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Speaker 1: Taking a Walk.

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Speaker 2: If you can speak two or three different languages and

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Speaker 2: you're thirsty, you're thirsty before you realize, Okay, I'm gonna

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Speaker 2: have to say this in Fringe because I'm in France,

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Speaker 2: or I'm gonna have to say this in Spanish because

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Speaker 2: I'm in Puerto Rico, or I'm gonna say this in

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Speaker 2: English because I'm in New York. Your thing is you're thirsty.

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Speaker 2: So to me, ideas and music are like that, there

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Speaker 2: before any instrument.

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Speaker 1: Welcome to the Taking a Walk Podcast, the show where

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Speaker 1: Buzz Knight speaks with musicians of all type about their music,

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Speaker 1: their influences, and their aspirations. Today, Buzz speaks with jazz

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Speaker 1: guitarist Pat Metheni. Pat is a twenty time Grammy winner

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Speaker 1: who literally reinvented the traditional jazz guitar for a new

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Speaker 1: generation of players. He released his first album, Bright Size

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Speaker 1: Life in nineteen seventy five, which is considered one of

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Speaker 1: the most quintessential jazz albums in history. Buzz Night is

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Speaker 1: joined by Pat Metheni now on Taking a Walk.

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Speaker 3: Well, thanks Pat for being on Taking a Walk. First

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Speaker 3: of all, what is a typical day for a lifelong

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Speaker 3: creator such as yourself.

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Speaker 2: In a lot of ways, my life is the same

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Speaker 2: as it's always been in that I have a real

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Speaker 2: deep interest in trying to understand music. And it's been

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Speaker 2: that way for me since I was I don't know,

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Speaker 2: eleven or twelve years old. And you know, to be

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Speaker 2: a good musician it sort of goes a little bit underreported.

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Speaker 2: It's hard. It's hard to be a good musician, and

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Speaker 2: it really does require a kind of intense dedication that

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Speaker 2: is kind of unlike anything else, and it kind of

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Speaker 2: never stops in a way. It's not like you wake

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Speaker 2: up one day and you go, Okay, I got it,

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Speaker 2: you know. In fact, it's the opposite. It's sort of

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Speaker 2: the better you get and the more you know and

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Speaker 2: the deeper you're understanding is the more you realize you

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Speaker 2: don't know anything and you're just beginning. And I still

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Speaker 2: feel like that. I feel like I'm just now starting

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Speaker 2: to get a sense of it all. And for that reason,

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Speaker 2: I tend to, you know, spend a lot of time

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Speaker 2: at it. If I'm not on the road, I often

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Speaker 2: get up very early, four or five in the morning

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Speaker 2: because I get three or four hours at that point

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Speaker 2: where nobody else is up and I can really focus

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Speaker 2: on whatever it is that I'm doing, and when I'm

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Speaker 2: on the road, I mean it's you know, the concerts

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Speaker 2: that I present are often two and a half three

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Speaker 2: hours long, and I have to prepare for two hours

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Speaker 2: or so before that, so that's you know, five or

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Speaker 2: six hours a day right there of working on music.

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Speaker 2: You know, people often ask about the physical thing of

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Speaker 2: playing an instrument. Honestly, that's not a huge part of

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Speaker 2: it for me. It's more about developing ideas and sort

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Speaker 2: of being able to execute those ideas, whether it's in

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Speaker 2: the form of writing or you know, you know, figuring

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Speaker 2: out how to how to get that sound whatever that

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Speaker 2: idea represents out into the world. And that could be

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Speaker 2: in many different ways, including you know, the whole thing

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Speaker 2: of composition, which for me is you know, not something

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Speaker 2: that initially I would have thought might have been the

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Speaker 2: main thing for me because I was so interested in

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Speaker 2: improvising and that tradition. But as it turned out, there

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Speaker 2: was a way I wanted to improvise that I was

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Speaker 2: having a hard time finding a way into. And I

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Speaker 2: realized at a certain point, if I wrote the music

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Speaker 2: and handed it to a bunch of other people, that

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Speaker 2: could set up an environment where I could get to

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Speaker 2: what I wanted to get to as an improviser. So

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Speaker 2: you know, the basic thing for me is when I

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Speaker 2: can be working on music, I am working on music,

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Speaker 2: and it could be anytime day or night. So there's

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Speaker 2: no one typical day for me. It's it's just kind

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Speaker 2: of constant. But I went also put an asterisk at

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Speaker 2: the end of that. I have three wonderful kids, a

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Speaker 2: great wife, really great family, two dogs, and all that

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Speaker 2: comes with that. And balance is the key thing for me,

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Speaker 2: not just in music but in everything else. So it's

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Speaker 2: not like I neglect the rest of my being to

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Speaker 2: be that kind of a musician. It you know, it's

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Speaker 2: it's all equal for me, and in fact, more and more,

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Speaker 2: it's sort of like the line between what it takes

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Speaker 2: to be a good musician and just to kind of

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Speaker 2: be in the world in a way that I think

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Speaker 2: represents what the best music represents to me. They kind

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Speaker 2: of blur together after a while. So, you know, I'm

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Speaker 2: always looking for balance in every way, and you know,

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Speaker 2: probably more balanced some periods than others, depending upon what's

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Speaker 2: going on. If I have a deadline or something, I

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Speaker 2: certainly you know, lean a little bit more to this

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Speaker 2: direction than I do in another direction. But you know,

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Speaker 2: if it's time for parent teacher conferences and all else

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Speaker 2: like that, I lean that way. So I think there's

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Speaker 2: a way to get everything in and you know, I

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Speaker 2: try to enjoy every bit of all of it.

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Speaker 3: So, Pat, who were the players as a fifteen year

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Speaker 3: old wizard that impacted you to this very.

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Speaker 2: Day, Well, like everybody, I had my heroes. I mean,

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Speaker 2: my main hero probably wouldn't be a musician if it

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Speaker 2: wasn't for my older brother bringing home a Miles Davis

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Speaker 2: record when I was eleven or twelve. The record was

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Speaker 2: four and more And you know, that was just one

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Speaker 2: of those like life changing, you know, light bulb moments

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Speaker 2: for me, and that would be probably the most significant

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Speaker 2: thing I could say. The Miles Quintet of the sixties

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Speaker 2: was just the model of everything for me. And to

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Speaker 2: this day it's like that may be, you know, one

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Speaker 2: of the highest levels of human achievement that has occurred

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Speaker 2: so far in our species. You know, that band really

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Speaker 2: on all five fronts just got to it. But in

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Speaker 2: particular on my instrument was Wes Montgomery. It still is

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Speaker 2: Wes Montgomery. I mean there's other players I loved. Kinney

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Speaker 2: Burrell especially and Jim Hall were the other two big

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Speaker 2: ones for me, But it was mostly about Wes. And

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Speaker 2: there are many things about Wes as an improvisor that

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Speaker 2: I actually still feel are kind of under reported on

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Speaker 2: and underrecognized, particularly the melodic development aspect of it. And

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Speaker 2: you know, saxophone players Sonny Rollins of course, Charlie Parker,

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Speaker 2: John Coltrane, and trumpet players like Clifford Brown and Freddie

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Speaker 2: Ubbard in particular were also huge from me in very particular.

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Speaker 1: Kinds of ways.

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Speaker 2: But my favorite band of that era was the Gary

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Speaker 2: Burton Quartet of the late sixties. I mean, that was

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Speaker 2: a band that from me just kind of represented a

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Speaker 2: major change in the culture in a lot of ways,

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Speaker 2: and the fact that I wound up joining that band

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Speaker 2: really just a couple of years later is something that

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Speaker 2: I still kind of have to pinch myself for. But

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Speaker 2: kind of having said all those famous dudes, the main

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Speaker 2: thing for me were the musicians in Kansas City that

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Speaker 2: started hiring me when I was fourteen fifteen, sixteen years old,

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Speaker 2: that I was able to play with for several years

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Speaker 2: before I even got out of high school, and I

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Speaker 2: really learned to play from being on the bandstand with

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Speaker 2: those musicians. There was a drummer in particular named Tommy Ruskin,

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Speaker 2: who to this day would be in the top five

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Speaker 2: drummers I've ever played with. And the fact that I

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Speaker 2: got to sit next to that guy for several years,

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Speaker 2: I mean I can trace almost everything about the way

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Speaker 2: that I think about time and groove and rhythm to

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Speaker 2: those moments being by his side. Often in his living room.

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Speaker 2: He would just invite me and Kevin, my good friend

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Speaker 2: who was a bass player, and we would just play

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Speaker 2: get the chance to play with him. But also two

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Speaker 2: other musicians, Gary Sibbles and Paul Smith, were great musicians

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Speaker 2: around Kansas City that gave me lots of chances to play.

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Speaker 2: And one of the greatest musicians I've ever been around

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Speaker 2: was an organ player named Russ Long, who was I

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Speaker 2: think the best organ player I've ever heard in terms

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Speaker 2: of just making stuff up. I mean, he was a

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Speaker 2: true improviser. And you know, I got to play with

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Speaker 2: all those guys you know, at you know, such a

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Speaker 2: formative stage, and that was huge for me.

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Speaker 3: How did the skill set of you being a trumpet

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Speaker 3: player ultimately shape your style of guitar playing.

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Speaker 2: It's interesting for me because I don't think about an

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Speaker 2: instrument too much. I think about music. And you know,

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Speaker 2: some people are often surprised to hear me say I

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Speaker 2: write almost everything on piano, and the reason for that

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Speaker 2: is because it's like fifty times easier than the guitar.

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Speaker 2: I mean, if you have a piano that's in tune,

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Speaker 2: it's just been tuned, and it's a really good piano

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Speaker 2: and you play a reasonably good voicing, people go, wow,

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Speaker 2: you're a genius, you know. I mean, it's not the thing.

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Speaker 2: It's that the piano itself is an amazing instrument, and

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Speaker 2: you know, it might take ten years to learn how

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Speaker 2: to play that same chord on a guitar and make

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Speaker 2: it have that same kind of an effect. And then also,

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Speaker 2: you know, the trump good thing for me was huge.

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Speaker 2: My older brother Mike great trumpet player. My dad was

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Speaker 2: an excellent trumpet player. My mom's dad was a professional

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Speaker 2: trumpet player. I started on trumpet, you know, very young.

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Speaker 2: By all accounts, I was terrible. I don't doubt that.

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Speaker 2: But one thing that is true is that even you know,

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Speaker 2: as I got into playing the guitar, for some reason,

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Speaker 2: I breathe as if I'm playing the trumpet, and I

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Speaker 2: think that helps, meaning like if I'm going to play

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Speaker 2: a phrase, I go and then I play what I'm

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Speaker 2: going to play, and then when I'm out of breath,

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Speaker 2: I take another little pause, take a breath, and then

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Speaker 2: play some more. And one thing I do notice about

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Speaker 2: guitar players, piano players, vibes players, bass players, drummers, if

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Speaker 2: they don't have that sense of breath somehow, I think

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Speaker 2: just our human reaction to that is that we need

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Speaker 2: those pauses, We need those breaths because it's it's like

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Speaker 2: in conversation if somebody just talks all the time into

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Speaker 2: one and then to ever take a you know, you

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Speaker 2: kind of tune out after a minute. And music is

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Speaker 2: a representation of the way we talk and the way

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Speaker 2: we communicate. So I would say the breath aspect of

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Speaker 2: being an early trumpet player really did affect me. And

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Speaker 2: it's interesting how many of my favorite musicians that are,

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Speaker 2: you know, non wind instrument musicians. I'm thinking of, like

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Speaker 2: Steve Swallow, the great bass player. I think even Gary

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Speaker 2: Burton started on trumpet or a wind instrument. So I

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Speaker 2: think that does inform the way you become a musician.

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Speaker 3: Later, Pat, when did you realize that you had this

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Speaker 3: other skill set, that of a teacher.

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Speaker 2: It's kind of funny that you mentioned that, because I

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Speaker 2: did just make a visit out to my hometown out

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Speaker 2: in Missouri, and I was reminded of something that I

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Speaker 2: hadn't thought about too much, which is I actually started

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Speaker 2: teaching other kids about two months after I started playing,

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Speaker 2: because one of my mom's friends asked if I could teach,

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Speaker 2: you know, their six year old some guitar, and I

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Speaker 2: was like, yeah, I can teach them, you know, whatever

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Speaker 2: it is I know, And then that mom told another mom,

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Speaker 2: and the next thing I knew, you know, probably would

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Speaker 2: have been twelve or thirteen, you know, a couple of

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Speaker 2: days a week, I had four or five little kids

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Speaker 2: come over and I was teaching them E and a

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Speaker 2: minor and stuff, and so I guess from then. But

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Speaker 2: you know, for me, I'm not sure if I am

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Speaker 2: a good teacher or I was a good teacher, because

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Speaker 2: I do think that my teaching thing often was related

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Speaker 2: to whatever I was thinking about, or what I was

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Speaker 2: working on, or what I felt like I needed to

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Speaker 2: communicate to get a gig myself or something would be

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Speaker 2: kind of what I would emphasize to whoever happened to

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Speaker 2: be my students at the time. You know, maybe that's

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Speaker 2: not terrible because I was like then, like now, I

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Speaker 2: never was thinking about, oh, well, you want to be

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Speaker 2: better than the kid that's sitting next to you. My

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Speaker 2: sense always was like, well, you know, there was there

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Speaker 2: was Bach, and we all kind of are nowhere near that,

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Speaker 2: and there was Wes Montgomery, and there was even you know,

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Speaker 2: Jimmy Hendrix. I mean, it's sort of like I never

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Speaker 2: thought about it in terms of comparing anything to probably

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Speaker 2: an age appropriate connection to what a kid might be.

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Speaker 2: It would be like more, you know, have you listened

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Speaker 2: to Joe Henderson or you know whatever, because you know,

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Speaker 2: to me, that is kind of the standard. So I

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Speaker 2: always kind of maintained that standard.

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Speaker 3: And what teachers in your life inspired the teaching bug.

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Speaker 2: Well, all of us and lisum at Missouri were very,

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Speaker 2: very lucky to have as the head of the band

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Speaker 2: music program in our little town a guy named Keith House,

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Speaker 2: who is a legendary educator in the state of Missouri

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Speaker 2: for thousands of people. How he happened to pick Lee

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Speaker 2: Summit and wind up in lie Summit. I don't know,

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Speaker 2: but men, all of us are really lucky. He was

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Speaker 2: not a jazz guy at all, but he was an

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Speaker 2: incredible musician who was one of those kind of tough

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Speaker 2: love kind of teachers who somehow would get you know,

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Speaker 2: a bunch of you know, a lot of farm kids

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Speaker 2: and rural kids playing you know, Wagner and you know,

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Speaker 2: like really hit music Mozart and you know, and that

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Speaker 2: we didn't even have an orchestra. This was all concert

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Speaker 2: band stuff, you know. They it was just you know,

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Speaker 2: wind instruments basically, and he was incredible, and you know,

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Speaker 2: in my case, he realized pretty early because I was

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Speaker 2: already into stuff that was not kind of in line

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Speaker 2: with Lisa of Missouri by being interested in the music

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Speaker 2: I was interested in and also, as noted, probably not

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Speaker 2: a very good trumpet player. So I switched to French hoorn,

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Speaker 2: where I was even worse. But still I was in

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Speaker 2: his bands. And he finally said to me, he said, okay,

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Speaker 2: you're going to write something for the band. And I

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Speaker 2: was probably fourteen, and I was like, oh, okay, you know,

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Speaker 2: and you know, he kind of, you know, almost insisted

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Speaker 2: that I developed that skill because I think he saw

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Speaker 2: in me that that was something that could happen, and

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Speaker 2: it was a great opportunity for me. There was no

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Speaker 2: jazz program at the school at that time because we

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Speaker 2: had no saxophone players. I don't know why, but that

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Speaker 2: wasn't an instrument that was in our realm. So I

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Speaker 2: had to write music for four frenchhorn, three trombones and

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Speaker 2: five trumpets and a rhythm of section and we would

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Speaker 2: play at the basketball games for the cheerleaders and stuff

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Speaker 2: like that. And then I eventually ended up writing a

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Speaker 2: pretty significant piece for trumpet and concert band, you know,

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Speaker 2: by the time I was a junior in high school,

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Speaker 2: you know, stuff that I would definitely not have done

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Speaker 2: had there not been a mister House there. So he

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Speaker 2: was a big one for me. And then I have

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Speaker 2: to then add, even though I was in his band

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Speaker 2: as a you know, side man and playing you know,

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Speaker 2: all over the world, just standing next to Gary Burton

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Speaker 2: night after night after night was probably the best possible

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Speaker 2: education I could ever have gotten, because in addition to

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Speaker 2: just being able to describe in detail music the way

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Speaker 2: he has, he has an incredibly thorough eloquent way of

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Speaker 2: you know, basically breaking down harmony for improvisers that is

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Speaker 2: just unbelievably efficient. He was also another kind of tough

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Speaker 2: band leader type person who because I was really young.

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Speaker 2: I mean when I started playing with Gary, I was

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Speaker 2: eighteen and you know, had only been playing for a

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Speaker 2: few years. Even though I had been playing a lot

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Speaker 2: in Kansas City, it wasn't the same kind of thing.

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Speaker 2: I mean, you know, Gary's thing was definitely at the

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Speaker 2: highest international level, and pretty much after every concert I

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Speaker 2: would get an hour or two talk about, you know,

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Speaker 2: on the D minor seven flat five going into the

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Speaker 2: third chorus, you played an a natural you know, that

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Speaker 2: didn't really fit, you know, I mean stuff like that,

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Speaker 2: And you know, maybe three years or so into the gig,

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Speaker 2: I was like, okay, I got it, you know. But man,

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Speaker 2: the first couple of years it was it was really

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Speaker 2: valuable for me. And you know, so I have to

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Speaker 2: always put Gary high up in there, and I have

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Speaker 2: to put Steve Swallow in there too, who is the

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Speaker 2: big player who in Gary's band, who was always very

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Speaker 2: giving in terms of advice and particularly in the in

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Speaker 2: the area of writing tunes. He had written the tune

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Speaker 2: Falling Grace, which for me defined a generation of harmony.

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Speaker 2: It just changed everything, and to that to this day,

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Speaker 2: I feel that tune sort of set the stage for

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Speaker 2: a whole new way of thinking about harmony. And to

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Speaker 2: be around Steve for a few years was incredible for me.

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Speaker 1: We'll be right back with more of the Taking a

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Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast.

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Speaker 3: Pat, could you have imagined years later the respect that

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Speaker 3: people have for the album Bright Size Life. You're playing, certainly,

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Speaker 3: and your introduction in the world of Jaco Pastorius the

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Speaker 3: great bass player?

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Speaker 2: Honestly, not in a million years, because my sense of

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Speaker 2: that record for the first ten or twelve years after

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Speaker 2: it came out was that I had completely blown it.

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Speaker 2: That that band was so much better than what that

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Speaker 2: record seemed to represent. I could barely even listen to it,

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Speaker 2: because you know, it was a six hour session. We

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Speaker 2: came back the next day and I think did one

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Speaker 2: more little thing and then mixed it and that was that.

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Speaker 2: And Jocko had never been to Europe. He was jet

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Speaker 2: lagged out of his mind and kind of nuts at

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Speaker 2: that stage. Not the same version of nuts that he

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Speaker 2: became later, but the organic Jocko of that era was

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Speaker 2: a pretty intense person already. And you know, it was

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Speaker 2: quite a thing, I have to say. And then probably

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Speaker 2: fifteen years after it came out, I had an experience where,

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Speaker 2: and this happens every and then, where I hear something

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Speaker 2: from a distance, like in somebody's you know, car or

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Speaker 2: something like that, And I remember hearing that and thinking, Wow,

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Speaker 2: what's that? That sounds really good?

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Speaker 1: What is that?

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Speaker 2: And then I realized it was that record, So it

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Speaker 2: was kind of like the first time I'd ever really

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Speaker 2: heard it. But still it didn't really get to the

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Speaker 2: thing that it seems to have now until maybe twenty

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Speaker 2: twenty five years after it came out. Certainly within the

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Speaker 2: culture within even within the community of our thing, it

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Speaker 2: didn't really get much attention at the time, you know,

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Speaker 2: the Jocko's sort of emergence onto the scene on that

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Speaker 2: record than his debut record, the Joni Mitchell record, Juzira

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Speaker 2: and a couple tracks on an early Weather Report record.

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Speaker 2: That was the guy that I knew, you know, because

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Speaker 2: he and I already had been playing together for a

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Speaker 2: few years by that time down in Florida, both of

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Speaker 2: us completely unknown. And then I got the gig with

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Speaker 2: Gary a couple of years before he joined Weather Report,

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Speaker 2: and he started coming up to Boston and we would

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Speaker 2: do gigs, and of course everywhere he went around that time,

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Speaker 2: including when he was playing with Wayne Cochran, nobody had

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Speaker 2: ever heard anything like that. And at the same time,

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Speaker 2: you know, maybe even more than those other situations playing

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Speaker 2: with me, I've always joked that I was probably the

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Speaker 2: only person that ever said, you're playing too many notes,

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Speaker 2: it's too loud. I mean, I didn't really have the

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Speaker 2: awestruck response to his thing that I think everybody else

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Speaker 2: had not for any reason other than I was probably

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Speaker 2: the first person or one of the fearst people he'd

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Speaker 2: run into that was just as stubborn and sort of

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Speaker 2: whatever as he was, and that made a really interesting

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Speaker 2: between the two of us that continued actually across the years,

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Speaker 2: even as we went in very very different lifestyle directions.

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Speaker 2: He was the only person I had ever met who

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Speaker 2: was as straight as me, and that I at that

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Speaker 2: point it never had a drink or any drugs or

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Speaker 2: anything at all, and that's still true to this day.

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Speaker 2: When he joined Weather Report, he became a completely different

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Speaker 2: person and almost an unrecognizable person to me in many ways.

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Speaker 2: Yet at moments along the way when he needed something,

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Speaker 2: he would always call me and we would have talks

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Speaker 2: because he knew that I knew him from before. And

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Speaker 2: also I was probably the person closest to the level

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Speaker 2: of sudden attention that he had been getting too. So

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Speaker 2: we had a real special thing. And I realize, of

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Speaker 2: course now that record captures many things about what our

377
00:22:57,440 --> 00:23:01,359
Speaker 2: relationship was like, and Moses too. I mean, that was

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Speaker 2: a real band. We did a lot of gigs together,

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Speaker 2: had a real band dynamic, and so I'm glad that

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Speaker 2: record does exist.

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Speaker 3: When did you develop your innovation skills that led to

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Speaker 3: the invention of some really unique guitars And is there

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Speaker 3: anything new that you can share that you might be

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Speaker 3: dreaming up?

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Speaker 2: In many ways, my early years were very conventional. You know.

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Speaker 2: It was a hollow body Gibson guitar and an amp

387
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Speaker 2: and that was it, because that was the realm of

388
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Speaker 2: that era. Somewhere in there I found a guitar that

389
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Speaker 2: was a nylon string guitar that had a pick up

390
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Speaker 2: on it that I brought to a Russ long organ

391
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Speaker 2: trio gig, and suddenly there was this other kind of

392
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Speaker 2: sense of orchestration in that band, and you know, I thought, oh, well,

393
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Speaker 2: guitar is interesting because it can be all these different things.

394
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Speaker 2: And I started to embrace that more and more, and

395
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Speaker 2: then I realized that, you know, it's an instrument that

396
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Speaker 2: is utterly undefined even at this point, and you can

397
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Speaker 2: really make it be anything. And that led to me

398
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Speaker 2: led me to first, you know, restringing instruments or getting

399
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Speaker 2: a twelve string and doing some wacky stuff to it.

400
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Speaker 2: You know, they weren't infinitely malleable because they would just

401
00:24:24,960 --> 00:24:30,160
Speaker 2: kind of do one thing. But I started to think

402
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Speaker 2: of the guitar as being just this paint box, and

403
00:24:33,720 --> 00:24:36,760
Speaker 2: that led me to then getting people to make special

404
00:24:36,800 --> 00:24:41,399
Speaker 2: instruments to be able to get to an idea that

405
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Speaker 2: I had. But it was always led by the idea that,

406
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Speaker 2: to me is something that I try to describe to

407
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Speaker 2: people too. That because I know I'm a guitar player,

408
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Speaker 2: people think of me as a guitar player and all that.

409
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Speaker 2: But if I have an idea of like if I

410
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Speaker 2: imagine in my brain, I'm going to improvise a chorus

411
00:24:58,359 --> 00:25:04,239
Speaker 2: on my funny Valentine right now, I'm doing that, and

412
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Speaker 2: I could pick up a trumpet and I would attempt

413
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Speaker 2: to play that idea that and it would sound terrible,

414
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Speaker 2: but that's what I would go for. Or I could

415
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Speaker 2: go over to the piano and I would play that

416
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Speaker 2: same idea, and then I would pick up the guitar

417
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Speaker 2: and I would also play that same idea much better

418
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Speaker 2: than in the other two cases. But it's the idea

419
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Speaker 2: that's before any of that stuff, and the way I

420
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Speaker 2: describe it to people, it's sort of like if you

421
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Speaker 2: can speak two or three different languages and you're thirsty,

422
00:25:34,119 --> 00:25:37,399
Speaker 2: You're thirsty before you realize, Okay, I'm going to have

423
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Speaker 2: to say this in French because I'm in France, or

424
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Speaker 2: I'm gonna have to say this in Spanish because I'm

425
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Speaker 2: in Puerto Rico, or I'm going to say this in

426
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Speaker 2: English because I'm in New York. You know, your thing

427
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Speaker 2: is you're thirsty. So to me, ideas and music are

428
00:25:50,880 --> 00:25:55,040
Speaker 2: like that, there before any instrument. But sometimes I need

429
00:25:55,080 --> 00:25:58,600
Speaker 2: to develop a language to express those ideas. And it's

430
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Speaker 2: pretty abstract in that analogy that I s gave breaks

431
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Speaker 2: down very quickly. But I have found that sometimes an

432
00:26:07,240 --> 00:26:11,600
Speaker 2: instrument can lead you to places you know based on

433
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Speaker 2: you know, something that is instigated by an idea that

434
00:26:14,800 --> 00:26:18,359
Speaker 2: you might have that finally, with an instrument in hand

435
00:26:18,400 --> 00:26:20,679
Speaker 2: takes you someplace that you might not have expected.

436
00:26:21,520 --> 00:26:24,720
Speaker 3: Well, what do you think your secret X factor is

437
00:26:25,000 --> 00:26:27,880
Speaker 3: behind your collaboration skills.

438
00:26:29,440 --> 00:26:33,680
Speaker 2: It's funny because I know that I've done a lot

439
00:26:33,720 --> 00:26:37,639
Speaker 2: of things with a lot of people, but I'm also

440
00:26:37,880 --> 00:26:41,760
Speaker 2: really picky about what I do. And I mean by that,

441
00:26:41,840 --> 00:26:45,600
Speaker 2: I mean I have said no to way more things

442
00:26:45,640 --> 00:26:49,920
Speaker 2: than I've said yes to, including things that would shock

443
00:26:50,080 --> 00:26:54,520
Speaker 2: people along the way and even me when I think

444
00:26:54,560 --> 00:26:56,560
Speaker 2: back on it. I mean there was a period I

445
00:26:56,640 --> 00:26:59,560
Speaker 2: just said no to everything. When I started my band,

446
00:27:00,119 --> 00:27:03,439
Speaker 2: I decided I'm not going to do anything except my

447
00:27:03,560 --> 00:27:07,600
Speaker 2: own thing, and from the years between nineteen seventy seven

448
00:27:07,640 --> 00:27:10,400
Speaker 2: and nineteen eighty seven, which is when Mike Brecker asked

449
00:27:10,440 --> 00:27:14,080
Speaker 2: me to be on his first record, I literally did

450
00:27:14,160 --> 00:27:17,240
Speaker 2: not do anything. I think maybe there's one little thing

451
00:27:17,320 --> 00:27:20,160
Speaker 2: I did, but I only did my own thing, and

452
00:27:20,640 --> 00:27:22,960
Speaker 2: maybe there were some benefits to that. I think there

453
00:27:23,000 --> 00:27:27,600
Speaker 2: probably were, actually, but man, when I think it's some

454
00:27:27,640 --> 00:27:29,359
Speaker 2: of the stuff I could have done in there, it

455
00:27:29,440 --> 00:27:33,160
Speaker 2: kind of blows my mind. But basically, to me, there's

456
00:27:33,200 --> 00:27:36,399
Speaker 2: two things that happened. One is I'm going to either

457
00:27:36,680 --> 00:27:39,439
Speaker 2: have to go play in somebody else's yard, which is

458
00:27:39,920 --> 00:27:45,200
Speaker 2: mostly what it is, and I do enjoy that. I mean,

459
00:27:45,240 --> 00:27:48,399
Speaker 2: the period from nineteen eighty seven to maybe around the

460
00:27:48,480 --> 00:27:50,720
Speaker 2: year two thousand, I did a lot of stuff with

461
00:27:50,840 --> 00:27:54,480
Speaker 2: some great musicians like Kenny Garrett or Mike Brecker, who

462
00:27:54,480 --> 00:27:58,000
Speaker 2: I mentioned. You know, I had a great collaborative band

463
00:27:58,000 --> 00:28:02,640
Speaker 2: with Herbie Hancock and Acti Janet and Dave Holland, and

464
00:28:03,480 --> 00:28:09,560
Speaker 2: you know, lots of things. And you know, for me,

465
00:28:09,960 --> 00:28:12,879
Speaker 2: it's it's when I'm going to go play in somebody

466
00:28:12,880 --> 00:28:15,679
Speaker 2: else's yard, I want that yard to be like a

467
00:28:15,720 --> 00:28:18,199
Speaker 2: place where I'm going to come back from that with

468
00:28:18,320 --> 00:28:22,800
Speaker 2: a whole new perspective. And maybe the ultimate example of

469
00:28:22,800 --> 00:28:25,800
Speaker 2: that would have been the collaboration with Ornette Holman, who

470
00:28:25,880 --> 00:28:30,000
Speaker 2: had been a hero for me and became a very

471
00:28:30,040 --> 00:28:34,199
Speaker 2: good friend, and as much as I love his music

472
00:28:34,600 --> 00:28:36,879
Speaker 2: to this day, is one of the greatest human beings

473
00:28:36,920 --> 00:28:41,120
Speaker 2: I've ever had the opportunity to be around. But it's

474
00:28:41,160 --> 00:28:45,800
Speaker 2: always a thing where either I know right away, oh

475
00:28:45,840 --> 00:28:49,440
Speaker 2: that's a good idea, or I don't, and if I

476
00:28:49,480 --> 00:28:51,560
Speaker 2: have to think about it, I usually don't do it.

477
00:28:52,560 --> 00:28:56,920
Speaker 2: And it's kind of simple in that respect. But the

478
00:28:57,000 --> 00:29:00,760
Speaker 2: favorite thing for me is somebody who I don't necessarily

479
00:29:00,760 --> 00:29:03,720
Speaker 2: have to go play in their yard, and they are

480
00:29:03,800 --> 00:29:07,480
Speaker 2: capable of coming and playing in my yard, which does require,

481
00:29:08,680 --> 00:29:12,720
Speaker 2: you know, some skills that are unique in the sense

482
00:29:12,720 --> 00:29:14,400
Speaker 2: that you've got to be able to really hang with

483
00:29:14,760 --> 00:29:18,840
Speaker 2: harmony as an improviser, and that is not always the

484
00:29:18,880 --> 00:29:22,360
Speaker 2: case even with advanced players. And there are some particular

485
00:29:22,360 --> 00:29:28,000
Speaker 2: things about my stuff in particular that are often even

486
00:29:28,200 --> 00:29:33,560
Speaker 2: befuddling to the very best you know, improvisers in this

487
00:29:33,680 --> 00:29:37,160
Speaker 2: general community, and that there's times when it's like, you know,

488
00:29:37,400 --> 00:29:40,440
Speaker 2: very simple, and it's not hard at all for me

489
00:29:40,480 --> 00:29:43,760
Speaker 2: to find people who can play really complicated. It's very

490
00:29:43,800 --> 00:29:46,640
Speaker 2: difficult for me even now to find people who can

491
00:29:46,680 --> 00:29:51,400
Speaker 2: play very complicated but can also play very simple. And

492
00:29:51,480 --> 00:29:54,320
Speaker 2: in fact, I would say it's much harder to play

493
00:29:54,480 --> 00:29:58,960
Speaker 2: something that's effective at a very simple level of harmony

494
00:29:59,200 --> 00:30:02,280
Speaker 2: or Melow and have it do what it needs to

495
00:30:02,320 --> 00:30:05,680
Speaker 2: do than the guys who I can find all over

496
00:30:05,720 --> 00:30:08,080
Speaker 2: the place who can play their cool little arrangement of

497
00:30:08,880 --> 00:30:13,040
Speaker 2: I hear Rhapsody in fifteen eight backwards with every substitute question.

498
00:30:13,160 --> 00:30:15,600
Speaker 2: I mean, there's lots of that, but there's you know,

499
00:30:15,680 --> 00:30:17,440
Speaker 2: it's hard for me to find somebody who can play

500
00:30:17,440 --> 00:30:20,680
Speaker 2: the melody of Farmers trust you know, it's a ballad

501
00:30:21,120 --> 00:30:23,040
Speaker 2: of mine, you know, and make it do what it's

502
00:30:23,040 --> 00:30:26,240
Speaker 2: supposed to do. So yeah, it's kind of like that.

503
00:30:27,400 --> 00:30:30,520
Speaker 3: How did the David Bowie collaboration come about? And what

504
00:30:30,600 --> 00:30:31,760
Speaker 3: was that experience like?

505
00:30:32,920 --> 00:30:35,680
Speaker 2: In the midst of all this, somewhere in my mind

506
00:30:35,720 --> 00:30:38,640
Speaker 2: I had always thought, well, you know, I love films,

507
00:30:38,720 --> 00:30:41,040
Speaker 2: I love film music. I wonder if I could do that,

508
00:30:41,880 --> 00:30:44,000
Speaker 2: And over the years I did, I don't know, ten

509
00:30:44,080 --> 00:30:49,520
Speaker 2: or twelve films, different levels, different budgets, different you know,

510
00:30:51,120 --> 00:30:54,400
Speaker 2: kinds of things. And one of them in there was

511
00:30:54,400 --> 00:30:57,280
Speaker 2: a movie called The Falcon and the Snowman with one

512
00:30:57,280 --> 00:31:00,240
Speaker 2: of my favorite directors, John Slessinger, the guy who done

513
00:31:00,280 --> 00:31:05,240
Speaker 2: The Midnight Cowboy, who was a very musical person too.

514
00:31:05,280 --> 00:31:09,520
Speaker 2: He also conducted or was the director of operas and

515
00:31:10,800 --> 00:31:13,920
Speaker 2: just really had had a very evolved sense of music.

516
00:31:14,000 --> 00:31:21,800
Speaker 2: And it was very a great film, true story that

517
00:31:21,960 --> 00:31:28,280
Speaker 2: starred Sean Penn and Timothy Hutton. And I went down

518
00:31:28,280 --> 00:31:33,160
Speaker 2: to Mexico where they were filming, and watched a day

519
00:31:33,280 --> 00:31:35,120
Speaker 2: or so of filming and went back to the hotel

520
00:31:35,200 --> 00:31:38,240
Speaker 2: room and wrote that the tune that is the basically

521
00:31:39,440 --> 00:31:42,160
Speaker 2: the theme of the movie, which is the song this

522
00:31:42,320 --> 00:31:46,480
Speaker 2: is Not America. And as we were working on you know,

523
00:31:46,560 --> 00:31:50,800
Speaker 2: the score and everything about it, John Slessenger said we

524
00:31:50,840 --> 00:31:54,480
Speaker 2: should get somebody to sing this song for the end credits.

525
00:31:54,960 --> 00:31:57,920
Speaker 2: And I was like, okay, you know, sure, and he

526
00:31:58,000 --> 00:32:01,640
Speaker 2: mentioned David Bowie, who I was not that familiar with.

527
00:32:01,800 --> 00:32:03,880
Speaker 2: That's not a statement of anything that me.

528
00:32:05,800 --> 00:32:08,479
Speaker 4: But I got to go to the store and got

529
00:32:08,520 --> 00:32:10,080
Speaker 4: a couple of records and I was like, oh, this

530
00:32:10,120 --> 00:32:12,920
Speaker 4: guy's the perfect I mean, this is the perfect kind

531
00:32:12,960 --> 00:32:14,880
Speaker 4: of voice to sing this song, for sure.

532
00:32:15,480 --> 00:32:19,000
Speaker 2: And so he was invited to a screening David Bowie

533
00:32:18,960 --> 00:32:22,000
Speaker 2: whiz and I sat next to him and hung out

534
00:32:22,000 --> 00:32:25,800
Speaker 2: with him and was kind of extremely aware of being

535
00:32:25,800 --> 00:32:29,760
Speaker 2: in the presence of a super evolved human being. I mean,

536
00:32:30,400 --> 00:32:33,280
Speaker 2: I have to say he's one of the most intelligent,

537
00:32:33,560 --> 00:32:37,160
Speaker 2: just bright people I think I have ever had the

538
00:32:37,760 --> 00:32:42,200
Speaker 2: good fortune to be around. And so he liked the

539
00:32:42,280 --> 00:32:45,800
Speaker 2: whole idea. I send him, you know, four or five

540
00:32:45,920 --> 00:32:51,440
Speaker 2: versions of my tune. He was living in Switzerland at

541
00:32:51,440 --> 00:32:56,920
Speaker 2: that time and did some stuff with my versions. He

542
00:32:57,000 --> 00:33:00,520
Speaker 2: added kind of a bass drum part, and then he

543
00:33:00,680 --> 00:33:03,360
Speaker 2: sang kind of a demo oh for the tune that

544
00:33:03,600 --> 00:33:06,400
Speaker 2: was kind of not exactly what I had written. It

545
00:33:06,440 --> 00:33:09,960
Speaker 2: was sort of almost like a counterline that was really cool.

546
00:33:10,000 --> 00:33:13,840
Speaker 2: But the main thing was the words were amazing, incredible words.

547
00:33:14,600 --> 00:33:17,840
Speaker 2: So my band at the time that was working on

548
00:33:17,880 --> 00:33:22,160
Speaker 2: this score with me, we all flew to Switzerland jet

549
00:33:22,240 --> 00:33:25,280
Speaker 2: lagged out of our minds because of the way the

550
00:33:25,320 --> 00:33:29,760
Speaker 2: scoring had gone. Had to do like the last seventy

551
00:33:29,800 --> 00:33:32,760
Speaker 2: two hours of the scoring sessions, we were awake the

552
00:33:32,880 --> 00:33:35,920
Speaker 2: entire time. Everything had run late. So then flew to

553
00:33:36,120 --> 00:33:41,040
Speaker 2: this studio in Montro, the famous it was owned i

554
00:33:41,040 --> 00:33:45,240
Speaker 2: think by Queen, the band Queen in Montro And you know,

555
00:33:45,280 --> 00:33:47,680
Speaker 2: we spent two days in the studio with him and

556
00:33:47,760 --> 00:33:52,400
Speaker 2: did that track, which was very interesting, and you know,

557
00:33:52,440 --> 00:33:54,880
Speaker 2: it was sort of like being around you know, Sonny

558
00:33:54,960 --> 00:33:57,400
Speaker 2: Rollins there somethime. It was like this guy is a

559
00:33:57,440 --> 00:34:01,120
Speaker 2: master and it was a incredible experience.

560
00:34:02,280 --> 00:34:06,800
Speaker 3: Tell us about the creative process behind your newest album,

561
00:34:06,880 --> 00:34:07,440
Speaker 3: Moon Dial.

562
00:34:08,640 --> 00:34:11,360
Speaker 2: The latest record I have out is called moon Dial,

563
00:34:11,560 --> 00:34:14,799
Speaker 2: which is kind of the third in a series of

564
00:34:15,040 --> 00:34:21,240
Speaker 2: really purely solo guitar records that I've done on baritone guitar,

565
00:34:21,960 --> 00:34:24,600
Speaker 2: and most people don't know what a baritone guitar is.

566
00:34:24,680 --> 00:34:27,160
Speaker 2: It's just what you would think halfway between a regular

567
00:34:27,200 --> 00:34:31,320
Speaker 2: guitar and a bass guitar. And a gentleman in Missouri

568
00:34:31,320 --> 00:34:34,520
Speaker 2: when I was growing up showed me a cool way

569
00:34:34,560 --> 00:34:37,280
Speaker 2: of using a baritone guitar was to tune the middle

570
00:34:37,320 --> 00:34:40,479
Speaker 2: two strings up in octave, so you get this sort

571
00:34:40,480 --> 00:34:43,080
Speaker 2: of bass realm, but you also get this sort of

572
00:34:43,239 --> 00:34:46,440
Speaker 2: middle zone that's almost like a violin, and then the

573
00:34:46,560 --> 00:34:49,759
Speaker 2: lead sound on top is like a viola, and it's

574
00:34:49,800 --> 00:34:53,800
Speaker 2: a really cool thing. And the first time I addressed

575
00:34:53,840 --> 00:34:58,560
Speaker 2: that was a record called One Quiet Night. Then I

576
00:34:58,840 --> 00:35:02,680
Speaker 2: kind of learned it, like in detail from playing it

577
00:35:02,880 --> 00:35:05,520
Speaker 2: night after night, and I don't know, a number of

578
00:35:05,560 --> 00:35:08,760
Speaker 2: years later did a record What's It All About, which

579
00:35:08,960 --> 00:35:11,080
Speaker 2: was the first time I'd ever done a record where

580
00:35:11,120 --> 00:35:13,759
Speaker 2: I play only other people's music, including you know, a

581
00:35:13,800 --> 00:35:17,240
Speaker 2: lot of pop tunes that I used to like drive

582
00:35:17,280 --> 00:35:20,279
Speaker 2: into gigs in high school and stuff, some seventies kind

583
00:35:20,280 --> 00:35:23,759
Speaker 2: of tunes. And then this one is different in the

584
00:35:23,840 --> 00:35:27,280
Speaker 2: sense that both those records were done on steel string

585
00:35:27,320 --> 00:35:30,400
Speaker 2: baritone guitars. I had always wanted to get a nylon

586
00:35:30,440 --> 00:35:34,000
Speaker 2: string baritone guitar going, but could never find the strings.

587
00:35:35,200 --> 00:35:38,400
Speaker 2: I put out another a different kind of solo record

588
00:35:38,560 --> 00:35:42,720
Speaker 2: last year called dream Box that's all on electric guitar,

589
00:35:43,040 --> 00:35:47,640
Speaker 2: overdubbed like two electric guitars, but still just me, and

590
00:35:48,520 --> 00:35:51,400
Speaker 2: it went off on a long tour for in support

591
00:35:51,440 --> 00:35:55,080
Speaker 2: of that record, where just as that tour is beginning,

592
00:35:55,239 --> 00:35:58,320
Speaker 2: I found a way of stringing up a nylon string

593
00:35:58,360 --> 00:36:02,400
Speaker 2: baritone guitar for the first time that was effective, started

594
00:36:02,400 --> 00:36:04,080
Speaker 2: playing it on the first night of that tour and

595
00:36:04,160 --> 00:36:05,880
Speaker 2: kind of fell in love with it and found a

596
00:36:05,920 --> 00:36:09,000
Speaker 2: whole new world in there. On the first break of

597
00:36:09,040 --> 00:36:13,680
Speaker 2: the tour, after about fifty five sixty gigs, while it

598
00:36:13,760 --> 00:36:16,640
Speaker 2: was still fresh for me, I took that baritone nolin

599
00:36:16,680 --> 00:36:19,879
Speaker 2: string guitar off into a little room with a good

600
00:36:19,920 --> 00:36:24,600
Speaker 2: mic and recorded that whole record across a week or so.

601
00:36:25,360 --> 00:36:28,960
Speaker 2: And it's a really special record. It's got a very

602
00:36:28,960 --> 00:36:31,520
Speaker 2: different sound than the other two. But I think the

603
00:36:31,600 --> 00:36:33,640
Speaker 2: fact that it was new to me and a new

604
00:36:33,719 --> 00:36:38,160
Speaker 2: sound brings something novel to it all too. And it's

605
00:36:38,239 --> 00:36:42,080
Speaker 2: off to a great start at this point. You know,

606
00:36:42,200 --> 00:36:45,759
Speaker 2: people seem to really like it's a record that has

607
00:36:45,840 --> 00:36:48,839
Speaker 2: that quality that I always hope for where you can

608
00:36:48,960 --> 00:36:51,480
Speaker 2: just kind of have it on and it's fine, or

609
00:36:51,520 --> 00:36:53,279
Speaker 2: you can turn it up as loud as you can

610
00:36:53,400 --> 00:36:56,480
Speaker 2: turn it up and really listen to the details. And

611
00:36:56,520 --> 00:37:00,440
Speaker 2: there's other stuff in there too that I think will

612
00:37:00,480 --> 00:37:03,799
Speaker 2: reveal itself to people over the time they spend with it.

613
00:37:03,920 --> 00:37:08,520
Speaker 2: So I'm pretty happy with that one, and I'm you know,

614
00:37:08,800 --> 00:37:13,040
Speaker 2: continuing on a tour that's including it and many other

615
00:37:13,120 --> 00:37:16,879
Speaker 2: things about what I have done over the years as

616
00:37:17,160 --> 00:37:21,000
Speaker 2: a solo guy making records. So there's quite a variety

617
00:37:21,080 --> 00:37:25,600
Speaker 2: in the evening of things that happen, you know. I

618
00:37:25,600 --> 00:37:29,719
Speaker 2: did a record some years back called Zero Tolerance for

619
00:37:29,800 --> 00:37:32,880
Speaker 2: Silence that it was a very different approach to playing solo.

620
00:37:34,120 --> 00:37:36,759
Speaker 2: There was a record New Chautauqua early on that had

621
00:37:36,840 --> 00:37:40,440
Speaker 2: strumming and almost like a kind of country feeling and

622
00:37:40,560 --> 00:37:43,839
Speaker 2: other things along the way too. So I've been kind

623
00:37:43,840 --> 00:37:47,359
Speaker 2: of looking at all those in this tour and it's

624
00:37:47,400 --> 00:37:48,360
Speaker 2: really been fun for me.

625
00:37:49,680 --> 00:37:52,840
Speaker 3: Can you talk about the work that the Metheni Music

626
00:37:52,960 --> 00:37:53,960
Speaker 3: Foundation does.

627
00:37:54,840 --> 00:37:58,319
Speaker 2: This was a project that was started by my older

628
00:37:58,360 --> 00:38:01,640
Speaker 2: brother Mike in Missouri to you know, help young musicians

629
00:38:01,640 --> 00:38:05,000
Speaker 2: in our hometown of Lease. Summit, go to study at

630
00:38:05,120 --> 00:38:08,080
Speaker 2: summer camps, and each year there's kind of a I

631
00:38:08,120 --> 00:38:10,359
Speaker 2: don't want to say a competition, but people send in

632
00:38:11,800 --> 00:38:16,840
Speaker 2: tapes of their playing, and you know, we were a

633
00:38:16,880 --> 00:38:23,520
Speaker 2: committee of people pick the person who seems to deserve,

634
00:38:24,600 --> 00:38:27,160
Speaker 2: you know, a little support. And it's been going on

635
00:38:27,280 --> 00:38:30,080
Speaker 2: now for a while and it's a not for profit

636
00:38:30,120 --> 00:38:33,480
Speaker 2: thing out in the state of Missouri, so it's cool

637
00:38:33,520 --> 00:38:35,520
Speaker 2: to be a part of that. Well.

638
00:38:35,560 --> 00:38:39,719
Speaker 3: Patent closing anybody on your dream list that you'd like

639
00:38:39,800 --> 00:38:42,359
Speaker 3: to work with in the future, you.

640
00:38:42,360 --> 00:38:47,719
Speaker 2: Know, that's an interesting one. There are many people I've

641
00:38:47,760 --> 00:38:51,000
Speaker 2: already worked with that I look forward to working with again.

642
00:38:51,120 --> 00:38:53,200
Speaker 2: I mean, you know, Brad Meldow and I did a

643
00:38:54,280 --> 00:38:57,799
Speaker 2: set of recordings that were kind of okay. I mean,

644
00:38:58,719 --> 00:39:02,080
Speaker 2: you know, they were kind of documentations of our very

645
00:39:02,120 --> 00:39:05,759
Speaker 2: first meeting, which happened in a studio. Then we went

646
00:39:05,800 --> 00:39:09,120
Speaker 2: out and toured a lot across a number of months

647
00:39:09,640 --> 00:39:13,600
Speaker 2: and that's where it really got good. And you know,

648
00:39:13,920 --> 00:39:16,520
Speaker 2: at some point we do have a lot of recordings

649
00:39:16,560 --> 00:39:18,640
Speaker 2: of live gigs. It'd be great to put those out

650
00:39:18,680 --> 00:39:22,080
Speaker 2: and then maybe do some more playing together. Kenny Garrett

651
00:39:22,440 --> 00:39:26,080
Speaker 2: is one of my favorite musicians of all time. And

652
00:39:26,280 --> 00:39:29,120
Speaker 2: I would love to play with Kenny Moore, but I

653
00:39:29,160 --> 00:39:31,759
Speaker 2: mean pretty much everybody I've ever played with, I would

654
00:39:31,800 --> 00:39:33,640
Speaker 2: love to play with all of them more, you know.

655
00:39:33,760 --> 00:39:36,960
Speaker 2: I mean, right now, my focus has been playing with

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00:39:37,040 --> 00:39:40,080
Speaker 2: younger musicians that are just starting out, because I had

657
00:39:40,120 --> 00:39:43,600
Speaker 2: that opportunity myself, and I feel like that's a great

658
00:39:43,680 --> 00:39:47,120
Speaker 2: thing to be able to share with people. Is this

659
00:39:47,200 --> 00:39:50,359
Speaker 2: ongoing thing. So I do hire a lot of you know,

660
00:39:50,440 --> 00:39:54,400
Speaker 2: twenty something guys now. And Joe Dyson is a drummer

661
00:39:54,480 --> 00:39:57,359
Speaker 2: that's been kind of in my various things these last

662
00:39:57,360 --> 00:39:59,920
Speaker 2: couple of years, who is one of the greatest dru

663
00:40:00,360 --> 00:40:03,040
Speaker 2: I've ever been around, and I just love him. Chris

664
00:40:03,040 --> 00:40:05,239
Speaker 2: Fishman has been playing with me in the side I

665
00:40:05,360 --> 00:40:11,239
Speaker 2: thing also just an amazing musician and the perfect fit

666
00:40:11,360 --> 00:40:14,200
Speaker 2: for what I'm up to in that realm. And we

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00:40:14,320 --> 00:40:16,400
Speaker 2: have a new record, the three of us, with a

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00:40:16,400 --> 00:40:19,239
Speaker 2: bunch of other musicians joining us that's going to come

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00:40:19,280 --> 00:40:24,880
Speaker 2: out that I'm unbelievably excited about. And then Joe Dyson

670
00:40:24,960 --> 00:40:27,439
Speaker 2: and I just were in Japan for a week playing

671
00:40:27,480 --> 00:40:31,520
Speaker 2: trio with one of our main heroes, the Great Ron Carter,

672
00:40:32,400 --> 00:40:37,480
Speaker 2: And you know, I'm hoping that maybe some of that

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00:40:37,800 --> 00:40:42,319
Speaker 2: will come out at some point, and you know, who

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00:40:42,360 --> 00:40:44,359
Speaker 2: knows what else is going to happen. I've always got

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00:40:44,480 --> 00:40:46,440
Speaker 2: lots of ideas of things, and.

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00:40:47,880 --> 00:40:51,680
Speaker 3: So yeah, thanks so much to Pat Metheny for being

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00:40:51,719 --> 00:40:53,480
Speaker 3: on the Taking a Walk podcast.

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00:40:54,520 --> 00:40:56,960
Speaker 1: Thanks for listening to this episode of the Taking a

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00:40:57,000 --> 00:41:00,920
Speaker 1: Walk Podcast. Share this and other episode It's with your friends,

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00:41:01,000 --> 00:41:04,479
Speaker 1: and follow us so you never miss an episode. Taking

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00:41:04,520 --> 00:41:08,399
Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts,

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00:41:08,640 --> 00:41:10,919
Speaker 1: and wherever you get your podcasts