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Speaker 1: Hi, I'm Norah Jones and today I'm playing along with

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Speaker 1: Nate Smith.

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Speaker 2: I'm just playing long.

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Speaker 3: We.

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Speaker 2: Am just playing lone Weezy.

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Speaker 1: Hey, I'm Nora, and thanks for joining us on the

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Speaker 1: Playing Along podcast with me as always. Sitting here in

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Speaker 1: front of me in a lovely orange sweater is Sarah Oda. Thanks,

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Speaker 1: It's actually Cherry Redd.

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Speaker 4: Oh.

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Speaker 5: Our guest today is the Grammy nominated drummer, composer, and

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Speaker 5: producer Nate Smith. His drumming style runs itself to a

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Speaker 5: broad range of music, so he's collaborated with several artists

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Speaker 5: including Brittany Howard, The Fearless Flyers, Childish Gambino, Yeba, Robbie Coltrane,

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Speaker 5: Pat Metheny, and one Miss Norah Jones.

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Speaker 6: Hi.

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Speaker 7: He also co wrote and co produced Heaven Can Wait

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Speaker 7: for Michael Jackson's two thousand and one invincible album, Oh Wow.

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Speaker 7: He's also released two masterful solo drum albums and has

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Speaker 7: a very popular YouTube channel, oh It's very popular with performances, interviews,

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Speaker 7: and more so be sure to check that out. And

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Speaker 7: his latest album, Live Action, just came out in August

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Speaker 7: of twenty twenty five.

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Speaker 4: We had a lot of fun. I love him.

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Speaker 1: He's a great, great, incredible drummer, fun person to play with.

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Speaker 1: This was really special. I hope you enjoy it. Here

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Speaker 1: we go with Nate Smith. We just play a little groove,

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Speaker 1: do something that's our sound check.

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Speaker 3: Nice, nice, nice man, that's good.

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Speaker 6: Good.

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Speaker 4: Oh, it's so great to hear you play.

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Speaker 8: Yay.

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Speaker 1: Yes, When did we do that recording session? That was

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Speaker 1: twenty nineteen.

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Speaker 3: Yeah, I feel like the record came out in twenty twenty.

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Speaker 4: Yeah it did. Yeah, right right in the middle of it.

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Speaker 3: Yep, right in the middle smackdap. I just moved to Nashville,

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Speaker 3: and I remember receiving a package.

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Speaker 1: Oh yeah, I was very, very exciting, and you did

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Speaker 1: a little home video for the.

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Speaker 3: That's right for a video for me. I remember setting

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Speaker 3: it up at the crib. I had had the phone

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Speaker 3: set up and I sat. I had my one snare drum.

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Speaker 3: I didn't even have a kick drum in the shot.

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Speaker 3: I had a snare drum. Yeah, And I set up

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Speaker 3: and just played and I hoped that I wasn't disturbing

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Speaker 3: my neighbors.

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Speaker 4: Oh man, thanks for doing that.

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Speaker 3: Oh for sure, for sure. It was fun. I will

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Speaker 3: say we couldn't do it together.

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Speaker 4: I was too. It would have been fun.

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Speaker 3: Yeah, yeah, because we had a good time at the session.

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Speaker 3: Did we do two or three songs?

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Speaker 1: That we did a few songs, but that's the only

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Speaker 1: one that ever got released that was with Jesse Murphy.

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Speaker 1: Jesse Murphy, Yeah, and that was the song was to

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Speaker 1: live jam.

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Speaker 4: Yeah, you want to.

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Speaker 3: Play it, Let's play it?

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Speaker 4: Yeah, why not? We're here, let's kidd it all right.

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Speaker 1: Then we're gonna dive into some of your music, yes,

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Speaker 1: which I've been practicing, which is much harder.

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Speaker 3: Okay, okay.

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Speaker 9: What two threelish.

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Speaker 8: And fine be free is wather I was after?

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Speaker 2: Don't change older than me?

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Speaker 10: Evelove is the answer in front of my face. I

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Speaker 10: and this morning and find watching the places.

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Speaker 11: These cracks in my heart can't be filled you smell.

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Speaker 8: Can't find or use all the time that I spare.

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Speaker 10: I want laughing color, to breathe outside the line, to

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Speaker 10: believe in this moment.

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Speaker 12: Vampy Simbama, who said all those things to make you

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Speaker 12: go and hide so stuck an yokey that you came

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Speaker 12: from outside, Please throw down the dumbness as best as

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Speaker 12: you can.

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Speaker 8: Badly leave this boy. I'll be jamma.

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Speaker 10: To ly in this spot and fatly free.

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Speaker 8: There's what ho was after bat change b evelove is

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Speaker 8: the answer in.

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Speaker 10: FLNT the merphant hardy name this spy and Finn much.

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Speaker 8: Is badly in this moment and.

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Speaker 10: Fat face had loved in this moment and for much.

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Speaker 4: Nice.

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Speaker 1: Oh yes, oh, it's so fun to play with you.

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Speaker 3: No, thank you so much.

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Speaker 4: That's great. Take my phones off the time.

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Speaker 1: Oh, yes, you have such a great groove.

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Speaker 3: I mean, of course, thank you, thank you so much.

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Speaker 3: I mean you too. You know, it's playing time on piano,

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Speaker 3: like rhythmic piano is a thing, and and also the

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Speaker 3: way you comp for yourself too, that's a that's a

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Speaker 3: that's an that's a layer. You know that. Not a

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Speaker 3: lot of people who singing play piano have that, so

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Speaker 3: you definitely have it.

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Speaker 4: Oh, thank you.

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Speaker 1: I've definitely gotten better at it over the years, you know,

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Speaker 1: like I feel like I'm I feel like I'm right

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Speaker 1: now in the groove of of my thing.

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Speaker 4: Yes, more than ever.

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Speaker 3: Yes, you sound like it's so nice.

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Speaker 1: Isn't it so nice to have a job where you

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Speaker 1: just constantly feel like you're getting better at Yeah?

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Speaker 3: Yeah, I mean even there there are sometimes when I

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Speaker 3: feel like I'll play a gig and I'll think, you know, man,

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Speaker 3: do that sound good?

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Speaker 4: Yeah?

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Speaker 3: And especially now within the internet age where your your

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Speaker 3: gigs are played back to you. Oh gosh, people are

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Speaker 3: always out with this fan with the phone you listen

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Speaker 3: back to how did I actually sound?

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Speaker 13: You know?

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Speaker 3: But you know, overall, I I got to say, you know,

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Speaker 3: I feel kind of in the same way. I feel

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Speaker 3: like I'm settling into a groove too, like really settling

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Speaker 3: into my thing, which I feel like took me a

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Speaker 3: while to kind of find, you know.

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Speaker 1: Yeah, I mean I don't think most people are twenty

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Speaker 1: years old knowing what their thing is.

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Speaker 3: Yeah, for sure, for sure, And I'm still finding it

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Speaker 3: at forty nine. Yeah, you know, in three days, forty.

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Speaker 4: Nine, Happy advanced birthday.

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Speaker 3: Thank you, thank you very much. I edge in the house.

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Speaker 4: I feel nice.

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Speaker 3: Yeah.

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Speaker 1: I think that's part of that's part of the joy

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Speaker 1: of this sort of era of our lives.

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Speaker 4: I'm in my forties too.

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Speaker 3: Yeah.

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Speaker 1: Yeah, I feel really really alive musically more than ever.

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Speaker 3: Absolutely.

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Speaker 1: I feel like in my twenties I was I was scared. Yeah,

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Speaker 1: I had a lot of things going on, but I

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Speaker 1: was unsure of a lot of it.

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Speaker 3: You know, I feel like I always was trying to

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Speaker 3: prove or please you know. That's the other thing. Like

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Speaker 3: I was in a lot of situations where I was

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Speaker 3: trying to like be good enough, you know, And now

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Speaker 3: I kind of feel like I'm in a place where

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Speaker 3: I kind of know the things that I'm good at.

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Speaker 3: I know the things that I want to work on

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Speaker 3: for myself. But I kind of know, you know, if

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Speaker 3: people are calling me for something, I know what they're

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Speaker 3: calling for. And I feel like can walk into a

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Speaker 3: room with a lot more confidence about it, which you know,

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Speaker 3: it took a while to get that, but but I

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Speaker 3: feel like I'm settling into that kind of swag now,

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Speaker 3: you know, which feels really good, feels really great.

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Speaker 1: Yeah, you're in town. You were playing at the Blue

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Speaker 1: Note all week.

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Speaker 3: I was at the Blue Note with the Fearless Flyers.

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Speaker 3: Played four nights, two shows a night.

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Speaker 1: Okay, that's a lot. I just did the Blue Note

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Speaker 1: with Robert Clasper. I did five nights. Yes, doing two shows.

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Speaker 4: A night is hard. It's hard, I mean because it's

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Speaker 4: too like full hour fifteen.

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Speaker 3: Ish, right, yep. We did we averaged about I mean,

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Speaker 3: the second sets were always longer because we were you know,

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Speaker 3: we're loose, and the crowd is a little more loose.

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Speaker 3: Everybody has a little you know, they pre gaming with

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Speaker 3: the liquor, so everybody's a little bit more worked up.

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Speaker 3: So it feels real good. And so we would play

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Speaker 3: maybe sixty five minutes the first set and they would

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Speaker 3: turn the house over. And then sometimes the second set

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Speaker 3: would be like, you know, hour fifteen.

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Speaker 4: Yeah, hour and a half, you know, okay, yeah, yeah,

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Speaker 4: we're going, we were going. Yeah, you must be exhausted.

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Speaker 3: I am worn now.

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Speaker 1: I couldn't believe how exhausting it was because not only

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Speaker 1: well doing two shows. I mean we're used to playing

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Speaker 1: in clubs back in the day, right where you do

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Speaker 1: two or three sets, but I feel like there's never

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Speaker 1: that much time in between. Yeah, and at the Blue Note,

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Speaker 1: it's about hour and.

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Speaker 8: A half and a half.

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Speaker 3: It's just enough time to get real sleepy, yeah exactly,

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Speaker 3: you know, and then you have to rev back up

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Speaker 3: for the people, you know, and you want to play

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Speaker 3: your best because you know, people pay their money, they

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Speaker 3: made plans, they hired the sitter that you know. But

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Speaker 3: just to let y'all know, it's not always as easy

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Speaker 3: as it looks it's not as easy.

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Speaker 1: That's a hard gig, it is, but it's a great audience,

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Speaker 1: I feel like, Yeah.

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Speaker 3: And really a cool place. I mean, you know, they're

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Speaker 3: really nice to you. Yeah, they're nice.

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Speaker 4: But it's tiny.

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Speaker 3: It is, it is there's no real like hiding place.

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Speaker 3: You know, you're kind of like in it with the fans,

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Speaker 3: which I guess is part of the appeal of the

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Speaker 3: club too.

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Speaker 4: Yeah, it's cool.

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Speaker 3: Yeah. Did you ever do the Blue Note Cruise or

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Speaker 3: any of that stuff?

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Speaker 1: Now?

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Speaker 4: Have you?

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Speaker 3: I did it. I did it twice.

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Speaker 1: How long was it on a boat? Because that is

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Speaker 1: that freaks me out.

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Speaker 3: Yeah, it was like five days.

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Speaker 1: Okay, I could you get off at all?

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Speaker 8: They docking?

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Speaker 3: Yeah, they were docking. I feel like I don't think

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Speaker 3: I ever got off. I think I just stayed on. Really,

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Speaker 3: you know, I got to say it was the best

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Speaker 3: sleep I've had the rock I mean the Rocky I

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Speaker 3: was knocked all the way out. That's great, way down like,

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Speaker 3: but no, the Blue Note Cruise is kind of similar

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Speaker 3: because people are just there, the artists are just walking

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Speaker 3: at with them. You're on a boat with them, like

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Speaker 3: there's nowhere to go, you know. So yeah, you can

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Speaker 3: hang out in your cabin all day, but as soon

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Speaker 3: as you walk out, you're going to see people.

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Speaker 4: Yeah, you know, that's part of the fun.

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Speaker 3: People are mistaking me for you know, Hey, man, Kendrick,

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Speaker 3: I love you playing man. You're great. I was like, thanks,

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Speaker 3: I'll take it. People thinking I'm you know whoever? You know?

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Speaker 4: Yeah, come on the name, Well.

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Speaker 3: You know, maybe now, but I definitely got a couple

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Speaker 3: of Hey Brian Man, you did Brian Blade, Little Brian Blade.

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Speaker 1: It's the glasses, the style.

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Speaker 3: Yeah, so I don't and I don't mind either one.

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Speaker 3: I'll take all of All of them are compliments to

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Speaker 3: me because I love him brothers. So yeah, yeah, that's cool. Yep.

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Speaker 4: And you're living in Nashville.

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Speaker 3: No, well you moved. I moved. I just moved in January.

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Speaker 3: I moved to Virginia back home.

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Speaker 2: Nice.

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Speaker 3: So my I'm from Chesapeake originally.

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Speaker 4: How far is that from DC? I don't know Virginia

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Speaker 4: at all.

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Speaker 3: Yeah, So Chesapeake is four hours by car southeast of DC,

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Speaker 3: well three and a half, so not really close, not

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Speaker 3: super close. Richmond is half that two hours away. That's

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Speaker 3: where I live from Richmond, Virginia.

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Speaker 4: Nice.

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Speaker 3: Yeah, and I lived there for like four years before

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Speaker 3: I moved to New York. So I was and I

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Speaker 3: went to grad school there. I'm born and raised in Virginia,

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Speaker 3: so I was there for my whole life until I

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Speaker 3: came to You were to grad school, Yeah, I did.

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Speaker 3: I started grad.

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Speaker 1: School, Oh for music or for something else?

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Speaker 3: No, I was music.

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Speaker 4: Well I graduated, It's okay, Yeah, I graduated.

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Speaker 3: In my book, I got the School of Hard Knocks degree,

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Speaker 3: the honorary. Oh yeah, yeah, No, I started. So I

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Speaker 3: went to James Madison University undergrad and I wasn't a

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Speaker 3: music major. I majored in media arts and design. Yeah.

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Speaker 3: Back in the day, they used to call it mass communication.

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Speaker 4: What's media arts and design? Is that handy?

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Speaker 2: Now?

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Speaker 4: With social media?

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Speaker 3: It kind of is. Actually, I end up using a

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Speaker 3: lot of the stuff I learned because it was you know,

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Speaker 3: we studied advertising, we studied like branding, we studied all

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Speaker 3: that stuff.

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Speaker 1: Well, now you got to be your own pr person

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Speaker 1: as a musician, which is a whole other thing.

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Speaker 4: Whole other it's a whole other brain type.

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Speaker 3: Yes, right, yes, And you know, I feel like it

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Speaker 3: kind of worked out in my favor because some of

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Speaker 3: the ideas I still kind of go back to that

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Speaker 3: you know, introduction to mass communication class where the guy

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Speaker 3: was talking about how to reach an audience and how

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Speaker 3: to engage in audience. So it you know, it works,

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Speaker 3: and I've seen it work really great for some other musicians,

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Speaker 3: and I've paid attention to what they've done. Yeah, and

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Speaker 3: also I've seen it, you know, not work so great

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Speaker 3: for other.

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Speaker 4: You know, so I'm but you're aware of that whole thing.

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Speaker 3: I am.

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Speaker 4: Yeah, And you've done some online videos that are pretty huge.

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Speaker 3: Yeah, yeah, I mean social media was I mean, I

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Speaker 3: guess like everybody, I joined Facebook, I think two thousand

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Speaker 3: and nine. That was when you know, it was abroun

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Speaker 3: and then Instagram was a few few years later, like

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Speaker 3: twenty twelve. I feel like I got my first and

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Speaker 3: so I didn't really start posting videos of myself playing

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Speaker 3: drums until like maybe twenty fifteen, sixteen. But then once

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Speaker 3: I saw that the videos were resonating, then I was like, okay, well,

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Speaker 3: let me just keep posting stuff and I'll just you know.

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Speaker 3: And it was around the same time that I started Kenfolk,

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Speaker 3: and I was trying to make the record and trying

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Speaker 3: to sort of build an audience, and I was paying

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Speaker 3: attention to cats who were doing that, building their audience

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Speaker 3: online and hoping that you know, a fraction of that

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Speaker 3: audience would pay tickets, would buy tickets to come see

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Speaker 3: me play.

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Speaker 4: And it worked.

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Speaker 3: It worked.

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Speaker 4: That's amazing.

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Speaker 3: It's a slow burn, but it did work.

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Speaker 1: That's I mean, that's how it is now, that's how

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Speaker 1: you have to do it.

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Speaker 3: I think, yeah, for sure. I mean music, I think

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Speaker 3: now more than ever, music is almost a visual art

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Speaker 3: form now because we're thinking about, you know, like how

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Speaker 3: the you know, how we're branding our cover art and

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Speaker 3: our promo flyers and all that stuff. We're thinking about

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Speaker 3: it so much, you know. And I don't know if

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Speaker 3: that's necessarily a good or bad thing, but I do

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Speaker 3: think that the two way it is, it's just the

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Speaker 3: way it is. It's just the way it is. I mean,

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Speaker 3: you know, I don't know how I feel about streaming

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Speaker 3: and streaming good or bad, I don't know, but it is.

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Speaker 3: It is what it is. It's how yeah, right, I know,

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Speaker 3: But I don't know.

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Speaker 1: As someone who sold a lot of records in the

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Speaker 1: early two thousand, I would say it's not great.

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Speaker 4: I can dig it, but it's just the way it is.

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Speaker 3: It's just the way it is.

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Speaker 4: I mean, you can't.

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Speaker 3: Yeah, the audience has made up its mind about how

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Speaker 3: people want to consume music.

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Speaker 1: I mean that you definitely can reach so many more

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Speaker 1: people this way and streaming too.

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Speaker 4: Yeah, and it's crazy though.

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Speaker 1: It's like, I don't think a record label will even

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Speaker 1: look at anybody who doesn't have an online presence and

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Speaker 1: a lot of followers.

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Speaker 3: Yeah, and it it It sucks because a lot of

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Speaker 3: great artists who really just want to make great music

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Speaker 3: aren't visible.

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Speaker 1: And they're not they're not thinking about self promotion all

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Speaker 1: the time. You have to think about it, even if

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Speaker 1: you're not naturally inclined to or not.

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Speaker 3: Yeah, it's it's because there's so much stuff and there

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Speaker 3: are so many people. You know, the idea of like

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Speaker 3: making yourself seen so you can be found, you know

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Speaker 3: what I mean, that's kind of the vibe is like,

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Speaker 3: you know, I want to just just see me do

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Speaker 3: my thing, see me sing or play my instrument or whatever,

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Speaker 3: and hopefully my audience, the people that it really resonates with,

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Speaker 3: will find me. It's just a new reality for artists.

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Speaker 1: Well speak in of ken Folk. So that band started,

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Speaker 1: You started that band around twenty.

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Speaker 3: Fifteen, twenty fourteen. Actually we played our no I'm sorry,

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00:19:19,440 --> 00:19:23,280
Speaker 3: we played our first gig at Rockwood. Oh really yeah,

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Speaker 3: twenty thirteen.

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Speaker 4: Oh cool.

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Speaker 3: Labor Day weekend twenty thirteen was.

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Speaker 4: John in the band John Coward.

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Speaker 3: Yeah. So initially it was Jalil Shaw and saxophone, Fema

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Speaker 3: Efron on bass, Chris Bowers was playing piano at the time. Cool.

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Speaker 3: Jeremy most was playing guitar, and Alma What was singing

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Speaker 3: with us and she wrote all the lyrics to the

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Speaker 3: music too.

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Speaker 1: Oh nice. Yeah, so she sings on this song that

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Speaker 1: we're gonna try.

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Speaker 4: Yeah, this is her song in your song.

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Speaker 3: Yeah.

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Speaker 1: Yeah, it's called Morning and Allison. Is this from the

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Speaker 1: first album?

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Speaker 3: It is?

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Speaker 4: Okay, cool, all right, let's give it a go. Let's

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Speaker 4: give it a go.

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Speaker 11: Sunday morning, she says to light, waking up, slowly.

359
00:20:42,359 --> 00:20:52,600
Speaker 14: Open windows, Sunday night, feeling ay and blow.

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Speaker 10: Mac tree line you loves me at the center a

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Speaker 10: home in Sinster.

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Speaker 8: With the day breaks.

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Speaker 2: Let it sped time.

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00:21:12,760 --> 00:21:14,600
Speaker 8: To len Oud.

365
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Speaker 10: Say place spy with change.

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Speaker 6: Is hi.

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Speaker 11: Secle Sunday morning, she says to that, why came up?

368
00:22:33,640 --> 00:22:42,040
Speaker 11: Slowly open windows?

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00:22:42,760 --> 00:22:47,440
Speaker 4: Suny minds feeling the way blow.

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Speaker 8: My Trea like you loves where the sydy uh huh

371
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Speaker 8: ins and style.

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Speaker 2: What the Dame rates it's.

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Speaker 8: Time two mm hmmm, said.

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Speaker 7: Say l.

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Speaker 10: Expine and say it's my mind.

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Speaker 4: That's high.

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Speaker 3: You you killed it, You killed it. Yes, that was beautiful,

378
00:23:57,240 --> 00:23:58,960
Speaker 3: Thank you, thank you. Shout out to Alma Work for

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00:23:59,000 --> 00:23:59,560
Speaker 3: those lyrics.

380
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Speaker 4: Yes, they're great. Yeah, and yeah it was cool playing

381
00:24:04,600 --> 00:24:04,800
Speaker 4: it too.

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Speaker 15: I never played songs like this right right, Yeah, it's

383
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Speaker 15: like you know kind of, I mean, I guess the

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Speaker 15: mixed meter sort of it's like, yeah, six four four

385
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Speaker 15: four thing.

386
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Speaker 4: But I didn't think about that at all.

387
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Speaker 1: You sent me that chart, which was super helpful for

388
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Speaker 1: the chords, but I didn't look at the time signatures

389
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Speaker 1: because I felt like just feeling it was easier.

390
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Speaker 3: That's the that to me, that's the greatest sort of

391
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Speaker 3: I mean, that's kind of the intention is like, even

392
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Speaker 3: if you're writing in mixed meter stuff, it should feel

393
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Speaker 3: as none. Yeah, I don't know, it should just feel natural.

394
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Speaker 1: You shouldn't feel like you're counting. Yes, yeah, it definitely doesn't.

395
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Speaker 1: It feels so good.

396
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Speaker 3: Yea.

397
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Speaker 4: So it was six and then.

398
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Speaker 3: Four yeah, one two three four one oh yeah, right right,

399
00:24:55,640 --> 00:24:58,000
Speaker 3: as soon as you count, it's like oh no, yeah, yeah,

400
00:24:58,280 --> 00:24:58,600
Speaker 3: it's just.

401
00:24:59,240 --> 00:25:01,200
Speaker 4: Yeah the end, and in me is like, okay, I

402
00:25:01,320 --> 00:25:03,440
Speaker 4: know how it is, but I don't do a lot

403
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Speaker 4: of mixed meters.

404
00:25:04,400 --> 00:25:06,119
Speaker 3: Yeah, no, no, it's kind of a thing. It's like

405
00:25:06,200 --> 00:25:10,440
Speaker 3: one of those I kind of have always heard music

406
00:25:10,520 --> 00:25:13,760
Speaker 3: in that way, either like three bar phrases or mixed

407
00:25:13,800 --> 00:25:16,639
Speaker 3: meter stuff or maybe odd meter stuff, but in a

408
00:25:16,680 --> 00:25:19,680
Speaker 3: way that kind of feels like still has a little

409
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Speaker 3: dance to it.

410
00:25:20,440 --> 00:25:23,400
Speaker 4: Yeah, yeah, yeah, it feels natural. Yeah, if you can't dance.

411
00:25:23,240 --> 00:25:26,439
Speaker 3: To it, I mean, no, that's the vibe I mean.

412
00:25:26,480 --> 00:25:29,119
Speaker 3: And I played with you know, New York taught me

413
00:25:29,160 --> 00:25:31,240
Speaker 3: a lot. Man. I played with a lot of musicians

414
00:25:31,320 --> 00:25:35,320
Speaker 3: who excuse me with overwrite or sort of overthink in

415
00:25:35,440 --> 00:25:38,119
Speaker 3: my opinion, like it was kind of like, you know,

416
00:25:39,160 --> 00:25:41,680
Speaker 3: the music was hard just to be hard, you know.

417
00:25:42,320 --> 00:25:42,800
Speaker 4: I hate that.

418
00:25:43,160 --> 00:25:46,000
Speaker 3: Yeah, and it's just I you know, and there were

419
00:25:46,040 --> 00:25:48,160
Speaker 3: so many things to remember and so many booby traps

420
00:25:48,200 --> 00:25:50,359
Speaker 3: written into the music that it was like it was

421
00:25:50,600 --> 00:25:52,440
Speaker 3: almost impossible to play it. It was like you know,

422
00:25:53,280 --> 00:25:56,040
Speaker 3: I mean you if you shed it long enough, everything's

423
00:25:56,040 --> 00:25:57,240
Speaker 3: hard until you learn it.

424
00:25:57,400 --> 00:25:58,680
Speaker 4: Yeah, like a language's a language.

425
00:25:58,720 --> 00:26:00,520
Speaker 3: It's like a language, you know. But I felt sometimes

426
00:26:00,600 --> 00:26:03,440
Speaker 3: the intention of the writing was to like trip up people,

427
00:26:03,560 --> 00:26:06,159
Speaker 3: or trip up musicians, or or impress.

428
00:26:05,840 --> 00:26:09,480
Speaker 1: Other musicians impressed especially I think, yeah, yeah, and when

429
00:26:09,520 --> 00:26:11,359
Speaker 1: you can't turn your brain off and just go in

430
00:26:11,440 --> 00:26:13,480
Speaker 1: the flow state, Yeah, it's not as good.

431
00:26:13,560 --> 00:26:15,119
Speaker 3: It's not as good. It's not as good. I mean

432
00:26:15,240 --> 00:26:18,080
Speaker 3: it has to be for some I don't know. For me,

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00:26:18,240 --> 00:26:21,879
Speaker 3: I feel like music should be enjoyable, you know what

434
00:26:21,920 --> 00:26:23,680
Speaker 3: I mean, I think it should be.

435
00:26:23,880 --> 00:26:26,800
Speaker 4: Yeah, I agree, Yeah, I feel like different strokes different.

436
00:26:26,840 --> 00:26:29,119
Speaker 3: You know. Some people want to like show up and like,

437
00:26:29,200 --> 00:26:31,040
Speaker 3: you know, like kind of solve a math problem. You know.

438
00:26:31,040 --> 00:26:33,640
Speaker 4: It's like, that's true. I'm not one of those people.

439
00:26:33,800 --> 00:26:37,119
Speaker 3: Me neither. Me neither. Even though the music has some

440
00:26:37,240 --> 00:26:39,240
Speaker 3: hiccups in it, I'm not thinking like that.

441
00:26:40,920 --> 00:26:42,040
Speaker 4: What did you go up listening to?

442
00:26:42,200 --> 00:26:42,240
Speaker 6: Like?

443
00:26:42,280 --> 00:26:43,360
Speaker 4: Where does all this come from?

444
00:26:44,359 --> 00:26:48,879
Speaker 3: So my dad's record collection is where it starts for me.

445
00:26:49,920 --> 00:26:52,199
Speaker 3: Both of my folks were teachers, my mom to our

446
00:26:52,320 --> 00:26:56,880
Speaker 3: third grade and my dad was a high school principal. Amazing, Yeah,

447
00:26:57,119 --> 00:27:01,199
Speaker 3: And so they worked hard all all, you know, all

448
00:27:01,280 --> 00:27:04,000
Speaker 3: week and the weekend was really the time to sort

449
00:27:04,000 --> 00:27:05,600
Speaker 3: of hang out and celebrate. So all their friends would

450
00:27:05,640 --> 00:27:07,760
Speaker 3: come over and Dad would put on records and at

451
00:27:07,800 --> 00:27:09,879
Speaker 3: the time, it was sort of like the golden age

452
00:27:09,960 --> 00:27:12,879
Speaker 3: of like instrumental R and B. So it was like

453
00:27:13,000 --> 00:27:18,080
Speaker 3: David Sanborn, Bob James, Quincy Jones, Herbie Hancock. You know,

454
00:27:18,600 --> 00:27:21,200
Speaker 3: those are the records that were in the house, George Duke,

455
00:27:21,520 --> 00:27:23,480
Speaker 3: that's so cool. Yeah. Yeah, and they were, you know,

456
00:27:23,800 --> 00:27:25,840
Speaker 3: cranking it. They were playing it, you know, and Off

457
00:27:26,119 --> 00:27:27,800
Speaker 3: the Earth, Wind to Fire and Michael Jackson, all the

458
00:27:27,880 --> 00:27:29,879
Speaker 3: big stars too. But the stuff that was really in

459
00:27:29,960 --> 00:27:31,760
Speaker 3: the house that he was playing on a regular basis

460
00:27:31,880 --> 00:27:34,560
Speaker 3: was that he kind of really dug that music. There

461
00:27:34,640 --> 00:27:37,920
Speaker 3: was something in it that resonated with him. So I just,

462
00:27:38,040 --> 00:27:40,520
Speaker 3: you know, kind of soaked it all up. And you know,

463
00:27:42,119 --> 00:27:45,840
Speaker 3: this My journey with the drums sort of began with

464
00:27:46,040 --> 00:27:49,080
Speaker 3: my brother. My older brother has had a drum kit

465
00:27:49,200 --> 00:27:51,240
Speaker 3: and he played a little bit in high school. He's

466
00:27:51,280 --> 00:27:53,360
Speaker 3: ten years older than me, so when he went away

467
00:27:53,359 --> 00:27:56,439
Speaker 3: to college, so there's two older than him.

468
00:27:56,520 --> 00:27:56,880
Speaker 4: Oh wow.

469
00:27:57,000 --> 00:27:59,760
Speaker 3: So I have a half brother who's fourteen years older

470
00:27:59,760 --> 00:28:01,879
Speaker 3: than me. I have a sister who's twelve years old

471
00:28:01,920 --> 00:28:03,840
Speaker 3: than me. Then my brother and then your ten years

472
00:28:03,920 --> 00:28:05,680
Speaker 3: ten years. Yeah, that's a lot. Yeah, I was. I

473
00:28:05,800 --> 00:28:10,080
Speaker 3: was definitely a surprise. That was different. I just showed up.

474
00:28:11,720 --> 00:28:15,399
Speaker 3: They thought they were done. But yeah, my bro he

475
00:28:15,440 --> 00:28:18,199
Speaker 3: went away to school and he went away to college,

476
00:28:18,280 --> 00:28:20,119
Speaker 3: and his drums were still in the house. So I

477
00:28:20,280 --> 00:28:22,639
Speaker 3: just one day decided to sort of set the drums

478
00:28:22,680 --> 00:28:25,760
Speaker 3: up and see what I could do with them. And

479
00:28:25,840 --> 00:28:27,879
Speaker 3: this was around the time I started playing in school too,

480
00:28:28,040 --> 00:28:31,400
Speaker 3: like concert band, you know, like middle school middle school, Yeah,

481
00:28:31,520 --> 00:28:35,200
Speaker 3: like fifth grade, so playing like snare drum and you know,

482
00:28:35,280 --> 00:28:38,600
Speaker 3: glockenspiel and you know, So that all kind of happened

483
00:28:38,600 --> 00:28:42,320
Speaker 3: concurrently for me, the drum set and high school band,

484
00:28:42,680 --> 00:28:43,560
Speaker 3: in middle school band.

485
00:28:43,720 --> 00:28:45,040
Speaker 4: Okay, were you on the drum line?

486
00:28:45,120 --> 00:28:45,400
Speaker 7: I was.

487
00:28:46,000 --> 00:28:47,480
Speaker 3: I was a marching band geek.

488
00:28:47,600 --> 00:28:50,160
Speaker 4: I'm obsessed with the drum line. Oh my god, best

489
00:28:50,240 --> 00:28:51,040
Speaker 4: feeling in the world.

490
00:28:51,160 --> 00:28:53,960
Speaker 3: Yes, to just see it and feel it, Yes, yes,

491
00:28:54,080 --> 00:28:57,680
Speaker 3: it is incredible. I was so like drum Court International.

492
00:28:57,840 --> 00:29:01,360
Speaker 3: I was like watching those competitions. I was writing my

493
00:29:01,520 --> 00:29:04,400
Speaker 3: own drum line stuff here. Yeah. Yeah, I was really

494
00:29:04,520 --> 00:29:07,160
Speaker 3: into it. I was a complete percussion ensemble.

495
00:29:07,320 --> 00:29:07,880
Speaker 4: That's amazing.

496
00:29:08,040 --> 00:29:09,160
Speaker 3: Marching band nerd Yeah.

497
00:29:09,240 --> 00:29:11,040
Speaker 4: I did marching band for one year and I was

498
00:29:11,560 --> 00:29:11,800
Speaker 4: all in.

499
00:29:11,960 --> 00:29:15,080
Speaker 1: I played saxophone, saxophone, yeah, yes, yeah, I was always

500
00:29:15,080 --> 00:29:15,840
Speaker 1: looking at the drummers.

501
00:29:16,920 --> 00:29:19,160
Speaker 3: It's a vibe, man, because you know, not only the

502
00:29:20,080 --> 00:29:23,760
Speaker 3: sort of you know, the rudimental and rudimentary dexterity and

503
00:29:23,800 --> 00:29:25,280
Speaker 3: all the stuff that the gods were doing, but also

504
00:29:25,320 --> 00:29:26,880
Speaker 3: the visual things that drummers were doing.

505
00:29:26,960 --> 00:29:27,720
Speaker 4: Yeah, it's so cool.

506
00:29:27,800 --> 00:29:30,000
Speaker 3: It was really cool to watch, and so I just

507
00:29:30,040 --> 00:29:32,520
Speaker 3: got it way into it, got absorbed by it, shed

508
00:29:32,560 --> 00:29:34,560
Speaker 3: it all the time, and would try to like play

509
00:29:34,640 --> 00:29:37,640
Speaker 3: some of that stuff on the drum set too. And

510
00:29:37,840 --> 00:29:41,040
Speaker 3: that's kind of the sort of beginning. So marching band

511
00:29:41,080 --> 00:29:43,080
Speaker 3: and stuff during the day, and then at night I

512
00:29:43,200 --> 00:29:46,040
Speaker 3: come home and listen to like Sting or Prince or

513
00:29:46,160 --> 00:29:48,560
Speaker 3: Peter Gabriel or whatever. Yeah, and it was like that

514
00:29:48,760 --> 00:29:49,280
Speaker 3: was my life.

515
00:29:49,440 --> 00:29:51,520
Speaker 4: You know, that's so cool. Yeah, were you into jazz

516
00:29:51,560 --> 00:29:52,000
Speaker 4: at that time?

517
00:29:52,360 --> 00:29:55,280
Speaker 3: Jazz kind of came later. So my senior year in

518
00:29:55,360 --> 00:30:00,000
Speaker 3: high school, I discovered an art blaky record called Album

519
00:30:00,160 --> 00:30:01,920
Speaker 3: of the Year came out, and I think.

520
00:30:01,840 --> 00:30:03,520
Speaker 4: It's the best title of any album.

521
00:30:03,720 --> 00:30:07,160
Speaker 3: I love it. I love it, I love it. The

522
00:30:07,320 --> 00:30:13,800
Speaker 3: band was I think it was Winton, Bill Pierce, Bobby Watson,

523
00:30:14,120 --> 00:30:17,400
Speaker 3: and I think Charles from Bro Bass. But but that

524
00:30:17,560 --> 00:30:21,200
Speaker 3: was the band and it was like it blew me away.

525
00:30:21,680 --> 00:30:23,840
Speaker 3: And this was near the end. I think this was

526
00:30:23,960 --> 00:30:26,760
Speaker 3: like Art Blake. He had kind of lost most of

527
00:30:26,800 --> 00:30:28,160
Speaker 3: his hearing by this time or he had, you know,

528
00:30:28,600 --> 00:30:31,880
Speaker 3: so that the time wasn't quite as like rock solid

529
00:30:31,880 --> 00:30:34,680
Speaker 3: as the older records, but he still had that riot symbol,

530
00:30:34,720 --> 00:30:36,680
Speaker 3: he still had that press role, you know, and I

531
00:30:36,840 --> 00:30:39,320
Speaker 3: was just captivated. But I was just like, what is

532
00:30:39,440 --> 00:30:43,160
Speaker 3: this sorcery that I've never heard before.

533
00:30:43,360 --> 00:30:45,200
Speaker 4: That's the best feeling in the world. It really was

534
00:30:45,240 --> 00:30:46,040
Speaker 4: discovered something.

535
00:30:46,200 --> 00:30:52,400
Speaker 3: Yeah, yeah, I listened to that album. I mean hundreds

536
00:30:52,440 --> 00:30:54,960
Speaker 3: of times. I wore my poor dad, I know, he

537
00:30:55,080 --> 00:30:59,640
Speaker 3: was so tied. Yeah, put on some George Dude, what

538
00:31:00,960 --> 00:31:04,120
Speaker 3: are you doing? But that was like the gateway, yeah,

539
00:31:04,240 --> 00:31:08,200
Speaker 3: you know. And then then later, you know, I discovered Miles,

540
00:31:08,920 --> 00:31:11,960
Speaker 3: which you know, by extension, I discovered Jimmy Cobb and

541
00:31:12,040 --> 00:31:15,200
Speaker 3: Tony Williams and you know, then discovered Train and I

542
00:31:15,280 --> 00:31:18,080
Speaker 3: discovered Elvin, you know, and Elvin was another one that

543
00:31:18,400 --> 00:31:21,160
Speaker 3: was like I didn't know you could do that, you know,

544
00:31:21,520 --> 00:31:23,480
Speaker 3: just watch I saw videos of him playing too, like

545
00:31:23,640 --> 00:31:25,400
Speaker 3: old videos, and I was just like, what is he doing?

546
00:31:25,560 --> 00:31:28,760
Speaker 3: How is he doing it? So, you know, it was

547
00:31:28,800 --> 00:31:32,520
Speaker 3: it was like magic, you know. Yeah, so that was

548
00:31:32,600 --> 00:31:35,080
Speaker 3: the beginning of So this is like senior year in

549
00:31:35,160 --> 00:31:38,240
Speaker 3: high school, freshman year in college, sophomore year in college.

550
00:31:38,320 --> 00:31:40,880
Speaker 1: Yeah, and you were studying media. But were you playing

551
00:31:41,320 --> 00:31:43,720
Speaker 1: in bands already? All the bands and you're playing in

552
00:31:43,800 --> 00:31:44,160
Speaker 1: every band.

553
00:31:44,280 --> 00:31:46,200
Speaker 3: I just I wanted to play in every band. It

554
00:31:46,320 --> 00:31:49,480
Speaker 3: was like I played in the small group of the

555
00:31:49,520 --> 00:31:51,200
Speaker 3: school small group, the school big band.

556
00:31:51,320 --> 00:31:53,680
Speaker 4: So you played in school too, you were doing music

557
00:31:53,760 --> 00:31:54,440
Speaker 4: in school as well.

558
00:31:54,600 --> 00:31:56,200
Speaker 3: Yeah, yeah, I was doing I mean I wasn't a

559
00:31:56,280 --> 00:31:58,400
Speaker 3: music major, but I was playing in all the bands,

560
00:31:58,440 --> 00:32:01,520
Speaker 3: you know, And and that was like I started as

561
00:32:01,520 --> 00:32:03,560
Speaker 3: a music major. Then I realized that I kind of

562
00:32:03,640 --> 00:32:06,200
Speaker 3: wanted to learn more about like the studio and more

563
00:32:06,200 --> 00:32:08,800
Speaker 3: about just a different side of the of the business.

564
00:32:08,920 --> 00:32:12,040
Speaker 3: So that's when media. Yeah, I just wanted to learn

565
00:32:12,080 --> 00:32:13,680
Speaker 3: a little more of it of just just not like

566
00:32:14,320 --> 00:32:17,760
Speaker 3: sticking to sort of the rigid like I mean, theory

567
00:32:17,840 --> 00:32:19,800
Speaker 3: and ear training have definitely come in handy too, but

568
00:32:19,840 --> 00:32:21,880
Speaker 3: I wanted to learn more about like the outside.

569
00:32:22,040 --> 00:32:24,000
Speaker 4: Yeah, yeah, yeah, you're already playing.

570
00:32:24,160 --> 00:32:26,720
Speaker 3: I was already playing. Yeah, you know, uh yeah, So

571
00:32:26,840 --> 00:32:30,280
Speaker 3: that was that was the beginning of my journey with jazz,

572
00:32:30,600 --> 00:32:34,760
Speaker 3: yeah and everything and everything. Yeah yeah, drum card, drum quote?

573
00:32:34,800 --> 00:32:34,960
Speaker 7: Is it?

574
00:32:35,120 --> 00:32:36,120
Speaker 3: Yeah? Drum quote?

575
00:32:36,200 --> 00:32:36,520
Speaker 7: Was it? I?

576
00:32:37,080 --> 00:32:42,080
Speaker 3: And also between uh semesters in the summer I was working,

577
00:32:42,880 --> 00:32:45,720
Speaker 3: I had three jobs that kind of prepared me for

578
00:32:45,920 --> 00:32:50,479
Speaker 3: So my first two summers I worked at Paramounts Kings Dominion,

579
00:32:50,560 --> 00:32:53,560
Speaker 3: which is a theme park New Richmond, doing what I

580
00:32:53,680 --> 00:32:55,160
Speaker 3: played in a motown.

581
00:32:55,200 --> 00:32:57,440
Speaker 4: Band, best practice in the world.

582
00:32:57,560 --> 00:32:59,880
Speaker 3: It was awesome. It was awesome. It was just like

583
00:33:00,120 --> 00:33:02,600
Speaker 3: we played four shows a day. It was hot, four

584
00:33:03,400 --> 00:33:07,880
Speaker 3: shows a day in the sweltering heat, and we played

585
00:33:08,320 --> 00:33:12,720
Speaker 3: hits from the seventies, eighties, nineties, something like that. And

586
00:33:13,080 --> 00:33:15,840
Speaker 3: you know, I had to wear this ugly ass Hawaiian

587
00:33:15,960 --> 00:33:18,720
Speaker 3: shirt with like these white pants. It was just terrible.

588
00:33:18,760 --> 00:33:21,479
Speaker 3: It's terrible. There are there are pictures in video somewhere.

589
00:33:22,000 --> 00:33:22,480
Speaker 3: Oh god.

590
00:33:23,000 --> 00:33:24,040
Speaker 4: But it was a great teacher.

591
00:33:24,280 --> 00:33:26,280
Speaker 3: It was a great teacher, a great teacher. We played

592
00:33:26,280 --> 00:33:28,320
Speaker 3: a bunch of tunes, a bunch of different styles. Then

593
00:33:28,400 --> 00:33:33,479
Speaker 3: my third summer I worked at Disney Did in Florida

594
00:33:33,480 --> 00:33:36,560
Speaker 3: and also very hot. Yes, and we did another four

595
00:33:36,640 --> 00:33:38,800
Speaker 3: show a day, but we had guest artists every week.

596
00:33:40,080 --> 00:33:43,080
Speaker 3: Name yeah, yeah, that's so cool. We had Joe Williams

597
00:33:43,160 --> 00:33:46,520
Speaker 3: game one year, we had one one week we had

598
00:33:46,640 --> 00:33:51,000
Speaker 3: Ramsey Lewis there. We had Diane Reeves. She was she

599
00:33:51,160 --> 00:33:54,480
Speaker 3: was the game changer. Yeah, she was great. Yeah, and

600
00:33:55,120 --> 00:33:57,000
Speaker 3: yeah that was the it all kind of was sort

601
00:33:57,040 --> 00:33:59,880
Speaker 3: of preparing me. While I was there, I met Andre Hayward,

602
00:34:00,040 --> 00:34:03,560
Speaker 3: who was a trombonist, and he had just done jazz

603
00:34:03,560 --> 00:34:06,560
Speaker 3: Ahead with Betty Carter and he was like, you should

604
00:34:06,560 --> 00:34:09,360
Speaker 3: beat Betty. So he was how I met her and

605
00:34:09,400 --> 00:34:10,239
Speaker 3: started playing with her.

606
00:34:10,440 --> 00:34:11,800
Speaker 4: Wow, that's amazing.

607
00:34:12,000 --> 00:34:12,200
Speaker 3: Yeah.

608
00:34:12,520 --> 00:34:14,600
Speaker 4: And did you and Chris Thomas overlap with Betty?

609
00:34:14,800 --> 00:34:17,560
Speaker 3: No, I didn't know Chris. I didn't when I was

610
00:34:17,600 --> 00:34:20,600
Speaker 3: in the band. Curtis Lundy was her regular bass player

611
00:34:20,600 --> 00:34:21,879
Speaker 3: and he'd been with her for a long time.

612
00:34:22,320 --> 00:34:23,319
Speaker 4: I love her so much.

613
00:34:23,480 --> 00:34:26,320
Speaker 1: Yes, Yes, what a different I've kind of felt that

614
00:34:26,400 --> 00:34:27,960
Speaker 1: way when I got one of her albums.

615
00:34:28,080 --> 00:34:29,720
Speaker 4: I was like, this is different.

616
00:34:29,840 --> 00:34:33,400
Speaker 3: She's incredibly different. Yeah. Yeah, and I kind of feel like,

617
00:34:34,239 --> 00:34:35,920
Speaker 3: you know, she said this an interview. She was like

618
00:34:37,400 --> 00:34:39,320
Speaker 3: something to the effect of, you know, I'm the last

619
00:34:39,520 --> 00:34:42,600
Speaker 3: jazz singer or after me, there are no more jazz singers.

620
00:34:42,640 --> 00:34:44,279
Speaker 3: And I kind of got what she meant because of

621
00:34:44,360 --> 00:34:49,920
Speaker 3: the way that she would like stretch form and you know,

622
00:34:50,040 --> 00:34:54,040
Speaker 3: sort of elongate rhythm and just kind of this this

623
00:34:54,200 --> 00:34:58,120
Speaker 3: elasticity and her singing and her phrasing. But she was

624
00:34:58,200 --> 00:35:02,959
Speaker 3: always aware of where everything was. No, she wasn't willy nilly.

625
00:35:03,040 --> 00:35:05,800
Speaker 3: She was always she always knew. And I feel like

626
00:35:05,880 --> 00:35:07,879
Speaker 3: you can kind of look at like, Okay, well here's

627
00:35:08,560 --> 00:35:11,280
Speaker 3: here's a Cassandra Wilson and maybe even like a Gretchen

628
00:35:11,360 --> 00:35:13,480
Speaker 3: Parlatto or somebody like that. There's that kind of a thing.

629
00:35:13,840 --> 00:35:15,560
Speaker 3: I can kind of see a thread there, you know.

630
00:35:16,360 --> 00:35:17,960
Speaker 3: So she was she was very special.

631
00:35:18,280 --> 00:35:19,320
Speaker 4: Yeah, that's so amazing.

632
00:35:19,680 --> 00:35:22,279
Speaker 3: Play there, Yeah, not long, I mean the last couple

633
00:35:22,320 --> 00:35:23,960
Speaker 3: of years of her life. I played on and off

634
00:35:24,040 --> 00:35:26,600
Speaker 3: with her, all right, And I did Jazz Ahead with

635
00:35:26,760 --> 00:35:27,240
Speaker 3: her twice.

636
00:35:27,560 --> 00:35:28,800
Speaker 4: I'm sorry, what is jazz Ahead?

637
00:35:28,880 --> 00:35:31,400
Speaker 3: Oh right? So jazz Ahead? And this is actually a

638
00:35:31,440 --> 00:35:33,960
Speaker 3: good promo for Jazz Ahead because it's still happening. So

639
00:35:34,080 --> 00:35:39,279
Speaker 3: Jazz Ahead was a residency that Betty Carter started at

640
00:35:39,320 --> 00:35:41,560
Speaker 3: the time, I think it was here in New York

641
00:35:41,960 --> 00:35:45,120
Speaker 3: and she would bring a dozen or so musicians, maybe

642
00:35:45,160 --> 00:35:49,160
Speaker 3: a little more together and young musicians, and so she

643
00:35:49,200 --> 00:35:51,080
Speaker 3: would introduce them to each other and they would all

644
00:35:51,600 --> 00:35:54,799
Speaker 3: bring in their own compositions and rehearse for a week

645
00:35:54,920 --> 00:35:57,439
Speaker 3: together and learn each other's tunes, and then they played

646
00:35:57,440 --> 00:35:59,560
Speaker 3: two concerts at the end of the of the of

647
00:35:59,640 --> 00:35:59,919
Speaker 3: the week.

648
00:36:00,160 --> 00:36:00,719
Speaker 2: That's so cool.

649
00:36:00,840 --> 00:36:02,520
Speaker 3: It was incredible. It was really impressive.

650
00:36:02,520 --> 00:36:06,320
Speaker 1: It's more interactive than just like mentoring. Yes, it's like

651
00:36:06,400 --> 00:36:08,280
Speaker 1: everybody gets to be themselves.

652
00:36:07,960 --> 00:36:10,440
Speaker 3: Yeah, and build community. You know, I'm still cool with

653
00:36:10,520 --> 00:36:12,600
Speaker 3: people at jazz I met Jason Ran at Jazz Ahead.

654
00:36:13,000 --> 00:36:15,600
Speaker 3: I met Casey Benjamin at Jazz Ahead. You know, so

655
00:36:15,719 --> 00:36:17,759
Speaker 3: these are these are all great musicians who are still

656
00:36:17,840 --> 00:36:19,520
Speaker 3: kind of out here doing amazing things. You know.

657
00:36:19,600 --> 00:36:21,440
Speaker 4: That's amazing. Yeah, and she started it.

658
00:36:21,560 --> 00:36:24,160
Speaker 3: She started it. Yeah, that's so great, and she so

659
00:36:24,400 --> 00:36:26,360
Speaker 3: we did. The first year I did it was nineteen

660
00:36:26,400 --> 00:36:29,480
Speaker 3: ninety six, and then the second year I did it,

661
00:36:29,560 --> 00:36:32,759
Speaker 3: it was April of ninety eight, and it had moved

662
00:36:32,800 --> 00:36:35,360
Speaker 3: to the Kennedy Center where it still is, and that

663
00:36:35,640 --> 00:36:37,680
Speaker 3: night they announced that they were going to keep doing

664
00:36:37,760 --> 00:36:39,760
Speaker 3: Jazz Ahead. You know, we're going to start Jazz Ahead

665
00:36:39,760 --> 00:36:42,040
Speaker 3: here at the Kennedy Center. She was so happy and

666
00:36:42,120 --> 00:36:45,520
Speaker 3: then sadly she passed away like I think four or

667
00:36:45,520 --> 00:36:48,000
Speaker 3: five months later, like September. Yeah, but she knew it

668
00:36:48,040 --> 00:36:49,680
Speaker 3: was going to she knew it was going to keep doing. Yeah,

669
00:36:50,040 --> 00:36:52,839
Speaker 3: it's great, it's great. So Jazz Ahead was really really

670
00:36:52,880 --> 00:36:56,520
Speaker 3: good to me. And it also exposed me to musicians

671
00:36:56,600 --> 00:37:00,000
Speaker 3: my age who were playing at a super high level.

672
00:37:00,680 --> 00:37:02,160
Speaker 3: And I hadn't really seen that.

673
00:37:02,360 --> 00:37:04,480
Speaker 4: Who are touring you know, Yeah, this is before you

674
00:37:04,560 --> 00:37:04,960
Speaker 4: moved to New.

675
00:37:04,960 --> 00:37:06,160
Speaker 3: York, before I moved way before.

676
00:37:06,239 --> 00:37:08,400
Speaker 4: Yeah, so yeah, you weren't in a big hub of that.

677
00:37:08,800 --> 00:37:11,560
Speaker 3: No, I wasn't. I had kind of been sort of

678
00:37:11,640 --> 00:37:14,920
Speaker 3: in the Virginia kind of bubble, and coming there, I

679
00:37:15,080 --> 00:37:17,279
Speaker 3: was like, Wow, this number one, it makes you want

680
00:37:17,320 --> 00:37:19,880
Speaker 3: to get better. And then number two it's like, you know,

681
00:37:21,120 --> 00:37:23,920
Speaker 3: you can you actually see that it's possible to do it, you.

682
00:37:23,960 --> 00:37:26,440
Speaker 4: Know, And it also makes you better, Yes, playing with

683
00:37:26,719 --> 00:37:28,400
Speaker 4: musicians who are better.

684
00:37:28,320 --> 00:37:31,840
Speaker 3: Yes, it makes you better. And that's that's the mantra

685
00:37:31,920 --> 00:37:35,839
Speaker 3: of my life. Actually, that's why BA makes me better,

686
00:37:35,960 --> 00:37:39,759
Speaker 3: and Brian Blade makes everybody better. He's he's just he's

687
00:37:39,800 --> 00:37:42,520
Speaker 3: the greatest. He's the greatest. But Yeah, that was That

688
00:37:42,640 --> 00:37:44,840
Speaker 3: was jazz ahead and that was my my time with Betty.

689
00:37:45,000 --> 00:37:45,600
Speaker 4: That's amazing.

690
00:37:45,760 --> 00:37:47,719
Speaker 3: Yeah, yeah, she was so important.

691
00:37:49,480 --> 00:37:51,080
Speaker 4: You play with a lot of singers and you play

692
00:37:51,120 --> 00:37:52,400
Speaker 4: with Brittany Howard.

693
00:37:52,400 --> 00:37:54,400
Speaker 3: Brittany Howard who I love she is.

694
00:37:54,680 --> 00:37:59,880
Speaker 4: She's like another unique, wonderful voice, one of one of one.

695
00:38:00,320 --> 00:38:01,080
Speaker 2: Yeah, She's just so.

696
00:38:01,360 --> 00:38:02,800
Speaker 3: She's a very special person.

697
00:38:03,000 --> 00:38:04,280
Speaker 4: She's great always.

698
00:38:04,400 --> 00:38:08,759
Speaker 3: Yeah, yeah, she really is. We we before I met her.

699
00:38:09,200 --> 00:38:10,840
Speaker 3: The year before I met her, I feel like I

700
00:38:10,920 --> 00:38:15,120
Speaker 3: played the second Alabama Shake's album, Sound in Color. I

701
00:38:15,160 --> 00:38:16,960
Speaker 3: feel like, no, I didn't play on it. I just played.

702
00:38:17,640 --> 00:38:20,759
Speaker 3: I was listening to it for like a year, like

703
00:38:21,000 --> 00:38:23,759
Speaker 3: every day for a year. So somewhere in my mind,

704
00:38:23,800 --> 00:38:26,480
Speaker 3: I feel like I summoned Brittany Howard. I was like

705
00:38:26,880 --> 00:38:27,680
Speaker 3: reaching out to her.

706
00:38:28,200 --> 00:38:29,160
Speaker 4: I believe that stuff.

707
00:38:29,280 --> 00:38:31,560
Speaker 3: Yeah, yeah, I really. I was just like, you know,

708
00:38:32,040 --> 00:38:35,000
Speaker 3: she's so special. The band was great, you know, no,

709
00:38:35,239 --> 00:38:37,040
Speaker 3: no shaded all to the guys in the band, but

710
00:38:37,360 --> 00:38:39,239
Speaker 3: but Brittany was definitely the star, you know, of the

711
00:38:39,400 --> 00:38:42,719
Speaker 3: band and the creative force of it, you know. So

712
00:38:42,840 --> 00:38:47,960
Speaker 3: and then out of out of nowhere, I got an

713
00:38:48,000 --> 00:38:50,359
Speaker 3: email from her manager about playing with her.

714
00:38:50,600 --> 00:38:54,360
Speaker 1: So I was was the first thing the album, Yeah, Jamie, Jamie,

715
00:38:54,400 --> 00:38:55,680
Speaker 1: which is such a great album.

716
00:38:55,920 --> 00:38:57,040
Speaker 3: It's a dope, dope record.

717
00:38:57,200 --> 00:38:59,560
Speaker 1: And I know how much she loves you too, because

718
00:38:59,560 --> 00:39:02,400
Speaker 1: I've seen talk about you and it's just such a

719
00:39:02,520 --> 00:39:03,800
Speaker 1: special connection.

720
00:39:03,520 --> 00:39:04,040
Speaker 4: You guys have.

721
00:39:04,280 --> 00:39:04,759
Speaker 3: It really is.

722
00:39:04,920 --> 00:39:07,400
Speaker 4: She worships you. Yeah, she loves playing with you.

723
00:39:07,760 --> 00:39:10,440
Speaker 3: It's yeah, it definitely goes both ways. I mean, I

724
00:39:10,520 --> 00:39:14,640
Speaker 3: think that she's a very special I mean I use

725
00:39:14,680 --> 00:39:16,640
Speaker 3: that word a lot, but she's just no, she is.

726
00:39:16,800 --> 00:39:18,320
Speaker 4: She is you know, she's unique.

727
00:39:18,400 --> 00:39:20,800
Speaker 3: She's unique. There's no one like her, you know, and

728
00:39:21,280 --> 00:39:24,480
Speaker 3: very few and in historically very few like her. You know,

729
00:39:25,160 --> 00:39:27,880
Speaker 3: like a woman of color standing in front of a

730
00:39:27,960 --> 00:39:31,040
Speaker 3: band with a guitar playing her ass off.

731
00:39:31,440 --> 00:39:32,560
Speaker 4: He is a great guitar player.

732
00:39:32,680 --> 00:39:33,440
Speaker 2: Yeah, yeah, you know.

733
00:39:33,520 --> 00:39:37,319
Speaker 3: And so it's like it's that's She's Hailey's comic. Man.

734
00:39:37,480 --> 00:39:38,320
Speaker 3: She's very special.

735
00:39:38,400 --> 00:39:40,960
Speaker 4: She also kind of has this the way she sings.

736
00:39:41,239 --> 00:39:44,160
Speaker 1: She's got a really beautiful voice, but she just sings

737
00:39:44,280 --> 00:39:48,719
Speaker 1: with such conviction of what she's saying, and she's just

738
00:39:49,080 --> 00:39:53,000
Speaker 1: she's not precious about anything yet she has a beautiful voice.

739
00:39:53,200 --> 00:39:57,040
Speaker 1: So that's a really nice combo of like just badass or.

740
00:39:58,440 --> 00:40:04,400
Speaker 3: Yeah, the ultimate bad assery. Yeah, she's fantastic, man, She's fantastic.

741
00:40:04,480 --> 00:40:05,040
Speaker 16: And so she did.

742
00:40:05,160 --> 00:40:06,760
Speaker 4: She did a song on your kin folk album.

743
00:40:06,960 --> 00:40:09,320
Speaker 3: She did on the newer one, Yeah, the one that

744
00:40:09,400 --> 00:40:10,680
Speaker 3: came out. It came out twenty twenty one.

745
00:40:10,960 --> 00:40:11,760
Speaker 4: Yeah, it's great.

746
00:40:11,880 --> 00:40:12,360
Speaker 3: Oh thank you?

747
00:40:12,760 --> 00:40:13,759
Speaker 4: Is that John Coward on.

748
00:40:13,800 --> 00:40:15,600
Speaker 3: The piano, John Coward on piano.

749
00:40:15,640 --> 00:40:16,520
Speaker 4: I could totally hear that.

750
00:40:16,760 --> 00:40:20,760
Speaker 3: Yes, our man, our man, love John Johnny c Johnny

751
00:40:21,120 --> 00:40:23,399
Speaker 3: can do that's what we call him, can do well.

752
00:40:23,480 --> 00:40:24,520
Speaker 4: Can we do a version of it?

753
00:40:24,680 --> 00:40:28,160
Speaker 1: That's me not trying to be brittany, but yes, but

754
00:40:28,360 --> 00:40:29,440
Speaker 1: loving her very much.

755
00:40:30,000 --> 00:40:30,759
Speaker 17: Gonna do my.

756
00:40:32,360 --> 00:40:35,239
Speaker 4: My version of this song is it's beautiful.

757
00:40:35,440 --> 00:40:35,719
Speaker 3: Thank you.

758
00:40:36,440 --> 00:40:37,520
Speaker 4: Did you guys write this together?

759
00:40:37,760 --> 00:40:40,880
Speaker 3: We did. I'd written the melody. We've been playing it

760
00:40:40,960 --> 00:40:42,800
Speaker 3: as an instrumental for a little while, and then I

761
00:40:44,000 --> 00:40:46,960
Speaker 3: it was written in dedication to my dad, and I'm

762
00:40:47,000 --> 00:40:48,799
Speaker 3: not a lyricist, so I wanted to reach out to her.

763
00:40:48,920 --> 00:40:50,880
Speaker 3: I said, you know, would you consider writing some lyrics?

764
00:40:51,320 --> 00:40:52,840
Speaker 3: And she was like sure. She did send it to me,

765
00:40:52,880 --> 00:40:55,560
Speaker 3: and I sent it to her and she the text

766
00:40:55,600 --> 00:40:57,759
Speaker 3: threat is very funny of the ideas that we're going

767
00:40:57,800 --> 00:41:01,880
Speaker 3: back and forth. She just kind of turned around super fast,

768
00:41:01,960 --> 00:41:03,640
Speaker 3: and she's and it's it's brilliant.

769
00:41:04,160 --> 00:41:07,440
Speaker 4: That's great. It's a really beautiful sentiment.

770
00:41:08,400 --> 00:41:11,480
Speaker 3: Thank you. Yeah, yeah, you know for pop yeah.

771
00:41:29,160 --> 00:41:29,680
Speaker 6: Mm hmmm.

772
00:41:39,120 --> 00:41:46,200
Speaker 17: On a fly away, Fly to a place I have

773
00:41:46,640 --> 00:41:47,439
Speaker 17: never known.

774
00:41:51,200 --> 00:41:55,680
Speaker 2: On the behind me, nothing can bring me down.

775
00:41:57,120 --> 00:42:04,360
Speaker 13: When I get off the ground, I have no fee

776
00:42:05,080 --> 00:42:11,640
Speaker 13: at all. I forget that I could ever fall.

777
00:42:14,800 --> 00:42:15,480
Speaker 1: I want to go.

778
00:42:17,400 --> 00:42:19,640
Speaker 17: When no one can keep me bound.

779
00:42:21,400 --> 00:42:29,600
Speaker 2: When I get off bread, no more will ouh way.

780
00:42:32,960 --> 00:42:35,000
Speaker 17: I have no means in words.

781
00:42:36,680 --> 00:42:36,879
Speaker 6: Hmm.

782
00:42:39,200 --> 00:42:44,760
Speaker 18: If you could see me fly, its smell.

783
00:42:46,880 --> 00:42:47,239
Speaker 6: With you.

784
00:42:51,560 --> 00:42:52,480
Speaker 2: I want to fly.

785
00:42:52,640 --> 00:42:58,800
Speaker 18: Away where we could all be together.

786
00:43:02,960 --> 00:43:05,040
Speaker 2: I want to feel that can.

787
00:43:06,680 --> 00:43:07,280
Speaker 6: You get.

788
00:43:09,640 --> 00:44:02,160
Speaker 18: Besides no nor.

789
00:44:02,360 --> 00:44:03,279
Speaker 6: Will a way?

790
00:44:07,000 --> 00:44:09,799
Speaker 17: I have no means and why.

791
00:44:13,200 --> 00:44:15,080
Speaker 8: If you could see.

792
00:44:15,280 --> 00:44:18,400
Speaker 2: And fly you smile.

793
00:44:20,560 --> 00:44:27,360
Speaker 17: Then I want to fly away.

794
00:44:30,320 --> 00:44:37,160
Speaker 14: Where we get all me together. I want to feel

795
00:44:37,239 --> 00:44:42,560
Speaker 14: that kind of wall you gain besides.

796
00:44:44,000 --> 00:44:54,400
Speaker 8: The sun, I'm gonna fly away. I can see the

797
00:44:54,719 --> 00:44:57,080
Speaker 8: end of the Runwaydow.

798
00:44:59,400 --> 00:45:00,640
Speaker 18: Won't look behind me.

799
00:45:01,880 --> 00:45:03,600
Speaker 17: Nothing can keep me down.

800
00:45:04,320 --> 00:45:05,960
Speaker 18: Now that I'm on.

801
00:45:07,440 --> 00:45:14,760
Speaker 2: Grass, It'll be nothing but blueskin now.

802
00:45:17,719 --> 00:45:18,520
Speaker 6: That I'm all.

803
00:45:20,320 --> 00:45:36,560
Speaker 3: Gros love it.

804
00:45:37,040 --> 00:45:38,759
Speaker 4: Yeah, beaut It's a beautiful song.

805
00:45:39,040 --> 00:45:40,359
Speaker 3: Thank you, thank you, very much.

806
00:45:41,600 --> 00:45:43,319
Speaker 4: Started crying a little bit.

807
00:45:44,520 --> 00:45:46,960
Speaker 3: Thank you. Yeah, that's that's a that's a special one.

808
00:45:47,360 --> 00:45:48,600
Speaker 8: Yeah you day.

809
00:45:48,800 --> 00:45:52,160
Speaker 3: Yeah, it's real sweet. I've been thinking about him a

810
00:45:52,200 --> 00:45:54,320
Speaker 3: lot as I get a little older, you know, I

811
00:45:54,480 --> 00:45:56,759
Speaker 3: keep you know, every day since since he's been he

812
00:45:56,800 --> 00:45:59,719
Speaker 3: passed away in twenty fifteen. Okay, so since he's been

813
00:46:00,080 --> 00:46:01,880
Speaker 3: on I've thought a lot of thought about him a lot,

814
00:46:02,200 --> 00:46:06,279
Speaker 3: I bet. Yeah. And I see him now, like I

815
00:46:06,480 --> 00:46:10,919
Speaker 3: look in the mirror. I'm like, oh, okay, well, oh man,

816
00:46:11,040 --> 00:46:14,000
Speaker 3: it's like he's oh, he's right there, right there. You know.

817
00:46:14,640 --> 00:46:15,280
Speaker 4: That's amazing.

818
00:46:17,200 --> 00:46:21,480
Speaker 1: With two teacher parents, well, principal and a teacher, did

819
00:46:21,520 --> 00:46:24,920
Speaker 1: you guys do a lot of vacations on the school

820
00:46:24,960 --> 00:46:25,800
Speaker 1: breaks or something?

821
00:46:25,920 --> 00:46:27,680
Speaker 3: We did. We didn't go too far. We would go

822
00:46:27,840 --> 00:46:32,080
Speaker 3: visit family mostly so my mom is from Salem, Virginia,

823
00:46:32,160 --> 00:46:38,400
Speaker 3: which is western Virginia, so it's heading toward like the

824
00:46:38,520 --> 00:46:41,640
Speaker 3: Virginia West Virginia border, so that you know, and so

825
00:46:41,840 --> 00:46:45,359
Speaker 3: she her people are out there. We would go visit

826
00:46:45,440 --> 00:46:48,040
Speaker 3: my grandmother out there, and we would stay for a

827
00:46:48,080 --> 00:46:51,040
Speaker 3: good chunk of the summer out there. Those are great summers.

828
00:46:51,080 --> 00:46:51,239
Speaker 7: Man.

829
00:46:51,960 --> 00:46:54,399
Speaker 3: And my dad, his family was close by to where

830
00:46:54,440 --> 00:46:57,799
Speaker 3: we lived. So yeah, Grandma and Grandad and they were

831
00:46:57,840 --> 00:47:00,359
Speaker 3: right there, so we saw them regularly. Okay, so going

832
00:47:00,400 --> 00:47:02,880
Speaker 3: to see Grandma Irene was like a special it was

833
00:47:02,920 --> 00:47:05,560
Speaker 3: a special trip. Yeah, yeah, and it was it was cool.

834
00:47:05,880 --> 00:47:08,640
Speaker 3: I really really love those those summers. We had a

835
00:47:08,680 --> 00:47:10,080
Speaker 3: really good time. I had a bunch of cousins up

836
00:47:10,080 --> 00:47:12,200
Speaker 3: there too, so we would all. You know, it was

837
00:47:12,280 --> 00:47:15,719
Speaker 3: like those were my uh those were actually like like

838
00:47:15,920 --> 00:47:17,480
Speaker 3: my my sibling group there, you.

839
00:47:17,480 --> 00:47:19,879
Speaker 4: Know, because we were your siblings were so much older.

840
00:47:19,960 --> 00:47:21,000
Speaker 3: They were so much older. Yeah.

841
00:47:21,200 --> 00:47:22,640
Speaker 4: Yeah, so it was cool.

842
00:47:22,719 --> 00:47:24,920
Speaker 3: Yeah, I kind of had like slightly sort of old

843
00:47:25,200 --> 00:47:26,640
Speaker 3: only child vibes in the house.

844
00:47:26,800 --> 00:47:27,480
Speaker 4: Yeah, it makes sense.

845
00:47:27,600 --> 00:47:30,680
Speaker 1: Yeah, you know, well that's why you named your album

846
00:47:30,760 --> 00:47:33,200
Speaker 1: kin Folk maybe because your family is pretty important.

847
00:47:33,280 --> 00:47:35,520
Speaker 3: It's very important. And always looking for it too, like

848
00:47:35,640 --> 00:47:38,320
Speaker 3: always finding family, your friend family.

849
00:47:38,480 --> 00:47:39,760
Speaker 4: Yeah, it's pretty special.

850
00:47:39,920 --> 00:47:43,759
Speaker 1: It is. It's a nice community being a musician, it is,

851
00:47:44,000 --> 00:47:47,560
Speaker 1: and it's varied really, and it's all over the world,

852
00:47:47,920 --> 00:47:48,600
Speaker 1: all over the world.

853
00:47:48,600 --> 00:47:50,480
Speaker 3: I mean, yeah, you know, I did this thing in

854
00:47:50,560 --> 00:47:55,040
Speaker 3: Montreal earlier this year, and it was I did three

855
00:47:55,160 --> 00:47:58,080
Speaker 3: nights and I got to do three different bands. So

856
00:47:58,200 --> 00:48:01,560
Speaker 3: the first night was uh, Leonel Lak and Michael League,

857
00:48:02,320 --> 00:48:04,160
Speaker 3: both of whom I've known for a while. And the

858
00:48:04,200 --> 00:48:07,880
Speaker 3: second night was Keifer of the pianist Keifer and this

859
00:48:08,000 --> 00:48:10,799
Speaker 3: basis cartoons. They're more they're younger guys and they're kind

860
00:48:10,800 --> 00:48:14,080
Speaker 3: of in this this hip hop jazz space, you know.

861
00:48:14,800 --> 00:48:17,080
Speaker 3: And the third night was with Corey Wong and Victor

862
00:48:17,120 --> 00:48:20,880
Speaker 3: Wooten Wo. So it was just a very rare, very varied,

863
00:48:21,239 --> 00:48:23,919
Speaker 3: like wide circle, but it felt great. All three nights

864
00:48:23,920 --> 00:48:28,800
Speaker 3: were great and just you know, reignited this this idea

865
00:48:28,880 --> 00:48:34,000
Speaker 3: for me that you know, the musical community, the extended family.

866
00:48:34,120 --> 00:48:38,160
Speaker 3: The family is so important. It's everything.

867
00:48:38,680 --> 00:48:41,080
Speaker 4: Yeah, it's like a hu it is.

868
00:48:41,360 --> 00:48:45,239
Speaker 3: Yeah, with kin Folk. The idea was that I came

869
00:48:45,320 --> 00:48:47,839
Speaker 3: to New York kind of on my own and didn't

870
00:48:47,840 --> 00:48:49,839
Speaker 3: really know that many people. I knew a few people,

871
00:48:49,920 --> 00:48:52,800
Speaker 3: but you know, and so the all the people that

872
00:48:52,880 --> 00:48:54,279
Speaker 3: are in the band are people that I feel like

873
00:48:54,360 --> 00:48:59,040
Speaker 3: I had some kind of familial connection with, you know, musically. Yeah,

874
00:48:59,640 --> 00:49:02,480
Speaker 3: So that that's why that's part of part of it.

875
00:49:03,000 --> 00:49:06,399
Speaker 4: Yeah, that's the best it is with people who feel

876
00:49:06,480 --> 00:49:06,960
Speaker 4: like family.

877
00:49:07,160 --> 00:49:09,759
Speaker 3: Yes, yes, And you know, over the years, as we've

878
00:49:09,840 --> 00:49:12,200
Speaker 3: you know, endured the slings and arrows of.

879
00:49:12,280 --> 00:49:16,759
Speaker 4: Touring, which if you're not out there was someone.

880
00:49:16,680 --> 00:49:19,160
Speaker 3: Yes, yeah, it's got to be right, it's gotta you

881
00:49:19,239 --> 00:49:21,600
Speaker 3: gotta be out there with people that are are good people.

882
00:49:21,800 --> 00:49:24,160
Speaker 3: It can be miserable, it really can, it really can.

883
00:49:24,320 --> 00:49:27,120
Speaker 3: So shout out to ken Folk when we toured last year,

884
00:49:27,120 --> 00:49:28,840
Speaker 3: the band that we had been working with, which was

885
00:49:29,239 --> 00:49:32,680
Speaker 3: Brad Allen Williams on guitar, Johnny c our Man, John

886
00:49:32,760 --> 00:49:36,400
Speaker 3: Coward and piano, who's always just a groove to be around.

887
00:49:37,280 --> 00:49:40,440
Speaker 3: He's a really great guy. Fema Ephron on bass, Julia

888
00:49:40,520 --> 00:49:44,080
Speaker 3: shawn saxophone, and Alma. Of course, Alma was great, amazing, Alma,

889
00:49:44,160 --> 00:49:47,720
Speaker 3: what was amazing. So indeed that's great.

890
00:49:49,520 --> 00:49:51,600
Speaker 4: And tell me about what about the solo drum thing

891
00:49:51,680 --> 00:49:53,160
Speaker 4: because not everybody does that.

892
00:49:53,520 --> 00:49:53,719
Speaker 1: Yeah.

893
00:49:53,880 --> 00:49:58,240
Speaker 3: I was heavily inspired by Max Roach's Drums Unlimited album

894
00:49:59,160 --> 00:50:02,520
Speaker 3: and I so this is actually the second installment of it.

895
00:50:02,680 --> 00:50:05,040
Speaker 3: This is the first one. Pocket Change came out in

896
00:50:05,320 --> 00:50:08,399
Speaker 3: twenty eighteen, So this is pocket Change too. It's coming

897
00:50:08,440 --> 00:50:10,480
Speaker 3: out Thursday, December four.

898
00:50:10,480 --> 00:50:11,560
Speaker 4: You give me a little sample.

899
00:50:12,200 --> 00:50:14,520
Speaker 3: Yeah, actually, oh no, no, no.

900
00:50:14,600 --> 00:50:15,840
Speaker 4: No, it is what you do.

901
00:50:16,040 --> 00:50:17,640
Speaker 3: Oh yeah, this is you know what I'm saying, you know,

902
00:50:17,760 --> 00:50:54,959
Speaker 3: you can't show up and I won't play. Yeah, okay,

903
00:50:55,000 --> 00:50:57,200
Speaker 3: that's it. The rest you gotta get on band camp

904
00:50:57,280 --> 00:50:57,600
Speaker 3: or whatever.

905
00:50:58,200 --> 00:50:58,799
Speaker 2: That's right.

906
00:51:01,320 --> 00:51:03,480
Speaker 3: Oh yeah. Yeah. It's so funny because the first one

907
00:51:03,520 --> 00:51:06,960
Speaker 3: I put out, I put it out in four formats.

908
00:51:07,000 --> 00:51:10,640
Speaker 3: I did a vinyl, I did streaming, of course, I

909
00:51:10,760 --> 00:51:15,120
Speaker 3: did a transcription book, and I did a sample pack

910
00:51:15,239 --> 00:51:17,719
Speaker 3: for producers to use, you know, so I'm kind of

911
00:51:17,760 --> 00:51:19,120
Speaker 3: pretty much doing the same thing this time. I'm not

912
00:51:19,160 --> 00:51:22,640
Speaker 3: sure about vinyl this time around, maybe, But one thing

913
00:51:22,719 --> 00:51:25,160
Speaker 3: I noticed was that a lot of like choreographers and

914
00:51:25,280 --> 00:51:28,520
Speaker 3: dance teachers would take the record and teach their whole

915
00:51:28,600 --> 00:51:32,120
Speaker 3: classes using the record. That is so cool, which I

916
00:51:32,160 --> 00:51:34,279
Speaker 3: thought was actually that's kind of perfect, you know, it's

917
00:51:34,320 --> 00:51:36,680
Speaker 3: perfect for that. So I've got, you know, I'm looking

918
00:51:36,719 --> 00:51:38,440
Speaker 3: forward to I saw so many people tagging me in

919
00:51:38,600 --> 00:51:41,719
Speaker 3: like their dance videos, tap dancers doing incredible stuff. But yeah,

920
00:51:41,719 --> 00:51:46,319
Speaker 3: it's really is it a through piece, separate tracks hyperatract

921
00:51:46,360 --> 00:51:51,120
Speaker 3: so there's like and everything is like three or so minutes.

922
00:51:51,360 --> 00:51:53,480
Speaker 3: So I'll start with like a little theme something like that,

923
00:51:53,680 --> 00:51:56,360
Speaker 3: and then sort of like DEVI eight and kind of

924
00:51:56,760 --> 00:51:59,680
Speaker 3: play around it. Yeah, and sometimes I'll come back to

925
00:51:59,760 --> 00:52:01,640
Speaker 3: the thing. Sometimes I'll just kind of stop, you know,

926
00:52:01,719 --> 00:52:03,759
Speaker 3: and it just feels like it's complete, you know.

927
00:52:04,000 --> 00:52:05,080
Speaker 4: So is it improviser?

928
00:52:05,239 --> 00:52:08,000
Speaker 3: Is it all improvised? Yeah? I would just probably like

929
00:52:08,080 --> 00:52:09,920
Speaker 3: set up. I would have a tempo in my head,

930
00:52:09,960 --> 00:52:11,920
Speaker 3: I'd set it up, set up a click, and then

931
00:52:11,920 --> 00:52:15,080
Speaker 3: I would do maybe one, maybe two takes, but most

932
00:52:15,120 --> 00:52:17,080
Speaker 3: of the times one take, like start to start to

933
00:52:17,600 --> 00:52:18,280
Speaker 3: stop to bottom.

934
00:52:18,520 --> 00:52:19,160
Speaker 4: That's so cool.

935
00:52:19,280 --> 00:52:22,520
Speaker 3: Yeah, yeah, so it. And I was amazed. It's like,

936
00:52:22,600 --> 00:52:25,800
Speaker 3: you know, I put out Kenfolk in twenty seventeen, and

937
00:52:25,960 --> 00:52:28,960
Speaker 3: it was like, you know, big band, big budget, guest artists,

938
00:52:29,040 --> 00:52:31,719
Speaker 3: all of that, Yeah, great man, all cool, and it

939
00:52:31,800 --> 00:52:34,200
Speaker 3: came out, did all the press, and then after that

940
00:52:34,280 --> 00:52:37,160
Speaker 3: it was like, okay, what I still saw. The only

941
00:52:37,200 --> 00:52:39,719
Speaker 3: thing people were sharing were these sixty minute snippets of

942
00:52:39,840 --> 00:52:42,920
Speaker 3: sixty second snippets of me playing the drums, just sol solo.

943
00:52:43,400 --> 00:52:44,600
Speaker 3: So I was like, you know what, I might as

944
00:52:44,600 --> 00:52:45,160
Speaker 3: well just do that.

945
00:52:46,239 --> 00:52:46,799
Speaker 17: You can do both.

946
00:52:46,920 --> 00:52:47,920
Speaker 2: Yeah, yeah, yeah I might.

947
00:52:48,000 --> 00:52:49,920
Speaker 3: I might as well just just do that too, you know,

948
00:52:50,080 --> 00:52:53,400
Speaker 3: just give them that. That was the thing. So, uh,

949
00:52:53,680 --> 00:52:55,400
Speaker 3: that was the beginning of the pocket change thing.

950
00:52:55,719 --> 00:52:56,360
Speaker 4: That's amazing.

951
00:52:56,480 --> 00:52:59,960
Speaker 3: Yes, indeed, it's great. Yeah, and then I wanted to

952
00:53:00,080 --> 00:53:00,440
Speaker 3: dance to it.

953
00:53:00,560 --> 00:53:01,400
Speaker 2: Yeah, you put it on?

954
00:53:01,520 --> 00:53:02,560
Speaker 4: How my kids dance?

955
00:53:02,640 --> 00:53:05,800
Speaker 3: Oh, it's going down, it's going down. I've seen a

956
00:53:05,840 --> 00:53:10,120
Speaker 3: lot of people have have tagged, you know, their their

957
00:53:10,160 --> 00:53:13,879
Speaker 3: babies reacting to it. But you know, or like they're

958
00:53:13,960 --> 00:53:16,439
Speaker 3: sometimes they'll put it on and like you know, they'll

959
00:53:16,520 --> 00:53:19,239
Speaker 3: they'll start like do like meditations and stuff to it.

960
00:53:19,320 --> 00:53:21,320
Speaker 3: It's it's really incredible. It's really amazing.

961
00:53:21,840 --> 00:53:24,840
Speaker 4: It's really interesting. Yeah, I've never listened to anything like that.

962
00:53:25,360 --> 00:53:26,359
Speaker 3: Yeah, it's really cool.

963
00:53:26,520 --> 00:53:31,279
Speaker 1: Yeah, that's it's amazing. Well, thank you so much. This

964
00:53:31,360 --> 00:53:32,279
Speaker 1: has been so fun.

965
00:53:32,440 --> 00:53:32,680
Speaker 3: Thank you.

966
00:53:33,280 --> 00:53:35,759
Speaker 1: I was wondering if we should play that song, that

967
00:53:36,040 --> 00:53:38,960
Speaker 1: Leonard Cohen song. Yes, I would love to you you

968
00:53:39,080 --> 00:53:41,520
Speaker 1: played on that whole album. It's a tribute to Leonard Cohen.

969
00:53:41,680 --> 00:53:46,239
Speaker 3: Yeah. Yeah, here it is and produced by Larry Klein. Yeah,

970
00:53:47,280 --> 00:53:48,319
Speaker 3: so good. It's so good.

971
00:53:48,360 --> 00:53:50,000
Speaker 4: You know. He asked me to do it, and I was.

972
00:53:50,640 --> 00:53:53,560
Speaker 1: I really loved this song he suggested for me because

973
00:53:53,600 --> 00:53:57,440
Speaker 1: it was a later written song of Larrence. Yeah, not

974
00:53:57,600 --> 00:54:01,320
Speaker 1: something old that's been done Yeah, over and over, and

975
00:54:01,400 --> 00:54:02,879
Speaker 1: it's an incredible song.

976
00:54:03,000 --> 00:54:05,040
Speaker 3: It's a great tune and you, I mean you sang

977
00:54:05,320 --> 00:54:05,920
Speaker 3: the hell out of it.

978
00:54:06,080 --> 00:54:06,200
Speaker 1: Oh.

979
00:54:06,400 --> 00:54:06,640
Speaker 4: Thanks.

980
00:54:06,719 --> 00:54:09,359
Speaker 1: Well it was crazy because you know, we couldn't get

981
00:54:09,360 --> 00:54:13,040
Speaker 1: together and I knew that you guys were going to

982
00:54:13,200 --> 00:54:13,920
Speaker 1: pre record it.

983
00:54:14,080 --> 00:54:16,879
Speaker 4: Yeah, and it was an incredible band.

984
00:54:16,960 --> 00:54:17,160
Speaker 1: It was.

985
00:54:18,040 --> 00:54:20,400
Speaker 4: It was you, Frizelle, Bill Frizzel.

986
00:54:21,080 --> 00:54:24,640
Speaker 3: Scott Colly on bass, Kevin Hayes on piano okay, yeah,

987
00:54:24,719 --> 00:54:26,680
Speaker 3: and Emmanuel Wilkins on saxophone.

988
00:54:26,760 --> 00:54:26,920
Speaker 2: Yeah.

989
00:54:26,920 --> 00:54:29,560
Speaker 4: It was like, it was a great band. I was

990
00:54:29,600 --> 00:54:30,959
Speaker 4: so bummed I couldn't be there in person.

991
00:54:31,160 --> 00:54:32,800
Speaker 3: Yeah, it was. It was really cool. I think the

992
00:54:32,880 --> 00:54:35,799
Speaker 3: only person I met who's on the record, I think

993
00:54:35,880 --> 00:54:37,640
Speaker 3: Nathaniel Ratliff happened to be in LA.

994
00:54:38,080 --> 00:54:39,520
Speaker 4: Oh yeah, because you guys did in LA.

995
00:54:39,719 --> 00:54:42,880
Speaker 3: Yeah, so, but that was he. I think he was

996
00:54:42,960 --> 00:54:46,200
Speaker 3: the only of all the guest artists, the only one

997
00:54:46,200 --> 00:54:47,480
Speaker 3: who cut in studio with us.

998
00:54:48,640 --> 00:54:49,360
Speaker 4: It's beautiful.

999
00:54:50,000 --> 00:54:53,759
Speaker 1: I was surprised because the you know, when you when

1000
00:54:53,760 --> 00:54:56,359
Speaker 1: you're not with somebody and they do something and then

1001
00:54:56,400 --> 00:54:58,600
Speaker 1: you had to add your vocals, there's always a sense

1002
00:54:58,640 --> 00:55:03,200
Speaker 1: of this can action and this didn't feel that way, right.

1003
00:55:03,320 --> 00:55:03,720
Speaker 3: It didn't.

1004
00:55:03,719 --> 00:55:06,359
Speaker 4: I mean, it felt really great, really great man.

1005
00:55:06,480 --> 00:55:09,000
Speaker 3: The band, you know, I love Scott Man. I think

1006
00:55:09,080 --> 00:55:11,520
Speaker 3: Scott is one of the baddest bass players. Yeah, I

1007
00:55:11,560 --> 00:55:15,040
Speaker 3: think he's great. I think. And I never played with Frizelle.

1008
00:55:15,880 --> 00:55:16,680
Speaker 4: That must have been fun.

1009
00:55:16,800 --> 00:55:21,359
Speaker 3: He's great and the sweetest person, definitely, just the nicest man. Yeah,

1010
00:55:21,680 --> 00:55:23,200
Speaker 3: and I hope I get to play with him again.

1011
00:55:23,280 --> 00:55:25,400
Speaker 3: And I just met Emmanuel that day too, so there.

1012
00:55:25,520 --> 00:55:27,080
Speaker 3: And I known Kevin Hayes for a while.

1013
00:55:27,280 --> 00:55:30,680
Speaker 4: Yeah, I'm gonna use my headphones.

1014
00:55:31,920 --> 00:55:38,200
Speaker 3: Let's get in there. Yeah you start.

1015
00:55:38,880 --> 00:56:06,160
Speaker 19: Yeah, Steer your way past the ruins of the altar

1016
00:56:06,200 --> 00:56:10,680
Speaker 19: around the month, Steal your way past the fables of

1017
00:56:10,880 --> 00:56:15,480
Speaker 19: creation in the fall. Steal your way past the palaces

1018
00:56:16,000 --> 00:56:17,359
Speaker 19: the rise above.

1019
00:56:17,120 --> 00:56:28,600
Speaker 2: The right here by month by month, day by thought

1020
00:56:28,760 --> 00:56:37,240
Speaker 2: by fall, Steal your heart past the truth you believed

1021
00:56:37,320 --> 00:56:38,279
Speaker 2: in yesterday.

1022
00:56:39,120 --> 00:56:43,000
Speaker 18: Such is fundamental goodness and the wisdom.

1023
00:56:42,640 --> 00:56:43,239
Speaker 6: Of the way.

1024
00:56:43,680 --> 00:56:48,760
Speaker 11: Steer your heart freshes heart past the women who you bought.

1025
00:56:49,400 --> 00:56:55,040
Speaker 8: Hereby month by month, day by.

1026
00:56:55,200 --> 00:57:06,120
Speaker 18: Day, thought by fuck, steal your way.

1027
00:57:06,280 --> 00:57:09,520
Speaker 10: Past the pain that is five more real than you,

1028
00:57:10,600 --> 00:57:12,520
Speaker 10: the smashes, the cosmic.

1029
00:57:12,239 --> 00:57:14,640
Speaker 17: Model, the blinded every view.

1030
00:57:15,400 --> 00:57:19,080
Speaker 2: And please don't make me go there, though there be

1031
00:57:19,240 --> 00:57:24,080
Speaker 2: a God or not. Year by my fine.

1032
00:57:25,640 --> 00:57:27,000
Speaker 18: Day by day.

1033
00:57:30,800 --> 00:57:31,920
Speaker 2: Five five f.

1034
00:57:36,760 --> 00:57:41,680
Speaker 20: Arrius was still ancient stones the blood and mountains week.

1035
00:57:44,200 --> 00:57:46,280
Speaker 2: As he died, and make them holy.

1036
00:57:46,800 --> 00:57:54,240
Speaker 21: Let us die and make things cheap, and see the

1037
00:57:54,400 --> 00:57:59,080
Speaker 21: mere coma, which you probably forgot, year by.

1038
00:58:01,240 --> 00:58:14,800
Speaker 22: Month, by month, day by day, thought by thought, Stay away,

1039
00:58:15,560 --> 00:58:17,160
Speaker 22: my heart, though.

1040
00:58:17,120 --> 00:58:21,080
Speaker 16: I have no right to ask to the one who's never,

1041
00:58:22,200 --> 00:58:26,880
Speaker 16: never equal to the task, who knows he's been convicted,

1042
00:58:27,520 --> 00:58:30,640
Speaker 16: who knows he will be shot here by.

1043
00:58:32,720 --> 00:58:40,440
Speaker 2: By month, day by day, thought.

1044
00:58:40,400 --> 00:58:48,960
Speaker 20: By thought, They wristmas still in the stones the blood

1045
00:58:49,000 --> 00:58:50,760
Speaker 20: and mountains week.

1046
00:58:53,440 --> 00:58:55,480
Speaker 17: As he died, to make men holy.

1047
00:58:56,080 --> 00:58:58,480
Speaker 8: Let hus die and make things see.

1048
00:59:01,360 --> 00:59:05,400
Speaker 17: Let's say the mere couple, which you gradually forgot.

1049
00:59:06,080 --> 00:59:17,240
Speaker 2: He'll by months by month, day by day, fuck by.

1050
00:59:17,320 --> 00:59:28,000
Speaker 23: Thought, months by months, day by day, thought by f.

1051
00:59:31,680 --> 00:59:33,880
Speaker 2: Month by month, day.

1052
00:59:34,960 --> 01:00:15,040
Speaker 3: By day, thought by Yeah, that's fine, that sounded good.

1053
01:00:15,160 --> 01:00:15,960
Speaker 4: Thought it sounded good.

1054
01:00:16,480 --> 01:00:20,720
Speaker 3: Yeah, all right, sweet beautiful. Yeah, but that's it. I

1055
01:00:20,920 --> 01:00:21,520
Speaker 3: just got here.

1056
01:00:22,360 --> 01:00:23,000
Speaker 4: Let's do more.

1057
01:00:23,600 --> 01:00:24,760
Speaker 3: Wait a minute.

1058
01:01:06,760 --> 01:01:30,360
Speaker 6: Then.

1059
01:02:05,120 --> 01:02:08,120
Speaker 3: I could just do this like all day, all day,

1060
01:02:08,480 --> 01:02:11,400
Speaker 3: all day, all day, we make a whole mixtape, the

1061
01:02:11,480 --> 01:02:12,280
Speaker 3: whole mixtape.

1062
01:02:12,440 --> 01:02:13,240
Speaker 17: We should.

1063
01:02:14,960 --> 01:02:18,600
Speaker 3: You're still rolling in. Let's go, man, Thank you so much,

1064
01:02:18,720 --> 01:02:20,280
Speaker 3: Thank you Nora, thank you for having me.

1065
01:02:20,800 --> 01:02:21,360
Speaker 4: You're the best.

1066
01:02:21,480 --> 01:02:25,640
Speaker 3: You are the bomb, you are the bomb. I love you, man.

1067
01:02:25,840 --> 01:02:27,120
Speaker 3: I am thrilled. Thank you.

1068
01:02:27,280 --> 01:02:28,120
Speaker 4: I love you so much.

1069
01:02:28,560 --> 01:02:29,240
Speaker 3: Thank you for having me.

1070
01:02:42,160 --> 01:02:45,920
Speaker 4: Thanks for listening. That was so fun? Are we too,

1071
01:02:46,000 --> 01:02:49,440
Speaker 4: crafty ladies? That was so nice?

1072
01:02:49,720 --> 01:02:50,400
Speaker 3: So fun?

1073
01:02:51,840 --> 01:02:55,040
Speaker 4: No, that was so fun, so good. I love impromptu

1074
01:02:55,160 --> 01:02:58,439
Speaker 4: drum jams. Some of his songs are hard too. Yeah,

1075
01:02:58,520 --> 01:03:02,919
Speaker 4: he's very, very s but also has a sensitive touch.

1076
01:03:03,160 --> 01:03:06,760
Speaker 1: Oh so sensitive, and such a specific beat. You know

1077
01:03:06,880 --> 01:03:08,480
Speaker 1: everybody has the plays back.

1078
01:03:08,400 --> 01:03:11,000
Speaker 4: As the signature. Yeah, so he makes it look so

1079
01:03:11,120 --> 01:03:12,959
Speaker 4: easy too. He's just a cool dude.

1080
01:03:24,320 --> 01:03:26,200
Speaker 1: If you want to know what we played in this episode,

1081
01:03:26,360 --> 01:03:28,800
Speaker 1: the first song we did was called to Live, which

1082
01:03:28,880 --> 01:03:30,800
Speaker 1: is one of mine from my album pick Me Up

1083
01:03:30,840 --> 01:03:33,480
Speaker 1: Off the Floor in twenty twenty, which Nate played on

1084
01:03:33,560 --> 01:03:36,320
Speaker 1: the track on the recording. The second song we did

1085
01:03:36,480 --> 01:03:39,640
Speaker 1: I Love This One Morning and Allison from Nate's album

1086
01:03:39,840 --> 01:03:43,680
Speaker 1: Kinfolk Postcards from Everywhere, which came out in twenty seventeen,

1087
01:03:44,280 --> 01:03:47,200
Speaker 1: and the singer on the album is Ama What. The

1088
01:03:47,320 --> 01:03:50,560
Speaker 1: third song we did was called Fly for Mike from

1089
01:03:50,760 --> 01:03:54,000
Speaker 1: Kinfolk To See the Birds on the album is sung

1090
01:03:54,120 --> 01:03:56,960
Speaker 1: by the Lovely Brittany Howard. Fourth song we did, Wow,

1091
01:03:57,000 --> 01:03:59,520
Speaker 1: We did a lot of songs. He did a snippet

1092
01:03:59,600 --> 01:04:02,840
Speaker 1: from which is the track on a Strum's solo album

1093
01:04:03,080 --> 01:04:07,640
Speaker 1: titled pocket Change Too Mad Currency. We did another song

1094
01:04:08,040 --> 01:04:10,520
Speaker 1: called Steer Your Way, which was a Leonard Cohen song

1095
01:04:10,960 --> 01:04:13,680
Speaker 1: from his album You Want It Darker and also from

1096
01:04:13,760 --> 01:04:16,760
Speaker 1: the tribute album that I sang on and Nate played on.

1097
01:04:17,440 --> 01:04:20,280
Speaker 4: The Sixth song we did was just some jamming.

1098
01:04:21,960 --> 01:04:24,760
Speaker 1: Special thanks to Nate Smith for joining us today. We'll

1099
01:04:24,800 --> 01:04:27,280
Speaker 1: be back next week with John Legend. Nora Jones is

1100
01:04:27,360 --> 01:04:30,520
Speaker 1: playing along. Is a production of iHeart Podcasts. I'm Your

1101
01:04:30,560 --> 01:04:34,320
Speaker 1: Host Norah Jones. Today's show was recorded by Andy Tobb

1102
01:04:34,400 --> 01:04:37,960
Speaker 1: and assisted by Samuel Wall at Brooklyn. Recording mixed by

1103
01:04:38,040 --> 01:04:42,600
Speaker 1: Jamie Landry, edited by Sarah Oda. Additional recording by Matt Marinelli.

1104
01:04:43,080 --> 01:04:46,680
Speaker 1: Audio post production and mastering by Greg Tobler. Artwork by

1105
01:04:46,720 --> 01:04:51,720
Speaker 1: Eliza Frye. Photography by Shervin Lenz. Coordinating producer Rachel Ward,

1106
01:04:52,280 --> 01:04:56,600
Speaker 1: Executive producers Aaron wan Kaufman and Jordan Runtog. Marketing Lead

1107
01:04:56,720 --> 01:05:00,000
Speaker 1: Queen and Ake, and produced by Norah Jones and Sarah Odah.

1108
01:05:03,600 --> 01:05:05,640
Speaker 2: Deuce by nor Jones.

1109
01:05:05,480 --> 01:05:12,800
Speaker 1: Say, Hey, that's us odio d Odo totally thanks for listening, Bye,

1110
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Speaker 1: listen next time.

1111
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Speaker 4: Like and subscribe please