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

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Speaker 1: Questlove and Christian McBride two.

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Speaker 2: For I'm just playing.

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Speaker 3: With you.

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Speaker 4: I'm just playing alone with you.

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Speaker 5: Hey, good people, what's up? How you doing?

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Speaker 6: It's Quest Love and you're about to listen to an

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Speaker 6: episode of my good friend Nora Jones on our podcast

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Speaker 6: called Norah Jones is playing Along. This particular episode is

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Speaker 6: with myself and one of my closest buddies in high school,

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Speaker 6: not named trek Trotter, uh, named Christian McBride, who I.

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Speaker 5: Basically call god God of base.

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Speaker 6: We're gonna go back and reminisce about all the times

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Speaker 6: we've been sent to the principal's office for playing James

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Speaker 6: Brown and other details like that in our high school days,

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Speaker 6: messing around before we became professional. So we do covers

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Speaker 6: of di'angelo, pop Staples, of the Staples singers Chris Christopherson,

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Speaker 6: and a lot more. I hope you enjoy it. This

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Speaker 6: is Nord Jones playing along with me and Christian McBride.

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Speaker 5: All right.

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Speaker 1: We actually recorded this episode in twenty twenty three, but

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Speaker 1: we really.

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Speaker 7: Wanted to replay it. It's a rerun, yeah, but a

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Speaker 7: really good one Yes, and we wanted to show it

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Speaker 7: some extra love. Both Christian and Questlov have been keeping

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Speaker 7: very busy with other projects they've worked on since we

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Speaker 7: put our episode out, so we wanted to mention some

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Speaker 7: of them. In twenty twenty five, Christian McBride released Without

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Speaker 7: Further Ado Volume one. He also dropped the single Old

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Speaker 7: Folks with Samara Joy, and he announced this new ensemble

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Speaker 7: called Ursa Major and Questlov has also been equally busy.

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Speaker 7: He directed Sly Lives, which heard at Sundance in twenty

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Speaker 7: twenty five. He co directed the fifty Years of SNL

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Speaker 7: music special that aired in January of twenty twenty five.

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Speaker 7: He's also directing the Big Earth, Wind and Fire documentary

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Speaker 7: coming out in twenty twenty six. He co wrote the

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Speaker 7: Rhythm of Time series with sa Cosby, which is a

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Speaker 7: middle grade sci fi book series. The first book came

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Speaker 7: out in twenty twenty three, but two more are coming

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Speaker 7: out in twenty twenty six. He's also involved in a

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Speaker 7: posthumous D'Angelo album that was recently announced.

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Speaker 1: We also covered a Dangelo song in this episode called

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Speaker 1: Betray My Heart, which was from the Black Messiah album

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Speaker 1: that came out in twenty fourteen, and Questlo was a

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Speaker 1: collaborator on that album, so that's kind of why we

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Speaker 1: covered this song. Plus it's just an amazing song. So

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Speaker 1: I hope you enjoy hearing this episode if you've never

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Speaker 1: heard it, and if you have, I think you're gonna

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Speaker 1: like it again.

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Speaker 2: My man don't.

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Speaker 4: Love me, treats me?

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Speaker 2: Ohso, I said, my man, he don't love me.

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Speaker 4: He treats me?

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Speaker 2: Ohs me.

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Speaker 4: He's the lost man.

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Speaker 2: Live and say.

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Speaker 8: He wears her tram pants and strips.

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Speaker 9: I really yell, he wears hardly.

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Speaker 3: Paints stripes are really.

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Speaker 10: When he starts in loving me, he's so fine and mellow.

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Speaker 10: That would make you drinking gamble and make you stand out.

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Speaker 2: All night all love.

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Speaker 11: We'll make you drinking gamble, make it stare at all.

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Speaker 2: Love. That would make you do all the same.

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Speaker 3: That you know.

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Speaker 12: Okay, get an increase about.

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Speaker 5: The bad.

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Speaker 12: Bad day? Would the lady?

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Speaker 13: Oh, if you treat me right, baby, I'll stay home

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Speaker 13: eh re day. If you treat me right, baby, I'll

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Speaker 13: stay home.

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Speaker 10: Readay, But if you saw mean to me, baby, you

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Speaker 10: know you're gonna drive me away.

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Speaker 2: That was just like a fascet.

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Speaker 10: It turns off and it turnsmello was just like a fozzy.

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Speaker 10: It turns off and it toos. Sometimes where your thing

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Speaker 10: is on is turned off.

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Speaker 5: And gone, gone with your bath.

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Speaker 14: No Joe bringing the grits and gravy.

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Speaker 1: Oh my god, that's it's.

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Speaker 5: Too early for that kind of song before noon, That's

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Speaker 5: what I'm saying.

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Speaker 1: Well, if you wake up, if you wake up at

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Speaker 1: seven usually then it's more like three in the afternoon.

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Speaker 14: Right, Well, I suppose.

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Speaker 1: Oh, thanks for doing that with me. That was fun.

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Speaker 1: I love that Billie Holiday song.

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Speaker 14: That's thrill.

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Speaker 1: Is that is that old Billie Holiday song? Or did

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Speaker 1: she did she get it from somewhere else? That's hers? God,

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Speaker 1: I love Billy Holiday. Man, I haven't sung that song

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Speaker 1: in a really long time.

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Speaker 14: You could have fooled me.

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Speaker 1: That's from the old days, you know, the old days

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Speaker 1: of playing and singing in restaurants and just playing.

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Speaker 14: Well, see that.

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Speaker 15: Those gigs, you know, back in the day when you

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Speaker 15: were doing the you know, hotel lobby or restaurant gig,

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Speaker 15: whatever it is.

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Speaker 5: You know.

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Speaker 15: I always tell musicians that's your shared time. That's how

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Speaker 15: you build that's how you build your skills.

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Speaker 1: Semi paid practice.

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Speaker 15: Totally, totally what it is. I mean, like I used

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Speaker 15: to play. I can't remember the name of it, but

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Speaker 15: Benny Green and I used to have this kind of

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Speaker 15: semi regular gig at some Chinese food restaurant over on

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Speaker 15: the East Side, and.

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Speaker 14: We would just sharre tunes.

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Speaker 15: You know, nobody was really listening, kind of sort of

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Speaker 15: you know, so we just call songs and I'll be

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Speaker 15: learning the changes right there on the spot.

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Speaker 5: That's the best, That's how you learned.

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Speaker 1: Yeah, I had a gig like that in Dallas. I

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Speaker 1: wish it was Chinese food. That sounds really good. Actually

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Speaker 1: right now.

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Speaker 15: If I remember correctly, just like most jazz venues, we

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Speaker 15: couldn't pick off the regular menus.

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Speaker 14: They had a musician's menu.

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Speaker 1: I remember that. I had a gig in Midtown right

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Speaker 1: around the corner here at that place Sofia's. Did you

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Speaker 1: ever work?

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Speaker 11: Yes?

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Speaker 14: I never worked there, but a lot of people did.

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Speaker 5: Yeah. Yeah.

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Speaker 1: Actually was surprised he hired me because there were a

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Speaker 1: lot of really great piano players that play there. But

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Speaker 1: I think he liked my singing. And that guy was

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Speaker 1: really nice, actually, I really liked him. But they did

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Speaker 1: not let us or very nicely. Right, you go back

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Speaker 1: to the kitchen and you could only have like a

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Speaker 1: few things and you had a set meal.

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Speaker 5: Time, right, yeah, exactly, that's right.

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Speaker 1: And it was like a four and a half hour gig.

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Speaker 14: Long gig, long gig.

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Speaker 15: I remember when well, when I first moved to town,

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Speaker 15: most clubs were three sets a night. The Vanguard was nine,

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Speaker 15: eleven and one.

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Speaker 1: Oh, it was three sets back oh yeah.

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Speaker 15: Yeah, six nights a week. Bradley's was ten, twelve and two.

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Speaker 15: That was hard because you had an hour break in

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Speaker 15: between these shows. All your momentum yeah be gone.

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Speaker 5: Yeah.

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Speaker 1: And if you're having a drink, it's we're eating. It

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Speaker 1: just makes you tie.

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Speaker 15: Yeah, yeah, I'll tell you what so much. See, this

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Speaker 15: is why when people began to know who you were,

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Speaker 15: you were already all your skills were totally strong already.

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Speaker 15: I'm serious. You weren't starting from scratch. You've been out

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Speaker 15: there working.

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Speaker 1: I kind of feel like I could use a weekly

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Speaker 1: gig again, you know, like a weekly not a bad

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Speaker 1: idea bar gig where the stakes are low and the

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Speaker 1: fun is high, you know, just working it out.

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Speaker 5: I'm sure you could find something I.

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Speaker 1: Love doing that, you know. That's what's great about living

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Speaker 1: in a city.

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Speaker 14: Right right right, you can hide in a crowd exactly.

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Speaker 1: Man, tell me about your bass.

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Speaker 14: This is many.

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Speaker 15: Yeah, yes, she's like you little bit mighty.

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Speaker 1: Did you bring her for me, because I'm I'm sure no.

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Speaker 5: No.

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Speaker 15: This has been my main base since January of ninety six.

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Speaker 1: Really, oh, man, So you have others that you use sometimes,

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Speaker 1: but this is your.

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Speaker 15: Main This is my girl. I had a base that

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Speaker 15: was I used to think it was made by John Jiuzic,

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Speaker 15: but a guy in Check Slovakia told me that John Jewsk,

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Speaker 15: that's a big name in the bass world.

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Speaker 1: Oh, I know, because I dated a bass player. I'm

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Speaker 1: sorry for a long time and I will never forget

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Speaker 1: the bass saga of him getting.

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Speaker 15: A jews Well, I found out that John Jeuwsk was

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Speaker 15: not a base maker. He was a base distributor.

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Speaker 1: So it was all a lot.

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Speaker 15: He was the middleman. Yeah. So I went to Czechoslovakia

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Speaker 15: to go kind of track him down.

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Speaker 2: Really I want to.

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Speaker 15: I want to learn about the Jewsak family line. And

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Speaker 15: I went to this bass shop in Prague, and uh,

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Speaker 15: it was so funny because the guy said, and he

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Speaker 15: didn't really say these exact words, but I was reading

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Speaker 15: in between the lines. He was like, oh, you dumb Americans.

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Speaker 15: You think Jiwsak was the guy. He was not the guy.

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Speaker 15: He was the distributor.

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Speaker 14: You know.

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Speaker 5: I was like, oh, oh, okay, so who was the guy?

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Speaker 15: And then he gave me like a whole bunch of

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Speaker 15: check names that I couldn't spell.

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Speaker 14: You couldn't find him, Yeah, I couldn't find him.

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Speaker 1: But so there was more than one guy, basically, Oh yeah,

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Speaker 1: there were several guys.

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Speaker 5: Guys.

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Speaker 1: They were kind of in the same community of making bases, right, okay.

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Speaker 15: And so I had a Jewsak distributed base from nineteen

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Speaker 15: eighty nine until British Airways destroyed it.

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Speaker 2: Oh no, of ninety five.

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Speaker 15: Yeah, that's right. I'll never forgive you for that, you know.

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Speaker 15: But yeah, I had my jews Ak was was crushed,

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Speaker 15: fell out of the belly of the plane. You know,

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Speaker 15: it's like a foot drop, you.

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Speaker 1: Know, from on the ground.

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Speaker 15: But still, yeah, I mean I had it had a

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Speaker 15: really good case. But I you know, I guess the

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Speaker 15: you know, it was it was so far drop. Uh,

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Speaker 15: it just it didn't make it.

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Speaker 1: That's a bummer.

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Speaker 5: Yeah.

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Speaker 15: And so uh, David Gage, the guru, I know him.

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Speaker 15: I'm sure you know him. I love him. He tried

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Speaker 15: to fix it, he restored it, he did everything he could,

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Speaker 15: but it just didn't get that old sound back. And

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Speaker 15: so while I was waiting for him to fix it,

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Speaker 15: he said, man, somebody just came in my shop with

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Speaker 15: an old base.

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Speaker 14: They want to get rid of it. You need to

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Speaker 14: come check this out. And that was many.

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Speaker 1: That's it, he called it.

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Speaker 15: Yep, this is an old German base made in estimated

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Speaker 15: in nineteen ten.

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Speaker 1: That's beautiful.

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Speaker 15: Yeah, so she speaks, she's.

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Speaker 1: That's beautiful.

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Speaker 14: Yeah, so many she's been there.

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Speaker 1: That's great. I remember seeing on your maybe your Instagram

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Speaker 1: page once and you took a picture of a flight

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Speaker 1: attendant who was super sweet about your instrument.

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Speaker 14: I always try.

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Speaker 1: I was going to say, I think you do that.

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Speaker 1: Don't you shout out when they're really nice?

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Speaker 5: Yes? Yeah?

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Speaker 1: Do you shout out when they suck about.

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Speaker 2: It or you?

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Speaker 5: No?

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Speaker 15: I just go direct to uh, I just go direct

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Speaker 15: to customer service. You know, I've discovered the My friend

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Speaker 15: Terry on Gully, his wife is she writes letters all.

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Speaker 1: The time, complaints, kind complaints, well worded, thoughtful.

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Speaker 15: And she and he used to tell me, he said, man,

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Speaker 15: you know those complaint letters go a long way.

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Speaker 1: They do, like they really read them.

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Speaker 15: I don't know if they do now, but you know,

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Speaker 15: so fortunately I have not had too many bad instances

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Speaker 15: and quite some time.

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Speaker 1: Yeah, it can be tough trying to go on a

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Speaker 1: plane with a weird shaped instrument. They just don't know.

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Speaker 15: They just don't working musicians. I mean, I see flight

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Speaker 15: attendants giving trouble to just like guitar players. You know,

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Speaker 15: they got like a little soft gigbag that's not gonna

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Speaker 15: fit overhead.

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Speaker 5: Of course it will.

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Speaker 1: Yeah, so it's a tough gig on both ends. I

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Speaker 1: think too.

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Speaker 14: Well. Absolutely, you know, you gotta have empathy.

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Speaker 1: You know, but sometimes people just stink about it.

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Speaker 15: You know what I feel bad about. I go, I

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Speaker 15: go to the airport, and before I check in, you

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Speaker 15: try to read the friendliest face.

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Speaker 2: Yeah, you know.

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Speaker 15: So Like I'll be standing in line and I'll see

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Speaker 15: like three ticket agents and I see one about to

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Speaker 15: become open, but they don't look like they're a nice person.

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Speaker 15: Like I'll turn to the person behind me, like no, no, no, no,

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Speaker 15: you go ahead, but you're next, No go, I'm waiting for.

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Speaker 5: The nice person.

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Speaker 1: Did you start out on upright base?

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Speaker 14: Nope. Started out on the electric at what age?

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Speaker 5: Because of my dad nine I was nine, He played bass.

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Speaker 5: He still does.

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Speaker 1: He still does.

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Speaker 14: He's one of the workingst bass players in Philly.

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Speaker 1: That's amazing.

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Speaker 14: He's my dad.

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Speaker 15: His name is Lee Smith, and he's working more now

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Speaker 15: than he was when I was a kid.

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Speaker 14: Ain't that right? Clyde?

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Speaker 3: Hey are you?

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00:18:08,800 --> 00:18:10,960
Speaker 1: I got some good stories about you before you got here.

280
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Speaker 1: I'm just kidding.

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Speaker 11: I'm just kidding.

282
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Speaker 1: We didn't get to it yet.

283
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Speaker 2: What's good man?

284
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Speaker 5: All right?

285
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Speaker 6: I'm gonna give my on and play traditional for the

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Speaker 6: first time in what thirty years?

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00:18:35,560 --> 00:18:43,600
Speaker 1: Traditional? How so a that's great. That's some technical thing

288
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Speaker 1: that I don't know about. You don't usually hold your exactly.

289
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Speaker 5: All my idols play this way, something like what wow?

290
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Speaker 5: Since I was twelve?

291
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Speaker 4: Really whole episode.

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Speaker 14: Google?

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Speaker 10: Whoa ah my treating so bad? Whoa ah my treating

294
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Speaker 10: so by?

295
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Speaker 2: You know, as I seen this song.

296
00:20:06,640 --> 00:20:36,880
Speaker 16: Him after so Bad, I'm not ask.

297
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Speaker 2: The messages day.

298
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Speaker 3: Ready seemed to be in day you may be bad?

299
00:20:54,720 --> 00:20:56,600
Speaker 3: You maybe late.

300
00:20:58,080 --> 00:21:05,480
Speaker 10: Brocord her mrssion, Dove, who change so Bad?

301
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Speaker 5: Tround ticket.

302
00:23:04,960 --> 00:23:12,720
Speaker 3: Now the best of the day things are?

303
00:23:19,359 --> 00:23:20,520
Speaker 2: They seem to be.

304
00:23:21,560 --> 00:23:34,119
Speaker 17: Lame you maybe line you, maybe lay just walk up?

305
00:23:34,720 --> 00:23:52,280
Speaker 18: How messes made? Don't treat so bad? Do you teach? Y?

306
00:24:17,960 --> 00:24:21,040
Speaker 5: Chris brother?

307
00:24:22,280 --> 00:24:22,480
Speaker 1: Yeah?

308
00:24:22,720 --> 00:24:24,880
Speaker 5: But can we just be normal for once and not ever?

309
00:24:27,320 --> 00:24:27,920
Speaker 14: No, we can't.

310
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Speaker 5: Or what are you about to learn?

311
00:24:33,119 --> 00:24:35,159
Speaker 14: You're about to be in O school with us? This

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00:24:35,359 --> 00:24:37,960
Speaker 14: is this is a thirty year camaraderie.

313
00:24:39,320 --> 00:24:44,520
Speaker 6: Where he and I are having a total inside conversation

314
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Speaker 6: with each other based on like every reference.

315
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Speaker 5: I know.

316
00:24:48,960 --> 00:24:50,879
Speaker 1: I texted with you both for about ten minutes.

317
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Speaker 14: Are you going to.

318
00:25:08,800 --> 00:25:10,120
Speaker 5: This might be a three episode?

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00:25:10,320 --> 00:25:10,520
Speaker 15: I know?

320
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Speaker 3: Right?

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Speaker 14: All right, give it to Billy?

322
00:25:23,119 --> 00:25:32,520
Speaker 5: How long before you committed this in your memory? You

323
00:25:32,640 --> 00:26:00,840
Speaker 5: gotta get that in this right right right? Spot Stick?

324
00:26:01,280 --> 00:26:08,920
Speaker 14: Say what spot Stick? Great?

325
00:26:12,359 --> 00:26:13,440
Speaker 5: Crack break.

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Speaker 2: Tom right now.

327
00:26:42,800 --> 00:26:47,399
Speaker 5: Is a question of you two? So when all right,

328
00:26:47,440 --> 00:26:48,680
Speaker 5: watch me take the podcast over?

329
00:26:49,160 --> 00:26:49,680
Speaker 1: Take it over?

330
00:26:49,840 --> 00:26:54,240
Speaker 6: So when when you two play? Have you two played

331
00:26:54,320 --> 00:27:00,800
Speaker 6: long enough where you're literally in a linear state of

332
00:27:00,960 --> 00:27:05,960
Speaker 6: mind where you know the song and you are playing

333
00:27:06,080 --> 00:27:10,639
Speaker 6: you Because I just realized I only realize who I

334
00:27:10,760 --> 00:27:14,120
Speaker 6: am when I'm not in roots world, because when I'm

335
00:27:14,119 --> 00:27:17,280
Speaker 6: in roots world, I'm more like traffic cop. Yeah, but

336
00:27:18,480 --> 00:27:22,639
Speaker 6: I noticed that when I'm in jam session. Like literally

337
00:27:22,720 --> 00:27:28,560
Speaker 6: in that song, I've referenced maybe twelve drummers from Bill

338
00:27:28,600 --> 00:27:34,960
Speaker 6: Wither's Drummer. Ye yeah, between Yatson and you know Clyde Jabbo.

339
00:27:35,160 --> 00:27:37,600
Speaker 6: I try to do Melvin, but I couldn't bring myself

340
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Speaker 6: to it.

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00:27:38,200 --> 00:27:40,040
Speaker 14: It might have been too slow for Melvin.

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Speaker 6: Right right right, and so I'm literally going through. See

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00:27:47,680 --> 00:27:49,919
Speaker 6: the thing is Melvin is reverse Clyde.

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Speaker 5: So all right, I do funck you woman. So basically.

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Speaker 6: James and I, Chris and I are connection of courses.

346
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Speaker 6: Is James Brown, And so with James's I would say

347
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Speaker 6: top three drummers. Clyde Stubblefield has the probably the best

348
00:28:12,040 --> 00:28:15,000
Speaker 6: ghost note left hand ever, so a lot of his

349
00:28:15,320 --> 00:28:22,359
Speaker 6: like slowed down a little bit, so like he plays

350
00:28:22,400 --> 00:28:25,560
Speaker 6: he plays a snare like like old Black Church people

351
00:28:25,640 --> 00:28:28,840
Speaker 6: play the tambourine with a little like of course, the

352
00:28:30,320 --> 00:28:32,520
Speaker 6: the pace is this, but he'll add the.

353
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Speaker 5: You know what I mean.

354
00:28:39,760 --> 00:28:44,400
Speaker 6: And Adris Mohammed is also in under this umbrella where

355
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Speaker 6: his left hand and the ghost note.

356
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Speaker 5: Right.

357
00:28:49,600 --> 00:28:55,560
Speaker 6: And also I would say Steve Roone formerly of the Heartbreakers,

358
00:28:55,600 --> 00:29:00,600
Speaker 6: and of course the average white man who's probably a

359
00:29:00,720 --> 00:29:07,160
Speaker 6: more nuanced Bernard Party like Bernard Purty's trademarkets of course, yeah,

360
00:29:07,720 --> 00:29:08,160
Speaker 6: you know what I mean.

361
00:29:09,080 --> 00:29:10,680
Speaker 5: So Steve Arroni.

362
00:29:10,520 --> 00:29:19,600
Speaker 6: Takes Clyde Stubblefield's left hand and uh it takes Bernard

363
00:29:19,680 --> 00:29:29,600
Speaker 6: Purtty's right hand. But also Adris Muhammad does that a lot.

364
00:29:30,560 --> 00:29:36,440
Speaker 6: But with James Brown's other drummer, uh Clyde uh Javo,

365
00:29:36,600 --> 00:29:42,520
Speaker 6: John Davo starks he's more he's more of a food guy.

366
00:29:43,240 --> 00:29:50,960
Speaker 6: So I say, John Davo starts like he's more about

367
00:29:51,000 --> 00:29:51,760
Speaker 6: the pass.

368
00:29:52,000 --> 00:29:52,640
Speaker 5: So I'll say that.

369
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Speaker 6: Even though we credit Clyde Stubblefield with being like James Brown,

370
00:30:00,120 --> 00:30:04,479
Speaker 6: the funkiest drummer, claud Seville feels more like boutique shopping,

371
00:30:04,880 --> 00:30:10,280
Speaker 6: whereas Jabbo is more like common every day right, meat

372
00:30:10,320 --> 00:30:13,239
Speaker 6: and potatoes drummers, you know what I mean.

373
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Speaker 5: Like he's more in a swing h.

374
00:30:26,520 --> 00:30:30,080
Speaker 6: So that's and he's also heavy on the one that's

375
00:30:30,240 --> 00:30:37,720
Speaker 6: that's zab all day, so his emphasis is more on

376
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Speaker 6: the foot.

377
00:30:39,920 --> 00:30:44,680
Speaker 5: Now, the thing is, Melvin Parker, you don't play one right.

378
00:30:45,240 --> 00:30:47,720
Speaker 6: Melvin Parker never hits on the one, so he hits

379
00:30:47,800 --> 00:30:48,800
Speaker 6: everything but the one.

380
00:30:48,880 --> 00:31:02,120
Speaker 5: And so he's more like right, so that one that's missing,

381
00:31:04,720 --> 00:31:05,080
Speaker 5: that's his.

382
00:31:05,160 --> 00:31:08,560
Speaker 6: Infloye, so he's more single pated drummer, you know what

383
00:31:08,600 --> 00:31:12,600
Speaker 6: I mean. But it's always my question to you is

384
00:31:14,560 --> 00:31:18,120
Speaker 6: when you're not playing your own material, are you do

385
00:31:18,200 --> 00:31:21,640
Speaker 6: you morph into another musician or like I find out

386
00:31:21,680 --> 00:31:25,080
Speaker 6: I'm more of a shape shifter than I am, Like

387
00:31:25,160 --> 00:31:29,520
Speaker 6: I don't think I've identified I've identified myself as a

388
00:31:29,640 --> 00:31:33,200
Speaker 6: shape shifter more than like, oh that's a mirror plan.

389
00:31:33,320 --> 00:31:34,440
Speaker 5: But you know, when I'm playing, I.

390
00:31:34,480 --> 00:31:37,040
Speaker 1: Think that's interesting because I feel like I know when

391
00:31:37,080 --> 00:31:37,360
Speaker 1: it's you.

392
00:31:38,320 --> 00:31:41,200
Speaker 5: Well, also I've made my presence known.

393
00:31:41,280 --> 00:31:43,720
Speaker 6: But also it's also like my style of drumming is

394
00:31:43,800 --> 00:31:47,960
Speaker 6: more like like right now in the culinary world, there's there's.

395
00:31:47,800 --> 00:31:51,880
Speaker 5: A big giant worry that with words like kale and

396
00:31:52,040 --> 00:31:55,880
Speaker 5: plant based that we're going to lose. I mean, you know,

397
00:31:56,000 --> 00:31:59,520
Speaker 5: like this twenty twenty is the whole era of.

398
00:32:02,520 --> 00:32:07,320
Speaker 6: The fight between you know, traditionalists how it used to

399
00:32:07,360 --> 00:32:10,600
Speaker 6: be and this is how I was raised, versus the

400
00:32:10,760 --> 00:32:13,959
Speaker 6: disruptors who are like, no, this is this is the new,

401
00:32:14,040 --> 00:32:17,880
Speaker 6: this is how it's going to be. And there's you know,

402
00:32:19,800 --> 00:32:23,400
Speaker 6: I guess my staking that claim is more about the musicianship.

403
00:32:24,560 --> 00:32:30,040
Speaker 6: So you know, I never wanted to be what they

404
00:32:30,080 --> 00:32:33,320
Speaker 6: would call like a you know, like a gospel drummer,

405
00:32:33,760 --> 00:32:37,080
Speaker 6: gospel chops. So I always imagine that I'm the drummer

406
00:32:38,480 --> 00:32:42,560
Speaker 6: that works at a steel mill in Ohio or Milwaukee

407
00:32:42,760 --> 00:32:46,120
Speaker 6: or whatever, and you know, his wife lets him play

408
00:32:46,160 --> 00:32:48,280
Speaker 6: with the guys at the local bar, but he's like

409
00:32:48,320 --> 00:32:48,959
Speaker 6: real sloppy.

410
00:32:51,120 --> 00:32:57,280
Speaker 5: Yeah, you know, like like I could, I could perfect him.

411
00:32:58,160 --> 00:32:59,720
Speaker 5: But for me, oh.

412
00:33:01,360 --> 00:33:04,440
Speaker 6: Yeah, I mean see, the problem is when I'm doing

413
00:33:04,480 --> 00:33:09,120
Speaker 6: it in terms of hip hop, I also not only

414
00:33:09,200 --> 00:33:10,760
Speaker 6: have to be the sample, but I have to also

415
00:33:10,840 --> 00:33:16,880
Speaker 6: be the drum programming. So that's that's my my my

416
00:33:17,040 --> 00:33:20,080
Speaker 6: big risk with this next record, because I'm actually not

417
00:33:20,200 --> 00:33:25,680
Speaker 6: gonna play like a computer and I'm gonna play I'm

418
00:33:25,720 --> 00:33:26,400
Speaker 6: trying to play.

419
00:33:26,280 --> 00:33:30,080
Speaker 5: Like the sloppiest drunk four year old, like how I

420
00:33:30,400 --> 00:33:33,800
Speaker 5: used to play when I was a kid, without the

421
00:33:36,280 --> 00:33:38,440
Speaker 5: Like my mind is that.

422
00:33:38,960 --> 00:33:44,080
Speaker 6: But do you do you like for you, do you

423
00:33:44,200 --> 00:33:47,480
Speaker 6: guys shape shift as well? Or do you are you

424
00:33:47,640 --> 00:33:51,040
Speaker 6: just too preoccupied with the melody whatever? Because when I'm drumming,

425
00:33:51,080 --> 00:33:54,760
Speaker 6: it's so second hand, like it's like the back of

426
00:33:54,800 --> 00:33:58,600
Speaker 6: my head where if I think about drumming, then I'm

427
00:33:58,640 --> 00:34:02,320
Speaker 6: fucking up. So I'm thinking about like yeah, and wait,

428
00:34:02,400 --> 00:34:04,000
Speaker 6: that'll leave my while or two, like I'm thinking of

429
00:34:04,120 --> 00:34:07,400
Speaker 6: anything else but drumming. Really yeah, because when you start

430
00:34:07,440 --> 00:34:12,160
Speaker 6: thinking about it, that's where I remember once, uh, one

431
00:34:12,160 --> 00:34:16,279
Speaker 6: of my dad's gigs when I was eleven, we were

432
00:34:16,320 --> 00:34:19,600
Speaker 6: doing we were doing all the Wings of Love and

433
00:34:21,000 --> 00:34:24,080
Speaker 6: I was I was twelve years Yeah.

434
00:34:24,000 --> 00:34:25,560
Speaker 5: Did you know that Steve Broon's drumming on that?

435
00:34:25,920 --> 00:34:26,120
Speaker 14: Yeah?

436
00:34:26,360 --> 00:34:32,480
Speaker 5: Yeah, I did not know that. So it's like one

437
00:34:32,560 --> 00:34:34,440
Speaker 5: in the morning, I'm twelve years old.

438
00:34:34,440 --> 00:34:36,920
Speaker 6: We're in the nightclub and this is like out in

439
00:34:37,360 --> 00:34:42,400
Speaker 6: some some club in uh like Darby, like in the

440
00:34:42,520 --> 00:34:45,759
Speaker 6: in the outskirts, and we're playing you know. My dad's like,

441
00:34:45,800 --> 00:34:47,840
Speaker 6: all right, you know, you get on drums. The bar's empty.

442
00:34:47,840 --> 00:34:49,799
Speaker 6: It's like the last set, so he lets me sit

443
00:34:49,880 --> 00:34:51,840
Speaker 6: in and I did good. And then we got to

444
00:34:51,960 --> 00:34:53,880
Speaker 6: on the Wings of Love and we got through the

445
00:34:53,920 --> 00:34:59,320
Speaker 6: first verse and there's there's there's like, you know, the

446
00:34:59,440 --> 00:35:02,839
Speaker 6: drunk guy. It was Tavern on The Simpsons. Yes, he's

447
00:35:02,880 --> 00:35:05,160
Speaker 6: looking at me. He's the only one that's like, wait

448
00:35:05,160 --> 00:35:07,719
Speaker 6: a minute, what's a twelve year old kid doing in

449
00:35:07,800 --> 00:35:11,480
Speaker 6: this nightclub at at two in the morning on a

450
00:35:11,520 --> 00:35:15,520
Speaker 6: school night, but he's real drunk and he's like, hey man,

451
00:35:15,760 --> 00:35:16,879
Speaker 6: that drummer is really good.

452
00:35:17,040 --> 00:35:20,440
Speaker 5: And then I messed up that just about.

453
00:35:22,840 --> 00:35:26,799
Speaker 6: So when I think about it, that's when it's problematic.

454
00:35:26,960 --> 00:35:29,000
Speaker 6: But is it the same for you at all?

455
00:35:29,239 --> 00:35:33,600
Speaker 1: Like I think thinking about it is always a problem.

456
00:35:34,080 --> 00:35:36,520
Speaker 1: Feeling it is better. But I'm always trying to be

457
00:35:37,239 --> 00:35:40,279
Speaker 1: myself because also as a singer, it's more obvious when

458
00:35:40,320 --> 00:35:43,800
Speaker 1: you're copying other people you love, you know, So I

459
00:35:43,960 --> 00:35:46,360
Speaker 1: just try to embody the lyrics in my own way usually.

460
00:35:47,600 --> 00:35:51,359
Speaker 15: And we were talking earlier about that, the steady gig,

461
00:35:51,800 --> 00:35:54,320
Speaker 15: all those steady gigs you played, and you know, hotel

462
00:35:54,400 --> 00:35:57,120
Speaker 15: lobbies and things like that, and restaurants and bars.

463
00:35:57,280 --> 00:35:58,400
Speaker 5: That's it.

464
00:35:58,640 --> 00:35:59,920
Speaker 14: That's where we all got our train.

465
00:36:00,480 --> 00:36:00,640
Speaker 15: You know.

466
00:36:01,520 --> 00:36:02,840
Speaker 5: Did you ever pall on the paper like that? I

467
00:36:03,000 --> 00:36:05,520
Speaker 5: feel like you came out the wound a legend.

468
00:36:05,600 --> 00:36:10,920
Speaker 15: Yeah, I know, revision is history, but I I mean,

469
00:36:11,120 --> 00:36:14,720
Speaker 15: I've always been too pragmatic because like as a bass player,

470
00:36:15,000 --> 00:36:17,920
Speaker 15: my my thing was do whatever you have to do

471
00:36:18,040 --> 00:36:20,000
Speaker 15: to keep the gig. I was the best worried about,

472
00:36:20,080 --> 00:36:22,840
Speaker 15: you know, individualism and trying to find you know what,

473
00:36:23,000 --> 00:36:26,359
Speaker 15: I'm just don't get fired that was always my number

474
00:36:26,400 --> 00:36:26,759
Speaker 15: one thing.

475
00:36:27,120 --> 00:36:31,759
Speaker 6: You playing fight or flight? Well, I mean there's two

476
00:36:31,760 --> 00:36:33,759
Speaker 6: ways to live. Either gonna fight or flight or you're

477
00:36:33,760 --> 00:36:36,239
Speaker 6: gonna live. Like, hey, what can I do to you know?

478
00:36:37,040 --> 00:36:39,200
Speaker 6: I never I never thought that you would ever have

479
00:36:39,360 --> 00:36:40,959
Speaker 6: that thought, like, I don't want to get fired?

480
00:36:41,160 --> 00:36:41,719
Speaker 14: Absolutely?

481
00:36:41,880 --> 00:36:43,280
Speaker 5: Have you ever got a fire Christmas?

482
00:36:43,560 --> 00:36:44,280
Speaker 14: I've gotten close?

483
00:36:45,080 --> 00:36:49,560
Speaker 15: Oh yeah, yeah yeah, but it wasn't you remember this well,

484
00:36:49,680 --> 00:36:53,919
Speaker 15: you remember the no app days, the make Base Great

485
00:36:53,960 --> 00:36:57,279
Speaker 15: Again days, when all of these young cats were coming

486
00:36:57,320 --> 00:36:59,320
Speaker 15: on the scene not wanting to play with an amplifier.

487
00:36:59,440 --> 00:36:59,919
Speaker 4: Oh my god.

488
00:37:00,280 --> 00:37:03,239
Speaker 15: Yeah, you know we were trying to muscle up and yeah,

489
00:37:03,400 --> 00:37:08,000
Speaker 15: exactly right right, and uh oh when I first.

490
00:37:07,840 --> 00:37:10,359
Speaker 14: Moved to New York eighty nine, ninety ninety one.

491
00:37:10,760 --> 00:37:12,600
Speaker 1: Well, an AM's just an extra thing to carry?

492
00:37:13,360 --> 00:37:13,640
Speaker 5: What's that?

493
00:37:13,920 --> 00:37:14,920
Speaker 1: And an extra thing?

494
00:37:15,200 --> 00:37:16,279
Speaker 5: Yeah yeah, yeah, yeah.

495
00:37:16,280 --> 00:37:17,800
Speaker 15: So there was all these cats like, man, you know,

496
00:37:17,920 --> 00:37:21,400
Speaker 15: real bass players don't use an am got to muscle up,

497
00:37:21,480 --> 00:37:24,040
Speaker 15: raise your strings, and you know, have the microphone way

498
00:37:24,040 --> 00:37:27,719
Speaker 15: out there and project right. So uh that was that

499
00:37:27,880 --> 00:37:32,759
Speaker 15: was courtesy of a particular sect. But I got on

500
00:37:32,880 --> 00:37:40,480
Speaker 15: body wear suits? Are they from New Orleans? See what

501
00:37:40,680 --> 00:37:43,480
Speaker 15: I'm trying to nobody, but I.

502
00:37:43,560 --> 00:37:44,680
Speaker 5: Wonder who you're talking about.

503
00:37:44,719 --> 00:37:47,160
Speaker 1: No names, no names, no names, no names.

504
00:37:49,000 --> 00:37:52,480
Speaker 15: But I got on Bobby Watson's gig and he was like, say,

505
00:37:52,520 --> 00:37:55,080
Speaker 15: where's your AM. You know I don't use no AMP.

506
00:37:55,800 --> 00:37:58,480
Speaker 15: I got a big sound. He's like, I'm sure you

507
00:37:58,640 --> 00:38:01,600
Speaker 15: do buy one an AM? Like no, man, you know

508
00:38:01,760 --> 00:38:03,600
Speaker 15: amp man, that's that's some punk shit.

509
00:38:03,760 --> 00:38:04,200
Speaker 5: Man, you know.

510
00:38:04,520 --> 00:38:09,239
Speaker 15: He's like, oh it is huh say uh no, no, no, no, no,

511
00:38:09,480 --> 00:38:16,279
Speaker 15: wait wait wait I'm getting an AMP. And actually it

512
00:38:16,440 --> 00:38:19,600
Speaker 15: was it was Jeff Taine watch that saved my gig

513
00:38:19,760 --> 00:38:22,560
Speaker 15: with Bobby watching because I was playing the Vanguard with Bobby.

514
00:38:22,760 --> 00:38:25,279
Speaker 5: And Bobby was pissed. He was like, man, get an AMP.

515
00:38:25,480 --> 00:38:25,640
Speaker 5: You know.

516
00:38:25,719 --> 00:38:28,520
Speaker 15: I was like no, I was being a petulant eighteen

517
00:38:28,600 --> 00:38:32,239
Speaker 15: year old, you know. And U Tane came down there

518
00:38:32,320 --> 00:38:34,960
Speaker 15: one night and and this is when I learned, like,

519
00:38:35,160 --> 00:38:37,799
Speaker 15: you know, it's cool. So Tane was kind of part

520
00:38:37,880 --> 00:38:38,879
Speaker 15: of that whole crew.

521
00:38:39,360 --> 00:38:41,600
Speaker 5: He had one foot in there and with us.

522
00:38:41,640 --> 00:38:44,279
Speaker 15: That's right, that's right. So I said, hey, man, can

523
00:38:44,320 --> 00:38:45,799
Speaker 15: you believe what he wants me to do? He wants

524
00:38:45,800 --> 00:38:47,120
Speaker 15: me to get an APP and so Tine was like,

525
00:38:47,400 --> 00:38:51,040
Speaker 15: we'll get one. I was like, for real, He's like, man,

526
00:38:51,680 --> 00:38:53,160
Speaker 15: just because you have an AMP, don't mean you got

527
00:38:53,200 --> 00:38:55,840
Speaker 15: to crank it. Just just get an AP, you know.

528
00:38:55,960 --> 00:38:59,520
Speaker 15: I was like, for real, it's cool. You ain't gonna

529
00:38:59,520 --> 00:39:01,879
Speaker 15: be mad at me. There's something along those lines, right.

530
00:39:04,360 --> 00:39:07,680
Speaker 15: That sect was really powerful cool in the early nineties,

531
00:39:08,040 --> 00:39:09,640
Speaker 15: and Tay was like, man, you better get a namp

532
00:39:09,640 --> 00:39:10,399
Speaker 15: and keep your kick.

533
00:39:11,280 --> 00:39:11,920
Speaker 5: So wait a minute.

534
00:39:12,080 --> 00:39:15,120
Speaker 6: If now I can see if it's Village Vanguard, but

535
00:39:15,400 --> 00:39:18,759
Speaker 6: with that sect, say the same for oh, I don't know,

536
00:39:19,480 --> 00:39:21,400
Speaker 6: Carnegie Hall or Lincoln Center.

537
00:39:21,520 --> 00:39:24,080
Speaker 14: Yes, no amp under no circumstances.

538
00:39:24,080 --> 00:39:24,720
Speaker 1: Are you serious?

539
00:39:25,080 --> 00:39:25,279
Speaker 14: Yes?

540
00:39:25,480 --> 00:39:27,320
Speaker 1: Wait was there a mic on the Yeah, it was

541
00:39:27,360 --> 00:39:27,640
Speaker 1: a mic.

542
00:39:27,719 --> 00:39:27,839
Speaker 2: Oh.

543
00:39:27,880 --> 00:39:28,000
Speaker 5: Oh.

544
00:39:28,840 --> 00:39:31,800
Speaker 1: The theory was I thought, I here, I was thinking,

545
00:39:32,040 --> 00:39:35,719
Speaker 1: no amplification at all in a club. But well, you

546
00:39:35,800 --> 00:39:36,759
Speaker 1: mean there's a microphone.

547
00:39:36,880 --> 00:39:38,120
Speaker 14: Yes, there was a microphone.

548
00:39:38,200 --> 00:39:41,040
Speaker 1: So the theory is the pickup doesn't sound good.

549
00:39:41,239 --> 00:39:44,000
Speaker 15: The theory was the sound, the natural sound of the

550
00:39:44,040 --> 00:39:48,839
Speaker 15: acoustic bass was destroyed in the seventies and early eighties. Now,

551
00:39:49,400 --> 00:39:53,840
Speaker 15: I can't argue that you agree U two, And I

552
00:39:53,880 --> 00:39:56,799
Speaker 15: think Ron Carter was probably one of the only ones

553
00:39:56,880 --> 00:40:00,799
Speaker 15: that made it out of that whole era, like unscathed

554
00:40:00,960 --> 00:40:02,839
Speaker 15: like even though he was using an AMP and used

555
00:40:02,880 --> 00:40:06,040
Speaker 15: the d I, he still sounded nice and fatten and

556
00:40:06,280 --> 00:40:07,320
Speaker 15: and good you know.

557
00:40:08,080 --> 00:40:08,200
Speaker 6: Uh.

558
00:40:08,360 --> 00:40:11,040
Speaker 14: But a lot of other people had that real real.

559
00:40:13,760 --> 00:40:14,640
Speaker 5: You know and.

560
00:40:17,280 --> 00:40:17,440
Speaker 6: Like that.

561
00:40:17,840 --> 00:40:22,239
Speaker 14: Yeah, and so, but Ron was the only one that

562
00:40:22,320 --> 00:40:24,760
Speaker 14: everybody was like, Okay, that's cool.

563
00:40:26,560 --> 00:40:28,840
Speaker 1: Became its own thing kind of exactly.

564
00:40:29,000 --> 00:40:30,920
Speaker 15: And then so in the late eighties, when when the

565
00:40:31,000 --> 00:40:35,480
Speaker 15: sect was was was getting big, you know, it was

566
00:40:35,600 --> 00:40:39,120
Speaker 15: kind of like yeah, yeah, yeah, exactly. So and then

567
00:40:39,160 --> 00:40:43,120
Speaker 15: it was like, well, everybody raised their strings, unplugged the amps.

568
00:40:43,200 --> 00:40:45,759
Speaker 15: We're going our natural to return the base to his

569
00:40:46,160 --> 00:40:50,160
Speaker 15: original glory, you know. And then Ray Brown, Ron Carter,

570
00:40:50,640 --> 00:40:53,200
Speaker 15: you know, Mill Hitton, all the great bass legends, they

571
00:40:53,239 --> 00:40:53,960
Speaker 15: come here us play.

572
00:40:54,040 --> 00:40:54,640
Speaker 14: We all be like.

573
00:41:00,400 --> 00:41:02,120
Speaker 5: And man takes that toe on your hands and.

574
00:41:02,160 --> 00:41:04,560
Speaker 14: They'd be like, what are you doing?

575
00:41:05,120 --> 00:41:09,439
Speaker 15: Asive Yeah, there's a I'm gonna call him out because

576
00:41:09,440 --> 00:41:13,000
Speaker 15: that's my man. There's a YouTube clip go. I think

577
00:41:13,040 --> 00:41:15,400
Speaker 15: it was when Harry Conneck Jr. Was on some morning

578
00:41:15,480 --> 00:41:19,560
Speaker 15: show and my brother Ben Wolf was playing bass. From

579
00:41:19,680 --> 00:41:22,520
Speaker 15: a long camera angle, you can see his strings are

580
00:41:22,520 --> 00:41:33,120
Speaker 15: about that high, maybe three, and he's playing like I'm

581
00:41:33,360 --> 00:41:35,919
Speaker 15: very sure he had ten to nighters. At some point,

582
00:41:36,360 --> 00:41:40,600
Speaker 15: can't you gut strings? You know, high super high action.

583
00:41:41,880 --> 00:41:43,239
Speaker 15: And at some point I was just like, you know,

584
00:41:43,400 --> 00:41:46,359
Speaker 15: this is this is not right. It doesn't sound good,

585
00:41:47,200 --> 00:41:50,359
Speaker 15: you know. So Ray Brown changed all.

586
00:41:50,280 --> 00:41:51,680
Speaker 5: Of that, So this all right?

587
00:41:51,840 --> 00:41:57,279
Speaker 6: So you're answering the question for me because at in

588
00:41:57,400 --> 00:42:01,000
Speaker 6: my studio set up a thirty rock. What I'm trying

589
00:42:01,040 --> 00:42:06,600
Speaker 6: to do is get acquainted with all of our plugins.

590
00:42:07,400 --> 00:42:09,319
Speaker 6: Like I spend my lunch time just like, okay, let

591
00:42:09,360 --> 00:42:11,120
Speaker 6: me figure out a new sound or whatever. So you know,

592
00:42:11,640 --> 00:42:13,840
Speaker 6: when you get a pro tool system, then you know

593
00:42:13,880 --> 00:42:17,880
Speaker 6: there's over like seven hundred plugins or seven thousand plugins,

594
00:42:18,320 --> 00:42:22,279
Speaker 6: and of course there's different combinations of that stuff. So

595
00:42:22,400 --> 00:42:23,640
Speaker 6: you know, I'm trying to think of figure out a

596
00:42:23,680 --> 00:42:26,640
Speaker 6: new sound, and I keep I kept seeing as there's

597
00:42:26,680 --> 00:42:28,759
Speaker 6: a plug in called fat wood.

598
00:42:30,080 --> 00:42:36,480
Speaker 5: Right, which caught my attention because I need right. I said,

599
00:42:36,520 --> 00:42:38,480
Speaker 5: fat would that's right. Let me check this out.

600
00:42:39,800 --> 00:42:45,800
Speaker 6: And I got to it and my engineer, Steve, Steve Vandel,

601
00:42:46,200 --> 00:42:50,279
Speaker 6: was like explaining to me how in the jazz world,

602
00:42:50,440 --> 00:42:53,800
Speaker 6: like the woods, the natural wood sound, there's an argument

603
00:42:53,880 --> 00:42:57,239
Speaker 6: over who we And he said, you know how like

604
00:42:57,800 --> 00:43:01,480
Speaker 6: your your di versus miophon thing or whatever, and how

605
00:43:01,960 --> 00:43:04,360
Speaker 6: I don't like the microphone to the more than I

606
00:43:04,560 --> 00:43:07,279
Speaker 6: like a d I sound, but I need it for

607
00:43:07,360 --> 00:43:08,760
Speaker 6: a specific reason.

608
00:43:09,320 --> 00:43:13,520
Speaker 5: So now I get that. You you you your challenge

609
00:43:13,880 --> 00:43:17,000
Speaker 5: was natural sound versus and to.

610
00:43:17,120 --> 00:43:18,840
Speaker 14: Find a happy medium.

611
00:43:19,160 --> 00:43:21,680
Speaker 15: And uh, I think I mean, like right now, I'm

612
00:43:21,719 --> 00:43:23,759
Speaker 15: not using any d I, it's just all microphone.

613
00:43:26,160 --> 00:43:28,719
Speaker 1: Well I can't imagine using a d I in the

614
00:43:28,800 --> 00:43:31,000
Speaker 1: studio on an acoustic bass.

615
00:43:31,280 --> 00:43:34,040
Speaker 15: I can't either. But it depends on it depends on

616
00:43:34,160 --> 00:43:36,319
Speaker 15: the on the music, what kind of music you're doing.

617
00:43:36,600 --> 00:43:40,160
Speaker 15: Like when we did the Philadelphia experiment, that was I

618
00:43:40,280 --> 00:43:44,080
Speaker 15: think that was mostly d I, not very much microphone,

619
00:43:44,080 --> 00:43:47,680
Speaker 15: but for that music it was perfect. Its yeah, yeah,

620
00:43:49,239 --> 00:43:56,759
Speaker 15: see I got a story about her. Yes, he said, no,

621
00:43:57,640 --> 00:44:02,160
Speaker 15: wait da right right right. It was the first time

622
00:44:02,200 --> 00:44:03,839
Speaker 15: I heard of you when you played at.

623
00:44:03,800 --> 00:44:06,920
Speaker 1: Mccoor really yep, oh that was forever ago.

624
00:44:07,239 --> 00:44:10,680
Speaker 5: It was like it was like two thousand, two thousand

625
00:44:11,719 --> 00:44:12,239
Speaker 5: and uh.

626
00:44:12,480 --> 00:44:15,799
Speaker 15: My manager at the time, it's like, Hey, we're gonna

627
00:44:15,800 --> 00:44:17,719
Speaker 15: go see this girl, Norah Jones, you should come.

628
00:44:17,960 --> 00:44:18,120
Speaker 5: You know.

629
00:44:18,800 --> 00:44:23,359
Speaker 14: I think all of the people from Ted Curlin's office came.

630
00:44:24,239 --> 00:44:28,960
Speaker 15: They all came, right and yeah, like this girl is

631
00:44:28,960 --> 00:44:32,120
Speaker 15: gonna be huge, She's gonna be huge, really yeah, yeah,

632
00:44:32,280 --> 00:44:34,719
Speaker 15: And I remember it was packed and I was in

633
00:44:34,880 --> 00:44:37,799
Speaker 15: I was in the black of the club. I said

634
00:44:37,840 --> 00:44:42,480
Speaker 15: it on purpose exactly.

635
00:44:43,360 --> 00:44:43,759
Speaker 3: And uh.

636
00:44:44,680 --> 00:44:46,959
Speaker 14: And then you had your record come.

637
00:44:46,880 --> 00:44:49,839
Speaker 1: Out yet I can't no, but I had a long

638
00:44:50,080 --> 00:44:52,520
Speaker 1: lead up to it. So the labor was I had

639
00:44:52,560 --> 00:44:55,279
Speaker 1: a weekly gig there. It was a Jewish community center, yes,

640
00:44:55,640 --> 00:44:59,120
Speaker 1: and it was singles night on Wednesdays, and I had

641
00:44:59,239 --> 00:45:02,120
Speaker 1: I didn't know, every Wednesday on singles Night. And it

642
00:45:02,200 --> 00:45:04,520
Speaker 1: started out with nobody regular gig there. I had a

643
00:45:04,560 --> 00:45:08,120
Speaker 1: regular gig there for a year and it was a

644
00:45:08,520 --> 00:45:10,359
Speaker 1: singles night and there weren't a ton of people there

645
00:45:10,400 --> 00:45:12,880
Speaker 1: for me, and it was just singles. And then it

646
00:45:12,920 --> 00:45:16,080
Speaker 1: built up slowly and slowly. And then right right before

647
00:45:16,160 --> 00:45:17,799
Speaker 1: my record came out, I think we had our last

648
00:45:17,840 --> 00:45:20,640
Speaker 1: weekly or something and it was like bananas man.

649
00:45:20,680 --> 00:45:23,239
Speaker 14: And then and then you shout out like a cannon man,

650
00:45:23,320 --> 00:45:24,040
Speaker 14: and I was just like.

651
00:45:24,320 --> 00:45:24,759
Speaker 5: That's her.

652
00:45:25,000 --> 00:45:26,480
Speaker 1: You came to the court, did you say, Hi.

653
00:45:26,680 --> 00:45:29,400
Speaker 14: No, there's too much too much traffic in there.

654
00:45:29,680 --> 00:45:29,879
Speaker 5: Yeah.

655
00:45:29,920 --> 00:45:33,400
Speaker 6: I was going to say the last the last stages

656
00:45:33,560 --> 00:45:37,480
Speaker 6: of your buzz before your debut came out. I distinctly

657
00:45:37,560 --> 00:45:41,760
Speaker 6: remember in a forty eight hour period, I can claim

658
00:45:41,920 --> 00:45:46,080
Speaker 6: that I saw you pre you and pre Gaga, you

659
00:45:47,120 --> 00:45:52,040
Speaker 6: pre you and pre Gaga Stephanie uh at sort of

660
00:45:52,160 --> 00:45:56,600
Speaker 6: like piano bar gigs in New York area within like

661
00:45:56,920 --> 00:45:59,360
Speaker 6: a seventy one night. I think I saw her on

662
00:45:59,400 --> 00:46:01,160
Speaker 6: a Thursday night, and then I saw you on a

663
00:46:01,239 --> 00:46:06,759
Speaker 6: Sunday night. Wow, And yeah, it's that's probably yeah, the

664
00:46:06,840 --> 00:46:11,400
Speaker 6: only time where I saw someone in there there started

665
00:46:11,480 --> 00:46:12,800
Speaker 6: like incubated level before.

666
00:46:13,920 --> 00:46:18,040
Speaker 15: You know. John Batiste was my student at the Aspen

667
00:46:18,080 --> 00:46:21,560
Speaker 15: Summer Program. Yeah, yeah, yeah, in two thousand and one.

668
00:46:22,120 --> 00:46:25,279
Speaker 15: Look at him now, I'm telling you, right, so when

669
00:46:25,280 --> 00:46:27,120
Speaker 15: I see him now, I'm just like, you know, you

670
00:46:27,200 --> 00:46:34,120
Speaker 15: ain't famous to me, that's crazy. But no, he and

671
00:46:34,320 --> 00:46:36,920
Speaker 15: and Diana Crawl as well. You know, we kind of

672
00:46:37,040 --> 00:46:40,120
Speaker 15: came up. She was together at the No no, no no, but.

673
00:46:41,760 --> 00:46:42,279
Speaker 14: Yeah we can.

674
00:46:42,560 --> 00:46:46,239
Speaker 15: Yeah, like when she made her first album, well her

675
00:46:46,280 --> 00:46:50,160
Speaker 15: first album for g RP. It was ninety four. We

676
00:46:50,320 --> 00:46:54,560
Speaker 15: recorded that. I mean, you know, she was brand new,

677
00:46:55,040 --> 00:46:58,160
Speaker 15: you know, she she was doing like the the bar

678
00:46:58,320 --> 00:47:02,160
Speaker 15: and hotel circuit, you know, and uh, Timmy Lapuma heard

679
00:47:02,200 --> 00:47:03,880
Speaker 15: her and the rest is.

680
00:47:03,960 --> 00:47:06,560
Speaker 1: History, and you played on that early stuff with her

681
00:47:06,680 --> 00:47:07,200
Speaker 1: or later.

682
00:47:07,239 --> 00:47:08,000
Speaker 14: I played on her.

683
00:47:09,520 --> 00:47:12,120
Speaker 15: I think I've played on almost all of her records

684
00:47:12,200 --> 00:47:16,239
Speaker 15: except her second and maybe one other in between there.

685
00:47:16,400 --> 00:47:20,760
Speaker 5: Okay, yeah, so you So you were produced by Timmy Lapuma.

686
00:47:20,880 --> 00:47:24,960
Speaker 5: That was my That was like my third dad. Okay

687
00:47:25,600 --> 00:47:28,360
Speaker 5: this on this album? Were you acoustic or electric?

688
00:47:28,880 --> 00:47:29,560
Speaker 14: All acoustic?

689
00:47:30,400 --> 00:47:32,799
Speaker 5: Always? We ever done anything electric with him?

690
00:47:32,880 --> 00:47:33,359
Speaker 14: Big time?

691
00:47:34,000 --> 00:47:37,320
Speaker 5: Yep. It's like for me, if there's ever producer that

692
00:47:37,440 --> 00:47:39,440
Speaker 5: has such a got replaced.

693
00:47:39,680 --> 00:47:40,000
Speaker 4: I was.

694
00:47:42,440 --> 00:47:46,799
Speaker 15: How did you know Marcus Miller? I was like, well,

695
00:47:46,800 --> 00:47:48,560
Speaker 15: why don't you just get Marcus. We's gotta break my

696
00:47:48,640 --> 00:47:51,480
Speaker 15: heart when the record comes out. I was like, damn wait,

697
00:47:51,600 --> 00:47:53,920
Speaker 15: but it was cool later on, Wait, what is that

698
00:47:54,080 --> 00:47:56,719
Speaker 15: like when you find out that you heartbreaking?

699
00:47:57,560 --> 00:47:59,360
Speaker 5: Is that a common thing before? You know?

700
00:48:00,120 --> 00:48:02,320
Speaker 15: I don't think it is now. I don't think that

701
00:48:02,480 --> 00:48:05,000
Speaker 15: happens much anymore. I can't be sure, but I don't

702
00:48:05,000 --> 00:48:09,799
Speaker 15: think that happens much. On Kenny Kirkland's first and only

703
00:48:10,080 --> 00:48:14,080
Speaker 15: solo album, Delfiel Marsalis produced it, and I remember he

704
00:48:14,160 --> 00:48:16,239
Speaker 15: called me in and he said, hey, man, we got

705
00:48:16,280 --> 00:48:19,680
Speaker 15: this track. We got like four bass parts on that.

706
00:48:19,760 --> 00:48:23,480
Speaker 15: We got Seannette Maffitt. We got Robert Hurst. I think

707
00:48:23,560 --> 00:48:26,360
Speaker 15: maybe no what Originalville, but it was just Hurst and

708
00:48:26,520 --> 00:48:29,840
Speaker 15: and Seanette is like, put your bass part down because

709
00:48:29,880 --> 00:48:32,279
Speaker 15: we can't figure out which one we like. Yeah, so

710
00:48:32,480 --> 00:48:35,719
Speaker 15: I'm pretty sure on one of those songs on Kenny

711
00:48:35,760 --> 00:48:38,719
Speaker 15: Kirkland's record, there's like three bass players on one.

712
00:48:40,400 --> 00:48:43,200
Speaker 14: He just kind of you know, I got four bars,

713
00:48:43,400 --> 00:48:44,400
Speaker 14: Hurst got four bars.

714
00:48:44,520 --> 00:48:46,200
Speaker 1: You know, I've almost done that. I don't think I've

715
00:48:46,239 --> 00:48:46,640
Speaker 1: ever done that.

716
00:48:46,800 --> 00:48:47,000
Speaker 5: Really.

717
00:48:47,239 --> 00:48:49,880
Speaker 1: No, Well, I saw both. I saw you play when

718
00:48:49,920 --> 00:48:52,440
Speaker 1: I was in college down in Texas. I saw the roots.

719
00:48:52,600 --> 00:48:56,480
Speaker 6: Really yeah, wow, I thought I thought the first time

720
00:48:56,520 --> 00:48:58,960
Speaker 6: we saw each other was when you're sitting in the

721
00:48:59,040 --> 00:49:01,640
Speaker 6: front ruck of Wait you're from Denton.

722
00:49:01,440 --> 00:49:03,920
Speaker 1: Text, Well, from Dallas, but I went to college in Denton.

723
00:49:04,280 --> 00:49:07,600
Speaker 6: Yeah, okay, I'm only learning about that. I'm doing the

724
00:49:07,680 --> 00:49:10,160
Speaker 6: slide doc right now. And I didn't know that he

725
00:49:10,320 --> 00:49:11,320
Speaker 6: was born in Denton, Texas.

726
00:49:11,360 --> 00:49:12,359
Speaker 1: I actually didn't know that either.

727
00:49:12,960 --> 00:49:15,320
Speaker 5: No, I didn't know that he's born in I'm in

728
00:49:15,400 --> 00:49:19,360
Speaker 5: the there's a there's a really crazy.

729
00:49:21,040 --> 00:49:24,480
Speaker 6: Lost concert that we just found which is supposed to

730
00:49:24,560 --> 00:49:28,040
Speaker 6: be like this is this is in seventy two. So

731
00:49:28,080 --> 00:49:30,640
Speaker 6: I'll say this maybe like three months before Larry quit

732
00:49:31,680 --> 00:49:37,200
Speaker 6: and the first okay, so of course, uh and in

733
00:49:37,360 --> 00:49:42,680
Speaker 6: prime self savage mode, you know, Slide used time as

734
00:49:42,719 --> 00:49:45,239
Speaker 6: a means to protest, always famous for being late to

735
00:49:45,280 --> 00:49:45,960
Speaker 6: shows and whatnot.

736
00:49:46,560 --> 00:49:50,439
Speaker 5: So uh, you know, this is like his homecoming show.

737
00:49:51,560 --> 00:49:54,000
Speaker 6: You know, he went away for two years after his

738
00:49:54,280 --> 00:49:57,560
Speaker 6: triumphant Woodstock thing and you know, greatest Hits album was

739
00:49:57,800 --> 00:50:01,920
Speaker 6: was he was literally like the biggest star in the world.

740
00:50:02,120 --> 00:50:06,400
Speaker 5: And so you know, they planning this homecoming thing in Denton, Texas.

741
00:50:06,080 --> 00:50:10,640
Speaker 6: And all you when when the they recorded live and

742
00:50:10,840 --> 00:50:13,160
Speaker 6: you know, wanted to preserve it on taping, so all

743
00:50:13,160 --> 00:50:16,960
Speaker 6: of a sudden, you here it just starts with booze.

744
00:50:17,320 --> 00:50:22,600
Speaker 6: So obviously he was right, right, so he I believe

745
00:50:24,800 --> 00:50:28,040
Speaker 6: one of the band members told me that they were

746
00:50:28,160 --> 00:50:32,480
Speaker 6: waiting for about sort of north of ninety minutes, so

747
00:50:32,520 --> 00:50:36,880
Speaker 6: maybe like one hundred minutes yea. And but he's also

748
00:50:37,719 --> 00:50:41,000
Speaker 6: he keeps getting away with it because he's also very charismatic,

749
00:50:41,160 --> 00:50:45,840
Speaker 6: charming guy and literally when he walks on stage, he

750
00:50:46,080 --> 00:50:49,160
Speaker 6: you know, he does this, and you know, and he

751
00:50:49,280 --> 00:50:53,200
Speaker 6: does the look guys, I'm sorry, but look, I can

752
00:50:53,280 --> 00:50:55,640
Speaker 6: either solve the problem and start playing now, or you

753
00:50:55,760 --> 00:50:57,000
Speaker 6: guys can just continue booing.

754
00:50:57,160 --> 00:50:57,960
Speaker 14: What would you like to do?

755
00:50:58,120 --> 00:51:03,279
Speaker 6: Like he's really very logical, right and the second may

756
00:51:03,400 --> 00:51:07,160
Speaker 6: hit it was like they forgot everything.

757
00:51:07,440 --> 00:51:10,839
Speaker 1: Yeah, and so that's exciting in Texas, man, I can't

758
00:51:10,880 --> 00:51:12,000
Speaker 1: wait to see that. Yeah.

759
00:51:12,280 --> 00:51:15,600
Speaker 5: Yeah, it's it's a lot that I'm learning right now.

760
00:51:42,520 --> 00:51:46,040
Speaker 11: You might burn me here lett a one, you might

761
00:51:46,239 --> 00:51:51,319
Speaker 11: drive him back all the bush's tailmate too much.

762
00:51:52,000 --> 00:51:53,560
Speaker 1: I knew he had.

763
00:51:55,080 --> 00:51:59,560
Speaker 10: If I try to escape, which was shut.

764
00:51:59,320 --> 00:52:05,880
Speaker 4: Out, pull the red tape, A man lives, no one cast.

765
00:52:05,840 --> 00:52:08,120
Speaker 5: Them say.

766
00:52:13,960 --> 00:52:16,759
Speaker 2: On the last bustle long.

767
00:52:16,719 --> 00:52:16,799
Speaker 8: So.

768
00:52:20,080 --> 00:52:27,560
Speaker 2: Still with me, I'll tame.

769
00:52:27,600 --> 00:52:41,799
Speaker 4: Your riting and take the bullet and that gun.

770
00:52:42,400 --> 00:52:44,320
Speaker 2: I'll bear you, mussel.

771
00:52:45,680 --> 00:52:50,080
Speaker 4: Everything you want to know, swallow be afu.

772
00:52:51,840 --> 00:52:56,560
Speaker 8: If I try to escape, you william play the pa.

773
00:52:58,800 --> 00:53:01,799
Speaker 4: If you dismis, hold you.

774
00:53:04,400 --> 00:53:24,200
Speaker 10: S all sides moss up long should then I'll pretend

775
00:53:24,560 --> 00:54:38,600
Speaker 10: that out five s oh las, washup um shoe.

776
00:54:41,120 --> 00:54:44,440
Speaker 2: Sh with me.

777
00:54:47,520 --> 00:54:49,920
Speaker 4: I'll put everything.

778
00:54:51,680 --> 00:56:12,040
Speaker 14: And so you saw they came.

779
00:56:12,000 --> 00:56:14,359
Speaker 1: To U n t no that you guys were playing

780
00:56:14,360 --> 00:56:16,080
Speaker 1: in Dallas. We went down to Dallas to see you.

781
00:56:17,960 --> 00:56:20,880
Speaker 5: Was it in that bowling alley? Uh?

782
00:56:21,080 --> 00:56:21,879
Speaker 1: No, it wasn't.

783
00:56:22,080 --> 00:56:23,600
Speaker 5: There's there's like a in Dallas.

784
00:56:23,680 --> 00:56:27,480
Speaker 6: There was something bowl and it was like a bowling alley,

785
00:56:27,920 --> 00:56:31,360
Speaker 6: pool hall and kind of a house.

786
00:56:31,200 --> 00:56:32,560
Speaker 1: Of bluesy what is a theater?

787
00:56:32,719 --> 00:56:33,520
Speaker 2: Right? Yeah?

788
00:56:33,920 --> 00:56:36,160
Speaker 1: No, it wasn't there. It was a place where there

789
00:56:36,200 --> 00:56:38,000
Speaker 1: was a balcony surrounding the stage.

790
00:56:38,120 --> 00:56:40,160
Speaker 5: I can't remember where it was, okay.

791
00:56:40,520 --> 00:56:42,560
Speaker 1: And then I tried to go see you play with

792
00:56:42,760 --> 00:56:46,480
Speaker 1: Josh Redman and Brian Blade at Caravana Dreams. But I

793
00:56:46,560 --> 00:56:49,520
Speaker 1: was told later by Chris Thomas that it was actually him.

794
00:56:49,600 --> 00:56:51,080
Speaker 1: I was out of the band about you were you

795
00:56:51,200 --> 00:56:56,239
Speaker 1: weren't there, and I think my memory got, you know, sideways,

796
00:56:56,280 --> 00:56:57,560
Speaker 1: But Chris was like, that was me.

797
00:56:59,640 --> 00:57:01,239
Speaker 14: You want to Christian Chris?

798
00:57:01,800 --> 00:57:04,200
Speaker 1: No, I knew who you were. No, no, no, But

799
00:57:04,560 --> 00:57:06,239
Speaker 1: I don't think I got to see you till later,

800
00:57:06,719 --> 00:57:08,520
Speaker 1: like maybe after I moved to New York.

801
00:57:09,560 --> 00:57:12,799
Speaker 14: Yeah I didn't. I don't don't don't play in Texas much?

802
00:57:13,480 --> 00:57:14,640
Speaker 2: Oh yeah, is that true?

803
00:57:15,800 --> 00:57:16,920
Speaker 5: Where's your Like?

804
00:57:17,120 --> 00:57:20,360
Speaker 15: How is if I do go to Texas, it's probably Houston,

805
00:57:20,640 --> 00:57:21,600
Speaker 15: Houston or Austin.

806
00:57:22,480 --> 00:57:23,280
Speaker 1: No Dallas for you?

807
00:57:23,480 --> 00:57:24,880
Speaker 14: Huh not really?

808
00:57:25,560 --> 00:57:28,880
Speaker 5: So where's your jazz? Where's your Like?

809
00:57:29,200 --> 00:57:33,640
Speaker 6: Every American in your American kind of.

810
00:57:33,960 --> 00:57:36,840
Speaker 15: All the Amtrak so Boston, between Boston and d c

811
00:57:39,680 --> 00:57:46,040
Speaker 15: of Rochester, Buffalo, Toronto, Detroit, Chicago, Indianapolis has gotten a

812
00:57:46,080 --> 00:57:46,520
Speaker 15: little better.

813
00:57:47,160 --> 00:57:53,920
Speaker 14: Saint Louis not much in the South Man not not

814
00:57:54,040 --> 00:57:54,560
Speaker 14: a whole lot.

815
00:57:55,200 --> 00:57:57,520
Speaker 1: That's interesting because of chause Denton was a big old

816
00:57:57,720 --> 00:58:00,360
Speaker 1: jazz school. So well, exactly we have people through to

817
00:58:00,400 --> 00:58:02,120
Speaker 1: the college a lot, right, Yeah, I've.

818
00:58:01,960 --> 00:58:03,200
Speaker 14: Done like master classes.

819
00:58:03,360 --> 00:58:03,600
Speaker 2: Yeah.

820
00:58:04,400 --> 00:58:06,120
Speaker 15: So the place where it was, of course in la

821
00:58:06,240 --> 00:58:08,240
Speaker 15: of course, you know, Seattle, all the way down to

822
00:58:08,400 --> 00:58:10,240
Speaker 15: San Diego, Phoenix, Denver.

823
00:58:10,760 --> 00:58:13,200
Speaker 1: Yeah, I think the only place there was a jazz

824
00:58:13,240 --> 00:58:15,640
Speaker 1: club in Dallas called Sambuca, but it was very small,

825
00:58:16,080 --> 00:58:18,000
Speaker 1: and then there was a chain, Yeah.

826
00:58:17,840 --> 00:58:18,360
Speaker 2: It was a chain.

827
00:58:18,480 --> 00:58:21,720
Speaker 1: But then there was a caravan in Dreams in Fort Worth,

828
00:58:21,760 --> 00:58:23,360
Speaker 1: which is like the club that was the one that

829
00:58:23,480 --> 00:58:25,920
Speaker 1: was the only real place that people came of.

830
00:58:27,120 --> 00:58:29,320
Speaker 6: Yeah, so you're trying to tell me the place where

831
00:58:29,640 --> 00:58:33,320
Speaker 6: it was invented. It's almost like, well in New York

832
00:58:33,520 --> 00:58:35,200
Speaker 6: and did the same thing.

833
00:58:35,440 --> 00:58:37,480
Speaker 15: Yeah, I mean New Orleans was so insular. They're like,

834
00:58:37,520 --> 00:58:39,040
Speaker 15: we don't need no northerns come down here.

835
00:58:39,040 --> 00:58:40,480
Speaker 1: We got to go oh yeah, there's not a lot

836
00:58:40,520 --> 00:58:45,000
Speaker 1: of out of town r Gota. Yeah, and then then

837
00:58:45,040 --> 00:58:46,480
Speaker 1: you got the festivals in Europe?

838
00:58:47,040 --> 00:58:50,560
Speaker 5: Yes, are you tired of all? Right?

839
00:58:50,680 --> 00:58:55,280
Speaker 6: So for me, like okay, for you is most of

840
00:58:55,360 --> 00:58:57,800
Speaker 6: your summers and for both of you when you're touring,

841
00:58:59,080 --> 00:59:02,120
Speaker 6: are most of your sum outside of the United States?

842
00:59:02,200 --> 00:59:04,280
Speaker 6: Like have you been in the United States for a

843
00:59:04,440 --> 00:59:06,480
Speaker 6: good two months stretch without.

844
00:59:07,600 --> 00:59:08,280
Speaker 1: Going to Europe?

845
00:59:08,400 --> 00:59:08,600
Speaker 5: Yeah?

846
00:59:08,800 --> 00:59:11,080
Speaker 1: I mean I don't tour as much as I used to,

847
00:59:11,200 --> 00:59:13,360
Speaker 1: but I did last summer just States, and this summer

848
00:59:13,400 --> 00:59:16,360
Speaker 1: I'm just doing a month in Europe. And I was

849
00:59:16,440 --> 00:59:18,520
Speaker 1: excited to do some of the same places I've done

850
00:59:18,760 --> 00:59:20,960
Speaker 1: a lot, and then I realized, oh, this is just

851
00:59:21,040 --> 00:59:24,280
Speaker 1: what there is for me. It's like all the same festivals,

852
00:59:24,720 --> 00:59:27,760
Speaker 1: a lot of the same places, which I do love, sure,

853
00:59:27,960 --> 00:59:31,080
Speaker 1: but it's like, yeah, it gets a little like, wait,

854
00:59:31,480 --> 00:59:32,760
Speaker 1: did I just go back in time?

855
00:59:32,960 --> 00:59:33,160
Speaker 5: Yeah?

856
00:59:34,200 --> 00:59:36,720
Speaker 15: Yeah, I mean the summer o itinerary tends to look

857
00:59:36,760 --> 00:59:38,960
Speaker 15: the same. Yeah, I mean, I don't think I've seen

858
00:59:39,120 --> 00:59:43,360
Speaker 15: the July seventeenth in the United States since we graduated.

859
00:59:43,400 --> 00:59:46,200
Speaker 15: Well I didn't see it then, so yeah, probably nineteen

860
00:59:46,240 --> 00:59:46,600
Speaker 15: eighty eight.

861
00:59:47,240 --> 00:59:49,480
Speaker 1: So you're always in Europe every summer pretty much, Well,

862
00:59:49,560 --> 00:59:51,040
Speaker 1: maybe I'll see you this summer. Are you going to

863
00:59:51,080 --> 00:59:51,760
Speaker 1: be there this summer?

864
00:59:52,520 --> 00:59:53,160
Speaker 5: Not for long?

865
00:59:53,520 --> 00:59:56,680
Speaker 15: I'm actually this is I'm only doing two gigs in

866
00:59:56,800 --> 00:59:59,440
Speaker 15: Europe in July. I actually get to stay.

867
00:59:59,600 --> 01:00:02,600
Speaker 1: Home, stay home and work or stay home and hay.

868
01:00:02,600 --> 01:00:04,520
Speaker 15: Oh I'm going to stay home and hay yeah, I'm

869
01:00:04,560 --> 01:00:09,520
Speaker 15: going to watch Law and Order. My asshole. It would

870
01:00:09,560 --> 01:00:10,920
Speaker 15: be marathon and like crazy.

871
01:00:11,280 --> 01:00:16,800
Speaker 6: Oh man, Wow, this is this year mark the first

872
01:00:16,920 --> 01:00:22,280
Speaker 6: year that we're finally doing our first round of arena

873
01:00:22,360 --> 01:00:25,120
Speaker 6: tours really, because the thing is is that, you know,

874
01:00:25,240 --> 01:00:28,480
Speaker 6: we've played big numbers in New York City. Yeah, and

875
01:00:28,720 --> 01:00:31,680
Speaker 6: MSG really isn't that big.

876
01:00:31,920 --> 01:00:34,480
Speaker 1: No, isn't it like nine or ten thousand.

877
01:00:34,800 --> 01:00:37,120
Speaker 5: It's like maybe twelve thirteen, but you think of it

878
01:00:37,160 --> 01:00:39,680
Speaker 5: as like thirty and yeah, you would think like forty

879
01:00:39,720 --> 01:00:40,200
Speaker 5: some whatever.

880
01:00:40,560 --> 01:00:46,120
Speaker 6: And we just never, you know, it's always like, okay,

881
01:00:46,200 --> 01:00:49,200
Speaker 6: when do we when do we play our cards to

882
01:00:49,240 --> 01:00:52,120
Speaker 6: see if we can actually do arenas or not? So wow,

883
01:00:52,440 --> 01:00:55,920
Speaker 6: But after the the thing that we did at the

884
01:00:55,960 --> 01:01:00,320
Speaker 6: Grammys this year where we gathered everyone in in the

885
01:01:00,440 --> 01:01:03,480
Speaker 6: history of hip hop to do like this mega twelve minute,

886
01:01:03,800 --> 01:01:04,360
Speaker 6: it was great.

887
01:01:04,600 --> 01:01:10,680
Speaker 5: Yeah, it was fun to watch you look dude eight,

888
01:01:10,840 --> 01:01:14,840
Speaker 5: I should have a separate podcast on MD gigs. What

889
01:01:15,280 --> 01:01:16,240
Speaker 5: do you talk about it.

890
01:01:16,720 --> 01:01:18,360
Speaker 14: I've come close to suicide in.

891
01:01:18,720 --> 01:01:22,720
Speaker 1: Time musical director gigs. Oh yeah, where you're running the

892
01:01:22,760 --> 01:01:24,080
Speaker 1: show and trying to organize it all.

893
01:01:24,800 --> 01:01:27,720
Speaker 6: I'll guarantee you know this story and basically say that

894
01:01:27,800 --> 01:01:31,880
Speaker 6: when I landed in New York, my tooth fell out.

895
01:01:32,440 --> 01:01:35,000
Speaker 6: So there's there's this there's this rock and roll dentist

896
01:01:35,080 --> 01:01:38,560
Speaker 6: that Lenny Kravitz put the whole community onto in which

897
01:01:38,680 --> 01:01:40,400
Speaker 6: this guy does twenty four hour work.

898
01:01:40,680 --> 01:01:43,320
Speaker 5: Like he even comes to your house. That's a little weird.

899
01:01:43,560 --> 01:01:46,440
Speaker 6: You can, yeah, like you leave them keys whatever, you

900
01:01:46,520 --> 01:01:48,760
Speaker 6: take these pills, you're asleep, you wake up in the morning.

901
01:01:48,840 --> 01:01:49,600
Speaker 5: He already operated.

902
01:01:49,640 --> 01:01:51,920
Speaker 1: Wait wait, back up, back up.

903
01:01:52,400 --> 01:01:54,480
Speaker 5: Yeah, are you kidding me. I don't do that. I'm

904
01:01:54,480 --> 01:01:57,160
Speaker 5: not I'm not that rich. But yes, you can. Actually

905
01:01:57,440 --> 01:01:59,240
Speaker 5: this guy, he's the rock and roll dennist. He goes

906
01:01:59,280 --> 01:02:02,160
Speaker 5: on tour. He could if you have a football, you know,

907
01:02:02,200 --> 01:02:02,720
Speaker 5: I've got time.

908
01:02:02,760 --> 01:02:03,400
Speaker 2: We got to be home.

909
01:02:03,960 --> 01:02:05,600
Speaker 5: He'll come to the crib and.

910
01:02:05,640 --> 01:02:07,640
Speaker 14: He's in New York.

911
01:02:07,720 --> 01:02:09,040
Speaker 5: So he's on a twenty four hour call.

912
01:02:09,120 --> 01:02:13,640
Speaker 6: And when I landed, the amount of stress that seven

913
01:02:13,720 --> 01:02:18,640
Speaker 6: weeks was because it's somewhere in between, like one standby, there.

914
01:02:18,600 --> 01:02:22,000
Speaker 5: Was a life coach, because you a life coach.

915
01:02:22,160 --> 01:02:25,280
Speaker 6: So we also experienced this and then the rock and

916
01:02:25,400 --> 01:02:26,680
Speaker 6: roll So in the Rock and Roll Hall of Fame,

917
01:02:26,720 --> 01:02:29,360
Speaker 6: it's sort of the same thing where you have to

918
01:02:29,480 --> 01:02:32,120
Speaker 6: reunite people that haven't played with each other.

919
01:02:32,000 --> 01:02:32,640
Speaker 5: For a long time.

920
01:02:32,760 --> 01:02:34,640
Speaker 1: Oh and there's a lot of history there. Yeah, a

921
01:02:34,680 --> 01:02:38,120
Speaker 1: lot of bad history, a lot of was there a therapist, Yeah.

922
01:02:38,040 --> 01:02:39,680
Speaker 6: That's why I had to have this person there, like

923
01:02:39,880 --> 01:02:43,640
Speaker 6: literally there to talk. So there was there's two situations

924
01:02:43,680 --> 01:02:46,880
Speaker 6: where you know, you go back in two thousand and seven,

925
01:02:48,120 --> 01:02:50,040
Speaker 6: you took three thousand dollars out of my bag and

926
01:02:50,120 --> 01:02:51,440
Speaker 6: did it whatever like that.

927
01:02:52,000 --> 01:02:52,240
Speaker 5: Wow.

928
01:02:52,440 --> 01:02:55,720
Speaker 6: So there was that, but then there was mostly like, well,

929
01:02:55,800 --> 01:02:59,560
Speaker 6: how many bars is da da da getting? And you know,

930
01:03:00,000 --> 01:03:02,000
Speaker 6: how much explosions is data DA getting?

931
01:03:02,560 --> 01:03:04,880
Speaker 14: I used to think that wasn't real, dude.

932
01:03:04,960 --> 01:03:08,520
Speaker 6: It was like if you ever seen I don't know

933
01:03:08,560 --> 01:03:10,800
Speaker 6: if you watch thirty Rock, but if you ever watch

934
01:03:11,240 --> 01:03:16,400
Speaker 6: the Source Awards episode of thirty Rock, which alone is

935
01:03:16,440 --> 01:03:18,400
Speaker 6: a setup and a joke and a fund's line at

936
01:03:18,440 --> 01:03:25,160
Speaker 6: the same time, it literally it was it almost went

937
01:03:25,280 --> 01:03:28,040
Speaker 6: Murphy's Law. And then at the last minute, it was

938
01:03:28,120 --> 01:03:34,400
Speaker 6: the it was the biggest hail. Mary with seconds on

939
01:03:34,480 --> 01:03:37,120
Speaker 6: the clock left, tossed the ball up and just praise.

940
01:03:37,200 --> 01:03:41,160
Speaker 6: Someone on the other end catches it, and they caught it.

941
01:03:41,240 --> 01:03:44,439
Speaker 5: I'll put it this way. The last act, little Uzi Bert,

942
01:03:44,760 --> 01:03:48,160
Speaker 5: I didn't even know he was on stage.

943
01:03:48,320 --> 01:03:52,000
Speaker 6: And that's only because the way that the show was built.

944
01:03:52,080 --> 01:03:54,960
Speaker 6: I couldn't see what was happening around the corner. But

945
01:03:55,280 --> 01:03:57,760
Speaker 6: do you remember how like after Prince did Purple Rain

946
01:03:57,920 --> 01:04:01,320
Speaker 6: and he stormed off stage, I've ruined everything.

947
01:04:01,360 --> 01:04:03,800
Speaker 5: I fucked up. That's what I did. Like I was

948
01:04:03,880 --> 01:04:05,080
Speaker 5: having a panic attack.

949
01:04:05,400 --> 01:04:07,600
Speaker 6: I was about to cry wow, and I stormed off

950
01:04:07,640 --> 01:04:09,800
Speaker 6: stage and I was like, oh man, I've ruined it.

951
01:04:09,840 --> 01:04:10,320
Speaker 5: I ruined it.

952
01:04:10,400 --> 01:04:13,720
Speaker 6: And then my band's like congratulating each other. I'm like,

953
01:04:13,760 --> 01:04:16,800
Speaker 6: what are y'all doing? She's like see what I said? Wait,

954
01:04:16,840 --> 01:04:19,520
Speaker 6: he was there, so yeah, he came up last minute

955
01:04:19,640 --> 01:04:22,400
Speaker 6: and literally they had to show me on Twitter what

956
01:04:22,600 --> 01:04:23,200
Speaker 6: had happened.

957
01:04:23,360 --> 01:04:25,120
Speaker 5: You didn't even know and they were like, how did

958
01:04:25,160 --> 01:04:26,800
Speaker 5: you not know? And you literally on stage?

959
01:04:26,840 --> 01:04:30,120
Speaker 6: But I swear to God, like after after a point,

960
01:04:30,200 --> 01:04:32,520
Speaker 6: I just blanked out because I started going to my head,

961
01:04:32,640 --> 01:04:35,200
Speaker 6: like I fucked this up. Everyone's going to cancel me.

962
01:04:35,480 --> 01:04:37,760
Speaker 6: I'm be trending on Twitter. He messed up the Hip

963
01:04:37,760 --> 01:04:42,080
Speaker 6: Hop thirty thing and literally my last because there was

964
01:04:42,160 --> 01:04:45,600
Speaker 6: even acts that dropped out ten minutes before because they

965
01:04:45,720 --> 01:04:52,480
Speaker 6: lost one our headliner. I thought he might win a

966
01:04:52,560 --> 01:04:55,560
Speaker 6: particular award, and you know when it went to someone else, Man,

967
01:04:55,640 --> 01:04:56,280
Speaker 6: fuck the Grammy.

968
01:04:56,680 --> 01:04:57,440
Speaker 5: I'm like, yo, you cat.

969
01:04:57,960 --> 01:05:01,960
Speaker 6: And it was every type of stress and that's how

970
01:05:02,120 --> 01:05:04,280
Speaker 6: my tooth fell out. So just in terms of like

971
01:05:05,640 --> 01:05:08,560
Speaker 6: m DM man, it's hard. You can't be no one's friend.

972
01:05:09,400 --> 01:05:13,040
Speaker 6: Sam Moore got got mad at me one time. Sam Moore, Yeah, Sam?

973
01:05:13,120 --> 01:05:16,120
Speaker 6: And Dave yeah, oh he's more famous for that. He's waving.

974
01:05:16,400 --> 01:05:18,720
Speaker 15: So we're at the White House and it was the

975
01:05:18,800 --> 01:05:21,760
Speaker 15: big Ray Charles tribute and I'm kind of wearing.

976
01:05:21,600 --> 01:05:24,200
Speaker 14: What I have on exactly right now, a T shirt.

977
01:05:24,360 --> 01:05:24,640
Speaker 2: Yeah.

978
01:05:24,680 --> 01:05:26,880
Speaker 15: I had a black T shirt on and a black

979
01:05:26,920 --> 01:05:30,280
Speaker 15: sport jacket. So I got the big band and uh,

980
01:05:31,160 --> 01:05:34,920
Speaker 15: you know a lot of you know, Demi Levado was there, Usher,

981
01:05:36,560 --> 01:05:40,400
Speaker 15: Jolanta Adams, all these people, so I wasn't paying attention.

982
01:05:40,840 --> 01:05:43,080
Speaker 15: I had a James Brown T shirt on oh no,

983
01:05:44,560 --> 01:05:47,720
Speaker 15: oh no, but my jacket was, you know, kind of

984
01:05:47,760 --> 01:05:51,600
Speaker 15: clothes like this. And so Sam Moore comes in and, uh,

985
01:05:51,960 --> 01:05:53,920
Speaker 15: you know, mister Moore, you know, good morning. It's great

986
01:05:53,960 --> 01:05:55,520
Speaker 15: to see you. I'm so honored to work with you.

987
01:05:55,600 --> 01:05:58,919
Speaker 15: He's like, who is that? He looks at my shirt

988
01:05:59,200 --> 01:06:06,160
Speaker 15: as soon as he saw, oh, it was too late

989
01:06:06,200 --> 01:06:09,160
Speaker 15: to change my clothes. He's like, James Brown, what's their history?

990
01:06:09,480 --> 01:06:12,240
Speaker 15: Why y'all look at James Brown. I was like, well,

991
01:06:12,320 --> 01:06:14,600
Speaker 15: listen more, I can, I can, I can go change

992
01:06:14,640 --> 01:06:15,040
Speaker 15: my shirt?

993
01:06:16,040 --> 01:06:17,080
Speaker 14: No, no, no, it's too late.

994
01:06:17,200 --> 01:06:17,320
Speaker 2: Now.

995
01:06:17,760 --> 01:06:19,600
Speaker 15: Why you got a James Brown shirt on? It's like

996
01:06:20,680 --> 01:06:26,240
Speaker 15: it's the only clean one I have. Yeah, I've been

997
01:06:26,280 --> 01:06:28,000
Speaker 15: on the road for the last fight. I didn't get

998
01:06:28,040 --> 01:06:28,760
Speaker 15: to do laundry.

999
01:06:28,960 --> 01:06:29,120
Speaker 11: You know.

1000
01:06:30,000 --> 01:06:33,400
Speaker 15: He's like, and for the next fifteen minutes, he wouldn't

1001
01:06:33,440 --> 01:06:35,320
Speaker 15: he wouldn't sing the song. He was just I can't

1002
01:06:35,360 --> 01:06:39,080
Speaker 15: believe you wearing a chance Brown. It could not think

1003
01:06:39,280 --> 01:06:42,280
Speaker 15: one of them card games. So later on I texted

1004
01:06:42,360 --> 01:06:46,680
Speaker 15: Alan what's the deal?

1005
01:06:47,280 --> 01:06:50,560
Speaker 5: And so allan le friend Alan Le.

1006
01:06:51,680 --> 01:06:54,800
Speaker 15: And so he's like there was there was no direct

1007
01:06:54,960 --> 01:06:56,840
Speaker 15: story that he knew of. It was just sort of

1008
01:06:56,920 --> 01:06:59,680
Speaker 15: like an overall He's like, man, no, none of James

1009
01:06:59,720 --> 01:07:01,400
Speaker 15: Brown Piers from the sixties liked them.

1010
01:07:02,360 --> 01:07:06,160
Speaker 5: There's either a woman car game right right right, the

1011
01:07:06,240 --> 01:07:07,320
Speaker 5: answery I got to cut you.

1012
01:07:08,360 --> 01:07:10,120
Speaker 15: I felt so bad. I was like, man, I should

1013
01:07:10,240 --> 01:07:14,439
Speaker 15: run my room real quick, seriously. I was like, let's

1014
01:07:14,440 --> 01:07:16,120
Speaker 15: take a forty five minute break. I'm gonna go back

1015
01:07:16,120 --> 01:07:17,320
Speaker 15: to the hotel and change my shirt.

1016
01:07:17,400 --> 01:07:20,640
Speaker 1: I did not, but the damage was done.

1017
01:07:20,760 --> 01:07:23,280
Speaker 14: Oh my. He finally got over it the day of

1018
01:07:23,320 --> 01:07:23,600
Speaker 14: the gig.

1019
01:07:26,520 --> 01:07:30,680
Speaker 5: I remember once we did you ever play River Deep

1020
01:07:30,760 --> 01:07:31,280
Speaker 5: Mountain High?

1021
01:07:31,360 --> 01:07:31,600
Speaker 14: Sure?

1022
01:07:31,960 --> 01:07:34,080
Speaker 5: And that turnaround is one of the hardest things.

1023
01:07:39,480 --> 01:07:39,959
Speaker 14: Yeah, right.

1024
01:07:42,040 --> 01:07:44,480
Speaker 5: Right, So that turnaround as hard as he yes, it is.

1025
01:07:44,760 --> 01:07:44,960
Speaker 14: Yeah.

1026
01:07:45,120 --> 01:07:48,600
Speaker 6: And we used to do this annual gig out in

1027
01:07:48,640 --> 01:07:53,320
Speaker 6: the Hampton's where the former owner of the Apollo Theater

1028
01:07:54,040 --> 01:07:57,080
Speaker 6: does one of those fancy spancy like ten twenty thousand

1029
01:07:57,160 --> 01:07:59,960
Speaker 6: plate thing and you know, like an occasional pal McCartney

1030
01:08:00,040 --> 01:08:02,160
Speaker 6: shows up or whatever. You know, it's like a fun

1031
01:08:02,240 --> 01:08:03,800
Speaker 6: time and like the Roots have been in the house

1032
01:08:03,880 --> 01:08:06,919
Speaker 6: band for this thing for like like maybe the last

1033
01:08:06,960 --> 01:08:09,920
Speaker 6: ten years. And but the thing is it is also

1034
01:08:11,240 --> 01:08:14,160
Speaker 6: I think one of the downfalls of being on The

1035
01:08:14,200 --> 01:08:17,560
Speaker 6: Tonight Show is a lot of people just believe in

1036
01:08:17,600 --> 01:08:20,000
Speaker 6: the smoke and mirrors of it all of like, oh.

1037
01:08:19,920 --> 01:08:23,240
Speaker 14: The roots could do anything. No, no, they could do it.

1038
01:08:23,920 --> 01:08:26,840
Speaker 6: And so you know they'll come in the door, they'll

1039
01:08:26,880 --> 01:08:29,040
Speaker 6: come in the gate, like, Okay, you're gonna play these

1040
01:08:29,040 --> 01:08:32,120
Speaker 6: three songs with McCartney and three songs with Sting and

1041
01:08:32,200 --> 01:08:34,439
Speaker 6: these three songs. So you know, we already got like

1042
01:08:35,320 --> 01:08:38,960
Speaker 6: eighteen songs. But then always the last minutes, like Banjovi

1043
01:08:39,040 --> 01:08:40,720
Speaker 6: wants to do that, do you know what? Meanwhile you're

1044
01:08:40,720 --> 01:08:42,200
Speaker 6: playing the song and I got to put on my

1045
01:08:42,280 --> 01:08:45,200
Speaker 6: computer and learn living on a prayer that way. And

1046
01:08:45,360 --> 01:08:49,439
Speaker 6: so Darlene Love wanted to do River Deep, Mountain High,

1047
01:08:51,160 --> 01:08:53,479
Speaker 6: and this is all I know.

1048
01:08:54,520 --> 01:08:55,160
Speaker 5: I messed up.

1049
01:08:55,400 --> 01:08:58,240
Speaker 6: Okay, so I messed up that turnaround, right, But at

1050
01:08:58,360 --> 01:09:00,439
Speaker 6: least I was smart enough to just sixteen.

1051
01:09:01,000 --> 01:09:02,479
Speaker 5: I didn't know the count, so I just.

1052
01:09:09,360 --> 01:09:09,720
Speaker 1: Right right.

1053
01:09:10,000 --> 01:09:12,720
Speaker 6: I cheated it that way. Yeah, man, when I tell you,

1054
01:09:13,360 --> 01:09:17,799
Speaker 6: oh boy, like we didn't even meet yet. But because

1055
01:09:18,840 --> 01:09:21,760
Speaker 6: she wasn't accustomed to doing it like the way she

1056
01:09:21,880 --> 01:09:23,600
Speaker 6: normally does it, all I remember was.

1057
01:09:25,640 --> 01:09:28,160
Speaker 5: I took responsibility. I was like, my bad. Whatever. She

1058
01:09:28,280 --> 01:09:35,639
Speaker 5: turned around and said, I'm gonna fucking kill you. Yeah.

1059
01:09:37,160 --> 01:09:41,920
Speaker 6: Yeah, I will say that dealing with your heroes or

1060
01:09:42,080 --> 01:09:47,040
Speaker 6: your peers in the MD position is the fastest way.

1061
01:09:47,439 --> 01:09:50,800
Speaker 5: You just gotta you just got bull's eye on your chesties.

1062
01:09:50,880 --> 01:09:54,519
Speaker 6: They gonna get you now, somebody's gonna get you, Okay

1063
01:09:54,720 --> 01:09:57,200
Speaker 6: without naming your name? Has an idol ever?

1064
01:09:57,560 --> 01:09:58,479
Speaker 5: Wait? Do you know?

1065
01:09:58,960 --> 01:09:59,120
Speaker 15: Way?

1066
01:09:59,200 --> 01:10:01,800
Speaker 1: No? No, no, no, has an idol ever? Been mean?

1067
01:10:02,040 --> 01:10:06,880
Speaker 5: Disappointed you? No? Wow? Don't you looked at charm Life.

1068
01:10:07,240 --> 01:10:11,880
Speaker 1: I'm serious. One time they kind of annoyed me. But

1069
01:10:12,120 --> 01:10:15,680
Speaker 1: I'm not going to name a name. Yeah yeah, like

1070
01:10:15,760 --> 01:10:17,920
Speaker 1: I was like, oh, they're kind of annoying, but like,

1071
01:10:18,600 --> 01:10:21,040
Speaker 1: I still love them. I'm not even gonna say if

1072
01:10:21,080 --> 01:10:21,840
Speaker 1: it's a man or woman.

1073
01:10:22,479 --> 01:10:23,719
Speaker 14: Well, you already know my answer.

1074
01:10:23,960 --> 01:10:28,400
Speaker 1: Yeah, you've had some disappointments, I strangely haven't. I actually

1075
01:10:28,400 --> 01:10:30,440
Speaker 1: am surprised. I've never had a disappointment.

1076
01:10:31,320 --> 01:10:34,120
Speaker 5: But wait, was that instance your last interaction with that person?

1077
01:10:34,360 --> 01:10:38,120
Speaker 1: No, it wasn't. It was just like, okay, I'm not

1078
01:10:38,160 --> 01:10:39,240
Speaker 1: going to get too close there.

1079
01:10:39,479 --> 01:10:46,479
Speaker 14: Maybe, but yeah, I feel bad. Well James Brown, No,

1080
01:10:46,600 --> 01:10:47,200
Speaker 14: it was fine.

1081
01:10:47,720 --> 01:10:48,439
Speaker 1: You're naming name.

1082
01:10:49,040 --> 01:10:51,599
Speaker 14: It ended on a very high note, so it was good.

1083
01:10:53,560 --> 01:10:57,360
Speaker 1: We go back who were you? Just that was tricky

1084
01:10:57,360 --> 01:10:58,000
Speaker 1: and it ended.

1085
01:10:57,840 --> 01:10:58,400
Speaker 2: On a high note.

1086
01:10:59,160 --> 01:11:01,040
Speaker 14: Yeah, that was below tricky.

1087
01:11:02,080 --> 01:11:05,240
Speaker 6: I'm almost saying that Chris has undersold his love for

1088
01:11:05,439 --> 01:11:06,080
Speaker 6: James Brown.

1089
01:11:06,240 --> 01:11:06,640
Speaker 2: I think, I.

1090
01:11:08,160 --> 01:11:11,800
Speaker 6: No, but it's it's beyond you know, it's beyond me

1091
01:11:11,960 --> 01:11:14,599
Speaker 6: any anytime a person comes to me and like, hey,

1092
01:11:14,720 --> 01:11:15,679
Speaker 6: you know this is James Brown.

1093
01:11:15,720 --> 01:11:16,680
Speaker 5: Probably no, no, no, no, no, no no.

1094
01:11:16,920 --> 01:11:18,599
Speaker 6: It's almost like I got to ask my dad first.

1095
01:11:18,600 --> 01:11:22,680
Speaker 6: I'm like, did you ask Christian McBride first? Liked the

1096
01:11:22,720 --> 01:11:27,200
Speaker 6: DNA of James's you know, heavy, and Chris so well.

1097
01:11:27,400 --> 01:11:27,560
Speaker 8: You know.

1098
01:11:27,960 --> 01:11:32,040
Speaker 15: So that's a perfect segue into how we met in

1099
01:11:32,200 --> 01:11:36,200
Speaker 15: high school because you know, we both grew up in Philly.

1100
01:11:36,360 --> 01:11:39,040
Speaker 15: We went to Creative and Performing Arts, which is the

1101
01:11:39,080 --> 01:11:42,880
Speaker 15: same high school where the late great. It still feels weird,

1102
01:11:43,000 --> 01:11:47,560
Speaker 15: seems you just said that the late Great Joe d Francesco,

1103
01:11:48,840 --> 01:11:51,080
Speaker 15: Rosewinkle Boys, the man Amel LaRue.

1104
01:11:51,760 --> 01:11:53,000
Speaker 1: I didn't know Kurt went there too.

1105
01:11:55,080 --> 01:11:55,280
Speaker 5: Yeah.

1106
01:11:57,080 --> 01:11:58,000
Speaker 2: Kerk was like.

1107
01:12:00,600 --> 01:12:03,920
Speaker 6: Like it was like a game and him and Joey

1108
01:12:03,960 --> 01:12:08,320
Speaker 6: were the crips and Kirk was the Bloods and I

1109
01:12:08,479 --> 01:12:13,040
Speaker 6: was on whatever side was winning at the time. Well,

1110
01:12:13,080 --> 01:12:14,720
Speaker 6: this is my first time that I've been in that

1111
01:12:14,840 --> 01:12:17,720
Speaker 6: situation where like I'm with peer's my age play and

1112
01:12:18,360 --> 01:12:21,280
Speaker 6: so they're like traditional jazz, So in order for me

1113
01:12:21,360 --> 01:12:23,519
Speaker 6: to get their respect, I better speak their language. But

1114
01:12:23,640 --> 01:12:27,280
Speaker 6: then he's like trying to unteach me everything they're teaching

1115
01:12:27,320 --> 01:12:29,880
Speaker 6: me by like this Captain b Park and.

1116
01:12:29,920 --> 01:12:35,439
Speaker 15: This is for example, and so. But but the thing

1117
01:12:35,479 --> 01:12:38,240
Speaker 15: where I felt really alone was I was also hardcoreing

1118
01:12:38,439 --> 01:12:41,240
Speaker 15: R and B and funk. So I mean, Joey could

1119
01:12:41,280 --> 01:12:43,960
Speaker 15: play it, but that he didn't know a lot of

1120
01:12:44,120 --> 01:12:48,519
Speaker 15: that exactly, you know, uh, and Kurt didn't, you know.

1121
01:12:48,720 --> 01:12:50,560
Speaker 15: So like I was by myself when it came to

1122
01:12:50,880 --> 01:12:53,880
Speaker 15: you know, Motown and Stacks and James Brown Earth went

1123
01:12:53,960 --> 01:12:54,519
Speaker 15: to fire all that.

1124
01:12:55,200 --> 01:13:00,040
Speaker 14: So when he comes to school and uh, I remember.

1125
01:12:59,840 --> 01:13:01,280
Speaker 5: He on Roseen Winkle's guitar.

1126
01:13:02,200 --> 01:13:04,599
Speaker 14: I thought you were playing this but not not this bass,

1127
01:13:04,680 --> 01:13:06,720
Speaker 14: but you were playing the bass. I was in the

1128
01:13:06,760 --> 01:13:08,160
Speaker 14: bass line. You was messing around.

1129
01:13:08,640 --> 01:13:10,320
Speaker 15: I came in, I came in the music room and

1130
01:13:10,840 --> 01:13:13,679
Speaker 15: there's this new this new dude in the music program

1131
01:13:13,960 --> 01:13:24,800
Speaker 15: and he's kind of like and I just kind of

1132
01:13:24,840 --> 01:13:29,680
Speaker 15: stood there like, oh, really, we got a James Brownhead

1133
01:13:29,720 --> 01:13:35,679
Speaker 15: in school now? And uh, I mean instant bond, instant bond.

1134
01:13:35,840 --> 01:13:37,760
Speaker 15: And my mother was so happy because she was like,

1135
01:13:38,280 --> 01:13:41,080
Speaker 15: thank God, you got somebody who can talk to Funk.

1136
01:13:41,960 --> 01:13:43,640
Speaker 15: You know, you got somebody you can hang with now

1137
01:13:43,800 --> 01:13:46,280
Speaker 15: talk about Funk instead of as old people.

1138
01:13:46,680 --> 01:13:49,840
Speaker 5: Exactly are you?

1139
01:13:50,280 --> 01:13:52,080
Speaker 1: Were you in a younger grade? Is that why you

1140
01:13:52,160 --> 01:13:54,879
Speaker 1: came along? Later? Transferred?

1141
01:13:55,160 --> 01:13:58,400
Speaker 6: Like for the first eight years of my life, I

1142
01:13:58,439 --> 01:14:02,400
Speaker 6: went to the private version of that school, performing art school,

1143
01:14:02,840 --> 01:14:04,479
Speaker 6: and then members a period where.

1144
01:14:06,320 --> 01:14:08,479
Speaker 5: I don't know if you know this, this educator named

1145
01:14:08,520 --> 01:14:11,280
Speaker 5: Marva Collins. Okay, I'll tell you what.

1146
01:14:11,760 --> 01:14:13,840
Speaker 6: When you listen to songs in the Key of Life

1147
01:14:13,840 --> 01:14:16,280
Speaker 6: by Stevie Wonder, when you listen to the last two

1148
01:14:16,280 --> 01:14:21,720
Speaker 6: minutes of black Man where the teacher who's like the

1149
01:14:21,720 --> 01:14:23,600
Speaker 6: little kids are yelling back at him, just listening to

1150
01:14:23,640 --> 01:14:25,960
Speaker 6: the last two minutes of black Man, that's more of

1151
01:14:26,000 --> 01:14:28,639
Speaker 6: a Collins school in Chicago. And she was a woman

1152
01:14:29,240 --> 01:14:33,599
Speaker 6: who Kribeini green projects the good time projects like these

1153
01:14:33,640 --> 01:14:33,920
Speaker 6: were like.

1154
01:14:34,360 --> 01:14:36,679
Speaker 5: You know, the worst kids were the worst GPA on earth.

1155
01:14:37,040 --> 01:14:39,200
Speaker 6: And she just decided one day, I'm gonna turn you

1156
01:14:39,560 --> 01:14:45,599
Speaker 6: all into mental level Ivy League students, and so one

1157
01:14:45,680 --> 01:14:48,759
Speaker 6: by one, everyone who's ever been in her class wound

1158
01:14:48,840 --> 01:14:53,640
Speaker 6: up going to doctors, nurses like that sort of thing.

1159
01:14:54,520 --> 01:14:59,560
Speaker 6: And so that's like every seventies parent was like. So

1160
01:14:59,640 --> 01:15:02,400
Speaker 6: I went to a lot of schools that were like

1161
01:15:03,160 --> 01:15:07,720
Speaker 6: private schools that were guarantee that your kid was going

1162
01:15:07,800 --> 01:15:11,519
Speaker 6: to be in Harvard or whatever like at the end

1163
01:15:11,600 --> 01:15:13,120
Speaker 6: of their school tenure.

1164
01:15:13,200 --> 01:15:18,799
Speaker 5: And then the last two years I happened to see.

1165
01:15:20,120 --> 01:15:26,840
Speaker 6: On Channel ten on on CBS, I saw this fourteen

1166
01:15:26,920 --> 01:15:27,960
Speaker 6: year old kid, right.

1167
01:15:28,160 --> 01:15:32,840
Speaker 15: Dreams Yo, don't even yo dah that don't take no,

1168
01:15:33,040 --> 01:15:33,920
Speaker 15: but it's on YouTube.

1169
01:15:34,000 --> 01:15:39,240
Speaker 5: I hate you right now, man. Yes, Dreams is sort.

1170
01:15:39,080 --> 01:15:44,280
Speaker 15: Of like it's a made for TV movie about our school.

1171
01:15:44,479 --> 01:15:47,479
Speaker 6: This is before I went there, But I saw Joey

1172
01:15:49,160 --> 01:15:53,560
Speaker 6: playing on like this this clip, and I was just

1173
01:15:53,880 --> 01:15:58,519
Speaker 6: mind blown that a thirteen fourteen year old could play

1174
01:15:58,600 --> 01:16:01,080
Speaker 6: like an adult because I only grew up. You know,

1175
01:16:01,200 --> 01:16:05,080
Speaker 6: my dad was an oldies duops singer, so I only

1176
01:16:05,320 --> 01:16:08,439
Speaker 6: hung with old musicians, which is why I played the

1177
01:16:08,479 --> 01:16:11,200
Speaker 6: way I played now, because literally it was like me

1178
01:16:11,400 --> 01:16:14,280
Speaker 6: at five and a bunch of thirty year olds and

1179
01:16:14,400 --> 01:16:17,120
Speaker 6: I never interacted with kids my own age whatever. So

1180
01:16:18,280 --> 01:16:21,160
Speaker 6: that's you know, I just told my mom, like I

1181
01:16:21,240 --> 01:16:22,920
Speaker 6: want to play with kids my own age. Like I

1182
01:16:23,040 --> 01:16:25,599
Speaker 6: grew up thinking like, oh damn, I'm the only kid

1183
01:16:26,240 --> 01:16:28,320
Speaker 6: that knows how to play like this, and I came

1184
01:16:28,400 --> 01:16:32,880
Speaker 6: in for the rudest awakening. That is interesting, dude, the

1185
01:16:32,920 --> 01:16:36,800
Speaker 6: first day of school, Miles Davis is at school, like

1186
01:16:37,840 --> 01:16:40,360
Speaker 6: giving him first two.

1187
01:16:40,320 --> 01:16:41,800
Speaker 14: Weeks of school. Yeah, something like.

1188
01:16:42,400 --> 01:16:44,920
Speaker 15: There used to be a morning talk show in Philly

1189
01:16:45,680 --> 01:16:49,120
Speaker 15: hosted by a guy named Bill Boggs. It's called time

1190
01:16:49,200 --> 01:16:53,840
Speaker 15: Out and they had right and they had Miles Davis

1191
01:16:53,880 --> 01:16:54,400
Speaker 15: as a guest.

1192
01:16:55,240 --> 01:16:58,280
Speaker 14: And so I found this out later that.

1193
01:17:00,200 --> 01:17:03,240
Speaker 15: Uh they felt that because I saw an interview with

1194
01:17:03,320 --> 01:17:05,760
Speaker 15: Bill bogs It was interesting. He said he remembers that

1195
01:17:05,840 --> 01:17:09,840
Speaker 15: episode well, because the producers didn't think Miles Davis's name

1196
01:17:10,600 --> 01:17:14,000
Speaker 15: was big enough to carry an hour of a of

1197
01:17:14,080 --> 01:17:17,080
Speaker 15: a of an interview. Can you imagine the absurdity of that.

1198
01:17:17,720 --> 01:17:21,519
Speaker 15: So it was remember Maurice Hines was also against that day.

1199
01:17:21,880 --> 01:17:23,479
Speaker 15: So that was the reason they said, well, you know,

1200
01:17:23,520 --> 01:17:28,320
Speaker 15: we need a s Miles can't do it by himself,

1201
01:17:28,400 --> 01:17:31,720
Speaker 15: you know. And also to to kind of make it cute, see,

1202
01:17:32,400 --> 01:17:35,400
Speaker 15: they decided they would get some kids to play for

1203
01:17:35,600 --> 01:17:40,679
Speaker 15: Miles and so and then Miles look at right now. Well,

1204
01:17:40,960 --> 01:17:45,160
Speaker 15: that's that's what everybody said, right and so, uh so

1205
01:17:45,400 --> 01:17:49,240
Speaker 15: they had me Joey Stacy Dozer playing drums. She she

1206
01:17:49,439 --> 01:17:51,599
Speaker 15: played drums in a high school band before a mayor

1207
01:17:51,720 --> 01:17:56,120
Speaker 15: got there. And they invited four uh young trumpet players

1208
01:17:56,320 --> 01:17:59,559
Speaker 15: from the Philly school system to play. And Miles, would

1209
01:17:59,800 --> 01:18:05,719
Speaker 15: you give them advice on live television? Foolish decision?

1210
01:18:05,880 --> 01:18:06,839
Speaker 1: Is this on YouTube?

1211
01:18:07,160 --> 01:18:08,120
Speaker 5: Yes? Yeah?

1212
01:18:08,600 --> 01:18:13,679
Speaker 15: And I can't watch it? Yeah, it's watching that sounds

1213
01:18:14,120 --> 01:18:18,519
Speaker 15: it was a really ridiculous idea. And you know, Miles,

1214
01:18:19,120 --> 01:18:22,960
Speaker 15: Miles apparently not. They first of all, they needed the

1215
01:18:23,520 --> 01:18:27,040
Speaker 15: second seven second delay because Miles dropped a few f

1216
01:18:27,160 --> 01:18:27,600
Speaker 15: bombs on.

1217
01:18:27,680 --> 01:18:29,240
Speaker 5: And this morning television Morning.

1218
01:18:29,360 --> 01:18:31,800
Speaker 15: Yeah, you know all the parents and you know that moms,

1219
01:18:33,520 --> 01:18:38,280
Speaker 15: you know, and uh, Bill Box asked Miles. He said, uh,

1220
01:18:39,640 --> 01:18:42,920
Speaker 15: you know, Miles, you know you you went into seclusion

1221
01:18:43,000 --> 01:18:44,479
Speaker 15: for a few years. You know, what was it that

1222
01:18:44,680 --> 01:18:48,920
Speaker 15: that gave you the to come back? Seriously, Miles, Miles,

1223
01:18:49,040 --> 01:18:49,960
Speaker 15: he waited for a second.

1224
01:18:50,000 --> 01:18:57,479
Speaker 5: He said. One day, Dizzy Glassy came over and he said, man,

1225
01:18:57,520 --> 01:18:58,720
Speaker 5: what the fuck are you doing?

1226
01:19:05,200 --> 01:19:07,840
Speaker 14: God bless Bill Box. He's just sitting there like m hm.

1227
01:19:11,320 --> 01:19:15,800
Speaker 1: Trying to just act like it's totally regular, get up

1228
01:19:15,840 --> 01:19:16,759
Speaker 1: off your ass.

1229
01:19:18,160 --> 01:19:18,479
Speaker 5: So like.

1230
01:19:19,520 --> 01:19:21,439
Speaker 14: And there was another time Miles was trying to remember

1231
01:19:21,479 --> 01:19:23,040
Speaker 14: somebody's name is yeah it.

1232
01:19:23,160 --> 01:19:27,960
Speaker 5: Was me and oh ship, I forgot.

1233
01:19:29,479 --> 01:19:32,840
Speaker 14: Damn Miles, this is this is my TV dude.

1234
01:19:33,439 --> 01:19:36,960
Speaker 6: This is my second week of school in a in

1235
01:19:37,040 --> 01:19:42,880
Speaker 6: a public school, discovering that people born the same year

1236
01:19:43,000 --> 01:19:46,920
Speaker 6: as me can play like me and better than me.

1237
01:19:48,040 --> 01:19:52,679
Speaker 6: So the bubble I was in was instantly like Bursted

1238
01:19:53,120 --> 01:19:55,360
Speaker 6: and I had so much catching up to do.

1239
01:19:55,479 --> 01:19:56,040
Speaker 5: Man, just.

1240
01:19:57,640 --> 01:20:01,400
Speaker 15: I kept begging him to join the All City Jazz Man.

1241
01:20:01,479 --> 01:20:03,240
Speaker 15: I got him to come with me a couple of times.

1242
01:20:04,160 --> 01:20:05,120
Speaker 15: I was like, dude, come on.

1243
01:20:05,640 --> 01:20:09,599
Speaker 14: He's like no, no, no, no, no, sit down. Play

1244
01:20:10,439 --> 01:20:14,040
Speaker 14: so you playing, like, come on, bro, you got this brose.

1245
01:20:14,479 --> 01:20:16,880
Speaker 15: And then uh, little John Roberts was up there too,

1246
01:20:17,200 --> 01:20:20,000
Speaker 15: and he was literally a little John Roberts like.

1247
01:20:20,080 --> 01:20:22,479
Speaker 5: I looked at him like a little running because because

1248
01:20:22,479 --> 01:20:25,280
Speaker 5: he was younger than us, he's like in eighth grade, right,

1249
01:20:26,680 --> 01:20:28,439
Speaker 5: eighth or ninth. Oh he looked like he was in

1250
01:20:28,560 --> 01:20:29,080
Speaker 5: seventh grade.

1251
01:20:29,120 --> 01:20:31,679
Speaker 15: Yeah, yeah, he was two years behind us, I think, yeah,

1252
01:20:32,240 --> 01:20:34,880
Speaker 15: but uh yeah, we we did have some good drummers.

1253
01:20:34,960 --> 01:20:37,680
Speaker 5: I mean you know who's got more pocket than him.

1254
01:20:38,360 --> 01:20:41,960
Speaker 1: I know, but you guys played together in and on

1255
01:20:42,120 --> 01:20:45,960
Speaker 1: some school. Yeah, in school, but you were more in

1256
01:20:46,080 --> 01:20:49,400
Speaker 1: the jazz zone and you didn't go deep into the

1257
01:20:49,479 --> 01:20:50,000
Speaker 1: jazz zone.

1258
01:20:50,080 --> 01:20:52,559
Speaker 5: Se the thing I tried to tried to get him.

1259
01:20:53,240 --> 01:20:57,840
Speaker 5: So my story is really it was like, come on.

1260
01:20:58,360 --> 01:21:02,240
Speaker 5: But the thing is is that I I the the

1261
01:21:02,360 --> 01:21:04,200
Speaker 5: part I always leave out. The story was like my

1262
01:21:04,479 --> 01:21:12,719
Speaker 5: dad was like a Joe Jackson backstage mom Oh the worst,

1263
01:21:13,000 --> 01:21:14,760
Speaker 5: so he wanted me.

1264
01:21:15,000 --> 01:21:19,599
Speaker 6: My dad was like dog, He was like, you got

1265
01:21:19,680 --> 01:21:25,720
Speaker 6: two options, three options, Curtis Juilliard or a job.

1266
01:21:26,560 --> 01:21:28,639
Speaker 5: Curtis Juilliard or job.

1267
01:21:29,680 --> 01:21:33,000
Speaker 6: And I to this day people don't believe me when

1268
01:21:33,600 --> 01:21:36,920
Speaker 6: I tell them my dad didn't find out about the

1269
01:21:37,040 --> 01:21:41,480
Speaker 6: Roots until our second album because.

1270
01:21:41,800 --> 01:21:42,920
Speaker 1: He was too much pressure.

1271
01:21:42,960 --> 01:21:46,639
Speaker 6: The amount of sneaking I had to do, Yeah, she knew,

1272
01:21:47,080 --> 01:21:51,160
Speaker 6: but the amount of sneaking I had to do was

1273
01:21:51,280 --> 01:21:54,479
Speaker 6: like I can't let these guys know I listened to

1274
01:21:54,600 --> 01:22:00,400
Speaker 6: hip hop that way and can't let Kurt Rosenwinkle know that. Yes,

1275
01:22:00,479 --> 01:22:03,679
Speaker 6: you're trying to undo. Because the thing was is Kirk

1276
01:22:03,880 --> 01:22:06,559
Speaker 6: was like, jazz needs to go forward. And the first

1277
01:22:06,600 --> 01:22:09,960
Speaker 6: time that Kirk even planned the seed to me that

1278
01:22:10,880 --> 01:22:13,760
Speaker 6: this particular god figure in jazz might be a step

1279
01:22:13,920 --> 01:22:15,879
Speaker 6: backwards and not forward.

1280
01:22:17,200 --> 01:22:18,600
Speaker 5: Was he planned that seed to me?

1281
01:22:18,920 --> 01:22:21,360
Speaker 6: So he's like, yo, man, all the beatbop stuff from

1282
01:22:21,400 --> 01:22:23,120
Speaker 6: before you that's dead, man, that's dead.

1283
01:22:23,160 --> 01:22:23,760
Speaker 5: We got to move.

1284
01:22:24,040 --> 01:22:26,439
Speaker 6: And he's trying to like tell me about like you know,

1285
01:22:26,760 --> 01:22:29,679
Speaker 6: Embase and you know, like all these like crazy jazz

1286
01:22:29,840 --> 01:22:32,439
Speaker 6: ensembles and everything that I'm like a lot of am

1287
01:22:32,479 --> 01:22:36,080
Speaker 6: on guard whatever. So I'm doing my avant guard stuff

1288
01:22:36,160 --> 01:22:39,000
Speaker 6: with Rosawinkle, but when these guys are around, I'm like, okay,

1289
01:22:39,680 --> 01:22:42,720
Speaker 6: all right, so good Larry Jung's Unity record study that

1290
01:22:42,840 --> 01:22:43,760
Speaker 6: up and down and da.

1291
01:22:43,680 --> 01:22:44,240
Speaker 3: Da da da da.

1292
01:22:44,360 --> 01:22:45,639
Speaker 1: That sounds like a lot of conflict.

1293
01:22:46,120 --> 01:22:46,400
Speaker 8: It was.

1294
01:22:46,560 --> 01:22:47,960
Speaker 5: I was on whatever side was winning.

1295
01:22:48,080 --> 01:22:52,759
Speaker 6: But then but then because of public Enemy finally making

1296
01:22:52,880 --> 01:22:57,479
Speaker 6: sense of my dad's boring record collection, you know, I

1297
01:22:57,600 --> 01:22:59,800
Speaker 6: have someone upstairs that I'm like trying to build a

1298
01:22:59,800 --> 01:23:02,400
Speaker 6: few with. And you know it's also in the name

1299
01:23:02,439 --> 01:23:07,360
Speaker 6: of impressing a girl. Always that was a fel but

1300
01:23:07,439 --> 01:23:22,559
Speaker 6: I got the career, hey man, So yeah, pretty much,

1301
01:23:24,360 --> 01:23:27,519
Speaker 6: I decided. So you went to Juilliard, yes, And I

1302
01:23:27,600 --> 01:23:30,559
Speaker 6: was like, all right, well, Chris right, you did the same.

1303
01:23:30,640 --> 01:23:33,080
Speaker 6: You did the Miles thing right, Studying sounds like I'm

1304
01:23:33,080 --> 01:23:34,559
Speaker 6: gonna do the same. So I did my I did

1305
01:23:34,640 --> 01:23:38,240
Speaker 6: my New School audition, my Curtis audition, and my Juilliard audition.

1306
01:23:38,560 --> 01:23:43,000
Speaker 6: One particular uh uh weekend Tarik went with me and

1307
01:23:43,320 --> 01:23:47,280
Speaker 6: coming back on the train, this is like, this is

1308
01:23:47,360 --> 01:23:49,479
Speaker 6: like either somewhere between a Great Poop.

1309
01:23:49,240 --> 01:23:52,719
Speaker 5: Plane commercial or the last scene and Dumber and Dumber.

1310
01:23:53,240 --> 01:23:55,880
Speaker 6: The world's most beautiful girl walks up in slow motion

1311
01:23:56,640 --> 01:24:02,360
Speaker 6: and says, aren't you now side note? Yes, I was

1312
01:24:02,439 --> 01:24:05,040
Speaker 6: the drummer. Boys and Men had let me drum in

1313
01:24:05,120 --> 01:24:09,320
Speaker 6: their motown filling video. So she got it mixed. She says,

1314
01:24:10,400 --> 01:24:14,439
Speaker 6: aren't you the drummer in the Spike Lee Levi's commercial.

1315
01:24:14,880 --> 01:24:18,000
Speaker 6: So like busking just started to become a thing in

1316
01:24:18,080 --> 01:24:20,120
Speaker 6: America where you know, there was a kid that was

1317
01:24:20,200 --> 01:24:23,040
Speaker 6: playing bucket drums and Spike Leader put him in a

1318
01:24:23,040 --> 01:24:25,200
Speaker 6: commercial whatever. He had similar hair to mine, he had

1319
01:24:25,240 --> 01:24:28,519
Speaker 6: like twisting braids, and so she came out. It was

1320
01:24:28,600 --> 01:24:31,720
Speaker 6: like great poupone. He's like, aren't you that drummer in

1321
01:24:31,840 --> 01:24:36,320
Speaker 6: the Spike Lee Levi's commercial? And my dumb ass was like, no,

1322
01:24:36,520 --> 01:24:41,040
Speaker 6: that's not me. And she was like, oh, oh okay,

1323
01:24:41,680 --> 01:24:47,120
Speaker 6: and then she walks away and teks like you. I

1324
01:24:47,160 --> 01:24:49,280
Speaker 6: was like, because it wasn't me, Jode, you knew she

1325
01:24:49,439 --> 01:24:51,320
Speaker 6: was talking about. You knew she was talking about Motel Philly,

1326
01:24:51,520 --> 01:24:55,400
Speaker 6: Like Tarik would use me as his magnet, like wear

1327
01:24:55,439 --> 01:24:57,240
Speaker 6: the shirt. You got the shirt on, now go back

1328
01:24:57,280 --> 01:24:58,640
Speaker 6: and put your outfit on, like I don't have to

1329
01:24:58,680 --> 01:25:03,200
Speaker 6: wear that outfit every weekend. And right, So he spends

1330
01:25:03,240 --> 01:25:05,679
Speaker 6: the night at the crib and we're watching Soul Train

1331
01:25:06,439 --> 01:25:10,120
Speaker 6: and commercial comes on and it's the Spike Lee Levi's commercial,

1332
01:25:11,160 --> 01:25:13,479
Speaker 6: and it was the it was our eureka moment. We

1333
01:25:13,520 --> 01:25:15,880
Speaker 6: looked at the commercial. We thought about that girl that

1334
01:25:15,960 --> 01:25:17,920
Speaker 6: I could have got a number but didn't, and we

1335
01:25:17,960 --> 01:25:18,880
Speaker 6: looked at each other like.

1336
01:25:20,800 --> 01:25:23,320
Speaker 5: Yo, why don't we do that? Yeah? Yeah, yeah, And

1337
01:25:23,880 --> 01:25:27,320
Speaker 5: cut to running in the kitchen sneaking the you know,

1338
01:25:27,439 --> 01:25:31,360
Speaker 5: the chilling bucket out or whatever you know, you mean

1339
01:25:31,400 --> 01:25:38,800
Speaker 5: that red budget the red chitling bucket. Every household has one.

1340
01:25:39,040 --> 01:25:42,160
Speaker 15: I remember, never forget the first time I smelled chiplins.

1341
01:25:43,160 --> 01:25:44,599
Speaker 15: My grandmother was cooking chitlins.

1342
01:25:44,640 --> 01:25:45,040
Speaker 14: I was coming.

1343
01:25:45,080 --> 01:25:47,680
Speaker 15: I smelled them two blocks away. I was coming down

1344
01:25:47,800 --> 01:25:50,439
Speaker 15: Urban Street and I was like, I really pray to God,

1345
01:25:50,560 --> 01:25:53,720
Speaker 15: that's not coming from our house. There's a line of

1346
01:25:53,800 --> 01:25:58,400
Speaker 15: people the front. I'm like, oh, no, there's no black household.

1347
01:25:58,720 --> 01:25:59,360
Speaker 5: Yeah, doesn't.

1348
01:25:59,640 --> 01:26:02,800
Speaker 6: Even if you don't eat shitlands, you still have that

1349
01:26:03,000 --> 01:26:05,519
Speaker 6: red bucket that used for other.

1350
01:26:05,439 --> 01:26:10,559
Speaker 14: Stuff along with the government corn flakes and the cheese

1351
01:26:10,640 --> 01:26:11,400
Speaker 14: and the milk.

1352
01:26:11,280 --> 01:26:15,519
Speaker 6: Son all that all right, the government milk, Yes, I

1353
01:26:15,960 --> 01:26:19,360
Speaker 6: still stand to it this day. And the corn flakes

1354
01:26:19,400 --> 01:26:22,519
Speaker 6: were killing Yes, yes, I can't believe we're talking about.

1355
01:26:22,280 --> 01:26:22,840
Speaker 15: This and that.

1356
01:26:24,280 --> 01:26:25,760
Speaker 5: Oh come on, man, dude.

1357
01:26:25,840 --> 01:26:28,920
Speaker 6: I would have to wake up when my parents weren't

1358
01:26:28,960 --> 01:26:33,479
Speaker 6: tour Yeah, I would have to wake up, Uh, staying

1359
01:26:33,520 --> 01:26:34,439
Speaker 6: at my grandmom's house.

1360
01:26:34,520 --> 01:26:35,439
Speaker 1: What your mom toured to?

1361
01:26:35,880 --> 01:26:38,439
Speaker 6: Yeah, both my mom and dad were. My father was

1362
01:26:38,479 --> 01:26:40,880
Speaker 6: famous in the fifties. He had a group called Nges

1363
01:26:40,880 --> 01:26:43,120
Speaker 6: in the Hearts. They were on like Chess records, and

1364
01:26:43,240 --> 01:26:45,400
Speaker 6: then by the time I was born, there was a

1365
01:26:46,040 --> 01:26:49,519
Speaker 6: nostalgia wave where they would do these oldies shows that

1366
01:26:49,680 --> 01:26:53,000
Speaker 6: you know, Masson Square Guard and you know Bowser from

1367
01:26:53,040 --> 01:26:55,680
Speaker 6: Shanta Presents, you know Harvey and the moon Cloths and

1368
01:26:55,720 --> 01:26:58,960
Speaker 6: all that stuff. So anyway, they got off that circuit

1369
01:26:59,040 --> 01:27:03,680
Speaker 6: and then just had a club act. And so when

1370
01:27:03,720 --> 01:27:05,120
Speaker 6: I couldn't tour with him, I had to stay at

1371
01:27:05,120 --> 01:27:08,439
Speaker 6: my grandmom's house. Now, in order for me to watch

1372
01:27:08,520 --> 01:27:12,040
Speaker 6: Soul trade at twelve, I would have to do whatever

1373
01:27:12,160 --> 01:27:15,320
Speaker 6: chores were necessary. And on the first of the month,

1374
01:27:16,200 --> 01:27:22,559
Speaker 6: that's when the new cheese supply comes. And since I'm

1375
01:27:22,960 --> 01:27:26,479
Speaker 6: Filma's grandson, you know, it's like it takes a village

1376
01:27:26,560 --> 01:27:29,080
Speaker 6: period where now not only do I have to get

1377
01:27:29,200 --> 01:27:32,439
Speaker 6: cheese and stuff for my grandmom, but I got to

1378
01:27:32,479 --> 01:27:36,400
Speaker 6: do too for miss Gussie, Missus Evans, Missus Fields.

1379
01:27:36,120 --> 01:27:36,840
Speaker 5: Across the street.

1380
01:27:37,320 --> 01:27:38,760
Speaker 14: Got to get the whole neighborhood right.

1381
01:27:38,920 --> 01:27:40,479
Speaker 6: So I got to get up at seven in the

1382
01:27:40,600 --> 01:27:43,000
Speaker 6: morning and stand in the cheese line.

1383
01:27:43,040 --> 01:27:44,479
Speaker 14: Where did your grandmother live?

1384
01:27:44,760 --> 01:27:47,280
Speaker 6: She was in southwest Philly, like a forty ninth and

1385
01:27:47,760 --> 01:27:50,639
Speaker 6: King se oh. Yeah, So I would have to stand

1386
01:27:50,680 --> 01:27:53,720
Speaker 6: in that line and do about four trips. Not to

1387
01:27:53,760 --> 01:27:55,640
Speaker 6: mention the ridicule the neighborhood kids like.

1388
01:27:56,120 --> 01:27:57,080
Speaker 2: You in the cheese line.

1389
01:27:57,120 --> 01:28:01,479
Speaker 14: Yeah, Later that day I told that.

1390
01:28:01,680 --> 01:28:04,639
Speaker 5: I'm like me, this Jesus is going to your grandma's house.

1391
01:28:05,240 --> 01:28:09,040
Speaker 14: Motherfucker, Like yeah, hey, you know, they's how they do.

1392
01:28:09,080 --> 01:28:10,759
Speaker 5: It, so I couldn't. Yeah, I couldn't.

1393
01:28:11,080 --> 01:28:11,200
Speaker 3: Uh.

1394
01:28:12,720 --> 01:28:16,160
Speaker 6: I couldn't even watch Soul Train until all that was done.

1395
01:28:16,479 --> 01:28:19,000
Speaker 6: So every first of the month I hated it. But yes,

1396
01:28:19,120 --> 01:28:23,400
Speaker 6: we took that chip lim bucket on South Street. And

1397
01:28:23,520 --> 01:28:26,880
Speaker 6: the thing is is that if we if we don't

1398
01:28:27,000 --> 01:28:30,599
Speaker 6: make one hundred and twenty dollars in four hours, we're

1399
01:28:30,640 --> 01:28:31,400
Speaker 6: not doing it again.

1400
01:28:31,760 --> 01:28:33,120
Speaker 5: It would just be like, hey, you man, that time

1401
01:28:33,160 --> 01:28:34,760
Speaker 5: we went on South Street and play for money or whatever.

1402
01:28:35,280 --> 01:28:37,880
Speaker 6: But we made like one hundred bucks in the first

1403
01:28:38,040 --> 01:28:40,760
Speaker 6: like hour, and we looked like, yo, we're rich because

1404
01:28:40,920 --> 01:28:46,320
Speaker 6: we was thinking, like, yo, we get Trizzy a trans

1405
01:28:46,360 --> 01:28:49,360
Speaker 6: pass is you know, like a monthly ticket that yeah,

1406
01:28:49,439 --> 01:28:52,360
Speaker 6: New York has that here, right, Like yeah, a train

1407
01:28:52,439 --> 01:28:53,120
Speaker 6: ticket for a month.

1408
01:28:53,240 --> 01:28:54,400
Speaker 5: It's like, yo, you can get it Trizzy.

1409
01:28:54,479 --> 01:28:58,759
Speaker 6: And then uh, date night, see the movie before five pm,

1410
01:28:59,240 --> 01:29:02,320
Speaker 6: movies on three bucks, go to wah wah, get a

1411
01:29:02,400 --> 01:29:04,040
Speaker 6: quarter pound of turkey cheeze.

1412
01:29:04,080 --> 01:29:06,680
Speaker 5: Like we were like rich, Like yeah, we gotta do

1413
01:29:06,720 --> 01:29:08,200
Speaker 5: it again. But the next week we did it.

1414
01:29:09,160 --> 01:29:13,280
Speaker 6: I still was in Settlement music School and the bass

1415
01:29:13,320 --> 01:29:16,479
Speaker 6: player there, Josh Aprams, was like, yo, y'all.

1416
01:29:16,320 --> 01:29:18,120
Speaker 5: Going to do it again? I said, yeah, he's like, well,

1417
01:29:18,240 --> 01:29:21,640
Speaker 5: can I join? Yeah? Sure, cool. So he picks me

1418
01:29:21,720 --> 01:29:22,400
Speaker 5: up in the station.

1419
01:29:22,320 --> 01:29:24,040
Speaker 6: Wagon and he has his upright in the back and

1420
01:29:24,080 --> 01:29:27,400
Speaker 6: I'm bringing the bucket and he's like, wait, we got

1421
01:29:27,439 --> 01:29:28,160
Speaker 6: the station wagon.

1422
01:29:28,640 --> 01:29:30,680
Speaker 5: I was like, huh, get the drums. He's like, get

1423
01:29:30,720 --> 01:29:32,599
Speaker 5: the drums. I was like, oh man, my dad, man.

1424
01:29:32,680 --> 01:29:37,000
Speaker 5: He's so it was the most covert operation where like

1425
01:29:37,240 --> 01:29:38,240
Speaker 5: you had to sneak them out.

1426
01:29:38,920 --> 01:29:41,120
Speaker 6: And this is why like when people ask like why

1427
01:29:41,120 --> 01:29:43,080
Speaker 6: don't want to play on a regular drum set, Like literally,

1428
01:29:43,120 --> 01:29:44,719
Speaker 6: I was like, look, we're just gonna get the kick.

1429
01:29:44,680 --> 01:29:48,800
Speaker 5: Drum, steal drum and one ride right, sneak it out.

1430
01:29:48,880 --> 01:29:52,240
Speaker 6: And literally I'm you know, he's listening to sports talk upstairs,

1431
01:29:52,280 --> 01:29:54,880
Speaker 6: and you know, anytime the water runs, like we're running

1432
01:29:54,920 --> 01:29:59,160
Speaker 6: outside whatever park down the plot and that entire summer

1433
01:29:59,200 --> 01:30:02,400
Speaker 6: of ninety two, like I snuck and we got our

1434
01:30:02,520 --> 01:30:05,280
Speaker 6: independent record out and a year later when we finally

1435
01:30:05,280 --> 01:30:08,400
Speaker 6: signed to Geffen, Uh, I was going to break the

1436
01:30:08,439 --> 01:30:11,320
Speaker 6: news to him, but already he put a Philadelphia Inquirer,

1437
01:30:11,880 --> 01:30:13,120
Speaker 6: which is like our New York Times.

1438
01:30:13,880 --> 01:30:17,080
Speaker 5: We were on the cover. He's like, what's this. I

1439
01:30:17,200 --> 01:30:19,200
Speaker 5: was like, oh, yeah, yeah, you know, I mean too,

1440
01:30:19,240 --> 01:30:20,360
Speaker 5: we got a project.

1441
01:30:20,080 --> 01:30:20,600
Speaker 2: So you know.

1442
01:30:22,960 --> 01:30:23,640
Speaker 3: So well.

1443
01:30:23,680 --> 01:30:27,200
Speaker 15: I remember like when we were still at Kappa, uh

1444
01:30:27,520 --> 01:30:31,320
Speaker 15: Tyreek came downstairs. He was he was an art major, right,

1445
01:30:31,360 --> 01:30:33,360
Speaker 15: so I didn't even know he had any sort of

1446
01:30:33,600 --> 01:30:36,160
Speaker 15: you know that he could. He could freestyle like that.

1447
01:30:36,400 --> 01:30:37,519
Speaker 15: He's like, yo, play.

1448
01:30:38,840 --> 01:30:40,080
Speaker 14: Uh the Bone.

1449
01:30:41,080 --> 01:30:46,080
Speaker 6: Right would call the rap reference like, oh, play the

1450
01:30:46,120 --> 01:30:48,040
Speaker 6: Gidea by three times due, and then I've had to

1451
01:30:48,160 --> 01:30:51,439
Speaker 6: trans play to him play James Brown steone to the boat.

1452
01:30:51,479 --> 01:30:54,519
Speaker 6: So I was the middleman between all the hip hoppers

1453
01:30:54,800 --> 01:30:58,280
Speaker 6: right and him. But knowing that allowed me to sit

1454
01:30:58,360 --> 01:30:59,880
Speaker 6: with the cool kids in the lunch.

1455
01:31:01,080 --> 01:31:03,600
Speaker 1: I feel like that says a lot about your personality

1456
01:31:03,680 --> 01:31:06,760
Speaker 1: and your strengths, just this whole like dynamic of you

1457
01:31:06,920 --> 01:31:08,360
Speaker 1: bridging all these different things.

1458
01:31:08,880 --> 01:31:13,000
Speaker 14: Yeah, I mean he he plays well in the playground.

1459
01:31:12,520 --> 01:31:13,400
Speaker 5: With everybody, you do.

1460
01:31:13,920 --> 01:31:14,080
Speaker 10: You know?

1461
01:31:14,880 --> 01:31:17,040
Speaker 5: Yeah, I played just to get bye, thank you.

1462
01:31:17,280 --> 01:31:18,920
Speaker 1: But it's no longer stressful, is it?

1463
01:31:20,320 --> 01:31:21,080
Speaker 5: Is it stressful?

1464
01:31:22,360 --> 01:31:22,799
Speaker 14: Probably?

1465
01:31:23,000 --> 01:31:24,920
Speaker 1: I mean, I mean, I guess being the MD for

1466
01:31:25,000 --> 01:31:26,320
Speaker 1: everything is always stressful.

1467
01:31:26,840 --> 01:31:33,599
Speaker 6: It's you know, for me, I'm I'm learning now, uh okay,

1468
01:31:33,680 --> 01:31:38,560
Speaker 6: this this is not even, this is not even. I

1469
01:31:38,720 --> 01:31:40,400
Speaker 6: just gotta come out and say it and not try

1470
01:31:40,439 --> 01:31:45,040
Speaker 6: to diminish the humble, braggingness of it all. But occasionally

1471
01:31:46,080 --> 01:31:52,559
Speaker 6: I might call a famous former world leader and ask

1472
01:31:52,640 --> 01:31:56,120
Speaker 6: for advice on how to be diplomatic and talk to people,

1473
01:31:56,160 --> 01:31:59,439
Speaker 6: because that's one that's one thing I'm I'm I was

1474
01:31:59,600 --> 01:32:04,080
Speaker 6: a relation leader, But clearly I'll be stuck in that

1475
01:32:04,160 --> 01:32:06,600
Speaker 6: place if I don't get over the fact that I

1476
01:32:06,800 --> 01:32:08,479
Speaker 6: have to, Like, you can't.

1477
01:32:08,320 --> 01:32:09,160
Speaker 5: Be everyone's friend.

1478
01:32:09,640 --> 01:32:10,600
Speaker 1: You have to get over it and.

1479
01:32:11,320 --> 01:32:16,360
Speaker 6: Manage people's expectations and yeah, yeah, and that that comes

1480
01:32:16,400 --> 01:32:17,280
Speaker 6: with being a band leader.

1481
01:32:17,640 --> 01:32:19,679
Speaker 1: I wonder which world leader you're talking about.

1482
01:32:19,920 --> 01:32:20,400
Speaker 5: I don't know.

1483
01:32:24,720 --> 01:32:26,280
Speaker 1: You guys want to play tune and then we'll.

1484
01:32:27,600 --> 01:32:28,120
Speaker 2: Can we do this?

1485
01:32:28,280 --> 01:32:32,240
Speaker 1: Chris Christopherson time, so I can see it's kind of weird.

1486
01:32:32,320 --> 01:32:34,120
Speaker 1: I was just with him a couple of weeks ago,

1487
01:32:34,280 --> 01:32:36,760
Speaker 1: and I was just revisiting this album that I love

1488
01:32:36,920 --> 01:32:40,080
Speaker 1: called Borderlord, and I just feel like, with your groove

1489
01:32:40,200 --> 01:32:42,120
Speaker 1: on it, it would be pretty awesome.

1490
01:32:42,560 --> 01:32:43,280
Speaker 5: Follow you might.

1491
01:32:43,320 --> 01:32:45,320
Speaker 14: Giving me my note again. Take its.

1492
01:32:50,760 --> 01:32:54,559
Speaker 1: Hmmm, wait, I'm in the wrong key. Sorry.

1493
01:33:18,040 --> 01:33:23,439
Speaker 10: Darkness had us covered when we spread from Mansota in

1494
01:33:23,920 --> 01:33:33,360
Speaker 10: morning rain black, his eyes was feeding and the street

1495
01:33:33,880 --> 01:33:43,360
Speaker 10: was slack and shiny as a snake. Each of us

1496
01:33:43,800 --> 01:33:48,839
Speaker 10: was a hurrying to the half forgotten echo, hanging Lola

1497
01:33:50,960 --> 01:33:57,519
Speaker 10: in the brain, time in time and thinking of the

1498
01:33:57,680 --> 01:34:09,679
Speaker 10: time we never had the time loosing it, rising cots,

1499
01:34:10,080 --> 01:34:19,879
Speaker 10: living her and loving heart. They evy yesterday behind turning

1500
01:34:20,240 --> 01:34:22,400
Speaker 10: every bridging costs is.

1501
01:34:22,479 --> 01:34:26,360
Speaker 18: Putting down before your off, burning.

1502
01:34:26,439 --> 01:34:28,479
Speaker 2: Back the devil just in.

1503
01:34:28,720 --> 01:34:40,080
Speaker 11: Time, breaking many times before day, by taking any commoy

1504
01:34:40,200 --> 01:34:44,800
Speaker 11: you can't find, putting.

1505
01:34:44,880 --> 01:34:50,719
Speaker 8: Like you're learning, tagging off.

1506
01:34:52,760 --> 01:34:53,679
Speaker 2: Tail. It's all.

1507
01:34:56,120 --> 01:34:57,040
Speaker 4: Understanding.

1508
01:34:59,520 --> 01:35:04,600
Speaker 8: When you're getting for the board load, you bound cross.

1509
01:35:17,520 --> 01:35:22,000
Speaker 3: Good lucking women and time you stop.

1510
01:35:23,240 --> 01:35:31,719
Speaker 10: Waiting there catch you when you fall, getting back enough,

1511
01:35:32,479 --> 01:35:37,000
Speaker 10: let him keep you back enough you'll just prefun kilp

1512
01:35:37,160 --> 01:35:45,160
Speaker 10: back a gift, blow home, looking many ties before they brand,

1513
01:35:47,920 --> 01:35:51,520
Speaker 10: taking many come who you can find.

1514
01:35:54,080 --> 01:36:01,400
Speaker 1: Running like you, I'll tag no ck.

1515
01:36:01,439 --> 01:36:04,000
Speaker 2: It easy, well, it's a b.

1516
01:36:06,000 --> 01:36:13,519
Speaker 10: Understand when you can for the boat load of bound

1517
01:36:13,800 --> 01:36:15,120
Speaker 10: across lash.

1518
01:36:51,720 --> 01:36:55,599
Speaker 3: King at it time for in bunjie.

1519
01:36:57,200 --> 01:37:00,799
Speaker 8: Tagging covered, okay, are fine?

1520
01:37:03,600 --> 01:37:09,680
Speaker 2: They like you lady out of time. I'll tag you.

1521
01:37:12,600 --> 01:37:22,400
Speaker 4: Till it's over. Understanding. When you're heading for the boat load,

1522
01:37:22,880 --> 01:37:24,640
Speaker 4: you're bound across.

1523
01:37:24,280 --> 01:37:38,599
Speaker 5: The m HM.

1524
01:37:46,720 --> 01:37:57,479
Speaker 2: Hmm, thank you.

1525
01:37:58,920 --> 01:38:02,200
Speaker 14: That is Norman Letter production, right exactly.

1526
01:38:03,120 --> 01:38:03,760
Speaker 1: That was fun.

1527
01:38:04,160 --> 01:38:09,160
Speaker 14: I feel like roberta flat Ron Carter and uh Ray Lucas.

1528
01:38:12,320 --> 01:38:13,000
Speaker 1: Thanks for doing that.

1529
01:38:13,160 --> 01:38:13,600
Speaker 11: I love that.

1530
01:38:15,120 --> 01:38:16,040
Speaker 5: That was cool.

1531
01:38:16,479 --> 01:38:19,120
Speaker 1: We're not done yet. We still got two more songs.

1532
01:38:20,000 --> 01:38:23,880
Speaker 1: Oh that was great. Thanks. I love that song because

1533
01:38:23,920 --> 01:38:26,160
Speaker 1: his words are just always so good. And then I

1534
01:38:26,280 --> 01:38:29,479
Speaker 1: like how it kind of changes keys. What key is

1535
01:38:29,560 --> 01:38:30,439
Speaker 1: this in in the end?

1536
01:38:31,720 --> 01:38:36,200
Speaker 14: Down d? Yeah, that's the James Brown keys. Did you

1537
01:38:36,280 --> 01:38:36,479
Speaker 14: know that?

1538
01:38:36,640 --> 01:38:36,720
Speaker 15: Oh?

1539
01:38:36,800 --> 01:38:37,280
Speaker 2: No, I didn't.

1540
01:38:37,760 --> 01:38:39,960
Speaker 14: Everything's indeed just about I didn't know.

1541
01:38:41,320 --> 01:38:48,640
Speaker 1: It makes sense, but right, right? Do you guys have

1542
01:38:48,760 --> 01:38:52,080
Speaker 1: any any good stories about each other from high school

1543
01:38:52,080 --> 01:38:54,439
Speaker 1: that are worth telling?

1544
01:38:54,800 --> 01:38:58,840
Speaker 15: My favorite one is uh so, I'm going to reveal

1545
01:38:58,880 --> 01:39:00,720
Speaker 15: it now. You already know because I told you in

1546
01:39:00,760 --> 01:39:04,639
Speaker 15: the text. So we used to produce this big show

1547
01:39:04,960 --> 01:39:09,280
Speaker 15: every year called it called Sentimental Journey, and it was

1548
01:39:09,360 --> 01:39:12,120
Speaker 15: like the whole school, you know, like the dancers, the singers,

1549
01:39:12,160 --> 01:39:14,320
Speaker 15: the actors, We all get together and put together this

1550
01:39:14,479 --> 01:39:19,120
Speaker 15: big Broadway type show. And we were, of course the

1551
01:39:19,200 --> 01:39:22,559
Speaker 15: house band, and uh I mean what a house band?

1552
01:39:22,680 --> 01:39:22,720
Speaker 5: Me?

1553
01:39:22,920 --> 01:39:25,200
Speaker 15: You, Kurt and Joey and a couple of horror players

1554
01:39:26,040 --> 01:39:30,880
Speaker 15: and uh so, we had this big overture and at

1555
01:39:30,920 --> 01:39:33,400
Speaker 15: the end of the overture we had to play New York,

1556
01:39:33,479 --> 01:39:35,320
Speaker 15: New York, and so we had to play a real

1557
01:39:35,400 --> 01:39:41,200
Speaker 15: corny so we had to like that. So yeah, right exactly.

1558
01:39:41,640 --> 01:39:44,760
Speaker 15: So we get to the to the concert, me and

1559
01:39:44,920 --> 01:39:47,080
Speaker 15: him conspiring, We're like, you know, it's.

1560
01:39:46,960 --> 01:39:47,280
Speaker 12: In D.

1561
01:39:49,720 --> 01:39:55,280
Speaker 6: Now, Chris, you've set up that anytime we've got sent

1562
01:39:55,360 --> 01:39:59,600
Speaker 6: to the principal's office, when any when anything ever was like,

1563
01:40:00,160 --> 01:40:04,200
Speaker 6: at least in D for a good eight to sixteen bars.

1564
01:40:04,360 --> 01:40:06,840
Speaker 6: They could be girse waining. It could be whatever, we

1565
01:40:06,960 --> 01:40:09,080
Speaker 6: will find a way to code talk to each other.

1566
01:40:09,200 --> 01:40:12,720
Speaker 6: That's right in a way, and eventually he caught on

1567
01:40:13,120 --> 01:40:14,120
Speaker 6: to any reference.

1568
01:40:14,800 --> 01:40:15,360
Speaker 14: It could be like.

1569
01:40:22,360 --> 01:40:24,640
Speaker 6: And then you know, and then already you know, the

1570
01:40:25,560 --> 01:40:27,360
Speaker 6: kids are all like, you know, starting to dance and

1571
01:40:27,400 --> 01:40:29,040
Speaker 6: all that stuff and get out of here.

1572
01:40:29,439 --> 01:40:33,280
Speaker 5: So it was it was our last chance to go rogue.

1573
01:40:33,400 --> 01:40:34,920
Speaker 5: And it was like, were you with us.

1574
01:40:34,960 --> 01:40:36,719
Speaker 15: When we went to see the fill off your orchestra

1575
01:40:36,800 --> 01:40:40,800
Speaker 15: rehearse because they would have those open rehearsals, and so

1576
01:40:40,880 --> 01:40:43,760
Speaker 15: they were playing the Ride of Spring. Yes there's one

1577
01:40:44,000 --> 01:40:46,720
Speaker 15: you know, so there's one part in that piece with

1578
01:40:46,840 --> 01:40:50,960
Speaker 15: the Timpany plays boom bee boom bean boom beem boo

1579
01:40:51,800 --> 01:40:54,760
Speaker 15: just for those two bars. Remember Stacey knows you did.

1580
01:40:55,920 --> 01:40:58,439
Speaker 14: Boom boom boom. She comes go oh.

1581
01:41:03,920 --> 01:41:05,400
Speaker 5: In the middle of the Academy of Music.

1582
01:41:09,640 --> 01:41:12,080
Speaker 14: So we we get no place.

1583
01:41:12,680 --> 01:41:16,320
Speaker 6: Yeah, we we get there that night and we we

1584
01:41:16,680 --> 01:41:20,439
Speaker 6: had a look like, hey, we're seniors, yes, and there's

1585
01:41:20,479 --> 01:41:22,000
Speaker 6: only three weeks of school left.

1586
01:41:22,320 --> 01:41:23,200
Speaker 14: What are you gonna do to us?

1587
01:41:23,240 --> 01:41:24,919
Speaker 6: And what's he going to send us to the principal's

1588
01:41:24,960 --> 01:41:27,000
Speaker 6: office here in front of our parents at the show?

1589
01:41:28,200 --> 01:41:30,680
Speaker 5: Go go to the build up for New York, New York.

1590
01:41:30,720 --> 01:41:35,400
Speaker 5: So we went, and the rehearsal was right right, So

1591
01:41:35,520 --> 01:41:36,120
Speaker 5: that's rehearsal.

1592
01:41:37,120 --> 01:41:37,320
Speaker 4: Man.

1593
01:41:38,680 --> 01:41:41,280
Speaker 15: We get to the concert and so so me and

1594
01:41:41,400 --> 01:41:43,160
Speaker 15: him we come. He said, hey, man, you know we

1595
01:41:43,400 --> 01:41:46,000
Speaker 15: should do that, and so then we pulled Joey and

1596
01:41:46,160 --> 01:41:49,439
Speaker 15: Kurt In on it too. So uh so here's how

1597
01:41:49,520 --> 01:41:53,160
Speaker 15: the concert went, you know, all the parents to what

1598
01:41:53,720 --> 01:41:54,920
Speaker 15: God spread and the.

1599
01:42:01,360 --> 01:42:03,839
Speaker 5: God Yo. Then Curtis going.

1600
01:42:08,240 --> 01:42:11,000
Speaker 14: It was only for thirty Joey's playing the organ patch

1601
01:42:11,120 --> 01:42:12,840
Speaker 14: on his keyboard. He screamed.

1602
01:42:15,640 --> 01:42:17,000
Speaker 5: The look or misterizers.

1603
01:42:17,360 --> 01:42:21,240
Speaker 14: He was so angry, really, he was as red as

1604
01:42:21,280 --> 01:42:23,760
Speaker 14: that exit he could.

1605
01:42:23,880 --> 01:42:25,599
Speaker 1: He should have been proud at your music.

1606
01:42:25,960 --> 01:42:28,800
Speaker 5: Proud now everyone's proud of us.

1607
01:42:29,280 --> 01:42:32,080
Speaker 15: He's glad we did it now, right, So I have

1608
01:42:32,360 --> 01:42:35,519
Speaker 15: I found So I had this on VHS for for

1609
01:42:35,760 --> 01:42:38,240
Speaker 15: like the last thirty five years or whatever it is.

1610
01:42:38,640 --> 01:42:41,120
Speaker 14: My dad shot it right, Yes he did, Yes, he did.

1611
01:42:41,320 --> 01:42:41,519
Speaker 2: God.

1612
01:42:42,120 --> 01:42:45,840
Speaker 15: So I finally got it digitized, so sooner or later?

1613
01:42:47,400 --> 01:42:50,000
Speaker 15: Oh god, yeah, I was about to say, there there

1614
01:42:50,120 --> 01:42:53,200
Speaker 15: is there, there is a member. I went rogue on

1615
01:42:53,320 --> 01:42:55,280
Speaker 15: y'all when I did my James Brown routine because I

1616
01:42:55,320 --> 01:42:56,719
Speaker 15: was always suposed to sing two songs.

1617
01:42:57,320 --> 01:42:59,880
Speaker 14: We we always going road.

1618
01:43:00,400 --> 01:43:04,360
Speaker 5: Yeah, we had we added some sort of ad live

1619
01:43:04,560 --> 01:43:07,880
Speaker 5: and you said the diva was She was.

1620
01:43:07,880 --> 01:43:09,280
Speaker 14: Like, what is he doing?

1621
01:43:11,240 --> 01:43:13,920
Speaker 5: Get him off the state? No, no, no, the audience

1622
01:43:13,920 --> 01:43:15,240
Speaker 5: is screaming exactly.

1623
01:43:15,439 --> 01:43:18,360
Speaker 6: He came out and fulled James Brown regalia, the wig

1624
01:43:18,680 --> 01:43:19,720
Speaker 6: and the whole nine.

1625
01:43:20,120 --> 01:43:23,160
Speaker 15: Yes, that's what I could. I can still, that's what

1626
01:43:23,240 --> 01:43:25,280
Speaker 15: I could get up from a split. I can still

1627
01:43:25,320 --> 01:43:25,800
Speaker 15: do a split.

1628
01:43:30,080 --> 01:43:30,880
Speaker 1: I want to see that.

1629
01:43:31,840 --> 01:43:33,640
Speaker 14: Yeah, I'm sure you do see that.

1630
01:43:33,840 --> 01:43:38,599
Speaker 5: That's our version of Carlo Carlo. You know I still

1631
01:43:38,640 --> 01:43:39,439
Speaker 5: had that m P three.

1632
01:43:39,880 --> 01:43:40,720
Speaker 3: I can't believe you.

1633
01:43:40,760 --> 01:43:45,599
Speaker 5: Know, yo, the amount of people, so we were on tour.

1634
01:43:46,479 --> 01:43:51,120
Speaker 6: This is like, this is really when like pre social media,

1635
01:43:52,360 --> 01:43:57,040
Speaker 6: when like AOL chat was you know, welcome you got.

1636
01:43:57,160 --> 01:44:00,400
Speaker 6: You know, is there any more satisfying feeling than when

1637
01:44:00,439 --> 01:44:04,000
Speaker 6: you plugged your hotel telephone man inside.

1638
01:44:03,600 --> 01:44:04,479
Speaker 14: The mode and.

1639
01:44:07,320 --> 01:44:11,280
Speaker 5: It goes through. Welcome you got was a great feeling

1640
01:44:11,360 --> 01:44:12,040
Speaker 5: that was like different.

1641
01:44:13,000 --> 01:44:15,000
Speaker 15: Remember when they had for a short period you could

1642
01:44:15,040 --> 01:44:17,519
Speaker 15: download a celebrity to say that for you.

1643
01:44:18,720 --> 01:44:23,800
Speaker 5: Yes, I had David Leman, you used to I am

1644
01:44:23,920 --> 01:44:25,120
Speaker 5: me on right right.

1645
01:44:25,600 --> 01:44:29,280
Speaker 6: We were all pals and you sent me one of

1646
01:44:29,360 --> 01:44:31,160
Speaker 6: my first MB three's.

1647
01:44:30,880 --> 01:44:33,840
Speaker 5: I had of Carlos. I did, yes, and.

1648
01:44:35,479 --> 01:44:36,679
Speaker 1: You were you surprised?

1649
01:44:36,920 --> 01:44:39,160
Speaker 5: Yeah, I played everyone like you know what she sent me.

1650
01:44:39,520 --> 01:44:40,200
Speaker 5: You know, it's weird.

1651
01:44:41,200 --> 01:44:44,200
Speaker 6: That's such a weird time period because now there's at

1652
01:44:44,280 --> 01:44:46,840
Speaker 6: least five other singers that did.

1653
01:44:48,439 --> 01:44:50,479
Speaker 5: Their version of going against type.

1654
01:44:51,560 --> 01:44:56,400
Speaker 6: Mariah is another person where she made the best album

1655
01:44:56,479 --> 01:44:59,360
Speaker 6: of her career, but just as a joke because she

1656
01:44:59,479 --> 01:45:04,320
Speaker 6: was like upse with America's obsession with Whole and Courtney Love. Okay,

1657
01:45:04,680 --> 01:45:07,080
Speaker 6: so during lunch breaks or dinner breaks, she would just

1658
01:45:07,160 --> 01:45:09,519
Speaker 6: tell her band, like, you know, just play some like.

1659
01:45:10,479 --> 01:45:13,040
Speaker 5: Ragged you know, grun song, whatever 'sus.

1660
01:45:15,200 --> 01:45:19,040
Speaker 6: But I was listening to it and I'm like, like,

1661
01:45:19,080 --> 01:45:20,760
Speaker 6: I don't want to insult her, but I'm like not

1662
01:45:20,920 --> 01:45:24,200
Speaker 6: for nothing, but you know this is your best record?

1663
01:45:24,280 --> 01:45:24,400
Speaker 5: Right?

1664
01:45:24,680 --> 01:45:26,040
Speaker 1: Wait? Is this something that's out?

1665
01:45:26,960 --> 01:45:32,000
Speaker 6: So she wants she's figuring out what to do with it.

1666
01:45:32,120 --> 01:45:33,960
Speaker 6: She did this like right when she was doing the

1667
01:45:34,000 --> 01:45:38,559
Speaker 6: Butterfly record. Now, if you look throughout history, a lot

1668
01:45:38,680 --> 01:45:43,600
Speaker 6: of the great musical decisions in music were always afterthoughts

1669
01:45:43,640 --> 01:45:46,360
Speaker 6: and never planned out. Like the Isisley Brothers tells the

1670
01:45:46,400 --> 01:45:48,160
Speaker 6: story of that they had ten minutes left in the

1671
01:45:48,240 --> 01:45:50,360
Speaker 6: session and they were like, let's do that church song

1672
01:45:50,439 --> 01:45:54,000
Speaker 6: real quick, and it would shout, you know, Tequila to

1673
01:45:54,320 --> 01:45:56,760
Speaker 6: three minutes to do. Like literally, there's a history of

1674
01:45:56,880 --> 01:46:00,680
Speaker 6: like just last minute songs. So she she made like

1675
01:46:00,840 --> 01:46:03,559
Speaker 6: fifteen songs of just like you.

1676
01:46:03,600 --> 01:46:06,680
Speaker 5: Know, I Hate My Life and Da Da dad yea

1677
01:46:07,120 --> 01:46:07,479
Speaker 5: and all this.

1678
01:46:08,080 --> 01:46:14,000
Speaker 6: But it's like it's the I still maintain it's Mariah

1679
01:46:14,040 --> 01:46:18,280
Speaker 6: Carey's best moment singing ever because she's not being Mariah

1680
01:46:18,320 --> 01:46:20,240
Speaker 6: carry She's being free in herself.

1681
01:46:20,400 --> 01:46:23,640
Speaker 1: And so there's a freedom in doing something that's not

1682
01:46:23,800 --> 01:46:24,160
Speaker 1: your thing.

1683
01:46:24,320 --> 01:46:27,560
Speaker 5: We just think it's so how many other just like,

1684
01:46:28,200 --> 01:46:29,800
Speaker 5: let's fuck around and you got that.

1685
01:46:30,720 --> 01:46:32,720
Speaker 1: I do a lot of bands that aren't under my name,

1686
01:46:32,840 --> 01:46:36,200
Speaker 1: but that one's the furthest from my thing, probably ell Mass.

1687
01:46:36,280 --> 01:46:39,360
Speaker 5: So the world's never just you've never released Carlo for

1688
01:46:39,439 --> 01:46:39,720
Speaker 5: the world.

1689
01:46:39,720 --> 01:46:41,320
Speaker 1: Oh no, it's been released. We released it.

1690
01:46:41,520 --> 01:46:42,280
Speaker 5: Did you clean it up?

1691
01:46:42,560 --> 01:46:42,600
Speaker 7: No?

1692
01:46:42,840 --> 01:46:46,680
Speaker 1: We released it. We released it then what yeah, back then,

1693
01:46:47,040 --> 01:46:49,920
Speaker 1: back in the like two thousand and four or five

1694
01:46:50,080 --> 01:46:53,720
Speaker 1: or six or something. But we released it without any

1695
01:46:53,760 --> 01:46:56,400
Speaker 1: of our names on it because it was a tricky thing.

1696
01:46:56,479 --> 01:46:59,000
Speaker 1: At that time. My second album was still pretty big,

1697
01:46:59,160 --> 01:47:01,400
Speaker 1: and I didn't want it to be like remember when

1698
01:47:01,439 --> 01:47:04,240
Speaker 1: Garth Brooks put out Life of Chris Gaines. Yes, yeah,

1699
01:47:04,600 --> 01:47:06,280
Speaker 1: I didn't want it to be a joke because it

1700
01:47:06,400 --> 01:47:09,439
Speaker 1: wasn't a joke. It was really fun and but it

1701
01:47:09,560 --> 01:47:11,479
Speaker 1: was funny, but I.

1702
01:47:11,479 --> 01:47:13,160
Speaker 5: Didn't want to ever do it in concert.

1703
01:47:13,720 --> 01:47:15,599
Speaker 1: We did a bunch of gigs at the Delancey down

1704
01:47:15,640 --> 01:47:16,479
Speaker 1: on the Lower East.

1705
01:47:16,280 --> 01:47:20,360
Speaker 5: Side at the time, but you but where were people's

1706
01:47:20,400 --> 01:47:21,080
Speaker 5: reactions to this.

1707
01:47:21,400 --> 01:47:25,920
Speaker 1: We wore wigs and crazy makeup, so which was also

1708
01:47:26,040 --> 01:47:27,600
Speaker 1: part of the fun for me. I got to be

1709
01:47:27,680 --> 01:47:30,200
Speaker 1: a character, you know, and part of it was hiding

1710
01:47:30,320 --> 01:47:32,160
Speaker 1: myself from the audience, but part of it was just

1711
01:47:32,320 --> 01:47:34,880
Speaker 1: the fun of doing that. Like I can't imagine putting

1712
01:47:34,920 --> 01:47:37,479
Speaker 1: on a wig and crazy blade runner makeup to do

1713
01:47:37,520 --> 01:47:39,479
Speaker 1: a Nora Jones show because I feel like people would

1714
01:47:39,520 --> 01:47:42,479
Speaker 1: think I'm trying too hard to be somebody else.

1715
01:47:43,280 --> 01:47:46,040
Speaker 5: But never, but that's in my bones. I love dressing up,

1716
01:47:46,320 --> 01:47:47,400
Speaker 5: but never for an encore.

1717
01:47:47,479 --> 01:47:50,120
Speaker 6: Once you're like dude and just go into it and

1718
01:47:50,640 --> 01:47:52,559
Speaker 6: the audience is like, wait, what the hell's going on here?

1719
01:47:52,640 --> 01:47:52,760
Speaker 2: Oh?

1720
01:47:52,880 --> 01:47:55,720
Speaker 1: Like it a yeah, Carlo, No, I feel like I

1721
01:47:55,720 --> 01:47:58,719
Speaker 1: couldn't do it without them, without that band, that's yeah,

1722
01:47:59,200 --> 01:48:01,799
Speaker 1: But we kind of we kind of parted ways eventually

1723
01:48:01,920 --> 01:48:05,559
Speaker 1: and the album was released, but none of our names

1724
01:48:05,560 --> 01:48:07,560
Speaker 1: were on it, so it's not like anybody knew about it.

1725
01:48:07,840 --> 01:48:09,880
Speaker 1: A couple of people knew it was me, but it

1726
01:48:10,040 --> 01:48:10,800
Speaker 1: wasn't a big deal.

1727
01:48:11,840 --> 01:48:14,320
Speaker 5: Well, this also proves that I do not keep a.

1728
01:48:14,320 --> 01:48:17,599
Speaker 1: Secret because well, now I wish it wasn't a secret

1729
01:48:17,680 --> 01:48:21,439
Speaker 1: because in hindsight, like I love it, but at the time,

1730
01:48:21,560 --> 01:48:24,160
Speaker 1: it just felt like people would pick it apart too

1731
01:48:24,240 --> 01:48:24,840
Speaker 1: much and that's.

1732
01:48:24,760 --> 01:48:25,479
Speaker 5: Not what it was for.

1733
01:48:25,960 --> 01:48:30,599
Speaker 1: I was like, man, she's cool, Maybe we'll get them

1734
01:48:30,680 --> 01:48:32,519
Speaker 1: on the podcast, and we'll do a repeace of it.

1735
01:48:32,960 --> 01:48:33,880
Speaker 14: You gotta.

1736
01:48:35,479 --> 01:48:37,320
Speaker 15: You know how I knew you were cool because you

1737
01:48:37,360 --> 01:48:42,080
Speaker 15: were tight with Brian Blade. Uh huh and uh you

1738
01:48:42,120 --> 01:48:44,559
Speaker 15: know when you when I knew that he had been

1739
01:48:44,640 --> 01:48:47,200
Speaker 15: working with you. He's one of those kind of people

1740
01:48:48,040 --> 01:48:50,840
Speaker 15: that you know, if he can't mess with you, he

1741
01:48:51,200 --> 01:48:52,720
Speaker 15: ain't gonna but he ain't not gonna play with you.

1742
01:48:53,040 --> 01:48:55,960
Speaker 1: He won't return, right right, It won't.

1743
01:48:55,800 --> 01:48:58,600
Speaker 14: Even be mean r gonna ghost you.

1744
01:48:58,800 --> 01:49:01,200
Speaker 1: Right, I know. He definitely the coolest.

1745
01:49:01,439 --> 01:49:02,920
Speaker 14: Oh yeah, yeah, And so.

1746
01:49:04,680 --> 01:49:09,160
Speaker 5: That's how we that's how we connected through Brian recently.

1747
01:49:09,479 --> 01:49:13,000
Speaker 1: Yeah, yeah, yeah, But I mean I've I feel like

1748
01:49:13,080 --> 01:49:16,000
Speaker 1: I've known you forever, but I haven't. I know, we

1749
01:49:16,160 --> 01:49:19,040
Speaker 1: only played together once exactly, and not that last year

1750
01:49:20,200 --> 01:49:22,280
Speaker 1: for Jazz House Kids your foundation.

1751
01:49:23,240 --> 01:49:23,439
Speaker 3: Yeah.

1752
01:49:24,320 --> 01:49:26,679
Speaker 1: And I had a dog bit me on the nose

1753
01:49:26,720 --> 01:49:29,639
Speaker 1: that morning, so I was all scared to show my nose.

1754
01:49:29,760 --> 01:49:31,000
Speaker 14: Yeah, but you killed it.

1755
01:49:31,400 --> 01:49:32,160
Speaker 1: It healed.

1756
01:49:34,240 --> 01:49:35,719
Speaker 5: All right. So what's the next joint?

1757
01:49:36,040 --> 01:49:39,840
Speaker 1: Okay? So, so I wanted to try the Stangelo song?

1758
01:49:40,320 --> 01:49:41,519
Speaker 5: Okay, what do you think.

1759
01:49:44,320 --> 01:49:45,120
Speaker 1: He'll play electric?

1760
01:49:46,280 --> 01:49:46,720
Speaker 2: I don't know.

1761
01:49:46,840 --> 01:49:50,760
Speaker 1: I just thought you should play it on something, okay. Yeah,

1762
01:49:51,240 --> 01:49:53,360
Speaker 1: And also if for this. It can be sloppy. It's

1763
01:49:53,400 --> 01:49:53,920
Speaker 1: no big deal.

1764
01:49:54,240 --> 01:49:54,800
Speaker 5: That's all I know.

1765
01:49:55,520 --> 01:49:57,519
Speaker 1: That's all I know. You said you wanted to be

1766
01:49:57,640 --> 01:49:59,280
Speaker 1: some more sloppy. I'm your girl.

1767
01:50:00,000 --> 01:50:01,840
Speaker 6: Actually, I want to challenge myself to see if I

1768
01:50:01,880 --> 01:50:04,719
Speaker 6: can play it unlike the record version.

1769
01:50:04,880 --> 01:50:07,519
Speaker 5: So this will be fun. We started it.

1770
01:50:07,600 --> 01:50:10,960
Speaker 6: We started, so it's weird that we're here. We actually

1771
01:50:11,040 --> 01:50:16,080
Speaker 6: started Black Messiah in this very room.

1772
01:50:16,680 --> 01:50:19,440
Speaker 5: Really, that album took fourteen years to make, really.

1773
01:50:19,680 --> 01:50:24,439
Speaker 6: Like Voodoo took five, but Black Messiah was pretty much

1774
01:50:24,520 --> 01:50:32,320
Speaker 6: started two thousand and two. He's like Molasses man. So

1775
01:50:33,360 --> 01:50:35,720
Speaker 6: but we didn't we didn't do that here. I think

1776
01:50:35,760 --> 01:50:40,400
Speaker 6: we did betray my Heart at Electric Lady. But yeah,

1777
01:50:40,640 --> 01:50:43,560
Speaker 6: just coming back to this room, I remember, is this

1778
01:50:43,680 --> 01:50:47,679
Speaker 6: where primarily most jazz albums are recorded in this particular room.

1779
01:50:47,520 --> 01:50:51,240
Speaker 15: That if you got a nice budget. Yeah, the Criss

1780
01:50:51,320 --> 01:50:53,120
Speaker 15: Cross records used to be made upstairs.

1781
01:50:53,479 --> 01:50:54,439
Speaker 14: What Yeah.

1782
01:50:55,960 --> 01:51:00,880
Speaker 15: At Sears Sound. Yeah, what a there's a few records

1783
01:51:01,120 --> 01:51:02,040
Speaker 15: I've made upstairs.

1784
01:51:02,520 --> 01:51:08,880
Speaker 1: Really, yeah, I've done a bunch here. But you guys

1785
01:51:08,920 --> 01:51:12,200
Speaker 1: both worked with di'angelo on Yeah, so.

1786
01:51:13,320 --> 01:51:17,840
Speaker 15: Pretty much thanks to him, I got a piece a

1787
01:51:17,880 --> 01:51:19,599
Speaker 15: little tiny lickings.

1788
01:51:23,520 --> 01:51:27,040
Speaker 6: Yeah, at Electric lady, I'll say that, you know, probably

1789
01:51:27,439 --> 01:51:31,920
Speaker 6: some of my most adventurous escape moments, like my chance

1790
01:51:32,000 --> 01:51:35,000
Speaker 6: to not be a route and just to figure out

1791
01:51:35,200 --> 01:51:38,840
Speaker 6: what else is out there? Like his projects allowed me

1792
01:51:38,920 --> 01:51:41,080
Speaker 6: to do that, and then subsequently, once that record came

1793
01:51:41,120 --> 01:51:44,200
Speaker 6: out and anything else I worked on, like Common or

1794
01:51:44,439 --> 01:51:48,240
Speaker 6: Erica or Blow or that sort of thing. Like that's

1795
01:51:48,320 --> 01:51:52,559
Speaker 6: kind of how the what they call the soul quarian

1796
01:51:52,720 --> 01:51:54,679
Speaker 6: era like started.

1797
01:51:54,800 --> 01:51:57,479
Speaker 1: But yeah, man, that's how you grow.

1798
01:51:59,120 --> 01:51:59,880
Speaker 14: I got a what if?

1799
01:52:00,520 --> 01:52:00,560
Speaker 5: What?

1800
01:52:01,439 --> 01:52:05,599
Speaker 15: So there's two what if Speaking of D'Angelo, you probably noticed,

1801
01:52:05,720 --> 01:52:10,560
Speaker 15: D'Angelo told me that he initially had well he was

1802
01:52:10,600 --> 01:52:13,720
Speaker 15: going to go to VCU in Richmond, where he's from,

1803
01:52:14,280 --> 01:52:16,680
Speaker 15: to study jazz piano with Elis Marcellus.

1804
01:52:17,360 --> 01:52:17,800
Speaker 5: Oh god.

1805
01:52:18,280 --> 01:52:20,880
Speaker 15: The year he graduated high school was the year Ellis

1806
01:52:21,160 --> 01:52:23,840
Speaker 15: retired from VCU. So he was like, well, if I

1807
01:52:23,920 --> 01:52:26,000
Speaker 15: can't study with him, I'm not going to study jazz.

1808
01:52:27,400 --> 01:52:31,000
Speaker 15: I always wonder Alice Marcella stayed one more year.

1809
01:52:31,680 --> 01:52:32,439
Speaker 1: That's interesting.

1810
01:52:33,200 --> 01:52:35,600
Speaker 15: Who knows D'Angelo might have been the piano player in

1811
01:52:35,920 --> 01:52:37,320
Speaker 15: Roy Hargroves Quint test.

1812
01:52:39,880 --> 01:52:45,080
Speaker 5: Elis Man, you give me nightmares. Look at you. You

1813
01:52:45,160 --> 01:52:49,160
Speaker 5: look like a rock drummer. Playing all that rock. Why

1814
01:52:49,280 --> 01:52:50,200
Speaker 5: is that snare so tight?

1815
01:52:50,840 --> 01:52:51,040
Speaker 2: Oh?

1816
01:52:51,360 --> 01:52:52,439
Speaker 5: Really, man?

1817
01:52:52,479 --> 01:52:55,640
Speaker 6: He he roasted me, man like on the news, why

1818
01:52:55,800 --> 01:52:57,439
Speaker 6: is that snare so tight? He's like, why is that

1819
01:52:57,520 --> 01:52:58,160
Speaker 6: snare so tight?

1820
01:52:58,360 --> 01:53:01,160
Speaker 15: After he played with James Black and Idris and all

1821
01:53:01,240 --> 01:53:06,639
Speaker 15: them cats, Nah man, heartbreaking? Oh and another thing went

1822
01:53:06,920 --> 01:53:11,680
Speaker 15: here's what if this came back to Hauntum. In two

1823
01:53:11,720 --> 01:53:14,640
Speaker 15: thousand and one, I started touring with Sting and so

1824
01:53:14,800 --> 01:53:17,479
Speaker 15: there was a bunch of different drummers in there. My

1825
01:53:17,600 --> 01:53:22,519
Speaker 15: new catch a was first. Then Able Boreol Junior came

1826
01:53:22,560 --> 01:53:24,960
Speaker 15: in for a spell, and Vinnie call You came in.

1827
01:53:25,080 --> 01:53:26,720
Speaker 15: So it's like a bunch of different cats coming in.

1828
01:53:27,320 --> 01:53:30,320
Speaker 15: And so Sting said, uh, hey, I got a string

1829
01:53:30,400 --> 01:53:32,800
Speaker 15: of gigs. Who you like playing with? Who can you

1830
01:53:33,040 --> 01:53:35,200
Speaker 15: who can you recommend? I said, you need to get

1831
01:53:35,200 --> 01:53:38,479
Speaker 15: my man, I'm mirror. He's like, oh, I'm not familiar.

1832
01:53:38,560 --> 01:53:41,400
Speaker 15: So I gave him the Philly Experiment and I gave

1833
01:53:41,479 --> 01:53:42,799
Speaker 15: him a couple of Roots records.

1834
01:53:42,840 --> 01:53:44,760
Speaker 5: He was like, oh that that guy.

1835
01:53:44,960 --> 01:53:49,519
Speaker 14: Yes, yes, So I gave him the recordings. Never heard nothing.

1836
01:53:49,680 --> 01:53:51,720
Speaker 15: I said, well, okay, okay, I ain't gonna you know,

1837
01:53:51,840 --> 01:53:54,080
Speaker 15: I ain't gonna pry you Sting you know who you want.

1838
01:53:55,560 --> 01:54:01,360
Speaker 15: Fast forward ten, maybe even fifteen years later, you finally

1839
01:54:01,520 --> 01:54:02,559
Speaker 15: you finally played with him.

1840
01:54:02,800 --> 01:54:04,960
Speaker 5: Here's Sting's house band for almost like all of.

1841
01:54:06,640 --> 01:54:11,000
Speaker 15: Yeah, and then I see him somewhere. He's like, oh man,

1842
01:54:11,520 --> 01:54:16,200
Speaker 15: you you know Questlove right, He's amazing. I was like, man,

1843
01:54:18,360 --> 01:54:19,920
Speaker 15: I'm not going to tell you what I said on

1844
01:54:20,040 --> 01:54:22,720
Speaker 15: the microphone. I was like, you remember what a long

1845
01:54:22,800 --> 01:54:25,680
Speaker 15: time ago you asked me about drummers. That's who I

1846
01:54:25,840 --> 01:54:33,520
Speaker 15: was talking about. Oh, like, can you imagine had we

1847
01:54:33,600 --> 01:54:36,720
Speaker 15: played in these things band together that'ren crazy, every breath

1848
01:54:36,800 --> 01:54:38,320
Speaker 15: you take would have sounded a lot different.

1849
01:54:38,480 --> 01:54:39,840
Speaker 1: It would have sounded like a James Brown's.

1850
01:54:44,480 --> 01:54:50,000
Speaker 6: He's so he's so triggered by Stewart's playing again. Oh gosh, yes,

1851
01:54:50,160 --> 01:54:52,560
Speaker 6: this is me being a shape shifter that when I

1852
01:54:52,600 --> 01:54:55,600
Speaker 6: played with him. Yeah, he instantly knew and he stopped

1853
01:54:55,600 --> 01:54:58,560
Speaker 6: the song. Yeah, he says, you can't. Don't do that exactly,

1854
01:54:58,720 --> 01:55:01,960
Speaker 6: you can't what he says. I know you you worship

1855
01:55:02,080 --> 01:55:05,080
Speaker 6: the police, but don't play none of that. Don't like Stewart.

1856
01:55:05,120 --> 01:55:08,520
Speaker 6: It triggers me, like you don't know, It's very true.

1857
01:55:08,600 --> 01:55:11,760
Speaker 6: So I had to undo. I didn't know how to

1858
01:55:11,840 --> 01:55:14,200
Speaker 6: play like anything. But you know my regular.

1859
01:55:15,640 --> 01:55:16,280
Speaker 14: You know right.

1860
01:55:17,760 --> 01:55:20,880
Speaker 15: Like all of you know Stuart's have we played in

1861
01:55:20,880 --> 01:55:23,840
Speaker 15: these things band? Everything she does is magic, Every little

1862
01:55:23,880 --> 01:55:26,760
Speaker 15: thing she does is magic. Would have been halftime little.

1863
01:55:28,120 --> 01:55:28,280
Speaker 2: Right?

1864
01:55:34,600 --> 01:55:35,320
Speaker 1: That's great?

1865
01:55:36,480 --> 01:55:49,560
Speaker 5: Are give me a g? Wait? Is this this is

1866
01:55:49,640 --> 01:55:52,120
Speaker 5: notated in like a real or a fake book? What

1867
01:55:53,280 --> 01:55:54,040
Speaker 5: betrayed my heart?

1868
01:55:54,240 --> 01:55:54,280
Speaker 3: No?

1869
01:55:54,560 --> 01:55:54,600
Speaker 8: No?

1870
01:55:55,120 --> 01:55:55,280
Speaker 2: Oh?

1871
01:55:55,360 --> 01:55:56,760
Speaker 5: I was like, wow, he really made it?

1872
01:55:58,760 --> 01:56:00,720
Speaker 1: Oh you thought I picked it out from a fake book?

1873
01:56:00,800 --> 01:56:00,960
Speaker 5: Yeah?

1874
01:56:00,960 --> 01:56:03,040
Speaker 6: I was like so proud, like whoa, No, no, no,

1875
01:56:03,120 --> 01:56:06,839
Speaker 6: we just made some Look No, I just don't understand.

1876
01:56:06,880 --> 01:56:10,520
Speaker 5: I literally was something I had to do with Literally,

1877
01:56:10,720 --> 01:56:11,440
Speaker 5: isn't a fake book?

1878
01:56:11,560 --> 01:56:12,760
Speaker 1: Or maybe maybe it is?

1879
01:56:13,240 --> 01:56:13,720
Speaker 2: Maybe it is.

1880
01:56:14,240 --> 01:56:15,680
Speaker 1: Honestly, this is a great song.

1881
01:56:16,120 --> 01:56:16,400
Speaker 5: Thank you.

1882
01:56:16,720 --> 01:57:06,720
Speaker 2: Yeah, h em nine must take its sure as birth

1883
01:57:07,040 --> 01:57:08,560
Speaker 2: must surprise and fall.

1884
01:57:10,400 --> 01:57:15,680
Speaker 10: I'll be there to see you through just as long

1885
01:57:16,240 --> 01:57:22,560
Speaker 10: as it is. I will live on live your sight.

1886
01:57:24,280 --> 01:57:28,280
Speaker 8: And if you should ever faith, then my love is nsensey.

1887
01:57:28,840 --> 01:57:35,120
Speaker 19: I will never betray your heart. I will never betray

1888
01:57:35,800 --> 01:57:40,440
Speaker 19: your heart. I will never chase.

1889
01:57:51,920 --> 01:57:54,960
Speaker 2: Like a breeze that blows into.

1890
01:57:56,440 --> 01:58:01,720
Speaker 10: I will whisper to keep you. Could this I swear

1891
01:58:02,680 --> 01:58:06,280
Speaker 10: in with allstue I take.

1892
01:58:06,280 --> 01:58:07,920
Speaker 2: Nothing in place.

1893
01:58:10,440 --> 01:58:12,840
Speaker 3: When you're freezing down down.

1894
01:58:13,200 --> 01:58:15,760
Speaker 2: Now you must love.

1895
01:58:16,120 --> 01:58:20,840
Speaker 8: You can't depend on me. You don't never have to

1896
01:58:20,960 --> 01:58:23,080
Speaker 8: feel that my love is nice.

1897
01:58:23,160 --> 01:58:27,040
Speaker 2: And see, I will never betray in my heart.

1898
01:58:28,720 --> 01:58:35,520
Speaker 19: I will never betray my hot I will never betray

1899
01:58:36,040 --> 01:58:36,680
Speaker 19: my phone.

1900
01:58:47,120 --> 01:58:48,360
Speaker 2: Through the storm, to.

1901
01:58:48,440 --> 01:58:53,040
Speaker 10: The rain, I come running to easier pain, like the rail,

1902
01:58:53,280 --> 01:58:55,320
Speaker 10: across the train, like.

1903
01:58:55,400 --> 01:58:59,240
Speaker 2: The blood in my veins. I will never betray your heart.

1904
01:59:00,720 --> 01:59:03,760
Speaker 2: I would never be a drink your car.

1905
01:59:05,280 --> 01:59:08,160
Speaker 8: I will never be drink your ho.

1906
02:00:47,440 --> 02:01:58,240
Speaker 5: See, that's the fun part of the danger. We don't

1907
02:01:58,240 --> 02:01:58,800
Speaker 5: know what's going.

1908
02:01:59,000 --> 02:02:03,800
Speaker 1: That was so danger experience awesome. I think it was great.

1909
02:02:04,000 --> 02:02:06,600
Speaker 1: That was fun. That is a hard as to play,

1910
02:02:07,800 --> 02:02:10,839
Speaker 1: but it's so good and the lyrics are so beautiful.

1911
02:02:11,800 --> 02:02:14,720
Speaker 5: This is the first time I've heard them in the

1912
02:02:14,880 --> 02:02:21,800
Speaker 5: English language. I'm playing, I'm playing I Love You man.

1913
02:02:21,960 --> 02:02:23,800
Speaker 1: It's a great song, though, and it's hard to play.

1914
02:02:25,880 --> 02:02:27,560
Speaker 5: I'm sitting him a photo of this right now.

1915
02:02:28,920 --> 02:02:29,840
Speaker 1: Tell him I love him.

1916
02:02:32,600 --> 02:02:33,040
Speaker 5: He'll love it.

1917
02:02:35,920 --> 02:02:39,720
Speaker 1: I don't even know where one is in that song. No,

1918
02:02:39,840 --> 02:02:42,120
Speaker 1: I don't need I don't if I think about it,

1919
02:02:42,200 --> 02:02:44,000
Speaker 1: I don't know where it is. Thanks you guys have

1920
02:02:44,080 --> 02:02:45,440
Speaker 1: been super generous with your time.

1921
02:02:45,720 --> 02:02:48,840
Speaker 5: Thank you, Norah, I appreciate this. Any any chance to

1922
02:02:48,880 --> 02:02:49,880
Speaker 5: play with my brother and.

1923
02:02:51,360 --> 02:02:54,600
Speaker 14: Yeah, yes, no joke, no Joe.

1924
02:02:54,720 --> 02:02:57,240
Speaker 1: Honestly, I would have loved to do this with either

1925
02:02:57,280 --> 02:02:59,080
Speaker 1: of you separately, but I just knew would be more

1926
02:02:59,200 --> 02:02:59,760
Speaker 1: fun together.

1927
02:03:00,120 --> 02:03:01,240
Speaker 5: Oh, well, he's awesome.

1928
02:03:01,280 --> 02:03:02,760
Speaker 14: Yeah, I never get to play with my man.

1929
02:03:02,920 --> 02:03:03,800
Speaker 2: No, I'm so glad.

1930
02:03:03,960 --> 02:03:05,680
Speaker 1: Thanks for doing this, y'all. They're special.

1931
02:03:06,520 --> 02:03:09,720
Speaker 5: Thanks for having us, Thank you, thank you all right,

1932
02:03:09,840 --> 02:03:10,320
Speaker 5: sure enough.

1933
02:03:22,040 --> 02:03:25,360
Speaker 1: These guys are such a blast. They're fun to listen talk.

1934
02:03:25,440 --> 02:03:27,360
Speaker 1: I love that they have so many inside jokes. It's

1935
02:03:27,400 --> 02:03:30,160
Speaker 1: like they have their own language. Yeah, they do talking,

1936
02:03:30,280 --> 02:03:33,640
Speaker 1: but also musically they have inside music jokes. Well, I

1937
02:03:33,920 --> 02:03:35,800
Speaker 1: started a text thrive with them when we were trying

1938
02:03:35,800 --> 02:03:39,280
Speaker 1: to get together for this, and that alone is like

1939
02:03:39,440 --> 02:03:41,440
Speaker 1: the most in. I was just like, Okay, I don't

1940
02:03:41,440 --> 02:03:45,080
Speaker 1: know what's happening because they were just fire and wagon forth. Yeah,

1941
02:03:45,240 --> 02:03:47,760
Speaker 1: they got their nicknames for each other. Oh, I don't

1942
02:03:47,760 --> 02:03:51,080
Speaker 1: know what's happening. That's the history, man. But we got

1943
02:03:51,120 --> 02:03:51,960
Speaker 1: a lot of good stories.

1944
02:03:52,400 --> 02:03:53,480
Speaker 4: Yeah, and great music.

1945
02:03:53,760 --> 02:03:57,440
Speaker 1: So fun to hear a mirror questlove? Whose name is

1946
02:03:57,480 --> 02:04:00,760
Speaker 1: a mirror? Do the lesson?

1947
02:04:00,960 --> 02:04:01,080
Speaker 5: Oh?

1948
02:04:01,200 --> 02:04:04,040
Speaker 1: Yeah, the breakdown, the breakdown now, all the different drummers.

1949
02:04:04,800 --> 02:04:08,600
Speaker 1: That was amazing and just playing with Christian on the

1950
02:04:08,640 --> 02:04:14,440
Speaker 1: basis it's insane, actually he's insane. Lee amazing. That was

1951
02:04:14,440 --> 02:04:16,880
Speaker 1: a dream. And I wish we had just done two days.

1952
02:04:16,920 --> 02:04:18,840
Speaker 1: So I wish we had made a record, which we

1953
02:04:19,000 --> 02:04:21,720
Speaker 1: just wait we did. Oh, I got some words wrong.

1954
02:04:22,560 --> 02:04:23,920
Speaker 1: But if you want to look up the right words.

1955
02:04:24,160 --> 02:04:25,440
Speaker 1: But if you want to look up the right words,

1956
02:04:25,480 --> 02:04:28,400
Speaker 1: here's the songs we did. We started off with Fine

1957
02:04:28,440 --> 02:04:31,520
Speaker 1: and Mellow, an old jazz standard from nineteen thirty nine

1958
02:04:31,600 --> 02:04:34,680
Speaker 1: written by my favorite Billy Holliday. Why Am I Treated

1959
02:04:34,760 --> 02:04:38,480
Speaker 1: So Bad? A song by Pop Staples and recorded many

1960
02:04:38,560 --> 02:04:41,680
Speaker 1: times by many different people, including the Staples singers and

1961
02:04:42,240 --> 02:04:45,960
Speaker 1: James Brown, among others. We did say No More from

1962
02:04:46,040 --> 02:04:48,560
Speaker 1: one of my albums, pick Up Me Up, pick Up

1963
02:04:48,600 --> 02:04:51,280
Speaker 1: Me Up, off the Floor, and that song was actually

1964
02:04:51,320 --> 02:04:54,680
Speaker 1: written by me and Myota Sarah Oda. You wrote that song.

1965
02:04:55,000 --> 02:04:58,000
Speaker 1: We did border Lord, a song by Chris Christofferson from

1966
02:04:58,080 --> 02:05:02,640
Speaker 1: nineteen seventy two. Songwriters on that are Stephen Bruten, Donnie Fritz,

1967
02:05:02,720 --> 02:05:05,360
Speaker 1: Terry Paul, and Chris Christofferson. I love that song, by

1968
02:05:05,400 --> 02:05:08,360
Speaker 1: the way, and that's an amazing album. The last song

1969
02:05:08,440 --> 02:05:11,520
Speaker 1: we did was betray My Heart from DiAngelo's twenty fourteen

1970
02:05:11,600 --> 02:05:15,600
Speaker 1: album Black Messiah, on which Questlove was a collaborator. Thank

1971
02:05:15,640 --> 02:05:17,840
Speaker 1: you so much for listening. We had a blast. Hope

1972
02:05:17,880 --> 02:05:20,760
Speaker 1: you did too. Don't forget to like and subscribe to

1973
02:05:20,880 --> 02:05:24,440
Speaker 1: the podcast if you're able to, if you're kind, be kind,

1974
02:05:24,600 --> 02:05:26,880
Speaker 1: if you like us, actually even if you don't like us, Yeah,

1975
02:05:27,040 --> 02:05:32,560
Speaker 1: just like us. Special thanks to Questlove and Christian McBride

1976
02:05:32,600 --> 02:05:35,240
Speaker 1: for joining our podcast. We'll be back next week with

1977
02:05:35,360 --> 02:05:38,960
Speaker 1: Lucinda Williams. Noura Jones is playing along as a protection

1978
02:05:39,120 --> 02:05:43,560
Speaker 1: of iHeart Podcasts. I'm Your host Nora Jones. This episode

1979
02:05:43,640 --> 02:05:46,400
Speaker 1: was recorded It's Your Sound in New York by Steven Sacho,

1980
02:05:46,800 --> 02:05:52,160
Speaker 1: assisted by Jasper Leech, Maximilian Trophy, Tanner Wallace, and Andrew Kohinka.

1981
02:05:52,760 --> 02:05:56,839
Speaker 1: Mixed by Jamie Landry, edited by Sarah Oda. Additional recording

1982
02:05:56,920 --> 02:06:00,480
Speaker 1: by Matt Maronelli. Audio post production and mass string by

1983
02:06:00,560 --> 02:06:05,040
Speaker 1: Greg Tobler. Artwork by Eliza Frye. Photography by Shervin Linez.

1984
02:06:05,480 --> 02:06:08,960
Speaker 1: Produced by Nora Jones and Sarah Oda. Executive producers Aaron

1985
02:06:09,000 --> 02:06:13,000
Speaker 1: Jan Kaufman and Jordan Runtogg marketing lead Queen A. Nake