1 00:00:00,560 --> 00:00:01,360 Speaker 1: Taking a Walk. 2 00:00:01,480 --> 00:00:05,400 Speaker 2: I remember walking around one night at a festival as 3 00:00:05,440 --> 00:00:08,080 Speaker 2: I was in between my junior and senior years. 4 00:00:07,800 --> 00:00:11,360 Speaker 3: Of high school with out on the road with this band. 5 00:00:11,520 --> 00:00:11,760 Speaker 3: You know. 6 00:00:12,520 --> 00:00:15,440 Speaker 2: I just remember walking that around really late one night 7 00:00:15,480 --> 00:00:18,599 Speaker 2: at a fastball and going, this would not be such 8 00:00:18,640 --> 00:00:21,960 Speaker 2: a bad way to go. I just felt like I 9 00:00:22,040 --> 00:00:27,080 Speaker 2: belonged and felt like it was something I could get better, 10 00:00:27,280 --> 00:00:28,960 Speaker 2: you know, see how far this could go. 11 00:00:29,160 --> 00:00:32,440 Speaker 1: Welcome to the Taking a Walk Podcast. This is the 12 00:00:32,440 --> 00:00:36,280 Speaker 1: podcast hosted by Buzz Night, talking with musicians about the 13 00:00:36,320 --> 00:00:41,000 Speaker 1: inside stories behind their music, their passions, their challenges, and 14 00:00:41,040 --> 00:00:45,760 Speaker 1: their latest projects. Today, buzz speaks with Dobra Master and 15 00:00:45,920 --> 00:00:53,519 Speaker 1: sixteen time Grammy winner Jerry Douglas. His music spans country, bluegrass, rock, jazz, 16 00:00:53,520 --> 00:00:58,320 Speaker 1: and more into a distinctive musical vision. Man considered a 17 00:00:58,480 --> 00:01:03,360 Speaker 1: musical trailblazer, Jerry Douglas joins Buzz Night next on Taking 18 00:01:03,360 --> 00:01:03,840 Speaker 1: a Walk. 19 00:01:05,440 --> 00:01:08,000 Speaker 4: Jerry Douglas, It's so great having you on the Taking 20 00:01:08,040 --> 00:01:09,080 Speaker 4: a Walk Podcast. 21 00:01:09,600 --> 00:01:12,520 Speaker 3: Nice to see you, Nice to see you. How's everything 22 00:01:12,560 --> 00:01:14,959 Speaker 3: been with you? Everything has been great. 23 00:01:15,319 --> 00:01:19,800 Speaker 4: The nice folks at City Winery were kind enough to 24 00:01:19,920 --> 00:01:23,840 Speaker 4: sink us up. August twentieth, a Boston date and also 25 00:01:24,000 --> 00:01:27,200 Speaker 4: August twenty third a City Winery New York. 26 00:01:27,040 --> 00:01:29,880 Speaker 3: City date as well. So you're going to be making 27 00:01:29,880 --> 00:01:32,679 Speaker 3: the rounds, sir, who are the city wineries? And I 28 00:01:32,720 --> 00:01:33,360 Speaker 3: don't drink? 29 00:01:34,040 --> 00:01:34,840 Speaker 2: Yeah? 30 00:01:35,080 --> 00:01:36,399 Speaker 3: Who am I going to give it all to? 31 00:01:37,120 --> 00:01:37,280 Speaker 1: Oh? 32 00:01:37,400 --> 00:01:40,560 Speaker 4: Well, you know what, just go easy on everybody. But 33 00:01:41,480 --> 00:01:44,800 Speaker 4: how did a young man from Warren, Ohio get the 34 00:01:44,880 --> 00:01:46,720 Speaker 4: music bug man? 35 00:01:48,080 --> 00:01:48,280 Speaker 3: You know? 36 00:01:48,360 --> 00:01:55,320 Speaker 2: My father, my parents moved up to Ohio from West Virginia, 37 00:01:55,400 --> 00:01:58,080 Speaker 2: where there was either work in the coal mines or 38 00:01:58,160 --> 00:02:00,320 Speaker 2: be a farmer or work on the state road. I mean, 39 00:02:00,360 --> 00:02:04,920 Speaker 2: you didn't have many choices. So they moved up to Ohio, 40 00:02:05,120 --> 00:02:09,800 Speaker 2: Northeastern Ohio for work. My dad moved up there and 41 00:02:09,840 --> 00:02:12,920 Speaker 2: worked in steel mills, and he played, he played guitar. 42 00:02:13,160 --> 00:02:15,680 Speaker 2: You know, all those people had moved up from the South, 43 00:02:15,720 --> 00:02:18,800 Speaker 2: they brought their music with them, if nothing else, you know, 44 00:02:19,360 --> 00:02:22,480 Speaker 2: whatever they could carry in, all the music they could remember. 45 00:02:23,160 --> 00:02:28,720 Speaker 2: And so it was through my father that I got 46 00:02:28,720 --> 00:02:31,000 Speaker 2: the love to play music. He was a guitar player 47 00:02:31,040 --> 00:02:32,040 Speaker 2: and a singer and had his. 48 00:02:32,000 --> 00:02:33,120 Speaker 3: Own bluegrass band. 49 00:02:33,160 --> 00:02:35,680 Speaker 2: And I got to watch those guys, you know, And 50 00:02:35,760 --> 00:02:38,400 Speaker 2: I be rolling around on the floor watching these guys 51 00:02:39,000 --> 00:02:41,680 Speaker 2: arrange a song, you know, and figure out who took 52 00:02:41,720 --> 00:02:43,840 Speaker 2: a solo here, who took a solo there. 53 00:02:43,880 --> 00:02:46,040 Speaker 3: And it all kind of like sunk in. 54 00:02:47,160 --> 00:02:52,679 Speaker 2: And plus I just I don't remember a time when 55 00:02:52,720 --> 00:02:57,600 Speaker 2: I didn't love music, you know, or want to hear it, 56 00:02:57,960 --> 00:02:59,960 Speaker 2: you know, whenever it wasn't there. 57 00:03:01,080 --> 00:03:03,200 Speaker 4: So I'm going to go out on a limb and say, 58 00:03:03,760 --> 00:03:07,320 Speaker 4: Jerry Douglas really did not have a Plan B in 59 00:03:07,440 --> 00:03:08,520 Speaker 4: mind for his career. 60 00:03:09,120 --> 00:03:11,240 Speaker 3: Well I did. I did have a Plan B. 61 00:03:11,440 --> 00:03:14,400 Speaker 2: I was gonna I was actually going to become an 62 00:03:14,480 --> 00:03:18,840 Speaker 2: English teacher and uh and I was all set up 63 00:03:18,880 --> 00:03:21,280 Speaker 2: to go to University of Maryland and then I joined 64 00:03:21,280 --> 00:03:24,240 Speaker 2: The Country Gentleman in d C. And that was as 65 00:03:24,280 --> 00:03:28,680 Speaker 2: close as I got to Maryland. And I remember walking 66 00:03:28,720 --> 00:03:31,760 Speaker 2: around one night at a festival as I was in 67 00:03:31,800 --> 00:03:35,200 Speaker 2: between my junior and senior years of high school with 68 00:03:35,560 --> 00:03:38,960 Speaker 2: out on the road with this band, you know, And 69 00:03:39,800 --> 00:03:42,760 Speaker 2: I just remember walking that around really late one night 70 00:03:42,760 --> 00:03:45,880 Speaker 2: at a festival and going, this would not be such 71 00:03:45,960 --> 00:03:50,240 Speaker 2: a bad way to go, you know, listening to all 72 00:03:50,440 --> 00:03:54,000 Speaker 2: these people play, you know, around campfires, and just what 73 00:03:54,120 --> 00:03:57,640 Speaker 2: a cool scene it was. But what a musical scene 74 00:03:57,680 --> 00:04:00,600 Speaker 2: I was in. You know and learning, just you know, 75 00:04:00,640 --> 00:04:03,080 Speaker 2: being that young and just being exposed to all of 76 00:04:03,120 --> 00:04:06,520 Speaker 2: these bands, all these different kinds of music under one 77 00:04:06,680 --> 00:04:11,960 Speaker 2: banner was really bluegrass at that point, and I just 78 00:04:12,400 --> 00:04:16,200 Speaker 2: felt like I belonged and felt like it was something 79 00:04:16,279 --> 00:04:19,600 Speaker 2: I could get better, you know, see how far this 80 00:04:19,680 --> 00:04:25,560 Speaker 2: could go. And I don't ever remember thinking about throwing 81 00:04:25,640 --> 00:04:28,880 Speaker 2: in the towel of any kind. You know, times were hard, 82 00:04:28,960 --> 00:04:31,640 Speaker 2: you know, we coming up as young musicians. We didn't 83 00:04:31,640 --> 00:04:35,039 Speaker 2: make a lot of money, but man, we had a 84 00:04:35,040 --> 00:04:38,520 Speaker 2: lot of fun. We ended up playing great music and 85 00:04:38,680 --> 00:04:42,520 Speaker 2: you know, discovering each other's music, and that's what really 86 00:04:42,560 --> 00:04:45,680 Speaker 2: made me want to be become and stick and become 87 00:04:45,720 --> 00:04:48,720 Speaker 2: a musician. You know, there was such camaraderie in that 88 00:04:49,720 --> 00:04:52,000 Speaker 2: and the cream of the crop, you know, when the 89 00:04:52,040 --> 00:04:54,960 Speaker 2: cream would rise and you got to play with those 90 00:04:55,000 --> 00:05:00,920 Speaker 2: guys or those women, men everybody more men back at 91 00:05:00,920 --> 00:05:02,800 Speaker 2: that point. You know, I'm glad to see there's so 92 00:05:02,839 --> 00:05:05,039 Speaker 2: many women now, it's unbelievably great. 93 00:05:06,120 --> 00:05:08,000 Speaker 3: But I just. 94 00:05:07,960 --> 00:05:12,520 Speaker 2: Felt like there was I belonged there, and so I've 95 00:05:12,560 --> 00:05:16,360 Speaker 2: been working all of these years to stick in there, 96 00:05:16,520 --> 00:05:18,240 Speaker 2: try to make it better when I could. 97 00:05:19,000 --> 00:05:19,640 Speaker 3: You know, when. 98 00:05:19,440 --> 00:05:22,760 Speaker 2: I I've done a lot of studio work, so I'm 99 00:05:22,839 --> 00:05:26,000 Speaker 2: trying to make the records sound as good and be 100 00:05:26,080 --> 00:05:29,120 Speaker 2: able to compete with any genre that they come up against. 101 00:05:30,000 --> 00:05:35,719 Speaker 2: And that's something I think I've helped improve a little 102 00:05:35,720 --> 00:05:39,920 Speaker 2: bit over the years, and just from doing so many 103 00:05:39,960 --> 00:05:43,000 Speaker 2: country sessions, you know, being in the studio for you know, 104 00:05:43,680 --> 00:05:49,920 Speaker 2: twelve sixteen hours a day, just taking that and and 105 00:05:49,920 --> 00:05:54,200 Speaker 2: and you know, passing that forward to onto bluegrass music, 106 00:05:54,200 --> 00:05:57,480 Speaker 2: which wasn't always recorded so well. You know, it was 107 00:05:57,760 --> 00:06:01,200 Speaker 2: mostly field recording at first, and then and you know 108 00:06:01,279 --> 00:06:04,919 Speaker 2: they're the great old the great old Stanley Brothers and 109 00:06:05,000 --> 00:06:07,719 Speaker 2: Flatten Scrubs and Bill Monroe stuff you know that was 110 00:06:07,760 --> 00:06:11,680 Speaker 2: recorded early on. But I've always thought that I could 111 00:06:11,680 --> 00:06:17,000 Speaker 2: make it sound better, you know, sonically, and that's what 112 00:06:17,040 --> 00:06:19,120 Speaker 2: I that's what I worked toward when i'm you know, 113 00:06:19,160 --> 00:06:23,960 Speaker 2: when I'm producing somebody. But it's it's just a music 114 00:06:24,000 --> 00:06:26,599 Speaker 2: that deserves to be heard. You know, once you've heard it, 115 00:06:26,680 --> 00:06:29,200 Speaker 2: you like it and it's with you forever. So it's 116 00:06:29,320 --> 00:06:34,120 Speaker 2: it's it's just something. It's it's it's the grand experiment, 117 00:06:34,200 --> 00:06:35,080 Speaker 2: you know for me. 118 00:06:36,080 --> 00:06:39,159 Speaker 4: You know, other musicians are in awe of you, and 119 00:06:39,720 --> 00:06:42,120 Speaker 4: in fact, I've wanted to get you on the podcast 120 00:06:42,279 --> 00:06:47,200 Speaker 4: for a long time because we had the great Bill 121 00:06:47,279 --> 00:06:51,599 Speaker 4: Payne from Little Feet on the podcast. And once we 122 00:06:51,640 --> 00:06:55,120 Speaker 4: were done, I said, Bill, who do you think I 123 00:06:55,160 --> 00:06:58,120 Speaker 4: should get? This was early on in doing the podcast, 124 00:06:58,600 --> 00:07:00,800 Speaker 4: and the first person he mentioned, You've got to get 125 00:07:00,839 --> 00:07:01,680 Speaker 4: Jerry Douglas. 126 00:07:02,160 --> 00:07:08,640 Speaker 3: You know, Wow, Bill, I love him. 127 00:07:08,680 --> 00:07:12,560 Speaker 2: Man, what an incredible musician in person he is. You know, 128 00:07:12,640 --> 00:07:16,640 Speaker 2: I didn't really know Billy paid until you know, the 129 00:07:16,720 --> 00:07:22,240 Speaker 2: last two or three years really, and uh, just I 130 00:07:22,320 --> 00:07:25,680 Speaker 2: was around you know, Little Feet, you know, and and 131 00:07:26,000 --> 00:07:29,600 Speaker 2: just as a fan. Really yeah, I thought, man, you know, 132 00:07:29,680 --> 00:07:34,280 Speaker 2: they're there are like another level up from from most 133 00:07:34,440 --> 00:07:35,000 Speaker 2: bands that. 134 00:07:35,000 --> 00:07:37,640 Speaker 3: Play that kind of music. They have so many things 135 00:07:37,680 --> 00:07:39,080 Speaker 3: going on in their band. 136 00:07:39,200 --> 00:07:41,800 Speaker 2: It's just and it's loose and it's tight at the 137 00:07:41,840 --> 00:07:48,480 Speaker 2: same time. It's uh and Billy is an amazing keyboard player, 138 00:07:48,560 --> 00:07:51,480 Speaker 2: amazing piano player. And I just went to Brussels with 139 00:07:51,480 --> 00:07:55,360 Speaker 2: with him and we just we played on some sessions 140 00:07:55,800 --> 00:07:58,800 Speaker 2: that you know, and only only French was spoken there, 141 00:07:58,800 --> 00:08:02,400 Speaker 2: and neither Bill nor nor spoke French. So we're just 142 00:08:02,480 --> 00:08:05,720 Speaker 2: kind of like going, uh huh, right, right, okay, here 143 00:08:05,760 --> 00:08:09,440 Speaker 2: we go, and no one seemed to know the difference, 144 00:08:09,840 --> 00:08:13,000 Speaker 2: and so but Billy, Billy took me. He said, there's 145 00:08:13,040 --> 00:08:15,520 Speaker 2: some sessions in Brussels. I've played on this guy's record 146 00:08:15,560 --> 00:08:17,280 Speaker 2: a couple of times. I think you would, I think 147 00:08:17,280 --> 00:08:19,680 Speaker 2: you would enjoy this. And they're looking for something new, 148 00:08:19,680 --> 00:08:22,160 Speaker 2: and I told him you were the thing that we needed. 149 00:08:23,640 --> 00:08:26,360 Speaker 2: So we went over and we've done it, and uh, 150 00:08:26,760 --> 00:08:28,760 Speaker 2: we're back from that. But you know, I spent a 151 00:08:28,800 --> 00:08:32,000 Speaker 2: lot of time with with Bill and he's just a 152 00:08:32,040 --> 00:08:37,280 Speaker 2: lovely guy and and a major, major mover shaker in 153 00:08:37,400 --> 00:08:40,240 Speaker 2: the whole rock and roll world here, you know. And 154 00:08:40,400 --> 00:08:43,319 Speaker 2: whatever that kind of music is that Little Feet played, 155 00:08:43,320 --> 00:08:45,960 Speaker 2: it was so many it was an amalgamation of so 156 00:08:46,080 --> 00:08:49,200 Speaker 2: many things, and Billy was, you know, at the head 157 00:08:49,240 --> 00:08:53,400 Speaker 2: of that charge. So I got millions of great things 158 00:08:53,400 --> 00:08:56,240 Speaker 2: to say about Billy Payne. That that's that's that's what 159 00:08:56,320 --> 00:08:57,640 Speaker 2: I can tell you about that. 160 00:08:57,840 --> 00:09:01,880 Speaker 4: Well, you've collaborated with so many different people, and I'm 161 00:09:01,880 --> 00:09:04,720 Speaker 4: sure this is an unfair question, but who are some 162 00:09:04,920 --> 00:09:09,400 Speaker 4: of the favorite studio collaborations first out of the I 163 00:09:09,400 --> 00:09:15,119 Speaker 4: don't know, fourteen hundred collaborations that you've you've had. 164 00:09:16,040 --> 00:09:19,840 Speaker 2: Yeah, it's it's it's it's kind of a blur, you know, 165 00:09:19,960 --> 00:09:23,959 Speaker 2: it's and I'm asked that question a lot. And and 166 00:09:24,640 --> 00:09:27,760 Speaker 2: you know, the first there have been so many things 167 00:09:27,840 --> 00:09:29,880 Speaker 2: were you know, when I've been just sitting in the 168 00:09:29,880 --> 00:09:32,839 Speaker 2: studio and i would just say to myself, remember this, 169 00:09:33,120 --> 00:09:37,560 Speaker 2: remember this, because this is something. This is a big deal, 170 00:09:37,840 --> 00:09:40,800 Speaker 2: This is a big deal, this is this is uh 171 00:09:41,120 --> 00:09:45,120 Speaker 2: you know, you think about making the best music you 172 00:09:45,120 --> 00:09:49,240 Speaker 2: could make. Well, okay, right now you're in that situation. 173 00:09:48,800 --> 00:09:50,480 Speaker 3: So step up. 174 00:09:51,000 --> 00:09:54,000 Speaker 2: You know, things that at times like with James Taylor 175 00:09:54,640 --> 00:10:00,960 Speaker 2: or Elvis Costello with Strength to Numbers, with my with 176 00:10:01,080 --> 00:10:05,199 Speaker 2: my guys you know, Edgar Meyer and Baylifleck and Sam 177 00:10:05,200 --> 00:10:09,679 Speaker 2: Bush and and Mark O'Connor. We were all the five 178 00:10:09,760 --> 00:10:12,640 Speaker 2: of us on this record called Strengthen Numbers. You know, 179 00:10:12,720 --> 00:10:17,360 Speaker 2: that was one that was a really great learning experience 180 00:10:17,440 --> 00:10:20,199 Speaker 2: for me. And it was, you know, was I was 181 00:10:20,480 --> 00:10:23,400 Speaker 2: in this cocoon with my friends, but we were pushing 182 00:10:23,440 --> 00:10:27,400 Speaker 2: each other really hard, you know, into territory that maybe 183 00:10:27,440 --> 00:10:33,400 Speaker 2: we hadn't sampled before. And the payoff for that was 184 00:10:33,400 --> 00:10:40,040 Speaker 2: was really great in uh, not I'm not talking about financially, 185 00:10:40,600 --> 00:10:46,800 Speaker 2: I'm talking about just just information and and uh lessons, 186 00:10:46,960 --> 00:10:52,040 Speaker 2: you know, life lessons and uh, just cooperating with people, collaborating. 187 00:10:52,120 --> 00:10:55,040 Speaker 3: Yeah, I am a collaborator. I love that. 188 00:10:56,040 --> 00:10:57,960 Speaker 2: I mean I get a chance to do that so 189 00:10:58,160 --> 00:11:02,120 Speaker 2: much with the trans Atlantic Sessions, the thing that I 190 00:11:02,240 --> 00:11:03,880 Speaker 2: do in Scotland. 191 00:11:03,920 --> 00:11:04,480 Speaker 3: Every year. 192 00:11:05,240 --> 00:11:08,839 Speaker 2: I go over and we have musicians coming from America 193 00:11:08,920 --> 00:11:12,200 Speaker 2: and we have musicians coming to all meeting in one 194 00:11:12,240 --> 00:11:19,480 Speaker 2: place up in Scotland, in Glasgow. We start formula forming 195 00:11:19,520 --> 00:11:22,760 Speaker 2: this show, you know, and people people from both sides 196 00:11:22,800 --> 00:11:26,240 Speaker 2: who've never met, I have no idea, don't know about 197 00:11:26,240 --> 00:11:28,720 Speaker 2: each other, you know, and we just kind of throw 198 00:11:28,760 --> 00:11:35,360 Speaker 2: everybody together and collaborate. It's a giant collaboration experiment and 199 00:11:35,679 --> 00:11:39,880 Speaker 2: it always turns out so beautiful. And you know, I 200 00:11:39,920 --> 00:11:42,720 Speaker 2: get I get five songs from each of the artists 201 00:11:42,800 --> 00:11:44,280 Speaker 2: that are going to be on it every year, and 202 00:11:44,280 --> 00:11:49,000 Speaker 2: then I start balancing that and trying to create a 203 00:11:49,080 --> 00:11:52,160 Speaker 2: show out of that. By the time I get to Glasgow, 204 00:11:52,240 --> 00:11:55,960 Speaker 2: I have a show. So we rehearse that show and 205 00:11:56,120 --> 00:11:59,800 Speaker 2: throw these people together and it's just amazing what they 206 00:12:00,600 --> 00:12:04,080 Speaker 2: what they end up with. It's it's uh, and it 207 00:12:04,160 --> 00:12:05,439 Speaker 2: only happens one time. 208 00:12:05,600 --> 00:12:05,800 Speaker 3: You know. 209 00:12:05,880 --> 00:12:09,560 Speaker 2: We do nine shows and we finish in London at 210 00:12:09,600 --> 00:12:12,720 Speaker 2: the at the Queen's Festival Hall in London on the 211 00:12:12,760 --> 00:12:16,000 Speaker 2: South Bank, right by the right by they love the 212 00:12:16,040 --> 00:12:20,079 Speaker 2: London Eye over there, and we finished, We finished the 213 00:12:20,520 --> 00:12:22,679 Speaker 2: tour there and it never happens again. 214 00:12:23,000 --> 00:12:24,360 Speaker 3: You know. It's just one of those things. 215 00:12:24,400 --> 00:12:28,800 Speaker 2: It's it's it's like we we get into this world 216 00:12:28,800 --> 00:12:30,079 Speaker 2: and we we flesh it out. 217 00:12:30,200 --> 00:12:34,280 Speaker 3: We try everything we we uh. 218 00:12:33,440 --> 00:12:36,160 Speaker 2: And we create the most beautiful music we can in 219 00:12:36,240 --> 00:12:40,439 Speaker 2: the time that we have, and uh, it always turns 220 00:12:40,520 --> 00:12:43,040 Speaker 2: out so good. I always think it the first of it, 221 00:12:43,160 --> 00:12:45,080 Speaker 2: how in the world are we going to make a 222 00:12:45,120 --> 00:12:49,160 Speaker 2: show out of this? Everybody is so different, But by 223 00:12:49,200 --> 00:12:51,640 Speaker 2: the end of it, you know, they've all embraced each 224 00:12:51,679 --> 00:12:55,439 Speaker 2: other's differences and and you know, you look back and 225 00:12:55,480 --> 00:12:58,320 Speaker 2: some there's one person standing in the star position, but 226 00:12:58,480 --> 00:13:03,200 Speaker 2: the other stars are back here singing background vocals or 227 00:13:03,480 --> 00:13:07,360 Speaker 2: whatever it takes, you know, to it's a huge band 228 00:13:07,440 --> 00:13:11,280 Speaker 2: and it's a it's a beautiful sound, and that, you know, 229 00:13:11,480 --> 00:13:15,679 Speaker 2: is the I can't think of a of a circumstance 230 00:13:15,800 --> 00:13:20,400 Speaker 2: where collaboration is is a bigger you know, it starts 231 00:13:20,400 --> 00:13:23,760 Speaker 2: with a bigger c you know than that right there, 232 00:13:24,440 --> 00:13:28,560 Speaker 2: it's that and that's what I do, That's what I 233 00:13:28,600 --> 00:13:31,720 Speaker 2: love to do, is just you know, trade ideas with people, 234 00:13:32,160 --> 00:13:35,760 Speaker 2: you know, and turnover turn over every stone and try 235 00:13:35,800 --> 00:13:36,600 Speaker 2: every idea. 236 00:13:37,920 --> 00:13:39,360 Speaker 3: You know, let everybody in. 237 00:13:39,480 --> 00:13:42,640 Speaker 4: So much like an athlete in the zone when they're 238 00:13:42,679 --> 00:13:48,280 Speaker 4: performing at their highest level. Can you explain how a 239 00:13:48,360 --> 00:13:52,480 Speaker 4: master musician like you gets into the zone and what 240 00:13:52,520 --> 00:13:53,280 Speaker 4: that feels like. 241 00:13:54,800 --> 00:13:56,880 Speaker 2: Well, you know, I've done it for many years with 242 00:13:56,920 --> 00:14:00,200 Speaker 2: it with Alison Krause and Union Station. I mean, and 243 00:14:00,240 --> 00:14:05,199 Speaker 2: we all enter that zone because we have that musical 244 00:14:05,640 --> 00:14:10,000 Speaker 2: music is just beautiful and and for us to uh, 245 00:14:10,600 --> 00:14:13,480 Speaker 2: you know, we feel like we're we're stewards, you know, 246 00:14:13,520 --> 00:14:16,880 Speaker 2: whereas we've just been handed these beautiful songs. Now, what 247 00:14:16,920 --> 00:14:18,960 Speaker 2: are you going to do with them? You know, how 248 00:14:19,000 --> 00:14:22,080 Speaker 2: are you going to uphold this standard? You know, keep 249 00:14:22,120 --> 00:14:26,560 Speaker 2: this bar high? And but but sometimes you can be 250 00:14:26,680 --> 00:14:31,760 Speaker 2: out on stage and having a good night and just 251 00:14:31,960 --> 00:14:34,760 Speaker 2: not even you know, it's sort of like being in 252 00:14:34,800 --> 00:14:37,520 Speaker 2: an out of body experience. I mean, you're standing there 253 00:14:37,560 --> 00:14:40,800 Speaker 2: watching yourself do this. It feels like you can't make 254 00:14:40,800 --> 00:14:43,760 Speaker 2: a mistake, and you know, of course you do. 255 00:14:43,920 --> 00:14:47,800 Speaker 3: Then eventually start thinking about it that way you're going 256 00:14:47,880 --> 00:14:48,680 Speaker 3: to make a mistake. 257 00:14:48,720 --> 00:14:55,160 Speaker 2: But it's just it becomes so refined with that band. 258 00:14:55,280 --> 00:14:58,120 Speaker 2: It's it, it gets into it, it gets into that 259 00:14:58,280 --> 00:15:01,560 Speaker 2: zone where it's we're all there at the same time, 260 00:15:02,600 --> 00:15:08,560 Speaker 2: and uh, every every cylinder is hitting perfectly in time 261 00:15:09,360 --> 00:15:12,000 Speaker 2: and everything is great with the world. 262 00:15:12,120 --> 00:15:12,360 Speaker 4: You know. 263 00:15:13,000 --> 00:15:15,440 Speaker 2: It's a really good it's a great feeling to just 264 00:15:15,560 --> 00:15:19,280 Speaker 2: kind of it is really like standing there watching this thing. 265 00:15:19,360 --> 00:15:22,000 Speaker 2: It's out of body. It's a it can get that 266 00:15:22,160 --> 00:15:24,440 Speaker 2: good with a band like that. 267 00:15:24,760 --> 00:15:27,720 Speaker 1: Yeah, we'll be right back with more of the Taking 268 00:15:27,760 --> 00:15:36,119 Speaker 1: a Walk Podcast. Welcome back to the Taking a Walk Podcast. 269 00:15:37,120 --> 00:15:40,480 Speaker 4: What was the experience like doing the uh being part 270 00:15:40,520 --> 00:15:43,680 Speaker 4: of the Old Brother where art the soundtrack? 271 00:15:46,320 --> 00:15:49,840 Speaker 2: It was wild and funny and and you know, I've 272 00:15:49,920 --> 00:15:53,040 Speaker 2: known I've known t bow and Burnett for years before that, 273 00:15:53,240 --> 00:15:55,720 Speaker 2: and he when he explained to me what we're gonna do, 274 00:15:55,760 --> 00:15:58,200 Speaker 2: he said, we're gonna make We're gonna make a record 275 00:15:58,240 --> 00:16:00,360 Speaker 2: to go with a movie. But we're we're going to 276 00:16:00,440 --> 00:16:02,600 Speaker 2: record all these songs that we've been told we can't 277 00:16:02,640 --> 00:16:07,480 Speaker 2: make any money making, you know, playing so Uh, I said, 278 00:16:07,600 --> 00:16:09,920 Speaker 2: how many records do you think this is going to sell? 279 00:16:10,080 --> 00:16:14,680 Speaker 2: T Bow and then he said eight million, and he 280 00:16:14,840 --> 00:16:18,880 Speaker 2: was too off, or maybe four off by now, I 281 00:16:18,880 --> 00:16:20,240 Speaker 2: don't know, but it's been. 282 00:16:20,280 --> 00:16:21,760 Speaker 3: It was a great record, you know. 283 00:16:21,920 --> 00:16:24,240 Speaker 2: And and at the time when we were doing the record, 284 00:16:24,880 --> 00:16:27,040 Speaker 2: we were we were all playing this music you know 285 00:16:27,160 --> 00:16:30,360 Speaker 2: that we had played, you know, early in our lives 286 00:16:30,600 --> 00:16:38,200 Speaker 2: and had had surpassed, you know, the the simplicity. 287 00:16:37,440 --> 00:16:40,520 Speaker 3: Of it in a way, and we had to get 288 00:16:40,520 --> 00:16:41,120 Speaker 3: that back. 289 00:16:42,160 --> 00:16:44,840 Speaker 2: That was what we were really there for, was to 290 00:16:44,920 --> 00:16:47,800 Speaker 2: create music from a time capsule. 291 00:16:49,040 --> 00:16:50,880 Speaker 3: And uh and uh. 292 00:16:51,120 --> 00:16:54,880 Speaker 2: We actually got to be in the movie uh uh 293 00:16:55,080 --> 00:16:57,520 Speaker 2: toward the end of the movie, right before we're in 294 00:16:57,560 --> 00:16:59,800 Speaker 2: a building where they were right a guy out on 295 00:16:59,840 --> 00:17:02,120 Speaker 2: a they take him out on a rail. 296 00:17:02,480 --> 00:17:03,880 Speaker 3: We were on stage. 297 00:17:04,200 --> 00:17:07,760 Speaker 2: Dan Tamensky and Barry Bales and Ron Block and I 298 00:17:07,840 --> 00:17:12,040 Speaker 2: were up there with really bad haircuts they gave us, 299 00:17:12,800 --> 00:17:16,639 Speaker 2: uh that were from the twenties and thirties, you know, 300 00:17:16,720 --> 00:17:20,679 Speaker 2: and we so we sported those haircuts all summer. But 301 00:17:22,080 --> 00:17:24,359 Speaker 2: it was worth it, you know. And I got a 302 00:17:24,359 --> 00:17:30,040 Speaker 2: lot more respect for actors. George Clooney and everybody was 303 00:17:30,160 --> 00:17:33,160 Speaker 2: they were they have to do their part like six 304 00:17:33,280 --> 00:17:36,359 Speaker 2: seven times to get every angle because there was one 305 00:17:36,560 --> 00:17:41,240 Speaker 2: camera shooting. So and it was, you know, held by 306 00:17:42,040 --> 00:17:45,720 Speaker 2: Roger Deakins. He was the guy sitting on the camera 307 00:17:45,760 --> 00:17:48,840 Speaker 2: and would arrive every day in a nice crisp pair 308 00:17:48,880 --> 00:17:51,359 Speaker 2: of jeans and a nice crisp white shirt, you know, 309 00:17:51,400 --> 00:17:55,000 Speaker 2: and he's sitting there on that camera and he's in command. 310 00:17:55,440 --> 00:17:58,040 Speaker 3: And so he would shoot it from every angle. 311 00:17:58,240 --> 00:18:02,840 Speaker 2: And I watched those people go through the same thing exactly, 312 00:18:03,000 --> 00:18:06,920 Speaker 2: you know, six times to do it perfectly. It's very 313 00:18:06,960 --> 00:18:10,040 Speaker 2: time consuming. What they have to do is like we 314 00:18:10,080 --> 00:18:12,240 Speaker 2: can go back and do something over again. We don't 315 00:18:12,280 --> 00:18:14,280 Speaker 2: have to do the whole thing over again. We can 316 00:18:14,320 --> 00:18:16,760 Speaker 2: do just a piece of it when we're recording, you know, 317 00:18:16,800 --> 00:18:17,600 Speaker 2: in our lives. 318 00:18:18,119 --> 00:18:20,000 Speaker 3: But they're on film. You know, they have to. 319 00:18:20,119 --> 00:18:23,840 Speaker 2: They have to they have to speak, they have to act, 320 00:18:23,880 --> 00:18:26,199 Speaker 2: they have to look right. You know, it has to 321 00:18:26,359 --> 00:18:27,520 Speaker 2: it has to go together. 322 00:18:27,840 --> 00:18:28,679 Speaker 3: But but it was. 323 00:18:29,240 --> 00:18:32,040 Speaker 2: It was wonderful because my wife is from Mississippi, so 324 00:18:33,040 --> 00:18:39,840 Speaker 2: the mississippissippy is is is still a source of wonderment 325 00:18:39,880 --> 00:18:43,320 Speaker 2: to me. And I don't totally understand everything that goes 326 00:18:43,359 --> 00:18:46,040 Speaker 2: on down there, but but what an amazing place. And 327 00:18:46,119 --> 00:18:48,919 Speaker 2: we were in Vicksburg and we did our part. We 328 00:18:48,960 --> 00:18:51,240 Speaker 2: did it in Vicksburg and a building that had never 329 00:18:51,320 --> 00:18:55,760 Speaker 2: had air conditioning. And we're in dead people suits, you know, 330 00:18:55,840 --> 00:19:00,680 Speaker 2: we're we're in wool three piece suits and it's and 331 00:19:00,720 --> 00:19:04,879 Speaker 2: it's July in a building that never had and so 332 00:19:04,920 --> 00:19:07,040 Speaker 2: they would have this truck that would pump all this 333 00:19:07,160 --> 00:19:10,199 Speaker 2: air conditioning in. And there were two hundred people in 334 00:19:10,520 --> 00:19:14,119 Speaker 2: other dead people's suits sitting at the tables. 335 00:19:15,200 --> 00:19:17,240 Speaker 3: And we're up there playing in sweat. 336 00:19:17,280 --> 00:19:19,720 Speaker 2: And there was one room in the back that had 337 00:19:19,800 --> 00:19:23,639 Speaker 2: air conditioning going all the time, and George Cloning was 338 00:19:23,640 --> 00:19:26,159 Speaker 2: piling in there with us as musicians. He was in 339 00:19:26,160 --> 00:19:28,880 Speaker 2: there with us just going wow, is it hot out there? 340 00:19:29,359 --> 00:19:33,200 Speaker 2: You know, it just and you got to know these people, 341 00:19:33,200 --> 00:19:35,520 Speaker 2: they're just people, you know, they're just like us. It's 342 00:19:35,680 --> 00:19:37,639 Speaker 2: like people people are afraid to come up to you 343 00:19:37,680 --> 00:19:40,000 Speaker 2: once in a while just because you're you know, they 344 00:19:40,040 --> 00:19:41,359 Speaker 2: saw you on stage and they. 345 00:19:41,280 --> 00:19:45,159 Speaker 3: Just don't know, you know, what a marvelous thing that is. 346 00:19:45,440 --> 00:19:47,199 Speaker 2: Well they do know what a marvelous thing it is, 347 00:19:47,240 --> 00:19:49,120 Speaker 2: and they wish they could do it, and they treat 348 00:19:49,200 --> 00:19:51,119 Speaker 2: you in a different way because you've done that. 349 00:19:51,160 --> 00:19:55,639 Speaker 3: But you know, we're just people. We're just just we 350 00:19:55,840 --> 00:19:58,120 Speaker 3: just happened to do what we do. It's a little 351 00:19:58,160 --> 00:19:58,679 Speaker 3: bit different. 352 00:19:59,600 --> 00:20:03,280 Speaker 4: Tell me how you have first ran into Molly Tuttle 353 00:20:03,359 --> 00:20:06,639 Speaker 4: and what it's been like doing project work with Molly. 354 00:20:08,640 --> 00:20:13,320 Speaker 2: Molly's Molly is such a powerhouse and such a such a. 355 00:20:14,080 --> 00:20:16,040 Speaker 3: So soft you know and. 356 00:20:17,720 --> 00:20:21,639 Speaker 2: So quiet and reserved and everything until she picks up 357 00:20:21,680 --> 00:20:25,360 Speaker 2: that guitar, you know, and when she's when she straps 358 00:20:25,359 --> 00:20:28,160 Speaker 2: on the guitar, is this other this other person takes 359 00:20:28,200 --> 00:20:33,639 Speaker 2: over and Uh, she's not afraid of anything. She's she 360 00:20:33,640 --> 00:20:35,320 Speaker 2: she'll wade right into anything. 361 00:20:35,760 --> 00:20:37,840 Speaker 3: And the whole band is that way. 362 00:20:38,640 --> 00:20:40,560 Speaker 2: And you know, the first record I did with her 363 00:20:40,760 --> 00:20:43,000 Speaker 2: was sort of like I call in the ringers and 364 00:20:43,160 --> 00:20:45,640 Speaker 2: we make a record, you know, and she gives presents 365 00:20:45,680 --> 00:20:48,000 Speaker 2: me with all the ideas and the songs and everything, 366 00:20:48,000 --> 00:20:50,640 Speaker 2: and we worked them out, figured out what we were 367 00:20:50,640 --> 00:20:53,520 Speaker 2: going to play, and then then we picked the music 368 00:20:53,720 --> 00:20:56,200 Speaker 2: the musicians. And the only person she knew for sure 369 00:20:56,320 --> 00:20:59,360 Speaker 2: was she said, Ron Block, I definitely want Ron Block 370 00:20:59,400 --> 00:21:01,480 Speaker 2: to play banjo on the recognis done. 371 00:21:02,280 --> 00:21:05,359 Speaker 3: I know that guy, and so we can get him. 372 00:21:05,880 --> 00:21:07,960 Speaker 2: And we started bringing in, you know, filling in the 373 00:21:07,960 --> 00:21:11,760 Speaker 2: band and and that was a great record, really fun 374 00:21:11,800 --> 00:21:16,480 Speaker 2: record to make and getting her feet wet, really really, 375 00:21:16,560 --> 00:21:18,679 Speaker 2: you know, she's been playing bluegrass for years in her 376 00:21:18,720 --> 00:21:22,240 Speaker 2: family band in California and with other people you know 377 00:21:22,720 --> 00:21:27,000 Speaker 2: of her same you know her age and all that. 378 00:21:27,080 --> 00:21:30,560 Speaker 2: But and it is a different language. I did have 379 00:21:30,640 --> 00:21:32,959 Speaker 2: to learn a different language. I had to learn, you know, 380 00:21:33,680 --> 00:21:38,000 Speaker 2: millennial language and what not to say, what to say. 381 00:21:38,160 --> 00:21:41,360 Speaker 2: It's like I felt, I never there were times when 382 00:21:41,400 --> 00:21:45,000 Speaker 2: I felt really old, you know, I would say something 383 00:21:45,040 --> 00:21:48,120 Speaker 2: that was some something that they go ooh, you can't 384 00:21:48,160 --> 00:21:52,240 Speaker 2: say that. Please educate me on what I can say. 385 00:21:52,960 --> 00:21:57,080 Speaker 2: And you know me, I'm only mean the best. I 386 00:21:57,200 --> 00:22:00,360 Speaker 2: only mean the best. Anything I say, please don't take 387 00:22:00,359 --> 00:22:04,200 Speaker 2: it in a derogatory way or I'm not against anything, 388 00:22:04,440 --> 00:22:08,119 Speaker 2: so so please just tell me when I went across 389 00:22:08,240 --> 00:22:12,360 Speaker 2: the line, and I did, and they told me, and 390 00:22:12,600 --> 00:22:16,120 Speaker 2: but we got along so fine. But then the second record, 391 00:22:16,160 --> 00:22:18,560 Speaker 2: the band came in and she said, I want to 392 00:22:18,560 --> 00:22:20,600 Speaker 2: do this one with the band, with the band we 393 00:22:20,680 --> 00:22:26,000 Speaker 2: have and yeah, amazing music musicians, young group of musicians. 394 00:22:26,200 --> 00:22:31,160 Speaker 2: And I said, it'll take longer because bands working bands 395 00:22:31,240 --> 00:22:33,800 Speaker 2: take longer in the studio because they're not usually a 396 00:22:33,920 --> 00:22:37,960 Speaker 2: studio savvy. You know about not to move on the 397 00:22:38,040 --> 00:22:42,480 Speaker 2: microphone because your sound changes, you know, and you hear that. 398 00:22:42,760 --> 00:22:44,800 Speaker 2: You know you want you want to you want to 399 00:22:44,800 --> 00:22:47,399 Speaker 2: be as steady and as as you can, you know, 400 00:22:47,560 --> 00:22:50,520 Speaker 2: just just stay in your lane, just stay right there 401 00:22:51,240 --> 00:22:54,640 Speaker 2: and give that microphone the best performance you can. And 402 00:22:55,920 --> 00:22:58,760 Speaker 2: they knocked it out of the park. They came in, 403 00:22:58,920 --> 00:23:03,600 Speaker 2: and I I was wrong about that band being not 404 00:23:03,760 --> 00:23:07,239 Speaker 2: being savvy, because they were totally and I would just 405 00:23:07,280 --> 00:23:09,520 Speaker 2: you know, make up, just have something to say once 406 00:23:09,520 --> 00:23:12,160 Speaker 2: in a little while, but not much mean, and we'd 407 00:23:12,200 --> 00:23:14,639 Speaker 2: get in I had. What I did was with the 408 00:23:14,680 --> 00:23:18,560 Speaker 2: second record, was brought everybody down front because Molly and 409 00:23:18,600 --> 00:23:22,960 Speaker 2: I had really worked the songs out and the band 410 00:23:23,000 --> 00:23:25,720 Speaker 2: didn't really know the songs yet. So I after they 411 00:23:26,040 --> 00:23:28,880 Speaker 2: kind of got recordings of them and got in advance, 412 00:23:28,960 --> 00:23:31,679 Speaker 2: you know, recordings of what we wanted to do. But 413 00:23:31,880 --> 00:23:33,639 Speaker 2: then I set them all down in the front of 414 00:23:33,680 --> 00:23:35,720 Speaker 2: the studio in a circle, and so we could look 415 00:23:35,760 --> 00:23:39,000 Speaker 2: at each other and talk to each other as we 416 00:23:39,080 --> 00:23:41,199 Speaker 2: went through the songs, and we all learned them at 417 00:23:41,200 --> 00:23:45,000 Speaker 2: the same time, and you know, and we had the 418 00:23:45,040 --> 00:23:48,359 Speaker 2: same groove going on, you know, we were thinking the 419 00:23:48,400 --> 00:23:53,119 Speaker 2: same things. And it then went to our stations, you know, 420 00:23:53,200 --> 00:23:55,800 Speaker 2: in our little blocked out places where we won't the 421 00:23:55,840 --> 00:23:59,399 Speaker 2: fiddle won't end up on the banjo tracker or the 422 00:23:59,440 --> 00:24:02,240 Speaker 2: other way around, things like that, you know, to just 423 00:24:04,200 --> 00:24:09,000 Speaker 2: move everybody around so we're you know, completely clean recording. 424 00:24:09,560 --> 00:24:12,719 Speaker 3: And but they nailed it. They nailed it. 425 00:24:12,840 --> 00:24:18,160 Speaker 2: And personalities just overflowing with personalities, you. 426 00:24:18,119 --> 00:24:21,120 Speaker 3: Know, but one end in mind, you know, and. 427 00:24:21,960 --> 00:24:25,280 Speaker 2: Just to make a great record and sound like a band, 428 00:24:25,680 --> 00:24:28,320 Speaker 2: you know, and they do and they are and they've 429 00:24:28,760 --> 00:24:30,879 Speaker 2: and since we've recorded, they've gone out and they just 430 00:24:30,920 --> 00:24:34,480 Speaker 2: have this persona that's like no other band out there. 431 00:24:34,520 --> 00:24:38,240 Speaker 3: I mean, it's just like, I don't know, it's it's a. 432 00:24:38,160 --> 00:24:41,760 Speaker 2: Glitz and glamour, you know, and that a lot of 433 00:24:41,800 --> 00:24:45,480 Speaker 2: glamour and a lot of really good playing, really good playing, 434 00:24:45,520 --> 00:24:47,480 Speaker 2: and they can they can back it all up. And 435 00:24:47,920 --> 00:24:52,280 Speaker 2: and but Molly is her songwriting gets better and better 436 00:24:52,359 --> 00:24:52,760 Speaker 2: and better. 437 00:24:53,119 --> 00:24:53,320 Speaker 3: You know. 438 00:24:53,440 --> 00:24:56,639 Speaker 2: I didn't know you could work use the word cassiopeia 439 00:24:56,800 --> 00:25:02,040 Speaker 2: in in a song, but she did. Uh, the name cassiopeia, 440 00:25:02,160 --> 00:25:04,719 Speaker 2: you know, so you look up on the sky and 441 00:25:04,760 --> 00:25:09,080 Speaker 2: you see. But I'd never heard it in a song 442 00:25:11,960 --> 00:25:13,800 Speaker 2: until it came running by me, but she would bring 443 00:25:13,840 --> 00:25:14,480 Speaker 2: these songs up. It. 444 00:25:14,760 --> 00:25:15,600 Speaker 3: There was only. 445 00:25:15,400 --> 00:25:19,439 Speaker 2: One song that I said, I don't know about this 446 00:25:19,600 --> 00:25:22,199 Speaker 2: song and she said, catch said the same thing, So 447 00:25:22,280 --> 00:25:26,760 Speaker 2: that one's out, you know. So you know, but we've 448 00:25:26,840 --> 00:25:29,639 Speaker 2: we've had nothing but great times in the studio and uh, 449 00:25:30,520 --> 00:25:33,199 Speaker 2: it's just been a it's been a wonderful trip, you know. 450 00:25:33,680 --> 00:25:36,600 Speaker 2: And for me to get her to ride along with 451 00:25:36,640 --> 00:25:40,040 Speaker 2: that band and watch its success, you know, a couple 452 00:25:40,040 --> 00:25:45,360 Speaker 2: of Grammys and uh, who knows, who knows what's ahead 453 00:25:45,480 --> 00:25:49,360 Speaker 2: for them? You know, it's it's a the whole scene 454 00:25:49,520 --> 00:25:52,280 Speaker 2: is changing, you know. You can see with Billy Strings 455 00:25:52,359 --> 00:25:57,840 Speaker 2: and Molly Sierra Hole just it's all that and they're 456 00:25:57,920 --> 00:25:59,720 Speaker 2: they're at the there at the front of it, there 457 00:25:59,720 --> 00:26:02,600 Speaker 2: at the spearhead of this thing. And Billy's just you know, 458 00:26:02,680 --> 00:26:06,080 Speaker 2: selling out. His thing is a totally different. 459 00:26:07,640 --> 00:26:08,000 Speaker 3: Scene. 460 00:26:08,280 --> 00:26:11,560 Speaker 2: I mean, to play into fifty fifty thousand people or 461 00:26:11,560 --> 00:26:14,760 Speaker 2: something like that in the night, it's a phenomena, is 462 00:26:14,800 --> 00:26:17,639 Speaker 2: really what's going on with Billy. And he couldn't happened 463 00:26:17,680 --> 00:26:21,280 Speaker 2: to a nicer fella either, because he's just I love 464 00:26:21,359 --> 00:26:24,120 Speaker 2: that guy. I mean, he made the right choice when 465 00:26:24,119 --> 00:26:25,920 Speaker 2: he got to his fork in the road. He took 466 00:26:25,960 --> 00:26:29,160 Speaker 2: the right turn and everything's looking up for him. It's 467 00:26:29,200 --> 00:26:30,280 Speaker 2: all great, who. 468 00:26:30,160 --> 00:26:33,119 Speaker 4: Are you taking on the road for this round of shows? 469 00:26:33,800 --> 00:26:36,680 Speaker 3: In the band? Who's going to be with you? Well? 470 00:26:36,720 --> 00:26:40,720 Speaker 2: In my band, Mike Seal is an amazing electric guitar player. 471 00:26:40,760 --> 00:26:45,280 Speaker 2: And it sounds funny to say that I've got a bass, violin, 472 00:26:46,200 --> 00:26:50,639 Speaker 2: dobro and electric guitar, But what a wall of sound 473 00:26:50,760 --> 00:26:53,920 Speaker 2: we can make, you know. And we had we had 474 00:26:53,920 --> 00:26:56,320 Speaker 2: a drummer, great drummer for a long time, and then 475 00:26:56,560 --> 00:27:01,359 Speaker 2: I did the John Hyett record to John Hyatt record, 476 00:27:01,400 --> 00:27:04,080 Speaker 2: and he didn't on this particular record. He wanted to 477 00:27:04,119 --> 00:27:07,159 Speaker 2: go at it without drums, so we just went I 478 00:27:07,240 --> 00:27:10,160 Speaker 2: took my band in the studio just without the drummer. 479 00:27:10,280 --> 00:27:13,600 Speaker 2: And since then we just thought, well, there's all look, 480 00:27:13,680 --> 00:27:16,480 Speaker 2: look at all this space that's out here that drums 481 00:27:16,520 --> 00:27:21,000 Speaker 2: were kind of covering it before, and now we've got 482 00:27:21,040 --> 00:27:22,159 Speaker 2: all this space to work with. 483 00:27:22,200 --> 00:27:24,960 Speaker 3: What do we do with this? So you know, it's 484 00:27:25,000 --> 00:27:26,560 Speaker 3: just a new chapter. 485 00:27:27,840 --> 00:27:30,840 Speaker 2: But that's the band that I'll have with me and 486 00:27:31,040 --> 00:27:35,119 Speaker 2: Mike Seal on on guitar, Daniel Kimbrough on bass, and 487 00:27:35,240 --> 00:27:41,320 Speaker 2: Christian Settlemeyer on violin and just master musicians, master musicians. 488 00:27:41,359 --> 00:27:44,520 Speaker 2: They pushed me around all the time. It's great. I 489 00:27:44,600 --> 00:27:46,640 Speaker 2: love the pushing, I love the challenge. 490 00:27:46,680 --> 00:27:48,359 Speaker 3: I love the pushing. I need that. 491 00:27:48,560 --> 00:27:52,920 Speaker 2: You know, we run out of people who who inspire 492 00:27:53,040 --> 00:27:56,240 Speaker 2: us that way, you know, and on stage. So it's 493 00:27:56,400 --> 00:28:02,040 Speaker 2: it's great having these guys and I respect them as 494 00:28:02,119 --> 00:28:06,440 Speaker 2: much as musicians as anyone I've ever met. These guys 495 00:28:06,440 --> 00:28:09,800 Speaker 2: are these guys can they can hold there? They can 496 00:28:09,880 --> 00:28:14,919 Speaker 2: hold it right there, and they don't if they fear nothing, 497 00:28:15,520 --> 00:28:16,280 Speaker 2: they're fearless. 498 00:28:17,200 --> 00:28:20,399 Speaker 4: In closing, Jerry, anybody on the dream list that you 499 00:28:20,480 --> 00:28:24,280 Speaker 4: haven't collaborated with that you're itching to collaborate with. 500 00:28:24,400 --> 00:28:28,200 Speaker 2: Well, you know, I've done this thing that for the 501 00:28:28,320 --> 00:28:32,320 Speaker 2: last three or four years, my managers put me in 502 00:28:32,359 --> 00:28:34,359 Speaker 2: these situations. 503 00:28:33,520 --> 00:28:34,439 Speaker 3: Like a gray fox. 504 00:28:34,520 --> 00:28:36,720 Speaker 2: For a couple of years, I was the residence, the 505 00:28:37,119 --> 00:28:40,280 Speaker 2: artists and residence, so I would play with just practically 506 00:28:40,320 --> 00:28:44,480 Speaker 2: every band that was on stage. And that's a good 507 00:28:44,520 --> 00:28:48,440 Speaker 2: way to get to know people, because you're not when 508 00:28:48,440 --> 00:28:50,760 Speaker 2: you go out on stage with somebody, you're not only 509 00:28:50,800 --> 00:28:54,000 Speaker 2: taking you're not only just taking up a you know, 510 00:28:54,320 --> 00:28:58,440 Speaker 2: some real estate on stage. You need to fit into 511 00:28:58,480 --> 00:29:01,479 Speaker 2: what they're doing. You need to become a chameleon, you know. 512 00:29:01,520 --> 00:29:04,680 Speaker 2: And that's something that I've learned to do over the years, 513 00:29:04,720 --> 00:29:07,720 Speaker 2: just from doing sessions, you know, and being called in 514 00:29:07,800 --> 00:29:11,880 Speaker 2: so many times to replace the saxophone because it took 515 00:29:12,440 --> 00:29:15,680 Speaker 2: the song too far away from the genre and the 516 00:29:16,320 --> 00:29:18,560 Speaker 2: market they wanted to sell it in. So here comes 517 00:29:18,640 --> 00:29:22,480 Speaker 2: to dobro player to get rid of the saxophone, solo, 518 00:29:22,800 --> 00:29:27,960 Speaker 2: replace the saxophone. But you know, sometimes you have to 519 00:29:28,000 --> 00:29:30,360 Speaker 2: do that. Sometimes you have to be a chameleon. And 520 00:29:30,400 --> 00:29:32,880 Speaker 2: these instruments allow us to do that. 521 00:29:32,960 --> 00:29:33,160 Speaker 3: You know. 522 00:29:33,480 --> 00:29:39,040 Speaker 2: It's our personalities. The instruments are conduit for our own personalities. 523 00:29:39,120 --> 00:29:43,080 Speaker 2: And when you hear somebody play, that's their real personality. 524 00:29:43,760 --> 00:29:48,920 Speaker 3: That's what I believe. And so there are people who 525 00:29:49,720 --> 00:29:50,760 Speaker 3: I want to play with. 526 00:29:50,840 --> 00:29:53,360 Speaker 2: I've played with so many people in that situation like 527 00:29:53,400 --> 00:29:54,160 Speaker 2: I'm talking about. 528 00:29:54,280 --> 00:29:56,200 Speaker 3: And at Earl Scruggs Festival that's. 529 00:29:56,040 --> 00:29:59,840 Speaker 2: Coming up in the end of August, the last weekend 530 00:30:00,440 --> 00:30:01,640 Speaker 2: Labor Day festival. 531 00:30:01,760 --> 00:30:04,760 Speaker 3: Really I'm the host of that festival. 532 00:30:05,480 --> 00:30:05,600 Speaker 4: Uh. 533 00:30:05,800 --> 00:30:10,040 Speaker 2: Somehow the Scruggs family took me on and I am 534 00:30:10,680 --> 00:30:14,280 Speaker 2: I'm a I'm a spokesman and happy to be earlse 535 00:30:14,360 --> 00:30:17,480 Speaker 2: If it hadn't been for Earl Scruggs, I wouldn't be here, 536 00:30:17,720 --> 00:30:21,360 Speaker 2: None of us would be here, you know. And so 537 00:30:21,600 --> 00:30:26,040 Speaker 2: I'm I'm paying back. I'll be forever paying back for that. 538 00:30:26,280 --> 00:30:30,440 Speaker 2: But you know, there are musicians and other genres and 539 00:30:30,640 --> 00:30:33,480 Speaker 2: and but there are musicians in this in this bluegrass 540 00:30:33,520 --> 00:30:37,600 Speaker 2: genre too that I've wanted to play with. And you know, 541 00:30:38,080 --> 00:30:43,360 Speaker 2: guys like Danny Paisley, you know, whose father, Bob Paisley was, 542 00:30:43,360 --> 00:30:48,560 Speaker 2: was an icon in sort of Pennsylvania Maryland area of 543 00:30:48,640 --> 00:30:53,040 Speaker 2: bluegrass for years and years and and his son Bob 544 00:30:53,080 --> 00:30:55,560 Speaker 2: passed away, but his son Danny took it up, took 545 00:30:55,640 --> 00:30:56,280 Speaker 2: up the mantlin. 546 00:30:56,400 --> 00:30:56,680 Speaker 3: Man. 547 00:30:56,960 --> 00:30:59,760 Speaker 2: You know, he's he's one of these guys. He's he's 548 00:31:00,240 --> 00:31:03,800 Speaker 2: he's like he's just he's like Dale McCurry. He's from 549 00:31:03,840 --> 00:31:07,360 Speaker 2: the same he's cut from the same cloth. And they 550 00:31:07,480 --> 00:31:10,080 Speaker 2: just go out there and they make you love this music, 551 00:31:10,160 --> 00:31:12,240 Speaker 2: you know, they just they just pour their hearts out 552 00:31:12,280 --> 00:31:15,560 Speaker 2: and you and you can't walk away from there without 553 00:31:15,800 --> 00:31:19,600 Speaker 2: just thinking, man, I've just seen something I didn't think 554 00:31:19,640 --> 00:31:21,280 Speaker 2: I would ever see in my life. You know, it's 555 00:31:21,360 --> 00:31:25,640 Speaker 2: just eye opening experiences. You know that people bring Dell 556 00:31:25,800 --> 00:31:30,800 Speaker 2: and people like people like Danny and and you know, 557 00:31:30,960 --> 00:31:35,080 Speaker 2: to fit them into my other worlds, you know, with 558 00:31:35,160 --> 00:31:39,120 Speaker 2: Sam and Baylea and Edgar and you know, all the 559 00:31:39,160 --> 00:31:41,200 Speaker 2: things we do it tell your I that are so crazy, 560 00:31:41,200 --> 00:31:43,800 Speaker 2: and all these different collaborations that we do out there, 561 00:31:44,600 --> 00:31:49,400 Speaker 2: you know, and bringing the older bluegrass guys forward into 562 00:31:49,440 --> 00:31:53,640 Speaker 2: that is really fun for me. I love to hear 563 00:31:54,160 --> 00:31:59,240 Speaker 2: the two worlds collide, you know, but it's what comes 564 00:31:59,240 --> 00:32:01,160 Speaker 2: out on the other is always beautiful. 565 00:32:02,880 --> 00:32:07,120 Speaker 4: August twentieth, City Winery in Boston, August twenty third, The 566 00:32:07,120 --> 00:32:11,640 Speaker 4: City Winery in New York City. Mister force of nature, 567 00:32:11,760 --> 00:32:15,360 Speaker 4: Jerry Douglass, it's really awesome to have you on taking 568 00:32:15,360 --> 00:32:15,760 Speaker 4: a walk. 569 00:32:15,800 --> 00:32:18,400 Speaker 2: Thank you, thank you, thank you for asking me to 570 00:32:18,440 --> 00:32:22,400 Speaker 2: be on and sello to everybody up there for me 571 00:32:22,480 --> 00:32:25,360 Speaker 2: and what we're really looking forward to playing in Boston. 572 00:32:26,400 --> 00:32:29,240 Speaker 2: I don't know if we've played the Boston City Winery before. 573 00:32:29,640 --> 00:32:31,800 Speaker 3: I don't think I have, but I have played the 574 00:32:31,840 --> 00:32:33,600 Speaker 3: New York and loved it. 575 00:32:33,800 --> 00:32:36,920 Speaker 2: So looking forward to seeing all our friends up there, 576 00:32:37,080 --> 00:32:39,600 Speaker 2: you know, we have so many and we're gonna spend 577 00:32:39,640 --> 00:32:42,120 Speaker 2: some time up there in that area during that during 578 00:32:42,160 --> 00:32:42,680 Speaker 2: that tour. 579 00:32:42,840 --> 00:32:45,240 Speaker 3: So yeah, it'll be good to get up there. 580 00:32:45,160 --> 00:32:48,600 Speaker 2: And be in New York City and being in Boston, 581 00:32:48,840 --> 00:32:49,800 Speaker 2: being the big city. 582 00:32:50,680 --> 00:32:55,160 Speaker 3: Can't wait. You're awesome. Thanks Jerry, thank you, thank you. 583 00:32:56,600 --> 00:32:59,080 Speaker 1: Thanks for listening to this episode of the Taking a 584 00:32:59,120 --> 00:33:03,000 Speaker 1: Walk podcast. Share this and other episodes with your friends 585 00:33:03,080 --> 00:33:06,560 Speaker 1: and follow us so you never miss an episode. Taking 586 00:33:06,640 --> 00:33:10,520 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 587 00:33:10,720 --> 00:33:13,000 Speaker 1: and wherever you get your podcasts.