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Speaker 1: Welcome, Welcome back to the Bob Left Sense Podcast. My

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Speaker 1: guest today is a true legend, Herb Albert, who's been

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Speaker 1: on a sold out tour.

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Speaker 2: It's going to play the Hollywood Bowl this coming summer. Herb,

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Speaker 2: what's the difference between being on the road today as

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Speaker 2: opposed to in the sixties.

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Speaker 3: You know, I think I'm having more fun, believe it

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Speaker 3: or not. At ninety I never thought I'd be doing this.

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Speaker 3: I just got into a new groove here. I mean,

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Speaker 3: all of a sudden, I think my music is back

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Speaker 3: in vogue.

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Speaker 2: So being a nomagenarian, being ninety years old, what perspective

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Speaker 2: have you gotten on life that younger people don't know?

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Speaker 3: Oh? Man, what a question? What younger people don't know?

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Speaker 3: How to relax, how to be honest, how to be

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Speaker 3: true to yourself?

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Speaker 2: Okay, and how's your health? You're ninety now, but how

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Speaker 2: are your numbers? Etc?

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Speaker 3: Or do you know something I don't? No, I don't lately, Bob,

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Speaker 3: what is the deal here? No, I'm good. I'm feeling

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Speaker 3: pretty darn good at this time of my life. Actually,

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Speaker 3: I'm having more fun now than I did like thirty

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Speaker 3: years ago. Playing the trumpet. You know, when COVID hit

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Speaker 3: for some reason. I was down. We had to cancel

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Speaker 3: you all are our concert tour. And I spent that

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Speaker 3: time like reliving some of the teachers that I had

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Speaker 3: through the years that taught me certain things that really

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Speaker 3: didn't hang on all the way. So I started all

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Speaker 3: of a sudden, I found out how to blow the trumpet,

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Speaker 3: how to make this sound? Or what happened? How do

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Speaker 3: you make that sound? I never thought about that. I

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Speaker 3: started playing when I was eight years old, so the

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Speaker 3: sound was just it was there, and it was talking

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Speaker 3: for me because I you know, I'm a card carrying introvert,

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Speaker 3: so at that age did that The horn was saying

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Speaker 3: things I couldn't get out of my mouth. So I

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Speaker 3: never thought about how do you play the darn thing?

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Speaker 3: So I went through the whole history of the people

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Speaker 3: that I spent time with, and I found out a

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Speaker 3: lot of interesting tidbits that I didn't really think about.

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Speaker 2: Can you tell us some of those tidbits?

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Speaker 3: Oh? Absolutely nothing, Are you kidding me?

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Speaker 1: Oh?

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Speaker 3: Yeah? Sure. First off, you have to relax. For one,

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Speaker 3: you definitely have to practice while you're while you're sleeping,

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Speaker 3: somebody else is practicing. Who wants the same thing you do.

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Speaker 3: There are images, you know, that I could give you

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Speaker 3: that might not translate to you know, the average person listening.

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Speaker 3: But to blow the trumpet, you need to You need air, obviously,

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Speaker 3: and so where's that air come from. It comes from

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Speaker 3: a deep place. It comes from your diaphragm. And the

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Speaker 3: image that one of the teachers gave me was that

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Speaker 3: if you're skiing behind a boat and you're going at

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Speaker 3: a certain speed and the boat all of a sudden

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Speaker 3: slows down, you're going to slow down into the water.

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Speaker 3: So when you do that, you're slowing down into your lips.

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Speaker 3: And if you keep the speed constant, the air constant,

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Speaker 3: you know, you have a better chance of producing what

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Speaker 3: you know, the sound you want to produce.

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Speaker 2: So how'd you pick up the trumpet? At age eight?

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Speaker 3: Luckily I was in a school that had a music

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Speaker 3: appreciation class and they had a table filled with instruments.

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Speaker 3: I could have picked up the tuba, the clarinet, of flute,

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Speaker 3: didn't matter. Happened to pick up the trumpet and I

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Speaker 3: couldn't make a sound out of it. I thought you

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Speaker 3: just blow hot air into it, and that did didn't work.

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Speaker 3: But when I finally started making a sound the talk.

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Speaker 3: It was talking for me. It was saying things I

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Speaker 3: couldn't get out of my mouth, and one thing led

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Speaker 3: to another. I started having, you know, great luck playing

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Speaker 3: because I was enjoying the process. And luckily enough, I

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Speaker 3: had a teacher. I had several teachers, but one teacher

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Speaker 3: in particular was an old. He was the first trumpet

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Speaker 3: player with the San Francisco Symphony and he was Russian.

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Speaker 3: Happened to have been run he happened to be Russian.

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Speaker 3: And he told me one afternoon when I was playing

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Speaker 3: an an atude that he asked me to learn. I

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Speaker 3: played it for him and I looked over. I said

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Speaker 3: how it was, and the guy was he was in tear.

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Speaker 3: He had a tear rolling down his face. I said,

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Speaker 3: what's happening? He said, you sound so beautiful. I said, well,

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Speaker 3: thank you very much. And that was I think I

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Speaker 3: was fourteen at the time, maybe twelve, thirteen, fourteen, maybe fifteen,

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Speaker 3: and I thought, well, gee, maybe I do have something.

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Speaker 3: I never thought of becoming a professional at that time.

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Speaker 3: I was just you know, playing the horn. And when

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Speaker 3: I got into high school, we had a little band,

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Speaker 3: a little trio, and at that time there was this

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Speaker 3: television show called High Talent Battle that was pitting the

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Speaker 3: different high schools in the Los Angeles area, and we

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Speaker 3: entered the show. It was the early stages of television,

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Speaker 3: and we won about eight weeks in a row. So

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Speaker 3: from that point on, we you know, started playing parties

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Speaker 3: and little affairs, and I had a lot of fun

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Speaker 3: playing the horn. I got some good feedback from people saying,

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Speaker 3: I'm alect the way you play. So one thing led

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Speaker 3: to another.

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Speaker 2: Okay, you were in that band. Was that an instrumental

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Speaker 2: band or was there a singer?

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Speaker 3: No, it was just a little group. It was piano, drums,

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Speaker 3: occasionally bass and trumpet.

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Speaker 2: Okay, you started playing the trumpet at age eight. Did

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Speaker 2: your parents push you into music before that, like piano

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Speaker 2: lessons or anything like that.

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Speaker 3: No. No, My dad was from Kiev, born in Kiev,

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Speaker 3: little town outside of Kiev, actually, and he brought his

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Speaker 3: mandolin with him and he played by ear. You know,

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Speaker 3: he could play some interesting little ditties with not knowing

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Speaker 3: what he was playing or what chord or what note

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Speaker 3: he was on. But he had a great feeling, and

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Speaker 3: you know, to take this whole thing forward with feeling.

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Speaker 3: To me, I think all our forms and our music

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Speaker 3: and all acting, poetry, whatever happens to be. I think

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Speaker 3: it's all about a feel. It's that feel, and that

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Speaker 3: feel is hard to describe. What is that thing? It

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Speaker 3: could be magical to some people and doesn't mean anything

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Speaker 3: to others. But it has to be the person who's

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Speaker 3: putting it out there. You have to you have to

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Speaker 3: live it, you have to be it. And this is

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Speaker 3: what keeps me so enthused about making music. I just

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Speaker 3: love to blow the horn and make find good songs.

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Speaker 3: And it's about a song. I think it's about melodies.

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Speaker 3: If you find a great melody and you can can

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Speaker 3: couch it in something that's interesting to listen to. It's

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Speaker 3: always fun for me to play it, and if it's

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Speaker 3: fun for me to play it, I think it might

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Speaker 3: be fun for someone else to listen to it.

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Speaker 2: Where did your mother come from it? How did your

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Speaker 2: parents meet?

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Speaker 3: Well, my mother was born in the Lower East Side

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Speaker 3: of New York. She played violin. They met in Chicago,

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Speaker 3: and my father, God bless him, he was a hero.

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Speaker 3: He came to this country when he was sixteen years old,

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Speaker 3: not speaking a word of English, and he didn't speak

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Speaker 3: Russian because in a little staddle outside of Kiev. He

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Speaker 3: was speaking Yiddish. He communicated in Yiddish, and Albert was

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Speaker 3: the name that was it wasn't it wasn't translated into

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Speaker 3: another name at ls Island when he landed there. And

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Speaker 3: he was a hard worker and he you know, he

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Speaker 3: spent a lot of time, you know, learning a craft

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Speaker 3: that he was a schneider. He was made ladies coats

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Speaker 3: and suits, and little by little, you know, he brought

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Speaker 3: his whole family back to the United States from Russia.

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Speaker 2: So he landed in Elos Island. How did he end

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Speaker 2: up in Chicago and how did they end up in

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Speaker 2: Los Angeles?

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Speaker 3: Yeah, that's a bit of a mystery for me. I

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Speaker 3: kind of left out. You know. There were times when

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Speaker 3: I just said, man, I should have asked him so

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Speaker 3: many different questions when when he was around, and I didn't.

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Speaker 3: I didn't get the nitty in that and that particular question.

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Speaker 3: I would have liked to know how he got there

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Speaker 3: and who helped him along the way in that period.

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Speaker 2: Do you have any brothers or sisters.

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Speaker 3: Yeah, I have a sister and a brother. My sister

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Speaker 3: played piano. My brother was a professional drummer, and we

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Speaker 3: played occasionally you know, parties and a few other events.

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Speaker 3: But he it wasn't in his bones. It wasn't something

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Speaker 3: he had to do. I have to make music. This

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Speaker 3: is my this is my calling, Bob.

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Speaker 2: And how did they handle your incredible success?

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Speaker 3: You know, my dad wasn't sure, you know, the Tijuana brass.

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Speaker 3: He didn't know what the heck that was. But that means,

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Speaker 3: who are you know? Uh? So he was a little

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Speaker 3: He wasn't discouraging me. He wasn't encouraging. And he you know,

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Speaker 3: he'd listened to the records and he he loved when

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Speaker 3: I played If I were a rich man, That was

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Speaker 3: the song got to his heart. My mom was more encouraging.

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Speaker 3: She she was really there when the neighbors used to,

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Speaker 3: you know, yell from across the street or wherever they were,

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Speaker 3: shut up, don't play so loud, so she would yelled

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Speaker 3: back at them. She was very encouraging. She was there

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Speaker 3: every moment for.

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Speaker 2: Me and your siblings. How did they deal with your success?

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Speaker 3: Well, my brother when we bought A and M Studios,

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Speaker 3: the Chaplain Studios, he was an integral part of that

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Speaker 3: because we started with you know, this whole thing with

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Speaker 3: A and M. My partner Jerry Moss, God bless them.

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Speaker 3: It started in my garage in nineteen sixty two and

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Speaker 3: it was just the two of us, and there were

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Speaker 3: three and four and five, And then we moved to

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Speaker 3: a little office on Sunset Boulevard and had some success

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Speaker 3: with the Tijuana Brass Records enough to make an offer

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Speaker 3: on this property that was being sold by CBS. And

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Speaker 3: Jerry had big thoughts, you know, he thought we were

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Speaker 3: going all the way and I was a little reluctant

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Speaker 3: with that, but I loved him so much. He was

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Speaker 3: a great guy. He was just he wasn't a musician,

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Speaker 3: but he was musical, you know. He had a really

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Speaker 3: good sense of songs, and obviously he was great dealing

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Speaker 3: with people. And I learned a lot from him and

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Speaker 3: we had a wonderful career on a handshake. I know

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Speaker 3: this sounds a little corny, but we shook hands in

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Speaker 3: nineteen sixty two when we put out The Lonely Bull,

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Speaker 3: and then little by little we became super successful and

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Speaker 3: sold the company in nineteen ninety and never had an

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Speaker 3: agreement between us. We never signed an agreement. It was

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Speaker 3: just on a handshake, and that gives me a chill bumps.

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Speaker 3: Just to think about it. But that's what happened.

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Speaker 2: How'd you meet Jerry.

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Speaker 3: A friend of mine? I did a record Lou Adler

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Speaker 3: with Lou Adler.

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Speaker 2: Wait, let's stop there for a second. Yeah, how'd you

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Speaker 2: meet Lou Adler?

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Speaker 3: Okay, Lou Adler man. Okay, ex wives, we're talking now, Okay.

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Speaker 3: I was in the army. I gradual, I waited in

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Speaker 3: nineteen fifty five for the army, and I was married

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Speaker 3: to a lady whose best friend was married to Lou Adler.

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Speaker 3: At that time, Lou was in the clothing business. He was,

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Speaker 3: you know, selling T shirts and jackets and suits. I

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Speaker 3: don't know what he was doing exactly, but and we

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Speaker 3: became friends. We had an instant liking for each other,

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Speaker 3: and he knew I was a musician. And one point

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Speaker 3: he showed me some poetry that he had written, and

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Speaker 3: I said, I can put some music to that poetry.

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Speaker 3: Let's see what happened. So I put poetry to about

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Speaker 3: six of the songs, these songs, and then we made

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Speaker 3: some demos. And I'm being a very quiet introvert. Luke

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Speaker 3: kind of had to step forward for me because he

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Speaker 3: was an introvert as well. But he knew he wasn't

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Speaker 3: as serious as I was, but he had this knock

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Speaker 3: on any door type of attitude which helped us a lot.

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Speaker 3: So we took these songs around to various places publishing companies,

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Speaker 3: and then we landed. We had this one place in

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Speaker 3: Imperial Records with Don Sunset Bulliver. At the time, Sonny

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Speaker 3: Bono was their an R chief and he listened to

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Speaker 3: these records. I never met Sonny before. He listened to

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Speaker 3: these records and looked at us and said, hey, yeah,

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Speaker 3: I think you guys better get out of the bid

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Speaker 3: before it's too late. So obviously we thanked him and

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Speaker 3: moved on. And then Jerry Well, well, no, this was

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Speaker 3: still And then little by little we uh landed a

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Speaker 3: job at Keene Records and Sam Cook was the star

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Speaker 3: artists there, and we were hired by Bumps Blackwell, who

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Speaker 3: produced Sam's records, and Bumps liked us and liked some

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Speaker 3: of the songs that we wrote. But our job for

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Speaker 3: him was to listen to all the tapes of recordings

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Speaker 3: that he makes with Sam and other artists and and

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Speaker 3: and review the tapes and and you know, one by

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Speaker 3: one you would say, he wants he want to know

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Speaker 3: if you like the first verse or the second verse,

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Speaker 3: the fourth verse, which verst was better if there's multi

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Speaker 3: tape tracks of a particular song. So that's what Lou

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Speaker 3: and I used to do for him, which was, you know,

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Speaker 3: a great experience, you know, listening that closely to the songs.

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Speaker 2: You said that you were making these things. How did

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Speaker 2: you get associated with King Records, which was in Ohio.

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Speaker 3: Lou knocked on the door and played this the songs

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Speaker 3: that we had, and then Bumps liked him and he

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Speaker 3: thought we would be in a nice audition to his rosters,

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Speaker 3: so he'd creates some music for some of the artists

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Speaker 3: that they had.

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Speaker 2: So did you make records that came out on King Records?

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Speaker 3: Oh? Yeah, sure we did. We wrote a Wonderful World

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Speaker 3: with Sam. Don't know much about history. Oh yeah you

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Speaker 3: wrote that? Yes?

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Speaker 2: Wait wait wait stop that tell me how you wrote that?

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Speaker 3: Well, we Lou and I wrote a song called all

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Speaker 3: My Life, and there was Looks and there was a

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Speaker 3: that was a song that Sam had recorded, and there

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Speaker 3: was another song that Sam took a fancy to that

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Speaker 3: he really liked, and we kind of he took that

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Speaker 3: song and then we added whatever we had to add

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Speaker 3: but the beauty of that song is, Man, this is

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Speaker 3: an amazing story because that song was We finished that

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Speaker 3: song and Sam wanted to just see if the song

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Speaker 3: was worthy of putting it out, so he did a

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Speaker 3: rough demo. He had a couple of amateur musicians with

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Speaker 3: him that made this demo. I think one the drummer,

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Speaker 3: I think might have been recording drummer or actual recording

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Speaker 3: professional drummer. And it was put on the shelf at

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Speaker 3: Keene Records. They know, they didn't release it. And so

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Speaker 3: after Sam had this you know, really beautiful career at RCA,

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Speaker 3: when he left Keene Records, the only thing they had

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Speaker 3: Keene had was this one track of Sam singing Wonderful World.

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Speaker 3: So they put that out just as maybe and it's

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Speaker 3: the biggest record Sam had, which was crazy that it

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Speaker 3: wasn't crazy, but it really gives you the aha that

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Speaker 3: you know, nobody knows what a hit record sounds like

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Speaker 3: until it really gets out there. So that record surprised everyone,

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Speaker 3: including Sam.

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Speaker 2: Can you take us into the room and how the

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Speaker 2: song was written?

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Speaker 3: Well, Lou Adler and I and Sam we just kind of,

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Speaker 3: you know, threw ideas out and one thing led to another.

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Speaker 3: You know, it just kind of developed.

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Speaker 2: Now Herman's Hermit's ended up having a huge hit with

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Speaker 2: it a few years later. Was that surprising to you?

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Speaker 3: Oh sure, Yeah, the whole thing is surprising to me.

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Speaker 2: Okay, you're working with lou Is Lou still in the

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Speaker 2: schmata business or is he now in the music business?

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Speaker 3: Lou No, Lo's a wonderful producer. He's produced some great records.

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Speaker 3: And you know, we did the Jan and Dean records.

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Speaker 3: I did the arrangements for Baha, you know, baby Talk,

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Speaker 3: which was a young kid. And so after that, you know,

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Speaker 3: I was still playing the trumpet and Plague got weekends

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Speaker 3: with various groups. I got a little tired of that.

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Speaker 3: I I really wanted to be an artist, and I

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Speaker 3: really wanted to explore my own, uh way of making records.

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Speaker 3: So Lou and I parted as friends, and lou happened

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Speaker 3: to be one of my best friends. Now I took

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Speaker 3: the the the record player and he took something else,

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00:19:51,040 --> 00:19:56,439
Speaker 3: and then we split on a handshake. Oh but before that,

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00:19:56,520 --> 00:19:58,680
Speaker 3: we did do the cover record, which was a big

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Speaker 3: record in New York and on these coast of Elle

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00:20:04,800 --> 00:20:10,920
Speaker 3: oop elae oop oop oop oop by Dante and the Evergreens.

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Speaker 3: And that was an eye opener for us because it

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Speaker 3: sold around two hundred and forty thousand something, I mean,

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00:20:20,359 --> 00:20:23,679
Speaker 3: just an enormous amount of records in one area, but

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Speaker 3: we never got paid for it. Somehow they were able

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Speaker 3: to find that more money was spent making the record

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Speaker 3: or doing something that they didn't know us any money.

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Speaker 3: So I wanted to get out of that and move

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Speaker 3: on to doing other things.

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Speaker 2: While you were working with loub were you making your

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Speaker 2: money solely from music or did you have a day job.

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Speaker 3: No. I was making music. I was playing on weekends.

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Speaker 3: I made a good living in high school, displaying parties, weddings,

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Speaker 3: bar mitzvahs, whatever you had. You know, a triple scale

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Speaker 3: on New Year's Night, Man, that was a big deal.

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Speaker 2: Yeah, okay, so you break up with Luke, you get

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Speaker 2: the record player. What's the next step after that? You

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Speaker 2: want to be an artist?

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Speaker 3: No, I wasn't that sure about that. I was writing

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Speaker 3: songs and I did this one song called Gonna Get

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Speaker 3: a Girl, and I thought it would be good for

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Speaker 3: Gogie Grant, who just had a hit record called the

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Speaker 3: Wayward Wind or something like that. So I called the

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Speaker 3: people at RCA, and they recognized my name because the

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Speaker 3: Yale Oops and the Baby Talk records. So I made

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Speaker 3: an appointment there and I spoke with I forgot who

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Speaker 3: Bob Yorke I think his name was, and I sat

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Speaker 3: down on the piano and started singing this song and

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Speaker 3: playing it and he said, I, how about recording it

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Speaker 3: with you? I said, with me, I'm not a singer.

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00:22:00,080 --> 00:22:02,720
Speaker 3: He said yeah, but I like the way you sound. Anyways,

337
00:22:02,760 --> 00:22:09,760
Speaker 3: I signed with ARCTA and Shorty Rogers was my ANR

338
00:22:09,880 --> 00:22:14,920
Speaker 3: producer who was a great jazz musician and who I

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Speaker 3: adored because I used to go listen to his group

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Speaker 3: in that particular period. So they had a nice little

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Speaker 3: introduction to one of my favorite musicians. I did a

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Speaker 3: few records with RCA there for about a year and

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Speaker 3: a half. I did this one record where I wanted

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Speaker 3: to put the trumpet on this uh in the middle

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Speaker 3: of the song. I thought it would be a good idea,

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Speaker 3: and that they said it's against the union rules or

347
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Speaker 3: something like that. Anyway, I was listening to a playback

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Speaker 3: of the song and I wanted also to hear more bass.

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Speaker 3: I wanted to hit, have it hit a little bit harder,

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Speaker 3: So I go over to the board and I lift

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Speaker 3: up the bass track and the guy slaps my hand.

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Speaker 3: It was a Union guy had a button on, you know,

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Speaker 3: with Union numbers. He said, don't ever touch that board again.

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Speaker 3: And I looked at him, thinking like, wow, isn't that interesting.

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Speaker 3: He shouldn't a record company be revolving around an artist.

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Speaker 3: You know, I didn't like that I was being treated.

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Speaker 3: You know, they ever treated me like a number. I

358
00:23:23,400 --> 00:23:26,320
Speaker 3: didn't even have a name there at the recording session.

359
00:23:26,359 --> 00:23:29,240
Speaker 3: It was, you know, three eight seven five five five

360
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Speaker 3: four three two take one. So I filed all this

361
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Speaker 3: and I didn't have dreams of starting my own record company.

362
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Speaker 3: But I just remember thinking, if I did ever have

363
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Speaker 3: had a chance to have my own company, I certainly

364
00:23:45,920 --> 00:23:52,639
Speaker 3: treat artists in a different way. And the rest his history.

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Speaker 2: Okay, you're making these records for RCA. Do you have

366
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Speaker 2: a contract. What happens next? Do you record by yourself

367
00:24:03,320 --> 00:24:05,360
Speaker 2: or do you meet Jerry? Do you have to get

368
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Speaker 2: out of your deal with RCA? What are the mechanics there?

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00:24:09,320 --> 00:24:12,920
Speaker 3: No? I left RCA and I met Jerry around nineteen

370
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Speaker 3: sixty one. I think Jerry was in coming from New

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Speaker 3: York in his little Volkswagen Bug and we met. I

372
00:24:29,520 --> 00:24:32,000
Speaker 3: was introduced to him by a friend, a New York friend,

373
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Speaker 3: Ted Fagan, who was working for Madison Records at the time,

374
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Speaker 3: who had also worked for Liberty Records, and met Jerry

375
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Speaker 3: and took a liking to him. He's just he's just

376
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Speaker 3: a regular guy, and he had a wonderful person not

377
00:24:50,480 --> 00:24:56,960
Speaker 3: only personality, but he had a wonderful resume of promoting

378
00:24:57,000 --> 00:25:00,440
Speaker 3: certain records. I can't think of the name right now.

379
00:25:00,520 --> 00:25:06,040
Speaker 3: It was on scepter. You'd probably remember that one, not.

380
00:25:06,040 --> 00:25:08,479
Speaker 2: Off the top of my head, but yeah, okay.

381
00:25:08,560 --> 00:25:17,399
Speaker 3: So anyways, Jerry had an actor friend who wanted to record,

382
00:25:18,840 --> 00:25:21,000
Speaker 3: and I had a song I wanted to record it

383
00:25:21,280 --> 00:25:25,360
Speaker 3: called tell It to the Birds, and I said I'd

384
00:25:25,359 --> 00:25:28,879
Speaker 3: help him record his actor friend, Charlie Robinson actually was

385
00:25:28,920 --> 00:25:30,560
Speaker 3: his name. It just came to my mind. I can't

386
00:25:30,600 --> 00:25:35,240
Speaker 3: believe I remember the name. So we did that recording,

387
00:25:35,280 --> 00:25:37,439
Speaker 3: and this Tell It to the Birds record that I

388
00:25:37,560 --> 00:25:42,399
Speaker 3: did made some noise. We released it under the label

389
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Speaker 3: of Carnival Records, and it's sold in Los Angeles and

390
00:25:49,840 --> 00:25:55,480
Speaker 3: San Francisco, not a lot, but enough to some companies

391
00:25:55,520 --> 00:26:01,040
Speaker 3: were interested in distributing it bigger companies, so we sold

392
00:26:01,040 --> 00:26:06,000
Speaker 3: the rights to Dot Records. Wink Martindale was the an

393
00:26:06,119 --> 00:26:11,840
Speaker 3: R producer at the company at the time, and with

394
00:26:11,920 --> 00:26:14,640
Speaker 3: that money, I think they gave us six hundred dollars,

395
00:26:15,200 --> 00:26:17,359
Speaker 3: we recorded the Lonely Bull.

396
00:26:18,760 --> 00:26:22,720
Speaker 2: Okay, a little bit slower. How'd you write the Lonely Bull?

397
00:26:22,800 --> 00:26:24,199
Speaker 2: And where did you record it?

398
00:26:26,280 --> 00:26:29,600
Speaker 3: Well? I didn't write it. I wrote a couple passages

399
00:26:29,840 --> 00:26:32,400
Speaker 3: of it. Didn't take credit for it, but that's all right.

400
00:26:32,480 --> 00:26:35,560
Speaker 3: The song was already there. The song was great with

401
00:26:35,680 --> 00:26:39,280
Speaker 3: or without what I did. It was written by Saul Lake.

402
00:26:39,560 --> 00:26:41,880
Speaker 3: He was a fellow that I now and then would

403
00:26:41,880 --> 00:26:49,600
Speaker 3: play some casual parties with. He played piano. It wasn't

404
00:26:49,640 --> 00:26:53,320
Speaker 3: a great piano player, but he wrote some really interesting songs.

405
00:26:53,320 --> 00:26:57,399
Speaker 3: He had a field for melody, and he presented this

406
00:26:57,520 --> 00:27:01,720
Speaker 3: song to me. It was like in a very high

407
00:27:01,760 --> 00:27:05,879
Speaker 3: pitched like a music box. It was in that type

408
00:27:05,880 --> 00:27:10,000
Speaker 3: of production that he gave it. And when I heard

409
00:27:10,000 --> 00:27:13,040
Speaker 3: that melody, it just said that melody might translate to

410
00:27:13,119 --> 00:27:21,600
Speaker 3: this idea I had about trying to do something that

411
00:27:21,600 --> 00:27:26,880
Speaker 3: would satisfy my experiences that I had at the bullfight

412
00:27:27,359 --> 00:27:31,719
Speaker 3: in Tijuana. Because I never listened to mariachi music. But

413
00:27:31,880 --> 00:27:38,120
Speaker 3: there was a band in the stands at the Tijuana

414
00:27:38,760 --> 00:27:47,120
Speaker 3: Arena Krita I think they call it, and they were

415
00:27:47,320 --> 00:27:50,080
Speaker 3: playing the like the introduction of the different events that

416
00:27:50,119 --> 00:27:52,520
Speaker 3: happened in a bullfighter. The bull come I mean, the

417
00:27:52,840 --> 00:27:58,400
Speaker 3: bull comes out, and they do that one and they

418
00:27:58,400 --> 00:28:01,240
Speaker 3: do another fanfare for them, Manador has come in, the

419
00:28:01,320 --> 00:28:05,159
Speaker 3: horses come in, you know. So I got intrigued with that.

420
00:28:06,440 --> 00:28:14,160
Speaker 3: I tried to put that feeling down on this song

421
00:28:14,359 --> 00:28:17,560
Speaker 3: that I eventually, you know, fell in love with that.

422
00:28:18,040 --> 00:28:22,080
Speaker 3: My partner Jerry called the low label.

423
00:28:23,840 --> 00:28:25,000
Speaker 2: How did he come up with a name?

424
00:28:26,600 --> 00:28:30,359
Speaker 3: How did he come up with the name God? I

425
00:28:30,359 --> 00:28:31,680
Speaker 3: don't think I ever asked him that.

426
00:28:32,440 --> 00:28:34,800
Speaker 2: Okay, and where did you record the song?

427
00:28:35,560 --> 00:28:39,880
Speaker 3: It was recorded at Conway Recorders on Sunset Boulevarn.

428
00:28:40,760 --> 00:28:43,720
Speaker 2: Okay, At what point in this story do you decide

429
00:28:43,720 --> 00:28:47,400
Speaker 2: to be partners? Have you already decided or when the

430
00:28:47,440 --> 00:28:48,640
Speaker 2: record is recorded?

431
00:28:50,040 --> 00:28:53,240
Speaker 3: Well, the record was recorded. We were just releasing a record.

432
00:28:53,320 --> 00:28:58,400
Speaker 3: We didn't didn't think about a company or we released

433
00:28:58,400 --> 00:29:02,440
Speaker 3: it under the label originally Carnival Records, and then we

434
00:29:02,480 --> 00:29:07,080
Speaker 3: found out there was prior usage of that name, so

435
00:29:07,120 --> 00:29:10,959
Speaker 3: we came up with several different choices. A and M

436
00:29:11,240 --> 00:29:13,960
Speaker 3: was like our third choice, and that was the only

437
00:29:14,080 --> 00:29:19,920
Speaker 3: choice that went through to clear through the copyright. So

438
00:29:19,960 --> 00:29:23,320
Speaker 3: we went with A and M to release The Lonely Bull.

439
00:29:24,760 --> 00:29:30,000
Speaker 3: And then we were getting calls. Jerry, quickly, you got

440
00:29:30,040 --> 00:29:33,040
Speaker 3: a bunch of distributors around the world. People were calling

441
00:29:33,120 --> 00:29:34,840
Speaker 3: us when the minute that record came out. We were

442
00:29:34,880 --> 00:29:39,080
Speaker 3: getting calls from Australia and Germany and everybody wanted that record.

443
00:29:39,200 --> 00:29:43,600
Speaker 3: So he put that all together and put together the

444
00:29:43,600 --> 00:29:48,640
Speaker 3: people that were distributing the record here in the United States. Yeah. No,

445
00:29:48,760 --> 00:29:53,840
Speaker 3: so we were not thinking about it recording keeping a

446
00:29:53,920 --> 00:30:00,440
Speaker 3: record company going. But since a lot of the vivers

447
00:30:00,520 --> 00:30:02,360
Speaker 3: called us and said, man, why don't you guys just

448
00:30:02,440 --> 00:30:05,840
Speaker 3: take the money and run. You got lucky man. You

449
00:30:05,880 --> 00:30:09,480
Speaker 3: guys live near Tijuana, you live close by, and it's

450
00:30:09,560 --> 00:30:15,240
Speaker 3: just one of those you know, an instrumental record doesn't last.

451
00:30:15,840 --> 00:30:18,480
Speaker 3: So I was intrigued with that whole thing. And so,

452
00:30:20,280 --> 00:30:22,400
Speaker 3: but they did want a Lonely Bull album, which we

453
00:30:22,480 --> 00:30:24,520
Speaker 3: gave to him. And in that album, I did a

454
00:30:24,520 --> 00:30:27,280
Speaker 3: bunch of different types of songs. I wasn't trying to

455
00:30:27,280 --> 00:30:30,760
Speaker 3: do the Lonely bull sideways, which was probably the typical

456
00:30:30,800 --> 00:30:34,080
Speaker 3: thing to try to do. I just try to When

457
00:30:34,120 --> 00:30:37,760
Speaker 3: I heard that sound, the double trumpet sound that I

458
00:30:37,760 --> 00:30:40,680
Speaker 3: came up with, I said, that feels good. I like

459
00:30:40,800 --> 00:30:45,600
Speaker 3: that feeling. So I started, you know, fooling around with

460
00:30:45,720 --> 00:30:49,960
Speaker 3: ways to incorporate that into other melodies.

461
00:30:58,360 --> 00:31:06,520
Speaker 2: So that album comes out and it's successful. So at

462
00:31:06,560 --> 00:31:09,720
Speaker 2: what point do you say, wait, we have a business here.

463
00:31:12,160 --> 00:31:19,680
Speaker 3: Oh that's true. We had a period of it was

464
00:31:19,760 --> 00:31:22,400
Speaker 3: just a tioue of brass. We didn't have any other artists,

465
00:31:23,360 --> 00:31:26,600
Speaker 3: and we signed another one vocal group that didn't do much,

466
00:31:27,680 --> 00:31:31,400
Speaker 3: and I wasn't sure quite frankly, Bob, I wasn't sure

467
00:31:31,400 --> 00:31:33,400
Speaker 3: I wanted to have a record company. I just wanted

468
00:31:33,400 --> 00:31:37,360
Speaker 3: to play. I just wanted to, you know, be freer er.

469
00:31:38,760 --> 00:31:47,160
Speaker 3: And it wasn't until nineteen sixty four we signed Waylon

470
00:31:47,320 --> 00:31:58,680
Speaker 3: Jennings who lived in Phoenix, and when I heard his voice,

471
00:31:58,680 --> 00:32:01,160
Speaker 3: there was something about his voice that I really liked

472
00:32:01,200 --> 00:32:03,680
Speaker 3: a lot. He seemed like it had like that type

473
00:32:03,720 --> 00:32:06,960
Speaker 3: of voice could sing anything and it would be a

474
00:32:07,000 --> 00:32:12,200
Speaker 3: soulful sound. So I went to Phoenix often recording him

475
00:32:12,200 --> 00:32:16,880
Speaker 3: and I did this one recording called four Strong wins

476
00:32:17,720 --> 00:32:20,720
Speaker 3: that was written, that was played. I think there was

477
00:32:21,280 --> 00:32:26,400
Speaker 3: a record by Bobby Bear. Anyways, it became kind of successful,

478
00:32:26,480 --> 00:32:31,600
Speaker 3: and chet Atkins happened to hear it. He was the

479
00:32:31,680 --> 00:32:36,080
Speaker 3: head honcho at RCA in Nashville, and he was like

480
00:32:36,480 --> 00:32:40,080
Speaker 3: the messiah for country artists, and he made some overtures

481
00:32:40,120 --> 00:32:45,200
Speaker 3: to Whalan that if he ever gets out of the

482
00:32:45,240 --> 00:32:47,560
Speaker 3: A and M situation, he'd liked to talk to him,

483
00:32:47,560 --> 00:32:52,320
Speaker 3: which she shouldn't have done, but he did. Whalan told

484
00:32:52,360 --> 00:32:57,440
Speaker 3: me about that, and I was really aware of Chet

485
00:32:57,440 --> 00:33:00,960
Speaker 3: and his abilities, and he's wonderful musician on his own right.

486
00:33:02,000 --> 00:33:04,080
Speaker 3: And I wanted to take Whalen just a little bit

487
00:33:04,080 --> 00:33:08,520
Speaker 3: more pop and Whalan really wanted to be a country artist.

488
00:33:09,160 --> 00:33:17,120
Speaker 3: That was his dream. So he told us about his

489
00:33:17,320 --> 00:33:24,680
Speaker 3: conversation with the chet Atkins and Jerry and I thought, well,

490
00:33:24,760 --> 00:33:27,640
Speaker 3: in his best interest, check this out, man, this is

491
00:33:27,920 --> 00:33:33,200
Speaker 3: a true story. In Whalan's best interest, we should let

492
00:33:33,240 --> 00:33:35,240
Speaker 3: him out of the contract so he can go with Chet.

493
00:33:35,440 --> 00:33:38,959
Speaker 3: And I was thinking, like man, Jerry said that, and

494
00:33:39,000 --> 00:33:42,080
Speaker 3: I felt that as well, so we decided to let

495
00:33:43,840 --> 00:33:48,560
Speaker 3: Whalen out of the contract. I remember distinctly the day

496
00:33:48,640 --> 00:33:51,880
Speaker 3: we signed his release Jerry signed his release. I looked

497
00:33:51,920 --> 00:33:53,400
Speaker 3: at him and said, man, this guy's going to be

498
00:33:53,400 --> 00:33:56,479
Speaker 3: a big artist, and Jerry said, I know it. And

499
00:33:56,560 --> 00:33:58,960
Speaker 3: I thought, man, if we could be that honest with

500
00:33:59,000 --> 00:34:02,760
Speaker 3: our artists and treat him that way, we're going to

501
00:34:02,840 --> 00:34:04,720
Speaker 3: be a success. And that was the time that it

502
00:34:04,760 --> 00:34:07,000
Speaker 3: turned the corner for me, saying, man, I got to

503
00:34:07,040 --> 00:34:11,440
Speaker 3: stick with this guy. This is going to be worth

504
00:34:11,480 --> 00:34:14,960
Speaker 3: the ride. He's an honorable guy, he's honest, he's smart,

505
00:34:15,520 --> 00:34:17,799
Speaker 3: and he can he can do things that I'm not

506
00:34:17,960 --> 00:34:23,359
Speaker 3: capable of doing. So that's when I really decided I

507
00:34:23,400 --> 00:34:28,879
Speaker 3: wanted to, you know, keep the ball rolling. And then

508
00:34:28,920 --> 00:34:32,440
Speaker 3: the next major thing that happened with me and Jerry

509
00:34:32,640 --> 00:34:38,880
Speaker 3: was when the Tierjuanner Brass started. Well, I guess it

510
00:34:39,040 --> 00:34:43,120
Speaker 3: was a taste of honey that really broke through. And

511
00:34:43,760 --> 00:34:47,960
Speaker 3: Guild Friesan, who was one of our key executives, he

512
00:34:48,040 --> 00:34:49,960
Speaker 3: kept saying, man, you got to get a group together.

513
00:34:50,000 --> 00:34:51,839
Speaker 3: You got to get a group together. I said, man,

514
00:34:51,840 --> 00:34:53,760
Speaker 3: I don't want to get a group. He says, you gotta.

515
00:34:53,920 --> 00:34:56,600
Speaker 3: That's how we can sell more records. It's more exposed,

516
00:34:57,080 --> 00:35:03,040
Speaker 3: get exposed better. I finally caved and got a group together,

517
00:35:03,160 --> 00:35:04,759
Speaker 3: and I was thinking to myself, well, man, this is

518
00:35:05,160 --> 00:35:07,960
Speaker 3: an opportunity to make some money on the side. I'll

519
00:35:07,960 --> 00:35:11,279
Speaker 3: do these concerts and I'll make some money and it

520
00:35:11,360 --> 00:35:18,000
Speaker 3: might be great. And Jerry at that point kind of

521
00:35:18,040 --> 00:35:20,479
Speaker 3: got wind of, you know, what I was thinking about.

522
00:35:20,560 --> 00:35:22,600
Speaker 3: He said, I'd like to have lunch with you and

523
00:35:22,880 --> 00:35:27,919
Speaker 3: talk about something. I said, absolutely. So at lunch, Sherry said,

524
00:35:27,960 --> 00:35:31,080
Speaker 3: look at if we're going to be partners, and we,

525
00:35:31,280 --> 00:35:34,319
Speaker 3: like I said, we never signed an agreement. If we're

526
00:35:34,320 --> 00:35:36,040
Speaker 3: going to be partners, I want to be fifty to

527
00:35:36,040 --> 00:35:39,359
Speaker 3: fifty with you. What you do and what I do

528
00:35:40,000 --> 00:35:44,840
Speaker 3: will just share. And I was thinking, man, this is

529
00:35:45,080 --> 00:35:48,560
Speaker 3: this was my thought process at the lunch. I was thinking, oh,

530
00:35:48,800 --> 00:35:52,320
Speaker 3: gee wiz, I get this opportunity to make some extra

531
00:35:52,480 --> 00:35:56,040
Speaker 3: money without him, and he wants to have half of

532
00:35:56,080 --> 00:36:00,760
Speaker 3: this thing. And then something inside me said, man, don't

533
00:36:00,800 --> 00:36:04,359
Speaker 3: blow this. This is a good guy. Stick with him.

534
00:36:05,280 --> 00:36:08,239
Speaker 3: I shook, I put up my hand and I said,

535
00:36:08,239 --> 00:36:10,680
Speaker 3: you got it, man, we are partners. And that was it.

536
00:36:10,880 --> 00:36:15,160
Speaker 3: That's when I decided, full blast. It's let's see how

537
00:36:15,160 --> 00:36:19,080
Speaker 3: far we can take this good fortune that we've had.

538
00:36:20,960 --> 00:36:26,880
Speaker 2: So you ultimately had this unbelievable run. But who do

539
00:36:26,960 --> 00:36:32,680
Speaker 2: you then sign? What are your next successes? You're outside

540
00:36:32,719 --> 00:36:34,600
Speaker 2: of your own work at A and M.

541
00:36:35,160 --> 00:36:37,720
Speaker 3: Well, it took a while, you know, several years before

542
00:36:39,200 --> 00:36:43,799
Speaker 3: the Tijuana Brass was feeding A in Americas. In fact

543
00:36:43,840 --> 00:36:47,080
Speaker 3: that it fed the Chacolin studios. That's how we able

544
00:36:47,120 --> 00:36:52,360
Speaker 3: to purchase that. Actually, Sergio Mendez in Brazil sixty six

545
00:36:53,360 --> 00:36:56,560
Speaker 3: was a big one, and then we had the man

546
00:36:56,760 --> 00:36:59,880
Speaker 3: Man I can't think of their name. You were on

547
00:37:00,120 --> 00:37:03,960
Speaker 3: my mind that we fove the We five we signed that,

548
00:37:04,360 --> 00:37:10,440
Speaker 3: We picked up a master that was the big record

549
00:37:10,560 --> 00:37:17,280
Speaker 3: number one, and then Sergio and Brazil sixty six, which

550
00:37:19,520 --> 00:37:25,799
Speaker 3: we got from our distributor in Seattle who said he

551
00:37:25,800 --> 00:37:27,839
Speaker 3: heard this group he thought he we might like him,

552
00:37:27,880 --> 00:37:31,000
Speaker 3: so we auditioned them in nineteen sixty six and fell

553
00:37:31,000 --> 00:37:33,120
Speaker 3: in love with the sound and fell in love obviously

554
00:37:33,200 --> 00:37:37,480
Speaker 3: with the lead singer. But it was very fortuitous that

555
00:37:37,520 --> 00:37:44,840
Speaker 3: we heard them, and know SiO was just kind of

556
00:37:44,840 --> 00:37:47,360
Speaker 3: at wits end because he got the group together after

557
00:37:48,960 --> 00:37:54,360
Speaker 3: he had a group called Brazil sixty five and he

558
00:37:54,520 --> 00:37:56,840
Speaker 3: was just about ready to go back to Brazil and

559
00:37:57,360 --> 00:37:59,680
Speaker 3: pack it in until he said he wanted to just

560
00:37:59,760 --> 00:38:05,360
Speaker 3: try one more time with the American singer lead singer

561
00:38:07,920 --> 00:38:12,440
Speaker 3: and what you did? And heard Lonnie at a at

562
00:38:12,440 --> 00:38:17,600
Speaker 3: a jazz club in Chicago signed her. So I produced

563
00:38:17,640 --> 00:38:23,920
Speaker 3: the first couple albums with Sergio. And Sergio was a

564
00:38:24,000 --> 00:38:27,480
Speaker 3: brilliant musician. I mean, and once I heard him him

565
00:38:27,520 --> 00:38:30,160
Speaker 3: play and the man really got to know him, I

566
00:38:30,200 --> 00:38:33,200
Speaker 3: just realized, Man, he was special. He just he was

567
00:38:33,520 --> 00:38:38,640
Speaker 3: a true, honest musician. But I did help him on

568
00:38:38,640 --> 00:38:41,879
Speaker 3: on Mashki No. I must confess that I heard him

569
00:38:41,880 --> 00:38:43,960
Speaker 3: play that thing and I like that song, but man,

570
00:38:44,000 --> 00:38:46,319
Speaker 3: he was playing it so fast. It was I said, who,

571
00:38:47,040 --> 00:38:49,879
Speaker 3: who are you playing this thing for? Hummingbirds? Man, it's

572
00:38:49,920 --> 00:38:54,000
Speaker 3: just too fast. Let's slow this baby down just a

573
00:38:54,040 --> 00:38:57,359
Speaker 3: little bit, get it to feel a little bit more

574
00:38:57,560 --> 00:38:59,759
Speaker 3: comfortable and so you can shake your head with it.

575
00:38:59,840 --> 00:39:03,880
Speaker 3: And anyways, that was my contribution to that record. That

576
00:39:04,000 --> 00:39:06,800
Speaker 3: was the one that really got them off the ground.

577
00:39:08,600 --> 00:39:12,120
Speaker 2: So but then you make deals A and M with

578
00:39:12,200 --> 00:39:16,080
Speaker 2: Denny Cordell and Chris Blackwell and they bring in these

579
00:39:16,120 --> 00:39:19,520
Speaker 2: English acts that are very successful. How does that happen?

580
00:39:21,000 --> 00:39:23,480
Speaker 3: Well, Jerry made contact. He said, we have to have

581
00:39:24,040 --> 00:39:27,560
Speaker 3: an office in London, and so one thing led to another,

582
00:39:27,600 --> 00:39:31,880
Speaker 3: and then Chris Blackwell was he just had wonderful taste.

583
00:39:32,000 --> 00:39:34,879
Speaker 3: He just brought in some wonderful acts. And I mean

584
00:39:34,920 --> 00:39:37,520
Speaker 3: one of my favorite acts that we signed because of

585
00:39:37,600 --> 00:39:43,839
Speaker 3: Chris was Cat Stevens. Cat Stevens and a guitar in

586
00:39:43,880 --> 00:39:49,719
Speaker 3: his heyday man was absolutely stunning. He was sensational. He

587
00:39:49,760 --> 00:39:52,400
Speaker 3: wrote some beautiful songs in his heart and soul was

588
00:39:52,440 --> 00:39:56,640
Speaker 3: on every stroke. He was one of my favorite artists

589
00:39:56,680 --> 00:39:57,360
Speaker 3: that we signed.

590
00:39:58,600 --> 00:40:03,600
Speaker 2: So start in a garage, you make enough money to

591
00:40:03,600 --> 00:40:07,200
Speaker 2: buy the Chaplain Lot. Then all of a sudden, you

592
00:40:07,200 --> 00:40:12,520
Speaker 2: know catch These records are gigantic, and there's obviously A

593
00:40:12,600 --> 00:40:15,840
Speaker 2: and M as independent distribution, and you always have to

594
00:40:15,960 --> 00:40:19,080
Speaker 2: kind of collect the money. But what do you think

595
00:40:19,120 --> 00:40:22,520
Speaker 2: when you had all this incredible success?

596
00:40:23,920 --> 00:40:29,160
Speaker 3: You know, it's an interesting question because I had a

597
00:40:29,200 --> 00:40:32,120
Speaker 3: lot more fun with the company. Was just the two

598
00:40:32,160 --> 00:40:34,520
Speaker 3: of us, and there were three and five and ten

599
00:40:34,600 --> 00:40:36,920
Speaker 3: and twelve and fourteen. All of a sudden we had

600
00:40:37,560 --> 00:40:41,239
Speaker 3: a company that was it seems like there was no

601
00:40:41,440 --> 00:40:47,880
Speaker 3: end in sight. We were rolling. We were I don't know,

602
00:40:48,760 --> 00:40:51,920
Speaker 3: I'm not an attention freak. I don't need the attention.

603
00:40:52,239 --> 00:40:55,600
Speaker 3: So I being an artist and then being the A

604
00:40:55,840 --> 00:40:57,640
Speaker 3: of A and M was a little daunting for me.

605
00:40:58,640 --> 00:41:02,360
Speaker 3: And in the early I knew everybody that was involved.

606
00:41:02,400 --> 00:41:03,920
Speaker 3: And then all of a sudden I got into this

607
00:41:04,120 --> 00:41:08,239
Speaker 3: area where all sorts of people were part of the

608
00:41:08,239 --> 00:41:11,880
Speaker 3: company doing wonderful things with the company and for the company.

609
00:41:13,080 --> 00:41:17,200
Speaker 3: But it was a little more than I could feel

610
00:41:17,280 --> 00:41:18,840
Speaker 3: comfortable with at times.

611
00:41:20,440 --> 00:41:24,440
Speaker 2: So once you're on the Choplin lot in late sixties,

612
00:41:24,480 --> 00:41:28,800
Speaker 2: early seventies, this area of a lot of success. Jerry

613
00:41:28,920 --> 00:41:32,840
Speaker 2: is the business guy. Are you going to the office

614
00:41:32,920 --> 00:41:36,680
Speaker 2: every day or are you leaving business to him? How's

615
00:41:36,760 --> 00:41:38,799
Speaker 2: the split of obligations go?

616
00:41:39,600 --> 00:41:41,840
Speaker 3: Yeah? I was going to the office every day. In fact,

617
00:41:41,880 --> 00:41:47,480
Speaker 3: I was involved in creating the A and M recording studios.

618
00:41:48,000 --> 00:41:52,680
Speaker 3: I would attend the meeting. All of a sudden, we

619
00:41:52,719 --> 00:41:56,200
Speaker 3: would have weekly, you know, Thursday meetings with lawyers and

620
00:41:56,239 --> 00:42:01,600
Speaker 3: accountants and all sorts of people. It was a little

621
00:42:01,640 --> 00:42:06,200
Speaker 3: hard for me to do that because I was not

622
00:42:06,239 --> 00:42:10,640
Speaker 3: only not always interested in the nitty gritty of something,

623
00:42:11,080 --> 00:42:13,040
Speaker 3: I want to know the big picture. I was good

624
00:42:13,040 --> 00:42:16,400
Speaker 3: with the big picture. Jerry and I always shared everything

625
00:42:16,440 --> 00:42:18,000
Speaker 3: they had to do with the big picture, but the

626
00:42:18,640 --> 00:42:26,600
Speaker 3: little strokes was not to my liking, and Jerry understood

627
00:42:26,640 --> 00:42:31,000
Speaker 3: that he was for those who never met him, he

628
00:42:31,080 --> 00:42:36,760
Speaker 3: was a gentleman. He was an outstanding person. He understood people.

629
00:42:37,719 --> 00:42:46,160
Speaker 3: He was gracious and humble and honest to the core.

630
00:42:46,719 --> 00:42:51,480
Speaker 2: So in this period from seventy to ninety, how often

631
00:42:51,880 --> 00:42:54,720
Speaker 2: do you talk to Jerry? Every day, once a week,

632
00:42:54,920 --> 00:42:56,960
Speaker 2: just when there's business. How much contact do you have

633
00:42:57,040 --> 00:42:57,600
Speaker 2: with Jerry?

634
00:42:58,000 --> 00:43:00,800
Speaker 3: Oh? All the time. Our offices were back to back.

635
00:43:01,760 --> 00:43:05,319
Speaker 3: It was separated by our bathroom, and so I would

636
00:43:05,320 --> 00:43:08,360
Speaker 3: always go into the bathroom and start blowing the horns,

637
00:43:08,400 --> 00:43:11,080
Speaker 3: stay in shape on the trumpet, and I'd peep my

638
00:43:11,120 --> 00:43:14,640
Speaker 3: head in his office and see what's happening. And no,

639
00:43:16,160 --> 00:43:19,959
Speaker 3: I was right there. It was the two of us,

640
00:43:20,000 --> 00:43:22,400
Speaker 3: for sure. We didn't, you know, when I signed the

641
00:43:22,400 --> 00:43:26,400
Speaker 3: Carpenters in nineteen seventy, I peeped into Jerry's office. I'm

642
00:43:26,440 --> 00:43:30,200
Speaker 3: about to sign this new group called the Carpenters. He says, oh, great,

643
00:43:30,200 --> 00:43:32,319
Speaker 3: what are they like? You know, he didn't, He just said,

644
00:43:32,440 --> 00:43:34,440
Speaker 3: you know, let's sign. It wasn't we didn't have a

645
00:43:35,200 --> 00:43:38,839
Speaker 3: you know, to have ten people start voting whether they

646
00:43:38,960 --> 00:43:43,279
Speaker 3: liked the Carpenters or not. And the Carpenters were. The

647
00:43:43,360 --> 00:43:45,600
Speaker 3: music they were making was not the type of music

648
00:43:45,640 --> 00:43:49,320
Speaker 3: I normally listened to. But there was something about her voice, obviously,

649
00:43:50,040 --> 00:43:53,640
Speaker 3: and that it was honest. It was it was the

650
00:43:53,760 --> 00:43:56,359
Speaker 3: music that they made. There was the music that came

651
00:43:56,440 --> 00:43:56,919
Speaker 3: through them.

652
00:43:57,600 --> 00:44:03,240
Speaker 2: Okay, you signed the When Jerry or somebody else would

653
00:44:03,239 --> 00:44:06,880
Speaker 2: want to sign a band, would they ask your opinion

654
00:44:06,960 --> 00:44:07,960
Speaker 2: or would they just do it?

655
00:44:08,680 --> 00:44:11,680
Speaker 3: Oh? Occasionally they would ask I me. It depends on

656
00:44:11,760 --> 00:44:18,040
Speaker 3: the circumstance. Now we were, we had free reign. It

657
00:44:18,080 --> 00:44:21,279
Speaker 3: was it was. It was not highly it was not

658
00:44:21,440 --> 00:44:25,719
Speaker 3: as organized it as it might seem. Now it's just

659
00:44:25,800 --> 00:44:27,480
Speaker 3: Jerry and I making decisions.

660
00:44:28,239 --> 00:44:31,040
Speaker 2: So how did you discover the Carpenters.

661
00:44:33,960 --> 00:44:37,759
Speaker 3: Somebody slipped a tape to me and I used to,

662
00:44:38,000 --> 00:44:41,879
Speaker 3: uh listen to most of the things that that came in,

663
00:44:42,640 --> 00:44:45,840
Speaker 3: and I used the Sam Cook taught me to listen

664
00:44:45,880 --> 00:44:48,680
Speaker 3: with your heart. Man, just don't close your eyes and

665
00:44:48,719 --> 00:44:51,439
Speaker 3: if somebody is a great dancer, or they're extremely good

666
00:44:51,480 --> 00:44:53,880
Speaker 3: looking and all that, forget that. Close your eyes and

667
00:44:53,880 --> 00:44:57,520
Speaker 3: see if you're touched by what you hear. And I

668
00:44:57,640 --> 00:45:03,160
Speaker 3: started adapting that type of feeling when I auditioned artists.

669
00:45:04,640 --> 00:45:10,440
Speaker 3: So when I heard the carpenters. I mean that voice

670
00:45:10,440 --> 00:45:13,360
Speaker 3: of hers got me. It got me that the arrangements

671
00:45:13,360 --> 00:45:17,880
Speaker 3: were really interesting. And then I had a meeting with

672
00:45:17,960 --> 00:45:20,160
Speaker 3: both of them and I saw that was really real.

673
00:45:20,239 --> 00:45:25,440
Speaker 3: They were honest. I mean, she was a doll not

674
00:45:25,640 --> 00:45:28,240
Speaker 3: knowing she was really a good singer. She was a drummer,

675
00:45:28,280 --> 00:45:34,719
Speaker 3: and then one heck of a drummer too, So I

676
00:45:35,480 --> 00:45:38,799
Speaker 3: just felt they there could be an audience for them.

677
00:45:39,320 --> 00:45:43,520
Speaker 2: Okay, when you found them, had the tape gotten to

678
00:45:43,600 --> 00:45:47,040
Speaker 2: anybody else? And were they playing out? What was the

679
00:45:47,080 --> 00:45:48,880
Speaker 2: status of the group at that point?

680
00:45:49,120 --> 00:45:53,560
Speaker 3: They were auditioned by as far as I remember, all

681
00:45:53,600 --> 00:45:57,160
Speaker 3: the major companies in Los Angeles turned them down.

682
00:45:58,239 --> 00:46:01,760
Speaker 2: So once you what was the next step.

683
00:46:02,920 --> 00:46:05,319
Speaker 3: The next step was to find the right song for them.

684
00:46:06,480 --> 00:46:09,520
Speaker 3: And I had a song in my drawer that I've

685
00:46:09,560 --> 00:46:12,720
Speaker 3: recorded that I thought was going to be the follow

686
00:46:12,800 --> 00:46:18,320
Speaker 3: up to this Guy's In Love with You. I recorded

687
00:46:18,360 --> 00:46:22,160
Speaker 3: it and I thought it was pretty good. It was

688
00:46:22,200 --> 00:46:26,080
Speaker 3: a little different take on the song, and I played

689
00:46:26,120 --> 00:46:31,080
Speaker 3: it for well. The engineer was a dear friend, Larry Levine.

690
00:46:32,360 --> 00:46:35,120
Speaker 3: Listening to the playback, I said, Larry, tell me, honestly,

691
00:46:35,160 --> 00:46:39,560
Speaker 3: what do you think about this song, and he said,

692
00:46:40,400 --> 00:46:43,240
Speaker 3: I don't think it suits you. I don't think it's right. Anyways,

693
00:46:43,360 --> 00:46:45,760
Speaker 3: I lost my confidence. I put the song in the drawer,

694
00:46:46,480 --> 00:46:50,360
Speaker 3: and in nineteen seventy I gave it to Richard Carpenter.

695
00:46:51,320 --> 00:46:53,799
Speaker 3: It was close to You. That was the breaking song,

696
00:46:53,920 --> 00:46:58,279
Speaker 3: the song that opened the door for them. And before that,

697
00:46:58,560 --> 00:47:02,279
Speaker 3: you know, my own records company was wondering, well, why

698
00:47:02,440 --> 00:47:04,000
Speaker 3: just signed these guys. I mean, that was the kind

699
00:47:04,040 --> 00:47:06,040
Speaker 3: of the rumor I was hearing. They thought a little

700
00:47:06,040 --> 00:47:08,360
Speaker 3: too cute, little sweet, it's not the type of music

701
00:47:08,400 --> 00:47:14,279
Speaker 3: that's happening on the radio now. So all of a

702
00:47:14,320 --> 00:47:19,560
Speaker 3: sudden I became, hey, good going for signing the Carpenters.

703
00:47:28,960 --> 00:47:31,799
Speaker 2: How did you write close to You? All right?

704
00:47:31,840 --> 00:47:33,520
Speaker 3: Didn't that's a Burt backrack song?

705
00:47:34,200 --> 00:47:36,080
Speaker 2: Oh right, right, right right? You recorded?

706
00:47:36,160 --> 00:47:39,759
Speaker 3: Yeah, yeah, yeah, yeah, yeah that Bert h and Hal

707
00:47:39,880 --> 00:47:41,239
Speaker 3: David Right right.

708
00:47:41,320 --> 00:47:46,359
Speaker 2: I forgot that. So how involved were you with the Carpenters.

709
00:47:46,480 --> 00:47:47,720
Speaker 2: Is their career ensued?

710
00:47:49,520 --> 00:47:53,720
Speaker 3: Well, i'd be, uh, you know, listening to what they're doing.

711
00:47:53,760 --> 00:48:00,920
Speaker 3: And uh, you know, when Karen was having this awful problem,

712
00:48:01,000 --> 00:48:05,040
Speaker 3: and then she got back into shape somewhat for a time,

713
00:48:06,320 --> 00:48:13,000
Speaker 3: she did this other recording and uh, well, that's another story.

714
00:48:13,040 --> 00:48:15,759
Speaker 3: I mean, Phil Ramone did an album with her that

715
00:48:15,840 --> 00:48:18,040
Speaker 3: I wasn't crazy about. I didn't want to release it

716
00:48:18,080 --> 00:48:21,480
Speaker 3: on a M. I didn't think it represented Karen as

717
00:48:22,360 --> 00:48:26,920
Speaker 3: it should have my thoughts. That's another program though, bomb.

718
00:48:27,680 --> 00:48:31,040
Speaker 2: Okay, So are there any other acts in the A

719
00:48:31,200 --> 00:48:34,920
Speaker 2: n M tenure that you personally selected inside?

720
00:48:37,080 --> 00:48:40,759
Speaker 3: Oh? Yeah, I did a couple of records with no

721
00:48:40,800 --> 00:48:43,479
Speaker 3: Do Do Do Do Do Do Do Do Do Do

722
00:48:43,480 --> 00:48:50,239
Speaker 3: Do Do Do? Chris Montez right, call me, I did

723
00:48:50,239 --> 00:48:52,680
Speaker 3: that record Call me. I just had a knife the

724
00:48:52,920 --> 00:48:55,960
Speaker 3: idea for that record with his weird voice. It was

725
00:48:55,960 --> 00:48:59,360
Speaker 3: a nice voice, but it was like different, you know.

726
00:48:59,480 --> 00:49:02,560
Speaker 3: I put a jazz piano player with him, Pete Jolly,

727
00:49:03,680 --> 00:49:06,040
Speaker 3: and that record did really well.

728
00:49:06,640 --> 00:49:11,080
Speaker 2: Huge. Yeah, he's almost lost to the seands of time,

729
00:49:11,160 --> 00:49:13,640
Speaker 2: but that was a great record. Where did you find

730
00:49:13,760 --> 00:49:15,360
Speaker 2: Chris Montets.

731
00:49:15,719 --> 00:49:17,960
Speaker 3: He came to us and I, you know, I heard

732
00:49:18,040 --> 00:49:21,520
Speaker 3: him and I remember the record that he had on

733
00:49:21,640 --> 00:49:28,120
Speaker 3: another label, and although his voice was I don't know,

734
00:49:28,360 --> 00:49:32,600
Speaker 3: a little odd, but I liked it. There's something about

735
00:49:33,360 --> 00:49:38,719
Speaker 3: there's something in the way he moved. Yeah, I don't know.

736
00:49:39,360 --> 00:49:45,200
Speaker 2: So then Loom has his label owed, and he makes

737
00:49:45,239 --> 00:49:47,879
Speaker 2: two records with Carol King for you. The first one

738
00:49:47,920 --> 00:49:53,080
Speaker 2: Writer doesn't do much of anything, and then the second one, Tapestry,

739
00:49:53,120 --> 00:49:54,920
Speaker 2: becomes the biggest record of all time.

740
00:49:57,040 --> 00:50:01,600
Speaker 3: Yeah. Well, Lou's a really, really good producer. He understands

741
00:50:01,600 --> 00:50:06,359
Speaker 3: a good song and he lets the artists do their

742
00:50:06,440 --> 00:50:09,800
Speaker 3: thing until he feels he can jump in and add

743
00:50:09,840 --> 00:50:14,320
Speaker 3: something special. And he did that album with a concept

744
00:50:14,320 --> 00:50:17,240
Speaker 3: and the concept but let's make an album that Carol's

745
00:50:17,239 --> 00:50:22,280
Speaker 3: sounding is sounding like. It's demo demo versions of these songs,

746
00:50:22,760 --> 00:50:26,719
Speaker 3: very understated, very you know, nice grooves. It was done

747
00:50:26,760 --> 00:50:35,960
Speaker 3: at A and M and Studio B, and it was great. Okay.

748
00:50:36,480 --> 00:50:41,000
Speaker 2: Now, in this two decade run of the seventies to

749
00:50:41,080 --> 00:50:44,200
Speaker 2: the eighties to the sale of the company, do you

750
00:50:44,320 --> 00:50:46,800
Speaker 2: ever feel disconnected from the company?

751
00:50:47,320 --> 00:50:52,520
Speaker 3: Oh? Absolutely yeah. I mean, you know, at some point

752
00:50:52,520 --> 00:50:57,320
Speaker 3: we had five hundred people around the world. So yeah,

753
00:50:57,640 --> 00:50:59,560
Speaker 3: it was a lot different than Jerry and I in

754
00:50:59,600 --> 00:51:03,400
Speaker 3: my my garage in West Hollywood.

755
00:51:05,120 --> 00:51:08,560
Speaker 2: So in that era, were you happy?

756
00:51:11,239 --> 00:51:13,480
Speaker 3: How do you define happiness?

757
00:51:13,960 --> 00:51:16,719
Speaker 2: Well, let's go back a step. You said twice that

758
00:51:16,840 --> 00:51:22,239
Speaker 2: you're introverted. Yeah, so how did you decide you were

759
00:51:22,239 --> 00:51:24,080
Speaker 2: introverted and what did that look like?

760
00:51:26,800 --> 00:51:33,800
Speaker 3: I was shy. I wasn't very confident, you know, especially

761
00:51:33,840 --> 00:51:36,239
Speaker 3: when you know, dealing with lawyers. Always felt, man, they

762
00:51:36,360 --> 00:51:38,719
Speaker 3: much smarter than me. They must know better, they must

763
00:51:38,800 --> 00:51:40,759
Speaker 3: know you know a lot more stuff than I do.

764
00:51:42,160 --> 00:51:45,200
Speaker 3: I was just a shy kid, you know. I had

765
00:51:45,239 --> 00:51:50,520
Speaker 3: this extreme experience of all of a sudden producing a

766
00:51:50,600 --> 00:51:52,840
Speaker 3: record and I was a hit, and I was walking

767
00:51:53,080 --> 00:51:55,920
Speaker 3: on Hollywood Boulevard and all of a sudden somebody wanted

768
00:51:55,920 --> 00:51:58,480
Speaker 3: my autographs. You know. I mean that I was playing

769
00:51:58,520 --> 00:52:03,520
Speaker 3: bar Mitzvah the weekend before. So yeah, that was a

770
00:52:03,520 --> 00:52:05,719
Speaker 3: little bit of a transition that I had to get

771
00:52:05,800 --> 00:52:06,120
Speaker 3: used to.

772
00:52:07,000 --> 00:52:10,640
Speaker 2: Well, how about let's just assume. I mean, you're an

773
00:52:10,640 --> 00:52:14,160
Speaker 2: elder statesman now, but in your younger days, if I

774
00:52:14,320 --> 00:52:17,280
Speaker 2: called you and said, hey, Herb, we're having a party.

775
00:52:17,280 --> 00:52:21,319
Speaker 2: We're having to get together, You're going to say it's great,

776
00:52:21,360 --> 00:52:23,200
Speaker 2: I'll be there at eight o'clock. You're going to say,

777
00:52:23,239 --> 00:52:23,719
Speaker 2: not for me.

778
00:52:24,520 --> 00:52:27,319
Speaker 3: Yeah, not for me is definitely it. Yeah. Now, I'm

779
00:52:27,360 --> 00:52:32,200
Speaker 3: not crazy about Yeah. I'm really okay with one on

780
00:52:32,200 --> 00:52:35,399
Speaker 3: one or one on two, but man, when it gets

781
00:52:35,400 --> 00:52:38,880
Speaker 3: the more people, it's I don't know, I don't feel

782
00:52:38,920 --> 00:52:41,799
Speaker 3: that comfortable, and I'm pretty good on stage, you know,

783
00:52:41,840 --> 00:52:47,320
Speaker 3: I feel comfortable on stage. I can. I can, in fact,

784
00:52:47,719 --> 00:52:50,839
Speaker 3: play for as many people as you want and I'll

785
00:52:50,840 --> 00:52:51,360
Speaker 3: be okay.

786
00:52:52,320 --> 00:52:54,120
Speaker 2: Why do you think that is that you're good on

787
00:52:54,239 --> 00:52:58,560
Speaker 2: stage to thousands of people, but you're most comfortable one

788
00:52:58,600 --> 00:52:59,040
Speaker 2: on one.

789
00:52:59,640 --> 00:53:04,319
Speaker 3: Yeah, an interesting phenomenon. I don't know. I don't have

790
00:53:04,400 --> 00:53:07,600
Speaker 3: to deal with anyone that's in the audience. I can

791
00:53:07,680 --> 00:53:12,319
Speaker 3: control my destiny.

792
00:53:14,360 --> 00:53:17,040
Speaker 2: Okay. What kind of artists are you? Some artists are

793
00:53:17,040 --> 00:53:22,040
Speaker 2: control freaks. Everything has to be exactly right. Other artists

794
00:53:22,480 --> 00:53:24,560
Speaker 2: come in and just do their part and move on

795
00:53:25,239 --> 00:53:29,320
Speaker 2: others and let people split things slide. What kind of

796
00:53:29,440 --> 00:53:31,840
Speaker 2: artists are you when you're recording or playing live?

797
00:53:32,440 --> 00:53:37,040
Speaker 3: Oh, I'm very spontaneous, very very very spontaneous when I play.

798
00:53:37,200 --> 00:53:41,160
Speaker 3: I'm not a mainline jazz musician, but man' that's where

799
00:53:41,200 --> 00:53:44,520
Speaker 3: I'm coming from. I'm coming from the jazz world. And

800
00:53:45,360 --> 00:53:48,520
Speaker 3: whatever I play with the steer Waner brass that people

801
00:53:48,560 --> 00:53:51,280
Speaker 3: tried to copy, they couldn't do it, you know, because

802
00:53:51,320 --> 00:53:54,000
Speaker 3: I was doing it out of the out of my soul.

803
00:53:54,160 --> 00:53:56,480
Speaker 3: You know that this is the music that just comes

804
00:53:56,520 --> 00:53:58,960
Speaker 3: out of me, and I just let it fly. I

805
00:53:59,080 --> 00:54:02,320
Speaker 3: just let it be whatever it is when I'm recording,

806
00:54:02,960 --> 00:54:06,160
Speaker 3: even though I'm totally aware of the songs I'm playing.

807
00:54:06,320 --> 00:54:11,240
Speaker 3: If I played it ten times, it sound different each time,

808
00:54:11,920 --> 00:54:13,680
Speaker 3: but the melody would still be there.

809
00:54:15,800 --> 00:54:18,399
Speaker 2: Okay, let's go back. Were you a good student? How

810
00:54:18,440 --> 00:54:19,520
Speaker 2: good a student were you?

811
00:54:19,600 --> 00:54:22,760
Speaker 3: Well? Just I was a fair student, not great. I didn't.

812
00:54:23,360 --> 00:54:28,239
Speaker 3: I can't remember one teacher that really inspired me, to

813
00:54:28,280 --> 00:54:30,400
Speaker 3: tell you the truth, And that's why I'm involved in

814
00:54:31,960 --> 00:54:38,360
Speaker 3: the foundation and kind of gravitating towards helping helping students

815
00:54:38,400 --> 00:54:44,080
Speaker 3: get to their place where they can be well. I

816
00:54:44,080 --> 00:54:53,680
Speaker 3: always feel that people should teachers should learn at an

817
00:54:53,680 --> 00:54:57,600
Speaker 3: early age. I think kids should learn be taught how

818
00:54:57,640 --> 00:55:02,520
Speaker 3: to think, not what to think, how to think, and

819
00:55:02,560 --> 00:55:04,680
Speaker 3: I think we're missing that. We're missing that.

820
00:55:05,760 --> 00:55:06,920
Speaker 2: And how do you achieve that?

821
00:55:08,000 --> 00:55:13,680
Speaker 3: Wow? Great question. Parenting, I guess is a good part

822
00:55:13,719 --> 00:55:21,080
Speaker 3: of it. But just the idea that everybody man I believe. Yeah,

823
00:55:21,120 --> 00:55:24,359
Speaker 3: that's not a big deal. I'm what I'm going to say.

824
00:55:24,360 --> 00:55:30,920
Speaker 3: But everyone has the same ticket to this game called life,

825
00:55:31,080 --> 00:55:34,160
Speaker 3: and we all should have the same type of opportunities.

826
00:55:34,800 --> 00:55:37,440
Speaker 3: And we know a lot of people don't have those opportunities,

827
00:55:37,480 --> 00:55:40,960
Speaker 3: and it's not it's for us to try and find

828
00:55:40,960 --> 00:55:44,360
Speaker 3: a way to help them to get to that place.

829
00:55:45,440 --> 00:55:49,279
Speaker 2: Let's go back once again. What kind of kid were

830
00:55:49,320 --> 00:55:51,840
Speaker 2: you growing up? Did you play sports? Did you have

831
00:55:51,920 --> 00:55:53,879
Speaker 2: a lot of friends. Were you the type of person

832
00:55:53,920 --> 00:55:56,680
Speaker 2: who was in your bedroom listening to records? What were

833
00:55:56,680 --> 00:55:56,960
Speaker 2: you like?

834
00:55:57,640 --> 00:55:59,919
Speaker 3: Yeah, I was kind of a vote getter. I play

835
00:56:00,120 --> 00:56:06,719
Speaker 3: all the sports, basketball, football, baseball, and I still like sports,

836
00:56:06,800 --> 00:56:13,959
Speaker 3: and I had a lot of friends. I was in

837
00:56:13,960 --> 00:56:17,239
Speaker 3: in high school. Well, I was a president. I was

838
00:56:17,239 --> 00:56:18,440
Speaker 3: a president of all my class.

839
00:56:18,440 --> 00:56:21,799
Speaker 2: Most Well, that's kind of funny for an introvert.

840
00:56:22,760 --> 00:56:28,560
Speaker 3: Well, I know, so you're trying to trap me here.

841
00:56:28,920 --> 00:56:32,080
Speaker 2: No I'm not, because I think you know a lot

842
00:56:32,120 --> 00:56:35,799
Speaker 2: of artists are introverts, and the fans don't understand. You

843
00:56:35,840 --> 00:56:38,560
Speaker 2: know what you exactly said. You could do it on

844
00:56:38,640 --> 00:56:42,880
Speaker 2: stage to ten thousand people, but if there were three people,

845
00:56:42,920 --> 00:56:49,879
Speaker 2: there are four people, you'd have anxiety. Yeah, exactly. And

846
00:56:50,640 --> 00:56:53,520
Speaker 2: if you're a president of the class, there must be

847
00:56:53,600 --> 00:56:58,320
Speaker 2: a listen. You've told your story. Despite being an introvert,

848
00:56:58,800 --> 00:57:04,200
Speaker 2: there was a constant drive in the ambition. You may

849
00:57:04,280 --> 00:57:07,720
Speaker 2: have felt insecure, but you were constantly knocking on doors

850
00:57:07,760 --> 00:57:13,319
Speaker 2: seeking opportunities. So you finish high school, how do you

851
00:57:13,400 --> 00:57:13,839
Speaker 2: end up.

852
00:57:13,719 --> 00:57:18,400
Speaker 3: In the army. I was drafted. There wasn't a choice.

853
00:57:20,560 --> 00:57:22,080
Speaker 3: I didn't have a choice on that one.

854
00:57:22,400 --> 00:57:23,920
Speaker 2: And this was during Korea.

855
00:57:24,960 --> 00:57:28,040
Speaker 3: No, it was after Korea, but the draft was still

856
00:57:28,080 --> 00:57:33,360
Speaker 3: on and I was sent to ford Ord. Actually I

857
00:57:33,360 --> 00:57:36,240
Speaker 3: brought my trumpet with me. Ford Or is the thing,

858
00:57:36,280 --> 00:57:38,720
Speaker 3: and I told them, I said, the only thing I

859
00:57:38,760 --> 00:57:41,040
Speaker 3: know how to do is play this trumpet. I'm not

860
00:57:41,120 --> 00:57:43,720
Speaker 3: an infantry man want to I don't want to do

861
00:57:43,800 --> 00:57:47,240
Speaker 3: anything else. Anyways, I kind of led my way into

862
00:57:47,360 --> 00:57:52,720
Speaker 3: I played with Basie, I played with Harry James. Anyways,

863
00:57:52,800 --> 00:57:56,200
Speaker 3: they sent me, they classified me as a trumpet player.

864
00:57:56,960 --> 00:57:59,840
Speaker 3: That was my m or whatever they call it. And

865
00:58:00,160 --> 00:58:04,720
Speaker 3: they sent me to band school in Fort Knox, Kentucky

866
00:58:05,640 --> 00:58:10,920
Speaker 3: for twelve weeks and I met a bunch of trumpet

867
00:58:10,920 --> 00:58:12,880
Speaker 3: players there. They were all better than me. So it

868
00:58:13,040 --> 00:58:17,160
Speaker 3: kind of like gave me a what am I doing?

869
00:58:17,360 --> 00:58:23,120
Speaker 3: So I had to rethink, you know, the way, because

870
00:58:23,160 --> 00:58:26,680
Speaker 3: I was I think in Los Angeles at the time,

871
00:58:26,760 --> 00:58:29,040
Speaker 3: I was thought I was, you know, like a good player,

872
00:58:29,080 --> 00:58:34,800
Speaker 3: and people were aware of my talent and when I

873
00:58:34,800 --> 00:58:38,880
Speaker 3: realized my talent wasn't all that great in Knoxville, Kentucky.

874
00:58:38,960 --> 00:58:48,360
Speaker 3: It was a little daunting, and I left there with

875
00:58:49,560 --> 00:58:51,880
Speaker 3: the idea that if I wanted to really be a

876
00:58:51,920 --> 00:58:56,560
Speaker 3: professional musician, I really had to get down to finding

877
00:58:56,600 --> 00:58:59,000
Speaker 3: out how to do it right.

878
00:59:00,680 --> 00:59:03,000
Speaker 2: So when you get back to LA, how did you

879
00:59:03,080 --> 00:59:04,800
Speaker 2: learn how to do it well?

880
00:59:04,840 --> 00:59:09,920
Speaker 3: I took lessons at first. I started. I took lessons

881
00:59:09,920 --> 00:59:12,960
Speaker 3: from this teacher that taught Ralphiel Mandez. I don't know

882
00:59:13,040 --> 00:59:16,120
Speaker 3: if you ever heard of that gentleman. He was an

883
00:59:16,160 --> 00:59:21,000
Speaker 3: extremely talented Mexican trumpet player, could play high, fast, and

884
00:59:21,840 --> 00:59:25,800
Speaker 3: you know, mind boggling. He was not a jazz musician.

885
00:59:25,840 --> 00:59:29,600
Speaker 3: He was a legitimate musician. I started taking lessons from

886
00:59:29,640 --> 00:59:34,880
Speaker 3: his teacher. I can't think of his name right now,

887
00:59:34,960 --> 00:59:37,440
Speaker 3: but he taught me how to play high. I was

888
00:59:37,480 --> 00:59:41,320
Speaker 3: playing really high. I could play real high notes, you know.

889
00:59:43,720 --> 00:59:46,720
Speaker 3: And when I got out of the army, I was

890
00:59:48,840 --> 00:59:51,920
Speaker 3: going to this school called something I can't think of

891
00:59:51,960 --> 00:59:54,080
Speaker 3: the name, and I played in the band. I played

892
00:59:54,120 --> 00:59:57,240
Speaker 3: the lead trumpet in the band, and playing high and

893
00:59:57,280 --> 01:00:01,680
Speaker 3: loud and fast and all that. I started my first

894
01:00:02,280 --> 01:00:05,480
Speaker 3: uppers four uppers, and the four lower teeth got loose

895
01:00:06,040 --> 01:00:08,600
Speaker 3: and it was like shaking. I was putting too much

896
01:00:08,640 --> 01:00:11,360
Speaker 3: pressure on the horn, and so I said, man, this

897
01:00:11,400 --> 01:00:13,120
Speaker 3: is not the way I want to play. I don't

898
01:00:13,120 --> 01:00:18,320
Speaker 3: want to play like that. It's the trumpet. It was

899
01:00:18,440 --> 01:00:22,280
Speaker 3: designed to play up to high sea and beyond that

900
01:00:22,440 --> 01:00:25,040
Speaker 3: is just it wasn't all that necessary. And I wanted

901
01:00:25,080 --> 01:00:28,720
Speaker 3: to play the trumpet in a really sweet area. So

902
01:00:28,800 --> 01:00:31,000
Speaker 3: that's what I decided to do. I forgot about the

903
01:00:32,120 --> 01:00:35,840
Speaker 3: high stuff and trying to be in competition with everybody

904
01:00:35,880 --> 01:00:38,680
Speaker 3: else who can play the highest and loudest. I didn't

905
01:00:38,720 --> 01:00:42,880
Speaker 3: want to do that. So I developed this little way

906
01:00:42,920 --> 01:00:47,000
Speaker 3: of playing that was kind of unique, I thought, and

907
01:00:47,080 --> 01:00:49,440
Speaker 3: it still is. It still is kind of unique. The

908
01:00:49,480 --> 01:00:51,080
Speaker 3: way I approached the horn.

909
01:00:51,520 --> 01:00:54,080
Speaker 2: What was it like being a nice Jewish boy in

910
01:00:54,120 --> 01:00:54,680
Speaker 2: the army.

911
01:00:56,080 --> 01:01:00,360
Speaker 3: Well, I had no problem with that because I served

912
01:01:00,400 --> 01:01:04,920
Speaker 3: my time. I didn't make any I didn't get anybody's

913
01:01:04,960 --> 01:01:12,440
Speaker 3: nose out of whack. And uh, I was very fortunate

914
01:01:12,680 --> 01:01:20,000
Speaker 3: because I did something that was maybe not the smartest

915
01:01:20,000 --> 01:01:27,920
Speaker 3: thing to do, but I was. I should tell this story.

916
01:01:28,640 --> 01:01:31,320
Speaker 3: I was in Fort Knox, Kentucky, you know, and the

917
01:01:31,560 --> 01:01:34,160
Speaker 3: and the person who was cutting the orders for the

918
01:01:34,280 --> 01:01:39,240
Speaker 3: My section that I was in was cutting the orders

919
01:01:39,280 --> 01:01:42,360
Speaker 3: for the band, and I met him at a party

920
01:01:44,280 --> 01:01:49,520
Speaker 3: and I said, man, how do you get your orders

921
01:01:49,520 --> 01:01:51,640
Speaker 3: to go? Where you'd like to go? He said, where

922
01:01:51,680 --> 01:01:53,760
Speaker 3: would you like to go? Said, I'd like to go to, uh,

923
01:01:56,280 --> 01:01:59,560
Speaker 3: San Francisco. I'd like to go to the sixth Army

924
01:01:59,560 --> 01:02:01,960
Speaker 3: band and San Francisco. He says, you can't go there

925
01:02:02,000 --> 01:02:06,040
Speaker 3: because you have to enlist to get to San Francisco's

926
01:02:06,160 --> 01:02:09,360
Speaker 3: band there. I said, oh, but that's the only place

927
01:02:09,400 --> 01:02:11,680
Speaker 3: I really wanted to go. Anyways, I became friends with

928
01:02:11,760 --> 01:02:16,000
Speaker 3: this guy, and I said, that's the only place that

929
01:02:16,000 --> 01:02:20,160
Speaker 3: if you want to help me as a friend, that's right,

930
01:02:20,240 --> 01:02:22,320
Speaker 3: That's where I want to go. So he made he

931
01:02:22,360 --> 01:02:27,360
Speaker 3: cut the orders for San Francisco. I landed there. There

932
01:02:27,360 --> 01:02:31,760
Speaker 3: were like twelve trumpet players there already, and the war

933
01:02:31,760 --> 01:02:34,720
Speaker 3: an officer there said, I didn't order another trumpet player.

934
01:02:35,640 --> 01:02:37,120
Speaker 3: I don't know how you got I said, I don't know,

935
01:02:37,160 --> 01:02:40,160
Speaker 3: I'm just following. Obviously. He says, well, let me hear

936
01:02:40,200 --> 01:02:46,320
Speaker 3: you play. And so I had a good version of

937
01:02:47,120 --> 01:02:54,800
Speaker 3: the version de la Macrena, but eh, well, I can't

938
01:02:54,800 --> 01:02:57,000
Speaker 3: think of how it goes right now. But I played

939
01:02:57,000 --> 01:02:58,600
Speaker 3: it for him and he looked at me and he says,

940
01:02:59,040 --> 01:03:03,480
Speaker 3: I like you, you're in Anyways, I got myself in

941
01:03:03,600 --> 01:03:09,520
Speaker 3: by it, this song that I played for and I

942
01:03:09,560 --> 01:03:13,840
Speaker 3: spent the next eighteen months in San Francisco, who was

943
01:03:13,960 --> 01:03:15,880
Speaker 3: quite an experience for me because there was a big,

944
01:03:15,960 --> 01:03:20,000
Speaker 3: big band. It was like seventy piece orchestra. Not it

945
01:03:20,040 --> 01:03:22,920
Speaker 3: wasn't an orchestra, it was a band, and so we'd

946
01:03:22,960 --> 01:03:31,960
Speaker 3: played various openings of parties and marching down streets and

947
01:03:32,000 --> 01:03:34,520
Speaker 3: it was a good experience for me, and I saw

948
01:03:34,560 --> 01:03:41,840
Speaker 3: some really interesting and met some interesting musicians that there. Unfortunately,

949
01:03:41,880 --> 01:03:46,280
Speaker 3: there were a couple of musicians that were hooked on

950
01:03:46,680 --> 01:03:51,720
Speaker 3: the wrong stuff. One in particular was a guy who

951
01:03:52,280 --> 01:03:56,480
Speaker 3: when he was hooked he sounded like Milton Bernhardt Bernhardt

952
01:03:56,480 --> 01:03:59,680
Speaker 3: playing drombone, and when he was not hooked, he sounded terrible.

953
01:04:02,400 --> 01:04:03,720
Speaker 3: But it was an experience.

954
01:04:04,640 --> 01:04:09,240
Speaker 2: So did you experience any anti Semitism in the army

955
01:04:09,720 --> 01:04:11,200
Speaker 2: or in the years after?

956
01:04:12,600 --> 01:04:16,320
Speaker 3: Uh No, I didn't accept One guy when I met

957
01:04:16,360 --> 01:04:20,840
Speaker 3: him and he knew I was Jewish, He just, you know,

958
01:04:21,000 --> 01:04:24,360
Speaker 3: he had never met a Jew before, so he kind

959
01:04:24,360 --> 01:04:27,120
Speaker 3: of had the image of I had a horn coming

960
01:04:27,120 --> 01:04:32,400
Speaker 3: out of my forehead, but that was the only person.

961
01:04:40,640 --> 01:04:45,880
Speaker 2: Okay, guitars, you know, people have their favorites. They all

962
01:04:45,960 --> 01:04:49,480
Speaker 2: sound different. How is it with trumpets?

963
01:04:49,880 --> 01:04:53,000
Speaker 3: Oh, I look at it. I was going to do

964
01:04:53,040 --> 01:04:55,600
Speaker 3: an a and I'm sorry I didn't do it. In

965
01:04:55,640 --> 01:04:59,840
Speaker 3: the sixties, when things were starting to really do well,

966
01:05:00,240 --> 01:05:04,000
Speaker 3: I wanted to do a television show using one trumpet

967
01:05:04,080 --> 01:05:09,240
Speaker 3: and having me Louis Armstrong, Miles Harry, James al Hurt,

968
01:05:09,560 --> 01:05:15,400
Speaker 3: and a couple other players, known players take this one trumpet,

969
01:05:15,680 --> 01:05:17,880
Speaker 3: take the same song, and each one pick up that

970
01:05:18,040 --> 01:05:21,000
Speaker 3: song that trumpet and play that song and it would

971
01:05:21,000 --> 01:05:25,240
Speaker 3: all sound different. And this is an experience I had

972
01:05:26,560 --> 01:05:30,280
Speaker 3: when I had a problem playing the horn. In nineteen seventy.

973
01:05:30,280 --> 01:05:35,960
Speaker 3: I was going through a divorce and I was stuttering

974
01:05:36,000 --> 01:05:39,360
Speaker 3: through the trumpet. I couldn't get for first, no doubt,

975
01:05:39,440 --> 01:05:41,919
Speaker 3: you know, it wouldn't come out right. So I heard

976
01:05:41,960 --> 01:05:44,640
Speaker 3: about this trumpet teacher in New York. His name was

977
01:05:44,680 --> 01:05:49,880
Speaker 3: Carmine Caruso, and he was called the Troubleshooter and he

978
01:05:49,920 --> 01:05:53,640
Speaker 3: would teach students from a brass player from all over

979
01:05:53,640 --> 01:05:57,400
Speaker 3: the world who had problems playing. So I made contact

980
01:05:57,400 --> 01:06:00,000
Speaker 3: with him. The first time I met him, I said, Carl,

981
01:06:00,080 --> 01:06:02,480
Speaker 3: but I'm having, you know, this problem playing the horn.

982
01:06:02,720 --> 01:06:06,920
Speaker 3: What am I doing? Should I I change the trumpet

983
01:06:07,000 --> 01:06:08,560
Speaker 3: or the mouse beef or this and that and the

984
01:06:08,600 --> 01:06:10,960
Speaker 3: other thing. He says, let me tell you something, kid,

985
01:06:12,280 --> 01:06:15,760
Speaker 3: He said, You're the trumpet. This is just a piece

986
01:06:15,800 --> 01:06:20,520
Speaker 3: of plumbing. You're the trumpet. The trumpet comes, the sound

987
01:06:20,560 --> 01:06:23,520
Speaker 3: of the trumpet comes from inside you. The trump is

988
01:06:23,600 --> 01:06:27,320
Speaker 3: just a megaphone. It's just an amplifier of your sound.

989
01:06:28,360 --> 01:06:31,480
Speaker 3: And that was like a big, big aha for me.

990
01:06:31,800 --> 01:06:36,080
Speaker 3: I try to pass that one on to young musicians.

991
01:06:36,560 --> 01:06:39,280
Speaker 3: And it doesn't matter what instrument you're on. I think

992
01:06:39,320 --> 01:06:42,240
Speaker 3: that is the key. You try to find the depth

993
01:06:42,280 --> 01:06:45,760
Speaker 3: of what you do naturally. Don't pit yourself with Miles

994
01:06:45,840 --> 01:06:49,520
Speaker 3: Davis or any of the great musicians that you happen

995
01:06:49,560 --> 01:06:53,560
Speaker 3: to like. You can and learn from them, but be yourself.

996
01:06:53,720 --> 01:06:58,240
Speaker 3: Try to find your own voice. It's a rough go

997
01:06:58,400 --> 01:07:01,000
Speaker 3: out there to be a professional musician. There's so many

998
01:07:01,080 --> 01:07:02,960
Speaker 3: great ones out there, you know. I have a jazz

999
01:07:02,960 --> 01:07:07,840
Speaker 3: club here in Los Angeles, and there's a whole bunch

1000
01:07:07,880 --> 01:07:12,600
Speaker 3: of wonderful musicians in LA that you never hear of that,

1001
01:07:13,080 --> 01:07:16,360
Speaker 3: it's hard to break through. So I think one of

1002
01:07:16,360 --> 01:07:18,760
Speaker 3: the keys is, you know, find your own voice, find

1003
01:07:18,760 --> 01:07:20,440
Speaker 3: your own way of expressing yourself.

1004
01:07:21,640 --> 01:07:26,400
Speaker 2: So you own vibrato up there on Beverly Glenn. Is

1005
01:07:26,440 --> 01:07:27,360
Speaker 2: that in the black?

1006
01:07:27,520 --> 01:07:27,720
Speaker 3: You know?

1007
01:07:27,800 --> 01:07:29,880
Speaker 2: The club business, and I think about it all the time.

1008
01:07:29,920 --> 01:07:32,600
Speaker 2: It's certainly been there a number of times myself. That's

1009
01:07:32,680 --> 01:07:36,360
Speaker 2: a tough business. Are you doing it as a labor

1010
01:07:36,440 --> 01:07:39,040
Speaker 2: of love or is that a profitable business.

1011
01:07:39,640 --> 01:07:41,800
Speaker 3: I did it as a labor of love for the

1012
01:07:41,840 --> 01:07:47,760
Speaker 3: first about fifteen years were they were in the red event.

1013
01:07:48,640 --> 01:07:50,320
Speaker 3: But I did it because I wanted to have a

1014
01:07:50,360 --> 01:07:54,360
Speaker 3: club that would be a nice spot for great musicians

1015
01:07:54,360 --> 01:07:57,880
Speaker 3: where I went. I made it with an acquistition. We

1016
01:07:57,880 --> 01:08:02,640
Speaker 3: were very curious on getting the sound right all across

1017
01:08:02,720 --> 01:08:08,160
Speaker 3: the the venue and upstairs and downstairs. The sound is

1018
01:08:08,280 --> 01:08:17,000
Speaker 3: very beautiful. Uh, And so it took that long to

1019
01:08:17,080 --> 01:08:20,519
Speaker 3: really get rolling. Now we're really we're really rocking. It's

1020
01:08:20,520 --> 01:08:22,880
Speaker 3: just one of the hot clubs in town right now.

1021
01:08:23,360 --> 01:08:24,719
Speaker 2: How often do you go there?

1022
01:08:26,200 --> 01:08:28,680
Speaker 3: Not as often as I probably should. You know that

1023
01:08:28,840 --> 01:08:31,759
Speaker 3: we're doing a lot of big bands there now. And

1024
01:08:31,800 --> 01:08:33,760
Speaker 3: when you were there and you're trying to have a

1025
01:08:33,800 --> 01:08:37,360
Speaker 3: conversation with somebody. It's it's like almost impossible. But the

1026
01:08:37,439 --> 01:08:40,960
Speaker 3: band is great. A lot of wonderful musicians are playing.

1027
01:08:42,320 --> 01:08:46,080
Speaker 2: So what did you think when Peter Frampton had all

1028
01:08:46,120 --> 01:08:47,960
Speaker 2: this gigantic success.

1029
01:08:48,400 --> 01:08:50,720
Speaker 3: It was fun watching. I remember going to one of

1030
01:08:50,760 --> 01:08:52,680
Speaker 3: the concerts and you know, he turned one way and

1031
01:08:52,760 --> 01:08:56,120
Speaker 3: the girls would scream. He go another and same thing

1032
01:08:56,160 --> 01:08:58,360
Speaker 3: would happen. You know. He was an awfully good looking

1033
01:08:58,400 --> 01:09:01,840
Speaker 3: guy and the the problem that he had was he

1034
01:09:01,880 --> 01:09:04,280
Speaker 3: was a little too cute and he and he was

1035
01:09:04,320 --> 01:09:08,639
Speaker 3: a wonderful artist. He was a great guitar player and

1036
01:09:09,280 --> 01:09:13,040
Speaker 3: you know, wrote good songs. He was he had magic,

1037
01:09:13,960 --> 01:09:16,880
Speaker 3: and that probably is his looks probably might have gotten

1038
01:09:16,920 --> 01:09:19,000
Speaker 3: in his way. And I think they made a mistake

1039
01:09:19,040 --> 01:09:24,040
Speaker 3: by getting him into that Sergeant Pepper a movie or

1040
01:09:24,080 --> 01:09:24,880
Speaker 3: whatever that was.

1041
01:09:25,360 --> 01:09:28,799
Speaker 2: That's for sure. So how did you decide to sell an.

1042
01:09:28,760 --> 01:09:35,920
Speaker 3: M Well, it was getting to that point where artists

1043
01:09:35,960 --> 01:09:39,280
Speaker 3: were getting a lot of money in advance. And I

1044
01:09:39,360 --> 01:09:43,280
Speaker 3: heard the tape with Jerry of the Prince and I said, man,

1045
01:09:43,479 --> 01:09:46,800
Speaker 3: sign this guy. You know, this guy's good, you know,

1046
01:09:49,760 --> 01:09:54,160
Speaker 3: And he went to a meeting with his managers and

1047
01:09:54,240 --> 01:09:57,679
Speaker 3: all of a sudden Warner Brothers was, you know, throwing

1048
01:09:57,680 --> 01:10:00,400
Speaker 3: out all sorts of money, and it was got up

1049
01:10:00,400 --> 01:10:03,040
Speaker 3: to like a million dollars or something like that in

1050
01:10:03,080 --> 01:10:06,439
Speaker 3: that period. I forgot the year, but we felt, man,

1051
01:10:06,479 --> 01:10:09,840
Speaker 3: if we tried to put out that type of money

1052
01:10:09,880 --> 01:10:12,960
Speaker 3: and we were wrong, we made a mistake, it put

1053
01:10:12,960 --> 01:10:15,800
Speaker 3: a big hole in our ship. So we had to

1054
01:10:15,840 --> 01:10:18,280
Speaker 3: back off. But we heard up. Jerry heard him. I

1055
01:10:19,000 --> 01:10:22,960
Speaker 3: knew he had had the goods, and.

1056
01:10:22,880 --> 01:10:27,120
Speaker 2: So how hard was it to sell the company?

1057
01:10:27,880 --> 01:10:32,599
Speaker 3: For me? It wasn't not hard. I made a demand

1058
01:10:32,760 --> 01:10:36,120
Speaker 3: that what I wanted to do. I wanted to sell

1059
01:10:36,520 --> 01:10:40,000
Speaker 3: forty nine percent of it and for us to keep

1060
01:10:40,040 --> 01:10:43,280
Speaker 3: the fifty one ad control of the company. That was

1061
01:10:43,320 --> 01:10:50,439
Speaker 3: my initial thought. Then they kept upping the price, upping

1062
01:10:50,439 --> 01:10:56,720
Speaker 3: the price, upping it to the point where we just

1063
01:10:56,760 --> 01:11:02,840
Speaker 3: felt that it was time. It was we had a

1064
01:11:02,880 --> 01:11:06,920
Speaker 3: great run. We sold it and shook hands like we

1065
01:11:06,960 --> 01:11:11,599
Speaker 3: did and when we started and moved on. So it

1066
01:11:11,680 --> 01:11:14,400
Speaker 3: was not as pleasant for Jerry it was for me.

1067
01:11:14,720 --> 01:11:19,519
Speaker 3: Jerry wanted to continue on in his capacity and things

1068
01:11:19,600 --> 01:11:28,400
Speaker 3: changed hands with the PolyGram PolyGram yeah, and the top

1069
01:11:28,800 --> 01:11:31,680
Speaker 3: man had to retire, and Jerry was very friendly with

1070
01:11:31,800 --> 01:11:34,800
Speaker 3: him and then it was a little tougher for him

1071
01:11:34,840 --> 01:11:44,519
Speaker 3: to to be effective with the new regime. But I

1072
01:11:44,560 --> 01:11:55,160
Speaker 3: remember leaving the place and twenty nineteen twenty my memories

1073
01:11:55,400 --> 01:12:02,800
Speaker 3: losing my perspective and thinking, you know, there's other things

1074
01:12:02,840 --> 01:12:04,840
Speaker 3: I wanted to do. I wanted to paint, I wanted

1075
01:12:04,840 --> 01:12:06,880
Speaker 3: to scope, I wanted to make music. I wanted to

1076
01:12:06,880 --> 01:12:11,000
Speaker 3: do be free, and it felt right for me. I

1077
01:12:11,000 --> 01:12:13,320
Speaker 3: didn't look back. I never didn't go back to an

1078
01:12:13,479 --> 01:12:18,840
Speaker 3: M for several years until for some reason I was

1079
01:12:19,520 --> 01:12:24,439
Speaker 3: back there in the studio recording something and.

1080
01:12:24,560 --> 01:12:27,960
Speaker 2: Jerry started over with Almo. Were you partners in that?

1081
01:12:29,280 --> 01:12:32,960
Speaker 3: Oh, yeah, we were partners with that. I wasn't into it.

1082
01:12:33,040 --> 01:12:35,320
Speaker 3: I didn't get it. It was like for me, it

1083
01:12:35,360 --> 01:12:41,639
Speaker 3: was like trying to relive a moment, and I wasn't

1084
01:12:41,800 --> 01:12:42,280
Speaker 3: into that.

1085
01:12:43,680 --> 01:12:48,480
Speaker 2: So you get this huge check, it's, you know, incredible

1086
01:12:48,520 --> 01:12:51,760
Speaker 2: amount of money, nine figures. What do you do with

1087
01:12:51,760 --> 01:12:53,120
Speaker 2: the money and how do you know what to do

1088
01:12:53,160 --> 01:12:56,799
Speaker 2: with the money?

1089
01:12:58,360 --> 01:13:04,080
Speaker 3: A good question. Surround yourself with great people who know

1090
01:13:04,120 --> 01:13:06,800
Speaker 3: what to do with it. That's what we did. That's

1091
01:13:06,840 --> 01:13:11,519
Speaker 3: what I did, And then I started the you know,

1092
01:13:11,600 --> 01:13:18,080
Speaker 3: the Herbalbert Foundation in nineteen a maybe two, and I

1093
01:13:18,120 --> 01:13:21,439
Speaker 3: felt like I didn't want to hang a Picasso or

1094
01:13:22,000 --> 01:13:24,240
Speaker 3: Monet on my wall. I wanted to be able to

1095
01:13:24,280 --> 01:13:30,240
Speaker 3: share my good fortune with some other people as well.

1096
01:13:30,439 --> 01:13:33,479
Speaker 2: So tell me all the things the foundation does.

1097
01:13:35,800 --> 01:13:38,719
Speaker 3: We try to keep arts alive, try to keep jazz alive,

1098
01:13:39,640 --> 01:13:50,080
Speaker 3: try to work with organizations that are friendly and open

1099
01:13:50,160 --> 01:13:54,960
Speaker 3: to all different races and religions, and trying to be

1100
01:13:55,000 --> 01:13:58,080
Speaker 3: there to keep art art alive. I mean, this art

1101
01:13:58,120 --> 01:14:01,240
Speaker 3: is the thing that is. I mean it's not gonna

1102
01:14:01,640 --> 01:14:03,960
Speaker 3: We're not going to change the world with music, but

1103
01:14:04,040 --> 01:14:08,240
Speaker 3: we're certainly going to bring some warmth to uh to

1104
01:14:08,360 --> 01:14:13,559
Speaker 3: our hormones for people that get it.

1105
01:14:14,000 --> 01:14:16,840
Speaker 2: And tell me about the Herb Albert School of Music

1106
01:14:16,880 --> 01:14:17,600
Speaker 2: at U c l A.

1107
01:14:19,320 --> 01:14:22,599
Speaker 3: Well, what can I tell you. It's a great school.

1108
01:14:23,560 --> 01:14:29,400
Speaker 3: We have great personnel. It's we redid the whole most

1109
01:14:29,439 --> 01:14:37,320
Speaker 3: of it. We had not recording but practice rooms down

1110
01:14:37,320 --> 01:14:40,479
Speaker 3: below in this in the basement that it was like

1111
01:14:40,880 --> 01:14:43,759
Speaker 3: there from the thirties, you know, it was like old times.

1112
01:14:43,840 --> 01:14:52,360
Speaker 3: So we want to updated make sure that the students

1113
01:14:52,360 --> 01:14:56,760
Speaker 3: there are happy and learning what they want to learn.

1114
01:14:57,720 --> 01:15:00,559
Speaker 3: I don't know, I'm not in an every day situation

1115
01:15:00,680 --> 01:15:05,040
Speaker 3: with them. But I'm proud of the school and what

1116
01:15:05,080 --> 01:15:06,599
Speaker 3: we've accomplished to this point.

1117
01:15:06,840 --> 01:15:13,080
Speaker 2: Okay, you are ninety, you're very active. What's it like

1118
01:15:13,200 --> 01:15:15,720
Speaker 2: when your friends passed? How do you cope with that?

1119
01:15:16,720 --> 01:15:20,360
Speaker 3: Man? It's tough. Yesterday was a tough day for me.

1120
01:15:20,760 --> 01:15:28,600
Speaker 3: I like Rob Ryner so much. He's a good guy, honest, great, creative,

1121
01:15:28,760 --> 01:15:33,320
Speaker 3: funny and for that to happen and the way it did,

1122
01:15:33,400 --> 01:15:36,639
Speaker 3: it was really tough on his friends and the people

1123
01:15:36,680 --> 01:15:39,679
Speaker 3: that knew him because he was a special human being.

1124
01:15:41,920 --> 01:15:44,680
Speaker 2: So what other than working on the road, what does

1125
01:15:44,720 --> 01:15:46,519
Speaker 2: your everyday life look like now?

1126
01:15:48,280 --> 01:15:52,639
Speaker 3: Well, I paint, I scope, I have shows in different

1127
01:15:52,640 --> 01:15:58,639
Speaker 3: parts of the world, my art and I love making music.

1128
01:15:58,960 --> 01:16:02,880
Speaker 3: I record most every day or I'm playing with the horn,

1129
01:16:02,960 --> 01:16:06,439
Speaker 3: Yeah I am. I record all the time. I like

1130
01:16:06,560 --> 01:16:08,679
Speaker 3: finding songs and see if I can play them innutes

1131
01:16:08,960 --> 01:16:12,160
Speaker 3: in a way that haven't been played quite that way before.

1132
01:16:13,120 --> 01:16:16,519
Speaker 3: That's one of the things I love to do and

1133
01:16:16,800 --> 01:16:20,760
Speaker 3: learn the system of logic that allows me to be

1134
01:16:20,800 --> 01:16:26,000
Speaker 3: able to move tracks and do the things that engineers

1135
01:16:26,040 --> 01:16:30,200
Speaker 3: do and keeps my brain alive in the way.

1136
01:16:31,320 --> 01:16:34,639
Speaker 2: And you've been on this string of live dates now

1137
01:16:34,720 --> 01:16:38,559
Speaker 2: with the Tijuana, brask Are you going to die on stage?

1138
01:16:38,600 --> 01:16:41,320
Speaker 2: You're gonna keep doing it forever? Or what do you see?

1139
01:16:42,360 --> 01:16:43,960
Speaker 3: I'm going to do it as long as I'm able

1140
01:16:44,000 --> 01:16:45,960
Speaker 3: to do it. I get pleasure out of it, and

1141
01:16:46,000 --> 01:16:47,439
Speaker 3: I never thought I was going to do it. I

1142
01:16:47,520 --> 01:16:50,160
Speaker 3: think I told you in the earlier part of the

1143
01:16:50,200 --> 01:16:55,320
Speaker 3: conversation where I listened to these eighteen songs that my manager,

1144
01:16:55,520 --> 01:17:01,640
Speaker 3: one of my managers told me that people were excited

1145
01:17:01,640 --> 01:17:04,360
Speaker 3: and listening to around the world, And when I heard

1146
01:17:04,400 --> 01:17:07,040
Speaker 3: it myself, I felt good and it made me feel good,

1147
01:17:07,040 --> 01:17:10,040
Speaker 3: and that wasn't when I decided to get a group

1148
01:17:10,080 --> 01:17:14,840
Speaker 3: back together. And my experience on stage with them is

1149
01:17:14,920 --> 01:17:21,599
Speaker 3: just I never realized how much fun I was having

1150
01:17:21,680 --> 01:17:25,160
Speaker 3: doing it, especially when I'm hearing great music and musicians

1151
01:17:25,200 --> 01:17:29,800
Speaker 3: behind me. It's just it's easy for me to do.

1152
01:17:30,360 --> 01:17:34,799
Speaker 3: And we've had sold out this whole year, was sold

1153
01:17:34,800 --> 01:17:41,400
Speaker 3: out concerts, and lucky that I get a chance at

1154
01:17:41,439 --> 01:17:45,559
Speaker 3: my age to share my gift with others and they

1155
01:17:45,600 --> 01:17:53,320
Speaker 3: have an experience that I never really even thought of it.

1156
01:17:53,439 --> 01:17:56,160
Speaker 3: I think we're going through a strange time in our history,

1157
01:17:57,160 --> 01:17:59,679
Speaker 3: not only this country, but in the world. People are

1158
01:18:00,320 --> 01:18:04,240
Speaker 3: looking for something positive to happen, and my music I

1159
01:18:04,280 --> 01:18:07,120
Speaker 3: think is helping in that area.

1160
01:18:07,680 --> 01:18:11,040
Speaker 2: For those who haven't seen the show, what Herb is

1161
01:18:11,080 --> 01:18:15,680
Speaker 2: saying is totally accurate. The music is very uplifting, and

1162
01:18:15,720 --> 01:18:18,840
Speaker 2: there's a lot of video that I couldn't even begin

1163
01:18:18,960 --> 01:18:22,439
Speaker 2: to describe, from all sorts of things, from Herb being

1164
01:18:22,479 --> 01:18:25,360
Speaker 2: in an A and M video for another act, the

1165
01:18:25,400 --> 01:18:28,800
Speaker 2: stuff from the sixties, and Herb tells these stories and

1166
01:18:28,920 --> 01:18:33,120
Speaker 2: many more. So I certainly loved it. That's why I

1167
01:18:33,200 --> 01:18:36,400
Speaker 2: reached out to do this podcast. I love what you

1168
01:18:36,560 --> 01:18:40,080
Speaker 2: said about emotion and feel People don't know that. They

1169
01:18:40,160 --> 01:18:43,439
Speaker 2: sound like simple concepts, but too much of today's modern

1170
01:18:43,520 --> 01:18:47,800
Speaker 2: music is missing that. So I'm glad to hear you

1171
01:18:47,880 --> 01:18:51,120
Speaker 2: say that, Herb. I want to thank you so much

1172
01:18:51,160 --> 01:18:54,160
Speaker 2: for spending this time with my audience. It's a thrill

1173
01:18:54,320 --> 01:18:57,080
Speaker 2: for me to meet you face to face. Thanks for

1174
01:18:57,200 --> 01:18:57,600
Speaker 2: doing this.

1175
01:18:58,960 --> 01:19:02,160
Speaker 3: And my pleasure. Thank you so much, Bob. I really

1176
01:19:02,200 --> 01:19:06,000
Speaker 3: appreciate what you do and how you keep music and

1177
01:19:06,200 --> 01:19:08,879
Speaker 3: art alive. I mean, that's what we need in this country.

1178
01:19:09,240 --> 01:19:16,920
Speaker 3: It's all about all At the perfect time when I'm

1179
01:19:17,000 --> 01:19:20,840
Speaker 3: trying to and in this conversation, I'm up. I can't

1180
01:19:20,880 --> 01:19:24,040
Speaker 3: find the words what you helped me out. You're the

1181
01:19:24,080 --> 01:19:26,120
Speaker 3: words smith What was what was that?

1182
01:19:26,800 --> 01:19:29,559
Speaker 2: You're an artist. You speak through your horn. That's how

1183
01:19:29,600 --> 01:19:32,400
Speaker 2: you connect with people. And we got a little bit

1184
01:19:32,439 --> 01:19:35,479
Speaker 2: of a peak inside the man behind the horn today.

1185
01:19:35,680 --> 01:19:39,160
Speaker 2: One final question, Yeah, how many trumpets do you own?

1186
01:19:40,560 --> 01:19:45,080
Speaker 3: I have a lot of them, and I plan on

1187
01:19:45,120 --> 01:19:47,360
Speaker 3: giving them away. I have this one horn that I

1188
01:19:47,400 --> 01:19:54,800
Speaker 3: played all the Tijuana Brass records on that the Smithsonian

1189
01:19:54,920 --> 01:19:57,120
Speaker 3: wants to have, so I'm kind of putting that in

1190
01:19:57,160 --> 01:20:01,040
Speaker 3: the closet. I'm not using that horn anymore, but I

1191
01:20:01,160 --> 01:20:02,880
Speaker 3: have a lot. It's not the you know, like I

1192
01:20:03,000 --> 01:20:05,400
Speaker 3: said during the conversation, it's not the horn, it's the

1193
01:20:05,520 --> 01:20:08,479
Speaker 3: It's the thing that comes out from inside a person's gut.

1194
01:20:08,680 --> 01:20:13,519
Speaker 3: So that's that's my sound. I don't think anyone can

1195
01:20:13,760 --> 01:20:16,240
Speaker 3: duplicate my exact feeling.

1196
01:20:17,680 --> 01:20:22,320
Speaker 2: I think that's absolutely true. And as I say, you're

1197
01:20:22,320 --> 01:20:26,599
Speaker 2: a warm person, great personality, great career. Thanks so much

1198
01:20:26,640 --> 01:20:30,000
Speaker 2: for taking this time with my audience. Till next time.

1199
01:20:30,360 --> 01:20:31,880
Speaker 2: This is Bob left set