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Speaker 1: This is Bloomberg Best. Bloomberg Best is about the insight

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Speaker 1: and the context that we get from our guests. It's

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Speaker 1: a great way to catch up on some of the

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Speaker 1: stories you might have missed on the Bloomberg stories you're

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Speaker 1: not going to find in any other news organizations. Bloomberg

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Speaker 1: Best Bloomberg's Best stories of the week, powered by twenty

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Speaker 1: seven hundred journalists and analysts in more than a hundred

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Speaker 1: twenty countries around the world. I'm at Baxter and On

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Speaker 1: Denise Pelligrini on this weekend edition of Bloomberg Best. It

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Speaker 1: objectifies a lot about basic prisons. Jazz is a national

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Speaker 1: art form now, is Elvi is going to not be

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Speaker 1: the King Man, Well, you're gonna put jazz i Felgus

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Speaker 1: of the King Whitten Marcellus on why some insists jazz

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Speaker 1: is dead. For somebody like me to complain is I'd

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Speaker 1: have to be out of my mind. The Jazz great

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Speaker 1: and managing director at Lincoln Center on music, race and

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Speaker 1: the world. All this and more coming up in the

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Speaker 1: next hour of Bloomberg Best. All right, we've been looking

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Speaker 1: forward to this one for weeks, oh have we? That's right,

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Speaker 1: The one and only went and Marcellus on all the

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Speaker 1: big topics. We had a chance to hear from him

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Speaker 1: on the David Rubens Toun Show Peer to Peer Conversations.

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Speaker 1: Let's listen in. So, do you get tired of people

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Speaker 1: calling you a jazz legend? You feel older when they

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Speaker 1: say that to you. Yeah, I like the word jazz.

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Speaker 1: I don't like the legend. Um. Let's talk about your

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Speaker 1: family for a moment. Sadly, your father passed away in

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Speaker 1: April at the age of eighty five because of COVID.

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Speaker 1: So it must have been a very sad loss because

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Speaker 1: you were very close to him, of course, Yeah, for

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Speaker 1: all of us, for me and my brothers, of course,

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Speaker 1: as he's our father. We loved him so much. He

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Speaker 1: was such a such an example for us, and he was.

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Speaker 1: He's such a kind man and a man with a

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Speaker 1: with a large worldview and also a large person. He

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Speaker 1: never he didn't do small things. He was very philosophical.

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Speaker 1: He wasn't a touchy feely type of person. He's from

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Speaker 1: that generation to It wasn't a lot of hugging and

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Speaker 1: I love it, I love you was going on, but

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Speaker 1: there was underneath a lot of of resolve and and seriousness.

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Speaker 1: And just just kind of deep love not just for us,

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Speaker 1: but also he had many students who who love him

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Speaker 1: and and love to tell stories about him, and he

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Speaker 1: supported a lot of a lot of us. So, for

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Speaker 1: those who may not be familiar, your father was a very,

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Speaker 1: very prominent jazz pianist. When you were growing up, did

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Speaker 1: you you obviously looked up to your father. Um was

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Speaker 1: he somebody who said I want you to be a

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Speaker 1: trumpet player. I want you to be a jazz trumpet player.

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Speaker 1: Did he not push you into that? No, he didn't

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Speaker 1: push any of us into anything. You know, I went,

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Speaker 1: I always hung out with him. My father really struggled

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Speaker 1: when I was growing up. He was trying to play

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Speaker 1: modern jazz uh in segrette in the era of segregation

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Speaker 1: and in clubs and with a populist that didn't like

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Speaker 1: that style of music. So much of my experience was

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Speaker 1: going to sparsely populated clubs with him and UH in

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Speaker 1: colorful areas. So I love to go because I was

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Speaker 1: always the only kid in the room. And it started

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Speaker 1: when I was three, four or five years old, and

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Speaker 1: it continued until I got into high school and started

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Speaker 1: to work myself. But I always went with him and

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Speaker 1: identified with his struggle really because he continued to play

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Speaker 1: even though he didn't get audience support. He was not

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Speaker 1: well known, he wasn't famous, He struggled financially. He never complained,

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Speaker 1: and he had he was very high minded in his

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Speaker 1: belief in jazz and and and in his belief in

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Speaker 1: the necessity of it as as a as a tool

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Speaker 1: for healing people, in raising consciousness and things like that.

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Speaker 1: So when you were growing up, you obviously experienced racial

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Speaker 1: discrimination because there was a segregated area. That is that right,

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Speaker 1: yah know, that defined the entire uh segregation, discrimination, racism.

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Speaker 1: That was just a part of life. Like it's it's

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Speaker 1: not something you could uh as, there's not philosophy, I'm

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Speaker 1: talking now, it's just how was your neighborhood looked a

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Speaker 1: certain way the white neighborhoods was a certain way. Black

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Speaker 1: people generally lived in our area on one side of

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Speaker 1: railroad tracks. We had still had ditches in our streets,

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Speaker 1: and any type of systems always worked against you, and

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Speaker 1: you you had to uh, it was just what it was,

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Speaker 1: what the system was. You didn't have distance from it,

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Speaker 1: so you didn't have It's easy to look back on

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Speaker 1: a thing and experience it not the way you experienced

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Speaker 1: it when you grew in it. When you grew in it,

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Speaker 1: it was very much a fact of life. So I

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Speaker 1: happened to be someone who never liked it. So I

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Speaker 1: fought with it a lot and had a lot of

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Speaker 1: problems in that system. But most people adapted to it

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Speaker 1: and we're okay with it. They didn't like it, but

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Speaker 1: they would sometimes. Sometimes you're not in a bad situation

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Speaker 1: in this case, we talked about racism. It could be anything,

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Speaker 1: could be a health situation. The degree to what you're

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Speaker 1: willing to fight against it really is is based on

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Speaker 1: your your your ability to accept the pain of fighting

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Speaker 1: against it. So are you surprised about the Black Lives

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Speaker 1: Matter situation? Here we are in the year, well advanced

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Speaker 1: past the time that you grew up, and we still

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Speaker 1: have racial problems of that type. Yeah, we're not anywhere

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Speaker 1: near advanced past what I grew up with, So no,

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Speaker 1: I'm not surprised by it. I had the honor to

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Speaker 1: go into so many American schools throughout the eighties and

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Speaker 1: nineties and early two thousand's it probably will over a

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Speaker 1: thousand schools. So we have a segregation in our systems

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Speaker 1: in general. So no, no, it doesn't none of None

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Speaker 1: of it is surprising to me. So today, as a

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Speaker 1: famous jazz musician, you're recognized all over the country, in

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Speaker 1: many places around the world. Do you feel you are

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Speaker 1: still suffering from racial discrimination? Do you still feel, even

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Speaker 1: despite your exalted status in the music world, you are

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Speaker 1: really not treated the same as you would be if

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Speaker 1: you were white. Yes, I feel that. I feel that

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Speaker 1: in terms of the kind of intellectual patronization that I received,

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Speaker 1: the low level of criticism of our music. Um, I'm

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Speaker 1: subject to things, of course, nothing like what I grew

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Speaker 1: up with. Nor do I make a habit of complaining

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Speaker 1: about it constantly because I'm also treated in a way

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Speaker 1: with so much respect by so many people. Did for

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Speaker 1: me to complain would be it would be past gratuitous.

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Speaker 1: So you asked me the question directly, Yes, I will say,

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Speaker 1: have been treated unfairly by by newspapers something like the

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Speaker 1: New York Times. The way our institution jazz and then

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Speaker 1: concerning it has been covered is abominable. Even though we

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Speaker 1: get articles, the quality of those articles are always very poor,

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Speaker 1: poorly research the writers oftentimes down to the history and

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Speaker 1: lack the intelligence and depth of engagement with the form

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Speaker 1: to be qualified to speak on it in a paper

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Speaker 1: of record. But because it's jazz, it doesn't matter. So

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Speaker 1: that's only in direct response to your question because I

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Speaker 1: don't want to. I don't want to confuse it with

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Speaker 1: when I was growing up. Are the situations that I

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Speaker 1: found myself and on my father's situational grandfathers, or let's

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Speaker 1: go back in the generations. So I'm not doing that,

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Speaker 1: and I'm very, very grateful for how I've been treated

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Speaker 1: by people all over this country of all kinds. So

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Speaker 1: there's a story that when you were time, your father

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Speaker 1: had you sit down with I think Al Hurt and

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Speaker 1: maybe it's Miles Davis, and they said, how would you

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Speaker 1: like to play the trumpet? And they gave you a

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Speaker 1: trumpet to play. Is there anything true to that? You know,

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Speaker 1: when I was six, my father was playing without her

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Speaker 1: and al Hert gave me a trumpet for my sixth birthday,

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Speaker 1: So that's true. And my father Lady was talking to

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Speaker 1: Miles Davis. He said, I'm getting my son a trumpet.

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Speaker 1: Before before al got me a trumpet, my father was

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Speaker 1: talking to Miles. You're standing without your mole, said don't

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Speaker 1: get that boy a trumpets too hard. So that is

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Speaker 1: a true story. Okay, So as you grew up, you

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Speaker 1: were actually, as I understand that, a classical musician more

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Speaker 1: than a jazz musician. And when you went to Juilliard

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Speaker 1: where you went to college, Um, you were interested in

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Speaker 1: classical music. Is that true? No. I grew up always

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Speaker 1: wanting to play jazz, but jazz was It's always much

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Speaker 1: more difficult to learn in that time, especially than classical music.

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Speaker 1: Because my father's a jazz musician. I was always around

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Speaker 1: the music. I was raised in the culture. I love

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Speaker 1: the musicians. My father was a modern jazz musician. He

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Speaker 1: wasn't playing New Orleans jazz, but at a certain time,

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Speaker 1: when I was maybe ten or eleven, he started to

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Speaker 1: play New Orleans music. And I also played and Danny

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Speaker 1: Parker's fairew Baptist Church Band, which was a New Orleans

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Speaker 1: traditional band jazz. It was difficult at that time for

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Speaker 1: a person of my age, in my generation to figure

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Speaker 1: out what it was because it was not a part

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Speaker 1: of the American mythology, whereas the classical music. He had

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Speaker 1: competitions and and and classes you could go to so

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Speaker 1: you could get a track record on your on your

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Speaker 1: on your resume, Like if you see what did I do?

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Speaker 1: It will say when I was fourteen, I want a

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Speaker 1: competition to play the Hiding Trumpet Concerto with the New

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Speaker 1: Orleans Philharmonic. But I was playing jazz the whole time.

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Speaker 1: But what could I say that I did? I played

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Speaker 1: in the club called Tyler's Beer Gardens on on on

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Speaker 1: a Wednesday. But one year you want to Grammy. The

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Speaker 1: only person I ever went a Grammy and jazz and

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Speaker 1: the classical music in the same year. It's funny story

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Speaker 1: about my father. He went to the Grammys. He even

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Speaker 1: was not into those kind of things, and he sat

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Speaker 1: through the whole show and he was like, wow, you know,

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Speaker 1: just the Grammys. So at the end of the show

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Speaker 1: I won. I was in the back in the hotel

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Speaker 1: with him and my mother. I was like, you know,

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Speaker 1: getting ready to go out to the party or something,

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Speaker 1: and I was I was like, yeah, man. My daddy

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Speaker 1: looked at me and he was wondering. He said, man,

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Speaker 1: he said, I'm glad that was the Grammys. He said, yeah,

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Speaker 1: I'm glad you want. I mean, don't don't get me wrong,

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Speaker 1: it's great to do it, but you don't think this

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Speaker 1: means you can play, do you? So? I still at

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Speaker 1: laughed because I was like twenty two and I knew

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Speaker 1: what he was saying, because I still, of course had

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Speaker 1: a long way to go to learn how to play.

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Speaker 1: You could argue classical music came from Europe, and you

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Speaker 1: can argue that other parts of music came from other

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Speaker 1: parts of the world. But jazz was invented in the

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Speaker 1: United States, and it's a classic American kind of invention.

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Speaker 1: I would say, um, but why is it so hard

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Speaker 1: for some people to understand that You've written a book

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Speaker 1: about it, and you make it in your book sound

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Speaker 1: like it's almost a religious experience to play jazz and

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Speaker 1: understand jazz. It's important to be an individual and who

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Speaker 1: can play well, but also to play with the team.

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Speaker 1: Can you explain why jazz is almost like a religion

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Speaker 1: to people who care about jass? Well, jazz is our

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Speaker 1: national art form and as such, it objectifies a lot

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Speaker 1: of our basic principles. And if a group of people

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Speaker 1: are are blessed to have an art form which you

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Speaker 1: can have a civilization and a society, you may never

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Speaker 1: create an art form that has that does that. It's

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Speaker 1: a blessing. So America was blessed with a group of

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Speaker 1: musicians and a social condition that produced this music. That

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Speaker 1: the music has three fundamental elements. The first is improvisation,

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Speaker 1: which is our kind of individuality and what we what

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Speaker 1: we believe in. We have rights and freedoms and things

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Speaker 1: that are about the individual. Then swing, which is about

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Speaker 1: nurturing common ground, finding balance with other people, working out

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Speaker 1: an agenda as you go along under the pressure of time.

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Speaker 1: And then the blues. And the blues is an optimism,

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Speaker 1: it's not naive. So the blues also implies an acuity.

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Speaker 1: That's that's a democratic thing. Now, suffice to say that

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Speaker 1: everything in the music ties into things that we do,

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Speaker 1: down to the three branches of government, like the rivem

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Speaker 1: section are what to a man, the Constitution is like

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Speaker 1: adding to an arrangement. I could go on and on,

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Speaker 1: and after a while of giving you these examples, you'll

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Speaker 1: realize these are not superficial things that are contrived, that

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Speaker 1: they actually come out of the American way of life.

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Speaker 1: Now to kind of give you it's gonna be a

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Speaker 1: little longer answer, but it's important because the central question

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Speaker 1: of jazz's position in our country concerns the relationship of

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Speaker 1: slavery to the American identity and our mythology as a country.

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Speaker 1: Black Americans buying large in our country have little or

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Speaker 1: no knowledge of jazz, and uh, jazz is the greatest

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Speaker 1: achievement of the Afro American culture in the context of

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Speaker 1: the American culture, meaning it's Afro American, but it applies

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Speaker 1: to all Americas, as many things in American culture apply

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Speaker 1: to all Americas. Our poor public education system make sure

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Speaker 1: that a certain group remains ignorant. And the average white

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Speaker 1: jazz writer is actually a rock fan who's for a

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Speaker 1: long time, which the jazz will actually be something else

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Speaker 1: without black folks at the core of it. But it

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Speaker 1: maybe jazz will just die away. That's why if you

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Speaker 1: study jazz, there's a longstanding tradition of article after article,

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Speaker 1: the decade after decade saying it's jazz dead. That's probably

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Speaker 1: one of the most questions that's been asked since the

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Speaker 1: nineteen thirties. Now, all of this investment and the destruction

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Speaker 1: of jazz is to further obscure a big lie that

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Speaker 1: jazz uncovers. And it's important to look at this because

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Speaker 1: it's it's a serious it's a serious thing to consider

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Speaker 1: if we are to transform our nation. If we say

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Speaker 1: our nation is based on human freedom, and we're the

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Speaker 1: first on earth founded on the glorious celebration of human freedom, dignity,

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Speaker 1: and rights, how do we then reconcile and correct the

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Speaker 1: systemic the humanizing ownership, brutalizing a large underclass of people

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Speaker 1: for free labor because of their skin color. It's too

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Speaker 1: much in justice to correct, so we're forced to say

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Speaker 1: that those people are responsible for the problem. They're less

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Speaker 1: than human and it's just their condition. But if they aren't,

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Speaker 1: if it's not their condition, it means that omnithology and

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Speaker 1: belief about ourselves is not true. Now, if Elvis gonna

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Speaker 1: not be the king, man, well you're gonna put jazz

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Speaker 1: if Elvis of the king. So let me ask you,

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Speaker 1: if I were to go to and listen to a

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Speaker 1: Tchaikovsky concert or a Beethoven concert, it's gonna be mostly

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Speaker 1: sounding the same and where never, no matter where I'm

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Speaker 1: gonna listen to it, no matter what the orchestra, they

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Speaker 1: basically might play slightly better, slightly different, but basically you

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Speaker 1: know what you're gonna get when you sit down with jazz,

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Speaker 1: Am I wrong in that a jazz musician can kind

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Speaker 1: of expand on what has been composed and kind of

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Speaker 1: play it differently every different time. Is that part of

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Speaker 1: what jazz is? Uh? All about? The improvisation part? That

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Speaker 1: one part allows you to You have a lot of

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Speaker 1: latitude to do things. It's like the way Americans conduct business,

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Speaker 1: all the innovations. We have the freedom we have to speak,

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Speaker 1: the fact that we think we can step into space

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Speaker 1: and use our personality to transform a tradition. Yes, we

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Speaker 1: have that freedom. But balancing that freedom is we have

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Speaker 1: the responsibility to extend a courtesy and an understanding to

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Speaker 1: other people who have those freedoms and nurture that common space.

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Speaker 1: That's the part of jazz we struggle with. So in

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Speaker 1: your book on Jazz, you talk about some of the

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Speaker 1: grades who either played with or who influenced you, and

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Speaker 1: I just like to ask your brief comments on some

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Speaker 1: of them. Uh. Versus Louis Armstrong, you originally thought he

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Speaker 1: was as you say and Uncle Tom, but you obviously

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Speaker 1: changed your view. I guess yeah, because it's it was

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Speaker 1: It's hard for for later generations to understand, uh, the

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Speaker 1: challenges of earlier generation, and and and and norms and

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Speaker 1: and things of show business and what Louis Armstrong did,

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Speaker 1: it doesn't mean that necessarily, even with my now I

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Speaker 1: understand more of his genius and who he wasn't when

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Speaker 1: he played. But it still doesn't mean And when I

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Speaker 1: look at the movies he made, all the positions he went,

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Speaker 1: I still don't necessarily like that. I don't like a

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Speaker 1: lot of where black people or in any of the

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Speaker 1: American movies of the nineteen thirties and forties and in fifties,

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Speaker 1: and as a matter of fact, some of it now

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Speaker 1: a lot of it now uh that he has that

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Speaker 1: same type of destructive mythology if you consider the fact

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Speaker 1: it when I was a teenager, the heroic figure for

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Speaker 1: black youth in movies were pimps. I mean, what is

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Speaker 1: it for a pimp to be a hero and be

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Speaker 1: at the topic of mythology? So but to not get

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Speaker 1: sidetrack with that, yeah, I thought that, But later I

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Speaker 1: learned and understood who Louis Armstrong was as a musician,

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Speaker 1: that's a totally different story. That man was a genius

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Speaker 1: of such magnitude you can't even you could lie about

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Speaker 1: how great he was, and you still wouldn't be saying enough.

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Speaker 1: So you're a composer as well as a performer, educator, conductor,

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Speaker 1: and so forth. One of the great composers in the

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Speaker 1: jazz world was Duke Ellington. Uh did he have any

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Speaker 1: influence on you? Great? You know, I love Duke and

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Speaker 1: the Duke's intelligence, his dedication over two thousand pieces, and uh,

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Speaker 1: I of him. And because I grew up also listening

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Speaker 1: to classical music, I love Beethoven. What about Disney Gillespie?

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Speaker 1: Was he an influence on you? The thing about Disney,

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Speaker 1: because that's hit me first, was the depth of his intelligence.

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Speaker 1: I met him when I was fourteen, and just when

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Speaker 1: he started talking with my daddy and other musicians listened

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Speaker 1: to him. Yeah, Dizney was a very intelligent He's part

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Speaker 1: of the reasoning we we developed jazz at Lincoln Center.

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Speaker 1: Because I didn't want to play in a big band,

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Speaker 1: because I had always gonna play in small band music,

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Speaker 1: and Dinney told me. I called him and asked him, man,

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Speaker 1: what do you think I should do? He said, to

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Speaker 1: lose ones orchestral heritage should not be considered and achievement.

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Speaker 1: So he was telling me, because you need to figure

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Speaker 1: out how to keep our orchestral heritage. We we paid

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Speaker 1: a lot of dudes to builoup orchestral music in jazz

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Speaker 1: and for us to just give it away and say

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Speaker 1: the big band is old fashioned, that's that's not intelligent.

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Speaker 1: Let's talk a bit about jazz at Lincoln Center. So

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Speaker 1: you began playing jazz at Lincoln Center when in the

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Speaker 1: late nineteen eighties that evolved into Jazz at Lincoln Center,

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Speaker 1: which is you're now the director of artistic director and

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Speaker 1: music director of the Jazz Lincoln Center Orchestra. Is that right?

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Speaker 1: We wanted to fill fill fill a space in the

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Speaker 1: American arts and and provide enough education and music and advocacy,

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Speaker 1: enough concerts for us as a nation to have our

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Speaker 1: native art form when it came it came time for

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Speaker 1: us to address our mythology incorrected so that we can

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Speaker 1: move forward as a nation. So we've we've we've succeeded

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Speaker 1: behind beyond any of our wildness imagination with the volume

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Speaker 1: of concerts we've been able to do. We built three

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Speaker 1: concert halls in the middle of men Manhattan on fifty

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Speaker 1: nine Street, the House of Swing. We have put on

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Speaker 1: concert series over thirty years. We have twelve education programs

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Speaker 1: and even since this pandemic, I mean we've we've put

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Speaker 1: out over over five hundred, six hundred pieces virtually. You know,

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Speaker 1: we're we're we're deeply engaged. So when you started Lincoln Center,

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Speaker 1: many people Lincoln Center open in the nineteen sixties, people thought, Okay,

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Speaker 1: this is opera, symphonic music, classical kind of music. You

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Speaker 1: came along and said maybe we could have jazz. What

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Speaker 1: do people say initially when you said we need to

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Speaker 1: do more jazz at Lincoln Center. We we had a

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Speaker 1: lot of support from the top of the organization. Everybody

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Speaker 1: was everybody was dedicated. And you know when when it

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Speaker 1: was found to baby Lincoln Center didn't think about the music,

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Speaker 1: or maybe the initial founders of Rockefell and they didn't

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Speaker 1: like the music. It doesn't matter. The Constitution was not

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Speaker 1: written with the rights of African Americans and Native Americans

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Speaker 1: in mind. But the Constitution can be amended, and it

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Speaker 1: has been amended. Let me ask you on a normal

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Speaker 1: time before COVID came, and hopefully when COVID's gone, you'll

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Speaker 1: return to the situation had before. Are you on the

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Speaker 1: road half the time and half the time in New

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Speaker 1: York or How do you divide your time and how

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Speaker 1: do you divide your time between playing, conducting, composing, and teaching. Well,

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Speaker 1: I do many things. I'm also the managing director of

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Speaker 1: our organization, so I deal with with everything in USA.

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Speaker 1: Executive Director Greg Show, and our management team, they're all fantastic,

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Speaker 1: uh colleagues. If if anything, I mean I work, I

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Speaker 1: work all the time, so I don't I don't separate anything.

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Speaker 1: My my work is also my hobby. And this pandemic

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Speaker 1: because as I always respected all of my colleagues. But

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Speaker 1: I'm gonna tell you that the pandemic has given me

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Speaker 1: such a greater appreciation of the quality of people. I've

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Speaker 1: been blessed to work with our orchestra. We still have

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Speaker 1: a vast majority of our staff on. We're open for

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Speaker 1: business with getting things done. The orchestra is so supportive

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Speaker 1: of the mission of the of the organization. We have

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Speaker 1: a level arrangers in our orchestra. That's something that has

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Speaker 1: never happened, composers, teachers, the phone calls I get. Then

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Speaker 1: when you get to our staff and our managers of

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Speaker 1: every division of our building, our financial, our CFO, I

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Speaker 1: can go position to position people's dedication will bring me

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Speaker 1: to tears. And that's why you know we're we're we're

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Speaker 1: struggling like all the arts organizations are, because we've lost

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Speaker 1: the ability to earn revenue. But we are so for

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Speaker 1: real about our our mission and achieving it even under

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Speaker 1: this type of darrest. I think it's really the greatest

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Speaker 1: blessing I've had in my life has been to work

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Speaker 1: with this high quality of people for this amount of time.

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Speaker 1: So I'm I'm so grateful for that opportunity. I don't

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Speaker 1: even consider it to be worked when you go overseas.

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Speaker 1: Is jazz popular outside the United States? Jazz has never

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Speaker 1: really been popular, So no, it's not. It's not popular

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Speaker 1: like like like phone was popular, like rock and roll

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Speaker 1: is popular. It's not popular. It is. It is a

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Speaker 1: jazz is meaningful and it's necessary. So those who are

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Speaker 1: interested in that like jazz. Those who are not, they don't.

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Speaker 1: They don't like that. There's a lot of other things

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Speaker 1: to life. We need to teach our kids about the music.

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Speaker 1: It is a national art form. And I always make

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Speaker 1: make the point people say, what's gonna be new and jazz?

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Speaker 1: I said, people are gonna listen to it. That's what's

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Speaker 1: the new thing. Let's suppose somebody says, I've never been

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Speaker 1: exposed to jazz very much. I guess uh us into

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Speaker 1: went and Marsalis. I'm persuaded he knows what he's talking about.

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Speaker 1: Uh So I'm gonna listen to jazz. What is it

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Speaker 1: that that you would tell people about why the jazz

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Speaker 1: experience as a listener is so uh compelling compared to

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Speaker 1: other forms of music. Well, because it has a development section,

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Speaker 1: so you have to follow what musician has played from

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Speaker 1: one point. It's like what I loved about that beats

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Speaker 1: open symphony. It wasn't just one thing repeated over and

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Speaker 1: over and again. It was a thing and then another thing,

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Speaker 1: another thing. Jazz is the music is most in the world.

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Speaker 1: Like conversation, jazz is a music that the prizes individuality.

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Speaker 1: You have a lot of great individuals you can interface with,

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Speaker 1: from Lester Young, the Billy Holiday to Check Korea, Herbie

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Speaker 1: hank I got you can name just name musicians. You

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Speaker 1: have great groups that you can love. They're play in

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Speaker 1: different forms, and you have the whole appro Latin form

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Speaker 1: of jazz that that takes you everywhere from Brazil to

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Speaker 1: Cuba to Puerto rico. It. It integrates your citizenship and

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Speaker 1: your understanding of the world, and mostly and most important,

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Speaker 1: it gives you tremendous pride and being America because we

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Speaker 1: didn't have to denigratee or cut anybody down or do

430
00:22:03,600 --> 00:22:06,720
Speaker 1: anything negative to anybody to create this. It's a non

431
00:22:06,800 --> 00:22:10,560
Speaker 1: predatory form. It's a symbiotic form. And you can be

432
00:22:10,600 --> 00:22:12,199
Speaker 1: as rich as you want to be in jazz and

433
00:22:12,240 --> 00:22:15,040
Speaker 1: nobody else has to be poor. You're a teenager by

434
00:22:15,040 --> 00:22:18,920
Speaker 1: my standard, so you're very, very young. But you'll continue

435
00:22:18,960 --> 00:22:21,480
Speaker 1: to do this for another couple of decades because this

436
00:22:21,520 --> 00:22:23,520
Speaker 1: is what your love of doing. Is that right, man?

437
00:22:23,560 --> 00:22:26,760
Speaker 1: I still smell simulac on you. I don't know what

438
00:22:26,800 --> 00:22:31,159
Speaker 1: you're talking about. Yeah, I'm gonna do this till I

439
00:22:31,200 --> 00:22:33,600
Speaker 1: die if I can, if if the good law willing,

440
00:22:33,600 --> 00:22:37,320
Speaker 1: and people will have me. I've been I've been blessed

441
00:22:37,359 --> 00:22:40,360
Speaker 1: to do something kind of this, attract and get unbelievable

442
00:22:40,359 --> 00:22:43,320
Speaker 1: support from people. That's why earlier when I answered the

443
00:22:43,400 --> 00:22:47,760
Speaker 1: question of racism, for somebody like me to complain's I'd

444
00:22:47,760 --> 00:22:50,960
Speaker 1: have to be out of my mind. And that's it

445
00:22:51,080 --> 00:22:55,520
Speaker 1: for Bloomberg Best. I'm at Baxter and I'm den This

446
00:22:55,960 --> 00:23:06,320
Speaker 1: is Bloomberg footsc regated gaut Gications lot to Cows and

447
00:23:06,440 --> 00:23:06,720
Speaker 1: World