25:52,240 --> 00:25:57,800 Speaker 6: and our aim is to nurturing the society and in 335 00:25:57,880 --> 00:26:04,199 Speaker 6: different underprivileged areas to learn classical music, to learn piano. 336 00:26:04,760 --> 00:26:08,320 Speaker 6: And what we do is to bring twenty to thirty 337 00:26:08,480 --> 00:26:11,080 Speaker 6: smart keyboards into the schools. 338 00:26:11,160 --> 00:26:11,719 Speaker 1: That's amazing. 339 00:26:11,760 --> 00:26:16,800 Speaker 6: Yeah, and then we build our own method and also 340 00:26:17,000 --> 00:26:20,600 Speaker 6: very important thing is that we don't want music only 341 00:26:20,880 --> 00:26:23,680 Speaker 6: as what do you call the outreage. 342 00:26:23,160 --> 00:26:25,640 Speaker 8: Program or after school program. 343 00:26:25,720 --> 00:26:29,000 Speaker 6: We want to be integrated as the part of the 344 00:26:29,080 --> 00:26:33,520 Speaker 6: curriculum the school and so all the schools that we're 345 00:26:33,600 --> 00:26:37,359 Speaker 6: working with that we are actually bringing music education back 346 00:26:38,000 --> 00:26:42,400 Speaker 6: to the yeah, to the school system actually, so that's 347 00:26:42,440 --> 00:26:45,440 Speaker 6: what we are trying to do. And so you learn piano, 348 00:26:45,520 --> 00:26:48,720 Speaker 6: but in the same time learning how to write a song. 349 00:26:49,760 --> 00:26:52,280 Speaker 6: Many of them actually they don't want to become a pianist. 350 00:26:52,320 --> 00:27:00,200 Speaker 6: They want to become a soundwriter or movie composer. Some 351 00:27:02,119 --> 00:27:05,400 Speaker 6: maybe some some kids do like to become a professional pianist, 352 00:27:05,440 --> 00:27:08,440 Speaker 6: but it's more music in general, but using piano. 353 00:27:08,720 --> 00:27:11,600 Speaker 1: Okay, Well it's all laid out, yeah, so it's easy 354 00:27:11,640 --> 00:27:13,920 Speaker 1: to see. It's a great starting instrument. 355 00:27:14,000 --> 00:27:14,200 Speaker 7: Yeah. 356 00:27:14,640 --> 00:27:18,840 Speaker 6: The problem in the past is that in the the 357 00:27:18,960 --> 00:27:22,359 Speaker 6: elementary schools you have maybe just one piano in the 358 00:27:22,600 --> 00:27:24,920 Speaker 6: big class, right, but now we have like twenty to 359 00:27:25,080 --> 00:27:29,520 Speaker 6: thirty keyboards, so you can't Actually everyone can play. 360 00:27:29,680 --> 00:27:31,399 Speaker 1: That's amazing. Yeah, that's so great. 361 00:27:31,640 --> 00:27:34,920 Speaker 6: Where was the first The first school we were in Boston, 362 00:27:35,040 --> 00:27:41,640 Speaker 6: the Boston Public Art School. They didn't have a music class. 363 00:27:41,680 --> 00:27:44,520 Speaker 6: They only had an art class, okay. And then we 364 00:27:44,640 --> 00:27:49,200 Speaker 6: went to Harlem. We did a five schools there. Yeah, 365 00:27:49,240 --> 00:27:52,760 Speaker 6: and then some party in New Jersey and now we 366 00:27:52,880 --> 00:27:56,919 Speaker 6: have a we have a more than one hundred schools 367 00:27:56,960 --> 00:28:00,320 Speaker 6: in the US. Wow, more than one hundred schools. See 368 00:28:00,320 --> 00:28:03,560 Speaker 6: in China and Europe were having like twenty schools. 369 00:28:03,640 --> 00:28:05,600 Speaker 1: That's amazing. That's really beautiful. 370 00:28:05,640 --> 00:28:05,960 Speaker 8: Thank you. 371 00:28:06,119 --> 00:28:09,919 Speaker 1: Yeah, I think that's amazing. Did you where did you 372 00:28:09,920 --> 00:28:10,360 Speaker 1: grow up? 373 00:28:10,520 --> 00:28:15,359 Speaker 6: I grew up in China in a very industrial city 374 00:28:15,880 --> 00:28:18,000 Speaker 6: in the northeast called Shinyang. 375 00:28:18,400 --> 00:28:18,960 Speaker 8: Yeah. 376 00:28:19,000 --> 00:28:22,359 Speaker 6: But the good news was we had a conservatory in 377 00:28:22,400 --> 00:28:28,760 Speaker 6: that city and doing the early nineties when I was 378 00:28:29,240 --> 00:28:33,320 Speaker 6: very young, and they had many like international kind of 379 00:28:33,320 --> 00:28:37,200 Speaker 6: a piano festivals. Wow, there were a lot of One 380 00:28:37,240 --> 00:28:42,040 Speaker 6: of our professors went to my home city to teach 381 00:28:43,080 --> 00:28:46,720 Speaker 6: and I had I had an amazing teacher. She came 382 00:28:46,760 --> 00:28:47,800 Speaker 6: from Shanghai. 383 00:28:48,840 --> 00:28:50,160 Speaker 8: So and then. 384 00:28:51,560 --> 00:28:54,920 Speaker 6: At the age of nine, I moved to Beijing to 385 00:28:55,120 --> 00:29:01,800 Speaker 6: the Central Consul to get serious. This is like how 386 00:29:02,400 --> 00:29:07,040 Speaker 6: you know how this kind of the system with the conservatory, right, 387 00:29:07,280 --> 00:29:11,680 Speaker 6: so you'll start quite And then I went to America 388 00:29:11,880 --> 00:29:12,800 Speaker 6: at the age of fourteen. 389 00:29:13,040 --> 00:29:13,160 Speaker 13: Oh. 390 00:29:13,200 --> 00:29:17,920 Speaker 6: Wow, there's great school in Philadelphia called the Curtisitute. 391 00:29:18,000 --> 00:29:18,200 Speaker 1: Yeah. 392 00:29:18,880 --> 00:29:23,200 Speaker 6: Yeah, yeah, so that's how how I Yeah so yeah, 393 00:29:23,200 --> 00:29:27,360 Speaker 6: I spent my childhood in China and then as a 394 00:29:27,360 --> 00:29:30,600 Speaker 6: teenager moved to the US to keep studying. 395 00:29:30,920 --> 00:29:33,360 Speaker 1: Yeah that's amazing. But you were quite young when you 396 00:29:33,400 --> 00:29:37,880 Speaker 1: got serious. So your school system do you remember being little? 397 00:29:37,960 --> 00:29:39,600 Speaker 1: You didn't learn it in school at all. 398 00:29:40,080 --> 00:29:44,960 Speaker 6: I did learn the regular music knowledge you had music 399 00:29:45,000 --> 00:29:48,640 Speaker 6: in school, yeah, which was good. But then, of course, 400 00:29:48,760 --> 00:29:50,520 Speaker 6: very quickly I went to the consula three. 401 00:29:50,600 --> 00:29:54,520 Speaker 1: Yeah, so skid down the business. Yeah. 402 00:29:54,960 --> 00:29:55,160 Speaker 8: Yeah. 403 00:29:55,720 --> 00:29:58,640 Speaker 6: Then then it's very good because it's very professional way 404 00:29:59,120 --> 00:30:05,200 Speaker 6: the training yeah wow, really focused on the performance, which 405 00:30:05,240 --> 00:30:08,440 Speaker 6: is quite important because if you're only in training for 406 00:30:08,520 --> 00:30:11,400 Speaker 6: the theory, which is good, but then you're a little 407 00:30:11,400 --> 00:30:14,520 Speaker 6: bit behind of the techniques. Yeah, so this has to 408 00:30:14,560 --> 00:30:20,280 Speaker 6: be balanced. Yeah, so that's why the conservatory systems quite 409 00:30:20,360 --> 00:30:25,840 Speaker 6: good for for your early kind of professional training. 410 00:30:26,120 --> 00:30:32,240 Speaker 1: Yeah. It sounds like a wild wild ride, but it's. 411 00:30:32,200 --> 00:30:35,640 Speaker 6: Really I mean it's very busy, you know, yeah, just 412 00:30:36,400 --> 00:30:37,800 Speaker 6: not enough playing time. 413 00:30:38,320 --> 00:30:41,120 Speaker 8: You know, got other fun fun. 414 00:30:40,960 --> 00:30:42,120 Speaker 1: Times like the book camp. 415 00:30:43,480 --> 00:30:44,440 Speaker 8: A lot of a lot. 416 00:30:44,280 --> 00:30:47,720 Speaker 6: Of serious practice six hours a day, that's insane. 417 00:30:47,760 --> 00:30:52,160 Speaker 1: Yeah wow, yeah, yeah that seems like a lot, but 418 00:30:52,200 --> 00:30:53,000 Speaker 1: you love it and. 419 00:30:53,600 --> 00:30:56,040 Speaker 6: Part of you, you know, I mean the majority of 420 00:30:56,160 --> 00:30:59,560 Speaker 6: time I loved it, but sometimes you know, also as 421 00:30:59,600 --> 00:31:02,720 Speaker 6: a kid, just yeah, I don't want to practice anymore. 422 00:31:02,800 --> 00:31:06,040 Speaker 1: Yeah, I mean, that's why I remember wanting to quit 423 00:31:06,080 --> 00:31:08,120 Speaker 1: as soon as I started taking piano lessons because I 424 00:31:08,160 --> 00:31:12,640 Speaker 1: didn't want to practice so much. It seemed like a lot. Yeah, 425 00:31:12,760 --> 00:31:15,720 Speaker 1: that's why I could never be a classical pianist. I 426 00:31:15,720 --> 00:31:19,640 Speaker 1: don't practice enough. But yeah, you know, when I was young, 427 00:31:20,080 --> 00:31:25,240 Speaker 1: I learned. I ended up taking piano at aol at 428 00:31:25,240 --> 00:31:28,160 Speaker 1: a community college in Texas, and they made you take 429 00:31:28,200 --> 00:31:30,959 Speaker 1: two classes a week. One was your private lesson and 430 00:31:31,000 --> 00:31:34,920 Speaker 1: one was theory. And we had wurlitzers like this in 431 00:31:34,960 --> 00:31:37,680 Speaker 1: the room. We had twelve worlitzers set up and everyone 432 00:31:37,840 --> 00:31:41,240 Speaker 1: was learning theory. And it came up on some kind 433 00:31:41,240 --> 00:31:43,240 Speaker 1: of It wasn't a computer, but it must have been 434 00:31:43,360 --> 00:31:46,959 Speaker 1: computerized somehow, but it was very old school analog on 435 00:31:47,000 --> 00:31:49,960 Speaker 1: a screen what notes you were playing and had a Yeah, 436 00:31:49,960 --> 00:31:52,920 Speaker 1: it was a very cool way to learn. And I 437 00:31:52,960 --> 00:31:56,400 Speaker 1: remember being I went to an arts magnet high school 438 00:31:56,560 --> 00:31:59,600 Speaker 1: and then I went to college for music. So they 439 00:31:59,600 --> 00:32:01,840 Speaker 1: made us theory in high school and then college, and 440 00:32:01,880 --> 00:32:03,440 Speaker 1: I was like, I did this when I was in 441 00:32:03,520 --> 00:32:06,640 Speaker 1: second grade. I started learning all this, so you know, 442 00:32:06,720 --> 00:32:09,240 Speaker 1: it was actually I realized how lucky I was to 443 00:32:09,320 --> 00:32:12,720 Speaker 1: learn that so young. I had no idea at the time. 444 00:32:12,920 --> 00:32:17,000 Speaker 6: So that's how you built up the composation skills, right. 445 00:32:16,960 --> 00:32:19,800 Speaker 1: Yeah, well I learned. Yeah, I mean the theory was 446 00:32:19,880 --> 00:32:22,480 Speaker 1: so good because you learn, you know, instead of thinking 447 00:32:22,560 --> 00:32:28,160 Speaker 1: of of music like B flat F E flat. I 448 00:32:28,200 --> 00:32:31,080 Speaker 1: mean I I do think of it like that, but 449 00:32:31,120 --> 00:32:36,280 Speaker 1: I also think one five, four minor two minor six. 450 00:32:36,440 --> 00:32:38,160 Speaker 1: You know, I can think like that and then I 451 00:32:38,200 --> 00:32:42,200 Speaker 1: can transpose. I feel like that'll help me with that. 452 00:32:42,800 --> 00:32:45,480 Speaker 1: It's interesting. So that's how I think of music is 453 00:32:45,520 --> 00:32:47,840 Speaker 1: in almost like in terms of just the numbers and 454 00:32:47,880 --> 00:32:54,040 Speaker 1: the chord quality. Right yeah, so there there's no wrong 455 00:32:54,080 --> 00:32:55,320 Speaker 1: way to eat e reesis. 456 00:32:56,160 --> 00:32:57,520 Speaker 8: That's why I'm not a composer. 457 00:32:58,440 --> 00:33:00,960 Speaker 1: Oh, I'm sure you could be. I mean, you must 458 00:33:00,960 --> 00:33:05,280 Speaker 1: hear music when you're sleeping. That isn't real yet, right. 459 00:33:05,680 --> 00:33:08,240 Speaker 6: The thing is like for me, there's so many great 460 00:33:08,800 --> 00:33:09,920 Speaker 6: classical repertoire. 461 00:33:10,080 --> 00:33:10,920 Speaker 1: Yeah, and then. 462 00:33:12,920 --> 00:33:15,240 Speaker 6: In a way that we are so spoiled. Yeah, the 463 00:33:15,280 --> 00:33:17,360 Speaker 6: things like never finished practicing those. 464 00:33:17,440 --> 00:33:19,160 Speaker 1: That's true. You feel like you have to get to 465 00:33:19,200 --> 00:33:21,840 Speaker 1: the end of it before you start composing. I don't 466 00:33:21,880 --> 00:33:24,400 Speaker 1: think so. That's interesting. 467 00:33:25,080 --> 00:33:27,680 Speaker 6: Yeah, but if I have your talent, I probably will 468 00:33:27,720 --> 00:33:29,960 Speaker 6: practice less and I'll compose more. 469 00:33:30,120 --> 00:33:32,360 Speaker 1: Oh, I think you have my talent plus a million. 470 00:33:33,120 --> 00:33:35,760 Speaker 1: I think it's just interesting, like the different avenues we 471 00:33:35,800 --> 00:33:38,880 Speaker 1: all come from, you know, and. 472 00:33:38,400 --> 00:33:42,440 Speaker 6: It's all come from the the laveful piano, right, that's yeah. 473 00:33:42,480 --> 00:33:45,040 Speaker 8: This is your first instrument, right. 474 00:33:44,920 --> 00:33:45,720 Speaker 1: I sang first. 475 00:33:46,280 --> 00:33:46,520 Speaker 7: Yeah. 476 00:33:47,120 --> 00:33:49,120 Speaker 1: There was a long time though in my twenties, after 477 00:33:49,160 --> 00:33:51,320 Speaker 1: my first album came out, where I sort of I 478 00:33:51,320 --> 00:33:53,760 Speaker 1: didn't want to. I had a hard time composing on 479 00:33:53,840 --> 00:33:58,800 Speaker 1: piano in the beginning, Oh, writing songs, Yeah, I because 480 00:33:58,840 --> 00:34:01,880 Speaker 1: I feel like it didn't sound the way I wanted 481 00:34:01,880 --> 00:34:04,680 Speaker 1: it to sound. It sounded very simple, you know, on 482 00:34:04,720 --> 00:34:06,800 Speaker 1: the piano, but if you play a simple court on 483 00:34:06,840 --> 00:34:09,840 Speaker 1: the guitar, it's easier to come up with a melody 484 00:34:09,880 --> 00:34:13,240 Speaker 1: over somehow. So I started writing more on guitar first, 485 00:34:14,200 --> 00:34:17,480 Speaker 1: But now I write on piano. I had to simplify 486 00:34:17,560 --> 00:34:21,600 Speaker 1: myself sort of, you know, at the piano. But I 487 00:34:21,600 --> 00:34:23,399 Speaker 1: don't know, do you like the. 488 00:34:23,400 --> 00:34:26,440 Speaker 6: Travel, Yeah, it's it's okay, but if you always on 489 00:34:26,480 --> 00:34:28,600 Speaker 6: the tour, always on the road. 490 00:34:28,760 --> 00:34:30,080 Speaker 8: It's not very nice. 491 00:34:30,239 --> 00:34:36,800 Speaker 6: No, it's just it's kind of not because not normal 492 00:34:37,160 --> 00:34:40,879 Speaker 6: something right, you're leaving in another world or. 493 00:34:40,960 --> 00:34:41,560 Speaker 1: In a hotel. 494 00:34:43,160 --> 00:34:47,120 Speaker 6: So when I'm off tour, I just I just want 495 00:34:47,160 --> 00:34:49,160 Speaker 6: to go home. So people ask me, I do want 496 00:34:49,160 --> 00:34:50,960 Speaker 6: to wake? I don't want I need vacage. I just 497 00:34:50,960 --> 00:34:51,839 Speaker 6: want to stay at home. 498 00:34:52,200 --> 00:34:53,960 Speaker 1: It is hard a vacation. When you tour a lot, 499 00:34:56,719 --> 00:34:58,520 Speaker 1: you don't want to get on a plane and go to. 500 00:35:00,520 --> 00:35:03,280 Speaker 8: I get you for another hotel room stay. 501 00:35:03,760 --> 00:35:07,239 Speaker 1: Also, you it feels a little more solitary because you're 502 00:35:07,239 --> 00:35:10,239 Speaker 1: either playing solo or with an orchestra. For me, I 503 00:35:10,239 --> 00:35:12,200 Speaker 1: have a band and a crew that I travel with 504 00:35:12,920 --> 00:35:16,759 Speaker 1: and so we get to hang out so be on tour. Yeah, 505 00:35:16,800 --> 00:35:19,280 Speaker 1: it can be hard, but it's pretty fun because you 506 00:35:19,320 --> 00:35:23,520 Speaker 1: have your core people that you choose right and usually. 507 00:35:23,480 --> 00:35:26,000 Speaker 8: Much more fun. Yeah, I would say it's. 508 00:35:25,880 --> 00:35:27,960 Speaker 1: I wouldn't do it if I hated the people I 509 00:35:28,000 --> 00:35:31,799 Speaker 1: traveled with. It probably, but yeah, to be that solitary 510 00:35:31,960 --> 00:35:33,719 Speaker 1: seems difficult. 511 00:35:33,880 --> 00:35:38,480 Speaker 6: Yeah, yeah, for us it's it's not always the same 512 00:35:38,520 --> 00:35:43,080 Speaker 6: people though. It's like, yeah, maybe only only in an 513 00:35:43,160 --> 00:35:45,960 Speaker 6: our two people that you travel with. Yeah, but then 514 00:35:46,520 --> 00:35:50,400 Speaker 6: it's always different. Yeah yeah, and you just play by ourselves. 515 00:35:50,680 --> 00:35:55,160 Speaker 1: Yeah, that's tricky unless you're very outgoing, right. 516 00:35:55,840 --> 00:35:58,520 Speaker 8: I realized my friend, Yeah, that would be hard. 517 00:35:59,280 --> 00:36:03,319 Speaker 1: Yeah, all right, Well what do you think about this song? 518 00:36:04,000 --> 00:36:04,239 Speaker 5: Yeah? 519 00:36:05,040 --> 00:36:05,320 Speaker 8: Club? 520 00:36:06,719 --> 00:36:07,439 Speaker 1: Do you know this song? 521 00:36:07,600 --> 00:36:11,200 Speaker 8: This one? I don't know as your son? 522 00:36:11,239 --> 00:36:15,720 Speaker 1: You know, Yeah, it just came out as an idea, 523 00:36:15,840 --> 00:36:18,160 Speaker 1: but we don't have to do it, but I'd be 524 00:36:18,200 --> 00:36:21,400 Speaker 1: happy to do. What do you say? Yeah, of course 525 00:36:21,600 --> 00:36:23,480 Speaker 1: I've never done it either, so I thought this. 526 00:36:24,760 --> 00:36:24,840 Speaker 14: No. 527 00:36:25,400 --> 00:36:27,960 Speaker 1: I was only trying to think of something wild to 528 00:36:28,040 --> 00:36:32,879 Speaker 1: do together, and somehow this song Pink Pony Club came up, 529 00:36:33,040 --> 00:36:35,120 Speaker 1: and I love the piano on it, and I just 530 00:36:35,200 --> 00:36:36,480 Speaker 1: kind of thought it would be fun. 531 00:36:36,800 --> 00:36:39,360 Speaker 8: It's a lot of sharps. 532 00:36:40,640 --> 00:36:43,279 Speaker 1: Yet, how do you feel about that? I? 533 00:36:43,880 --> 00:36:48,440 Speaker 8: Okay, it's just read. It gives a kind of drive, 534 00:36:48,680 --> 00:36:50,479 Speaker 8: certain drive have more. 535 00:36:51,440 --> 00:36:54,319 Speaker 1: It's a rare key I feel for people to play, 536 00:36:54,440 --> 00:36:56,680 Speaker 1: especially with the piano, and. 537 00:36:56,680 --> 00:36:59,680 Speaker 8: You can this makes you count more exactly. 538 00:37:00,760 --> 00:37:03,680 Speaker 6: I actually did prepare a little bit on the stage 539 00:37:03,680 --> 00:37:04,480 Speaker 6: off Carnegie Hall. 540 00:37:04,600 --> 00:37:05,040 Speaker 1: You did not. 541 00:37:09,520 --> 00:37:10,320 Speaker 8: Try to try to get that? 542 00:37:12,640 --> 00:37:14,120 Speaker 1: Did anybody know what you were doing? 543 00:37:14,280 --> 00:37:17,040 Speaker 6: Does anybody say they were they were busy setting up. 544 00:37:18,760 --> 00:37:22,880 Speaker 1: I love it. That's incredible. Well, we could do it 545 00:37:22,920 --> 00:37:25,880 Speaker 1: a few times. I've never done it before. I'm excited 546 00:37:25,880 --> 00:37:26,480 Speaker 1: to try it. 547 00:37:44,640 --> 00:37:45,359 Speaker 5: I know. 548 00:37:46,880 --> 00:37:51,680 Speaker 10: You wanted me to stay, but I can't ignore the 549 00:37:51,840 --> 00:37:59,520 Speaker 10: crazy visions love me and. 550 00:37:54,880 --> 00:38:04,480 Speaker 15: I that there's a special place boys and girls can 551 00:38:04,560 --> 00:38:11,440 Speaker 15: all be queens. Every single day, I'm having wicked trees 552 00:38:12,120 --> 00:38:13,719 Speaker 15: of leaving Tennessee. 553 00:38:14,800 --> 00:38:19,360 Speaker 5: It's sat a minor cop. I swear it's calling me. 554 00:38:20,400 --> 00:38:22,520 Speaker 5: Won'ta make my mom proud? 555 00:38:23,280 --> 00:38:28,000 Speaker 15: It's gonna cause a seed she sees her baby girl. 556 00:38:28,960 --> 00:38:32,440 Speaker 5: I know she's gonna scream. 557 00:38:31,440 --> 00:38:34,160 Speaker 11: God, what have you time? 558 00:38:35,239 --> 00:38:39,360 Speaker 2: You're a Pink Pony girl and you dance at the club. 559 00:38:39,800 --> 00:38:46,280 Speaker 11: Oh mama, just having fun on the stage. 560 00:38:46,280 --> 00:38:49,440 Speaker 4: In my head, it's wear are. 561 00:38:49,200 --> 00:38:56,279 Speaker 16: Belong down at the Pink Pony Club. I wanna keep 562 00:38:56,360 --> 00:38:59,640 Speaker 16: on lancing at the Pink Pony Club. 563 00:39:00,440 --> 00:39:04,640 Speaker 13: I gotta keep on dancing. Then in the West Hollywood, 564 00:39:05,840 --> 00:39:07,880 Speaker 13: I gotta keep my dancing. 565 00:39:08,080 --> 00:39:13,120 Speaker 16: Let the Pick Pony cor Pick Pony Club. 566 00:39:17,080 --> 00:39:25,279 Speaker 5: Who I'm a. 567 00:39:26,960 --> 00:39:29,240 Speaker 11: And Charles are on the floor. 568 00:39:29,920 --> 00:39:33,799 Speaker 1: Bathers in the bathroom and a light outside the. 569 00:39:33,719 --> 00:39:41,000 Speaker 17: Door, black lines and am just go ball each night. 570 00:39:41,400 --> 00:39:44,799 Speaker 17: Another reasons why I left it all. 571 00:39:45,800 --> 00:39:50,520 Speaker 18: I think my wicked dreams from Tennessee. 572 00:39:51,000 --> 00:39:55,279 Speaker 1: Oh Santa Mina curve, you've been too good to me. 573 00:39:56,239 --> 00:40:01,200 Speaker 11: Won't make my mama crow. It's gonna a scene. 574 00:40:01,560 --> 00:40:07,840 Speaker 18: She sees her baby girl and know she's gonna swim. 575 00:40:08,040 --> 00:40:13,400 Speaker 11: Why haven't done? You're a pink pony girl? Can you 576 00:40:13,560 --> 00:40:15,520 Speaker 11: dance at the club now? 577 00:40:15,960 --> 00:40:16,280 Speaker 13: Mom? 578 00:40:18,760 --> 00:40:22,680 Speaker 11: It's just televin fun on the stage in my hand. 579 00:40:23,320 --> 00:40:26,960 Speaker 11: So I swear up be long down at. 580 00:40:27,040 --> 00:40:33,200 Speaker 16: The Pink Bonny Cloth. I'm gonna keep on dancing at 581 00:40:33,200 --> 00:40:35,200 Speaker 16: the Pig Pony Club. 582 00:40:36,000 --> 00:40:40,440 Speaker 13: I'm gonna keep on dancing down in West Harry Wall. 583 00:40:41,360 --> 00:40:46,239 Speaker 13: I'm gonna keep on dancing at the Pink pony Cloth. 584 00:40:46,520 --> 00:41:09,360 Speaker 14: Pink Pony Club. Don't take I've left you all behind. 585 00:41:10,920 --> 00:41:16,759 Speaker 5: Still love you in Tennessee. You're always on my mind. 586 00:41:20,040 --> 00:41:25,640 Speaker 11: And my love. Every Saturday. 587 00:41:27,640 --> 00:41:38,480 Speaker 18: I can hear your Southern draw a thousand miles aways say, God. 588 00:41:39,440 --> 00:41:40,960 Speaker 11: I have you die. 589 00:41:41,800 --> 00:41:45,400 Speaker 14: You're a pick pony girl and you dance out. 590 00:41:45,239 --> 00:41:54,120 Speaker 11: The co No, Mama, just having fun and stating my head. 591 00:41:55,239 --> 00:41:58,080 Speaker 14: It's where I belong down. 592 00:41:58,200 --> 00:42:01,640 Speaker 5: Ut Hoy Club. 593 00:42:02,760 --> 00:42:07,360 Speaker 16: I'm gonna keep hound dancing at the Pink Holdy Club. 594 00:42:08,480 --> 00:42:13,120 Speaker 16: I'm gonna keep on dancing down in West Hall. You would, 595 00:42:14,280 --> 00:42:18,840 Speaker 16: I'm gonna keep on dancing, have the Pink Hoony Club, 596 00:42:19,600 --> 00:42:21,520 Speaker 16: Pink ho Club. 597 00:42:25,440 --> 00:42:29,680 Speaker 13: I'm gonna keep on dancing and have the pink Holly Co. 598 00:42:31,200 --> 00:42:35,640 Speaker 16: I'm gonna keep on dancing down head West Holly Wod. 599 00:42:36,600 --> 00:42:39,160 Speaker 11: I'm gonna keep on dancing, have. 600 00:42:39,360 --> 00:43:01,040 Speaker 13: A pink holok ho Co'm gonna keep on Dy'm gonna lession. 601 00:43:14,239 --> 00:43:15,280 Speaker 5: That was so fun. 602 00:43:16,120 --> 00:43:19,600 Speaker 12: Oh my god, that was like that gave me chills. 603 00:43:20,200 --> 00:43:24,839 Speaker 1: That was so fun you playing that song? Oh my god, 604 00:43:24,880 --> 00:43:28,160 Speaker 1: how was that for you? I thought it was great. 605 00:43:28,680 --> 00:43:34,440 Speaker 1: I just love this song so much, and it's you 606 00:43:34,520 --> 00:43:35,960 Speaker 1: have this, you. 607 00:43:35,920 --> 00:43:38,760 Speaker 8: Have this ongoingness. 608 00:43:38,600 --> 00:43:42,839 Speaker 1: It never stopped, It never stops. It's very cyclical, right, 609 00:43:42,920 --> 00:43:47,239 Speaker 1: the chords and then the lyrics. I mean, it's such 610 00:43:47,280 --> 00:43:51,520 Speaker 1: a deep story this this lyric, and I just find 611 00:43:51,560 --> 00:43:57,359 Speaker 1: it so striking and beautiful and sad but also empowering 612 00:43:57,440 --> 00:44:00,560 Speaker 1: and like it's like all these things wrapped up. And 613 00:44:01,160 --> 00:44:03,799 Speaker 1: you know when a song just tells a story in 614 00:44:04,600 --> 00:44:06,920 Speaker 1: three minutes and thirty seconds or however long. 615 00:44:06,800 --> 00:44:09,360 Speaker 6: It is, this song has a lot of visual Yeah, 616 00:44:10,040 --> 00:44:11,480 Speaker 6: when you play you can feel. 617 00:44:11,560 --> 00:44:14,320 Speaker 8: There's a lot of things like you can really sense. 618 00:44:14,520 --> 00:44:17,560 Speaker 1: Yeah, yeah, I just love it. I love that you 619 00:44:17,560 --> 00:44:20,359 Speaker 1: were up for doing it. I would never be able 620 00:44:20,400 --> 00:44:22,319 Speaker 1: to do this song normally. I mean it's such a 621 00:44:22,400 --> 00:44:25,080 Speaker 1: huge song and you know it doesn't need me to 622 00:44:25,120 --> 00:44:27,879 Speaker 1: sing it. But doing it together was so fun and 623 00:44:28,800 --> 00:44:32,120 Speaker 1: I love Chapel Roane's voice, so it was hard for 624 00:44:32,160 --> 00:44:37,600 Speaker 1: me not to go. Yeah, but yeah, thanks for playing 625 00:44:37,600 --> 00:44:43,239 Speaker 1: that with me. Yeah. So your Piano Book two is 626 00:44:43,520 --> 00:44:44,960 Speaker 1: out now. It's an album. 627 00:44:45,200 --> 00:44:49,880 Speaker 6: Yes, it's an album with the thirty two miniature of 628 00:44:50,080 --> 00:44:57,640 Speaker 6: masterful pieces from Chopin's nocturn to rock Mino Purdue Beto 629 00:44:57,840 --> 00:45:04,040 Speaker 6: m variations and also to UH sounds like Markni parad 630 00:45:05,120 --> 00:45:13,239 Speaker 6: orla oh cool. Yeah, and even some uh Japanese. There's 631 00:45:13,280 --> 00:45:17,799 Speaker 6: so much we have a like trying to get all 632 00:45:17,840 --> 00:45:23,440 Speaker 6: sort of a piano music, and also some new compositions 633 00:45:23,480 --> 00:45:26,759 Speaker 6: from today's composer like Tony and e. 634 00:45:26,880 --> 00:45:28,320 Speaker 8: Charas is very cool. 635 00:45:28,080 --> 00:45:33,280 Speaker 1: Piece, amazing. Yeah, there must be so so much to explore. 636 00:45:33,160 --> 00:45:35,120 Speaker 6: Right, Yeah, this is the good thing about piano that 637 00:45:36,560 --> 00:45:40,280 Speaker 6: this is it doesn't need to be long pieces, but somehow, 638 00:45:40,640 --> 00:45:44,680 Speaker 6: whether the it's Mozart round or a Bach Predude or 639 00:45:44,719 --> 00:45:49,200 Speaker 6: something from House Zimmer or something. It's always there's always 640 00:45:49,640 --> 00:45:52,040 Speaker 6: some sort of connected. 641 00:45:53,280 --> 00:45:58,399 Speaker 1: Ideas behind Yeah, I love it. Yeah, well, this has 642 00:45:58,440 --> 00:45:59,040 Speaker 1: been a joy. 643 00:45:59,400 --> 00:46:00,600 Speaker 8: Thank you, Thank. 644 00:46:00,440 --> 00:46:05,520 Speaker 6: You to come here and to feel your great voice 645 00:46:05,560 --> 00:46:06,520 Speaker 6: and feelings. 646 00:46:06,719 --> 00:46:08,000 Speaker 8: You know, and this is very intimate. 647 00:46:08,760 --> 00:46:09,640 Speaker 5: It is very intimate. 648 00:46:09,960 --> 00:46:14,359 Speaker 1: It's not for everyone. Yeah, I'm just staring at you. Well, 649 00:46:14,360 --> 00:46:18,040 Speaker 1: thank you for playing my piano. Yeah, I'm playing with me. 650 00:46:18,520 --> 00:46:26,840 Speaker 1: It was great. You were the perfect guests. Amazing experience, 651 00:46:27,040 --> 00:46:30,880 Speaker 1: so fun. Yeah, how are we? I'm like the screen 652 00:46:30,960 --> 00:46:37,640 Speaker 1: is black. Oh yeah, we wanted okay, we did have 653 00:46:37,640 --> 00:46:41,440 Speaker 1: one last thing. We just wanted you to do the 654 00:46:41,440 --> 00:46:44,360 Speaker 1: orange trick. I was actually thinking you could almost do 655 00:46:44,400 --> 00:46:48,280 Speaker 1: it on Pink Pony Club, right, because it's a black notes. 656 00:47:01,239 --> 00:47:01,799 Speaker 5: I love that. 657 00:47:04,920 --> 00:47:06,960 Speaker 6: The good thing about the orange is that you can 658 00:47:07,200 --> 00:47:13,320 Speaker 6: go yeah yeah, but it's also can be pretty precise. 659 00:47:13,520 --> 00:47:15,240 Speaker 1: Yeah, because it's just one little spot. 660 00:47:15,400 --> 00:47:17,000 Speaker 8: Yeah, it's much easier than banana. 661 00:47:17,120 --> 00:47:18,920 Speaker 1: Yeah. 662 00:47:19,040 --> 00:47:24,600 Speaker 8: I tried in different fruit. Was not so bad. 663 00:47:25,239 --> 00:47:26,560 Speaker 1: It gets bruised too easily. 664 00:47:26,760 --> 00:47:30,359 Speaker 6: Right, this is the best, really, orange just really by 665 00:47:30,400 --> 00:47:31,880 Speaker 6: far the best instrument. 666 00:47:32,200 --> 00:47:33,960 Speaker 1: You have to tell me how you came up with it? 667 00:47:34,719 --> 00:47:38,480 Speaker 6: Okay, So this was Actually it's not my invention. It's 668 00:47:39,120 --> 00:47:43,840 Speaker 6: somebody who I love so much, great pianist and conductor 669 00:47:44,000 --> 00:47:49,120 Speaker 6: Daniel Barramore. And he's a very serious musician, and so 670 00:47:49,280 --> 00:47:53,120 Speaker 6: he always gives me a very serious piano lessons. So 671 00:47:53,200 --> 00:47:57,600 Speaker 6: I'm always quite actually nervous when he's teaching me. So 672 00:47:57,640 --> 00:48:01,360 Speaker 6: then we had this long session, very serious Shroberts or not, 673 00:48:01,719 --> 00:48:04,960 Speaker 6: you know. So, and then he went back to the kitchen. 674 00:48:05,160 --> 00:48:10,520 Speaker 6: I thought he's gonna to eat some some orange to. 675 00:48:10,000 --> 00:48:12,680 Speaker 8: To, you know, to get more metamins or something. 676 00:48:12,760 --> 00:48:14,480 Speaker 6: So so he came out. He said, do you know 677 00:48:14,520 --> 00:48:18,960 Speaker 6: how to play chopin Black key Istude? You know this 678 00:48:19,040 --> 00:48:29,279 Speaker 6: is the piece which is uh everything from the Blackie 679 00:48:31,600 --> 00:48:34,799 Speaker 6: And I played this piece so much as a kid 680 00:48:34,880 --> 00:48:37,160 Speaker 6: to practice to get into the Consoler three. 681 00:48:37,600 --> 00:48:38,920 Speaker 8: And I said, of course. 682 00:48:38,680 --> 00:48:39,040 Speaker 17: I know that. 683 00:48:39,520 --> 00:48:44,760 Speaker 8: So I started playing. He had so bad I happened. 684 00:48:44,840 --> 00:48:47,160 Speaker 6: I was like, I couldn't even play this piece after 685 00:48:47,360 --> 00:48:49,360 Speaker 6: so many hours of practice. 686 00:48:49,400 --> 00:48:52,840 Speaker 5: He said, let me show you. 687 00:48:56,160 --> 00:48:56,920 Speaker 1: That's hilarious. 688 00:48:57,000 --> 00:49:01,000 Speaker 8: Yeah, I used from this such a serious musician. Yeah, 689 00:49:01,239 --> 00:49:05,239 Speaker 8: comes incredible, hilarious. 690 00:49:05,320 --> 00:49:06,520 Speaker 1: That's a very long joke. 691 00:49:08,360 --> 00:49:10,640 Speaker 5: Oh okay, I got it. 692 00:49:10,800 --> 00:49:11,360 Speaker 1: That's great. 693 00:49:11,440 --> 00:49:12,160 Speaker 8: So I learned. 694 00:49:12,160 --> 00:49:14,360 Speaker 6: Really a big deal and then I show you everywhere. 695 00:49:14,560 --> 00:49:18,200 Speaker 6: That's so fun at some point, but not recently. 696 00:49:18,480 --> 00:49:20,160 Speaker 1: Yeah, well thanks for hearing. 697 00:49:20,960 --> 00:49:22,880 Speaker 8: So I see that Orange, I know what to do. 698 00:49:23,320 --> 00:49:25,040 Speaker 1: You see you know exactly what we're going to ask 699 00:49:25,080 --> 00:49:31,719 Speaker 1: you to do. Yeah, awesome, cool, Yay, that was awesome. 700 00:49:31,880 --> 00:49:34,680 Speaker 1: It was incredible. I've wanted to sing Pink Pony Club 701 00:49:34,719 --> 00:49:37,040 Speaker 1: forever and I think if I went to do karaoke, 702 00:49:37,200 --> 00:49:38,440 Speaker 1: that's probably what I would choose. 703 00:49:38,640 --> 00:49:40,560 Speaker 3: And no big deal that he was practicing that at 704 00:49:40,600 --> 00:49:41,840 Speaker 3: Carnegie Hall the night before. 705 00:49:41,960 --> 00:49:42,800 Speaker 1: Oh yeah, I love that. 706 00:49:43,640 --> 00:49:49,160 Speaker 5: It's hilarious. He practiced it, sounds amazing. 707 00:49:50,160 --> 00:49:54,120 Speaker 1: He's great and I had so much fun doing that. Okay, 708 00:49:54,400 --> 00:49:56,080 Speaker 1: I'm going to say this as best as I can. 709 00:49:56,160 --> 00:49:59,759 Speaker 1: But the first song he performed was called Consolations, A 710 00:50:00,400 --> 00:50:04,880 Speaker 1: one seventy two number two in E Major Un Poco 711 00:50:05,040 --> 00:50:10,160 Speaker 1: Pui Mosso Composer Friends List, performed and recorded by Langlan 712 00:50:10,400 --> 00:50:14,319 Speaker 1: from Piano Book two, which was released in twenty twenty five. 713 00:50:14,800 --> 00:50:16,759 Speaker 1: The second song we did was Turn Me On. I 714 00:50:16,840 --> 00:50:18,880 Speaker 1: recorded that on my first album and it's a J. D. 715 00:50:19,040 --> 00:50:23,759 Speaker 1: Loudermilk song and it's also very well known for being 716 00:50:23,800 --> 00:50:27,040 Speaker 1: a song that Nina Simone did. The third song we 717 00:50:27,160 --> 00:50:30,200 Speaker 1: did was Pink Phony Club by Chapel Roon from the 718 00:50:30,280 --> 00:50:33,360 Speaker 1: Rise and Fall of a Midwest Princess, released in twenty 719 00:50:33,440 --> 00:50:36,600 Speaker 1: twenty three. Love that song special, Thanks so long long 720 00:50:36,640 --> 00:50:39,040 Speaker 1: for joining us today. We'll be back next week with 721 00:50:39,200 --> 00:50:42,040 Speaker 1: arujaf Tab. Norah Jones is playing along as a production 722 00:50:42,239 --> 00:50:45,640 Speaker 1: of iHeart Podcasts. Visit Nora Jones channel and be sure 723 00:50:45,640 --> 00:50:49,560 Speaker 1: to subscribe while you're there. I'm your host, Hora Jones. 724 00:50:52,560 --> 00:50:57,280 Speaker 1: I'm your host, Nora Jones. I'm your host, Nora Jones. 725 00:50:57,480 --> 00:51:01,400 Speaker 1: Recorded by Matt Marinelli, mixed by Jamie Le Audio, post 726 00:51:01,400 --> 00:51:04,879 Speaker 1: production and mastering by Greg Tobler. Artwork by Eliza Fry, 727 00:51:05,000 --> 00:51:08,120 Speaker 1: Photography by Shervin Linez. Produced by Norah Jones and Sarah Ota. 728 00:51:08,280 --> 00:51:11,759 Speaker 1: Executive producers Aaron won Kaufman and Jordan Rundag. Marketing lead 729 00:51:11,840 --> 00:51:15,600 Speaker 1: Alison Kantri Graber. Serious side effects include a happy heart. 730 00:51:16,080 --> 00:51:18,320 Speaker 1: Thanks for joining us.