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Speaker 1: Pushkin. True to her Texas roots, Edie Burkel can seemingly

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Speaker 1: find a song anywhere, including out of thin Air. Here

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Speaker 1: it comes as the new album from Edie and her

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Speaker 1: collaborators CJ, Camereri and Trevor Hagen, known as Heavy Makeup. Together,

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Speaker 1: huddled with Edie and her Texas studio, they improvised over

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Speaker 1: one hundred songs before selecting the eleven that make up

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Speaker 1: their new album. Heavy Makeup is, of course, only the

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Speaker 1: latest musical iteration for Edie, who's found herself ever evolving

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Speaker 1: over her career. From her first hit with the New

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Speaker 1: Bohemians co writing their massive nineteen eighty eight single What

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Speaker 1: I Am, She's never stopped looking for songs. She even

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Speaker 1: spent the better part of last decade writing and performing

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Speaker 1: with Steve Martin, including their verial musical Bright Star, that

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Speaker 1: ran on Broadway in twenty sixteen. On today's episode, Edie, CJ,

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Speaker 1: and Trevor discussed the origins of Heavy Makeup, the making

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Speaker 1: of the new album, and finish with a short performance

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Speaker 1: demonstrating the unique improvisational nature of their work. This is

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Speaker 1: broken record liner notes for the digital age.

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Speaker 2: I'm justin Mitchman.

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Speaker 1: Here's Bruce Hedlam's conversation with Edie Brikel, CJ. Camereri and

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Speaker 1: Trevor Hagen, who has heavy makeup, released the new album

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Speaker 1: Here It Comes.

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Speaker 3: It's a wonderful album. Tell me the idea behind this album.

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Speaker 3: Tell me your idea is going into it.

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Speaker 4: You guys go ahead, please please.

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Speaker 5: Well, this record, much like the first record, kind of

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Speaker 5: happened before without us knowing we were doing it. We

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Speaker 5: came to Texas to visit Edie like maybe like exactly

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Speaker 5: a year ago, right, yes, and the idea was that

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Speaker 5: we were going to work on this musical. So we

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Speaker 5: set up all our equipment and we just started jamming

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Speaker 5: and revising together and it was so much fun that

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Speaker 5: we did it again the next day and we realized

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Speaker 5: by the thirteenth day we hadn't actually worked on the

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Speaker 5: musical at all, So we started working on the musical vigorously.

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Speaker 5: And yeah, I think we left Trevor can answer this,

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Speaker 5: but we left with like, well over one hundred songs and.

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Speaker 2: Right, yeah, it was about one hundred.

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Speaker 6: Yeah, different song ideas or different improvisations that we kind

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Speaker 6: of started, and yeah, different ideas that we're kind of

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Speaker 6: trying out.

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Speaker 3: So tell me what it's like when the three of

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Speaker 3: you are improvising. What instruments are you playing, What are

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Speaker 3: you working from? Do you just lay out a few

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Speaker 3: chords or is it much more free form than that?

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Speaker 5: What I kind of think is interesting is that it's

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Speaker 5: not really that free form, Like we're improvising in song form.

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Speaker 5: And so I think that that as a starting point

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Speaker 5: is like an interesting building block, right, because a lot

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Speaker 5: of when you think about improvisation, you immediately go to jazz,

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Speaker 5: and jazz is in song for him, but you know

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Speaker 5: it isn't in pop song for.

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Speaker 2: Him, let's say.

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Speaker 5: And so we create an A section and Edie goes

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Speaker 5: and then she gives us a look, and then we

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Speaker 5: know we're going to a chorus or a bridge, and

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Speaker 5: we go to a chorus, and we go back to

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Speaker 5: the A section. Or're creating loops and where I'm usually

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Speaker 5: doing a bunch of synthesizers, and then I also play trumpet,

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Speaker 5: french horn. Trevor's got a whole big bag of tricks

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Speaker 5: over on his side of the desk.

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Speaker 2: He can tell you about.

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Speaker 5: We're immediately trying to inspire Edie to start telling the

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Speaker 5: story and start singing.

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Speaker 4: A song and they do that and it feels effortless.

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Speaker 4: I feel like they just roll out the red carpet

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Speaker 4: just for any melody. It's so open and so much fun.

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Speaker 4: It's just it's it's playful, which is what I love,

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Speaker 4: and it's welcoming and it's just wide open to just

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Speaker 4: listened to the magic thread. Whatever sort of falls down

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Speaker 4: in your thoughts, you just grab a hold and trust

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Speaker 4: and start climbing up until it weaves into something that

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Speaker 4: makes sense somehow.

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Speaker 3: I'm a little shocked because the idea that you're improvising

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Speaker 3: lyrics as you go, I think that would terrify most people.

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Speaker 3: What is it in your background or makeup that makes

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Speaker 3: that possible?

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Speaker 4: Just walking through nature singing as a little kid, just

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Speaker 4: singing all the time. And then, you know, really breaking

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Speaker 4: through that one fear of joining a band when I

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Speaker 4: was in college and I looked at all the majors

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Speaker 4: and I thought I wouldn't be good at any of

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Speaker 4: this stuff, and it's not what's in my heart. So

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Speaker 4: breaking through and joining a band was, you know, taking

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Speaker 4: the biggest risk of my life to try to live

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Speaker 4: that dream. And then everything worked out for us. But

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Speaker 4: when I first joined the band. We would be booked

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Speaker 4: at little clubs, and we were brand new bands, so

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Speaker 4: we didn't have enough songs, so we would improvise there

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Speaker 4: and I tried to make it sound like a song.

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Speaker 1: And.

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Speaker 4: People ended up feeling it and liking that, and they

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Speaker 4: would come and see us again in our crowd snowballed

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Speaker 4: and so it became a part of our shows, and

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Speaker 4: it was always ended up being my favorite part.

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Speaker 2: So we didn't really know this when we got together

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Speaker 2: with Di. She did.

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Speaker 5: Trevor and I were touring with a project called karm

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Speaker 5: and we had collaborated with Edie on a song and

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Speaker 5: we were making a music video for it, and she

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Speaker 5: was like, guys, you should come over and we could

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Speaker 5: jam one weekend. We were like, sure, let's do it.

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Speaker 5: So Trevor and I got together. We didn't really know

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Speaker 5: what we were doing. We were like, you know, we

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Speaker 5: didn't have a set purpose for being there. We were

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Speaker 5: trying to start a new band or trying to make

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Speaker 5: a record or whatever. So we just kind of set

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Speaker 5: up our gear that we were using on on stage,

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Speaker 5: and Trevor got a cool thing going on a drum

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Speaker 5: machine and OPI one. We had a little Yamaha refaced

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Speaker 5: keyboard and I got a little French worn texture going

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Speaker 5: with a line six pedal and I remember this incredible

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Speaker 5: moment where Edie said, do you mind if I sing something?

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Speaker 5: We're like, of course not, and she just sang a

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Speaker 5: whole song right, metaphors, stories versus choruses, and we were like, well,

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Speaker 5: that was funny. And she did this like four or

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Speaker 5: five times, and then she left the room for a

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Speaker 5: minute and Trevor looked at me.

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Speaker 2: And says, like, what are these I was like, oh,

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Speaker 2: I'm sure she's like just.

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Speaker 5: Been writing lyrics on the side, and you know, it's

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Speaker 5: just like things she's been working on. And that was

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Speaker 5: we asked her though, and they were all just really

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Speaker 5: improvisations and it was perplexing and amazing to be in

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Speaker 5: the room for that. And and as a musician, it's

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Speaker 5: a big challenge, right, so you're going to follow, you know,

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Speaker 5: she says, we're going to a chorus. You got to

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Speaker 5: play improvised chorus chords right and keep the keep the

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Speaker 5: energy of the music flowing and follow where her melodies

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Speaker 5: are going. So it's it was It was a it

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Speaker 5: was a lot of fun and a fascinating musical challenge. Yeah,

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Speaker 5: I think and once we kind of started realizing like

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Speaker 5: CG and I are both I think, you know, we

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Speaker 5: both in res and jazz before and different environments and

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Speaker 5: and it is well with many different like not jamming

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Speaker 5: but long form solos and like things emerge and and uh,

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Speaker 5: it wasn't It was a little different kind of improvisation

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Speaker 5: than that. But I think once we figured out, okay,

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Speaker 5: we're kind of making a painting here, and we just

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Speaker 5: kind of kind of sit in this chords or in

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Speaker 5: a beat or in a groove and just kind of

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Speaker 5: let Edy kind of stare out the window and see

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Speaker 5: a picture in her head. And then when she starts say,

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Speaker 5: we can kind of just slowly follow her.

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Speaker 2: And then and we.

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Speaker 6: Just would do that over and over again. We just

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Speaker 6: do it for ten minutes, stop, start a new BPM,

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Speaker 6: started a new progression, and just go I mean for

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Speaker 6: this album, we did that for every day for yeah,

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Speaker 6: CJA mentioned for about two weeks, and then we just

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Speaker 6: had all of these song ideas and it's very exciting

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Speaker 6: and then we go back through all of them and

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Speaker 6: we're finding all of these great tunes and then we

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Speaker 6: have to decide which ones do we keep and which

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Speaker 6: ones do we let go or come back to or

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Speaker 6: you know, what fit together in a certain way, the

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Speaker 6: songs fit together, so really it's it all kind of

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Speaker 6: emerges in a very natural, intuitive way, and so we're

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Speaker 6: just trying to We kind of stumbled upon that whole

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Speaker 6: process really the first time we went and jammed with Eadie,

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Speaker 6: and so with this album we kind of knew a

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Speaker 6: little bit more like, Okay, how can we set the

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Speaker 6: environment correctly?

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Speaker 2: More or less Eadie?

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Speaker 3: Were you improvising the melody as well over the chords?

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Speaker 4: Yes, yes, that's it's really my favorite thing to do

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Speaker 4: as I As I said before that I discovered with

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Speaker 4: playing with my first band, with New Bohemians, because the

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Speaker 4: energy of it is so of the moment you're it's

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Speaker 4: and you know how everybody says living in the moment

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Speaker 4: is your is your is the healthiest way to live

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Speaker 4: and it and that's what I love about inviting these

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Speaker 4: players to come and jam, because we're all right there

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Speaker 4: in the moment, and it does make you feel so

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Speaker 4: alive and so good, and it also makes you trust

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Speaker 4: the strange first thing that may come, you know, and

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Speaker 4: and when you allow that to unfold and you hear

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Speaker 4: the rhymes and you just go with it. Then later

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Speaker 4: when you listen back, it's it's like a Sometimes it's

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Speaker 4: a gift to yourself, say oh, look what's Look what it's,

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Speaker 4: Look what it's whatever. That's what it's saying. Look what's

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Speaker 4: happening there. And and as a writer, sitting down with

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Speaker 4: an instrument playing a chord progression with piano, I wouldn't

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Speaker 4: flow in that same way. That's why I really like

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Speaker 4: to flow as a singer making melodies and lyrics as

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Speaker 4: a band plays, because it completely frees me up. All

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Speaker 4: we're engaging in a conversation together. We're really listening to

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Speaker 4: each other, and it's like writing on the best roller

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Speaker 4: coaster and or doing just something really super fun together,

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Speaker 4: and we're you're really just connected with other people in

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Speaker 4: a musical conversation, and that musical conversation involves unpredictable energy

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Speaker 4: and unpredictable emotions and imagery that just flow out.

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Speaker 3: So you weren't playing at all during this, you were

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Speaker 3: just singing.

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Speaker 4: I'm just singing.

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Speaker 3: So I'm interested if you sat down with one of

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Speaker 3: these songs and I want to talk through some of

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Speaker 3: the songs later and you were playing the guitar chords

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Speaker 3: along with it. You don't think you would have the

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Speaker 3: same experience as a singer and writer.

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Speaker 4: I wouldn't. I would know, I would be mindful of

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Speaker 4: the structure, whereas with this, I can play with phrasing,

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Speaker 4: I can play with the energy of it a lot better.

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Speaker 4: And as CJ pointed out, I mean I can just

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Speaker 4: give the guys a look that says, Okay, I'm finished

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Speaker 4: with this partner, let's move on and we But they

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Speaker 4: feel it too. It's it's really not It's not a

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Speaker 4: lot that I'm directing at all. I'm not. I can

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Speaker 4: just glance over. It's almost like a courtesy look where

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Speaker 4: they won't change until I offered it. Okay.

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Speaker 3: You know, it's a shame this is a podcast because

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Speaker 3: you just gave be that look, and you know, I

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Speaker 3: thought I should wrap things up. It was like, well,

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Speaker 3: onto the B section, you know, the look of the interview.

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Speaker 2: Yeah, no, I'm not going to mess with that.

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Speaker 1: We'll be right back with more from Heavy Makeup. After

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Speaker 1: the break, we're back with Edie Brokel, c J Camery

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Speaker 1: and Trevor Hagen of Heavy Makeup.

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Speaker 3: The fact that you were doing this mainly with electronic instruments.

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Speaker 3: I mean, there were a couple things in this that

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Speaker 3: really interested me on is you did very little treatment

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Speaker 3: of Edie's voice, And there was something about the different

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Speaker 3: temperatures of the sounds coming out the electronic sounds and

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Speaker 3: you know, I'm going to deal in cliches here, but

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Speaker 3: we tend to think of them as technological and quite cold,

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Speaker 3: but then her voice was very, very warm. It was

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Speaker 3: really something in the album. Was that something you want

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Speaker 3: to preserve or.

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Speaker 1: Not not not?

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Speaker 2: Maybe intuitively, I think.

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Speaker 6: Eatie's voice is so centering I think to of course,

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Speaker 6: to every song, so it's kind of leading that just

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Speaker 6: front and center, and you know, we we experiment a

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Speaker 6: few different times, maybe trying to like bring the voice

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Speaker 6: down to the mix a little different, and there's some affecting,

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Speaker 6: but really it's just that was just like it just

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Speaker 6: flowed so nicely within already the mix of what we've

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Speaker 6: been doing and all the treatments we've been doing, and

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Speaker 6: it just didn't need it.

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Speaker 2: It just just spoke for itself.

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Speaker 6: Not that other things needed it either way, but this

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Speaker 6: is just kind of, like it said, it's a different flavor,

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Speaker 6: a different texture and it seems like it almost comes

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Speaker 6: out in a very unexpected way sometimes, So yeah, we

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Speaker 6: just kind of let that flow and we never really

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Speaker 6: looked back. I don't think, you know, we've I mean

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Speaker 6: there's a few times maybe we try something, but it

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Speaker 6: was pretty good otherwise.

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Speaker 5: Yeah, and I think, I mean, it's it's a really

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Speaker 5: great question and something I definitely noticed and thought about

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Speaker 5: from an arrangement perspective. Yeah, I think a lot of times,

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Speaker 5: I mean, there might be horns on every song, which,

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Speaker 5: as I say, that is like a little bit embarrassing,

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Speaker 5: but I think sometimes the horn texture and character kind

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Speaker 5: of bridges that like purity of the vocal sound with

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Speaker 5: the electronic instrument, So it's sort of like in between.

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Speaker 5: Trevor would treat the horns in a certain way a

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Speaker 5: lot of times, so it kind of characterized, you know,

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Speaker 5: both sort of you played with both characters.

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Speaker 3: Yeah, I think I misspoke because there's times I'm particularly

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Speaker 3: thinking of the first song, Shoe in the Air, that

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Speaker 3: there's a nice but trumpet duet. I think it's both trumpets,

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Speaker 3: but I might be wrong. Trumpet duet that kind of

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Speaker 3: starts before the vocals come in. It's very very warm

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Speaker 3: and it's really lovely pace.

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Speaker 2: Right, So it's a little bit of like you know,

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Speaker 2: sonic foreshadowing.

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Speaker 5: Yeah, kind of bridges those two worlds, but there, you know,

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Speaker 5: it's it's the world we're interested in. So it's what

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Speaker 5: we with the instruments we had when we showed up,

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Speaker 5: you know, and so and yeah, it just kind of

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Speaker 5: happened naturally.

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Speaker 3: This is going to sound like a naive question, but

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Speaker 3: I think I would know how someone would compose at

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Speaker 3: a piano. I think I might know how they would

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Speaker 3: compose at a guitar with a guitar part in me.

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Speaker 3: But when you sit down with electric electronic instruments, you generally,

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Speaker 3: you guys use like small MIDI controller.

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Speaker 2: Is that what you're using? Yeah, I mean, well, like

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Speaker 2: there's a bunch of keyboards.

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Speaker 6: I mean I think CG and I have like a

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Speaker 6: setup like a table together, and I think that kind

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Speaker 6: of kind of came out of working in karm together.

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Speaker 6: And so we're kind of connected with keyboards, drum machine,

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Speaker 6: MIDI controllers and other small instruments to kind of we're

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Speaker 6: kind of playing a set up together in some way.

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Speaker 6: And and and that allows us to i mean c

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Speaker 6: JO to have you know, agnored to reface and he'll

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Speaker 6: be playing those. So we have you know, uh, synthesizers,

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Speaker 6: and it's not just midti, but we have that to

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Speaker 6: control you know, loops and to control different parameters of

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Speaker 6: stuff when we're playing live more but essentially when we're improvising,

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Speaker 6: we have these. We're all connected, you know, kind of

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Speaker 6: to it's some kind of breathing breathing heart or beating heart,

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Speaker 6: I guess Trevor would. Trevor kind of makes the initial

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Speaker 6: decision with picking a BPM, you know, and so like okay,

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Speaker 6: you know, and so what is that where you know,

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Speaker 6: and then I sort of pick a synthesizer sound you know,

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Speaker 6: we have you have four or five different keyboards or

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Speaker 6: all create a front shorn texture, the line six pedal

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Speaker 6: or harming you trumpet thing which you know pushes here there.

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Speaker 6: The thing we really learned was one of the fun

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Speaker 6: lessons of that time in Texas, was we'd immediately try

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Speaker 6: to make the most interesting thing we could make, right,

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Speaker 6: So Trevor would get a beat going, and I'd create

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Speaker 6: a synth texture and then I'd add a little harm

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Speaker 6: in you trumpet with a delay, and Edie would get

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Speaker 6: the light bulb and she want to start singing, but

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Speaker 6: then I would add a move base part.

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Speaker 2: She'd be like, oh, no, now I'm thinking about another thing.

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Speaker 5: And then Trevor would ad to you know, because we

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Speaker 5: created the thing that we thought was really good, but

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Speaker 5: like we weren't paying attention to like her initial moment

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Speaker 5: of inspiration that she needed to like follow and trust

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Speaker 5: right away.

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Speaker 2: And so she say, hey, it's.

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Speaker 5: Really cool, you did a cool thing, but we need

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Speaker 5: to like, you know, but now I'm got three stories

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Speaker 5: going in my head and I got to just pick

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Speaker 5: the one and focus on it.

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Speaker 2: So it's it's just like this, this whole project is

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Speaker 2: such a.

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Speaker 5: Fascinating music musical journey and like exploring your skill sets.

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Speaker 5: You know, Trevor and I both been professional musicians for

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Speaker 5: twenty years, and this just really draws upon everything we've

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Speaker 5: ever had to do.

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Speaker 2: Because it's chamber music, but it's jazz.

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Speaker 5: But these are you know, what end up being sort

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Speaker 5: of like pop songs, and you know, it's you're using

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Speaker 5: all of these skills and it's and it's you have

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Speaker 5: to trust them.

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Speaker 2: You know, you can't say, but maybe this one will

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Speaker 2: be better. No, you can't. You can't do that, because

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Speaker 2: then near you missed it.

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Speaker 4: You know.

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Speaker 3: So once you had the songs that the eleven songs

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Speaker 3: you wanted on the album, did you then redo them?

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Speaker 2: Did you re record them?

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Speaker 3: Did you add elements? How did how did that happen?

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Speaker 3: How did the actual recording happen?

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Speaker 5: So?

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Speaker 6: Yeah, so after I mean, we recorded everything down in

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Speaker 6: Texas that time, and then we kind of peered down

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Speaker 6: those we'll say, one hundred ideas down to twenty and

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Speaker 6: then from there we're like, okay, these we actually I

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Speaker 6: think we maybe had fifteen that we really worked on,

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Speaker 6: and there's there's four that didn't three or four that

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Speaker 6: we really worked on a lot afterwards that didn't make

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Speaker 6: it on to the album that just didn't fit with

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Speaker 6: the other tunes in the flow of the whole things.

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Speaker 6: We kind of had to pick these eleven songs and

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Speaker 6: how they spoke to each other.

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Speaker 3: But okay, was that an argument?

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Speaker 2: Were we uh no, really, I don't think so. No,

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Speaker 2: We're yeah, no, no, it was it was there. They're great.

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Speaker 6: I think Edi has a great you have a great

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Speaker 6: way to say, how you like to choose these songs?

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Speaker 4: I do?

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Speaker 2: Yeah, well, puppies.

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Speaker 4: Oh, it's like choosing puppies. Yeah, it's impossible for me.

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Speaker 4: So I love them all. So I trust. I like

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Speaker 4: these musicians. I like these guys there. I trust their ears.

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Speaker 4: And that's a big element of this whole kind of

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Speaker 4: band is trust across the board. I trust that they're

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Speaker 4: great musicians. I trust their ears. I trust that they

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Speaker 4: can help me as a songwriter find that song that's

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Speaker 4: more interesting. And I think they've done that, and they'll

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Speaker 4: show them to me, because I haven't heard all those

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Speaker 4: hundreds of songs that we've done. They curate them and

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Speaker 4: then they give them to me, and so many of

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Speaker 4: them I've just completely forgotten about. And the last time

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Speaker 4: we got together, they said, oh, you got to check

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Speaker 4: this out, you and the air and and I love

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Speaker 4: that they chose that and that they pointed out that

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Speaker 4: that was good and so and then they they'll edit them.

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Speaker 4: And so from those edits, I'll take that initial subconscious

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Speaker 4: song and write a second or third verse if it

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Speaker 4: needs it. But the one song on this album that

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Speaker 4: most excites me is Let Them Lie, because it was

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Speaker 4: just a complete improv. It's one that we didn't touch

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Speaker 4: the only thing that they touched is that Trevor had

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Speaker 4: to change the vocal tone because we recorded it in

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Speaker 4: this room in this barn that I'm in here, and

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Speaker 4: when these lads are on, they had a little buzz

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Speaker 4: and they and since we didn't know that they were

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Speaker 4: going to make an album, we didn't eliminate the buzz

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Speaker 4: and he what did you do?

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Speaker 6: You just fixed that was just to just put a

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Speaker 6: filter on it, because there was this budget buzz that

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Speaker 6: you know, I don't know, ten thousand.

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Speaker 2: Killer hurts, and so it was.

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Speaker 6: Maybe like just had to put little filter on it,

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Speaker 6: and then it gave this really nice dark quality to

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Speaker 6: Edie's voice. And then then there's a little treatment on

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Speaker 6: that too, with every voice is a little treatment, but

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Speaker 6: it's trying not.

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Speaker 2: To like mask the tone of her voice at all.

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Speaker 2: So just just a little bit gave it a nice.

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Speaker 6: Sound to even what Edie is singing about too, which

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Speaker 6: is a very kind of internal monologue.

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Speaker 2: That that song has.

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Speaker 6: So there's definitely editing and things that happen in the songs,

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Speaker 6: but there are like these beautiful passages, like you know,

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Speaker 6: songs like let Them Lie or they have It all improvised,

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Speaker 6: the lyrics at the choruses, solos, beats, whatever, whatever we

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Speaker 6: got on there. So it's very exciting to see that

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Speaker 6: process and even things like showing there like those are

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Speaker 6: I believe all the original lyrics, and maybe there's a

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Speaker 6: lot of original it takes on the album that we

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Speaker 6: kept from those recordings from me here, its just one word,

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Speaker 6: and you just changed one word from Merovs.

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Speaker 2: He changed it from like him to his or something

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Speaker 2: something like right, I.

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Speaker 4: Don't even remember. I think it's it's I don't know.

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Speaker 5: But so I think in almost every song you're hearing

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Speaker 5: you know, you're in the room, and I think that

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Speaker 5: that is hopefully what makes it special, and you're hearing

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Speaker 5: just these really honest like this sound makes me feel this,

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Speaker 5: those words make me want to do this musically, like

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Speaker 5: you know, you're really you're really hearing you know, a

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Speaker 5: chamber music exercise.

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Speaker 6: Yeah, yeah, the kernel the idea of every song that

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Speaker 6: feeling like that. Every song was improvised and happened in

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Speaker 6: the room to three of us together, and then there's

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Speaker 6: some shaping that happened afterwards and things like that, but

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Speaker 6: the spirit of it is all from us just sitting

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Speaker 6: around looking at each other and smiling and nodding and

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Speaker 6: playing music in a very in a very great way.

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Speaker 6: It's really it's a special in some way, especially after

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Speaker 6: coming from the pandemic of years of being locked away

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Speaker 6: and doing remote things. This is great to be in

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Speaker 6: the room together.

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Speaker 4: Yeah, And what I wanted to say this about let

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Speaker 4: them lie too it. I do love that he changed

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Speaker 4: that sound and then it ended up happening that way

436
00:23:27,476 --> 00:23:30,396
Speaker 4: because it is, as he mentioned, this internal kind of

437
00:23:31,236 --> 00:23:35,076
Speaker 4: thought process within the song. But the other thing I

438
00:23:35,196 --> 00:23:37,676
Speaker 4: like about it is I think that at one point

439
00:23:37,956 --> 00:23:44,836
Speaker 4: CJ wanted to change the tone of a chorus and

440
00:23:45,356 --> 00:23:48,196
Speaker 4: suggested that I re sing that so that we could

441
00:23:48,876 --> 00:23:52,636
Speaker 4: have this bigger tone. And we went into a recording

442
00:23:52,676 --> 00:23:56,956
Speaker 4: studio and what I recognized immediately is I couldn't get

443
00:23:57,156 --> 00:24:02,116
Speaker 4: the same phrasing. I couldn't match it. And because it

444
00:24:02,516 --> 00:24:07,996
Speaker 4: was improvised, it has a different movements. It almost has

445
00:24:08,556 --> 00:24:12,236
Speaker 4: a delay where I can hear that I'm thinking, I'm

446
00:24:12,356 --> 00:24:15,796
Speaker 4: looking for the next rhyme, And so it's a little

447
00:24:16,676 --> 00:24:19,356
Speaker 4: a little past a moment. You can see, you could

448
00:24:19,476 --> 00:24:22,356
Speaker 4: you could feel like just the energy of it is

449
00:24:22,396 --> 00:24:25,996
Speaker 4: a little slower and a little more relaxed because it's

450
00:24:27,396 --> 00:24:29,116
Speaker 4: and then all of a sudden it speeds up because

451
00:24:29,276 --> 00:24:31,956
Speaker 4: once I realize what it wants to say, then it

452
00:24:32,036 --> 00:24:34,676
Speaker 4: just flows out quickly. But it lands a little funny.

453
00:24:35,036 --> 00:24:38,836
Speaker 4: And I could never get that landing correctly. And see

454
00:24:38,956 --> 00:24:41,956
Speaker 4: J kept trying trying to say, no, it's a little

455
00:24:42,236 --> 00:24:44,436
Speaker 4: it's a little cooler than that, it's a little past that,

456
00:24:44,676 --> 00:24:46,036
Speaker 4: and I couldn't do it.

457
00:24:46,436 --> 00:24:47,476
Speaker 2: M h I was.

458
00:24:47,836 --> 00:24:49,516
Speaker 4: I would love when they kept it, I said, I

459
00:24:49,676 --> 00:24:51,796
Speaker 4: just and and also the way it feels is what

460
00:24:51,876 --> 00:24:53,636
Speaker 4: I was telling you before. If I were playing an

461
00:24:53,716 --> 00:24:56,716
Speaker 4: instrument and writing a song, I wouldn't write it in

462
00:24:56,836 --> 00:25:00,676
Speaker 4: that way. But when other people are playing and that

463
00:25:00,876 --> 00:25:04,196
Speaker 4: magic happens, you do flow in this other way that

464
00:25:04,276 --> 00:25:06,796
Speaker 4: then you can't even imitate later mm hmm.

465
00:25:07,116 --> 00:25:09,276
Speaker 5: The other interesting thing about that song, too, is is

466
00:25:09,716 --> 00:25:12,796
Speaker 5: that you know a lot of these songs, you know,

467
00:25:12,876 --> 00:25:15,236
Speaker 5: we'll go back and we'll add a bass element, or

468
00:25:15,316 --> 00:25:18,476
Speaker 5: we'll add you know, an arrangement, a horn arrangement, or

469
00:25:18,876 --> 00:25:20,916
Speaker 5: you know, Trevor will find the drums or add a

470
00:25:21,156 --> 00:25:24,796
Speaker 5: you know, a counter melody, or and in this song,

471
00:25:25,196 --> 00:25:27,036
Speaker 5: I was just like, oh, we got to add bass.

472
00:25:27,236 --> 00:25:29,676
Speaker 5: Obviously nobody was playing bass on the song, and it

473
00:25:29,796 --> 00:25:32,076
Speaker 5: just didn't work. I kept trying to do it, and

474
00:25:32,356 --> 00:25:33,996
Speaker 5: we'd listen to it and be like, that's not the song.

475
00:25:34,076 --> 00:25:38,636
Speaker 5: That wasn't what was in the room, you know, And yeah,

476
00:25:38,676 --> 00:25:42,356
Speaker 5: it's just a really amazing exercise to trust the what

477
00:25:42,596 --> 00:25:43,916
Speaker 5: happens in the room is.

478
00:25:45,836 --> 00:25:47,996
Speaker 2: Is the kernel of inspiration that you have to go

479
00:25:48,076 --> 00:25:49,316
Speaker 2: with and you really have to believe in it.

480
00:25:51,356 --> 00:25:53,716
Speaker 3: You had a lovely phrase for this, which is you

481
00:25:53,916 --> 00:25:56,756
Speaker 3: said that it was like they were creating a soundtrack

482
00:25:56,836 --> 00:25:58,676
Speaker 3: to a movie and then you had to write the movie.

483
00:25:59,436 --> 00:26:02,396
Speaker 4: Yes, yeah, that's right. You hear the music and then

484
00:26:02,436 --> 00:26:05,956
Speaker 4: the images come as opposed to that opposite way of creating,

485
00:26:06,916 --> 00:26:09,796
Speaker 4: And that's what would happen. You would you just listen

486
00:26:09,996 --> 00:26:14,116
Speaker 4: and you pay attention to what what are the images

487
00:26:14,316 --> 00:26:18,356
Speaker 4: in the in the music, and then and then if

488
00:26:18,396 --> 00:26:21,476
Speaker 4: it if it's articulated in a thought, I'll hear it,

489
00:26:22,236 --> 00:26:25,476
Speaker 4: and then I'll just go hm. Because if you edit

490
00:26:25,636 --> 00:26:28,516
Speaker 4: something like I thought I saw a flying saucer, but

491
00:26:28,556 --> 00:26:30,236
Speaker 4: it was just only issue in the air. If you

492
00:26:30,476 --> 00:26:33,916
Speaker 4: edit that, you don't get to find out what that means.

493
00:26:37,316 --> 00:26:38,876
Speaker 3: Did you know what it meant when you said it?

494
00:26:39,516 --> 00:26:42,116
Speaker 4: No, that's what I'm saying. Yeah, that's what I'm saying

495
00:26:42,156 --> 00:26:45,356
Speaker 4: you you say, well, I remember saying many times, especially

496
00:26:45,396 --> 00:26:47,356
Speaker 4: the very first time we ever played together, I say, Okay,

497
00:26:47,356 --> 00:26:51,596
Speaker 4: I'm hearing something really odd, but I'm just gonna say

498
00:26:51,636 --> 00:26:55,556
Speaker 4: it okay, And they were like okay, and then I

499
00:26:55,596 --> 00:26:58,716
Speaker 4: don't I can't even remember what that one. Oh, I

500
00:26:58,756 --> 00:27:01,716
Speaker 4: think it was. I don't remember.

501
00:27:01,996 --> 00:27:03,396
Speaker 6: I think I know what we were talking about. It

502
00:27:05,036 --> 00:27:10,836
Speaker 6: maybe could be, Yeah, that was something, those lines.

503
00:27:11,596 --> 00:27:14,036
Speaker 4: I mean, you never know. I think it's really important

504
00:27:14,116 --> 00:27:19,276
Speaker 4: not to edit the moment of inspiration. I think you

505
00:27:19,956 --> 00:27:23,076
Speaker 4: just allow it and let it show you something. Is

506
00:27:23,156 --> 00:27:26,036
Speaker 4: it going to show you you're really goofy playful side

507
00:27:26,516 --> 00:27:28,276
Speaker 4: or is it going to sound like it's goofy and

508
00:27:28,396 --> 00:27:31,996
Speaker 4: then turn into something far more meaningful, which often happens

509
00:27:32,116 --> 00:27:32,316
Speaker 4: for me.

510
00:27:33,116 --> 00:27:35,036
Speaker 3: Is there a particular song you have in mind when

511
00:27:35,076 --> 00:27:37,756
Speaker 3: you say that, well, Shoe in the Air, Shoe in

512
00:27:37,796 --> 00:27:38,036
Speaker 3: the Air.

513
00:27:38,556 --> 00:27:43,036
Speaker 4: Yeah, And even again, I love the idea of let

514
00:27:43,156 --> 00:27:47,436
Speaker 4: them Lie because there was just a lot of truth

515
00:27:47,516 --> 00:27:48,116
Speaker 4: in that for me.

516
00:27:50,996 --> 00:27:54,116
Speaker 3: Now, I love a lot of these songs. But I've

517
00:27:54,156 --> 00:27:57,836
Speaker 3: wanted to ask you about Under Construction for this reason,

518
00:27:57,956 --> 00:28:00,356
Speaker 3: which is and I think it's all through the album,

519
00:28:01,076 --> 00:28:04,036
Speaker 3: but it's not as though your improvisations.

520
00:28:03,236 --> 00:28:03,676
Speaker 1: Are just.

521
00:28:05,396 --> 00:28:08,556
Speaker 3: What people might worry they're going to hear, which is

522
00:28:08,676 --> 00:28:12,396
Speaker 3: just like, oh, it's her feelings. You actually really establish

523
00:28:12,716 --> 00:28:15,436
Speaker 3: characters in these songs, and I think that's one of

524
00:28:15,516 --> 00:28:17,436
Speaker 3: the strongest songs for that. But all the songs have

525
00:28:18,076 --> 00:28:20,796
Speaker 3: like I don't think, oh, this is the innermost thoughts

526
00:28:20,876 --> 00:28:23,636
Speaker 3: of Edie Brukel. I think, wow, she's she's made a

527
00:28:23,796 --> 00:28:27,716
Speaker 3: character here while you're improvising, which I found really impressive.

528
00:28:28,196 --> 00:28:28,756
Speaker 2: Do you put.

529
00:28:28,676 --> 00:28:32,716
Speaker 3: Yourself Are you putting yourself in a different role? Are

530
00:28:32,756 --> 00:28:34,796
Speaker 3: you thinking consciously of that?

531
00:28:36,276 --> 00:28:40,196
Speaker 4: I'm not thinking consciously of of any of it. I'm

532
00:28:40,276 --> 00:28:44,476
Speaker 4: just trusting what comes and letting it lead me.

533
00:28:45,716 --> 00:28:49,956
Speaker 3: Okay, I'll put it another way, which is you are

534
00:28:50,036 --> 00:28:54,036
Speaker 3: also a Are you a Tony winning.

535
00:28:55,796 --> 00:28:56,236
Speaker 2: Broadway?

536
00:28:56,316 --> 00:28:56,356
Speaker 5: No?

537
00:28:56,996 --> 00:29:00,436
Speaker 4: No, we but but no, we were Tony nominated.

538
00:29:00,596 --> 00:29:03,316
Speaker 2: Okay, you're Tony nominated, then you're a Hamilton.

539
00:29:03,436 --> 00:29:03,716
Speaker 4: Thank you.

540
00:29:04,036 --> 00:29:06,396
Speaker 3: Well that was oh my god, yeah you did really well.

541
00:29:07,396 --> 00:29:09,556
Speaker 4: No No, I mean no, there was just no chance

542
00:29:09,636 --> 00:29:12,676
Speaker 4: that for for any of us. Uh that yeah, that

543
00:29:12,996 --> 00:29:14,316
Speaker 4: that that was so spectacular.

544
00:29:15,636 --> 00:29:18,956
Speaker 3: But you did Bright Star and that so much fun.

545
00:29:19,316 --> 00:29:21,996
Speaker 3: But that was writing and in that case it was

546
00:29:22,076 --> 00:29:24,036
Speaker 3: writing in characters, very strong characters.

547
00:29:24,796 --> 00:29:25,756
Speaker 2: Yeah did that?

548
00:29:26,316 --> 00:29:28,556
Speaker 3: Did that kind of help with this kind of work?

549
00:29:29,316 --> 00:29:32,476
Speaker 4: You know what? Yeah, you made me understand that it did,

550
00:29:32,716 --> 00:29:34,796
Speaker 4: because I hadn't really thought about that before. But what

551
00:29:34,876 --> 00:29:36,956
Speaker 4: I did recognize during that time period was how much

552
00:29:37,036 --> 00:29:41,396
Speaker 4: I loved writing for a character and then hearing these

553
00:29:41,956 --> 00:29:45,436
Speaker 4: these people sing, and really the people who loved perform,

554
00:29:45,676 --> 00:29:50,276
Speaker 4: like Carmen and and everyone everybody who loves to perform,

555
00:29:50,316 --> 00:29:53,996
Speaker 4: to getting to hear them, seeing those character songs felt

556
00:29:54,036 --> 00:29:57,196
Speaker 4: really good. So you're right, and it takes you, It

557
00:29:57,276 --> 00:30:01,836
Speaker 4: does take you out of yourself and my feelings, so

558
00:30:02,196 --> 00:30:06,316
Speaker 4: and that and that feels better because again it's just colorful.

559
00:30:07,956 --> 00:30:10,516
Speaker 3: But also they seemed like not all of them, but

560
00:30:10,596 --> 00:30:13,596
Speaker 3: this seems like New York stories to me. And I

561
00:30:13,636 --> 00:30:15,716
Speaker 3: think people can tell from your accent that you're not

562
00:30:15,796 --> 00:30:16,436
Speaker 3: from New York.

563
00:30:17,156 --> 00:30:20,676
Speaker 4: Yeah, you know, I often think about Dorman because I

564
00:30:21,076 --> 00:30:24,356
Speaker 4: love all the Doorman and our building in New York.

565
00:30:24,436 --> 00:30:27,196
Speaker 4: We I and I lived there for a while, you know,

566
00:30:27,476 --> 00:30:32,116
Speaker 4: And I see that they see births and people coming

567
00:30:32,196 --> 00:30:34,516
Speaker 4: in with new babies, and then they see people leaving

568
00:30:34,756 --> 00:30:39,516
Speaker 4: covered under sheets, and anyway, they entered into that song

569
00:30:39,596 --> 00:30:43,156
Speaker 4: in a playful way, I think, And there was a

570
00:30:43,476 --> 00:30:45,196
Speaker 4: lot of funny characters in elevators too.

571
00:30:49,596 --> 00:30:51,276
Speaker 3: I think what you're saying is you lived in a

572
00:30:51,356 --> 00:30:53,276
Speaker 3: nicer building that I lived in when I lived in,

573
00:30:56,036 --> 00:30:57,116
Speaker 3: not the sixth floor WALKA.

574
00:30:58,836 --> 00:31:00,556
Speaker 1: After this last break, we'll be back with the rest

575
00:31:00,596 --> 00:31:07,756
Speaker 1: of Bruce Hellim's conversation with Heavy Makeup. We're back with

576
00:31:07,836 --> 00:31:11,116
Speaker 1: the rest of Bruce's conversation with Edie Brokel, CJ. Cameri,

577
00:31:11,316 --> 00:31:13,676
Speaker 1: and Trevor Hagen of Heavy Makeup.

578
00:31:14,556 --> 00:31:16,076
Speaker 3: I want to ask all of you how you all

579
00:31:16,196 --> 00:31:18,396
Speaker 3: got to this point, and I will start with you, Edie,

580
00:31:18,476 --> 00:31:20,796
Speaker 3: which is I know you grew up in Dallas. Was

581
00:31:20,876 --> 00:31:21,836
Speaker 3: your family musical?

582
00:31:22,396 --> 00:31:25,876
Speaker 4: They weren't professional musicians, but they sang all the time,

583
00:31:27,956 --> 00:31:29,436
Speaker 4: both my mom and my dad. And my dad had

584
00:31:29,436 --> 00:31:32,956
Speaker 4: a very sweet, soft voice, and my mother just sang

585
00:31:33,236 --> 00:31:36,476
Speaker 4: all the time. She was a working woman who sang

586
00:31:36,676 --> 00:31:39,556
Speaker 4: to bring joy into her life every morning, getting ready

587
00:31:39,596 --> 00:31:41,796
Speaker 4: for work, in the car on the way to work,

588
00:31:42,916 --> 00:31:46,036
Speaker 4: taking us to school. She just sang all the time.

589
00:31:46,236 --> 00:31:47,036
Speaker 3: And what did she sing?

590
00:31:48,596 --> 00:31:51,956
Speaker 4: Everything? Everything that she loved. She was crazy about BB

591
00:31:52,116 --> 00:31:54,316
Speaker 4: King and she used to sort of imitate BB King.

592
00:31:55,476 --> 00:31:57,836
Speaker 4: She could make that face that he makes. It was

593
00:31:57,956 --> 00:32:03,996
Speaker 4: really fun. She sang oh boy, and she looked and

594
00:32:04,156 --> 00:32:09,276
Speaker 4: sang a lot like Aretha Franklin when she danced, and

595
00:32:09,356 --> 00:32:11,756
Speaker 4: then she would flip it to a country sensation and

596
00:32:11,836 --> 00:32:16,636
Speaker 4: she would sing one of her favorite songs is uh

597
00:32:17,316 --> 00:32:20,436
Speaker 4: he Stopped loving her today? She would play that over

598
00:32:20,476 --> 00:32:21,316
Speaker 4: and over, so.

599
00:32:22,356 --> 00:32:22,756
Speaker 1: You know it was.

600
00:32:22,956 --> 00:32:27,116
Speaker 4: It was varied, but mostly R and B or dance

601
00:32:27,476 --> 00:32:27,876
Speaker 4: for her.

602
00:32:28,876 --> 00:32:32,916
Speaker 3: Interesting and was there a song either when your mom

603
00:32:33,036 --> 00:32:36,356
Speaker 3: sang or when you heard on the radio that just

604
00:32:36,436 --> 00:32:38,836
Speaker 3: made a really early impact on you that said, no,

605
00:32:38,996 --> 00:32:39,836
Speaker 3: no music's for me.

606
00:32:41,516 --> 00:32:45,396
Speaker 4: Oh, Nothing from Nothing? I loved that song. That was

607
00:32:45,436 --> 00:32:47,876
Speaker 4: one of my first and superstition those I bought. Those

608
00:32:47,876 --> 00:32:50,396
Speaker 4: were my first singles that I ever bought. But I

609
00:32:50,596 --> 00:32:54,356
Speaker 4: love that piano part and Nothing from Nothing Billy Preston.

610
00:32:54,596 --> 00:32:58,356
Speaker 3: Yeah, oh amazing. Back back when you could buy forty fives.

611
00:32:58,396 --> 00:32:59,476
Speaker 3: That was so great, wasn't it.

612
00:33:00,116 --> 00:33:00,316
Speaker 4: Yeah?

613
00:33:00,996 --> 00:33:03,076
Speaker 3: Yeah, I love that, Trevor. Can I ask you the

614
00:33:03,116 --> 00:33:06,156
Speaker 3: same question, is there was there an early song an

615
00:33:06,196 --> 00:33:08,836
Speaker 3: impression of music that that just grabbed you?

616
00:33:11,196 --> 00:33:11,356
Speaker 4: You know?

617
00:33:11,516 --> 00:33:15,876
Speaker 6: My real I think love for music came through through

618
00:33:15,996 --> 00:33:20,796
Speaker 6: jazz and through people like Loneus Monk Charles Mingus, Miles Davis.

619
00:33:20,996 --> 00:33:23,356
Speaker 6: I think those and that's probably the case for a

620
00:33:23,396 --> 00:33:27,196
Speaker 6: lot of you know, jazz heads out there. But I

621
00:33:27,276 --> 00:33:31,516
Speaker 6: think jazz also introduced me to whole, you know, two

622
00:33:31,556 --> 00:33:34,716
Speaker 6: different social relations in the South, to like a whole

623
00:33:34,756 --> 00:33:40,356
Speaker 6: different set of histories of people and sounds. So but

624
00:33:40,756 --> 00:33:42,956
Speaker 6: of course Monk is I mean, I'm not sure if

625
00:33:42,956 --> 00:33:44,956
Speaker 6: I can say a particular a song, but it was

626
00:33:45,516 --> 00:33:48,556
Speaker 6: always Monk, Miles and Mingus, and then then later Luy

627
00:33:48,636 --> 00:33:51,916
Speaker 6: Armstrong and Ellington. But uh, I think jazz for me

628
00:33:52,116 --> 00:33:53,636
Speaker 6: was also a way to really find a sense of

629
00:33:53,676 --> 00:33:57,036
Speaker 6: belonging as like a kid you're just you know, I

630
00:33:57,236 --> 00:33:59,236
Speaker 6: had I could played in jazz band, I had friends

631
00:33:59,316 --> 00:34:01,836
Speaker 6: really into jazz, We learned about jazz, so really it

632
00:34:01,916 --> 00:34:05,356
Speaker 6: was kind of an opportunity to also, you know, make

633
00:34:05,476 --> 00:34:07,436
Speaker 6: friends because I wasn't playing sports. I wasn't on a

634
00:34:07,876 --> 00:34:10,316
Speaker 6: basketball team or football tea or something. So I really

635
00:34:10,356 --> 00:34:14,396
Speaker 6: had a strong social connection with music growing up, where

636
00:34:14,396 --> 00:34:16,396
Speaker 6: it was also a way of like how I was

637
00:34:16,476 --> 00:34:18,476
Speaker 6: even you know, spending time with my friends.

638
00:34:19,196 --> 00:34:23,636
Speaker 3: It's funny you mentioned Mingus because particularly his stuff is

639
00:34:23,796 --> 00:34:27,116
Speaker 3: not it seems close in spirit a little bit to

640
00:34:27,196 --> 00:34:29,036
Speaker 3: what you guys are doing, which is it's a group

641
00:34:29,116 --> 00:34:33,476
Speaker 3: improvisation and his group is so solid that way, it's

642
00:34:33,556 --> 00:34:37,116
Speaker 3: not it's not the you take a solo, then I

643
00:34:37,236 --> 00:34:41,156
Speaker 3: take a solo. Then it's much more ensemble based.

644
00:34:41,676 --> 00:34:44,796
Speaker 6: Absolutely, and even playing a lot of I know in

645
00:34:44,916 --> 00:34:46,716
Speaker 6: CJ also play a lot of big band stuff. I

646
00:34:46,756 --> 00:34:48,996
Speaker 6: mean you're from a player at some point you're always

647
00:34:48,996 --> 00:34:51,356
Speaker 6: playing big band stuff. But I got to experience a

648
00:34:51,396 --> 00:34:53,436
Speaker 6: lot of chance to play a lot of Ellington as well.

649
00:34:53,916 --> 00:34:56,556
Speaker 6: And so Ellington and mingus you are going these very

650
00:34:57,076 --> 00:35:02,436
Speaker 6: beautifully composed pieces with timbres of you know, a jazz band,

651
00:35:03,276 --> 00:35:06,996
Speaker 6: but then having solos coming out and telling a story

652
00:35:07,076 --> 00:35:10,996
Speaker 6: through composition but also improvisation. So yeah, all of really

653
00:35:11,076 --> 00:35:14,156
Speaker 6: those I think that energy was always it still is

654
00:35:14,356 --> 00:35:15,276
Speaker 6: very important to me.

655
00:35:15,316 --> 00:35:16,956
Speaker 2: I still have a lot of puts a lot of

656
00:35:17,036 --> 00:35:19,436
Speaker 2: value in music in that way.

657
00:35:20,716 --> 00:35:20,956
Speaker 4: CJ.

658
00:35:21,116 --> 00:35:24,196
Speaker 3: Can I ask you the same you what was like,

659
00:35:24,476 --> 00:35:28,676
Speaker 3: was there an early song, early memory on the radio,

660
00:35:28,916 --> 00:35:32,076
Speaker 3: something that said, oh yeah, that's for me, you know

661
00:35:32,196 --> 00:35:32,396
Speaker 3: for me?

662
00:35:32,516 --> 00:35:33,236
Speaker 2: It happened later.

663
00:35:33,356 --> 00:35:35,596
Speaker 5: I started playing piano when I was four years old

664
00:35:35,596 --> 00:35:38,076
Speaker 5: because my dad, my dad was as a musician. He

665
00:35:38,236 --> 00:35:40,396
Speaker 5: was a middle school band director, and so I heard

666
00:35:40,476 --> 00:35:43,036
Speaker 5: him teaching piano lessons at the house all the time,

667
00:35:43,116 --> 00:35:46,276
Speaker 5: and from the time I could talk, just begging him

668
00:35:46,316 --> 00:35:47,876
Speaker 5: to let me start doing it. You know, like I

669
00:35:48,436 --> 00:35:53,076
Speaker 5: music was inside me, and you know, you know, from

670
00:35:53,076 --> 00:35:55,036
Speaker 5: a super young age, and I started playing trumpet when

671
00:35:55,036 --> 00:35:57,356
Speaker 5: I was seven or eight, and I was obsessed with him.

672
00:35:57,396 --> 00:35:59,436
Speaker 5: I was a kid that was like twelve years old,

673
00:35:59,556 --> 00:36:02,236
Speaker 5: practice in six hours a day of the trumpet, and like,

674
00:36:02,396 --> 00:36:04,356
Speaker 5: you know, I knew I wanted to be a professional

675
00:36:04,396 --> 00:36:07,796
Speaker 5: trumpet player, and I just didn't know what that meant

676
00:36:07,836 --> 00:36:11,396
Speaker 5: and what music that would be. And all the way

677
00:36:11,436 --> 00:36:13,196
Speaker 5: through college, I went to Juilliard and I got to

678
00:36:13,236 --> 00:36:16,236
Speaker 5: do a classical trumpet, even though when I was when

679
00:36:16,276 --> 00:36:18,276
Speaker 5: I got there, I wanted to be a jazz musician.

680
00:36:18,516 --> 00:36:20,756
Speaker 5: And the first gig I played out of college was

681
00:36:21,156 --> 00:36:25,156
Speaker 5: totally a free jazz gig, and I just really didn't

682
00:36:25,276 --> 00:36:28,036
Speaker 5: know what kind of music I wanted to make until

683
00:36:28,476 --> 00:36:30,916
Speaker 5: I was in a fan I'll never forget it. On

684
00:36:31,196 --> 00:36:33,556
Speaker 5: my way to Buffalo, New York to play a totally

685
00:36:33,676 --> 00:36:37,956
Speaker 5: free gig with this great trumpet player named Peter Evans

686
00:36:38,036 --> 00:36:40,756
Speaker 5: and a bass player named Mapa Elliott Trumbone player named

687
00:36:40,836 --> 00:36:44,716
Speaker 5: David Taylor, and they put on SOUPI Young Stevens come

688
00:36:44,796 --> 00:36:47,916
Speaker 5: on Fell the Illinois record, and it was there's so

689
00:36:48,076 --> 00:36:51,636
Speaker 5: many awesome trumpet parts and woodwind parts and string parts

690
00:36:51,716 --> 00:36:53,996
Speaker 5: on that, but it was in the context of these songs.

691
00:36:54,076 --> 00:36:55,956
Speaker 5: I just had so much life and spirit to them,

692
00:36:55,996 --> 00:36:57,476
Speaker 5: and I was like, that's what I want to do.

693
00:36:57,876 --> 00:37:00,276
Speaker 5: That's how I want to like use these skills I've

694
00:37:00,316 --> 00:37:03,916
Speaker 5: been working at with no real idea on how where

695
00:37:03,956 --> 00:37:06,436
Speaker 5: to apply them. So I was just I became obsessed

696
00:37:06,476 --> 00:37:10,276
Speaker 5: with like finding my way into again Steven's band, and

697
00:37:10,396 --> 00:37:13,116
Speaker 5: that became sort of like the catalyst for my whole career.

698
00:37:13,356 --> 00:37:15,116
Speaker 5: But I mean just I'll never forget that moment of

699
00:37:15,276 --> 00:37:19,436
Speaker 5: like going to play a totally free jazz gig and

700
00:37:19,596 --> 00:37:23,436
Speaker 5: hearing these like, you know, simple poppy folk songs. Not simple,

701
00:37:23,556 --> 00:37:26,316
Speaker 5: but like it was really catchy, beautiful songs that I

702
00:37:26,356 --> 00:37:28,996
Speaker 5: had these trumpet melodies on them, and it was just really.

703
00:37:29,436 --> 00:37:30,036
Speaker 2: That was it for me.

704
00:37:30,236 --> 00:37:32,876
Speaker 3: Yeah, it's like the the it's not the outro, but

705
00:37:32,956 --> 00:37:36,116
Speaker 3: the end of and Andrew Jackson songs got that great

706
00:37:36,156 --> 00:37:40,396
Speaker 3: trumpet bit. And but it's interesting, were you not interested

707
00:37:40,436 --> 00:37:41,716
Speaker 3: in pop music at all before that.

708
00:37:42,716 --> 00:37:47,076
Speaker 5: No, I uh, it never never really connected to me.

709
00:37:47,236 --> 00:37:50,116
Speaker 5: I was I was raised like pretty conservative Christian when

710
00:37:50,156 --> 00:37:52,196
Speaker 5: I was young, so we didn't listen to a lot

711
00:37:52,356 --> 00:37:53,556
Speaker 5: of popular music.

712
00:37:55,716 --> 00:37:57,956
Speaker 2: But I was jazz. I was obsessed with like like

713
00:37:58,156 --> 00:37:59,276
Speaker 2: operating the instrument.

714
00:37:59,356 --> 00:38:01,276
Speaker 5: So I was really obsessed with jazz from a like

715
00:38:01,476 --> 00:38:04,236
Speaker 5: learn every Clipper Ground solo and the Louis Armstrong solo

716
00:38:04,356 --> 00:38:06,996
Speaker 5: and just with classical music from it, like learned the parts,

717
00:38:07,276 --> 00:38:09,156
Speaker 5: you know, learn this, like expand your skill set. But

718
00:38:09,716 --> 00:38:11,036
Speaker 5: I knew, I yeah, like I said, I want to

719
00:38:11,116 --> 00:38:13,956
Speaker 5: be I didn't sort of know that the trumpet could

720
00:38:13,956 --> 00:38:17,036
Speaker 5: have this life outside of those two really kind of

721
00:38:17,436 --> 00:38:20,036
Speaker 5: you know, institutionalized genres.

722
00:38:21,556 --> 00:38:25,236
Speaker 3: That's amazing. Did did anything at Juilliard prepare you for

723
00:38:25,316 --> 00:38:25,996
Speaker 3: this experience?

724
00:38:28,116 --> 00:38:30,596
Speaker 2: No, that's not true.

725
00:38:30,676 --> 00:38:33,236
Speaker 5: Chamber of music, I really, I always, I always was

726
00:38:33,316 --> 00:38:36,636
Speaker 5: involved in chamber of music. And this is like chamber

727
00:38:36,716 --> 00:38:39,516
Speaker 5: music on the like highest, highest, highest level because you're

728
00:38:39,636 --> 00:38:43,316
Speaker 5: improvised that you're improvising as a group, trying to make

729
00:38:43,396 --> 00:38:46,036
Speaker 5: these songs and trusting each other and communicating with your

730
00:38:46,076 --> 00:38:48,316
Speaker 5: eyes and you know a lot of like you know

731
00:38:48,396 --> 00:38:53,436
Speaker 5: the cues that you use in chamber music, and yeah,

732
00:38:53,476 --> 00:38:55,676
Speaker 5: and trusting each other. You know, I know that they're

733
00:38:55,716 --> 00:38:57,116
Speaker 5: going to start this at the right tempo and then

734
00:38:57,116 --> 00:38:58,756
Speaker 5: I'm gonna be able to add my part into that,

735
00:38:58,836 --> 00:39:00,356
Speaker 5: and they're not going to play too soft because then

736
00:39:00,356 --> 00:39:02,276
Speaker 5: I'll sound too loud. And yeah, all these like chamber

737
00:39:02,316 --> 00:39:05,356
Speaker 5: music skills you learned in college. So definitely, definitely. And

738
00:39:05,636 --> 00:39:07,836
Speaker 5: I also had an amazing teacher when I was at

739
00:39:07,996 --> 00:39:11,036
Speaker 5: Juilliard kind of like made sure I was prepared for

740
00:39:11,116 --> 00:39:12,156
Speaker 5: anything that came my way.

741
00:39:12,316 --> 00:39:14,036
Speaker 3: I was like, that wasn't a shot at Juilliard, I

742
00:39:14,116 --> 00:39:14,916
Speaker 3: want to be clear.

743
00:39:15,716 --> 00:39:17,396
Speaker 2: I mean I could take a shot at Juliard. No.

744
00:39:17,556 --> 00:39:20,356
Speaker 3: No, although my brother's at Eastman, so you just have

745
00:39:20,516 --> 00:39:23,436
Speaker 3: to you know, it's a little competitive ya.

746
00:39:24,556 --> 00:39:27,756
Speaker 4: You know what, though, when you said when you discovered

747
00:39:27,796 --> 00:39:31,156
Speaker 4: your music, I think I listening to them. I realized

748
00:39:31,276 --> 00:39:34,116
Speaker 4: what you meant when I got older. When I was young,

749
00:39:34,796 --> 00:39:36,716
Speaker 4: what I wrote on the radio were those two first

750
00:39:36,756 --> 00:39:40,196
Speaker 4: favorite songs, Superstition and Nothing from Nothing. They were my

751
00:39:40,276 --> 00:39:44,676
Speaker 4: first favorite songs. But when I went out and started

752
00:39:44,716 --> 00:39:48,956
Speaker 4: looking for music, when I found Duke Ellington and Bob

753
00:39:48,996 --> 00:39:53,596
Speaker 4: Wills and the Texas Playboys, I thought, this is I

754
00:39:53,836 --> 00:39:55,556
Speaker 4: love this music and I would often put it on

755
00:39:55,676 --> 00:39:57,996
Speaker 4: to bring sunshine into my kitchen when I was raising

756
00:39:58,036 --> 00:40:02,076
Speaker 4: the kids. That's the music that made me happiest.

757
00:40:02,676 --> 00:40:06,556
Speaker 3: Okay, Trevor. I was really interested in something you once

758
00:40:06,756 --> 00:40:12,316
Speaker 3: wrote about the trumpet, which was I hope you don't

759
00:40:12,316 --> 00:40:14,156
Speaker 3: regret writing this, but I'm going to say it anyway,

760
00:40:14,196 --> 00:40:17,356
Speaker 3: which is, and I don't remember your phrase, but essentially

761
00:40:17,476 --> 00:40:20,756
Speaker 3: that the martial element of the trumpet, the role of

762
00:40:20,796 --> 00:40:24,916
Speaker 3: trumpet in war is something I don't I think I'm

763
00:40:24,916 --> 00:40:27,156
Speaker 3: actually mixing it up with phrase from one of the songs,

764
00:40:27,596 --> 00:40:31,196
Speaker 3: but it's in the trumpets DNA essentially, I.

765
00:40:31,236 --> 00:40:33,996
Speaker 6: Mean absolutely, I remember this very very well. I mean

766
00:40:34,116 --> 00:40:37,276
Speaker 6: I got my first flugelhorn. I was playing it and

767
00:40:37,996 --> 00:40:43,716
Speaker 6: it was like this French maker called couinone, and somehow

768
00:40:43,796 --> 00:40:45,676
Speaker 6: I figure out that this by like you can see

769
00:40:45,676 --> 00:40:48,036
Speaker 6: how the design of the writing and everything like this

770
00:40:48,076 --> 00:40:49,956
Speaker 6: you could trace it back to like maybe late eighteen

771
00:40:50,036 --> 00:40:52,836
Speaker 6: nineties France, and you're like, wow, this flugelhorn was probably

772
00:40:52,916 --> 00:40:54,796
Speaker 6: used in the French Algerian War, and this is like

773
00:40:54,836 --> 00:40:56,556
Speaker 6: a standard issue for the French military.

774
00:40:56,876 --> 00:40:59,116
Speaker 2: And here I am with this piece of metal on

775
00:40:59,236 --> 00:41:00,156
Speaker 2: my face, and.

776
00:41:00,276 --> 00:41:05,876
Speaker 6: Somehow that whole connection to what this instrument was made

777
00:41:05,996 --> 00:41:09,436
Speaker 6: for in society in the world really hit me very hard,

778
00:41:09,516 --> 00:41:12,556
Speaker 6: where I'm like, I'm playing this military instrument, this is

779
00:41:13,756 --> 00:41:16,716
Speaker 6: was used to communicate and battlefields across long distances and

780
00:41:16,796 --> 00:41:18,636
Speaker 6: this is and all of a sudden, this whole other

781
00:41:18,836 --> 00:41:21,916
Speaker 6: energy of the instrument kind of like started to show

782
00:41:21,916 --> 00:41:25,556
Speaker 6: his face to me, and and and and I think

783
00:41:25,596 --> 00:41:27,756
Speaker 6: I just kind of took that and ran with a

784
00:41:27,836 --> 00:41:32,156
Speaker 6: little bit with with how I was even playing the

785
00:41:32,236 --> 00:41:35,556
Speaker 6: instrument or approaching it, and how to think about discourse

786
00:41:35,796 --> 00:41:38,316
Speaker 6: and appropriate or not appropriate ways of playing it, and

787
00:41:38,476 --> 00:41:43,716
Speaker 6: what what this instrument has been throughout history. And and

788
00:41:43,796 --> 00:41:46,316
Speaker 6: it's still is kind of crazy when you know CGI

789
00:41:46,316 --> 00:41:48,956
Speaker 6: will won't be playing trumpet or these two military instruments

790
00:41:49,156 --> 00:41:51,036
Speaker 6: you know inside, but you can play them very softly

791
00:41:51,036 --> 00:41:53,436
Speaker 6: and beautifully. But there's still that element where this is

792
00:41:53,556 --> 00:41:55,956
Speaker 6: like a caged beast or something like this, but you

793
00:41:55,996 --> 00:41:58,076
Speaker 6: can really open it up if you want to. And

794
00:41:58,996 --> 00:42:01,516
Speaker 6: and the other kinds of not unknown territories, but one

795
00:42:01,596 --> 00:42:07,316
Speaker 6: that's it's uh, it's not as seen as much anymore

796
00:42:07,356 --> 00:42:09,276
Speaker 6: with the trumpet, I think, and we see, we hear

797
00:42:09,276 --> 00:42:11,556
Speaker 6: a lot of is their association of like the more

798
00:42:11,636 --> 00:42:16,116
Speaker 6: biblical heralding aspect of it the beauty aspect of it.

799
00:42:16,396 --> 00:42:18,836
Speaker 6: And so there's these two sides to it that are

800
00:42:18,956 --> 00:42:22,876
Speaker 6: both kind of it's fun and play with.

801
00:42:23,636 --> 00:42:28,156
Speaker 3: Conceptually, I'm interested because I came to this album with

802
00:42:28,436 --> 00:42:32,756
Speaker 3: certain expectations of electronic music. And it's not that I

803
00:42:32,836 --> 00:42:36,076
Speaker 3: don't like electronic music. Certainly, when I was growing up

804
00:42:36,116 --> 00:42:37,756
Speaker 3: in the eighties, there was a lot of like the

805
00:42:37,836 --> 00:42:40,636
Speaker 3: early electropop, and some of it I thought was terrific.

806
00:42:41,516 --> 00:42:45,356
Speaker 3: But to me it's DNA is kind of cold and

807
00:42:45,476 --> 00:42:52,396
Speaker 3: technological and a little bit scary. I guess it doesn't

808
00:42:52,396 --> 00:42:54,436
Speaker 3: feel that way in this record, but I'm just wondering

809
00:42:54,516 --> 00:42:57,916
Speaker 3: how you felt about using these instruments with this.

810
00:42:59,396 --> 00:43:03,276
Speaker 2: In this way. I mean, I think for me, I

811
00:43:04,076 --> 00:43:07,276
Speaker 2: know exactly what you're what you mean, that's.

812
00:43:06,836 --> 00:43:08,876
Speaker 3: Good, because I said it terribly.

813
00:43:10,276 --> 00:43:11,196
Speaker 2: Completely, no is good.

814
00:43:11,916 --> 00:43:14,716
Speaker 5: I think that I don't want to speak for Driver,

815
00:43:14,796 --> 00:43:17,156
Speaker 5: but I think that both of us coming from this instrument,

816
00:43:17,356 --> 00:43:21,196
Speaker 5: that's you know, you're thinking melodies and you're thinking textures.

817
00:43:21,796 --> 00:43:24,756
Speaker 5: When when we're approaching these other instruments, these electronic instruments

818
00:43:24,756 --> 00:43:28,276
Speaker 5: and drum machines, and you're we're the same musicians. Our

819
00:43:28,356 --> 00:43:31,396
Speaker 5: formative time was spent playing melodies and finding these melodic

820
00:43:31,516 --> 00:43:36,516
Speaker 5: paths through musical challenges, and uh, when we improvise, be

821
00:43:36,556 --> 00:43:39,516
Speaker 5: improvised searching for melodies. And so I think that that's

822
00:43:39,556 --> 00:43:42,916
Speaker 5: one thing that hopefully has made it so seamless working

823
00:43:42,956 --> 00:43:45,836
Speaker 5: with Edie, who's literally searching for a melody. Is you know,

824
00:43:45,876 --> 00:43:49,476
Speaker 5: when I play chords, I'm thinking melodically, I'm not really feeling,

825
00:43:50,436 --> 00:43:53,476
Speaker 5: you know, harmonic movement like a guitar player or like

826
00:43:53,836 --> 00:43:58,196
Speaker 5: someone who only plays piano. And I feel the same

827
00:43:58,236 --> 00:44:01,236
Speaker 5: way about the way Trevor uses beats. It's musical, it's

828
00:44:01,316 --> 00:44:04,156
Speaker 5: from you know, it's from the song first. Right, We

829
00:44:04,236 --> 00:44:07,356
Speaker 5: try to initially inspire an idea by putting out a

830
00:44:07,396 --> 00:44:09,956
Speaker 5: fresh new sound for Edie, and we see your imagination go,

831
00:44:10,196 --> 00:44:13,156
Speaker 5: We see the light bulb go off, and then we're there.

832
00:44:13,436 --> 00:44:15,116
Speaker 5: You were using these instruments that we're using them to

833
00:44:15,196 --> 00:44:20,436
Speaker 5: support a song, right, We're not using them to urt anyone, Yeah, exactly.

834
00:44:20,796 --> 00:44:24,196
Speaker 3: Although the album starts with a really great drum sound

835
00:44:24,236 --> 00:44:26,916
Speaker 3: and I on on a shoe in the air and

836
00:44:26,996 --> 00:44:29,556
Speaker 3: I was I was hoping those were real drums, but

837
00:44:29,676 --> 00:44:29,956
Speaker 3: they're not.

838
00:44:30,956 --> 00:44:35,516
Speaker 6: No, there's they're they're all no those I mean, the

839
00:44:35,636 --> 00:44:38,876
Speaker 6: texture sounds real, but those are all different sounds and

840
00:44:38,916 --> 00:44:43,076
Speaker 6: different kits that that I kind of prepare or I

841
00:44:43,116 --> 00:44:45,356
Speaker 6: don't know, like you know, just finding sounds that all

842
00:44:45,436 --> 00:44:45,676
Speaker 6: kind of.

843
00:44:45,676 --> 00:44:47,236
Speaker 2: Go together and they kind of play off each other.

844
00:44:47,356 --> 00:44:49,836
Speaker 6: And and it's fun to think about a drum kit

845
00:44:49,876 --> 00:44:52,436
Speaker 6: because you don't have to on a drum machine, but

846
00:44:52,956 --> 00:44:55,596
Speaker 6: you do, so you're making sounds that kind of help

847
00:44:55,676 --> 00:44:56,036
Speaker 6: each other.

848
00:44:56,396 --> 00:44:56,716
Speaker 4: I guess.

849
00:44:57,116 --> 00:44:59,436
Speaker 6: So I think even just just you know, and for

850
00:44:59,556 --> 00:45:03,476
Speaker 6: some reason that those more that and also enough running around,

851
00:45:03,916 --> 00:45:06,516
Speaker 6: they just needed that kind of low tome. They just

852
00:45:06,636 --> 00:45:09,396
Speaker 6: needed that that sound that's kind of hard to find

853
00:45:09,476 --> 00:45:13,196
Speaker 6: and like let's say electronic drum sounds, No.

854
00:45:13,316 --> 00:45:16,636
Speaker 3: I thought it was really and there's something there's something

855
00:45:16,836 --> 00:45:24,596
Speaker 3: very effective about when electric sounds approximate instruments but don't

856
00:45:24,676 --> 00:45:27,916
Speaker 3: quite get there. I'm thinking of like those early you know,

857
00:45:27,956 --> 00:45:29,916
Speaker 3: if you think of those David Bowie songs that had

858
00:45:29,916 --> 00:45:31,676
Speaker 3: a lot of melotron on it, I always find that

859
00:45:31,796 --> 00:45:36,556
Speaker 3: sound just heartbreaking because it's not strings instead, it's this

860
00:45:36,836 --> 00:45:39,236
Speaker 3: it's this weird tape machine, which I gather was impossible

861
00:45:39,276 --> 00:45:39,836
Speaker 3: to use, but.

862
00:45:39,956 --> 00:45:40,396
Speaker 2: It's got this.

863
00:45:40,796 --> 00:45:43,916
Speaker 3: It has this different effect than strings totally.

864
00:45:43,996 --> 00:45:45,716
Speaker 6: And there'll be times, I mean just going through and

865
00:45:45,836 --> 00:45:48,076
Speaker 6: finding sounds that maybe appeal to you and you know,

866
00:45:48,236 --> 00:45:51,196
Speaker 6: and as CJ said to finding different sounds on a

867
00:45:51,316 --> 00:45:54,196
Speaker 6: on a keyboard and those are you know, it's just

868
00:45:54,356 --> 00:45:56,396
Speaker 6: one of the fun parts of playing electronic music is

869
00:45:56,476 --> 00:45:59,796
Speaker 6: just you can really dig into different sounds and shape

870
00:45:59,796 --> 00:46:02,996
Speaker 6: them in a way that's really kind of this what

871
00:46:03,196 --> 00:46:06,236
Speaker 6: we want to call it a self reflexive aesthetic technique.

872
00:46:06,236 --> 00:46:08,796
Speaker 6: We're like, oh, this this, this sound really appeals to me.

873
00:46:08,796 --> 00:46:10,636
Speaker 6: Like it and find it, and you know, I really

874
00:46:10,796 --> 00:46:13,596
Speaker 6: locked in. I think we just kind of really spent

875
00:46:13,836 --> 00:46:16,596
Speaker 6: a lot of time finding nice palettes of sounds we'd

876
00:46:16,676 --> 00:46:19,836
Speaker 6: like to hear together. And those did come away from

877
00:46:19,876 --> 00:46:24,476
Speaker 6: I think a more dark electronic sound and with eats,

878
00:46:24,636 --> 00:46:27,876
Speaker 6: melodies and lyrics, they kind of all helped shape the

879
00:46:27,996 --> 00:46:31,956
Speaker 6: sound together where it's not hopefully cold or distressing or

880
00:46:33,156 --> 00:46:34,676
Speaker 6: which sometimes aboutronic music can.

881
00:46:36,076 --> 00:46:37,756
Speaker 2: Fall into m I.

882
00:46:37,796 --> 00:46:40,116
Speaker 5: Mean, Trevor, Trevor makes it in a certain way with it,

883
00:46:40,316 --> 00:46:43,676
Speaker 5: and that really helped all of these sounds, you know,

884
00:46:44,596 --> 00:46:47,596
Speaker 5: not not be painful and you know, serve these songs.

885
00:46:47,636 --> 00:46:50,156
Speaker 2: And we also ran it through an old soundboard, which

886
00:46:50,236 --> 00:46:51,076
Speaker 2: gave it a lot of.

887
00:46:52,636 --> 00:46:54,996
Speaker 5: Depth, and some of the some of the tracks we

888
00:46:55,156 --> 00:46:57,516
Speaker 5: put through a tape machine, and so we really tried

889
00:46:57,596 --> 00:47:01,436
Speaker 5: to kind of balance balance all these different elements.

890
00:47:02,356 --> 00:47:05,836
Speaker 3: A song, and I gather it's the single is wait

891
00:47:05,956 --> 00:47:07,916
Speaker 3: for It, which I really love. And what I mentioned

892
00:47:07,916 --> 00:47:11,436
Speaker 3: earlier about the the contrast between the electronic instruments and

893
00:47:11,596 --> 00:47:14,516
Speaker 3: Edie's voice, I think that's a that's one of the

894
00:47:14,556 --> 00:47:17,596
Speaker 3: best examples on the record. Can you talk about making that, Eadie.

895
00:47:18,716 --> 00:47:22,276
Speaker 4: It's basically the same thing that happened before. They just

896
00:47:22,436 --> 00:47:26,556
Speaker 4: play it, just played this very inspiring piece of music

897
00:47:26,836 --> 00:47:31,036
Speaker 4: and I just started singing, you know, wait for It.

898
00:47:31,236 --> 00:47:31,716
Speaker 5: Just just.

899
00:47:33,516 --> 00:47:36,716
Speaker 4: I just started having fun and then it it just

900
00:47:36,876 --> 00:47:40,396
Speaker 4: flowed out. And all I can say is it They're

901
00:47:40,636 --> 00:47:41,716
Speaker 4: very very inspiring.

902
00:47:42,396 --> 00:47:42,636
Speaker 2: M h.

903
00:47:43,276 --> 00:47:45,876
Speaker 4: And so I sing when I'm inspired.

904
00:47:46,796 --> 00:47:48,676
Speaker 3: Are you one of those singers? Do you have a

905
00:47:48,756 --> 00:47:50,116
Speaker 3: picture in your head when you're singing?

906
00:47:50,276 --> 00:47:50,916
Speaker 2: Or is it just.

907
00:47:51,436 --> 00:47:57,276
Speaker 4: Sometimes I do? But but sometimes just it's it's just

908
00:47:57,356 --> 00:48:00,236
Speaker 4: a musical phrase like that one does start with wait

909
00:48:00,356 --> 00:48:02,516
Speaker 4: for It. So then it's it's just the sense of

910
00:48:02,636 --> 00:48:09,716
Speaker 4: that melody that dud Duda just playing you know, and

911
00:48:09,916 --> 00:48:12,276
Speaker 4: just noticing, Okay, that's what the phrase wants to be

912
00:48:12,636 --> 00:48:17,036
Speaker 4: and it wants to be repeated. It just happened so

913
00:48:17,156 --> 00:48:20,396
Speaker 4: fast it's hard to explain. You just go with it,

914
00:48:21,516 --> 00:48:23,836
Speaker 4: and then after you say that a couple of times,

915
00:48:23,876 --> 00:48:26,276
Speaker 4: you realize, well, I can't just say this over and

916
00:48:26,356 --> 00:48:28,796
Speaker 4: over and over, so now what do I do? And

917
00:48:28,916 --> 00:48:32,916
Speaker 4: then if you're waiting for something, oh, here it comes,

918
00:48:32,996 --> 00:48:35,916
Speaker 4: and you just like I said, but that wasn't even

919
00:48:35,916 --> 00:48:36,876
Speaker 4: a conscious decision.

920
00:48:36,956 --> 00:48:37,316
Speaker 1: It's just.

921
00:48:39,076 --> 00:48:44,516
Speaker 4: One thing leads to another and you just you just go.

922
00:48:45,516 --> 00:48:48,276
Speaker 4: And then when those guys listen back to it later,

923
00:48:49,516 --> 00:48:53,116
Speaker 4: I guess you know, he Trevor will edit it and

924
00:48:54,036 --> 00:48:58,116
Speaker 4: send it back and you hear that that idea was realized.

925
00:48:58,836 --> 00:48:59,156
Speaker 2: M hm.

926
00:49:00,516 --> 00:49:02,556
Speaker 3: Was that a song you had to add additional lyrics

927
00:49:02,596 --> 00:49:04,476
Speaker 3: to or it all came from the first session.

928
00:49:05,156 --> 00:49:08,076
Speaker 4: Yeah, that that all came out and and I think

929
00:49:08,116 --> 00:49:10,156
Speaker 4: the phrasing on that is kind of weird too. It's

930
00:49:10,236 --> 00:49:15,796
Speaker 4: not like something I would consciously write. And so yeah,

931
00:49:15,916 --> 00:49:17,876
Speaker 4: you just just go in and try to get a

932
00:49:18,636 --> 00:49:21,836
Speaker 4: good vocal take of it. If it was if there

933
00:49:21,956 --> 00:49:25,796
Speaker 4: was an edit in there, and if there were or

934
00:49:25,836 --> 00:49:28,596
Speaker 4: if there if there was one, yeah, or if it was,

935
00:49:29,756 --> 00:49:34,316
Speaker 4: if it was not articulated. Well, I like, I remember

936
00:49:34,436 --> 00:49:37,436
Speaker 4: on the first record, I couldn't tell what I was

937
00:49:37,516 --> 00:49:40,036
Speaker 4: saying in one of the things. I said, what what

938
00:49:40,516 --> 00:49:42,996
Speaker 4: what is that? It's just a sound and Trevor said,

939
00:49:42,996 --> 00:49:46,796
Speaker 4: I think you're saying pivot. I was like, oh, I

940
00:49:47,036 --> 00:49:50,916
Speaker 4: like it. Okay, So that kind of thing can happen

941
00:49:50,956 --> 00:49:53,076
Speaker 4: where it's not there's it's you don't have clarity, so

942
00:49:53,116 --> 00:49:55,876
Speaker 4: you have to listen to the context, context of the

943
00:49:55,996 --> 00:49:59,676
Speaker 4: song and the content and then go in and plug

944
00:49:59,796 --> 00:50:02,876
Speaker 4: something in. Mm hmm, but I don't. I don't know

945
00:50:02,916 --> 00:50:03,956
Speaker 4: if we did on that or not.

946
00:50:04,716 --> 00:50:06,036
Speaker 2: No, that's that's the song.

947
00:50:06,196 --> 00:50:09,516
Speaker 5: We kept every lyric from the yeah improv And then

948
00:50:09,596 --> 00:50:11,916
Speaker 5: I think, but I think you had you re sang it,

949
00:50:14,316 --> 00:50:16,116
Speaker 5: but I think you changed, like yeah, just like one

950
00:50:16,196 --> 00:50:19,156
Speaker 5: where like him to his or something something that was

951
00:50:19,236 --> 00:50:21,636
Speaker 5: like oh right, yeah, I guess it is pastance or

952
00:50:21,676 --> 00:50:23,516
Speaker 5: you know, it was some kind of little like the

953
00:50:23,676 --> 00:50:24,556
Speaker 5: tiniest edit.

954
00:50:25,676 --> 00:50:28,196
Speaker 2: Yeah, yeah, I mean what you're hearing is what happened.

955
00:50:28,476 --> 00:50:31,316
Speaker 3: So CJ, you said you don't think harmonically when you

956
00:50:31,396 --> 00:50:34,476
Speaker 3: were writing for this album particularly, or you're not that

957
00:50:34,596 --> 00:50:39,676
Speaker 3: kind of Plaire. A lot of the uh, because these

958
00:50:39,716 --> 00:50:41,956
Speaker 3: were pop songs and a lot of the sort of

959
00:50:41,956 --> 00:50:46,436
Speaker 3: the harmony seems like like pop music. I mean that

960
00:50:47,316 --> 00:50:50,876
Speaker 3: in a nice way, of course, But two songs to

961
00:50:50,956 --> 00:50:54,396
Speaker 3: me sounded and I could be totally wrong, they almost

962
00:50:54,396 --> 00:50:57,676
Speaker 3: sounded like R and B songs how many times and

963
00:50:57,796 --> 00:51:00,596
Speaker 3: so emotional? Can you tell me about those songs because

964
00:51:00,796 --> 00:51:04,116
Speaker 3: they to me, I can't take a lot of these

965
00:51:04,156 --> 00:51:06,676
Speaker 3: songs out of the context of how you guys created them,

966
00:51:07,276 --> 00:51:10,996
Speaker 3: But those are songs I think, wow, wow, Like Al

967
00:51:11,116 --> 00:51:14,116
Speaker 3: Green could do a great job with this. They're different

968
00:51:14,196 --> 00:51:19,356
Speaker 3: kinds of songs were they Can you anybody describe just

969
00:51:19,436 --> 00:51:19,996
Speaker 3: writing those?

970
00:51:21,556 --> 00:51:24,596
Speaker 5: Both of those were kind of reactions to the beats

971
00:51:24,676 --> 00:51:28,636
Speaker 5: Trevor started with, you know, so like he'll start, you know,

972
00:51:28,916 --> 00:51:34,276
Speaker 5: be with all this various tools, and you know, something

973
00:51:34,316 --> 00:51:36,916
Speaker 5: will feel like yeah, feel mo towny. I mean, I

974
00:51:37,356 --> 00:51:40,356
Speaker 5: do think harmonically, but I'm not thinking like, oh, wouldn't

975
00:51:40,356 --> 00:51:41,836
Speaker 5: it be cool to go to a four chord here.

976
00:51:42,396 --> 00:51:46,556
Speaker 5: I'm usually thinking like, like, you know, the voice leading,

977
00:51:47,276 --> 00:51:49,076
Speaker 5: you know, thinking about the voice leading in a melodic

978
00:51:49,156 --> 00:51:52,116
Speaker 5: sense because I know I can trust that, rather than

979
00:51:52,236 --> 00:51:55,756
Speaker 5: just sort of like only thinking functionality you know, of course,

980
00:51:57,316 --> 00:52:00,156
Speaker 5: but yeah, I mean, like for me, I think that

981
00:52:01,636 --> 00:52:05,236
Speaker 5: you know, due to the due to the reality of

982
00:52:05,276 --> 00:52:07,396
Speaker 5: how we make these songs, and that it starts from

983
00:52:07,436 --> 00:52:11,076
Speaker 5: a BPM. If I start an idea before Trevor's started

984
00:52:11,116 --> 00:52:13,516
Speaker 5: to beat, he then has to like tap with the

985
00:52:13,596 --> 00:52:16,556
Speaker 5: tempo and figure out what tempo I'm playing a thing at,

986
00:52:16,596 --> 00:52:19,316
Speaker 5: and it's super clunky, So it usually starts with him.

987
00:52:19,356 --> 00:52:22,716
Speaker 5: So I'm usually reacting to what Trevor's done, and then

988
00:52:22,996 --> 00:52:25,156
Speaker 5: Edie's you know, sort of like reacting to the sum

989
00:52:25,276 --> 00:52:26,836
Speaker 5: of the parts that we create.

990
00:52:29,236 --> 00:52:31,796
Speaker 6: Again, that's just kind of how how we've done our

991
00:52:31,876 --> 00:52:35,036
Speaker 6: setup and how we're kind of all connected and just

992
00:52:35,516 --> 00:52:39,836
Speaker 6: kind of how, yeah, how it has to happen. But like, yeah,

993
00:52:39,836 --> 00:52:41,916
Speaker 6: we're working with you know, things kind of connected through

994
00:52:41,996 --> 00:52:45,276
Speaker 6: MIDI and so just having a little bit of a yeah,

995
00:52:45,396 --> 00:52:47,516
Speaker 6: a little bit of process it helps just get it going.

996
00:52:48,116 --> 00:52:48,516
Speaker 2: Mm hmm.

997
00:52:48,876 --> 00:52:50,476
Speaker 4: I wish we could do it for you now, I

998
00:52:50,556 --> 00:52:51,996
Speaker 4: really do. It would be so much fun.

999
00:52:53,276 --> 00:52:56,196
Speaker 3: That might be tricky over zoom though, right, Yeah, the

1000
00:52:56,396 --> 00:53:00,756
Speaker 3: latency of zoom it's just brutal. Yeah, well, the next

1001
00:53:00,796 --> 00:53:03,276
Speaker 3: time I see you, we'll do it. It's an amazing project.

1002
00:53:03,396 --> 00:53:04,596
Speaker 3: What is next for it?

1003
00:53:07,996 --> 00:53:10,756
Speaker 2: I think it's some very question. Is fame and fortune

1004
00:53:10,796 --> 00:53:14,036
Speaker 2: in most Yeah, No, we're gonna you know where.

1005
00:53:14,356 --> 00:53:17,556
Speaker 5: The record comes out June twenty eighth, and we're really

1006
00:53:17,596 --> 00:53:20,916
Speaker 5: excited about that with a beautiful colored final like different colors,

1007
00:53:20,996 --> 00:53:25,116
Speaker 5: and it really looks great and we're super proud of it.

1008
00:53:25,196 --> 00:53:28,396
Speaker 5: We're going to play some shows opening for Bruce Hornsby

1009
00:53:29,356 --> 00:53:31,956
Speaker 5: in the fall. It was a long time supporter of

1010
00:53:32,796 --> 00:53:36,756
Speaker 5: various projects we've all done, and we did this past fall.

1011
00:53:36,836 --> 00:53:39,436
Speaker 5: We did some shows where we just improud showed well.

1012
00:53:39,476 --> 00:53:41,196
Speaker 5: We did two sets, the first set with songs and

1013
00:53:41,276 --> 00:53:46,436
Speaker 5: the second set was just fully improvised songs, and it

1014
00:53:46,636 --> 00:53:48,636
Speaker 5: was pretty thrilling to do that in front of the

1015
00:53:48,716 --> 00:53:51,396
Speaker 5: live audience. And so we're gonna hopefully do a lot

1016
00:53:51,476 --> 00:53:51,876
Speaker 5: more of that.

1017
00:53:52,236 --> 00:53:55,556
Speaker 3: What's what's what's an audience's reaction to that?

1018
00:53:56,676 --> 00:53:58,916
Speaker 4: I think I think it's weird and it's hard to

1019
00:53:59,756 --> 00:54:04,476
Speaker 4: unless people can feel it. It's hard to help people

1020
00:54:04,716 --> 00:54:13,116
Speaker 4: understand that it's happening right now. Because although somebody pointed

1021
00:54:13,156 --> 00:54:16,996
Speaker 4: out that people do that in hip hop, right, they

1022
00:54:17,116 --> 00:54:21,676
Speaker 4: have those style, Yeah, they'll do that, and so people

1023
00:54:21,796 --> 00:54:26,156
Speaker 4: do this all the time. That that's the tricky part

1024
00:54:26,236 --> 00:54:30,716
Speaker 4: is having people understand that it's it's right here, it's

1025
00:54:30,876 --> 00:54:35,156
Speaker 4: right now, and it's and if it's sometimes people can think,

1026
00:54:35,396 --> 00:54:38,876
Speaker 4: I don't, who knows it's it's it's just hard to

1027
00:54:39,196 --> 00:54:44,316
Speaker 4: to convey that. Or you could do the trick of

1028
00:54:44,396 --> 00:54:47,916
Speaker 4: it and say, okay, if you want to be sure

1029
00:54:48,076 --> 00:54:50,796
Speaker 4: that you're involved in this or it's happening now, we

1030
00:54:50,876 --> 00:54:53,476
Speaker 4: write down an idea or a song suggestion and you

1031
00:54:53,516 --> 00:54:55,476
Speaker 4: can pull that out of the hat and and you

1032
00:54:55,556 --> 00:54:57,436
Speaker 4: can do that. It makes you feel like you're proving

1033
00:54:57,636 --> 00:55:02,076
Speaker 4: something though, and it has less to do with inspiration.

1034
00:55:02,956 --> 00:55:04,956
Speaker 4: But it can be done, and we have done that.

1035
00:55:05,916 --> 00:55:09,396
Speaker 4: But I always feel a little silly doing that just

1036
00:55:09,476 --> 00:55:11,076
Speaker 4: to show that, yes, that's what it is.

1037
00:55:11,996 --> 00:55:13,676
Speaker 5: That way feels a little bit like a year. You're

1038
00:55:13,716 --> 00:55:16,996
Speaker 5: doing a trick, right, you do it? You know it's

1039
00:55:16,996 --> 00:55:18,076
Speaker 5: a little gimmicky.

1040
00:55:18,076 --> 00:55:20,316
Speaker 3: That's a it's a comedy, improv you.

1041
00:55:20,356 --> 00:55:20,876
Speaker 2: Know, it's funny.

1042
00:55:20,876 --> 00:55:22,996
Speaker 5: We'll we'll say to a crowd like this, these are

1043
00:55:23,356 --> 00:55:25,276
Speaker 5: like the first that were songs we wrote, you know,

1044
00:55:25,756 --> 00:55:27,396
Speaker 5: and it's the way we write. And now we're going

1045
00:55:27,436 --> 00:55:30,836
Speaker 5: to do this completely improvised whatever and somebody will just say, like,

1046
00:55:31,076 --> 00:55:31,756
Speaker 5: was the first one?

1047
00:55:31,916 --> 00:55:34,596
Speaker 2: Is that one from your record? You know, We're like, no, no,

1048
00:55:34,716 --> 00:55:37,516
Speaker 2: we do. But I think it's just so uncommon.

1049
00:55:37,676 --> 00:55:40,036
Speaker 5: Right, even when you go and you see jazz jazz

1050
00:55:40,596 --> 00:55:43,636
Speaker 5: group improvise, right, they start with a song that they

1051
00:55:43,796 --> 00:55:46,276
Speaker 5: know that's usually a standard or something that they want

1052
00:55:46,356 --> 00:55:49,276
Speaker 5: the main artists wrote. Right, they start with something, and

1053
00:55:49,396 --> 00:55:51,316
Speaker 5: so I think you're not You're really not used to

1054
00:55:51,356 --> 00:55:52,756
Speaker 5: seeing people start with zero.

1055
00:55:53,076 --> 00:55:53,196
Speaker 2: Right.

1056
00:55:53,956 --> 00:55:56,636
Speaker 5: We don't talk about any aspect that we don't talk about,

1057
00:55:56,676 --> 00:55:58,796
Speaker 5: like bpms or that we're going to get, you know,

1058
00:55:58,956 --> 00:56:02,076
Speaker 5: the arc of the speed of the songs, or the tonality.

1059
00:56:02,116 --> 00:56:05,756
Speaker 2: We don't talk about anything, And so I think it's

1060
00:56:05,916 --> 00:56:08,076
Speaker 2: just so uncommon in this.

1061
00:56:08,356 --> 00:56:11,676
Speaker 5: You know, the hip is a different context, but even that,

1062
00:56:11,876 --> 00:56:16,676
Speaker 5: like the music behind the improvisations, the improvising lyrics is

1063
00:56:17,076 --> 00:56:19,636
Speaker 5: pre planned. You know, this is really just so I

1064
00:56:19,676 --> 00:56:22,236
Speaker 5: think it's it's it's just you know, you and there's

1065
00:56:22,276 --> 00:56:25,356
Speaker 5: a you train an audience, right, you like, you get

1066
00:56:25,436 --> 00:56:28,636
Speaker 5: people on board just by talking about it and just

1067
00:56:28,676 --> 00:56:29,956
Speaker 5: got to keep doing it, you know.

1068
00:56:30,596 --> 00:56:35,356
Speaker 3: But you know, pop music works in part because of repetition,

1069
00:56:35,436 --> 00:56:38,996
Speaker 3: you know, that's what that's what gives people that satisfying

1070
00:56:39,876 --> 00:56:42,396
Speaker 3: sense that you're coming back to the theme at the end.

1071
00:56:43,916 --> 00:56:46,476
Speaker 3: And we might be scaring people off this album of

1072
00:56:46,516 --> 00:56:47,436
Speaker 3: the way we're talking about it.

1073
00:56:47,516 --> 00:56:47,916
Speaker 2: I hope not.

1074
00:56:48,276 --> 00:56:51,036
Speaker 3: But these feel like realized pop songs.

1075
00:56:51,116 --> 00:56:51,916
Speaker 4: They have a.

1076
00:56:55,156 --> 00:56:57,156
Speaker 3: What would I say, like the sort of topography of

1077
00:56:57,236 --> 00:57:00,996
Speaker 3: a top of a song. They build up A couple

1078
00:57:01,036 --> 00:57:03,396
Speaker 3: of them sort of start in a little bit of chaos,

1079
00:57:03,516 --> 00:57:05,236
Speaker 3: and then there's this huge build and they end in

1080
00:57:05,276 --> 00:57:06,236
Speaker 3: a little bit of chaos.

1081
00:57:06,396 --> 00:57:06,996
Speaker 2: But it's all.

1082
00:57:08,476 --> 00:57:12,316
Speaker 3: This isn't like free form jazz that your friend is doing.

1083
00:57:12,436 --> 00:57:16,556
Speaker 3: That is just torture to listen to. It's improvised pop songs.

1084
00:57:16,596 --> 00:57:18,956
Speaker 3: And I think that's what's so hard. Maybe I found

1085
00:57:18,996 --> 00:57:21,756
Speaker 3: so hard to get my head around. As much as

1086
00:57:21,796 --> 00:57:23,116
Speaker 3: I was enjoying it, I was like, well, how is

1087
00:57:23,156 --> 00:57:23,756
Speaker 3: this improvised?

1088
00:57:23,796 --> 00:57:24,316
Speaker 2: I don't get this.

1089
00:57:24,476 --> 00:57:25,556
Speaker 3: This feels like a pop song.

1090
00:57:26,196 --> 00:57:28,436
Speaker 4: If you give me maybe I could try it. If

1091
00:57:28,476 --> 00:57:31,156
Speaker 4: you want to give me any any the first image

1092
00:57:31,236 --> 00:57:34,276
Speaker 4: or thought, a thought, or a theme or some anything.

1093
00:57:34,836 --> 00:57:37,156
Speaker 3: I don't have to get This is not a party trick.

1094
00:57:37,196 --> 00:57:38,556
Speaker 3: If you guys want to start something, you.

1095
00:57:38,916 --> 00:57:41,836
Speaker 4: Have, but just so you'll you'll get a sense that

1096
00:57:42,556 --> 00:57:47,276
Speaker 4: that's what happens. Maybe maybe as of you, the other

1097
00:57:47,396 --> 00:57:50,236
Speaker 4: person in the room. Maybe now it's a four four

1098
00:57:50,316 --> 00:57:52,356
Speaker 4: member band because you're inspiring the song.

1099
00:57:52,956 --> 00:57:55,956
Speaker 3: Okay, what what what kind of notion? What kind of

1100
00:57:56,036 --> 00:57:56,796
Speaker 3: notion would you like?

1101
00:57:57,556 --> 00:57:59,796
Speaker 4: I see that's that's I don't want that. I want

1102
00:57:59,876 --> 00:58:02,956
Speaker 4: you to feel what you're feeling, or what image came

1103
00:58:03,036 --> 00:58:06,556
Speaker 4: to you, or what anything, anything at all, to be

1104
00:58:06,596 --> 00:58:13,876
Speaker 4: a part of it. Let's do it all right, sailboat, Hey,

1105
00:58:15,916 --> 00:58:21,076
Speaker 4: cast the sail and hope though and blows. Let's get

1106
00:58:21,196 --> 00:58:28,276
Speaker 4: on your little silver ride the waves. Ride the waves

1107
00:58:28,476 --> 00:58:35,996
Speaker 4: with me. Mm hmm, cas the sail and hope though

1108
00:58:36,316 --> 00:58:42,916
Speaker 4: and blows. Let's get on yoll little silboat, ride the waves,

1109
00:58:43,796 --> 00:58:50,716
Speaker 4: ride the waves with me. Hey, Brucy, don't you want

1110
00:58:50,796 --> 00:58:53,636
Speaker 4: to go in the sylble that you told me to

1111
00:58:53,836 --> 00:58:54,836
Speaker 4: sing about?

1112
00:58:55,156 --> 00:58:57,916
Speaker 2: Woo yeah wooyah wooiah.

1113
00:58:58,276 --> 00:59:01,316
Speaker 4: Don't you want to roll in the sylble that's your

1114
00:59:01,436 --> 00:59:08,636
Speaker 4: tomato sing about? Ooh yeah, wooiah, Oohiah, here comes the wind.

1115
00:59:09,436 --> 00:59:13,356
Speaker 4: Let's do it again. How about that?

1116
00:59:13,876 --> 00:59:15,876
Speaker 2: That was fantastic? That was great.

1117
00:59:15,996 --> 00:59:18,916
Speaker 3: You also saying that you had backup singers that were

1118
00:59:18,956 --> 00:59:22,036
Speaker 3: also youble.

1119
00:59:22,956 --> 00:59:23,836
Speaker 2: That was fantastic.

1120
00:59:24,276 --> 00:59:25,756
Speaker 4: It's fun. You see how fun it is.

1121
00:59:27,556 --> 00:59:31,356
Speaker 1: I am so in awe of that.

1122
00:59:32,516 --> 00:59:33,316
Speaker 2: I cannot tell you.

1123
00:59:33,716 --> 00:59:37,196
Speaker 3: That is so completely different than anything I could ever

1124
00:59:37,316 --> 00:59:37,996
Speaker 3: imagine doing.

1125
00:59:39,196 --> 00:59:45,796
Speaker 4: Oh well, well, I'm glad, thank you. I love it,

1126
00:59:45,916 --> 00:59:47,916
Speaker 4: and I love playing with these guys because they're so

1127
00:59:48,236 --> 00:59:51,876
Speaker 4: they're geniuses. They make it so much fun, and we

1128
00:59:52,036 --> 00:59:54,596
Speaker 4: just play off each other in the same way that

1129
00:59:54,676 --> 00:59:56,916
Speaker 4: you and I just played off of your idea.

1130
00:59:57,196 --> 00:59:59,516
Speaker 3: Well, I'm getting a sense of how much they must

1131
00:59:59,516 --> 01:00:02,356
Speaker 3: love playing with you, because that was fantastic, just amazing.

1132
01:00:03,036 --> 01:00:04,236
Speaker 2: Thank you all so much.

1133
01:00:04,596 --> 01:00:06,716
Speaker 3: What a great thrill to meet all of you and

1134
01:00:06,836 --> 01:00:09,636
Speaker 3: do this well to re meet you. But it was

1135
01:00:09,876 --> 01:00:13,156
Speaker 3: really great and great album. I hope everybody listens to it.

1136
01:00:14,236 --> 01:00:14,996
Speaker 2: Thank you so much.

1137
01:00:15,276 --> 01:00:18,316
Speaker 3: Just not Taylor Swift right off the top of the charts.

1138
01:00:19,836 --> 01:00:20,436
Speaker 2: That'd be all right.

1139
01:00:21,716 --> 01:00:24,956
Speaker 4: You don't want to do that. She she, she touches

1140
01:00:25,036 --> 01:00:25,756
Speaker 4: so many people.

1141
01:00:25,876 --> 01:00:26,476
Speaker 2: Oh I didn't.

1142
01:00:26,516 --> 01:00:27,716
Speaker 3: I don't mean that against.

1143
01:00:29,076 --> 01:00:29,396
Speaker 2: At all.

1144
01:00:29,596 --> 01:00:32,036
Speaker 4: Well, my niece is my in particular my niece, just

1145
01:00:32,436 --> 01:00:36,396
Speaker 4: my niece. My niece got to go for her thirteenth birthday.

1146
01:00:36,436 --> 01:00:39,996
Speaker 4: It was a big They sent videos and I kind

1147
01:00:40,036 --> 01:00:43,076
Speaker 4: of got choked up because it was a stadium, and

1148
01:00:43,396 --> 01:00:46,516
Speaker 4: you know, of all these girls her age just singing

1149
01:00:46,556 --> 01:00:49,276
Speaker 4: their hearts out, and I thought that's worth something. Yeah,

1150
01:00:49,356 --> 01:00:50,516
Speaker 4: that's a beautiful thing.

1151
01:00:53,516 --> 01:00:55,676
Speaker 1: Thanks so much to Edie Brokel for sharing so much

1152
01:00:55,836 --> 01:00:58,476
Speaker 1: of her creative process, and also to her band members

1153
01:00:58,556 --> 01:01:01,236
Speaker 1: c J. Camery and Trevor Hagen for also sharing how

1154
01:01:01,276 --> 01:01:04,516
Speaker 1: they collaborate with Edie. To hear a playlist of all

1155
01:01:04,556 --> 01:01:07,396
Speaker 1: of our favorite have You Makeup in Edie Brokel songs,

1156
01:01:07,676 --> 01:01:10,676
Speaker 1: you can find a playlist at Brokenrecord podcast dot com

1157
01:01:11,036 --> 01:01:15,196
Speaker 1: or in the episode description. Subscribe to our YouTube channel

1158
01:01:15,236 --> 01:01:18,076
Speaker 1: at YouTube dot com slash broken Record Podcast, where you

1159
01:01:18,116 --> 01:01:21,396
Speaker 1: can find all of our new episodes. You can follow

1160
01:01:21,476 --> 01:01:24,916
Speaker 1: us on Twitter at broken Record. Broken Record is produced

1161
01:01:24,956 --> 01:01:27,796
Speaker 1: and edited by Leah Rose, with marketing help from Eric

1162
01:01:27,876 --> 01:01:32,236
Speaker 1: Sandler and Jordan McMillan. Our engineer is Ben Tolliney. Broken

1163
01:01:32,276 --> 01:01:35,596
Speaker 1: Record is a production of Pushkin Industries. If you love

1164
01:01:35,676 --> 01:01:39,716
Speaker 1: this show and others from Pushkin, consider subscribing to Pushkin Plus.

1165
01:01:40,356 --> 01:01:43,636
Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content

1166
01:01:43,756 --> 01:01:46,396
Speaker 1: and ad free listening for four ninety nine a month.

1167
01:01:47,156 --> 01:01:50,836
Speaker 1: Look for Pushkin Plus on Apple Podcasts, subscriptions and.

1168
01:01:50,916 --> 01:01:52,956
Speaker 2: If you like this show, please remember.

1169
01:01:52,676 --> 01:01:55,196
Speaker 1: To share, rate, and review us on your podcast app

1170
01:01:55,556 --> 01:01:58,276
Speaker 1: Our theme music's by Kenny Beats. I'm justin Richmond.