WEBVTT - Questlove and Christian McBride

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<v Speaker 1>Hey, I'm Norah Jones and today I'm playing along with

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<v Speaker 1>Questlove and Christian McBride two.

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<v Speaker 2>For I'm just playing.

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<v Speaker 3>With you.

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<v Speaker 4>I'm just playing alone with you.

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<v Speaker 5>Hey, good people, what's up? How you doing?

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<v Speaker 6>It's Quest Love and you're about to listen to an

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<v Speaker 6>episode of my good friend Nora Jones on our podcast

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<v Speaker 6>called Norah Jones is playing Along. This particular episode is

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<v Speaker 6>with myself and one of my closest buddies in high school,

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<v Speaker 6>not named trek Trotter, uh, named Christian McBride, who I.

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<v Speaker 5>Basically call god God of base.

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<v Speaker 6>We're gonna go back and reminisce about all the times

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<v Speaker 6>we've been sent to the principal's office for playing James

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<v Speaker 6>Brown and other details like that in our high school days,

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<v Speaker 6>messing around before we became professional. So we do covers

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<v Speaker 6>of di'angelo, pop Staples, of the Staples singers Chris Christopherson,

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<v Speaker 6>and a lot more. I hope you enjoy it. This

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<v Speaker 6>is Nord Jones playing along with me and Christian McBride.

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<v Speaker 5>All right.

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<v Speaker 1>We actually recorded this episode in twenty twenty three, but

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<v Speaker 1>we really.

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<v Speaker 7>Wanted to replay it. It's a rerun, yeah, but a

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<v Speaker 7>really good one Yes, and we wanted to show it

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<v Speaker 7>some extra love. Both Christian and Questlov have been keeping

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<v Speaker 7>very busy with other projects they've worked on since we

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<v Speaker 7>put our episode out, so we wanted to mention some

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<v Speaker 7>of them. In twenty twenty five, Christian McBride released Without

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<v Speaker 7>Further Ado Volume one. He also dropped the single Old

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<v Speaker 7>Folks with Samara Joy, and he announced this new ensemble

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<v Speaker 7>called Ursa Major and Questlov has also been equally busy.

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<v Speaker 7>He directed Sly Lives, which heard at Sundance in twenty

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<v Speaker 7>twenty five. He co directed the fifty Years of SNL

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<v Speaker 7>music special that aired in January of twenty twenty five.

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<v Speaker 7>He's also directing the Big Earth, Wind and Fire documentary

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<v Speaker 7>coming out in twenty twenty six. He co wrote the

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<v Speaker 7>Rhythm of Time series with sa Cosby, which is a

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<v Speaker 7>middle grade sci fi book series. The first book came

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<v Speaker 7>out in twenty twenty three, but two more are coming

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<v Speaker 7>out in twenty twenty six. He's also involved in a

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<v Speaker 7>posthumous D'Angelo album that was recently announced.

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<v Speaker 1>We also covered a Dangelo song in this episode called

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<v Speaker 1>Betray My Heart, which was from the Black Messiah album

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<v Speaker 1>that came out in twenty fourteen, and Questlo was a

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<v Speaker 1>collaborator on that album, so that's kind of why we

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<v Speaker 1>covered this song. Plus it's just an amazing song. So

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<v Speaker 1>I hope you enjoy hearing this episode if you've never

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<v Speaker 1>heard it, and if you have, I think you're gonna

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<v Speaker 1>like it again.

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<v Speaker 2>My man don't.

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<v Speaker 4>Love me, treats me?

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<v Speaker 2>Ohso, I said, my man, he don't love me.

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<v Speaker 4>He treats me?

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<v Speaker 2>Ohs me.

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<v Speaker 4>He's the lost man.

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<v Speaker 2>Live and say.

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<v Speaker 8>He wears her tram pants and strips.

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<v Speaker 9>I really yell, he wears hardly.

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<v Speaker 3>Paints stripes are really.

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

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<v Speaker 10>That would make you drinking gamble and make you stand out.

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<v Speaker 2>All night all love.

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<v Speaker 11>We'll make you drinking gamble, make it stare at all.

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<v Speaker 2>Love. That would make you do all the same.

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<v Speaker 3>That you know.

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<v Speaker 12>Okay, get an increase about.

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<v Speaker 5>The bad.

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<v Speaker 12>Bad day? Would the lady?

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<v Speaker 13>Oh, if you treat me right, baby, I'll stay home

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

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<v Speaker 13>stay home.

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<v Speaker 10>Readay, But if you saw mean to me, baby, you

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<v Speaker 10>know you're gonna drive me away.

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<v Speaker 2>That was just like a fascet.

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<v Speaker 10>It turns off and it turnsmello was just like a fozzy.

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<v Speaker 10>It turns off and it toos. Sometimes where your thing

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<v Speaker 10>is on is turned off.

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<v Speaker 5>And gone, gone with your bath.

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<v Speaker 14>No Joe bringing the grits and gravy.

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<v Speaker 1>Oh my god, that's it's.

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<v Speaker 5>Too early for that kind of song before noon, That's

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<v Speaker 5>what I'm saying.

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<v Speaker 1>Well, if you wake up, if you wake up at

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<v Speaker 1>seven usually then it's more like three in the afternoon.

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<v Speaker 14>Right, Well, I suppose.

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<v Speaker 1>Oh, thanks for doing that with me. That was fun.

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<v Speaker 1>I love that Billie Holiday song.

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<v Speaker 14>That's thrill.

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<v Speaker 1>Is that is that old Billie Holiday song? Or did

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

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<v Speaker 1>I love Billy Holiday. Man, I haven't sung that song

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<v Speaker 1>in a really long time.

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<v Speaker 14>You could have fooled me.

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<v Speaker 1>That's from the old days, you know, the old days

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<v Speaker 1>of playing and singing in restaurants and just playing.

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<v Speaker 14>Well, see that.

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<v Speaker 15>Those gigs, you know, back in the day when you

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<v Speaker 15>were doing the you know, hotel lobby or restaurant gig,

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<v Speaker 15>whatever it is.

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<v Speaker 5>You know.

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<v Speaker 15>I always tell musicians that's your shared time. That's how

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<v Speaker 15>you build that's how you build your skills.

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<v Speaker 1>Semi paid practice.

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<v Speaker 15>Totally, totally what it is. I mean, like I used

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

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<v Speaker 15>Benny Green and I used to have this kind of

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<v Speaker 15>semi regular gig at some Chinese food restaurant over on

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<v Speaker 15>the East Side, and.

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<v Speaker 14>We would just sharre tunes.

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<v Speaker 15>You know, nobody was really listening, kind of sort of

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<v Speaker 15>you know, so we just call songs and I'll be

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<v Speaker 15>learning the changes right there on the spot.

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<v Speaker 5>That's the best, That's how you learned.

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<v Speaker 1>Yeah, I had a gig like that in Dallas. I

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<v Speaker 1>wish it was Chinese food. That sounds really good. Actually

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<v Speaker 1>right now.

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<v Speaker 15>If I remember correctly, just like most jazz venues, we

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<v Speaker 15>couldn't pick off the regular menus.

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<v Speaker 14>They had a musician's menu.

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<v Speaker 1>I remember that. I had a gig in Midtown right

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<v Speaker 1>around the corner here at that place Sofia's. Did you

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<v Speaker 1>ever work?

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<v Speaker 11>Yes?

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<v Speaker 14>I never worked there, but a lot of people did.

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<v Speaker 5>Yeah. Yeah.

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<v Speaker 1>Actually was surprised he hired me because there were a

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<v Speaker 1>lot of really great piano players that play there. But

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<v Speaker 1>I think he liked my singing. And that guy was

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<v Speaker 1>really nice, actually, I really liked him. But they did

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<v Speaker 1>not let us or very nicely. Right, you go back

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<v Speaker 1>to the kitchen and you could only have like a

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<v Speaker 1>few things and you had a set meal.

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<v Speaker 5>Time, right, yeah, exactly, that's right.

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<v Speaker 1>And it was like a four and a half hour gig.

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<v Speaker 14>Long gig, long gig.

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<v Speaker 15>I remember when well, when I first moved to town,

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<v Speaker 15>most clubs were three sets a night. The Vanguard was nine,

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<v Speaker 15>eleven and one.

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<v Speaker 1>Oh, it was three sets back oh yeah.

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

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<v Speaker 15>That was hard because you had an hour break in

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<v Speaker 15>between these shows. All your momentum yeah be gone.

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<v Speaker 5>Yeah.

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

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<v Speaker 1>just makes you tie.

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

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<v Speaker 15>is why when people began to know who you were,

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<v Speaker 15>you were already all your skills were totally strong already.

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

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<v Speaker 15>there working.

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<v Speaker 1>I kind of feel like I could use a weekly

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<v Speaker 1>gig again, you know, like a weekly not a bad

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<v Speaker 1>idea bar gig where the stakes are low and the

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<v Speaker 1>fun is high, you know, just working it out.

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<v Speaker 5>I'm sure you could find something I.

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

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<v Speaker 1>in a city.

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<v Speaker 14>Right right right, you can hide in a crowd exactly.

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<v Speaker 1>Man, tell me about your bass.

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<v Speaker 14>This is many.

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<v Speaker 15>Yeah, yes, she's like you little bit mighty.

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

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<v Speaker 5>No.

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<v Speaker 15>This has been my main base since January of ninety six.

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<v Speaker 1>Really, oh, man, So you have others that you use sometimes,

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<v Speaker 1>but this is your.

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<v Speaker 15>Main This is my girl. I had a base that

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<v Speaker 15>was I used to think it was made by John Jiuzic,

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<v Speaker 15>but a guy in Check Slovakia told me that John Jewsk,

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<v Speaker 15>that's a big name in the bass world.

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<v Speaker 1>Oh, I know, because I dated a bass player. I'm

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<v Speaker 1>sorry for a long time and I will never forget

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<v Speaker 1>the bass saga of him getting.

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<v Speaker 15>A jews Well, I found out that John Jeuwsk was

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<v Speaker 15>not a base maker. He was a base distributor.

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<v Speaker 1>So it was all a lot.

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<v Speaker 15>He was the middleman. Yeah. So I went to Czechoslovakia

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<v Speaker 15>to go kind of track him down.

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<v Speaker 2>Really I want to.

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<v Speaker 15>I want to learn about the Jewsak family line. And

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<v Speaker 15>I went to this bass shop in Prague, and uh,

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<v Speaker 15>it was so funny because the guy said, and he

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<v Speaker 15>didn't really say these exact words, but I was reading

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<v Speaker 15>in between the lines. He was like, oh, you dumb Americans.

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<v Speaker 15>You think Jiwsak was the guy. He was not the guy.

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<v Speaker 15>He was the distributor.

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<v Speaker 14>You know.

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<v Speaker 5>I was like, oh, oh, okay, so who was the guy?

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<v Speaker 15>And then he gave me like a whole bunch of

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<v Speaker 15>check names that I couldn't spell.

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<v Speaker 14>You couldn't find him, Yeah, I couldn't find him.

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<v Speaker 1>But so there was more than one guy, basically, Oh yeah,

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<v Speaker 1>there were several guys.

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<v Speaker 5>Guys.

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

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<v Speaker 15>And so I had a Jewsak distributed base from nineteen

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<v Speaker 15>eighty nine until British Airways destroyed it.

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<v Speaker 2>Oh no, of ninety five.

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

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<v Speaker 15>But yeah, I had my jews Ak was was crushed,

0:14:33.120 --> 0:14:34.760
<v Speaker 15>fell out of the belly of the plane. You know,

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<v Speaker 15>it's like a foot drop, you.

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<v Speaker 1>Know, from on the ground.

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<v Speaker 15>But still, yeah, I mean I had it had a

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<v Speaker 15>really good case. But I you know, I guess the

0:14:42.320 --> 0:14:46.000
<v Speaker 15>you know, it was it was so far drop. Uh,

0:14:46.080 --> 0:14:47.840
<v Speaker 15>it just it didn't make it.

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<v Speaker 1>That's a bummer.

0:14:48.960 --> 0:14:49.200
<v Speaker 5>Yeah.

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<v Speaker 15>And so uh, David Gage, the guru, I know him.

0:14:53.040 --> 0:14:57.000
<v Speaker 15>I'm sure you know him. I love him. He tried

0:14:57.000 --> 0:14:59.600
<v Speaker 15>to fix it, he restored it, he did everything he could,

0:14:59.640 --> 0:15:02.920
<v Speaker 15>but it just didn't get that old sound back. And

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<v Speaker 15>so while I was waiting for him to fix it,

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<v Speaker 15>he said, man, somebody just came in my shop with

0:15:08.800 --> 0:15:09.400
<v Speaker 15>an old base.

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<v Speaker 14>They want to get rid of it. You need to

0:15:11.160 --> 0:15:13.840
<v Speaker 14>come check this out. And that was many.

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<v Speaker 1>That's it, he called it.

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<v Speaker 15>Yep, this is an old German base made in estimated

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<v Speaker 15>in nineteen ten.

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<v Speaker 1>That's beautiful.

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<v Speaker 15>Yeah, so she speaks, she's.

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<v Speaker 1>That's beautiful.

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<v Speaker 14>Yeah, so many she's been there.

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<v Speaker 1>That's great. I remember seeing on your maybe your Instagram

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<v Speaker 1>page once and you took a picture of a flight

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<v Speaker 1>attendant who was super sweet about your instrument.

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<v Speaker 14>I always try.

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<v Speaker 1>I was going to say, I think you do that.

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<v Speaker 1>Don't you shout out when they're really nice?

0:15:51.400 --> 0:15:52.240
<v Speaker 5>Yes? Yeah?

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<v Speaker 1>Do you shout out when they suck about.

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<v Speaker 2>It or you?

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<v Speaker 5>No?

0:15:55.240 --> 0:15:58.160
<v Speaker 15>I just go direct to uh, I just go direct

0:15:58.160 --> 0:16:03.320
<v Speaker 15>to customer service. You know, I've discovered the My friend

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<v Speaker 15>Terry on Gully, his wife is she writes letters all.

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<v Speaker 1>The time, complaints, kind complaints, well worded, thoughtful.

0:16:13.320 --> 0:16:15.320
<v Speaker 15>And she and he used to tell me, he said, man,

0:16:15.440 --> 0:16:18.080
<v Speaker 15>you know those complaint letters go a long way.

0:16:18.240 --> 0:16:20.200
<v Speaker 1>They do, like they really read them.

0:16:20.240 --> 0:16:22.680
<v Speaker 15>I don't know if they do now, but you know,

0:16:22.840 --> 0:16:28.240
<v Speaker 15>so fortunately I have not had too many bad instances

0:16:28.400 --> 0:16:30.240
<v Speaker 15>and quite some time.

0:16:30.520 --> 0:16:33.840
<v Speaker 1>Yeah, it can be tough trying to go on a

0:16:33.840 --> 0:16:37.160
<v Speaker 1>plane with a weird shaped instrument. They just don't know.

0:16:37.320 --> 0:16:41.800
<v Speaker 15>They just don't working musicians. I mean, I see flight

0:16:41.840 --> 0:16:44.920
<v Speaker 15>attendants giving trouble to just like guitar players. You know,

0:16:44.960 --> 0:16:48.640
<v Speaker 15>they got like a little soft gigbag that's not gonna

0:16:48.640 --> 0:16:49.400
<v Speaker 15>fit overhead.

0:16:49.800 --> 0:16:50.760
<v Speaker 5>Of course it will.

0:16:51.080 --> 0:16:54.080
<v Speaker 1>Yeah, so it's a tough gig on both ends. I

0:16:54.080 --> 0:16:54.680
<v Speaker 1>think too.

0:16:55.680 --> 0:16:58.960
<v Speaker 14>Well. Absolutely, you know, you gotta have empathy.

0:16:59.200 --> 0:17:03.280
<v Speaker 1>You know, but sometimes people just stink about it.

0:17:06.119 --> 0:17:07.800
<v Speaker 15>You know what I feel bad about. I go, I

0:17:07.840 --> 0:17:12.560
<v Speaker 15>go to the airport, and before I check in, you

0:17:12.680 --> 0:17:14.440
<v Speaker 15>try to read the friendliest face.

0:17:15.040 --> 0:17:15.800
<v Speaker 2>Yeah, you know.

0:17:16.000 --> 0:17:19.040
<v Speaker 15>So Like I'll be standing in line and I'll see

0:17:19.040 --> 0:17:22.159
<v Speaker 15>like three ticket agents and I see one about to

0:17:22.320 --> 0:17:24.760
<v Speaker 15>become open, but they don't look like they're a nice person.

0:17:25.640 --> 0:17:27.840
<v Speaker 15>Like I'll turn to the person behind me, like no, no, no, no,

0:17:28.040 --> 0:17:33.560
<v Speaker 15>you go ahead, but you're next, No go, I'm waiting for.

0:17:33.520 --> 0:17:34.280
<v Speaker 5>The nice person.

0:17:36.440 --> 0:17:38.120
<v Speaker 1>Did you start out on upright base?

0:17:38.240 --> 0:17:41.000
<v Speaker 14>Nope. Started out on the electric at what age?

0:17:41.000 --> 0:17:45.919
<v Speaker 5>Because of my dad nine I was nine, He played bass.

0:17:45.960 --> 0:17:46.640
<v Speaker 5>He still does.

0:17:46.720 --> 0:17:47.400
<v Speaker 1>He still does.

0:17:48.400 --> 0:17:50.959
<v Speaker 14>He's one of the workingst bass players in Philly.

0:17:51.040 --> 0:17:51.760
<v Speaker 1>That's amazing.

0:17:52.280 --> 0:17:53.280
<v Speaker 14>He's my dad.

0:17:53.480 --> 0:17:56.160
<v Speaker 15>His name is Lee Smith, and he's working more now

0:17:56.400 --> 0:17:58.440
<v Speaker 15>than he was when I was a kid.

0:17:59.040 --> 0:18:00.000
<v Speaker 14>Ain't that right? Clyde?

0:18:05.560 --> 0:18:08.040
<v Speaker 3>Hey are you?

0:18:08.800 --> 0:18:10.960
<v Speaker 1>I got some good stories about you before you got here.

0:18:12.320 --> 0:18:13.000
<v Speaker 1>I'm just kidding.

0:18:13.240 --> 0:18:13.879
<v Speaker 11>I'm just kidding.

0:18:14.600 --> 0:18:16.600
<v Speaker 1>We didn't get to it yet.

0:18:16.880 --> 0:18:17.720
<v Speaker 2>What's good man?

0:18:29.119 --> 0:18:29.399
<v Speaker 5>All right?

0:18:29.440 --> 0:18:33.520
<v Speaker 6>I'm gonna give my on and play traditional for the

0:18:33.560 --> 0:18:35.520
<v Speaker 6>first time in what thirty years?

0:18:35.560 --> 0:18:43.600
<v Speaker 1>Traditional? How so a that's great. That's some technical thing

0:18:43.720 --> 0:18:48.600
<v Speaker 1>that I don't know about. You don't usually hold your exactly.

0:18:48.720 --> 0:18:52.880
<v Speaker 5>All my idols play this way, something like what wow?

0:18:53.640 --> 0:18:54.560
<v Speaker 5>Since I was twelve?

0:18:54.960 --> 0:19:04.560
<v Speaker 4>Really whole episode.

0:19:11.760 --> 0:19:12.080
<v Speaker 14>Google?

0:19:31.160 --> 0:19:53.600
<v Speaker 10>Whoa ah my treating so bad? Whoa ah my treating

0:19:53.840 --> 0:19:58.760
<v Speaker 10>so by?

0:19:59.440 --> 0:20:05.280
<v Speaker 2>You know, as I seen this song.

0:20:06.640 --> 0:20:36.880
<v Speaker 16>Him after so Bad, I'm not ask.

0:20:29.800 --> 0:20:31.640
<v Speaker 2>The messages day.

0:20:36.400 --> 0:20:53.520
<v Speaker 3>Ready seemed to be in day you may be bad?

0:20:54.720 --> 0:20:56.600
<v Speaker 3>You maybe late.

0:20:58.080 --> 0:21:05.480
<v Speaker 10>Brocord her mrssion, Dove, who change so Bad?

0:21:58.880 --> 0:22:00.120
<v Speaker 5>Tround ticket.

0:23:04.960 --> 0:23:12.720
<v Speaker 3>Now the best of the day things are?

0:23:19.359 --> 0:23:20.520
<v Speaker 2>They seem to be.

0:23:21.560 --> 0:23:34.119
<v Speaker 17>Lame you maybe line you, maybe lay just walk up?

0:23:34.720 --> 0:23:52.280
<v Speaker 18>How messes made? Don't treat so bad? Do you teach? Y?

0:24:17.960 --> 0:24:21.040
<v Speaker 5>Chris brother?

0:24:22.280 --> 0:24:22.480
<v Speaker 1>Yeah?

0:24:22.720 --> 0:24:24.880
<v Speaker 5>But can we just be normal for once and not ever?

0:24:27.320 --> 0:24:27.920
<v Speaker 14>No, we can't.

0:24:30.080 --> 0:24:31.640
<v Speaker 5>Or what are you about to learn?

0:24:33.119 --> 0:24:35.159
<v Speaker 14>You're about to be in O school with us? This

0:24:35.359 --> 0:24:37.960
<v Speaker 14>is this is a thirty year camaraderie.

0:24:39.320 --> 0:24:44.520
<v Speaker 6>Where he and I are having a total inside conversation

0:24:44.640 --> 0:24:46.960
<v Speaker 6>with each other based on like every reference.

0:24:48.480 --> 0:24:48.680
<v Speaker 5>I know.

0:24:48.960 --> 0:24:50.879
<v Speaker 1>I texted with you both for about ten minutes.

0:24:58.080 --> 0:24:58.720
<v Speaker 14>Are you going to.

0:25:08.800 --> 0:25:10.120
<v Speaker 5>This might be a three episode?

0:25:10.320 --> 0:25:10.520
<v Speaker 15>I know?

0:25:10.680 --> 0:25:10.800
<v Speaker 3>Right?

0:25:11.359 --> 0:25:12.280
<v Speaker 14>All right, give it to Billy?

0:25:23.119 --> 0:25:32.520
<v Speaker 5>How long before you committed this in your memory? You

0:25:32.640 --> 0:26:00.840
<v Speaker 5>gotta get that in this right right right? Spot Stick?

0:26:01.280 --> 0:26:08.920
<v Speaker 14>Say what spot Stick? Great?

0:26:12.359 --> 0:26:13.440
<v Speaker 5>Crack break.

0:26:20.640 --> 0:26:25.320
<v Speaker 2>Tom right now.

0:26:42.800 --> 0:26:47.399
<v Speaker 5>Is a question of you two? So when all right,

0:26:47.440 --> 0:26:48.680
<v Speaker 5>watch me take the podcast over?

0:26:49.160 --> 0:26:49.680
<v Speaker 1>Take it over?

0:26:49.840 --> 0:26:54.240
<v Speaker 6>So when when you two play? Have you two played

0:26:54.320 --> 0:27:00.800
<v Speaker 6>long enough where you're literally in a linear state of

0:27:00.960 --> 0:27:05.960
<v Speaker 6>mind where you know the song and you are playing

0:27:06.080 --> 0:27:10.639
<v Speaker 6>you Because I just realized I only realize who I

0:27:10.760 --> 0:27:14.120
<v Speaker 6>am when I'm not in roots world, because when I'm

0:27:14.119 --> 0:27:17.280
<v Speaker 6>in roots world, I'm more like traffic cop. Yeah, but

0:27:18.480 --> 0:27:22.639
<v Speaker 6>I noticed that when I'm in jam session. Like literally

0:27:22.720 --> 0:27:28.560
<v Speaker 6>in that song, I've referenced maybe twelve drummers from Bill

0:27:28.600 --> 0:27:34.960
<v Speaker 6>Wither's Drummer. Ye yeah, between Yatson and you know Clyde Jabbo.

0:27:35.160 --> 0:27:37.600
<v Speaker 6>I try to do Melvin, but I couldn't bring myself

0:27:37.640 --> 0:27:37.800
<v Speaker 6>to it.

0:27:38.200 --> 0:27:40.040
<v Speaker 14>It might have been too slow for Melvin.

0:27:39.800 --> 0:27:47.560
<v Speaker 6>Right right right, and so I'm literally going through. See

0:27:47.680 --> 0:27:49.919
<v Speaker 6>the thing is Melvin is reverse Clyde.

0:27:50.320 --> 0:27:54.160
<v Speaker 5>So all right, I do funck you woman. So basically.

0:27:55.400 --> 0:27:58.320
<v Speaker 6>James and I, Chris and I are connection of courses.

0:27:58.560 --> 0:28:03.480
<v Speaker 6>Is James Brown, And so with James's I would say

0:28:03.560 --> 0:28:10.159
<v Speaker 6>top three drummers. Clyde Stubblefield has the probably the best

0:28:12.040 --> 0:28:15.000
<v Speaker 6>ghost note left hand ever, so a lot of his

0:28:15.320 --> 0:28:22.359
<v Speaker 6>like slowed down a little bit, so like he plays

0:28:22.400 --> 0:28:25.560
<v Speaker 6>he plays a snare like like old Black Church people

0:28:25.640 --> 0:28:28.840
<v Speaker 6>play the tambourine with a little like of course, the

0:28:30.320 --> 0:28:32.520
<v Speaker 6>the pace is this, but he'll add the.

0:28:35.200 --> 0:28:35.680
<v Speaker 5>You know what I mean.

0:28:39.760 --> 0:28:44.400
<v Speaker 6>And Adris Mohammed is also in under this umbrella where

0:28:44.480 --> 0:28:46.520
<v Speaker 6>his left hand and the ghost note.

0:28:47.880 --> 0:28:48.040
<v Speaker 5>Right.

0:28:49.600 --> 0:28:55.560
<v Speaker 6>And also I would say Steve Roone formerly of the Heartbreakers,

0:28:55.600 --> 0:29:00.600
<v Speaker 6>and of course the average white man who's probably a

0:29:00.720 --> 0:29:07.160
<v Speaker 6>more nuanced Bernard Party like Bernard Purty's trademarkets of course, yeah,

0:29:07.720 --> 0:29:08.160
<v Speaker 6>you know what I mean.

0:29:09.080 --> 0:29:10.680
<v Speaker 5>So Steve Arroni.

0:29:10.520 --> 0:29:19.600
<v Speaker 6>Takes Clyde Stubblefield's left hand and uh it takes Bernard

0:29:19.680 --> 0:29:29.600
<v Speaker 6>Purtty's right hand. But also Adris Muhammad does that a lot.

0:29:30.560 --> 0:29:36.440
<v Speaker 6>But with James Brown's other drummer, uh Clyde uh Javo,

0:29:36.600 --> 0:29:42.520
<v Speaker 6>John Davo starks he's more he's more of a food guy.

0:29:43.240 --> 0:29:50.960
<v Speaker 6>So I say, John Davo starts like he's more about

0:29:51.000 --> 0:29:51.760
<v Speaker 6>the pass.

0:29:52.000 --> 0:29:52.640
<v Speaker 5>So I'll say that.

0:29:54.120 --> 0:29:59.960
<v Speaker 6>Even though we credit Clyde Stubblefield with being like James Brown,

0:30:00.120 --> 0:30:04.479
<v Speaker 6>the funkiest drummer, claud Seville feels more like boutique shopping,

0:30:04.880 --> 0:30:10.280
<v Speaker 6>whereas Jabbo is more like common every day right, meat

0:30:10.320 --> 0:30:13.239
<v Speaker 6>and potatoes drummers, you know what I mean.

0:30:14.760 --> 0:30:20.040
<v Speaker 5>Like he's more in a swing h.

0:30:26.520 --> 0:30:30.080
<v Speaker 6>So that's and he's also heavy on the one that's

0:30:30.240 --> 0:30:37.720
<v Speaker 6>that's zab all day, so his emphasis is more on

0:30:37.840 --> 0:30:38.240
<v Speaker 6>the foot.

0:30:39.920 --> 0:30:44.680
<v Speaker 5>Now, the thing is, Melvin Parker, you don't play one right.

0:30:45.240 --> 0:30:47.720
<v Speaker 6>Melvin Parker never hits on the one, so he hits

0:30:47.800 --> 0:30:48.800
<v Speaker 6>everything but the one.

0:30:48.880 --> 0:31:02.120
<v Speaker 5>And so he's more like right, so that one that's missing,

0:31:04.720 --> 0:31:05.080
<v Speaker 5>that's his.

0:31:05.160 --> 0:31:08.560
<v Speaker 6>Infloye, so he's more single pated drummer, you know what

0:31:08.600 --> 0:31:12.600
<v Speaker 6>I mean. But it's always my question to you is

0:31:14.560 --> 0:31:18.120
<v Speaker 6>when you're not playing your own material, are you do

0:31:18.200 --> 0:31:21.640
<v Speaker 6>you morph into another musician or like I find out

0:31:21.680 --> 0:31:25.080
<v Speaker 6>I'm more of a shape shifter than I am, Like

0:31:25.160 --> 0:31:29.520
<v Speaker 6>I don't think I've identified I've identified myself as a

0:31:29.640 --> 0:31:33.200
<v Speaker 6>shape shifter more than like, oh that's a mirror plan.

0:31:33.320 --> 0:31:34.440
<v Speaker 5>But you know, when I'm playing, I.

0:31:34.480 --> 0:31:37.040
<v Speaker 1>Think that's interesting because I feel like I know when

0:31:37.080 --> 0:31:37.360
<v Speaker 1>it's you.

0:31:38.320 --> 0:31:41.200
<v Speaker 5>Well, also I've made my presence known.

0:31:41.280 --> 0:31:43.720
<v Speaker 6>But also it's also like my style of drumming is

0:31:43.800 --> 0:31:47.960
<v Speaker 6>more like like right now in the culinary world, there's there's.

0:31:47.800 --> 0:31:51.880
<v Speaker 5>A big giant worry that with words like kale and

0:31:52.040 --> 0:31:55.880
<v Speaker 5>plant based that we're going to lose. I mean, you know,

0:31:56.000 --> 0:31:59.520
<v Speaker 5>like this twenty twenty is the whole era of.

0:32:02.520 --> 0:32:07.320
<v Speaker 6>The fight between you know, traditionalists how it used to

0:32:07.360 --> 0:32:10.600
<v Speaker 6>be and this is how I was raised, versus the

0:32:10.760 --> 0:32:13.959
<v Speaker 6>disruptors who are like, no, this is this is the new,

0:32:14.040 --> 0:32:17.880
<v Speaker 6>this is how it's going to be. And there's you know,

0:32:19.800 --> 0:32:23.400
<v Speaker 6>I guess my staking that claim is more about the musicianship.

0:32:24.560 --> 0:32:30.040
<v Speaker 6>So you know, I never wanted to be what they

0:32:30.080 --> 0:32:33.320
<v Speaker 6>would call like a you know, like a gospel drummer,

0:32:33.760 --> 0:32:37.080
<v Speaker 6>gospel chops. So I always imagine that I'm the drummer

0:32:38.480 --> 0:32:42.560
<v Speaker 6>that works at a steel mill in Ohio or Milwaukee

0:32:42.760 --> 0:32:46.120
<v Speaker 6>or whatever, and you know, his wife lets him play

0:32:46.160 --> 0:32:48.280
<v Speaker 6>with the guys at the local bar, but he's like

0:32:48.320 --> 0:32:48.959
<v Speaker 6>real sloppy.

0:32:51.120 --> 0:32:57.280
<v Speaker 5>Yeah, you know, like like I could, I could perfect him.

0:32:58.160 --> 0:32:59.720
<v Speaker 5>But for me, oh.

0:33:01.360 --> 0:33:04.440
<v Speaker 6>Yeah, I mean see, the problem is when I'm doing

0:33:04.480 --> 0:33:09.120
<v Speaker 6>it in terms of hip hop, I also not only

0:33:09.200 --> 0:33:10.760
<v Speaker 6>have to be the sample, but I have to also

0:33:10.840 --> 0:33:16.880
<v Speaker 6>be the drum programming. So that's that's my my my

0:33:17.040 --> 0:33:20.080
<v Speaker 6>big risk with this next record, because I'm actually not

0:33:20.200 --> 0:33:25.680
<v Speaker 6>gonna play like a computer and I'm gonna play I'm

0:33:25.720 --> 0:33:26.400
<v Speaker 6>trying to play.

0:33:26.280 --> 0:33:30.080
<v Speaker 5>Like the sloppiest drunk four year old, like how I

0:33:30.400 --> 0:33:33.800
<v Speaker 5>used to play when I was a kid, without the

0:33:36.280 --> 0:33:38.440
<v Speaker 5>Like my mind is that.

0:33:38.960 --> 0:33:44.080
<v Speaker 6>But do you do you like for you, do you

0:33:44.200 --> 0:33:47.480
<v Speaker 6>guys shape shift as well? Or do you are you

0:33:47.640 --> 0:33:51.040
<v Speaker 6>just too preoccupied with the melody whatever? Because when I'm drumming,

0:33:51.080 --> 0:33:54.760
<v Speaker 6>it's so second hand, like it's like the back of

0:33:54.800 --> 0:33:58.600
<v Speaker 6>my head where if I think about drumming, then I'm

0:33:58.640 --> 0:34:02.320
<v Speaker 6>fucking up. So I'm thinking about like yeah, and wait,

0:34:02.400 --> 0:34:04.000
<v Speaker 6>that'll leave my while or two, like I'm thinking of

0:34:04.120 --> 0:34:07.400
<v Speaker 6>anything else but drumming. Really yeah, because when you start

0:34:07.440 --> 0:34:12.160
<v Speaker 6>thinking about it, that's where I remember once, uh, one

0:34:12.160 --> 0:34:16.279
<v Speaker 6>of my dad's gigs when I was eleven, we were

0:34:16.320 --> 0:34:19.600
<v Speaker 6>doing we were doing all the Wings of Love and

0:34:21.000 --> 0:34:24.080
<v Speaker 6>I was I was twelve years Yeah.

0:34:24.000 --> 0:34:25.560
<v Speaker 5>Did you know that Steve Broon's drumming on that?

0:34:25.920 --> 0:34:26.120
<v Speaker 14>Yeah?

0:34:26.360 --> 0:34:32.480
<v Speaker 5>Yeah, I did not know that. So it's like one

0:34:32.560 --> 0:34:34.440
<v Speaker 5>in the morning, I'm twelve years old.

0:34:34.440 --> 0:34:36.920
<v Speaker 6>We're in the nightclub and this is like out in

0:34:37.360 --> 0:34:42.400
<v Speaker 6>some some club in uh like Darby, like in the

0:34:42.520 --> 0:34:45.759
<v Speaker 6>in the outskirts, and we're playing you know. My dad's like,

0:34:45.800 --> 0:34:47.840
<v Speaker 6>all right, you know, you get on drums. The bar's empty.

0:34:47.840 --> 0:34:49.799
<v Speaker 6>It's like the last set, so he lets me sit

0:34:49.880 --> 0:34:51.840
<v Speaker 6>in and I did good. And then we got to

0:34:51.960 --> 0:34:53.880
<v Speaker 6>on the Wings of Love and we got through the

0:34:53.920 --> 0:34:59.320
<v Speaker 6>first verse and there's there's there's like, you know, the

0:34:59.440 --> 0:35:02.839
<v Speaker 6>drunk guy. It was Tavern on The Simpsons. Yes, he's

0:35:02.880 --> 0:35:05.160
<v Speaker 6>looking at me. He's the only one that's like, wait

0:35:05.160 --> 0:35:07.719
<v Speaker 6>a minute, what's a twelve year old kid doing in

0:35:07.800 --> 0:35:11.480
<v Speaker 6>this nightclub at at two in the morning on a

0:35:11.520 --> 0:35:15.520
<v Speaker 6>school night, but he's real drunk and he's like, hey man,

0:35:15.760 --> 0:35:16.879
<v Speaker 6>that drummer is really good.

0:35:17.040 --> 0:35:20.440
<v Speaker 5>And then I messed up that just about.

0:35:22.840 --> 0:35:26.799
<v Speaker 6>So when I think about it, that's when it's problematic.

0:35:26.960 --> 0:35:29.000
<v Speaker 6>But is it the same for you at all?

0:35:29.239 --> 0:35:33.600
<v Speaker 1>Like I think thinking about it is always a problem.

0:35:34.080 --> 0:35:36.520
<v Speaker 1>Feeling it is better. But I'm always trying to be

0:35:37.239 --> 0:35:40.279
<v Speaker 1>myself because also as a singer, it's more obvious when

0:35:40.320 --> 0:35:43.800
<v Speaker 1>you're copying other people you love, you know, So I

0:35:43.960 --> 0:35:46.360
<v Speaker 1>just try to embody the lyrics in my own way usually.

0:35:47.600 --> 0:35:51.359
<v Speaker 15>And we were talking earlier about that, the steady gig,

0:35:51.800 --> 0:35:54.320
<v Speaker 15>all those steady gigs you played, and you know, hotel

0:35:54.400 --> 0:35:57.120
<v Speaker 15>lobbies and things like that, and restaurants and bars.

0:35:57.280 --> 0:35:58.400
<v Speaker 5>That's it.

0:35:58.640 --> 0:35:59.920
<v Speaker 14>That's where we all got our train.

0:36:00.480 --> 0:36:00.640
<v Speaker 15>You know.

0:36:01.520 --> 0:36:02.840
<v Speaker 5>Did you ever pall on the paper like that? I

0:36:03.000 --> 0:36:05.520
<v Speaker 5>feel like you came out the wound a legend.

0:36:05.600 --> 0:36:10.920
<v Speaker 15>Yeah, I know, revision is history, but I I mean,

0:36:11.120 --> 0:36:14.720
<v Speaker 15>I've always been too pragmatic because like as a bass player,

0:36:15.000 --> 0:36:17.920
<v Speaker 15>my my thing was do whatever you have to do

0:36:18.040 --> 0:36:20.000
<v Speaker 15>to keep the gig. I was the best worried about,

0:36:20.080 --> 0:36:22.840
<v Speaker 15>you know, individualism and trying to find you know what,

0:36:23.000 --> 0:36:26.359
<v Speaker 15>I'm just don't get fired that was always my number

0:36:26.400 --> 0:36:26.759
<v Speaker 15>one thing.

0:36:27.120 --> 0:36:31.759
<v Speaker 6>You playing fight or flight? Well, I mean there's two

0:36:31.760 --> 0:36:33.759
<v Speaker 6>ways to live. Either gonna fight or flight or you're

0:36:33.760 --> 0:36:36.239
<v Speaker 6>gonna live. Like, hey, what can I do to you know?

0:36:37.040 --> 0:36:39.200
<v Speaker 6>I never I never thought that you would ever have

0:36:39.360 --> 0:36:40.959
<v Speaker 6>that thought, like, I don't want to get fired?

0:36:41.160 --> 0:36:41.719
<v Speaker 14>Absolutely?

0:36:41.880 --> 0:36:43.280
<v Speaker 5>Have you ever got a fire Christmas?

0:36:43.560 --> 0:36:44.280
<v Speaker 14>I've gotten close?

0:36:45.080 --> 0:36:49.560
<v Speaker 15>Oh yeah, yeah yeah, but it wasn't you remember this well,

0:36:49.680 --> 0:36:53.919
<v Speaker 15>you remember the no app days, the make Base Great

0:36:53.960 --> 0:36:57.279
<v Speaker 15>Again days, when all of these young cats were coming

0:36:57.320 --> 0:36:59.320
<v Speaker 15>on the scene not wanting to play with an amplifier.

0:36:59.440 --> 0:36:59.919
<v Speaker 4>Oh my god.

0:37:00.280 --> 0:37:03.239
<v Speaker 15>Yeah, you know we were trying to muscle up and yeah,

0:37:03.400 --> 0:37:08.000
<v Speaker 15>exactly right right, and uh oh when I first.

0:37:07.840 --> 0:37:10.359
<v Speaker 14>Moved to New York eighty nine, ninety ninety one.

0:37:10.760 --> 0:37:12.600
<v Speaker 1>Well, an AM's just an extra thing to carry?

0:37:13.360 --> 0:37:13.640
<v Speaker 5>What's that?

0:37:13.920 --> 0:37:14.920
<v Speaker 1>And an extra thing?

0:37:15.200 --> 0:37:16.279
<v Speaker 5>Yeah yeah, yeah, yeah.

0:37:16.280 --> 0:37:17.800
<v Speaker 15>So there was all these cats like, man, you know,

0:37:17.920 --> 0:37:21.400
<v Speaker 15>real bass players don't use an am got to muscle up,

0:37:21.480 --> 0:37:24.040
<v Speaker 15>raise your strings, and you know, have the microphone way

0:37:24.040 --> 0:37:27.719
<v Speaker 15>out there and project right. So uh that was that

0:37:27.880 --> 0:37:32.759
<v Speaker 15>was courtesy of a particular sect. But I got on

0:37:32.880 --> 0:37:40.480
<v Speaker 15>body wear suits? Are they from New Orleans? See what

0:37:40.680 --> 0:37:43.480
<v Speaker 15>I'm trying to nobody, but I.

0:37:43.560 --> 0:37:44.680
<v Speaker 5>Wonder who you're talking about.

0:37:44.719 --> 0:37:47.160
<v Speaker 1>No names, no names, no names, no names.

0:37:49.000 --> 0:37:52.480
<v Speaker 15>But I got on Bobby Watson's gig and he was like, say,

0:37:52.520 --> 0:37:55.080
<v Speaker 15>where's your AM. You know I don't use no AMP.

0:37:55.800 --> 0:37:58.480
<v Speaker 15>I got a big sound. He's like, I'm sure you

0:37:58.640 --> 0:38:01.600
<v Speaker 15>do buy one an AM? Like no, man, you know

0:38:01.760 --> 0:38:03.600
<v Speaker 15>amp man, that's that's some punk shit.

0:38:03.760 --> 0:38:04.200
<v Speaker 5>Man, you know.

0:38:04.520 --> 0:38:09.239
<v Speaker 15>He's like, oh it is huh say uh no, no, no, no, no,

0:38:09.480 --> 0:38:16.279
<v Speaker 15>wait wait wait I'm getting an AMP. And actually it

0:38:16.440 --> 0:38:19.600
<v Speaker 15>was it was Jeff Taine watch that saved my gig

0:38:19.760 --> 0:38:22.560
<v Speaker 15>with Bobby watching because I was playing the Vanguard with Bobby.

0:38:22.760 --> 0:38:25.279
<v Speaker 5>And Bobby was pissed. He was like, man, get an AMP.

0:38:25.480 --> 0:38:25.640
<v Speaker 5>You know.

0:38:25.719 --> 0:38:28.520
<v Speaker 15>I was like no, I was being a petulant eighteen

0:38:28.600 --> 0:38:32.239
<v Speaker 15>year old, you know. And U Tane came down there

0:38:32.320 --> 0:38:34.960
<v Speaker 15>one night and and this is when I learned, like,

0:38:35.160 --> 0:38:37.799
<v Speaker 15>you know, it's cool. So Tane was kind of part

0:38:37.880 --> 0:38:38.879
<v Speaker 15>of that whole crew.

0:38:39.360 --> 0:38:41.600
<v Speaker 5>He had one foot in there and with us.

0:38:41.640 --> 0:38:44.279
<v Speaker 15>That's right, that's right. So I said, hey, man, can

0:38:44.320 --> 0:38:45.799
<v Speaker 15>you believe what he wants me to do? He wants

0:38:45.800 --> 0:38:47.120
<v Speaker 15>me to get an APP and so Tine was like,

0:38:47.400 --> 0:38:51.040
<v Speaker 15>we'll get one. I was like, for real, He's like, man,

0:38:51.680 --> 0:38:53.160
<v Speaker 15>just because you have an AMP, don't mean you got

0:38:53.200 --> 0:38:55.840
<v Speaker 15>to crank it. Just just get an AP, you know.

0:38:55.960 --> 0:38:59.520
<v Speaker 15>I was like, for real, it's cool. You ain't gonna

0:38:59.520 --> 0:39:01.879
<v Speaker 15>be mad at me. There's something along those lines, right.

0:39:04.360 --> 0:39:07.680
<v Speaker 15>That sect was really powerful cool in the early nineties,

0:39:08.040 --> 0:39:09.640
<v Speaker 15>and Tay was like, man, you better get a namp

0:39:09.640 --> 0:39:10.399
<v Speaker 15>and keep your kick.

0:39:11.280 --> 0:39:11.920
<v Speaker 5>So wait a minute.

0:39:12.080 --> 0:39:15.120
<v Speaker 6>If now I can see if it's Village Vanguard, but

0:39:15.400 --> 0:39:18.759
<v Speaker 6>with that sect, say the same for oh, I don't know,

0:39:19.480 --> 0:39:21.400
<v Speaker 6>Carnegie Hall or Lincoln Center.

0:39:21.520 --> 0:39:24.080
<v Speaker 14>Yes, no amp under no circumstances.

0:39:24.080 --> 0:39:24.720
<v Speaker 1>Are you serious?

0:39:25.080 --> 0:39:25.279
<v Speaker 14>Yes?

0:39:25.480 --> 0:39:27.320
<v Speaker 1>Wait was there a mic on the Yeah, it was

0:39:27.360 --> 0:39:27.640
<v Speaker 1>a mic.

0:39:27.719 --> 0:39:27.839
<v Speaker 2>Oh.

0:39:27.880 --> 0:39:28.000
<v Speaker 5>Oh.

0:39:28.840 --> 0:39:31.800
<v Speaker 1>The theory was I thought, I here, I was thinking,

0:39:32.040 --> 0:39:35.719
<v Speaker 1>no amplification at all in a club. But well, you

0:39:35.800 --> 0:39:36.759
<v Speaker 1>mean there's a microphone.

0:39:36.880 --> 0:39:38.120
<v Speaker 14>Yes, there was a microphone.

0:39:38.200 --> 0:39:41.040
<v Speaker 1>So the theory is the pickup doesn't sound good.

0:39:41.239 --> 0:39:44.000
<v Speaker 15>The theory was the sound, the natural sound of the

0:39:44.040 --> 0:39:48.839
<v Speaker 15>acoustic bass was destroyed in the seventies and early eighties. Now,

0:39:49.400 --> 0:39:53.840
<v Speaker 15>I can't argue that you agree U two, And I

0:39:53.880 --> 0:39:56.799
<v Speaker 15>think Ron Carter was probably one of the only ones

0:39:56.880 --> 0:40:00.799
<v Speaker 15>that made it out of that whole era, like unscathed

0:40:00.960 --> 0:40:02.839
<v Speaker 15>like even though he was using an AMP and used

0:40:02.880 --> 0:40:06.040
<v Speaker 15>the d I, he still sounded nice and fatten and

0:40:06.280 --> 0:40:07.320
<v Speaker 15>and good you know.

0:40:08.080 --> 0:40:08.200
<v Speaker 6>Uh.

0:40:08.360 --> 0:40:11.040
<v Speaker 14>But a lot of other people had that real real.

0:40:13.760 --> 0:40:14.640
<v Speaker 5>You know and.

0:40:17.280 --> 0:40:17.440
<v Speaker 6>Like that.

0:40:17.840 --> 0:40:22.239
<v Speaker 14>Yeah, and so, but Ron was the only one that

0:40:22.320 --> 0:40:24.760
<v Speaker 14>everybody was like, Okay, that's cool.

0:40:26.560 --> 0:40:28.840
<v Speaker 1>Became its own thing kind of exactly.

0:40:29.000 --> 0:40:30.920
<v Speaker 15>And then so in the late eighties, when when the

0:40:31.000 --> 0:40:35.480
<v Speaker 15>sect was was was getting big, you know, it was

0:40:35.600 --> 0:40:39.120
<v Speaker 15>kind of like yeah, yeah, yeah, exactly. So and then

0:40:39.160 --> 0:40:43.120
<v Speaker 15>it was like, well, everybody raised their strings, unplugged the amps.

0:40:43.200 --> 0:40:45.759
<v Speaker 15>We're going our natural to return the base to his

0:40:46.160 --> 0:40:50.160
<v Speaker 15>original glory, you know. And then Ray Brown, Ron Carter,

0:40:50.640 --> 0:40:53.200
<v Speaker 15>you know, Mill Hitton, all the great bass legends, they

0:40:53.239 --> 0:40:53.960
<v Speaker 15>come here us play.

0:40:54.040 --> 0:40:54.640
<v Speaker 14>We all be like.

0:41:00.400 --> 0:41:02.120
<v Speaker 5>And man takes that toe on your hands and.

0:41:02.160 --> 0:41:04.560
<v Speaker 14>They'd be like, what are you doing?

0:41:05.120 --> 0:41:09.439
<v Speaker 15>Asive Yeah, there's a I'm gonna call him out because

0:41:09.440 --> 0:41:13.000
<v Speaker 15>that's my man. There's a YouTube clip go. I think

0:41:13.040 --> 0:41:15.400
<v Speaker 15>it was when Harry Conneck Jr. Was on some morning

0:41:15.480 --> 0:41:19.560
<v Speaker 15>show and my brother Ben Wolf was playing bass. From

0:41:19.680 --> 0:41:22.520
<v Speaker 15>a long camera angle, you can see his strings are

0:41:22.520 --> 0:41:33.120
<v Speaker 15>about that high, maybe three, and he's playing like I'm

0:41:33.360 --> 0:41:35.919
<v Speaker 15>very sure he had ten to nighters. At some point,

0:41:36.360 --> 0:41:40.600
<v Speaker 15>can't you gut strings? You know, high super high action.

0:41:41.880 --> 0:41:43.239
<v Speaker 15>And at some point I was just like, you know,

0:41:43.400 --> 0:41:46.359
<v Speaker 15>this is this is not right. It doesn't sound good,

0:41:47.200 --> 0:41:50.359
<v Speaker 15>you know. So Ray Brown changed all.

0:41:50.280 --> 0:41:51.680
<v Speaker 5>Of that, So this all right?

0:41:51.840 --> 0:41:57.279
<v Speaker 6>So you're answering the question for me because at in

0:41:57.400 --> 0:42:01.000
<v Speaker 6>my studio set up a thirty rock. What I'm trying

0:42:01.040 --> 0:42:06.600
<v Speaker 6>to do is get acquainted with all of our plugins.

0:42:07.400 --> 0:42:09.319
<v Speaker 6>Like I spend my lunch time just like, okay, let

0:42:09.360 --> 0:42:11.120
<v Speaker 6>me figure out a new sound or whatever. So you know,

0:42:11.640 --> 0:42:13.840
<v Speaker 6>when you get a pro tool system, then you know

0:42:13.880 --> 0:42:17.880
<v Speaker 6>there's over like seven hundred plugins or seven thousand plugins,

0:42:18.320 --> 0:42:22.279
<v Speaker 6>and of course there's different combinations of that stuff. So

0:42:22.400 --> 0:42:23.640
<v Speaker 6>you know, I'm trying to think of figure out a

0:42:23.680 --> 0:42:26.640
<v Speaker 6>new sound, and I keep I kept seeing as there's

0:42:26.680 --> 0:42:28.759
<v Speaker 6>a plug in called fat wood.

0:42:30.080 --> 0:42:36.480
<v Speaker 5>Right, which caught my attention because I need right. I said,

0:42:36.520 --> 0:42:38.480
<v Speaker 5>fat would that's right. Let me check this out.

0:42:39.800 --> 0:42:45.800
<v Speaker 6>And I got to it and my engineer, Steve, Steve Vandel,

0:42:46.200 --> 0:42:50.279
<v Speaker 6>was like explaining to me how in the jazz world,

0:42:50.440 --> 0:42:53.800
<v Speaker 6>like the woods, the natural wood sound, there's an argument

0:42:53.880 --> 0:42:57.239
<v Speaker 6>over who we And he said, you know how like

0:42:57.800 --> 0:43:01.480
<v Speaker 6>your your di versus miophon thing or whatever, and how

0:43:01.960 --> 0:43:04.360
<v Speaker 6>I don't like the microphone to the more than I

0:43:04.560 --> 0:43:07.279
<v Speaker 6>like a d I sound, but I need it for

0:43:07.360 --> 0:43:08.760
<v Speaker 6>a specific reason.

0:43:09.320 --> 0:43:13.520
<v Speaker 5>So now I get that. You you you your challenge

0:43:13.880 --> 0:43:17.000
<v Speaker 5>was natural sound versus and to.

0:43:17.120 --> 0:43:18.840
<v Speaker 14>Find a happy medium.

0:43:19.160 --> 0:43:21.680
<v Speaker 15>And uh, I think I mean, like right now, I'm

0:43:21.719 --> 0:43:23.759
<v Speaker 15>not using any d I, it's just all microphone.

0:43:26.160 --> 0:43:28.719
<v Speaker 1>Well I can't imagine using a d I in the

0:43:28.800 --> 0:43:31.000
<v Speaker 1>studio on an acoustic bass.

0:43:31.280 --> 0:43:34.040
<v Speaker 15>I can't either. But it depends on it depends on

0:43:34.160 --> 0:43:36.319
<v Speaker 15>the on the music, what kind of music you're doing.

0:43:36.600 --> 0:43:40.160
<v Speaker 15>Like when we did the Philadelphia experiment, that was I

0:43:40.280 --> 0:43:44.080
<v Speaker 15>think that was mostly d I, not very much microphone,

0:43:44.080 --> 0:43:47.680
<v Speaker 15>but for that music it was perfect. Its yeah, yeah,

0:43:49.239 --> 0:43:56.759
<v Speaker 15>see I got a story about her. Yes, he said, no,

0:43:57.640 --> 0:44:02.160
<v Speaker 15>wait da right right right. It was the first time

0:44:02.200 --> 0:44:03.839
<v Speaker 15>I heard of you when you played at.

0:44:03.800 --> 0:44:06.920
<v Speaker 1>Mccoor really yep, oh that was forever ago.

0:44:07.239 --> 0:44:10.680
<v Speaker 5>It was like it was like two thousand, two thousand

0:44:11.719 --> 0:44:12.239
<v Speaker 5>and uh.

0:44:12.480 --> 0:44:15.799
<v Speaker 15>My manager at the time, it's like, Hey, we're gonna

0:44:15.800 --> 0:44:17.719
<v Speaker 15>go see this girl, Norah Jones, you should come.

0:44:17.960 --> 0:44:18.120
<v Speaker 5>You know.

0:44:18.800 --> 0:44:23.359
<v Speaker 14>I think all of the people from Ted Curlin's office came.

0:44:24.239 --> 0:44:28.960
<v Speaker 15>They all came, right and yeah, like this girl is

0:44:28.960 --> 0:44:32.120
<v Speaker 15>gonna be huge, She's gonna be huge, really yeah, yeah,

0:44:32.280 --> 0:44:34.719
<v Speaker 15>And I remember it was packed and I was in

0:44:34.880 --> 0:44:37.799
<v Speaker 15>I was in the black of the club. I said

0:44:37.840 --> 0:44:42.480
<v Speaker 15>it on purpose exactly.

0:44:43.360 --> 0:44:43.759
<v Speaker 3>And uh.

0:44:44.680 --> 0:44:46.959
<v Speaker 14>And then you had your record come.

0:44:46.880 --> 0:44:49.839
<v Speaker 1>Out yet I can't no, but I had a long

0:44:50.080 --> 0:44:52.520
<v Speaker 1>lead up to it. So the labor was I had

0:44:52.560 --> 0:44:55.279
<v Speaker 1>a weekly gig there. It was a Jewish community center, yes,

0:44:55.640 --> 0:44:59.120
<v Speaker 1>and it was singles night on Wednesdays, and I had

0:44:59.239 --> 0:45:02.120
<v Speaker 1>I didn't know, every Wednesday on singles Night. And it

0:45:02.200 --> 0:45:04.520
<v Speaker 1>started out with nobody regular gig there. I had a

0:45:04.560 --> 0:45:08.120
<v Speaker 1>regular gig there for a year and it was a

0:45:08.520 --> 0:45:10.359
<v Speaker 1>singles night and there weren't a ton of people there

0:45:10.400 --> 0:45:12.880
<v Speaker 1>for me, and it was just singles. And then it

0:45:12.920 --> 0:45:16.080
<v Speaker 1>built up slowly and slowly. And then right right before

0:45:16.160 --> 0:45:17.799
<v Speaker 1>my record came out, I think we had our last

0:45:17.840 --> 0:45:20.640
<v Speaker 1>weekly or something and it was like bananas man.

0:45:20.680 --> 0:45:23.239
<v Speaker 14>And then and then you shout out like a cannon man,

0:45:23.320 --> 0:45:24.040
<v Speaker 14>and I was just like.

0:45:24.320 --> 0:45:24.759
<v Speaker 5>That's her.

0:45:25.000 --> 0:45:26.480
<v Speaker 1>You came to the court, did you say, Hi.

0:45:26.680 --> 0:45:29.400
<v Speaker 14>No, there's too much too much traffic in there.

0:45:29.680 --> 0:45:29.879
<v Speaker 5>Yeah.

0:45:29.920 --> 0:45:33.400
<v Speaker 6>I was going to say the last the last stages

0:45:33.560 --> 0:45:37.480
<v Speaker 6>of your buzz before your debut came out. I distinctly

0:45:37.560 --> 0:45:41.760
<v Speaker 6>remember in a forty eight hour period, I can claim

0:45:41.920 --> 0:45:46.080
<v Speaker 6>that I saw you pre you and pre Gaga, you

0:45:47.120 --> 0:45:52.040
<v Speaker 6>pre you and pre Gaga Stephanie uh at sort of

0:45:52.160 --> 0:45:56.600
<v Speaker 6>like piano bar gigs in New York area within like

0:45:56.920 --> 0:45:59.360
<v Speaker 6>a seventy one night. I think I saw her on

0:45:59.400 --> 0:46:01.160
<v Speaker 6>a Thursday night, and then I saw you on a

0:46:01.239 --> 0:46:06.759
<v Speaker 6>Sunday night. Wow, And yeah, it's that's probably yeah, the

0:46:06.840 --> 0:46:11.400
<v Speaker 6>only time where I saw someone in there there started

0:46:11.480 --> 0:46:12.800
<v Speaker 6>like incubated level before.

0:46:13.920 --> 0:46:18.040
<v Speaker 15>You know. John Batiste was my student at the Aspen

0:46:18.080 --> 0:46:21.560
<v Speaker 15>Summer Program. Yeah, yeah, yeah, in two thousand and one.

0:46:22.120 --> 0:46:25.279
<v Speaker 15>Look at him now, I'm telling you, right, so when

0:46:25.280 --> 0:46:27.120
<v Speaker 15>I see him now, I'm just like, you know, you

0:46:27.200 --> 0:46:34.120
<v Speaker 15>ain't famous to me, that's crazy. But no, he and

0:46:34.320 --> 0:46:36.920
<v Speaker 15>and Diana Crawl as well. You know, we kind of

0:46:37.040 --> 0:46:40.120
<v Speaker 15>came up. She was together at the No no, no no, but.

0:46:41.760 --> 0:46:42.279
<v Speaker 14>Yeah we can.

0:46:42.560 --> 0:46:46.239
<v Speaker 15>Yeah, like when she made her first album, well her

0:46:46.280 --> 0:46:50.160
<v Speaker 15>first album for g RP. It was ninety four. We

0:46:50.320 --> 0:46:54.560
<v Speaker 15>recorded that. I mean, you know, she was brand new,

0:46:55.040 --> 0:46:58.160
<v Speaker 15>you know, she she was doing like the the bar

0:46:58.320 --> 0:47:02.160
<v Speaker 15>and hotel circuit, you know, and uh, Timmy Lapuma heard

0:47:02.200 --> 0:47:03.880
<v Speaker 15>her and the rest is.

0:47:03.960 --> 0:47:06.560
<v Speaker 1>History, and you played on that early stuff with her

0:47:06.680 --> 0:47:07.200
<v Speaker 1>or later.

0:47:07.239 --> 0:47:08.000
<v Speaker 14>I played on her.

0:47:09.520 --> 0:47:12.120
<v Speaker 15>I think I've played on almost all of her records

0:47:12.200 --> 0:47:16.239
<v Speaker 15>except her second and maybe one other in between there.

0:47:16.400 --> 0:47:20.760
<v Speaker 5>Okay, yeah, so you So you were produced by Timmy Lapuma.

0:47:20.880 --> 0:47:24.960
<v Speaker 5>That was my That was like my third dad. Okay

0:47:25.600 --> 0:47:28.360
<v Speaker 5>this on this album? Were you acoustic or electric?

0:47:28.880 --> 0:47:29.560
<v Speaker 14>All acoustic?

0:47:30.400 --> 0:47:32.799
<v Speaker 5>Always? We ever done anything electric with him?

0:47:32.880 --> 0:47:33.359
<v Speaker 14>Big time?

0:47:34.000 --> 0:47:37.320
<v Speaker 5>Yep. It's like for me, if there's ever producer that

0:47:37.440 --> 0:47:39.440
<v Speaker 5>has such a got replaced.

0:47:39.680 --> 0:47:40.000
<v Speaker 4>I was.

0:47:42.440 --> 0:47:46.799
<v Speaker 15>How did you know Marcus Miller? I was like, well,

0:47:46.800 --> 0:47:48.560
<v Speaker 15>why don't you just get Marcus. We's gotta break my

0:47:48.640 --> 0:47:51.480
<v Speaker 15>heart when the record comes out. I was like, damn wait,

0:47:51.600 --> 0:47:53.920
<v Speaker 15>but it was cool later on, Wait, what is that

0:47:54.080 --> 0:47:56.719
<v Speaker 15>like when you find out that you heartbreaking?

0:47:57.560 --> 0:47:59.360
<v Speaker 5>Is that a common thing before? You know?

0:48:00.120 --> 0:48:02.320
<v Speaker 15>I don't think it is now. I don't think that

0:48:02.480 --> 0:48:05.000
<v Speaker 15>happens much anymore. I can't be sure, but I don't

0:48:05.000 --> 0:48:09.799
<v Speaker 15>think that happens much. On Kenny Kirkland's first and only

0:48:10.080 --> 0:48:14.080
<v Speaker 15>solo album, Delfiel Marsalis produced it, and I remember he

0:48:14.160 --> 0:48:16.239
<v Speaker 15>called me in and he said, hey, man, we got

0:48:16.280 --> 0:48:19.680
<v Speaker 15>this track. We got like four bass parts on that.

0:48:19.760 --> 0:48:23.480
<v Speaker 15>We got Seannette Maffitt. We got Robert Hurst. I think

0:48:23.560 --> 0:48:26.360
<v Speaker 15>maybe no what Originalville, but it was just Hurst and

0:48:26.520 --> 0:48:29.840
<v Speaker 15>and Seanette is like, put your bass part down because

0:48:29.880 --> 0:48:32.279
<v Speaker 15>we can't figure out which one we like. Yeah, so

0:48:32.480 --> 0:48:35.719
<v Speaker 15>I'm pretty sure on one of those songs on Kenny

0:48:35.760 --> 0:48:38.719
<v Speaker 15>Kirkland's record, there's like three bass players on one.

0:48:40.400 --> 0:48:43.200
<v Speaker 14>He just kind of you know, I got four bars,

0:48:43.400 --> 0:48:44.400
<v Speaker 14>Hurst got four bars.

0:48:44.520 --> 0:48:46.200
<v Speaker 1>You know, I've almost done that. I don't think I've

0:48:46.239 --> 0:48:46.640
<v Speaker 1>ever done that.

0:48:46.800 --> 0:48:47.000
<v Speaker 5>Really.

0:48:47.239 --> 0:48:49.880
<v Speaker 1>No, Well, I saw both. I saw you play when

0:48:49.920 --> 0:48:52.440
<v Speaker 1>I was in college down in Texas. I saw the roots.

0:48:52.600 --> 0:48:56.480
<v Speaker 6>Really yeah, wow, I thought I thought the first time

0:48:56.520 --> 0:48:58.960
<v Speaker 6>we saw each other was when you're sitting in the

0:48:59.040 --> 0:49:01.640
<v Speaker 6>front ruck of Wait you're from Denton.

0:49:01.440 --> 0:49:03.920
<v Speaker 1>Text, Well, from Dallas, but I went to college in Denton.

0:49:04.280 --> 0:49:07.600
<v Speaker 6>Yeah, okay, I'm only learning about that. I'm doing the

0:49:07.680 --> 0:49:10.160
<v Speaker 6>slide doc right now. And I didn't know that he

0:49:10.320 --> 0:49:11.320
<v Speaker 6>was born in Denton, Texas.

0:49:11.360 --> 0:49:12.359
<v Speaker 1>I actually didn't know that either.

0:49:12.960 --> 0:49:15.320
<v Speaker 5>No, I didn't know that he's born in I'm in

0:49:15.400 --> 0:49:19.360
<v Speaker 5>the there's a there's a really crazy.

0:49:21.040 --> 0:49:24.480
<v Speaker 6>Lost concert that we just found which is supposed to

0:49:24.560 --> 0:49:28.040
<v Speaker 6>be like this is this is in seventy two. So

0:49:28.080 --> 0:49:30.640
<v Speaker 6>I'll say this maybe like three months before Larry quit

0:49:31.680 --> 0:49:37.200
<v Speaker 6>and the first okay, so of course, uh and in

0:49:37.360 --> 0:49:42.680
<v Speaker 6>prime self savage mode, you know, Slide used time as

0:49:42.719 --> 0:49:45.239
<v Speaker 6>a means to protest, always famous for being late to

0:49:45.280 --> 0:49:45.960
<v Speaker 6>shows and whatnot.

0:49:46.560 --> 0:49:50.439
<v Speaker 5>So uh, you know, this is like his homecoming show.

0:49:51.560 --> 0:49:54.000
<v Speaker 6>You know, he went away for two years after his

0:49:54.280 --> 0:49:57.560
<v Speaker 6>triumphant Woodstock thing and you know, greatest Hits album was

0:49:57.800 --> 0:50:01.920
<v Speaker 6>was he was literally like the biggest star in the world.

0:50:02.120 --> 0:50:06.400
<v Speaker 5>And so you know, they planning this homecoming thing in Denton, Texas.

0:50:06.080 --> 0:50:10.640
<v Speaker 6>And all you when when the they recorded live and

0:50:10.840 --> 0:50:13.160
<v Speaker 6>you know, wanted to preserve it on taping, so all

0:50:13.160 --> 0:50:16.960
<v Speaker 6>of a sudden, you here it just starts with booze.

0:50:17.320 --> 0:50:22.600
<v Speaker 6>So obviously he was right, right, so he I believe

0:50:24.800 --> 0:50:28.040
<v Speaker 6>one of the band members told me that they were

0:50:28.160 --> 0:50:32.480
<v Speaker 6>waiting for about sort of north of ninety minutes, so

0:50:32.520 --> 0:50:36.880
<v Speaker 6>maybe like one hundred minutes yea. And but he's also

0:50:37.719 --> 0:50:41.000
<v Speaker 6>he keeps getting away with it because he's also very charismatic,

0:50:41.160 --> 0:50:45.840
<v Speaker 6>charming guy and literally when he walks on stage, he

0:50:46.080 --> 0:50:49.160
<v Speaker 6>you know, he does this, and you know, and he

0:50:49.280 --> 0:50:53.200
<v Speaker 6>does the look guys, I'm sorry, but look, I can

0:50:53.280 --> 0:50:55.640
<v Speaker 6>either solve the problem and start playing now, or you

0:50:55.760 --> 0:50:57.000
<v Speaker 6>guys can just continue booing.

0:50:57.160 --> 0:50:57.960
<v Speaker 14>What would you like to do?

0:50:58.120 --> 0:51:03.279
<v Speaker 6>Like he's really very logical, right and the second may

0:51:03.400 --> 0:51:07.160
<v Speaker 6>hit it was like they forgot everything.

0:51:07.440 --> 0:51:10.839
<v Speaker 1>Yeah, and so that's exciting in Texas, man, I can't

0:51:10.880 --> 0:51:12.000
<v Speaker 1>wait to see that. Yeah.

0:51:12.280 --> 0:51:15.600
<v Speaker 5>Yeah, it's it's a lot that I'm learning right now.

0:51:42.520 --> 0:51:46.040
<v Speaker 11>You might burn me here lett a one, you might

0:51:46.239 --> 0:51:51.319
<v Speaker 11>drive him back all the bush's tailmate too much.

0:51:52.000 --> 0:51:53.560
<v Speaker 1>I knew he had.

0:51:55.080 --> 0:51:59.560
<v Speaker 10>If I try to escape, which was shut.

0:51:59.320 --> 0:52:05.880
<v Speaker 4>Out, pull the red tape, A man lives, no one cast.

0:52:05.840 --> 0:52:08.120
<v Speaker 5>Them say.

0:52:13.960 --> 0:52:16.759
<v Speaker 2>On the last bustle long.

0:52:16.719 --> 0:52:16.799
<v Speaker 8>So.

0:52:20.080 --> 0:52:27.560
<v Speaker 2>Still with me, I'll tame.

0:52:27.600 --> 0:52:41.799
<v Speaker 4>Your riting and take the bullet and that gun.

0:52:42.400 --> 0:52:44.320
<v Speaker 2>I'll bear you, mussel.

0:52:45.680 --> 0:52:50.080
<v Speaker 4>Everything you want to know, swallow be afu.

0:52:51.840 --> 0:52:56.560
<v Speaker 8>If I try to escape, you william play the pa.

0:52:58.800 --> 0:53:01.799
<v Speaker 4>If you dismis, hold you.

0:53:04.400 --> 0:53:24.200
<v Speaker 10>S all sides moss up long should then I'll pretend

0:53:24.560 --> 0:54:38.600
<v Speaker 10>that out five s oh las, washup um shoe.

0:54:41.120 --> 0:54:44.440
<v Speaker 2>Sh with me.

0:54:47.520 --> 0:54:49.920
<v Speaker 4>I'll put everything.

0:54:51.680 --> 0:56:12.040
<v Speaker 14>And so you saw they came.

0:56:12.000 --> 0:56:14.359
<v Speaker 1>To U n t no that you guys were playing

0:56:14.360 --> 0:56:16.080
<v Speaker 1>in Dallas. We went down to Dallas to see you.

0:56:17.960 --> 0:56:20.880
<v Speaker 5>Was it in that bowling alley? Uh?

0:56:21.080 --> 0:56:21.879
<v Speaker 1>No, it wasn't.

0:56:22.080 --> 0:56:23.600
<v Speaker 5>There's there's like a in Dallas.

0:56:23.680 --> 0:56:27.480
<v Speaker 6>There was something bowl and it was like a bowling alley,

0:56:27.920 --> 0:56:31.360
<v Speaker 6>pool hall and kind of a house.

0:56:31.200 --> 0:56:32.560
<v Speaker 1>Of bluesy what is a theater?

0:56:32.719 --> 0:56:33.520
<v Speaker 2>Right? Yeah?

0:56:33.920 --> 0:56:36.160
<v Speaker 1>No, it wasn't there. It was a place where there

0:56:36.200 --> 0:56:38.000
<v Speaker 1>was a balcony surrounding the stage.

0:56:38.120 --> 0:56:40.160
<v Speaker 5>I can't remember where it was, okay.

0:56:40.520 --> 0:56:42.560
<v Speaker 1>And then I tried to go see you play with

0:56:42.760 --> 0:56:46.480
<v Speaker 1>Josh Redman and Brian Blade at Caravana Dreams. But I

0:56:46.560 --> 0:56:49.520
<v Speaker 1>was told later by Chris Thomas that it was actually him.

0:56:49.600 --> 0:56:51.080
<v Speaker 1>I was out of the band about you were you

0:56:51.200 --> 0:56:56.239
<v Speaker 1>weren't there, and I think my memory got, you know, sideways,

0:56:56.280 --> 0:56:57.560
<v Speaker 1>But Chris was like, that was me.

0:56:59.640 --> 0:57:01.239
<v Speaker 14>You want to Christian Chris?

0:57:01.800 --> 0:57:04.200
<v Speaker 1>No, I knew who you were. No, no, no, But

0:57:04.560 --> 0:57:06.239
<v Speaker 1>I don't think I got to see you till later,

0:57:06.719 --> 0:57:08.520
<v Speaker 1>like maybe after I moved to New York.

0:57:09.560 --> 0:57:12.799
<v Speaker 14>Yeah I didn't. I don't don't don't play in Texas much?

0:57:13.480 --> 0:57:14.640
<v Speaker 2>Oh yeah, is that true?

0:57:15.800 --> 0:57:16.920
<v Speaker 5>Where's your Like?

0:57:17.120 --> 0:57:20.360
<v Speaker 15>How is if I do go to Texas, it's probably Houston,

0:57:20.640 --> 0:57:21.600
<v Speaker 15>Houston or Austin.

0:57:22.480 --> 0:57:23.280
<v Speaker 1>No Dallas for you?

0:57:23.480 --> 0:57:24.880
<v Speaker 14>Huh not really?

0:57:25.560 --> 0:57:28.880
<v Speaker 5>So where's your jazz? Where's your Like?

0:57:29.200 --> 0:57:33.640
<v Speaker 6>Every American in your American kind of.

0:57:33.960 --> 0:57:36.840
<v Speaker 15>All the Amtrak so Boston, between Boston and d c

0:57:39.680 --> 0:57:46.040
<v Speaker 15>of Rochester, Buffalo, Toronto, Detroit, Chicago, Indianapolis has gotten a

0:57:46.080 --> 0:57:46.520
<v Speaker 15>little better.

0:57:47.160 --> 0:57:53.920
<v Speaker 14>Saint Louis not much in the South Man not not

0:57:54.040 --> 0:57:54.560
<v Speaker 14>a whole lot.

0:57:55.200 --> 0:57:57.520
<v Speaker 1>That's interesting because of chause Denton was a big old

0:57:57.720 --> 0:58:00.360
<v Speaker 1>jazz school. So well, exactly we have people through to

0:58:00.400 --> 0:58:02.120
<v Speaker 1>the college a lot, right, Yeah, I've.

0:58:01.960 --> 0:58:03.200
<v Speaker 14>Done like master classes.

0:58:03.360 --> 0:58:03.600
<v Speaker 2>Yeah.

0:58:04.400 --> 0:58:06.120
<v Speaker 15>So the place where it was, of course in la

0:58:06.240 --> 0:58:08.240
<v Speaker 15>of course, you know, Seattle, all the way down to

0:58:08.400 --> 0:58:10.240
<v Speaker 15>San Diego, Phoenix, Denver.

0:58:10.760 --> 0:58:13.200
<v Speaker 1>Yeah, I think the only place there was a jazz

0:58:13.240 --> 0:58:15.640
<v Speaker 1>club in Dallas called Sambuca, but it was very small,

0:58:16.080 --> 0:58:18.000
<v Speaker 1>and then there was a chain, Yeah.

0:58:17.840 --> 0:58:18.360
<v Speaker 2>It was a chain.

0:58:18.480 --> 0:58:21.720
<v Speaker 1>But then there was a caravan in Dreams in Fort Worth,

0:58:21.760 --> 0:58:23.360
<v Speaker 1>which is like the club that was the one that

0:58:23.480 --> 0:58:25.920
<v Speaker 1>was the only real place that people came of.

0:58:27.120 --> 0:58:29.320
<v Speaker 6>Yeah, so you're trying to tell me the place where

0:58:29.640 --> 0:58:33.320
<v Speaker 6>it was invented. It's almost like, well in New York

0:58:33.520 --> 0:58:35.200
<v Speaker 6>and did the same thing.

0:58:35.440 --> 0:58:37.480
<v Speaker 15>Yeah, I mean New Orleans was so insular. They're like,

0:58:37.520 --> 0:58:39.040
<v Speaker 15>we don't need no northerns come down here.

0:58:39.040 --> 0:58:40.480
<v Speaker 1>We got to go oh yeah, there's not a lot

0:58:40.520 --> 0:58:45.000
<v Speaker 1>of out of town r Gota. Yeah, and then then

0:58:45.040 --> 0:58:46.480
<v Speaker 1>you got the festivals in Europe?

0:58:47.040 --> 0:58:50.560
<v Speaker 5>Yes, are you tired of all? Right?

0:58:50.680 --> 0:58:55.280
<v Speaker 6>So for me, like okay, for you is most of

0:58:55.360 --> 0:58:57.800
<v Speaker 6>your summers and for both of you when you're touring,

0:58:59.080 --> 0:59:02.120
<v Speaker 6>are most of your sum outside of the United States?

0:59:02.200 --> 0:59:04.280
<v Speaker 6>Like have you been in the United States for a

0:59:04.440 --> 0:59:06.480
<v Speaker 6>good two months stretch without.

0:59:07.600 --> 0:59:08.280
<v Speaker 1>Going to Europe?

0:59:08.400 --> 0:59:08.600
<v Speaker 5>Yeah?

0:59:08.800 --> 0:59:11.080
<v Speaker 1>I mean I don't tour as much as I used to,

0:59:11.200 --> 0:59:13.360
<v Speaker 1>but I did last summer just States, and this summer

0:59:13.400 --> 0:59:16.360
<v Speaker 1>I'm just doing a month in Europe. And I was

0:59:16.440 --> 0:59:18.520
<v Speaker 1>excited to do some of the same places I've done

0:59:18.760 --> 0:59:20.960
<v Speaker 1>a lot, and then I realized, oh, this is just

0:59:21.040 --> 0:59:24.280
<v Speaker 1>what there is for me. It's like all the same festivals,

0:59:24.720 --> 0:59:27.760
<v Speaker 1>a lot of the same places, which I do love, sure,

0:59:27.960 --> 0:59:31.080
<v Speaker 1>but it's like, yeah, it gets a little like, wait,

0:59:31.480 --> 0:59:32.760
<v Speaker 1>did I just go back in time?

0:59:32.960 --> 0:59:33.160
<v Speaker 5>Yeah?

0:59:34.200 --> 0:59:36.720
<v Speaker 15>Yeah, I mean the summer o itinerary tends to look

0:59:36.760 --> 0:59:38.960
<v Speaker 15>the same. Yeah, I mean, I don't think I've seen

0:59:39.120 --> 0:59:43.360
<v Speaker 15>the July seventeenth in the United States since we graduated.

0:59:43.400 --> 0:59:46.200
<v Speaker 15>Well I didn't see it then, so yeah, probably nineteen

0:59:46.240 --> 0:59:46.600
<v Speaker 15>eighty eight.

0:59:47.240 --> 0:59:49.480
<v Speaker 1>So you're always in Europe every summer pretty much, Well,

0:59:49.560 --> 0:59:51.040
<v Speaker 1>maybe I'll see you this summer. Are you going to

0:59:51.080 --> 0:59:51.760
<v Speaker 1>be there this summer?

0:59:52.520 --> 0:59:53.160
<v Speaker 5>Not for long?

0:59:53.520 --> 0:59:56.680
<v Speaker 15>I'm actually this is I'm only doing two gigs in

0:59:56.800 --> 0:59:59.440
<v Speaker 15>Europe in July. I actually get to stay.

0:59:59.600 --> 1:00:02.600
<v Speaker 1>Home, stay home and work or stay home and hay.

1:00:02.600 --> 1:00:04.520
<v Speaker 15>Oh I'm going to stay home and hay yeah, I'm

1:00:04.560 --> 1:00:09.520
<v Speaker 15>going to watch Law and Order. My asshole. It would

1:00:09.560 --> 1:00:10.920
<v Speaker 15>be marathon and like crazy.

1:00:11.280 --> 1:00:16.800
<v Speaker 6>Oh man, Wow, this is this year mark the first

1:00:16.920 --> 1:00:22.280
<v Speaker 6>year that we're finally doing our first round of arena

1:00:22.360 --> 1:00:25.120
<v Speaker 6>tours really, because the thing is is that, you know,

1:00:25.240 --> 1:00:28.480
<v Speaker 6>we've played big numbers in New York City. Yeah, and

1:00:28.720 --> 1:00:31.680
<v Speaker 6>MSG really isn't that big.

1:00:31.920 --> 1:00:34.480
<v Speaker 1>No, isn't it like nine or ten thousand.

1:00:34.800 --> 1:00:37.120
<v Speaker 5>It's like maybe twelve thirteen, but you think of it

1:00:37.160 --> 1:00:39.680
<v Speaker 5>as like thirty and yeah, you would think like forty

1:00:39.720 --> 1:00:40.200
<v Speaker 5>some whatever.

1:00:40.560 --> 1:00:46.120
<v Speaker 6>And we just never, you know, it's always like, okay,

1:00:46.200 --> 1:00:49.200
<v Speaker 6>when do we when do we play our cards to

1:00:49.240 --> 1:00:52.120
<v Speaker 6>see if we can actually do arenas or not? So wow,

1:00:52.440 --> 1:00:55.920
<v Speaker 6>But after the the thing that we did at the

1:00:55.960 --> 1:01:00.320
<v Speaker 6>Grammys this year where we gathered everyone in in the

1:01:00.440 --> 1:01:03.480
<v Speaker 6>history of hip hop to do like this mega twelve minute,

1:01:03.800 --> 1:01:04.360
<v Speaker 6>it was great.

1:01:04.600 --> 1:01:10.680
<v Speaker 5>Yeah, it was fun to watch you look dude eight,

1:01:10.840 --> 1:01:14.840
<v Speaker 5>I should have a separate podcast on MD gigs. What

1:01:15.280 --> 1:01:16.240
<v Speaker 5>do you talk about it.

1:01:16.720 --> 1:01:18.360
<v Speaker 14>I've come close to suicide in.

1:01:18.720 --> 1:01:22.720
<v Speaker 1>Time musical director gigs. Oh yeah, where you're running the

1:01:22.760 --> 1:01:24.080
<v Speaker 1>show and trying to organize it all.

1:01:24.800 --> 1:01:27.720
<v Speaker 6>I'll guarantee you know this story and basically say that

1:01:27.800 --> 1:01:31.880
<v Speaker 6>when I landed in New York, my tooth fell out.

1:01:32.440 --> 1:01:35.000
<v Speaker 6>So there's there's this there's this rock and roll dentist

1:01:35.080 --> 1:01:38.560
<v Speaker 6>that Lenny Kravitz put the whole community onto in which

1:01:38.680 --> 1:01:40.400
<v Speaker 6>this guy does twenty four hour work.

1:01:40.680 --> 1:01:43.320
<v Speaker 5>Like he even comes to your house. That's a little weird.

1:01:43.560 --> 1:01:46.440
<v Speaker 6>You can, yeah, like you leave them keys whatever, you

1:01:46.520 --> 1:01:48.760
<v Speaker 6>take these pills, you're asleep, you wake up in the morning.

1:01:48.840 --> 1:01:49.600
<v Speaker 5>He already operated.

1:01:49.640 --> 1:01:51.920
<v Speaker 1>Wait wait, back up, back up.

1:01:52.400 --> 1:01:54.480
<v Speaker 5>Yeah, are you kidding me. I don't do that. I'm

1:01:54.480 --> 1:01:57.160
<v Speaker 5>not I'm not that rich. But yes, you can. Actually

1:01:57.440 --> 1:01:59.240
<v Speaker 5>this guy, he's the rock and roll dennist. He goes

1:01:59.280 --> 1:02:02.160
<v Speaker 5>on tour. He could if you have a football, you know,

1:02:02.200 --> 1:02:02.720
<v Speaker 5>I've got time.

1:02:02.760 --> 1:02:03.400
<v Speaker 2>We got to be home.

1:02:03.960 --> 1:02:05.600
<v Speaker 5>He'll come to the crib and.

1:02:05.640 --> 1:02:07.640
<v Speaker 14>He's in New York.

1:02:07.720 --> 1:02:09.040
<v Speaker 5>So he's on a twenty four hour call.

1:02:09.120 --> 1:02:13.640
<v Speaker 6>And when I landed, the amount of stress that seven

1:02:13.720 --> 1:02:18.640
<v Speaker 6>weeks was because it's somewhere in between, like one standby, there.

1:02:18.600 --> 1:02:22.000
<v Speaker 5>Was a life coach, because you a life coach.

1:02:22.160 --> 1:02:25.280
<v Speaker 6>So we also experienced this and then the rock and

1:02:25.400 --> 1:02:26.680
<v Speaker 6>roll So in the Rock and Roll Hall of Fame,

1:02:26.720 --> 1:02:29.360
<v Speaker 6>it's sort of the same thing where you have to

1:02:29.480 --> 1:02:32.120
<v Speaker 6>reunite people that haven't played with each other.

1:02:32.000 --> 1:02:32.640
<v Speaker 5>For a long time.

1:02:32.760 --> 1:02:34.640
<v Speaker 1>Oh and there's a lot of history there. Yeah, a

1:02:34.680 --> 1:02:38.120
<v Speaker 1>lot of bad history, a lot of was there a therapist, Yeah.

1:02:38.040 --> 1:02:39.680
<v Speaker 6>That's why I had to have this person there, like

1:02:39.880 --> 1:02:43.640
<v Speaker 6>literally there to talk. So there was there's two situations

1:02:43.680 --> 1:02:46.880
<v Speaker 6>where you know, you go back in two thousand and seven,

1:02:48.120 --> 1:02:50.040
<v Speaker 6>you took three thousand dollars out of my bag and

1:02:50.120 --> 1:02:51.440
<v Speaker 6>did it whatever like that.

1:02:52.000 --> 1:02:52.240
<v Speaker 5>Wow.

1:02:52.440 --> 1:02:55.720
<v Speaker 6>So there was that, but then there was mostly like, well,

1:02:55.800 --> 1:02:59.560
<v Speaker 6>how many bars is da da da getting? And you know,

1:03:00.000 --> 1:03:02.000
<v Speaker 6>how much explosions is data DA getting?

1:03:02.560 --> 1:03:04.880
<v Speaker 14>I used to think that wasn't real, dude.

1:03:04.960 --> 1:03:08.520
<v Speaker 6>It was like if you ever seen I don't know

1:03:08.560 --> 1:03:10.800
<v Speaker 6>if you watch thirty Rock, but if you ever watch

1:03:11.240 --> 1:03:16.400
<v Speaker 6>the Source Awards episode of thirty Rock, which alone is

1:03:16.440 --> 1:03:18.400
<v Speaker 6>a setup and a joke and a fund's line at

1:03:18.440 --> 1:03:25.160
<v Speaker 6>the same time, it literally it was it almost went

1:03:25.280 --> 1:03:28.040
<v Speaker 6>Murphy's Law. And then at the last minute, it was

1:03:28.120 --> 1:03:34.400
<v Speaker 6>the it was the biggest hail. Mary with seconds on

1:03:34.480 --> 1:03:37.120
<v Speaker 6>the clock left, tossed the ball up and just praise.

1:03:37.200 --> 1:03:41.160
<v Speaker 6>Someone on the other end catches it, and they caught it.

1:03:41.240 --> 1:03:44.439
<v Speaker 5>I'll put it this way. The last act, little Uzi Bert,

1:03:44.760 --> 1:03:48.160
<v Speaker 5>I didn't even know he was on stage.

1:03:48.320 --> 1:03:52.000
<v Speaker 6>And that's only because the way that the show was built.

1:03:52.080 --> 1:03:54.960
<v Speaker 6>I couldn't see what was happening around the corner. But

1:03:55.280 --> 1:03:57.760
<v Speaker 6>do you remember how like after Prince did Purple Rain

1:03:57.920 --> 1:04:01.320
<v Speaker 6>and he stormed off stage, I've ruined everything.

1:04:01.360 --> 1:04:03.800
<v Speaker 5>I fucked up. That's what I did. Like I was

1:04:03.880 --> 1:04:05.080
<v Speaker 5>having a panic attack.

1:04:05.400 --> 1:04:07.600
<v Speaker 6>I was about to cry wow, and I stormed off

1:04:07.640 --> 1:04:09.800
<v Speaker 6>stage and I was like, oh man, I've ruined it.

1:04:09.840 --> 1:04:10.320
<v Speaker 5>I ruined it.

1:04:10.400 --> 1:04:13.720
<v Speaker 6>And then my band's like congratulating each other. I'm like,

1:04:13.760 --> 1:04:16.800
<v Speaker 6>what are y'all doing? She's like see what I said? Wait,

1:04:16.840 --> 1:04:19.520
<v Speaker 6>he was there, so yeah, he came up last minute

1:04:19.640 --> 1:04:22.400
<v Speaker 6>and literally they had to show me on Twitter what

1:04:22.600 --> 1:04:23.200
<v Speaker 6>had happened.

1:04:23.360 --> 1:04:25.120
<v Speaker 5>You didn't even know and they were like, how did

1:04:25.160 --> 1:04:26.800
<v Speaker 5>you not know? And you literally on stage?

1:04:26.840 --> 1:04:30.120
<v Speaker 6>But I swear to God, like after after a point,

1:04:30.200 --> 1:04:32.520
<v Speaker 6>I just blanked out because I started going to my head,

1:04:32.640 --> 1:04:35.200
<v Speaker 6>like I fucked this up. Everyone's going to cancel me.

1:04:35.480 --> 1:04:37.760
<v Speaker 6>I'm be trending on Twitter. He messed up the Hip

1:04:37.760 --> 1:04:42.080
<v Speaker 6>Hop thirty thing and literally my last because there was

1:04:42.160 --> 1:04:45.600
<v Speaker 6>even acts that dropped out ten minutes before because they

1:04:45.720 --> 1:04:52.480
<v Speaker 6>lost one our headliner. I thought he might win a

1:04:52.560 --> 1:04:55.560
<v Speaker 6>particular award, and you know when it went to someone else, Man,

1:04:55.640 --> 1:04:56.280
<v Speaker 6>fuck the Grammy.

1:04:56.680 --> 1:04:57.440
<v Speaker 5>I'm like, yo, you cat.

1:04:57.960 --> 1:05:01.960
<v Speaker 6>And it was every type of stress and that's how

1:05:02.120 --> 1:05:04.280
<v Speaker 6>my tooth fell out. So just in terms of like

1:05:05.640 --> 1:05:08.560
<v Speaker 6>m DM man, it's hard. You can't be no one's friend.

1:05:09.400 --> 1:05:13.040
<v Speaker 6>Sam Moore got got mad at me one time. Sam Moore, Yeah, Sam?

1:05:13.120 --> 1:05:16.120
<v Speaker 6>And Dave yeah, oh he's more famous for that. He's waving.

1:05:16.400 --> 1:05:18.720
<v Speaker 15>So we're at the White House and it was the

1:05:18.800 --> 1:05:21.760
<v Speaker 15>big Ray Charles tribute and I'm kind of wearing.

1:05:21.600 --> 1:05:24.200
<v Speaker 14>What I have on exactly right now, a T shirt.

1:05:24.360 --> 1:05:24.640
<v Speaker 2>Yeah.

1:05:24.680 --> 1:05:26.880
<v Speaker 15>I had a black T shirt on and a black

1:05:26.920 --> 1:05:30.280
<v Speaker 15>sport jacket. So I got the big band and uh,

1:05:31.160 --> 1:05:34.920
<v Speaker 15>you know a lot of you know, Demi Levado was there, Usher,

1:05:36.560 --> 1:05:40.400
<v Speaker 15>Jolanta Adams, all these people, so I wasn't paying attention.

1:05:40.840 --> 1:05:43.080
<v Speaker 15>I had a James Brown T shirt on oh no,

1:05:44.560 --> 1:05:47.720
<v Speaker 15>oh no, but my jacket was, you know, kind of

1:05:47.760 --> 1:05:51.600
<v Speaker 15>clothes like this. And so Sam Moore comes in and, uh,

1:05:51.960 --> 1:05:53.920
<v Speaker 15>you know, mister Moore, you know, good morning. It's great

1:05:53.960 --> 1:05:55.520
<v Speaker 15>to see you. I'm so honored to work with you.

1:05:55.600 --> 1:05:58.919
<v Speaker 15>He's like, who is that? He looks at my shirt

1:05:59.200 --> 1:06:06.160
<v Speaker 15>as soon as he saw, oh, it was too late

1:06:06.200 --> 1:06:09.160
<v Speaker 15>to change my clothes. He's like, James Brown, what's their history?

1:06:09.480 --> 1:06:12.240
<v Speaker 15>Why y'all look at James Brown. I was like, well,

1:06:12.320 --> 1:06:14.600
<v Speaker 15>listen more, I can, I can, I can go change

1:06:14.640 --> 1:06:15.040
<v Speaker 15>my shirt?

1:06:16.040 --> 1:06:17.080
<v Speaker 14>No, no, no, it's too late.

1:06:17.200 --> 1:06:17.320
<v Speaker 2>Now.

1:06:17.760 --> 1:06:19.600
<v Speaker 15>Why you got a James Brown shirt on? It's like

1:06:20.680 --> 1:06:26.240
<v Speaker 15>it's the only clean one I have. Yeah, I've been

1:06:26.280 --> 1:06:28.000
<v Speaker 15>on the road for the last fight. I didn't get

1:06:28.040 --> 1:06:28.760
<v Speaker 15>to do laundry.

1:06:28.960 --> 1:06:29.120
<v Speaker 11>You know.

1:06:30.000 --> 1:06:33.400
<v Speaker 15>He's like, and for the next fifteen minutes, he wouldn't

1:06:33.440 --> 1:06:35.320
<v Speaker 15>he wouldn't sing the song. He was just I can't

1:06:35.360 --> 1:06:39.080
<v Speaker 15>believe you wearing a chance Brown. It could not think

1:06:39.280 --> 1:06:42.280
<v Speaker 15>one of them card games. So later on I texted

1:06:42.360 --> 1:06:46.680
<v Speaker 15>Alan what's the deal?

1:06:47.280 --> 1:06:50.560
<v Speaker 5>And so allan le friend Alan Le.

1:06:51.680 --> 1:06:54.800
<v Speaker 15>And so he's like there was there was no direct

1:06:54.960 --> 1:06:56.840
<v Speaker 15>story that he knew of. It was just sort of

1:06:56.920 --> 1:06:59.680
<v Speaker 15>like an overall He's like, man, no, none of James

1:06:59.720 --> 1:07:01.400
<v Speaker 15>Brown Piers from the sixties liked them.

1:07:02.360 --> 1:07:06.160
<v Speaker 5>There's either a woman car game right right right, the

1:07:06.240 --> 1:07:07.320
<v Speaker 5>answery I got to cut you.

1:07:08.360 --> 1:07:10.120
<v Speaker 15>I felt so bad. I was like, man, I should

1:07:10.240 --> 1:07:14.439
<v Speaker 15>run my room real quick, seriously. I was like, let's

1:07:14.440 --> 1:07:16.120
<v Speaker 15>take a forty five minute break. I'm gonna go back

1:07:16.120 --> 1:07:17.320
<v Speaker 15>to the hotel and change my shirt.

1:07:17.400 --> 1:07:20.640
<v Speaker 1>I did not, but the damage was done.

1:07:20.760 --> 1:07:23.280
<v Speaker 14>Oh my. He finally got over it the day of

1:07:23.320 --> 1:07:23.600
<v Speaker 14>the gig.

1:07:26.520 --> 1:07:30.680
<v Speaker 5>I remember once we did you ever play River Deep

1:07:30.760 --> 1:07:31.280
<v Speaker 5>Mountain High?

1:07:31.360 --> 1:07:31.600
<v Speaker 14>Sure?

1:07:31.960 --> 1:07:34.080
<v Speaker 5>And that turnaround is one of the hardest things.

1:07:39.480 --> 1:07:39.959
<v Speaker 14>Yeah, right.

1:07:42.040 --> 1:07:44.480
<v Speaker 5>Right, So that turnaround as hard as he yes, it is.

1:07:44.760 --> 1:07:44.960
<v Speaker 14>Yeah.

1:07:45.120 --> 1:07:48.600
<v Speaker 6>And we used to do this annual gig out in

1:07:48.640 --> 1:07:53.320
<v Speaker 6>the Hampton's where the former owner of the Apollo Theater

1:07:54.040 --> 1:07:57.080
<v Speaker 6>does one of those fancy spancy like ten twenty thousand

1:07:57.160 --> 1:07:59.960
<v Speaker 6>plate thing and you know, like an occasional pal McCartney

1:08:00.040 --> 1:08:02.160
<v Speaker 6>shows up or whatever. You know, it's like a fun

1:08:02.240 --> 1:08:03.800
<v Speaker 6>time and like the Roots have been in the house

1:08:03.880 --> 1:08:06.919
<v Speaker 6>band for this thing for like like maybe the last

1:08:06.960 --> 1:08:09.920
<v Speaker 6>ten years. And but the thing is it is also

1:08:11.240 --> 1:08:14.160
<v Speaker 6>I think one of the downfalls of being on The

1:08:14.200 --> 1:08:17.560
<v Speaker 6>Tonight Show is a lot of people just believe in

1:08:17.600 --> 1:08:20.000
<v Speaker 6>the smoke and mirrors of it all of like, oh.

1:08:19.920 --> 1:08:23.240
<v Speaker 14>The roots could do anything. No, no, they could do it.

1:08:23.920 --> 1:08:26.840
<v Speaker 6>And so you know they'll come in the door, they'll

1:08:26.880 --> 1:08:29.040
<v Speaker 6>come in the gate, like, Okay, you're gonna play these

1:08:29.040 --> 1:08:32.120
<v Speaker 6>three songs with McCartney and three songs with Sting and

1:08:32.200 --> 1:08:34.439
<v Speaker 6>these three songs. So you know, we already got like

1:08:35.320 --> 1:08:38.960
<v Speaker 6>eighteen songs. But then always the last minutes, like Banjovi

1:08:39.040 --> 1:08:40.720
<v Speaker 6>wants to do that, do you know what? Meanwhile you're

1:08:40.720 --> 1:08:42.200
<v Speaker 6>playing the song and I got to put on my

1:08:42.280 --> 1:08:45.200
<v Speaker 6>computer and learn living on a prayer that way. And

1:08:45.360 --> 1:08:49.439
<v Speaker 6>so Darlene Love wanted to do River Deep, Mountain High,

1:08:51.160 --> 1:08:53.479
<v Speaker 6>and this is all I know.

1:08:54.520 --> 1:08:55.160
<v Speaker 5>I messed up.

1:08:55.400 --> 1:08:58.240
<v Speaker 6>Okay, so I messed up that turnaround, right, But at

1:08:58.360 --> 1:09:00.439
<v Speaker 6>least I was smart enough to just sixteen.

1:09:01.000 --> 1:09:02.479
<v Speaker 5>I didn't know the count, so I just.

1:09:09.360 --> 1:09:09.720
<v Speaker 1>Right right.

1:09:10.000 --> 1:09:12.720
<v Speaker 6>I cheated it that way. Yeah, man, when I tell you,

1:09:13.360 --> 1:09:17.799
<v Speaker 6>oh boy, like we didn't even meet yet. But because

1:09:18.840 --> 1:09:21.760
<v Speaker 6>she wasn't accustomed to doing it like the way she

1:09:21.880 --> 1:09:23.600
<v Speaker 6>normally does it, all I remember was.

1:09:25.640 --> 1:09:28.160
<v Speaker 5>I took responsibility. I was like, my bad. Whatever. She

1:09:28.280 --> 1:09:35.639
<v Speaker 5>turned around and said, I'm gonna fucking kill you. Yeah.

1:09:37.160 --> 1:09:41.920
<v Speaker 6>Yeah, I will say that dealing with your heroes or

1:09:42.080 --> 1:09:47.040
<v Speaker 6>your peers in the MD position is the fastest way.

1:09:47.439 --> 1:09:50.800
<v Speaker 5>You just gotta you just got bull's eye on your chesties.

1:09:50.880 --> 1:09:54.519
<v Speaker 6>They gonna get you now, somebody's gonna get you, Okay

1:09:54.720 --> 1:09:57.200
<v Speaker 6>without naming your name? Has an idol ever?

1:09:57.560 --> 1:09:58.479
<v Speaker 5>Wait? Do you know?

1:09:58.960 --> 1:09:59.120
<v Speaker 15>Way?

1:09:59.200 --> 1:10:01.800
<v Speaker 1>No? No, no, no, has an idol ever? Been mean?

1:10:02.040 --> 1:10:06.880
<v Speaker 5>Disappointed you? No? Wow? Don't you looked at charm Life.

1:10:07.240 --> 1:10:11.880
<v Speaker 1>I'm serious. One time they kind of annoyed me. But

1:10:12.120 --> 1:10:15.680
<v Speaker 1>I'm not going to name a name. Yeah yeah, like

1:10:15.760 --> 1:10:17.920
<v Speaker 1>I was like, oh, they're kind of annoying, but like,

1:10:18.600 --> 1:10:21.040
<v Speaker 1>I still love them. I'm not even gonna say if

1:10:21.080 --> 1:10:21.840
<v Speaker 1>it's a man or woman.

1:10:22.479 --> 1:10:23.719
<v Speaker 14>Well, you already know my answer.

1:10:23.960 --> 1:10:28.400
<v Speaker 1>Yeah, you've had some disappointments, I strangely haven't. I actually

1:10:28.400 --> 1:10:30.440
<v Speaker 1>am surprised. I've never had a disappointment.

1:10:31.320 --> 1:10:34.120
<v Speaker 5>But wait, was that instance your last interaction with that person?

1:10:34.360 --> 1:10:38.120
<v Speaker 1>No, it wasn't. It was just like, okay, I'm not

1:10:38.160 --> 1:10:39.240
<v Speaker 1>going to get too close there.

1:10:39.479 --> 1:10:46.479
<v Speaker 14>Maybe, but yeah, I feel bad. Well James Brown, No,

1:10:46.600 --> 1:10:47.200
<v Speaker 14>it was fine.

1:10:47.720 --> 1:10:48.439
<v Speaker 1>You're naming name.

1:10:49.040 --> 1:10:51.599
<v Speaker 14>It ended on a very high note, so it was good.

1:10:53.560 --> 1:10:57.360
<v Speaker 1>We go back who were you? Just that was tricky

1:10:57.360 --> 1:10:58.000
<v Speaker 1>and it ended.

1:10:57.840 --> 1:10:58.400
<v Speaker 2>On a high note.

1:10:59.160 --> 1:11:01.040
<v Speaker 14>Yeah, that was below tricky.

1:11:02.080 --> 1:11:05.240
<v Speaker 6>I'm almost saying that Chris has undersold his love for

1:11:05.439 --> 1:11:06.080
<v Speaker 6>James Brown.

1:11:06.240 --> 1:11:06.640
<v Speaker 2>I think, I.

1:11:08.160 --> 1:11:11.800
<v Speaker 6>No, but it's it's beyond you know, it's beyond me

1:11:11.960 --> 1:11:14.599
<v Speaker 6>any anytime a person comes to me and like, hey,

1:11:14.720 --> 1:11:15.679
<v Speaker 6>you know this is James Brown.

1:11:15.720 --> 1:11:16.680
<v Speaker 5>Probably no, no, no, no, no, no no.

1:11:16.920 --> 1:11:18.599
<v Speaker 6>It's almost like I got to ask my dad first.

1:11:18.600 --> 1:11:22.680
<v Speaker 6>I'm like, did you ask Christian McBride first? Liked the

1:11:22.720 --> 1:11:27.200
<v Speaker 6>DNA of James's you know, heavy, and Chris so well.

1:11:27.400 --> 1:11:27.560
<v Speaker 8>You know.

1:11:27.960 --> 1:11:32.040
<v Speaker 15>So that's a perfect segue into how we met in

1:11:32.200 --> 1:11:36.200
<v Speaker 15>high school because you know, we both grew up in Philly.

1:11:36.360 --> 1:11:39.040
<v Speaker 15>We went to Creative and Performing Arts, which is the

1:11:39.080 --> 1:11:42.880
<v Speaker 15>same high school where the late great. It still feels weird,

1:11:43.000 --> 1:11:47.560
<v Speaker 15>seems you just said that the late Great Joe d Francesco,

1:11:48.840 --> 1:11:51.080
<v Speaker 15>Rosewinkle Boys, the man Amel LaRue.

1:11:51.760 --> 1:11:53.000
<v Speaker 1>I didn't know Kurt went there too.

1:11:55.080 --> 1:11:55.280
<v Speaker 5>Yeah.

1:11:57.080 --> 1:11:58.000
<v Speaker 2>Kerk was like.

1:12:00.600 --> 1:12:03.920
<v Speaker 6>Like it was like a game and him and Joey

1:12:03.960 --> 1:12:08.320
<v Speaker 6>were the crips and Kirk was the Bloods and I

1:12:08.479 --> 1:12:13.040
<v Speaker 6>was on whatever side was winning at the time. Well,

1:12:13.080 --> 1:12:14.720
<v Speaker 6>this is my first time that I've been in that

1:12:14.840 --> 1:12:17.720
<v Speaker 6>situation where like I'm with peer's my age play and

1:12:18.360 --> 1:12:21.280
<v Speaker 6>so they're like traditional jazz, So in order for me

1:12:21.360 --> 1:12:23.519
<v Speaker 6>to get their respect, I better speak their language. But

1:12:23.640 --> 1:12:27.280
<v Speaker 6>then he's like trying to unteach me everything they're teaching

1:12:27.320 --> 1:12:29.880
<v Speaker 6>me by like this Captain b Park and.

1:12:29.920 --> 1:12:35.439
<v Speaker 15>This is for example, and so. But but the thing

1:12:35.479 --> 1:12:38.240
<v Speaker 15>where I felt really alone was I was also hardcoreing

1:12:38.439 --> 1:12:41.240
<v Speaker 15>R and B and funk. So I mean, Joey could

1:12:41.280 --> 1:12:43.960
<v Speaker 15>play it, but that he didn't know a lot of

1:12:44.120 --> 1:12:48.519
<v Speaker 15>that exactly, you know, uh, and Kurt didn't, you know.

1:12:48.720 --> 1:12:50.560
<v Speaker 15>So like I was by myself when it came to

1:12:50.880 --> 1:12:53.880
<v Speaker 15>you know, Motown and Stacks and James Brown Earth went

1:12:53.960 --> 1:12:54.519
<v Speaker 15>to fire all that.

1:12:55.200 --> 1:13:00.040
<v Speaker 14>So when he comes to school and uh, I remember.

1:12:59.840 --> 1:13:01.280
<v Speaker 5>He on Roseen Winkle's guitar.

1:13:02.200 --> 1:13:04.599
<v Speaker 14>I thought you were playing this but not not this bass,

1:13:04.680 --> 1:13:06.720
<v Speaker 14>but you were playing the bass. I was in the

1:13:06.760 --> 1:13:08.160
<v Speaker 14>bass line. You was messing around.

1:13:08.640 --> 1:13:10.320
<v Speaker 15>I came in, I came in the music room and

1:13:10.840 --> 1:13:13.679
<v Speaker 15>there's this new this new dude in the music program

1:13:13.960 --> 1:13:24.800
<v Speaker 15>and he's kind of like and I just kind of

1:13:24.840 --> 1:13:29.680
<v Speaker 15>stood there like, oh, really, we got a James Brownhead

1:13:29.720 --> 1:13:35.679
<v Speaker 15>in school now? And uh, I mean instant bond, instant bond.

1:13:35.840 --> 1:13:37.760
<v Speaker 15>And my mother was so happy because she was like,

1:13:38.280 --> 1:13:41.080
<v Speaker 15>thank God, you got somebody who can talk to Funk.

1:13:41.960 --> 1:13:43.640
<v Speaker 15>You know, you got somebody you can hang with now

1:13:43.800 --> 1:13:46.280
<v Speaker 15>talk about Funk instead of as old people.

1:13:46.680 --> 1:13:49.840
<v Speaker 5>Exactly are you?

1:13:50.280 --> 1:13:52.080
<v Speaker 1>Were you in a younger grade? Is that why you

1:13:52.160 --> 1:13:54.879
<v Speaker 1>came along? Later? Transferred?

1:13:55.160 --> 1:13:58.400
<v Speaker 6>Like for the first eight years of my life, I

1:13:58.439 --> 1:14:02.400
<v Speaker 6>went to the private version of that school, performing art school,

1:14:02.840 --> 1:14:04.479
<v Speaker 6>and then members a period where.

1:14:06.320 --> 1:14:08.479
<v Speaker 5>I don't know if you know this, this educator named

1:14:08.520 --> 1:14:11.280
<v Speaker 5>Marva Collins. Okay, I'll tell you what.

1:14:11.760 --> 1:14:13.840
<v Speaker 6>When you listen to songs in the Key of Life

1:14:13.840 --> 1:14:16.280
<v Speaker 6>by Stevie Wonder, when you listen to the last two

1:14:16.280 --> 1:14:21.720
<v Speaker 6>minutes of black Man where the teacher who's like the

1:14:21.720 --> 1:14:23.600
<v Speaker 6>little kids are yelling back at him, just listening to

1:14:23.640 --> 1:14:25.960
<v Speaker 6>the last two minutes of black Man, that's more of

1:14:26.000 --> 1:14:28.639
<v Speaker 6>a Collins school in Chicago. And she was a woman

1:14:29.240 --> 1:14:33.599
<v Speaker 6>who Kribeini green projects the good time projects like these

1:14:33.640 --> 1:14:33.920
<v Speaker 6>were like.

1:14:34.360 --> 1:14:36.679
<v Speaker 5>You know, the worst kids were the worst GPA on earth.

1:14:37.040 --> 1:14:39.200
<v Speaker 6>And she just decided one day, I'm gonna turn you

1:14:39.560 --> 1:14:45.599
<v Speaker 6>all into mental level Ivy League students, and so one

1:14:45.680 --> 1:14:48.759
<v Speaker 6>by one, everyone who's ever been in her class wound

1:14:48.840 --> 1:14:53.640
<v Speaker 6>up going to doctors, nurses like that sort of thing.

1:14:54.520 --> 1:14:59.560
<v Speaker 6>And so that's like every seventies parent was like. So

1:14:59.640 --> 1:15:02.400
<v Speaker 6>I went to a lot of schools that were like

1:15:03.160 --> 1:15:07.720
<v Speaker 6>private schools that were guarantee that your kid was going

1:15:07.800 --> 1:15:11.519
<v Speaker 6>to be in Harvard or whatever like at the end

1:15:11.600 --> 1:15:13.120
<v Speaker 6>of their school tenure.

1:15:13.200 --> 1:15:18.799
<v Speaker 5>And then the last two years I happened to see.

1:15:20.120 --> 1:15:26.840
<v Speaker 6>On Channel ten on on CBS, I saw this fourteen

1:15:26.920 --> 1:15:27.960
<v Speaker 6>year old kid, right.

1:15:28.160 --> 1:15:32.840
<v Speaker 15>Dreams Yo, don't even yo dah that don't take no,

1:15:33.040 --> 1:15:33.920
<v Speaker 15>but it's on YouTube.

1:15:34.000 --> 1:15:39.240
<v Speaker 5>I hate you right now, man. Yes, Dreams is sort.

1:15:39.080 --> 1:15:44.280
<v Speaker 15>Of like it's a made for TV movie about our school.

1:15:44.479 --> 1:15:47.479
<v Speaker 6>This is before I went there, But I saw Joey

1:15:49.160 --> 1:15:53.560
<v Speaker 6>playing on like this this clip, and I was just

1:15:53.880 --> 1:15:58.519
<v Speaker 6>mind blown that a thirteen fourteen year old could play

1:15:58.600 --> 1:16:01.080
<v Speaker 6>like an adult because I only grew up. You know,

1:16:01.200 --> 1:16:05.080
<v Speaker 6>my dad was an oldies duops singer, so I only

1:16:05.320 --> 1:16:08.439
<v Speaker 6>hung with old musicians, which is why I played the

1:16:08.479 --> 1:16:11.200
<v Speaker 6>way I played now, because literally it was like me

1:16:11.400 --> 1:16:14.280
<v Speaker 6>at five and a bunch of thirty year olds and

1:16:14.400 --> 1:16:17.120
<v Speaker 6>I never interacted with kids my own age whatever. So

1:16:18.280 --> 1:16:21.160
<v Speaker 6>that's you know, I just told my mom, like I

1:16:21.240 --> 1:16:22.920
<v Speaker 6>want to play with kids my own age. Like I

1:16:23.040 --> 1:16:25.599
<v Speaker 6>grew up thinking like, oh damn, I'm the only kid

1:16:26.240 --> 1:16:28.320
<v Speaker 6>that knows how to play like this, and I came

1:16:28.400 --> 1:16:32.880
<v Speaker 6>in for the rudest awakening. That is interesting, dude, the

1:16:32.920 --> 1:16:36.800
<v Speaker 6>first day of school, Miles Davis is at school, like

1:16:37.840 --> 1:16:40.360
<v Speaker 6>giving him first two.

1:16:40.320 --> 1:16:41.800
<v Speaker 14>Weeks of school. Yeah, something like.

1:16:42.400 --> 1:16:44.920
<v Speaker 15>There used to be a morning talk show in Philly

1:16:45.680 --> 1:16:49.120
<v Speaker 15>hosted by a guy named Bill Boggs. It's called time

1:16:49.200 --> 1:16:53.840
<v Speaker 15>Out and they had right and they had Miles Davis

1:16:53.880 --> 1:16:54.400
<v Speaker 15>as a guest.

1:16:55.240 --> 1:16:58.280
<v Speaker 14>And so I found this out later that.

1:17:00.200 --> 1:17:03.240
<v Speaker 15>Uh they felt that because I saw an interview with

1:17:03.320 --> 1:17:05.760
<v Speaker 15>Bill bogs It was interesting. He said he remembers that

1:17:05.840 --> 1:17:09.840
<v Speaker 15>episode well, because the producers didn't think Miles Davis's name

1:17:10.600 --> 1:17:14.000
<v Speaker 15>was big enough to carry an hour of a of

1:17:14.080 --> 1:17:17.080
<v Speaker 15>a of an interview. Can you imagine the absurdity of that.

1:17:17.720 --> 1:17:21.519
<v Speaker 15>So it was remember Maurice Hines was also against that day.

1:17:21.880 --> 1:17:23.479
<v Speaker 15>So that was the reason they said, well, you know,

1:17:23.520 --> 1:17:28.320
<v Speaker 15>we need a s Miles can't do it by himself,

1:17:28.400 --> 1:17:31.720
<v Speaker 15>you know. And also to to kind of make it cute, see,

1:17:32.400 --> 1:17:35.400
<v Speaker 15>they decided they would get some kids to play for

1:17:35.600 --> 1:17:40.679
<v Speaker 15>Miles and so and then Miles look at right now. Well,

1:17:40.960 --> 1:17:45.160
<v Speaker 15>that's that's what everybody said, right and so, uh so

1:17:45.400 --> 1:17:49.240
<v Speaker 15>they had me Joey Stacy Dozer playing drums. She she

1:17:49.439 --> 1:17:51.599
<v Speaker 15>played drums in a high school band before a mayor

1:17:51.720 --> 1:17:56.120
<v Speaker 15>got there. And they invited four uh young trumpet players

1:17:56.320 --> 1:17:59.559
<v Speaker 15>from the Philly school system to play. And Miles, would

1:17:59.800 --> 1:18:05.719
<v Speaker 15>you give them advice on live television? Foolish decision?

1:18:05.880 --> 1:18:06.839
<v Speaker 1>Is this on YouTube?

1:18:07.160 --> 1:18:08.120
<v Speaker 5>Yes? Yeah?

1:18:08.600 --> 1:18:13.679
<v Speaker 15>And I can't watch it? Yeah, it's watching that sounds

1:18:14.120 --> 1:18:18.519
<v Speaker 15>it was a really ridiculous idea. And you know, Miles,

1:18:19.120 --> 1:18:22.960
<v Speaker 15>Miles apparently not. They first of all, they needed the

1:18:23.520 --> 1:18:27.040
<v Speaker 15>second seven second delay because Miles dropped a few f

1:18:27.160 --> 1:18:27.600
<v Speaker 15>bombs on.

1:18:27.680 --> 1:18:29.240
<v Speaker 5>And this morning television Morning.

1:18:29.360 --> 1:18:31.800
<v Speaker 15>Yeah, you know all the parents and you know that moms,

1:18:33.520 --> 1:18:38.280
<v Speaker 15>you know, and uh, Bill Box asked Miles. He said, uh,

1:18:39.640 --> 1:18:42.920
<v Speaker 15>you know, Miles, you know you you went into seclusion

1:18:43.000 --> 1:18:44.479
<v Speaker 15>for a few years. You know, what was it that

1:18:44.680 --> 1:18:48.920
<v Speaker 15>that gave you the to come back? Seriously, Miles, Miles,

1:18:49.040 --> 1:18:49.960
<v Speaker 15>he waited for a second.

1:18:50.000 --> 1:18:57.479
<v Speaker 5>He said. One day, Dizzy Glassy came over and he said, man,

1:18:57.520 --> 1:18:58.720
<v Speaker 5>what the fuck are you doing?

1:19:05.200 --> 1:19:07.840
<v Speaker 14>God bless Bill Box. He's just sitting there like m hm.

1:19:11.320 --> 1:19:15.800
<v Speaker 1>Trying to just act like it's totally regular, get up

1:19:15.840 --> 1:19:16.759
<v Speaker 1>off your ass.

1:19:18.160 --> 1:19:18.479
<v Speaker 5>So like.

1:19:19.520 --> 1:19:21.439
<v Speaker 14>And there was another time Miles was trying to remember

1:19:21.479 --> 1:19:23.040
<v Speaker 14>somebody's name is yeah it.

1:19:23.160 --> 1:19:27.960
<v Speaker 5>Was me and oh ship, I forgot.

1:19:29.479 --> 1:19:32.840
<v Speaker 14>Damn Miles, this is this is my TV dude.

1:19:33.439 --> 1:19:36.960
<v Speaker 6>This is my second week of school in a in

1:19:37.040 --> 1:19:42.880
<v Speaker 6>a public school, discovering that people born the same year

1:19:43.000 --> 1:19:46.920
<v Speaker 6>as me can play like me and better than me.

1:19:48.040 --> 1:19:52.679
<v Speaker 6>So the bubble I was in was instantly like Bursted

1:19:53.120 --> 1:19:55.360
<v Speaker 6>and I had so much catching up to do.

1:19:55.479 --> 1:19:56.040
<v Speaker 5>Man, just.

1:19:57.640 --> 1:20:01.400
<v Speaker 15>I kept begging him to join the All City Jazz Man.

1:20:01.479 --> 1:20:03.240
<v Speaker 15>I got him to come with me a couple of times.

1:20:04.160 --> 1:20:05.120
<v Speaker 15>I was like, dude, come on.

1:20:05.640 --> 1:20:09.599
<v Speaker 14>He's like no, no, no, no, no, sit down. Play

1:20:10.439 --> 1:20:14.040
<v Speaker 14>so you playing, like, come on, bro, you got this brose.

1:20:14.479 --> 1:20:16.880
<v Speaker 15>And then uh, little John Roberts was up there too,

1:20:17.200 --> 1:20:20.000
<v Speaker 15>and he was literally a little John Roberts like.

1:20:20.080 --> 1:20:22.479
<v Speaker 5>I looked at him like a little running because because

1:20:22.479 --> 1:20:25.280
<v Speaker 5>he was younger than us, he's like in eighth grade, right,

1:20:26.680 --> 1:20:28.439
<v Speaker 5>eighth or ninth. Oh he looked like he was in

1:20:28.560 --> 1:20:29.080
<v Speaker 5>seventh grade.

1:20:29.120 --> 1:20:31.679
<v Speaker 15>Yeah, yeah, he was two years behind us, I think, yeah,

1:20:32.240 --> 1:20:34.880
<v Speaker 15>but uh yeah, we we did have some good drummers.

1:20:34.960 --> 1:20:37.680
<v Speaker 5>I mean you know who's got more pocket than him.

1:20:38.360 --> 1:20:41.960
<v Speaker 1>I know, but you guys played together in and on

1:20:42.120 --> 1:20:45.960
<v Speaker 1>some school. Yeah, in school, but you were more in

1:20:46.080 --> 1:20:49.400
<v Speaker 1>the jazz zone and you didn't go deep into the

1:20:49.479 --> 1:20:50.000
<v Speaker 1>jazz zone.

1:20:50.080 --> 1:20:52.559
<v Speaker 5>Se the thing I tried to tried to get him.

1:20:53.240 --> 1:20:57.840
<v Speaker 5>So my story is really it was like, come on.

1:20:58.360 --> 1:21:02.240
<v Speaker 5>But the thing is is that I I the the

1:21:02.360 --> 1:21:04.200
<v Speaker 5>part I always leave out. The story was like my

1:21:04.479 --> 1:21:12.719
<v Speaker 5>dad was like a Joe Jackson backstage mom Oh the worst,

1:21:13.000 --> 1:21:14.760
<v Speaker 5>so he wanted me.

1:21:15.000 --> 1:21:19.599
<v Speaker 6>My dad was like dog, He was like, you got

1:21:19.680 --> 1:21:25.720
<v Speaker 6>two options, three options, Curtis Juilliard or a job.

1:21:26.560 --> 1:21:28.639
<v Speaker 5>Curtis Juilliard or job.

1:21:29.680 --> 1:21:33.000
<v Speaker 6>And I to this day people don't believe me when

1:21:33.600 --> 1:21:36.920
<v Speaker 6>I tell them my dad didn't find out about the

1:21:37.040 --> 1:21:41.480
<v Speaker 6>Roots until our second album because.

1:21:41.800 --> 1:21:42.920
<v Speaker 1>He was too much pressure.

1:21:42.960 --> 1:21:46.639
<v Speaker 6>The amount of sneaking I had to do, Yeah, she knew,

1:21:47.080 --> 1:21:51.160
<v Speaker 6>but the amount of sneaking I had to do was

1:21:51.280 --> 1:21:54.479
<v Speaker 6>like I can't let these guys know I listened to

1:21:54.600 --> 1:22:00.400
<v Speaker 6>hip hop that way and can't let Kurt Rosenwinkle know that. Yes,

1:22:00.479 --> 1:22:03.679
<v Speaker 6>you're trying to undo. Because the thing was is Kirk

1:22:03.880 --> 1:22:06.559
<v Speaker 6>was like, jazz needs to go forward. And the first

1:22:06.600 --> 1:22:09.960
<v Speaker 6>time that Kirk even planned the seed to me that

1:22:10.880 --> 1:22:13.760
<v Speaker 6>this particular god figure in jazz might be a step

1:22:13.920 --> 1:22:15.879
<v Speaker 6>backwards and not forward.

1:22:17.200 --> 1:22:18.600
<v Speaker 5>Was he planned that seed to me?

1:22:18.920 --> 1:22:21.360
<v Speaker 6>So he's like, yo, man, all the beatbop stuff from

1:22:21.400 --> 1:22:23.120
<v Speaker 6>before you that's dead, man, that's dead.

1:22:23.160 --> 1:22:23.760
<v Speaker 5>We got to move.

1:22:24.040 --> 1:22:26.439
<v Speaker 6>And he's trying to like tell me about like you know,

1:22:26.760 --> 1:22:29.679
<v Speaker 6>Embase and you know, like all these like crazy jazz

1:22:29.840 --> 1:22:32.439
<v Speaker 6>ensembles and everything that I'm like a lot of am

1:22:32.479 --> 1:22:36.080
<v Speaker 6>on guard whatever. So I'm doing my avant guard stuff

1:22:36.160 --> 1:22:39.000
<v Speaker 6>with Rosawinkle, but when these guys are around, I'm like, okay,

1:22:39.680 --> 1:22:42.720
<v Speaker 6>all right, so good Larry Jung's Unity record study that

1:22:42.840 --> 1:22:43.760
<v Speaker 6>up and down and da.

1:22:43.680 --> 1:22:44.240
<v Speaker 3>Da da da da.

1:22:44.360 --> 1:22:45.639
<v Speaker 1>That sounds like a lot of conflict.

1:22:46.120 --> 1:22:46.400
<v Speaker 8>It was.

1:22:46.560 --> 1:22:47.960
<v Speaker 5>I was on whatever side was winning.

1:22:48.080 --> 1:22:52.759
<v Speaker 6>But then but then because of public Enemy finally making

1:22:52.880 --> 1:22:57.479
<v Speaker 6>sense of my dad's boring record collection, you know, I

1:22:57.600 --> 1:22:59.800
<v Speaker 6>have someone upstairs that I'm like trying to build a

1:22:59.800 --> 1:23:02.400
<v Speaker 6>few with. And you know it's also in the name

1:23:02.439 --> 1:23:07.360
<v Speaker 6>of impressing a girl. Always that was a fel but

1:23:07.439 --> 1:23:22.559
<v Speaker 6>I got the career, hey man, So yeah, pretty much,

1:23:24.360 --> 1:23:27.519
<v Speaker 6>I decided. So you went to Juilliard, yes, And I

1:23:27.600 --> 1:23:30.559
<v Speaker 6>was like, all right, well, Chris right, you did the same.

1:23:30.640 --> 1:23:33.080
<v Speaker 6>You did the Miles thing right, Studying sounds like I'm

1:23:33.080 --> 1:23:34.559
<v Speaker 6>gonna do the same. So I did my I did

1:23:34.640 --> 1:23:38.240
<v Speaker 6>my New School audition, my Curtis audition, and my Juilliard audition.

1:23:38.560 --> 1:23:43.000
<v Speaker 6>One particular uh uh weekend Tarik went with me and

1:23:43.320 --> 1:23:47.280
<v Speaker 6>coming back on the train, this is like, this is

1:23:47.360 --> 1:23:49.479
<v Speaker 6>like either somewhere between a Great Poop.

1:23:49.240 --> 1:23:52.719
<v Speaker 5>Plane commercial or the last scene and Dumber and Dumber.

1:23:53.240 --> 1:23:55.880
<v Speaker 6>The world's most beautiful girl walks up in slow motion

1:23:56.640 --> 1:24:02.360
<v Speaker 6>and says, aren't you now side note? Yes, I was

1:24:02.439 --> 1:24:05.040
<v Speaker 6>the drummer. Boys and Men had let me drum in

1:24:05.120 --> 1:24:09.320
<v Speaker 6>their motown filling video. So she got it mixed. She says,

1:24:10.400 --> 1:24:14.439
<v Speaker 6>aren't you the drummer in the Spike Lee Levi's commercial.

1:24:14.880 --> 1:24:18.000
<v Speaker 6>So like busking just started to become a thing in

1:24:18.080 --> 1:24:20.120
<v Speaker 6>America where you know, there was a kid that was

1:24:20.200 --> 1:24:23.040
<v Speaker 6>playing bucket drums and Spike Leader put him in a

1:24:23.040 --> 1:24:25.200
<v Speaker 6>commercial whatever. He had similar hair to mine, he had

1:24:25.240 --> 1:24:28.519
<v Speaker 6>like twisting braids, and so she came out. It was

1:24:28.600 --> 1:24:31.720
<v Speaker 6>like great poupone. He's like, aren't you that drummer in

1:24:31.840 --> 1:24:36.320
<v Speaker 6>the Spike Lee Levi's commercial? And my dumb ass was like, no,

1:24:36.520 --> 1:24:41.040
<v Speaker 6>that's not me. And she was like, oh, oh okay,

1:24:41.680 --> 1:24:47.120
<v Speaker 6>and then she walks away and teks like you. I

1:24:47.160 --> 1:24:49.280
<v Speaker 6>was like, because it wasn't me, Jode, you knew she

1:24:49.439 --> 1:24:51.320
<v Speaker 6>was talking about. You knew she was talking about Motel Philly,

1:24:51.520 --> 1:24:55.400
<v Speaker 6>Like Tarik would use me as his magnet, like wear

1:24:55.439 --> 1:24:57.240
<v Speaker 6>the shirt. You got the shirt on, now go back

1:24:57.280 --> 1:24:58.640
<v Speaker 6>and put your outfit on, like I don't have to

1:24:58.680 --> 1:25:03.200
<v Speaker 6>wear that outfit every weekend. And right, So he spends

1:25:03.240 --> 1:25:05.679
<v Speaker 6>the night at the crib and we're watching Soul Train

1:25:06.439 --> 1:25:10.120
<v Speaker 6>and commercial comes on and it's the Spike Lee Levi's commercial,

1:25:11.160 --> 1:25:13.479
<v Speaker 6>and it was the it was our eureka moment. We

1:25:13.520 --> 1:25:15.880
<v Speaker 6>looked at the commercial. We thought about that girl that

1:25:15.960 --> 1:25:17.920
<v Speaker 6>I could have got a number but didn't, and we

1:25:17.960 --> 1:25:18.880
<v Speaker 6>looked at each other like.

1:25:20.800 --> 1:25:23.320
<v Speaker 5>Yo, why don't we do that? Yeah? Yeah, yeah, And

1:25:23.880 --> 1:25:27.320
<v Speaker 5>cut to running in the kitchen sneaking the you know,

1:25:27.439 --> 1:25:31.360
<v Speaker 5>the chilling bucket out or whatever you know, you mean

1:25:31.400 --> 1:25:38.800
<v Speaker 5>that red budget the red chitling bucket. Every household has one.

1:25:39.040 --> 1:25:42.160
<v Speaker 15>I remember, never forget the first time I smelled chiplins.

1:25:43.160 --> 1:25:44.599
<v Speaker 15>My grandmother was cooking chitlins.

1:25:44.640 --> 1:25:45.040
<v Speaker 14>I was coming.

1:25:45.080 --> 1:25:47.680
<v Speaker 15>I smelled them two blocks away. I was coming down

1:25:47.800 --> 1:25:50.439
<v Speaker 15>Urban Street and I was like, I really pray to God,

1:25:50.560 --> 1:25:53.720
<v Speaker 15>that's not coming from our house. There's a line of

1:25:53.800 --> 1:25:58.400
<v Speaker 15>people the front. I'm like, oh, no, there's no black household.

1:25:58.720 --> 1:25:59.360
<v Speaker 5>Yeah, doesn't.

1:25:59.640 --> 1:26:02.800
<v Speaker 6>Even if you don't eat shitlands, you still have that

1:26:03.000 --> 1:26:05.519
<v Speaker 6>red bucket that used for other.

1:26:05.439 --> 1:26:10.559
<v Speaker 14>Stuff along with the government corn flakes and the cheese

1:26:10.640 --> 1:26:11.400
<v Speaker 14>and the milk.

1:26:11.280 --> 1:26:15.519
<v Speaker 6>Son all that all right, the government milk, Yes, I

1:26:15.960 --> 1:26:19.360
<v Speaker 6>still stand to it this day. And the corn flakes

1:26:19.400 --> 1:26:22.519
<v Speaker 6>were killing Yes, yes, I can't believe we're talking about.

1:26:22.280 --> 1:26:22.840
<v Speaker 15>This and that.

1:26:24.280 --> 1:26:25.760
<v Speaker 5>Oh come on, man, dude.

1:26:25.840 --> 1:26:28.920
<v Speaker 6>I would have to wake up when my parents weren't

1:26:28.960 --> 1:26:33.479
<v Speaker 6>tour Yeah, I would have to wake up, Uh, staying

1:26:33.520 --> 1:26:34.439
<v Speaker 6>at my grandmom's house.

1:26:34.520 --> 1:26:35.439
<v Speaker 1>What your mom toured to?

1:26:35.880 --> 1:26:38.439
<v Speaker 6>Yeah, both my mom and dad were. My father was

1:26:38.479 --> 1:26:40.880
<v Speaker 6>famous in the fifties. He had a group called Nges

1:26:40.880 --> 1:26:43.120
<v Speaker 6>in the Hearts. They were on like Chess records, and

1:26:43.240 --> 1:26:45.400
<v Speaker 6>then by the time I was born, there was a

1:26:46.040 --> 1:26:49.519
<v Speaker 6>nostalgia wave where they would do these oldies shows that

1:26:49.680 --> 1:26:53.000
<v Speaker 6>you know, Masson Square Guard and you know Bowser from

1:26:53.040 --> 1:26:55.680
<v Speaker 6>Shanta Presents, you know Harvey and the moon Cloths and

1:26:55.720 --> 1:26:58.960
<v Speaker 6>all that stuff. So anyway, they got off that circuit

1:26:59.040 --> 1:27:03.680
<v Speaker 6>and then just had a club act. And so when

1:27:03.720 --> 1:27:05.120
<v Speaker 6>I couldn't tour with him, I had to stay at

1:27:05.120 --> 1:27:08.439
<v Speaker 6>my grandmom's house. Now, in order for me to watch

1:27:08.520 --> 1:27:12.040
<v Speaker 6>Soul trade at twelve, I would have to do whatever

1:27:12.160 --> 1:27:15.320
<v Speaker 6>chores were necessary. And on the first of the month,

1:27:16.200 --> 1:27:22.559
<v Speaker 6>that's when the new cheese supply comes. And since I'm

1:27:22.960 --> 1:27:26.479
<v Speaker 6>Filma's grandson, you know, it's like it takes a village

1:27:26.560 --> 1:27:29.080
<v Speaker 6>period where now not only do I have to get

1:27:29.200 --> 1:27:32.439
<v Speaker 6>cheese and stuff for my grandmom, but I got to

1:27:32.479 --> 1:27:36.400
<v Speaker 6>do too for miss Gussie, Missus Evans, Missus Fields.

1:27:36.120 --> 1:27:36.840
<v Speaker 5>Across the street.

1:27:37.320 --> 1:27:38.760
<v Speaker 14>Got to get the whole neighborhood right.

1:27:38.920 --> 1:27:40.479
<v Speaker 6>So I got to get up at seven in the

1:27:40.600 --> 1:27:43.000
<v Speaker 6>morning and stand in the cheese line.

1:27:43.040 --> 1:27:44.479
<v Speaker 14>Where did your grandmother live?

1:27:44.760 --> 1:27:47.280
<v Speaker 6>She was in southwest Philly, like a forty ninth and

1:27:47.760 --> 1:27:50.639
<v Speaker 6>King se oh. Yeah, So I would have to stand

1:27:50.680 --> 1:27:53.720
<v Speaker 6>in that line and do about four trips. Not to

1:27:53.760 --> 1:27:55.640
<v Speaker 6>mention the ridicule the neighborhood kids like.

1:27:56.120 --> 1:27:57.080
<v Speaker 2>You in the cheese line.

1:27:57.120 --> 1:28:01.479
<v Speaker 14>Yeah, Later that day I told that.

1:28:01.680 --> 1:28:04.639
<v Speaker 5>I'm like me, this Jesus is going to your grandma's house.

1:28:05.240 --> 1:28:09.040
<v Speaker 14>Motherfucker, Like yeah, hey, you know, they's how they do.

1:28:09.080 --> 1:28:10.759
<v Speaker 5>It, so I couldn't. Yeah, I couldn't.

1:28:11.080 --> 1:28:11.200
<v Speaker 3>Uh.

1:28:12.720 --> 1:28:16.160
<v Speaker 6>I couldn't even watch Soul Train until all that was done.

1:28:16.479 --> 1:28:19.000
<v Speaker 6>So every first of the month I hated it. But yes,

1:28:19.120 --> 1:28:23.400
<v Speaker 6>we took that chip lim bucket on South Street. And

1:28:23.520 --> 1:28:26.880
<v Speaker 6>the thing is is that if we if we don't

1:28:27.000 --> 1:28:30.599
<v Speaker 6>make one hundred and twenty dollars in four hours, we're

1:28:30.640 --> 1:28:31.400
<v Speaker 6>not doing it again.

1:28:31.760 --> 1:28:33.120
<v Speaker 5>It would just be like, hey, you man, that time

1:28:33.160 --> 1:28:34.760
<v Speaker 5>we went on South Street and play for money or whatever.

1:28:35.280 --> 1:28:37.880
<v Speaker 6>But we made like one hundred bucks in the first

1:28:38.040 --> 1:28:40.760
<v Speaker 6>like hour, and we looked like, yo, we're rich because

1:28:40.920 --> 1:28:46.320
<v Speaker 6>we was thinking, like, yo, we get Trizzy a trans

1:28:46.360 --> 1:28:49.360
<v Speaker 6>pass is you know, like a monthly ticket that yeah,

1:28:49.439 --> 1:28:52.360
<v Speaker 6>New York has that here, right, Like yeah, a train

1:28:52.439 --> 1:28:53.120
<v Speaker 6>ticket for a month.

1:28:53.240 --> 1:28:54.400
<v Speaker 5>It's like, yo, you can get it Trizzy.

1:28:54.479 --> 1:28:58.759
<v Speaker 6>And then uh, date night, see the movie before five pm,

1:28:59.240 --> 1:29:02.320
<v Speaker 6>movies on three bucks, go to wah wah, get a

1:29:02.400 --> 1:29:04.040
<v Speaker 6>quarter pound of turkey cheeze.

1:29:04.080 --> 1:29:06.680
<v Speaker 5>Like we were like rich, Like yeah, we gotta do

1:29:06.720 --> 1:29:08.200
<v Speaker 5>it again. But the next week we did it.

1:29:09.160 --> 1:29:13.280
<v Speaker 6>I still was in Settlement music School and the bass

1:29:13.320 --> 1:29:16.479
<v Speaker 6>player there, Josh Aprams, was like, yo, y'all.

1:29:16.320 --> 1:29:18.120
<v Speaker 5>Going to do it again? I said, yeah, he's like, well,

1:29:18.240 --> 1:29:21.640
<v Speaker 5>can I join? Yeah? Sure, cool. So he picks me

1:29:21.720 --> 1:29:22.400
<v Speaker 5>up in the station.

1:29:22.320 --> 1:29:24.040
<v Speaker 6>Wagon and he has his upright in the back and

1:29:24.080 --> 1:29:27.400
<v Speaker 6>I'm bringing the bucket and he's like, wait, we got

1:29:27.439 --> 1:29:28.160
<v Speaker 6>the station wagon.

1:29:28.640 --> 1:29:30.680
<v Speaker 5>I was like, huh, get the drums. He's like, get

1:29:30.720 --> 1:29:32.599
<v Speaker 5>the drums. I was like, oh man, my dad, man.

1:29:32.680 --> 1:29:37.000
<v Speaker 5>He's so it was the most covert operation where like

1:29:37.240 --> 1:29:38.240
<v Speaker 5>you had to sneak them out.

1:29:38.920 --> 1:29:41.120
<v Speaker 6>And this is why like when people ask like why

1:29:41.120 --> 1:29:43.080
<v Speaker 6>don't want to play on a regular drum set, Like literally,

1:29:43.120 --> 1:29:44.719
<v Speaker 6>I was like, look, we're just gonna get the kick.

1:29:44.680 --> 1:29:48.800
<v Speaker 5>Drum, steal drum and one ride right, sneak it out.

1:29:48.880 --> 1:29:52.240
<v Speaker 6>And literally I'm you know, he's listening to sports talk upstairs,

1:29:52.280 --> 1:29:54.880
<v Speaker 6>and you know, anytime the water runs, like we're running

1:29:54.920 --> 1:29:59.160
<v Speaker 6>outside whatever park down the plot and that entire summer

1:29:59.200 --> 1:30:02.400
<v Speaker 6>of ninety two, like I snuck and we got our

1:30:02.520 --> 1:30:05.280
<v Speaker 6>independent record out and a year later when we finally

1:30:05.280 --> 1:30:08.400
<v Speaker 6>signed to Geffen, Uh, I was going to break the

1:30:08.439 --> 1:30:11.320
<v Speaker 6>news to him, but already he put a Philadelphia Inquirer,

1:30:11.880 --> 1:30:13.120
<v Speaker 6>which is like our New York Times.

1:30:13.880 --> 1:30:17.080
<v Speaker 5>We were on the cover. He's like, what's this. I

1:30:17.200 --> 1:30:19.200
<v Speaker 5>was like, oh, yeah, yeah, you know, I mean too,

1:30:19.240 --> 1:30:20.360
<v Speaker 5>we got a project.

1:30:20.080 --> 1:30:20.600
<v Speaker 2>So you know.

1:30:22.960 --> 1:30:23.640
<v Speaker 3>So well.

1:30:23.680 --> 1:30:27.200
<v Speaker 15>I remember like when we were still at Kappa, uh

1:30:27.520 --> 1:30:31.320
<v Speaker 15>Tyreek came downstairs. He was he was an art major, right,

1:30:31.360 --> 1:30:33.360
<v Speaker 15>so I didn't even know he had any sort of

1:30:33.600 --> 1:30:36.160
<v Speaker 15>you know that he could. He could freestyle like that.

1:30:36.400 --> 1:30:37.519
<v Speaker 15>He's like, yo, play.

1:30:38.840 --> 1:30:40.080
<v Speaker 14>Uh the Bone.

1:30:41.080 --> 1:30:46.080
<v Speaker 6>Right would call the rap reference like, oh, play the

1:30:46.120 --> 1:30:48.040
<v Speaker 6>Gidea by three times due, and then I've had to

1:30:48.160 --> 1:30:51.439
<v Speaker 6>trans play to him play James Brown steone to the boat.

1:30:51.479 --> 1:30:54.519
<v Speaker 6>So I was the middleman between all the hip hoppers

1:30:54.800 --> 1:30:58.280
<v Speaker 6>right and him. But knowing that allowed me to sit

1:30:58.360 --> 1:30:59.880
<v Speaker 6>with the cool kids in the lunch.

1:31:01.080 --> 1:31:03.600
<v Speaker 1>I feel like that says a lot about your personality

1:31:03.680 --> 1:31:06.760
<v Speaker 1>and your strengths, just this whole like dynamic of you

1:31:06.920 --> 1:31:08.360
<v Speaker 1>bridging all these different things.

1:31:08.880 --> 1:31:13.000
<v Speaker 14>Yeah, I mean he he plays well in the playground.

1:31:12.520 --> 1:31:13.400
<v Speaker 5>With everybody, you do.

1:31:13.920 --> 1:31:14.080
<v Speaker 10>You know?

1:31:14.880 --> 1:31:17.040
<v Speaker 5>Yeah, I played just to get bye, thank you.

1:31:17.280 --> 1:31:18.920
<v Speaker 1>But it's no longer stressful, is it?

1:31:20.320 --> 1:31:21.080
<v Speaker 5>Is it stressful?

1:31:22.360 --> 1:31:22.799
<v Speaker 14>Probably?

1:31:23.000 --> 1:31:24.920
<v Speaker 1>I mean, I mean, I guess being the MD for

1:31:25.000 --> 1:31:26.320
<v Speaker 1>everything is always stressful.

1:31:26.840 --> 1:31:33.599
<v Speaker 6>It's you know, for me, I'm I'm learning now, uh okay,

1:31:33.680 --> 1:31:38.560
<v Speaker 6>this this is not even, this is not even. I

1:31:38.720 --> 1:31:40.400
<v Speaker 6>just gotta come out and say it and not try

1:31:40.439 --> 1:31:45.040
<v Speaker 6>to diminish the humble, braggingness of it all. But occasionally

1:31:46.080 --> 1:31:52.559
<v Speaker 6>I might call a famous former world leader and ask

1:31:52.640 --> 1:31:56.120
<v Speaker 6>for advice on how to be diplomatic and talk to people,

1:31:56.160 --> 1:31:59.439
<v Speaker 6>because that's one that's one thing I'm I'm I was

1:31:59.600 --> 1:32:04.080
<v Speaker 6>a relation leader, But clearly I'll be stuck in that

1:32:04.160 --> 1:32:06.600
<v Speaker 6>place if I don't get over the fact that I

1:32:06.800 --> 1:32:08.479
<v Speaker 6>have to, Like, you can't.

1:32:08.320 --> 1:32:09.160
<v Speaker 5>Be everyone's friend.

1:32:09.640 --> 1:32:10.600
<v Speaker 1>You have to get over it and.

1:32:11.320 --> 1:32:16.360
<v Speaker 6>Manage people's expectations and yeah, yeah, and that that comes

1:32:16.400 --> 1:32:17.280
<v Speaker 6>with being a band leader.

1:32:17.640 --> 1:32:19.679
<v Speaker 1>I wonder which world leader you're talking about.

1:32:19.920 --> 1:32:20.400
<v Speaker 5>I don't know.

1:32:24.720 --> 1:32:26.280
<v Speaker 1>You guys want to play tune and then we'll.

1:32:27.600 --> 1:32:28.120
<v Speaker 2>Can we do this?

1:32:28.280 --> 1:32:32.240
<v Speaker 1>Chris Christopherson time, so I can see it's kind of weird.

1:32:32.320 --> 1:32:34.120
<v Speaker 1>I was just with him a couple of weeks ago,

1:32:34.280 --> 1:32:36.760
<v Speaker 1>and I was just revisiting this album that I love

1:32:36.920 --> 1:32:40.080
<v Speaker 1>called Borderlord, and I just feel like, with your groove

1:32:40.200 --> 1:32:42.120
<v Speaker 1>on it, it would be pretty awesome.

1:32:42.560 --> 1:32:43.280
<v Speaker 5>Follow you might.

1:32:43.320 --> 1:32:45.320
<v Speaker 14>Giving me my note again. Take its.

1:32:50.760 --> 1:32:54.559
<v Speaker 1>Hmmm, wait, I'm in the wrong key. Sorry.

1:33:18.040 --> 1:33:23.439
<v Speaker 10>Darkness had us covered when we spread from Mansota in

1:33:23.920 --> 1:33:33.360
<v Speaker 10>morning rain black, his eyes was feeding and the street

1:33:33.880 --> 1:33:43.360
<v Speaker 10>was slack and shiny as a snake. Each of us

1:33:43.800 --> 1:33:48.839
<v Speaker 10>was a hurrying to the half forgotten echo, hanging Lola

1:33:50.960 --> 1:33:57.519
<v Speaker 10>in the brain, time in time and thinking of the

1:33:57.680 --> 1:34:09.679
<v Speaker 10>time we never had the time loosing it, rising cots,

1:34:10.080 --> 1:34:19.879
<v Speaker 10>living her and loving heart. They evy yesterday behind turning

1:34:20.240 --> 1:34:22.400
<v Speaker 10>every bridging costs is.

1:34:22.479 --> 1:34:26.360
<v Speaker 18>Putting down before your off, burning.

1:34:26.439 --> 1:34:28.479
<v Speaker 2>Back the devil just in.

1:34:28.720 --> 1:34:40.080
<v Speaker 11>Time, breaking many times before day, by taking any commoy

1:34:40.200 --> 1:34:44.800
<v Speaker 11>you can't find, putting.

1:34:44.880 --> 1:34:50.719
<v Speaker 8>Like you're learning, tagging off.

1:34:52.760 --> 1:34:53.679
<v Speaker 2>Tail. It's all.

1:34:56.120 --> 1:34:57.040
<v Speaker 4>Understanding.

1:34:59.520 --> 1:35:04.600
<v Speaker 8>When you're getting for the board load, you bound cross.

1:35:17.520 --> 1:35:22.000
<v Speaker 3>Good lucking women and time you stop.

1:35:23.240 --> 1:35:31.719
<v Speaker 10>Waiting there catch you when you fall, getting back enough,

1:35:32.479 --> 1:35:37.000
<v Speaker 10>let him keep you back enough you'll just prefun kilp

1:35:37.160 --> 1:35:45.160
<v Speaker 10>back a gift, blow home, looking many ties before they brand,

1:35:47.920 --> 1:35:51.520
<v Speaker 10>taking many come who you can find.

1:35:54.080 --> 1:36:01.400
<v Speaker 1>Running like you, I'll tag no ck.

1:36:01.439 --> 1:36:04.000
<v Speaker 2>It easy, well, it's a b.

1:36:06.000 --> 1:36:13.519
<v Speaker 10>Understand when you can for the boat load of bound

1:36:13.800 --> 1:36:15.120
<v Speaker 10>across lash.

1:36:51.720 --> 1:36:55.599
<v Speaker 3>King at it time for in bunjie.

1:36:57.200 --> 1:37:00.799
<v Speaker 8>Tagging covered, okay, are fine?

1:37:03.600 --> 1:37:09.680
<v Speaker 2>They like you lady out of time. I'll tag you.

1:37:12.600 --> 1:37:22.400
<v Speaker 4>Till it's over. Understanding. When you're heading for the boat load,

1:37:22.880 --> 1:37:24.640
<v Speaker 4>you're bound across.

1:37:24.280 --> 1:37:38.599
<v Speaker 5>The m HM.

1:37:46.720 --> 1:37:57.479
<v Speaker 2>Hmm, thank you.

1:37:58.920 --> 1:38:02.200
<v Speaker 14>That is Norman Letter production, right exactly.

1:38:03.120 --> 1:38:03.760
<v Speaker 1>That was fun.

1:38:04.160 --> 1:38:09.160
<v Speaker 14>I feel like roberta flat Ron Carter and uh Ray Lucas.

1:38:12.320 --> 1:38:13.000
<v Speaker 1>Thanks for doing that.

1:38:13.160 --> 1:38:13.600
<v Speaker 11>I love that.

1:38:15.120 --> 1:38:16.040
<v Speaker 5>That was cool.

1:38:16.479 --> 1:38:19.120
<v Speaker 1>We're not done yet. We still got two more songs.

1:38:20.000 --> 1:38:23.880
<v Speaker 1>Oh that was great. Thanks. I love that song because

1:38:23.920 --> 1:38:26.160
<v Speaker 1>his words are just always so good. And then I

1:38:26.280 --> 1:38:29.479
<v Speaker 1>like how it kind of changes keys. What key is

1:38:29.560 --> 1:38:30.439
<v Speaker 1>this in in the end?

1:38:31.720 --> 1:38:36.200
<v Speaker 14>Down d? Yeah, that's the James Brown keys. Did you

1:38:36.280 --> 1:38:36.479
<v Speaker 14>know that?

1:38:36.640 --> 1:38:36.720
<v Speaker 15>Oh?

1:38:36.800 --> 1:38:37.280
<v Speaker 2>No, I didn't.

1:38:37.760 --> 1:38:39.960
<v Speaker 14>Everything's indeed just about I didn't know.

1:38:41.320 --> 1:38:48.640
<v Speaker 1>It makes sense, but right, right? Do you guys have

1:38:48.760 --> 1:38:52.080
<v Speaker 1>any any good stories about each other from high school

1:38:52.080 --> 1:38:54.439
<v Speaker 1>that are worth telling?

1:38:54.800 --> 1:38:58.840
<v Speaker 15>My favorite one is uh so, I'm going to reveal

1:38:58.880 --> 1:39:00.720
<v Speaker 15>it now. You already know because I told you in

1:39:00.760 --> 1:39:04.639
<v Speaker 15>the text. So we used to produce this big show

1:39:04.960 --> 1:39:09.280
<v Speaker 15>every year called it called Sentimental Journey, and it was

1:39:09.360 --> 1:39:12.120
<v Speaker 15>like the whole school, you know, like the dancers, the singers,

1:39:12.160 --> 1:39:14.320
<v Speaker 15>the actors, We all get together and put together this

1:39:14.479 --> 1:39:19.120
<v Speaker 15>big Broadway type show. And we were, of course the

1:39:19.200 --> 1:39:22.559
<v Speaker 15>house band, and uh I mean what a house band?

1:39:22.680 --> 1:39:22.720
<v Speaker 5>Me?

1:39:22.920 --> 1:39:25.200
<v Speaker 15>You, Kurt and Joey and a couple of horror players

1:39:26.040 --> 1:39:30.880
<v Speaker 15>and uh so, we had this big overture and at

1:39:30.920 --> 1:39:33.400
<v Speaker 15>the end of the overture we had to play New York,

1:39:33.479 --> 1:39:35.320
<v Speaker 15>New York, and so we had to play a real

1:39:35.400 --> 1:39:41.200
<v Speaker 15>corny so we had to like that. So yeah, right exactly.

1:39:41.640 --> 1:39:44.760
<v Speaker 15>So we get to the to the concert, me and

1:39:44.920 --> 1:39:47.080
<v Speaker 15>him conspiring, We're like, you know, it's.

1:39:46.960 --> 1:39:47.280
<v Speaker 12>In D.

1:39:49.720 --> 1:39:55.280
<v Speaker 6>Now, Chris, you've set up that anytime we've got sent

1:39:55.360 --> 1:39:59.600
<v Speaker 6>to the principal's office, when any when anything ever was like,

1:40:00.160 --> 1:40:04.200
<v Speaker 6>at least in D for a good eight to sixteen bars.

1:40:04.360 --> 1:40:06.840
<v Speaker 6>They could be girse waining. It could be whatever, we

1:40:06.960 --> 1:40:09.080
<v Speaker 6>will find a way to code talk to each other.

1:40:09.200 --> 1:40:12.720
<v Speaker 6>That's right in a way, and eventually he caught on

1:40:13.120 --> 1:40:14.120
<v Speaker 6>to any reference.

1:40:14.800 --> 1:40:15.360
<v Speaker 14>It could be like.

1:40:22.360 --> 1:40:24.640
<v Speaker 6>And then you know, and then already you know, the

1:40:25.560 --> 1:40:27.360
<v Speaker 6>kids are all like, you know, starting to dance and

1:40:27.400 --> 1:40:29.040
<v Speaker 6>all that stuff and get out of here.

1:40:29.439 --> 1:40:33.280
<v Speaker 5>So it was it was our last chance to go rogue.

1:40:33.400 --> 1:40:34.920
<v Speaker 5>And it was like, were you with us.

1:40:34.960 --> 1:40:36.719
<v Speaker 15>When we went to see the fill off your orchestra

1:40:36.800 --> 1:40:40.800
<v Speaker 15>rehearse because they would have those open rehearsals, and so

1:40:40.880 --> 1:40:43.760
<v Speaker 15>they were playing the Ride of Spring. Yes there's one

1:40:44.000 --> 1:40:46.720
<v Speaker 15>you know, so there's one part in that piece with

1:40:46.840 --> 1:40:50.960
<v Speaker 15>the Timpany plays boom bee boom bean boom beem boo

1:40:51.800 --> 1:40:54.760
<v Speaker 15>just for those two bars. Remember Stacey knows you did.

1:40:55.920 --> 1:40:58.439
<v Speaker 14>Boom boom boom. She comes go oh.

1:41:03.920 --> 1:41:05.400
<v Speaker 5>In the middle of the Academy of Music.

1:41:09.640 --> 1:41:12.080
<v Speaker 14>So we we get no place.

1:41:12.680 --> 1:41:16.320
<v Speaker 6>Yeah, we we get there that night and we we

1:41:16.680 --> 1:41:20.439
<v Speaker 6>had a look like, hey, we're seniors, yes, and there's

1:41:20.479 --> 1:41:22.000
<v Speaker 6>only three weeks of school left.

1:41:22.320 --> 1:41:23.200
<v Speaker 14>What are you gonna do to us?

1:41:23.240 --> 1:41:24.919
<v Speaker 6>And what's he going to send us to the principal's

1:41:24.960 --> 1:41:27.000
<v Speaker 6>office here in front of our parents at the show?

1:41:28.200 --> 1:41:30.680
<v Speaker 5>Go go to the build up for New York, New York.

1:41:30.720 --> 1:41:35.400
<v Speaker 5>So we went, and the rehearsal was right right, So

1:41:35.520 --> 1:41:36.120
<v Speaker 5>that's rehearsal.

1:41:37.120 --> 1:41:37.320
<v Speaker 4>Man.

1:41:38.680 --> 1:41:41.280
<v Speaker 15>We get to the concert and so so me and

1:41:41.400 --> 1:41:43.160
<v Speaker 15>him we come. He said, hey, man, you know we

1:41:43.400 --> 1:41:46.000
<v Speaker 15>should do that, and so then we pulled Joey and

1:41:46.160 --> 1:41:49.439
<v Speaker 15>Kurt In on it too. So uh so here's how

1:41:49.520 --> 1:41:53.160
<v Speaker 15>the concert went, you know, all the parents to what

1:41:53.720 --> 1:41:54.920
<v Speaker 15>God spread and the.

1:42:01.360 --> 1:42:03.839
<v Speaker 5>God Yo. Then Curtis going.

1:42:08.240 --> 1:42:11.000
<v Speaker 14>It was only for thirty Joey's playing the organ patch

1:42:11.120 --> 1:42:12.840
<v Speaker 14>on his keyboard. He screamed.

1:42:15.640 --> 1:42:17.000
<v Speaker 5>The look or misterizers.

1:42:17.360 --> 1:42:21.240
<v Speaker 14>He was so angry, really, he was as red as

1:42:21.280 --> 1:42:23.760
<v Speaker 14>that exit he could.

1:42:23.880 --> 1:42:25.599
<v Speaker 1>He should have been proud at your music.

1:42:25.960 --> 1:42:28.800
<v Speaker 5>Proud now everyone's proud of us.

1:42:29.280 --> 1:42:32.080
<v Speaker 15>He's glad we did it now, right, So I have

1:42:32.360 --> 1:42:35.519
<v Speaker 15>I found So I had this on VHS for for

1:42:35.760 --> 1:42:38.240
<v Speaker 15>like the last thirty five years or whatever it is.

1:42:38.640 --> 1:42:41.120
<v Speaker 14>My dad shot it right, Yes he did, Yes, he did.

1:42:41.320 --> 1:42:41.519
<v Speaker 2>God.

1:42:42.120 --> 1:42:45.840
<v Speaker 15>So I finally got it digitized, so sooner or later?

1:42:47.400 --> 1:42:50.000
<v Speaker 15>Oh god, yeah, I was about to say, there there

1:42:50.120 --> 1:42:53.200
<v Speaker 15>is there, there is a member. I went rogue on

1:42:53.320 --> 1:42:55.280
<v Speaker 15>y'all when I did my James Brown routine because I

1:42:55.320 --> 1:42:56.719
<v Speaker 15>was always suposed to sing two songs.

1:42:57.320 --> 1:42:59.880
<v Speaker 14>We we always going road.

1:43:00.400 --> 1:43:04.360
<v Speaker 5>Yeah, we had we added some sort of ad live

1:43:04.560 --> 1:43:07.880
<v Speaker 5>and you said the diva was She was.

1:43:07.880 --> 1:43:09.280
<v Speaker 14>Like, what is he doing?

1:43:11.240 --> 1:43:13.920
<v Speaker 5>Get him off the state? No, no, no, the audience

1:43:13.920 --> 1:43:15.240
<v Speaker 5>is screaming exactly.

1:43:15.439 --> 1:43:18.360
<v Speaker 6>He came out and fulled James Brown regalia, the wig

1:43:18.680 --> 1:43:19.720
<v Speaker 6>and the whole nine.

1:43:20.120 --> 1:43:23.160
<v Speaker 15>Yes, that's what I could. I can still, that's what

1:43:23.240 --> 1:43:25.280
<v Speaker 15>I could get up from a split. I can still

1:43:25.320 --> 1:43:25.800
<v Speaker 15>do a split.

1:43:30.080 --> 1:43:30.880
<v Speaker 1>I want to see that.

1:43:31.840 --> 1:43:33.640
<v Speaker 14>Yeah, I'm sure you do see that.

1:43:33.840 --> 1:43:38.599
<v Speaker 5>That's our version of Carlo Carlo. You know I still

1:43:38.640 --> 1:43:39.439
<v Speaker 5>had that m P three.

1:43:39.880 --> 1:43:40.720
<v Speaker 3>I can't believe you.

1:43:40.760 --> 1:43:45.599
<v Speaker 5>Know, yo, the amount of people, so we were on tour.

1:43:46.479 --> 1:43:51.120
<v Speaker 6>This is like, this is really when like pre social media,

1:43:52.360 --> 1:43:57.040
<v Speaker 6>when like AOL chat was you know, welcome you got.

1:43:57.160 --> 1:44:00.400
<v Speaker 6>You know, is there any more satisfying feeling than when

1:44:00.439 --> 1:44:04.000
<v Speaker 6>you plugged your hotel telephone man inside.

1:44:03.600 --> 1:44:04.479
<v Speaker 14>The mode and.

1:44:07.320 --> 1:44:11.280
<v Speaker 5>It goes through. Welcome you got was a great feeling

1:44:11.360 --> 1:44:12.040
<v Speaker 5>that was like different.

1:44:13.000 --> 1:44:15.000
<v Speaker 15>Remember when they had for a short period you could

1:44:15.040 --> 1:44:17.519
<v Speaker 15>download a celebrity to say that for you.

1:44:18.720 --> 1:44:23.800
<v Speaker 5>Yes, I had David Leman, you used to I am

1:44:23.920 --> 1:44:25.120
<v Speaker 5>me on right right.

1:44:25.600 --> 1:44:29.280
<v Speaker 6>We were all pals and you sent me one of

1:44:29.360 --> 1:44:31.160
<v Speaker 6>my first MB three's.

1:44:30.880 --> 1:44:33.840
<v Speaker 5>I had of Carlos. I did, yes, and.

1:44:35.479 --> 1:44:36.679
<v Speaker 1>You were you surprised?

1:44:36.920 --> 1:44:39.160
<v Speaker 5>Yeah, I played everyone like you know what she sent me.

1:44:39.520 --> 1:44:40.200
<v Speaker 5>You know, it's weird.

1:44:41.200 --> 1:44:44.200
<v Speaker 6>That's such a weird time period because now there's at

1:44:44.280 --> 1:44:46.840
<v Speaker 6>least five other singers that did.

1:44:48.439 --> 1:44:50.479
<v Speaker 5>Their version of going against type.

1:44:51.560 --> 1:44:56.400
<v Speaker 6>Mariah is another person where she made the best album

1:44:56.479 --> 1:44:59.360
<v Speaker 6>of her career, but just as a joke because she

1:44:59.479 --> 1:45:04.320
<v Speaker 6>was like upse with America's obsession with Whole and Courtney Love. Okay,

1:45:04.680 --> 1:45:07.080
<v Speaker 6>so during lunch breaks or dinner breaks, she would just

1:45:07.160 --> 1:45:09.519
<v Speaker 6>tell her band, like, you know, just play some like.

1:45:10.479 --> 1:45:13.040
<v Speaker 5>Ragged you know, grun song, whatever 'sus.

1:45:15.200 --> 1:45:19.040
<v Speaker 6>But I was listening to it and I'm like, like,

1:45:19.080 --> 1:45:20.760
<v Speaker 6>I don't want to insult her, but I'm like not

1:45:20.920 --> 1:45:24.200
<v Speaker 6>for nothing, but you know this is your best record?

1:45:24.280 --> 1:45:24.400
<v Speaker 5>Right?

1:45:24.680 --> 1:45:26.040
<v Speaker 1>Wait? Is this something that's out?

1:45:26.960 --> 1:45:32.000
<v Speaker 6>So she wants she's figuring out what to do with it.

1:45:32.120 --> 1:45:33.960
<v Speaker 6>She did this like right when she was doing the

1:45:34.000 --> 1:45:38.559
<v Speaker 6>Butterfly record. Now, if you look throughout history, a lot

1:45:38.680 --> 1:45:43.600
<v Speaker 6>of the great musical decisions in music were always afterthoughts

1:45:43.640 --> 1:45:46.360
<v Speaker 6>and never planned out. Like the Isisley Brothers tells the

1:45:46.400 --> 1:45:48.160
<v Speaker 6>story of that they had ten minutes left in the

1:45:48.240 --> 1:45:50.360
<v Speaker 6>session and they were like, let's do that church song

1:45:50.439 --> 1:45:54.000
<v Speaker 6>real quick, and it would shout, you know, Tequila to

1:45:54.320 --> 1:45:56.760
<v Speaker 6>three minutes to do. Like literally, there's a history of

1:45:56.880 --> 1:46:00.680
<v Speaker 6>like just last minute songs. So she she made like

1:46:00.840 --> 1:46:03.559
<v Speaker 6>fifteen songs of just like you.

1:46:03.600 --> 1:46:06.680
<v Speaker 5>Know, I Hate My Life and Da Da dad yea

1:46:07.120 --> 1:46:07.479
<v Speaker 5>and all this.

1:46:08.080 --> 1:46:14.000
<v Speaker 6>But it's like it's the I still maintain it's Mariah

1:46:14.040 --> 1:46:18.280
<v Speaker 6>Carey's best moment singing ever because she's not being Mariah

1:46:18.320 --> 1:46:20.240
<v Speaker 6>carry She's being free in herself.

1:46:20.400 --> 1:46:23.640
<v Speaker 1>And so there's a freedom in doing something that's not

1:46:23.800 --> 1:46:24.160
<v Speaker 1>your thing.

1:46:24.320 --> 1:46:27.560
<v Speaker 5>We just think it's so how many other just like,

1:46:28.200 --> 1:46:29.800
<v Speaker 5>let's fuck around and you got that.

1:46:30.720 --> 1:46:32.720
<v Speaker 1>I do a lot of bands that aren't under my name,

1:46:32.840 --> 1:46:36.200
<v Speaker 1>but that one's the furthest from my thing, probably ell Mass.

1:46:36.280 --> 1:46:39.360
<v Speaker 5>So the world's never just you've never released Carlo for

1:46:39.439 --> 1:46:39.720
<v Speaker 5>the world.

1:46:39.720 --> 1:46:41.320
<v Speaker 1>Oh no, it's been released. We released it.

1:46:41.520 --> 1:46:42.280
<v Speaker 5>Did you clean it up?

1:46:42.560 --> 1:46:42.600
<v Speaker 7>No?

1:46:42.840 --> 1:46:46.680
<v Speaker 1>We released it. We released it then what yeah, back then,

1:46:47.040 --> 1:46:49.920
<v Speaker 1>back in the like two thousand and four or five

1:46:50.080 --> 1:46:53.720
<v Speaker 1>or six or something. But we released it without any

1:46:53.760 --> 1:46:56.400
<v Speaker 1>of our names on it because it was a tricky thing.

1:46:56.479 --> 1:46:59.000
<v Speaker 1>At that time. My second album was still pretty big,

1:46:59.160 --> 1:47:01.400
<v Speaker 1>and I didn't want it to be like remember when

1:47:01.439 --> 1:47:04.240
<v Speaker 1>Garth Brooks put out Life of Chris Gaines. Yes, yeah,

1:47:04.600 --> 1:47:06.280
<v Speaker 1>I didn't want it to be a joke because it

1:47:06.400 --> 1:47:09.439
<v Speaker 1>wasn't a joke. It was really fun and but it

1:47:09.560 --> 1:47:11.479
<v Speaker 1>was funny, but I.

1:47:11.479 --> 1:47:13.160
<v Speaker 5>Didn't want to ever do it in concert.

1:47:13.720 --> 1:47:15.599
<v Speaker 1>We did a bunch of gigs at the Delancey down

1:47:15.640 --> 1:47:16.479
<v Speaker 1>on the Lower East.

1:47:16.280 --> 1:47:20.360
<v Speaker 5>Side at the time, but you but where were people's

1:47:20.400 --> 1:47:21.080
<v Speaker 5>reactions to this.

1:47:21.400 --> 1:47:25.920
<v Speaker 1>We wore wigs and crazy makeup, so which was also

1:47:26.040 --> 1:47:27.600
<v Speaker 1>part of the fun for me. I got to be

1:47:27.680 --> 1:47:30.200
<v Speaker 1>a character, you know, and part of it was hiding

1:47:30.320 --> 1:47:32.160
<v Speaker 1>myself from the audience, but part of it was just

1:47:32.320 --> 1:47:34.880
<v Speaker 1>the fun of doing that. Like I can't imagine putting

1:47:34.920 --> 1:47:37.479
<v Speaker 1>on a wig and crazy blade runner makeup to do

1:47:37.520 --> 1:47:39.479
<v Speaker 1>a Nora Jones show because I feel like people would

1:47:39.520 --> 1:47:42.479
<v Speaker 1>think I'm trying too hard to be somebody else.

1:47:43.280 --> 1:47:46.040
<v Speaker 5>But never, but that's in my bones. I love dressing up,

1:47:46.320 --> 1:47:47.400
<v Speaker 5>but never for an encore.

1:47:47.479 --> 1:47:50.120
<v Speaker 6>Once you're like dude and just go into it and

1:47:50.640 --> 1:47:52.559
<v Speaker 6>the audience is like, wait, what the hell's going on here?

1:47:52.640 --> 1:47:52.760
<v Speaker 2>Oh?

1:47:52.880 --> 1:47:55.720
<v Speaker 1>Like it a yeah, Carlo, No, I feel like I

1:47:55.720 --> 1:47:58.719
<v Speaker 1>couldn't do it without them, without that band, that's yeah,

1:47:59.200 --> 1:48:01.799
<v Speaker 1>But we kind of we kind of parted ways eventually

1:48:01.920 --> 1:48:05.559
<v Speaker 1>and the album was released, but none of our names

1:48:05.560 --> 1:48:07.560
<v Speaker 1>were on it, so it's not like anybody knew about it.

1:48:07.840 --> 1:48:09.880
<v Speaker 1>A couple of people knew it was me, but it

1:48:10.040 --> 1:48:10.800
<v Speaker 1>wasn't a big deal.

1:48:11.840 --> 1:48:14.320
<v Speaker 5>Well, this also proves that I do not keep a.

1:48:14.320 --> 1:48:17.599
<v Speaker 1>Secret because well, now I wish it wasn't a secret

1:48:17.680 --> 1:48:21.439
<v Speaker 1>because in hindsight, like I love it, but at the time,

1:48:21.560 --> 1:48:24.160
<v Speaker 1>it just felt like people would pick it apart too

1:48:24.240 --> 1:48:24.840
<v Speaker 1>much and that's.

1:48:24.760 --> 1:48:25.479
<v Speaker 5>Not what it was for.

1:48:25.960 --> 1:48:30.599
<v Speaker 1>I was like, man, she's cool, Maybe we'll get them

1:48:30.680 --> 1:48:32.519
<v Speaker 1>on the podcast, and we'll do a repeace of it.

1:48:32.960 --> 1:48:33.880
<v Speaker 14>You gotta.

1:48:35.479 --> 1:48:37.320
<v Speaker 15>You know how I knew you were cool because you

1:48:37.360 --> 1:48:42.080
<v Speaker 15>were tight with Brian Blade. Uh huh and uh you

1:48:42.120 --> 1:48:44.559
<v Speaker 15>know when you when I knew that he had been

1:48:44.640 --> 1:48:47.200
<v Speaker 15>working with you. He's one of those kind of people

1:48:48.040 --> 1:48:50.840
<v Speaker 15>that you know, if he can't mess with you, he

1:48:51.200 --> 1:48:52.720
<v Speaker 15>ain't gonna but he ain't not gonna play with you.

1:48:53.040 --> 1:48:55.960
<v Speaker 1>He won't return, right right, It won't.

1:48:55.800 --> 1:48:58.600
<v Speaker 14>Even be mean r gonna ghost you.

1:48:58.800 --> 1:49:01.200
<v Speaker 1>Right, I know. He definitely the coolest.

1:49:01.439 --> 1:49:02.920
<v Speaker 14>Oh yeah, yeah, And so.

1:49:04.680 --> 1:49:09.160
<v Speaker 5>That's how we that's how we connected through Brian recently.

1:49:09.479 --> 1:49:13.000
<v Speaker 1>Yeah, yeah, yeah, But I mean I've I feel like

1:49:13.080 --> 1:49:16.000
<v Speaker 1>I've known you forever, but I haven't. I know, we

1:49:16.160 --> 1:49:19.040
<v Speaker 1>only played together once exactly, and not that last year

1:49:20.200 --> 1:49:22.280
<v Speaker 1>for Jazz House Kids your foundation.

1:49:23.240 --> 1:49:23.439
<v Speaker 3>Yeah.

1:49:24.320 --> 1:49:26.679
<v Speaker 1>And I had a dog bit me on the nose

1:49:26.720 --> 1:49:29.639
<v Speaker 1>that morning, so I was all scared to show my nose.

1:49:29.760 --> 1:49:31.000
<v Speaker 14>Yeah, but you killed it.

1:49:31.400 --> 1:49:32.160
<v Speaker 1>It healed.

1:49:34.240 --> 1:49:35.719
<v Speaker 5>All right. So what's the next joint?

1:49:36.040 --> 1:49:39.840
<v Speaker 1>Okay? So, so I wanted to try the Stangelo song?

1:49:40.320 --> 1:49:41.519
<v Speaker 5>Okay, what do you think.

1:49:44.320 --> 1:49:45.120
<v Speaker 1>He'll play electric?

1:49:46.280 --> 1:49:46.720
<v Speaker 2>I don't know.

1:49:46.840 --> 1:49:50.760
<v Speaker 1>I just thought you should play it on something, okay. Yeah,

1:49:51.240 --> 1:49:53.360
<v Speaker 1>And also if for this. It can be sloppy. It's

1:49:53.400 --> 1:49:53.920
<v Speaker 1>no big deal.

1:49:54.240 --> 1:49:54.800
<v Speaker 5>That's all I know.

1:49:55.520 --> 1:49:57.519
<v Speaker 1>That's all I know. You said you wanted to be

1:49:57.640 --> 1:49:59.280
<v Speaker 1>some more sloppy. I'm your girl.

1:50:00.000 --> 1:50:01.840
<v Speaker 6>Actually, I want to challenge myself to see if I

1:50:01.880 --> 1:50:04.719
<v Speaker 6>can play it unlike the record version.

1:50:04.880 --> 1:50:07.519
<v Speaker 5>So this will be fun. We started it.

1:50:07.600 --> 1:50:10.960
<v Speaker 6>We started, so it's weird that we're here. We actually

1:50:11.040 --> 1:50:16.080
<v Speaker 6>started Black Messiah in this very room.

1:50:16.680 --> 1:50:19.440
<v Speaker 5>Really, that album took fourteen years to make, really.

1:50:19.680 --> 1:50:24.439
<v Speaker 6>Like Voodoo took five, but Black Messiah was pretty much

1:50:24.520 --> 1:50:32.320
<v Speaker 6>started two thousand and two. He's like Molasses man. So

1:50:33.360 --> 1:50:35.720
<v Speaker 6>but we didn't we didn't do that here. I think

1:50:35.760 --> 1:50:40.400
<v Speaker 6>we did betray my Heart at Electric Lady. But yeah,

1:50:40.640 --> 1:50:43.560
<v Speaker 6>just coming back to this room, I remember, is this

1:50:43.680 --> 1:50:47.679
<v Speaker 6>where primarily most jazz albums are recorded in this particular room.

1:50:47.520 --> 1:50:51.240
<v Speaker 15>That if you got a nice budget. Yeah, the Criss

1:50:51.320 --> 1:50:53.120
<v Speaker 15>Cross records used to be made upstairs.

1:50:53.479 --> 1:50:54.439
<v Speaker 14>What Yeah.

1:50:55.960 --> 1:51:00.880
<v Speaker 15>At Sears Sound. Yeah, what a there's a few records

1:51:01.120 --> 1:51:02.040
<v Speaker 15>I've made upstairs.

1:51:02.520 --> 1:51:08.880
<v Speaker 1>Really, yeah, I've done a bunch here. But you guys

1:51:08.920 --> 1:51:12.200
<v Speaker 1>both worked with di'angelo on Yeah, so.

1:51:13.320 --> 1:51:17.840
<v Speaker 15>Pretty much thanks to him, I got a piece a

1:51:17.880 --> 1:51:19.599
<v Speaker 15>little tiny lickings.

1:51:23.520 --> 1:51:27.040
<v Speaker 6>Yeah, at Electric lady, I'll say that, you know, probably

1:51:27.439 --> 1:51:31.920
<v Speaker 6>some of my most adventurous escape moments, like my chance

1:51:32.000 --> 1:51:35.000
<v Speaker 6>to not be a route and just to figure out

1:51:35.200 --> 1:51:38.840
<v Speaker 6>what else is out there? Like his projects allowed me

1:51:38.920 --> 1:51:41.080
<v Speaker 6>to do that, and then subsequently, once that record came

1:51:41.120 --> 1:51:44.200
<v Speaker 6>out and anything else I worked on, like Common or

1:51:44.439 --> 1:51:48.240
<v Speaker 6>Erica or Blow or that sort of thing. Like that's

1:51:48.320 --> 1:51:52.559
<v Speaker 6>kind of how the what they call the soul quarian

1:51:52.720 --> 1:51:54.679
<v Speaker 6>era like started.

1:51:54.800 --> 1:51:57.479
<v Speaker 1>But yeah, man, that's how you grow.

1:51:59.120 --> 1:51:59.880
<v Speaker 14>I got a what if?

1:52:00.520 --> 1:52:00.560
<v Speaker 5>What?

1:52:01.439 --> 1:52:05.599
<v Speaker 15>So there's two what if Speaking of D'Angelo, you probably noticed,

1:52:05.720 --> 1:52:10.560
<v Speaker 15>D'Angelo told me that he initially had well he was

1:52:10.600 --> 1:52:13.720
<v Speaker 15>going to go to VCU in Richmond, where he's from,

1:52:14.280 --> 1:52:16.680
<v Speaker 15>to study jazz piano with Elis Marcellus.

1:52:17.360 --> 1:52:17.800
<v Speaker 5>Oh god.

1:52:18.280 --> 1:52:20.880
<v Speaker 15>The year he graduated high school was the year Ellis

1:52:21.160 --> 1:52:23.840
<v Speaker 15>retired from VCU. So he was like, well, if I

1:52:23.920 --> 1:52:26.000
<v Speaker 15>can't study with him, I'm not going to study jazz.

1:52:27.400 --> 1:52:31.000
<v Speaker 15>I always wonder Alice Marcella stayed one more year.

1:52:31.680 --> 1:52:32.439
<v Speaker 1>That's interesting.

1:52:33.200 --> 1:52:35.600
<v Speaker 15>Who knows D'Angelo might have been the piano player in

1:52:35.920 --> 1:52:37.320
<v Speaker 15>Roy Hargroves Quint test.

1:52:39.880 --> 1:52:45.080
<v Speaker 5>Elis Man, you give me nightmares. Look at you. You

1:52:45.160 --> 1:52:49.160
<v Speaker 5>look like a rock drummer. Playing all that rock. Why

1:52:49.280 --> 1:52:50.200
<v Speaker 5>is that snare so tight?

1:52:50.840 --> 1:52:51.040
<v Speaker 2>Oh?

1:52:51.360 --> 1:52:52.439
<v Speaker 5>Really, man?

1:52:52.479 --> 1:52:55.640
<v Speaker 6>He he roasted me, man like on the news, why

1:52:55.800 --> 1:52:57.439
<v Speaker 6>is that snare so tight? He's like, why is that

1:52:57.520 --> 1:52:58.160
<v Speaker 6>snare so tight?

1:52:58.360 --> 1:53:01.160
<v Speaker 15>After he played with James Black and Idris and all

1:53:01.240 --> 1:53:06.639
<v Speaker 15>them cats, Nah man, heartbreaking? Oh and another thing went

1:53:06.920 --> 1:53:11.680
<v Speaker 15>here's what if this came back to Hauntum. In two

1:53:11.720 --> 1:53:14.640
<v Speaker 15>thousand and one, I started touring with Sting and so

1:53:14.800 --> 1:53:17.479
<v Speaker 15>there was a bunch of different drummers in there. My

1:53:17.600 --> 1:53:22.519
<v Speaker 15>new catch a was first. Then Able Boreol Junior came

1:53:22.560 --> 1:53:24.960
<v Speaker 15>in for a spell, and Vinnie call You came in.

1:53:25.080 --> 1:53:26.720
<v Speaker 15>So it's like a bunch of different cats coming in.

1:53:27.320 --> 1:53:30.320
<v Speaker 15>And so Sting said, uh, hey, I got a string

1:53:30.400 --> 1:53:32.800
<v Speaker 15>of gigs. Who you like playing with? Who can you

1:53:33.040 --> 1:53:35.200
<v Speaker 15>who can you recommend? I said, you need to get

1:53:35.200 --> 1:53:38.479
<v Speaker 15>my man, I'm mirror. He's like, oh, I'm not familiar.

1:53:38.560 --> 1:53:41.400
<v Speaker 15>So I gave him the Philly Experiment and I gave

1:53:41.479 --> 1:53:42.799
<v Speaker 15>him a couple of Roots records.

1:53:42.840 --> 1:53:44.760
<v Speaker 5>He was like, oh that that guy.

1:53:44.960 --> 1:53:49.519
<v Speaker 14>Yes, yes, So I gave him the recordings. Never heard nothing.

1:53:49.680 --> 1:53:51.720
<v Speaker 15>I said, well, okay, okay, I ain't gonna you know,

1:53:51.840 --> 1:53:54.080
<v Speaker 15>I ain't gonna pry you Sting you know who you want.

1:53:55.560 --> 1:54:01.360
<v Speaker 15>Fast forward ten, maybe even fifteen years later, you finally

1:54:01.520 --> 1:54:02.559
<v Speaker 15>you finally played with him.

1:54:02.800 --> 1:54:04.960
<v Speaker 5>Here's Sting's house band for almost like all of.

1:54:06.640 --> 1:54:11.000
<v Speaker 15>Yeah, and then I see him somewhere. He's like, oh man,

1:54:11.520 --> 1:54:16.200
<v Speaker 15>you you know Questlove right, He's amazing. I was like, man,

1:54:18.360 --> 1:54:19.920
<v Speaker 15>I'm not going to tell you what I said on

1:54:20.040 --> 1:54:22.720
<v Speaker 15>the microphone. I was like, you remember what a long

1:54:22.800 --> 1:54:25.680
<v Speaker 15>time ago you asked me about drummers. That's who I

1:54:25.840 --> 1:54:33.520
<v Speaker 15>was talking about. Oh, like, can you imagine had we

1:54:33.600 --> 1:54:36.720
<v Speaker 15>played in these things band together that'ren crazy, every breath

1:54:36.800 --> 1:54:38.320
<v Speaker 15>you take would have sounded a lot different.

1:54:38.480 --> 1:54:39.840
<v Speaker 1>It would have sounded like a James Brown's.

1:54:44.480 --> 1:54:50.000
<v Speaker 6>He's so he's so triggered by Stewart's playing again. Oh gosh, yes,

1:54:50.160 --> 1:54:52.560
<v Speaker 6>this is me being a shape shifter that when I

1:54:52.600 --> 1:54:55.600
<v Speaker 6>played with him. Yeah, he instantly knew and he stopped

1:54:55.600 --> 1:54:58.560
<v Speaker 6>the song. Yeah, he says, you can't. Don't do that exactly,

1:54:58.720 --> 1:55:01.960
<v Speaker 6>you can't what he says. I know you you worship

1:55:02.080 --> 1:55:05.080
<v Speaker 6>the police, but don't play none of that. Don't like Stewart.

1:55:05.120 --> 1:55:08.520
<v Speaker 6>It triggers me, like you don't know, It's very true.

1:55:08.600 --> 1:55:11.760
<v Speaker 6>So I had to undo. I didn't know how to

1:55:11.840 --> 1:55:14.200
<v Speaker 6>play like anything. But you know my regular.

1:55:15.640 --> 1:55:16.280
<v Speaker 14>You know right.

1:55:17.760 --> 1:55:20.880
<v Speaker 15>Like all of you know Stuart's have we played in

1:55:20.880 --> 1:55:23.840
<v Speaker 15>these things band? Everything she does is magic, Every little

1:55:23.880 --> 1:55:26.760
<v Speaker 15>thing she does is magic. Would have been halftime little.

1:55:28.120 --> 1:55:28.280
<v Speaker 2>Right?

1:55:34.600 --> 1:55:35.320
<v Speaker 1>That's great?

1:55:36.480 --> 1:55:49.560
<v Speaker 5>Are give me a g? Wait? Is this this is

1:55:49.640 --> 1:55:52.120
<v Speaker 5>notated in like a real or a fake book? What

1:55:53.280 --> 1:55:54.040
<v Speaker 5>betrayed my heart?

1:55:54.240 --> 1:55:54.280
<v Speaker 3>No?

1:55:54.560 --> 1:55:54.600
<v Speaker 8>No?

1:55:55.120 --> 1:55:55.280
<v Speaker 2>Oh?

1:55:55.360 --> 1:55:56.760
<v Speaker 5>I was like, wow, he really made it?

1:55:58.760 --> 1:56:00.720
<v Speaker 1>Oh you thought I picked it out from a fake book?

1:56:00.800 --> 1:56:00.960
<v Speaker 5>Yeah?

1:56:00.960 --> 1:56:03.040
<v Speaker 6>I was like so proud, like whoa, No, no, no,

1:56:03.120 --> 1:56:06.839
<v Speaker 6>we just made some Look No, I just don't understand.

1:56:06.880 --> 1:56:10.520
<v Speaker 5>I literally was something I had to do with Literally,

1:56:10.720 --> 1:56:11.440
<v Speaker 5>isn't a fake book?

1:56:11.560 --> 1:56:12.760
<v Speaker 1>Or maybe maybe it is?

1:56:13.240 --> 1:56:13.720
<v Speaker 2>Maybe it is.

1:56:14.240 --> 1:56:15.680
<v Speaker 1>Honestly, this is a great song.

1:56:16.120 --> 1:56:16.400
<v Speaker 5>Thank you.

1:56:16.720 --> 1:57:06.720
<v Speaker 2>Yeah, h em nine must take its sure as birth

1:57:07.040 --> 1:57:08.560
<v Speaker 2>must surprise and fall.

1:57:10.400 --> 1:57:15.680
<v Speaker 10>I'll be there to see you through just as long

1:57:16.240 --> 1:57:22.560
<v Speaker 10>as it is. I will live on live your sight.

1:57:24.280 --> 1:57:28.280
<v Speaker 8>And if you should ever faith, then my love is nsensey.

1:57:28.840 --> 1:57:35.120
<v Speaker 19>I will never betray your heart. I will never betray

1:57:35.800 --> 1:57:40.440
<v Speaker 19>your heart. I will never chase.

1:57:51.920 --> 1:57:54.960
<v Speaker 2>Like a breeze that blows into.

1:57:56.440 --> 1:58:01.720
<v Speaker 10>I will whisper to keep you. Could this I swear

1:58:02.680 --> 1:58:06.280
<v Speaker 10>in with allstue I take.

1:58:06.280 --> 1:58:07.920
<v Speaker 2>Nothing in place.

1:58:10.440 --> 1:58:12.840
<v Speaker 3>When you're freezing down down.

1:58:13.200 --> 1:58:15.760
<v Speaker 2>Now you must love.

1:58:16.120 --> 1:58:20.840
<v Speaker 8>You can't depend on me. You don't never have to

1:58:20.960 --> 1:58:23.080
<v Speaker 8>feel that my love is nice.

1:58:23.160 --> 1:58:27.040
<v Speaker 2>And see, I will never betray in my heart.

1:58:28.720 --> 1:58:35.520
<v Speaker 19>I will never betray my hot I will never betray

1:58:36.040 --> 1:58:36.680
<v Speaker 19>my phone.

1:58:47.120 --> 1:58:48.360
<v Speaker 2>Through the storm, to.

1:58:48.440 --> 1:58:53.040
<v Speaker 10>The rain, I come running to easier pain, like the rail,

1:58:53.280 --> 1:58:55.320
<v Speaker 10>across the train, like.

1:58:55.400 --> 1:58:59.240
<v Speaker 2>The blood in my veins. I will never betray your heart.

1:59:00.720 --> 1:59:03.760
<v Speaker 2>I would never be a drink your car.

1:59:05.280 --> 1:59:08.160
<v Speaker 8>I will never be drink your ho.

2:00:47.440 --> 2:01:58.240
<v Speaker 5>See, that's the fun part of the danger. We don't

2:01:58.240 --> 2:01:58.800
<v Speaker 5>know what's going.

2:01:59.000 --> 2:02:03.800
<v Speaker 1>That was so danger experience awesome. I think it was great.

2:02:04.000 --> 2:02:06.600
<v Speaker 1>That was fun. That is a hard as to play,

2:02:07.800 --> 2:02:10.839
<v Speaker 1>but it's so good and the lyrics are so beautiful.

2:02:11.800 --> 2:02:14.720
<v Speaker 5>This is the first time I've heard them in the

2:02:14.880 --> 2:02:21.800
<v Speaker 5>English language. I'm playing, I'm playing I Love You man.

2:02:21.960 --> 2:02:23.800
<v Speaker 1>It's a great song, though, and it's hard to play.

2:02:25.880 --> 2:02:27.560
<v Speaker 5>I'm sitting him a photo of this right now.

2:02:28.920 --> 2:02:29.840
<v Speaker 1>Tell him I love him.

2:02:32.600 --> 2:02:33.040
<v Speaker 5>He'll love it.

2:02:35.920 --> 2:02:39.720
<v Speaker 1>I don't even know where one is in that song. No,

2:02:39.840 --> 2:02:42.120
<v Speaker 1>I don't need I don't if I think about it,

2:02:42.200 --> 2:02:44.000
<v Speaker 1>I don't know where it is. Thanks you guys have

2:02:44.080 --> 2:02:45.440
<v Speaker 1>been super generous with your time.

2:02:45.720 --> 2:02:48.840
<v Speaker 5>Thank you, Norah, I appreciate this. Any any chance to

2:02:48.880 --> 2:02:49.880
<v Speaker 5>play with my brother and.

2:02:51.360 --> 2:02:54.600
<v Speaker 14>Yeah, yes, no joke, no Joe.

2:02:54.720 --> 2:02:57.240
<v Speaker 1>Honestly, I would have loved to do this with either

2:02:57.280 --> 2:02:59.080
<v Speaker 1>of you separately, but I just knew would be more

2:02:59.200 --> 2:02:59.760
<v Speaker 1>fun together.

2:03:00.120 --> 2:03:01.240
<v Speaker 5>Oh, well, he's awesome.

2:03:01.280 --> 2:03:02.760
<v Speaker 14>Yeah, I never get to play with my man.

2:03:02.920 --> 2:03:03.800
<v Speaker 2>No, I'm so glad.

2:03:03.960 --> 2:03:05.680
<v Speaker 1>Thanks for doing this, y'all. They're special.

2:03:06.520 --> 2:03:09.720
<v Speaker 5>Thanks for having us, Thank you, thank you all right,

2:03:09.840 --> 2:03:10.320
<v Speaker 5>sure enough.

2:03:22.040 --> 2:03:25.360
<v Speaker 1>These guys are such a blast. They're fun to listen talk.

2:03:25.440 --> 2:03:27.360
<v Speaker 1>I love that they have so many inside jokes. It's

2:03:27.400 --> 2:03:30.160
<v Speaker 1>like they have their own language. Yeah, they do talking,

2:03:30.280 --> 2:03:33.640
<v Speaker 1>but also musically they have inside music jokes. Well, I

2:03:33.920 --> 2:03:35.800
<v Speaker 1>started a text thrive with them when we were trying

2:03:35.800 --> 2:03:39.280
<v Speaker 1>to get together for this, and that alone is like

2:03:39.440 --> 2:03:41.440
<v Speaker 1>the most in. I was just like, Okay, I don't

2:03:41.440 --> 2:03:45.080
<v Speaker 1>know what's happening because they were just fire and wagon forth. Yeah,

2:03:45.240 --> 2:03:47.760
<v Speaker 1>they got their nicknames for each other. Oh, I don't

2:03:47.760 --> 2:03:51.080
<v Speaker 1>know what's happening. That's the history, man. But we got

2:03:51.120 --> 2:03:51.960
<v Speaker 1>a lot of good stories.

2:03:52.400 --> 2:03:53.480
<v Speaker 4>Yeah, and great music.

2:03:53.760 --> 2:03:57.440
<v Speaker 1>So fun to hear a mirror questlove? Whose name is

2:03:57.480 --> 2:04:00.760
<v Speaker 1>a mirror? Do the lesson?

2:04:00.960 --> 2:04:01.080
<v Speaker 5>Oh?

2:04:01.200 --> 2:04:04.040
<v Speaker 1>Yeah, the breakdown, the breakdown now, all the different drummers.

2:04:04.800 --> 2:04:08.600
<v Speaker 1>That was amazing and just playing with Christian on the

2:04:08.640 --> 2:04:14.440
<v Speaker 1>basis it's insane, actually he's insane. Lee amazing. That was

2:04:14.440 --> 2:04:16.880
<v Speaker 1>a dream. And I wish we had just done two days.

2:04:16.920 --> 2:04:18.840
<v Speaker 1>So I wish we had made a record, which we

2:04:19.000 --> 2:04:21.720
<v Speaker 1>just wait we did. Oh, I got some words wrong.

2:04:22.560 --> 2:04:23.920
<v Speaker 1>But if you want to look up the right words.

2:04:24.160 --> 2:04:25.440
<v Speaker 1>But if you want to look up the right words,

2:04:25.480 --> 2:04:28.400
<v Speaker 1>here's the songs we did. We started off with Fine

2:04:28.440 --> 2:04:31.520
<v Speaker 1>and Mellow, an old jazz standard from nineteen thirty nine

2:04:31.600 --> 2:04:34.680
<v Speaker 1>written by my favorite Billy Holliday. Why Am I Treated

2:04:34.760 --> 2:04:38.480
<v Speaker 1>So Bad? A song by Pop Staples and recorded many

2:04:38.560 --> 2:04:41.680
<v Speaker 1>times by many different people, including the Staples singers and

2:04:42.240 --> 2:04:45.960
<v Speaker 1>James Brown, among others. We did say No More from

2:04:46.040 --> 2:04:48.560
<v Speaker 1>one of my albums, pick Up Me Up, pick Up

2:04:48.600 --> 2:04:51.280
<v Speaker 1>Me Up, off the Floor, and that song was actually

2:04:51.320 --> 2:04:54.680
<v Speaker 1>written by me and Myota Sarah Oda. You wrote that song.

2:04:55.000 --> 2:04:58.000
<v Speaker 1>We did border Lord, a song by Chris Christofferson from

2:04:58.080 --> 2:05:02.640
<v Speaker 1>nineteen seventy two. Songwriters on that are Stephen Bruten, Donnie Fritz,

2:05:02.720 --> 2:05:05.360
<v Speaker 1>Terry Paul, and Chris Christofferson. I love that song, by

2:05:05.400 --> 2:05:08.360
<v Speaker 1>the way, and that's an amazing album. The last song

2:05:08.440 --> 2:05:11.520
<v Speaker 1>we did was betray My Heart from DiAngelo's twenty fourteen

2:05:11.600 --> 2:05:15.600
<v Speaker 1>album Black Messiah, on which Questlove was a collaborator. Thank

2:05:15.640 --> 2:05:17.840
<v Speaker 1>you so much for listening. We had a blast. Hope

2:05:17.880 --> 2:05:20.760
<v Speaker 1>you did too. Don't forget to like and subscribe to

2:05:20.880 --> 2:05:24.440
<v Speaker 1>the podcast if you're able to, if you're kind, be kind,

2:05:24.600 --> 2:05:26.880
<v Speaker 1>if you like us, actually even if you don't like us, Yeah,

2:05:27.040 --> 2:05:32.560
<v Speaker 1>just like us. Special thanks to Questlove and Christian McBride

2:05:32.600 --> 2:05:35.240
<v Speaker 1>for joining our podcast. We'll be back next week with

2:05:35.360 --> 2:05:38.960
<v Speaker 1>Lucinda Williams. Noura Jones is playing along as a protection

2:05:39.120 --> 2:05:43.560
<v Speaker 1>of iHeart Podcasts. I'm Your host Nora Jones. This episode

2:05:43.640 --> 2:05:46.400
<v Speaker 1>was recorded It's Your Sound in New York by Steven Sacho,

2:05:46.800 --> 2:05:52.160
<v Speaker 1>assisted by Jasper Leech, Maximilian Trophy, Tanner Wallace, and Andrew Kohinka.

2:05:52.760 --> 2:05:56.839
<v Speaker 1>Mixed by Jamie Landry, edited by Sarah Oda. Additional recording

2:05:56.920 --> 2:06:00.480
<v Speaker 1>by Matt Maronelli. Audio post production and mass string by

2:06:00.560 --> 2:06:05.040
<v Speaker 1>Greg Tobler. Artwork by Eliza Frye. Photography by Shervin Linez.

2:06:05.480 --> 2:06:08.960
<v Speaker 1>Produced by Nora Jones and Sarah Oda. Executive producers Aaron

2:06:09.000 --> 2:06:13.000
<v Speaker 1>Jan Kaufman and Jordan Runtogg marketing lead Queen A. Nake