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Speaker 1: Of course, Love Supreme is a production of I Heart Radio.

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Speaker 1: This classic episode was produced by the team at Pandora.

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Speaker 1: Ladies and gentlemen, this is Quels classic. My name is

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Speaker 1: Quess Love. And we go back into the archives November

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Speaker 1: two thousand eighteen, and we interview the legendary exquisite Patrese Russian.

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Speaker 1: We hope you enjoy Suprema Suprema role called Suprema Suprema

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Speaker 1: role called subprima Suprema role called Suprema saprima role called

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Speaker 1: president production genius. Their piano flowers singer. Yeah, it's Patres Russian. Yeah,

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Speaker 1: he k baby fingers Suprema roll call, Suprema Subprema roll

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Speaker 1: My name is Fante. Yeah, and I got to yawn, yeah,

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Speaker 1: because I've been up, oh man since before the dawn?

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Speaker 1: Um roll? How is my listen? Wrimam road calls in

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Speaker 1: the house. Yeah, like the Eagles best of Yeah, I'm

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Speaker 1: not the host of this show. Yeah, settle for quest

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Speaker 1: love Prima Suprema roll call, repeating Prima Suprema roll call. Yeah,

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Speaker 1: I forget it not Yeah, Patres Russian. Yeah, a black

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Speaker 1: girl who walks BA call su Prima sub prima roll

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Speaker 1: call su Prima sub Primo roll call, Sugar. Yeah, I

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Speaker 1: brought this album in. Yeah, because it's called Before the

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Speaker 1: Dawn Supremo Roma Fremo roll Call. This is Patrese. Yeah,

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Speaker 1: I got no rhyme. Yeah, but I am here. Yeah,

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Speaker 1: I'm gonna have a good time. Fremo roll call, So

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Speaker 1: Prema so Fremo roll call, So Frema Fremo roll call. See,

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Speaker 1: I didn't know. I didn't know you had already. You're

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Speaker 1: supposed to talk about her later stuff. I'm talking about

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Speaker 1: the jash Ship. Wait listen, let's just re capt our audiences.

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Speaker 1: We're gonna recompetilate for our audience now. About usually about

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Speaker 1: three minutes before every taping, I I just give a courtey,

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Speaker 1: a courtesy check to all the members of the team

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Speaker 1: Supreme to see if they're ready to do their verses.

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Speaker 1: And of course the guest has always startled like I'm

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Speaker 1: you know, it's three minutes of putting out fires. And

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Speaker 1: today Steve, Steve you Bill took my turn. What happened

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Speaker 1: was that Steve was not because on the right, and

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Speaker 1: we already discussed we wouldn't say forget me, nas wouldn't

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Speaker 1: say sound for you. Love and you know, yeah, it

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Speaker 1: was because I was like I thought, I was like, okay,

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Speaker 1: remind me. I'm like, okay, somebody's gonna remind me. I

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Speaker 1: was going to do all remind me, reminded, and then

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Speaker 1: it was okay, feel so real. I'm like, all right,

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Speaker 1: maybe that one but before the dawn. So yeah, but

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Speaker 1: had the nerve to like I can't think of an

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Speaker 1: I roll? Yeah, like, how dare you ask me? Am?

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Speaker 1: I prepared? I am the I am the Steve take

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Speaker 1: a lot of pride in his role. I had the

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Speaker 1: same thing too, I had gone thing damn all right,

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Speaker 1: no hard feelings, prick feelings. Wait, gentlemen, welcome, this is

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Speaker 1: what our day is going to be like the Supreme. Yes,

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Speaker 1: welcome to another episode of course of Supreme. Question love

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Speaker 1: your host? Uh, I don't know. I'm also in like

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Speaker 1: twenty minutes or hours of sleep. Yeah. We have Team

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Speaker 1: Supreme with us, we have Facolo everything. How's it going?

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Speaker 1: Everything's good man, Happy to be here, I've been This

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Speaker 1: is one interview I've been wanting to do since we started.

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Speaker 1: Quesse of Supreme. Yes, like she's been on my wish

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Speaker 1: list from day one. Yeah, so this is a dream

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Speaker 1: come true. It happen. Yes, come on, I'm doing good

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Speaker 1: in Capital Rush. That's right. We're in the home of

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Speaker 1: uh this this NATS NATS room. Yeah yeah, so yeah,

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Speaker 1: we're in the Capitol Building. This is my first time here.

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Speaker 1: We also have uh, I've been here more than you. Well,

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Speaker 1: you work for Universal, So I never went here when

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Speaker 1: I when I worked here or I worked for Universal.

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Speaker 1: So what did you do here? I had a friend

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Speaker 1: that worked here, and I just came to visit friends

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Speaker 1: all my friends I did, and we have a sugar

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Speaker 1: Steed with us. Any other factories about the building. I'm

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Speaker 1: certain that you were here now hours before we were.

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Speaker 1: I was. But I was here twenty five years ago

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Speaker 1: trying to sneak in the front door and made it

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Speaker 1: as far as the lobby. It's got the excuse me,

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Speaker 1: please leave kind of thing. Came back? Now? Is that

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Speaker 1: beautiful story? And now you in here? So you you

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Speaker 1: got ejected, You got Jazzy Jeff out there. Yeah, this

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Speaker 1: was before I was even engineering. I was just here

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Speaker 1: like trying to check out the building and stuff. Okay, yeah,

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Speaker 1: that's cool, ladies and gentlemen, our guest today. Um, I

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Speaker 1: can say that you know We often throw, uh throw

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Speaker 1: the word musical genius or musical innovator around a lot,

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Speaker 1: but I will say that our guest today is is

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Speaker 1: pretty much UM lives up to that title UM as

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Speaker 1: a musician, as a singer, composer, arranger, UM and soul

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Speaker 1: training dancer. Yeah. Question, and I'd like to know if

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Speaker 1: the sounds that you're right do they relate to any

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Speaker 1: of your past experiences or do you just write sperato?

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Speaker 1: You got to interview Build Withers. That's amazing. Ladies, wait

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Speaker 1: before we get please walcome to the quest of Supreme

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Speaker 1: Patrice Russian. Thank you, thank you. How are you today?

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Speaker 1: I'm great? Thank you, Sorry for the crazy energy we

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Speaker 1: just she was happy to get out today. A good

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Speaker 1: all good? So how are you every Everything's fine, Everything's

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Speaker 1: been beautiful, you know, doing a lot of different things.

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Speaker 1: UM school just started, you know, the the chair of

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Speaker 1: the popular music program at the University of Southern California.

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Speaker 1: So we're back. Dr Russian, I am that too. That

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Speaker 1: one that's from the Berkeley College of Music. Okay, yeah,

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Speaker 1: from doctor years ago? Yes, okay, tradition, Where were you born?

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Speaker 1: I was born in Los Angeles, California, right, here in

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Speaker 1: l a yep, in the heart of Partner from the

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Speaker 1: People's Republic of Watts. I'm from south central Okay. So

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Speaker 1: your childhood, uh I want to know how music entered it,

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Speaker 1: But what was your childhood into? Music was just part

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Speaker 1: of the air. You know, the radio was always on.

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Speaker 1: My parents watched television. I was never without TV. So

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Speaker 1: your parents weren't sings, not at all, not at all,

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Speaker 1: not at all. In fact, really music lovers. They belonged to,

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Speaker 1: ah they used to have a record club that they

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Speaker 1: would send you a record a month. So my parents

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Speaker 1: belonged to this record club and they would send these records.

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Speaker 1: And so there was always music in our house just

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Speaker 1: because they just loved music. I mean like Columbia House,

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Speaker 1: Columbia exactly, exactly. And so music of all types, classical music, jazz,

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Speaker 1: gospel music, anything you didn't know what you were going

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Speaker 1: to get. And uh so on Saturdays when we would

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Speaker 1: be cleaning up the house, they would put a stack

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Speaker 1: of records on. Because you know that you guys are

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Speaker 1: a little young to remember you never have even been here.

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Speaker 1: It sounds on the turn tables. You know, you have

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Speaker 1: a spindle and you stack your records and they would

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Speaker 1: drop down the whole stack up records, and we were

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Speaker 1: supposed to have that house clean by the time you

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Speaker 1: got the last one, so sometimes you just had to

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Speaker 1: keep going tell that last record. So I heard a

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Speaker 1: lot of different kinds of music. And then growing up

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Speaker 1: in l A, you know, we had the Latino population

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Speaker 1: and so there was a lot of the influence of

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Speaker 1: that music. Of course, the music of the church, Black church. Um,

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Speaker 1: I learned to play the piano visa classical music because

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Speaker 1: that was how you learned back then, the study study

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Speaker 1: of the tradition of that instrument. Then when did you

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Speaker 1: start playing? Started playing when I was about five and

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Speaker 1: I was in this experimental of course, I went to

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Speaker 1: the six years difference between my younger sister and I.

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Speaker 1: So my parents put me in a nurse school program

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Speaker 1: while they worked when when I was a kid, and

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Speaker 1: the teacher there was really musical and she's the one

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Speaker 1: that really noticed that during the day, when we would

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Speaker 1: do any musical or movement to music activity, that's when

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Speaker 1: I would, you know, really shine. Yeah, So they said,

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Speaker 1: all of us beautiful, So what do we do? And

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Speaker 1: she knew about this program that was designed four young kids.

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Speaker 1: That was actually happening at USC. It was a graduate

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Speaker 1: course for music education majors. It was called Rhythmics, and

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Speaker 1: they were designing programs for uh little kids who just

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Speaker 1: seemed to be gifted in music. They were developing studies

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Speaker 1: that this is pre you know, early childhood development stuff

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Speaker 1: that we just say for granted now because that's just

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Speaker 1: a part of the way we rolled now, But back

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Speaker 1: then that was still new here. So I was a

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Speaker 1: part of this class and I went through this program,

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Speaker 1: started playing that was when I was three, started playing

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Speaker 1: when I was five because they said, you want to

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Speaker 1: play an instrument now, right, So I did that piano

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Speaker 1: was chosen for me and stayed in that program right

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Speaker 1: up and through through high school. And so there are

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Speaker 1: a few of us that I met a few people

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Speaker 1: rolling through there. I met pianist Billy Childs roll through there. Uh.

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Speaker 1: There was a some some amazing people that have since

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Speaker 1: you know, used their background there to start doing film scoring.

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Speaker 1: A guy named Nathan Wang. There's there's plenty of people

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Speaker 1: that I saw go through there. The conductor of the

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Speaker 1: UH San Francisco UH Symphony, Michael Tilson Thomas. He used

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Speaker 1: to be coming out of his piano lesson as I

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Speaker 1: was going into mind. And so these were people that

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Speaker 1: I just kind of ran into. I didn't know then,

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Speaker 1: but then seeing them years later. Um, that idea of

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Speaker 1: that spark as a kid is a big deal, and

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Speaker 1: we take it for granted. But that's why I'm such

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Speaker 1: a big proponent of exposing kids to music, not just

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Speaker 1: just have it going so they can't hear it. We

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Speaker 1: recently had Bobby McFerrin on the show, and he said

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Speaker 1: some similar things because he started out kind of parallel

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Speaker 1: with you, like six years old and the music program

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Speaker 1: and just and then the composer and the conductor thing

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Speaker 1: and his his his dad was an amazing operaction we learned. Yeah,

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Speaker 1: so that exposure is like kind of critical and one

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Speaker 1: of the things that um, I hope we will um

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Speaker 1: find a way to kind of uh put back into

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Speaker 1: our just daily lives is you know, we used to

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Speaker 1: see music on TV. We watched people dance to music

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Speaker 1: just as a matter of course, like this is what

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Speaker 1: music does to just the average person. Uh So you

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Speaker 1: saw people moving to music. You heard music on television

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Speaker 1: all the time with shows with live band I mean,

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Speaker 1: coming up out here, it was like wow, when you

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Speaker 1: would see an orchestra on TV or playing the Grammy

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Speaker 1: Awards or playing one of those big shows, it's like,

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Speaker 1: m I want to do that. You wake up? Yeah,

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Speaker 1: and you know I was always looking at stuff. And

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Speaker 1: then the theme songs of shows, you know, of just

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Speaker 1: sitcoms or of series. That was a big deal because

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Speaker 1: you know, you could you could recognize what was about

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Speaker 1: to come on. You be in the kitchen, here's something

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Speaker 1: and be like, oh, song songs on or you know,

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Speaker 1: sometimes it would be the theme right in my head,

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Speaker 1: give me a break. And those are not Those are

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Speaker 1: not easy to do when you figured that, Wow, the

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Speaker 1: composer is going to put together something that's gonna have

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Speaker 1: so memorable in a very short period of time. That's

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Speaker 1: gonna set the tone for a television show. And people

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Speaker 1: are that's really falling off though if you really think

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Speaker 1: about it, right, like what themes so throws today? Do

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Speaker 1: you really know besides doom doom, strange things? They don't

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Speaker 1: exist anymore because there's something at time the time that

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Speaker 1: was supposed to be for themes. It's so I got

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Speaker 1: to do. I got to do a couple of them,

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Speaker 1: which I was really happy about. I did the Steve

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Speaker 1: Harvey Show. In fact, we recorded it here. I did

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Speaker 1: most of the television stuff that I did here, some

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Speaker 1: other ones, but remop well we did. I did the

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Speaker 1: Image the Image Awards for about thirteen years straight. Oh man,

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Speaker 1: and you're always uh in the booth, in the in

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Speaker 1: the pit. Yes, how was music director of the show.

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Speaker 1: I'd be conducting, didn't have to play at the same time,

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Speaker 1: such great fun, worked with so many um amazing artists,

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Speaker 1: and working in the medium of television actually was what

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Speaker 1: I wanted to do that. That's what I want to be.

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Speaker 1: That was your initial point. That was my initial plan.

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Speaker 1: I wanted. I watched so much to be I wanted

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Speaker 1: to be in there. I wanted to do that so

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Speaker 1: just I love the music, so I said, I wanted to,

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Speaker 1: but I didn't know the past, you know, to get there.

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Speaker 1: So later, um, you know, I knew I needed to

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Speaker 1: stay in Los Angeles. But as I kind of went

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Speaker 1: through public school system and stuff like that, I went

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Speaker 1: to a high school, uh Ela and Lee Roy at

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Speaker 1: Lock High School, and it was there really where I

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Speaker 1: figured out what I kind of wanted to do and

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Speaker 1: how I was going to use I had had music

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Speaker 1: in my life, my whole life. But I didn't know

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Speaker 1: what I was gonna do with it because I see

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Speaker 1: many people look like me doing it. So okay, since

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Speaker 1: you you have an actual education in music maybe and

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Speaker 1: you're from uh the West Coast. Is kind of a

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Speaker 1: two part question. One in in California, was there a

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Speaker 1: specific kind of fall off or waning period of where

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Speaker 1: they started to take the music education Asian out the schools,

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Speaker 1: because I know that in the sixties especially, and uh

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Speaker 1: in the seventies. Uh well, I mean I went to

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Speaker 1: performing arts school. But even then, like when in the

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Speaker 1: seventies when I was in elementary school, there was like

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Speaker 1: trumpet lessons and that sort of thing, and then like

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Speaker 1: come the eighties and it just totally you know, it's

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Speaker 1: just sports and that's it. Was there a period in

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Speaker 1: which that that fell off in Los Angeles where yeah,

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Speaker 1: it seems like it seems like it started in the

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Speaker 1: middle seventies and by the time we got to the eighties,

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Speaker 1: it was almost gone. There are special programs and things

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Speaker 1: like that, but in terms of music just being in

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Speaker 1: the schools because it's supposed to be something that people

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Speaker 1: do have around a well rounded education, that that did

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Speaker 1: start to go away, and I think that um, I

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Speaker 1: probably got out of the l a uh City school

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Speaker 1: since we graduated from that. Just at the big getting

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Speaker 1: of when you could see the the funds and the

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Speaker 1: uh the idea of doing that kind of going away,

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Speaker 1: they started trying to rather than have separate school programs,

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Speaker 1: they did try to put some community type programs together

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Speaker 1: where you had several schools, which is a good idea,

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Speaker 1: had several schools that would do stuff. But in terms

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Speaker 1: of I was, I was at probably the one of

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Speaker 1: the schools, one of the few that had a very

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Speaker 1: very strong music program. Out of that program came a

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Speaker 1: lot of musicians. Uh. They were there at the school

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Speaker 1: the same time. Gerald Albright Sex from player in the

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Speaker 1: late in Duty Chances, he was there. We were there

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Speaker 1: at the same time. This elementary or high school. This

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Speaker 1: is high school. This is high school. He didn't even

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Speaker 1: give recorders out of high school anymore, remember like everybody. Yeah,

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Speaker 1: So we were in bands and orchestra and jazz band

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Speaker 1: and things like that, and our teachers were pretty innovative

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Speaker 1: at that time. They had the that to keep the

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Speaker 1: kids who are in the community focused on that as

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Speaker 1: opposed to outside influence. If you're gonna be in a gang,

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Speaker 1: and you need to be in the marching band, that's

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Speaker 1: the biggest gang. So we had music as a as

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Speaker 1: sort of the platform and the jumping off point to

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Speaker 1: study history, to study social graces, to learn about things

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Speaker 1: outside of our neighborhood, outside of ourselves, and those of

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Speaker 1: us who did opt to be professionals had sort of

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Speaker 1: a point of view on the different kinds and different

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Speaker 1: styles of being a professional musician. There were those who

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Speaker 1: went on the road that played, but there were also

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Speaker 1: those nameless faces that played, uh in the studios. And

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Speaker 1: there were people who wrote things, and there were people

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Speaker 1: who arrange things, and people who actually literally copied music

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Speaker 1: before the software that we that we now use as

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Speaker 1: as music publishing software. Uh So there were all these

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Speaker 1: different lifestyles and of being a musician that we were

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Speaker 1: exposed to being in Los Angeles, and a lot of

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Speaker 1: us wanted that skill set that would allow us to

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Speaker 1: do any of it, all of it. When you said

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Speaker 1: that you were when you were young, you said you

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Speaker 1: played like classical. What was some of the pieces you

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Speaker 1: would play? What was some of your favorite stuff to play? Oh? Well,

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Speaker 1: you know, I had to learn the classical repertoire left

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Speaker 1: Bach a lot of box in. My hands are small,

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Speaker 1: so my teacher really worked a long time to develop

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Speaker 1: a certain kind of strength so that the fact that

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Speaker 1: my hands were small wasn't gonna be any pitfall when

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Speaker 1: I got the larger work. So I played bagging a

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Speaker 1: lot of Mozart and a lot of hiding. Then I

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Speaker 1: played uh, Beethoven, my man, and then you know, bigger

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Speaker 1: pieces and stuff. But but the piano for me spoke

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Speaker 1: to me in a certain way. But it was the

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Speaker 1: It was the playing with other people because piano, I

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Speaker 1: was playing a lot, a lot alone until I got

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Speaker 1: to high school and was playing in different ensembles. And

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Speaker 1: I learned to play the flute because I wanted to

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Speaker 1: a case and you can't get the kids had a case.

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Speaker 1: I know exactly how she feels because I was just

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Speaker 1: drummer in school and like I wasn't looking my biggest

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Speaker 1: snare drumming. It's all over, So yeah, I know exactly.

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Speaker 1: I learned to play the flute, and that that experience

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Speaker 1: of being inside of an orchestra flutes in the in

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Speaker 1: the middle or in a band where it flutes it

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Speaker 1: on the side that is what gave me a perspective

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Speaker 1: with like I want to write. I want to write

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Speaker 1: for these kinds of ensembles. I love this. I want

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Speaker 1: to jump on your question. I'm glad you asked this

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Speaker 1: because okay, as a as a person that samples, were

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Speaker 1: you leading to you remind me what? No, no, no, no, no,

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Speaker 1: I want well, okay, I all I want to ask

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Speaker 1: what you're uh your your practice regiment was at least

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Speaker 1: hour wise? Because um yeah, I was gonna say, I

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Speaker 1: you do at the top of you remind me you

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Speaker 1: don't have to quantize it like, well, we didn't. We

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Speaker 1: didn't have any sequences. I know that. But the timing,

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Speaker 1: like as a person that knows like this particular artist

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Speaker 1: fluctuates and you might have to time stretch it or whatever.

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Speaker 1: You don't I know for a fact that you don't

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Speaker 1: have to do that on yours, and which tells me

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Speaker 1: that you're right hand is strong as hell. As far

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Speaker 1: as your what was your your as far as your

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Speaker 1: your your practice regiment, how many hours a day would

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Speaker 1: you Well, when I had time to practice, I didn't

337
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Speaker 1: take as much advantage of as I probably should have.

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Speaker 1: But there was a particular there's there's always you're going

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Speaker 1: to have certain technical actors sizes. This is my belief

340
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Speaker 1: was I was taught this way turtle technical exercises as

341
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Speaker 1: war as as warm ups that you have to do

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Speaker 1: just because you know you're developing a certain kind of

343
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Speaker 1: strength and everything, and you also got to be under control.

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Speaker 1: Then you work on the pieces that you're learning or

345
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Speaker 1: the song that you're trying to learn to play. And

346
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Speaker 1: um my teachers always emphasized if you want to learn

347
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Speaker 1: to play fast, play slow mm hmm. Get your accuracy

348
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Speaker 1: up exact exactly because you're trying its muscle memory as well,

349
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Speaker 1: which is hard to do when all you want to do,

350
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Speaker 1: but that's really that was really an important part of

351
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Speaker 1: developing a good technique is to play slowly. What was

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Speaker 1: it about Beethoven? Because I mean I hear classical music

353
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Speaker 1: and to me it just all sounds like classical music.

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Speaker 1: What in particularly was it about Beethoven's pieces as a composer, Like,

355
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Speaker 1: what did you like about his stuff? What set some

356
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Speaker 1: apart from everybody else? I think after playing so much

357
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Speaker 1: Bach with a lot a lot of single line harmonies

358
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Speaker 1: that are implied to be able to really play chords

359
00:23:06,440 --> 00:23:12,040
Speaker 1: was like, whoa, my man had some chords. And then

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Speaker 1: later you know, getting into revel and debut saying more

361
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Speaker 1: of the colors and things like that. Remember that quala

362
00:23:19,320 --> 00:23:23,320
Speaker 1: of this was happening at home. I'm hearing Duke Ellington

363
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Speaker 1: and Miles Davis and Ella Fitzgerald and Saravan and Perry

364
00:23:27,080 --> 00:23:30,800
Speaker 1: Como and Frank Sinatra. I'm hearing all this stuff on

365
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Speaker 1: these records that are dropping every Saturday. And so now

366
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Speaker 1: I'm starting to identify a relationship between the music that

367
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Speaker 1: I'm actually playing for my lessons, because that's what that represents,

368
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Speaker 1: and then the stuff that I'm hearing at church, and

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Speaker 1: then the stuff that I'm hearing on the radio and

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Speaker 1: see I'm a motown baby, and then the stuff that

371
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Speaker 1: my parents bought. I'm starting to hear this relationship. So

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Speaker 1: you didn't look down to pop music like most serious musicians.

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Speaker 1: Was like pop music not at all, because for me, Um,

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Speaker 1: the music had a mood and a purpose and it

375
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Speaker 1: was motown at the time, right like when you say pop,

376
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Speaker 1: we're talking about at that time it was both. It

377
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Speaker 1: was motown and and then on the other Yet Beach

378
00:24:16,359 --> 00:24:19,359
Speaker 1: Boys and then Yet the Beatles, you had a lot

379
00:24:19,359 --> 00:24:21,359
Speaker 1: of things that were kind of converging it at the

380
00:24:21,440 --> 00:24:24,280
Speaker 1: same time. It's lidestone and all this stuff. You had

381
00:24:24,320 --> 00:24:27,040
Speaker 1: a lot of things converging at the same time. And No,

382
00:24:27,560 --> 00:24:29,359
Speaker 1: it was like it was music that you liked, the

383
00:24:29,440 --> 00:24:32,120
Speaker 1: music that you didn't like. It moved you or didn't

384
00:24:32,160 --> 00:24:34,120
Speaker 1: move you. You know, it didn't really matter in terms

385
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Speaker 1: of the category for me, you know, which is why

386
00:24:36,359 --> 00:24:39,200
Speaker 1: I can read it, read it, you know, Brahms and

387
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Speaker 1: James Brown, James Broms. So okay, because I know I

388
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Speaker 1: know the way that most U Northeast, Well you went

389
00:24:55,000 --> 00:24:58,120
Speaker 1: to Berkeley, see you already know what's something, how snobby

390
00:24:58,680 --> 00:25:02,120
Speaker 1: the East Coast is, the far as jazz musicianship is concerned,

391
00:25:02,160 --> 00:25:05,280
Speaker 1: the seriousness and kind of how they looked down on

392
00:25:06,840 --> 00:25:12,199
Speaker 1: the l A jazz scene. Were you at all aware

393
00:25:12,320 --> 00:25:17,720
Speaker 1: of the of the difference difference there was? There was

394
00:25:17,800 --> 00:25:20,440
Speaker 1: a perception for some reason, I never really got that

395
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Speaker 1: because all you had to do was come here. Look now.

396
00:25:23,520 --> 00:25:25,080
Speaker 1: Did you have to look a little harder because it

397
00:25:25,200 --> 00:25:28,200
Speaker 1: wasn't staring you in the face at every corner? Yeah,

398
00:25:28,920 --> 00:25:31,640
Speaker 1: but no, there was there was always, at least when

399
00:25:31,680 --> 00:25:33,960
Speaker 1: I was coming up there was always a scene here,

400
00:25:34,080 --> 00:25:36,520
Speaker 1: and musicians came here. There were a lot, there were clubs,

401
00:25:37,040 --> 00:25:39,960
Speaker 1: and this was part of a circuit. And we did

402
00:25:40,840 --> 00:25:42,439
Speaker 1: I guess you know, you can only do this at

403
00:25:42,480 --> 00:25:44,960
Speaker 1: a all black eye school. We went on field trips

404
00:25:50,960 --> 00:25:54,879
Speaker 1: that innovative, what did that permission? Slip? Look right? And

405
00:25:55,040 --> 00:25:58,719
Speaker 1: he would pick us up. But then we would sit

406
00:25:58,760 --> 00:26:00,399
Speaker 1: in the back have our fruit punch. So see, I

407
00:26:00,480 --> 00:26:04,000
Speaker 1: still I heard all of this music that was supposed

408
00:26:04,000 --> 00:26:09,160
Speaker 1: to be um uh indicative of what the East Coast

409
00:26:09,280 --> 00:26:11,439
Speaker 1: vibe was like. Because if you're coming out here playing

410
00:26:11,480 --> 00:26:14,320
Speaker 1: a two and it was like I said, and there

411
00:26:14,400 --> 00:26:17,160
Speaker 1: was a scene here. If I was going to qualify anything,

412
00:26:17,800 --> 00:26:22,760
Speaker 1: I would say that there was a different awareness here,

413
00:26:22,880 --> 00:26:26,440
Speaker 1: not necessarily better or worse, but different because you saw

414
00:26:26,560 --> 00:26:29,960
Speaker 1: all kinds of different musicians. So it wasn't only the

415
00:26:30,040 --> 00:26:33,480
Speaker 1: person playing at the club. You had to have mad

416
00:26:33,640 --> 00:26:36,560
Speaker 1: respect for the person who was playing at the student

417
00:26:36,600 --> 00:26:38,280
Speaker 1: in the studios too, because you know what they did

418
00:26:38,359 --> 00:26:41,960
Speaker 1: on their brakes, They read the stock market and tried

419
00:26:42,040 --> 00:26:44,760
Speaker 1: to decide where they were gonna take their yacht this

420
00:26:45,040 --> 00:26:49,720
Speaker 1: next next vacation. Because they were worked every day just

421
00:26:49,880 --> 00:26:53,600
Speaker 1: as hard. They had to have mad skills and could

422
00:26:53,680 --> 00:26:57,040
Speaker 1: go home at night and rest with their family and

423
00:26:57,119 --> 00:27:01,359
Speaker 1: then the beautiful. So we saw these different styles of

424
00:27:02,160 --> 00:27:04,119
Speaker 1: being a musician. I'm not saying one was better than

425
00:27:04,160 --> 00:27:06,119
Speaker 1: the other, but a hunger deeper a little bit on

426
00:27:06,200 --> 00:27:08,760
Speaker 1: the other side, and in that way, I don't know,

427
00:27:09,800 --> 00:27:12,560
Speaker 1: because it's like if you're aspiring to be the best

428
00:27:12,680 --> 00:27:15,280
Speaker 1: of what you do, or have the the idea of

429
00:27:15,480 --> 00:27:19,879
Speaker 1: being able to be uh so versatile, that you can

430
00:27:19,920 --> 00:27:23,960
Speaker 1: be a contributor on so many fronts, So we would,

431
00:27:24,640 --> 00:27:26,800
Speaker 1: you know, I could come and sit down and watch

432
00:27:27,600 --> 00:27:32,080
Speaker 1: Quincy Jones in a in a studio and all the

433
00:27:32,200 --> 00:27:36,760
Speaker 1: musicians that were there playing that music for those television shows.

434
00:27:37,240 --> 00:27:40,639
Speaker 1: And then I could go to the jazz club, you know,

435
00:27:41,119 --> 00:27:44,600
Speaker 1: and here Farrell Sanders or Orbie Hancock or somebody like that.

436
00:27:45,520 --> 00:27:49,200
Speaker 1: And then I could talk to a George Duke, or

437
00:27:49,280 --> 00:27:53,000
Speaker 1: I could talk to uh Gerald Wilson about his big

438
00:27:53,080 --> 00:27:56,760
Speaker 1: band writing. I never left Los Angeles to do any

439
00:27:56,840 --> 00:27:59,720
Speaker 1: of that. It was all available to me, and all

440
00:27:59,760 --> 00:28:04,080
Speaker 1: of these different takes on this idea of music as

441
00:28:04,119 --> 00:28:08,760
Speaker 1: a lifestyle allowed for me to be able to find

442
00:28:09,720 --> 00:28:12,760
Speaker 1: many ways to achieve my goal, which was I didn't

443
00:28:12,800 --> 00:28:15,520
Speaker 1: want to do anything else. I just wanted to have

444
00:28:15,600 --> 00:28:17,359
Speaker 1: a career where I could do music. As a quick question,

445
00:28:17,480 --> 00:28:19,720
Speaker 1: like what was George do like? Because he's the person

446
00:28:19,800 --> 00:28:21,640
Speaker 1: that I mean godress and so like we I would

447
00:28:21,640 --> 00:28:23,159
Speaker 1: have loved to get him on the show, but like

448
00:28:23,680 --> 00:28:26,000
Speaker 1: what was what was he like just as a musician,

449
00:28:26,040 --> 00:28:27,560
Speaker 1: as a person, what was it like working with him?

450
00:28:28,960 --> 00:28:31,800
Speaker 1: Georgia's like just kind of like you would see him

451
00:28:32,119 --> 00:28:36,080
Speaker 1: like super Joviel, He's really one of the musicians. Because

452
00:28:36,119 --> 00:28:40,720
Speaker 1: I had a little more access to him, who kind

453
00:28:40,760 --> 00:28:46,880
Speaker 1: of without saying it, embodied what it was that I

454
00:28:47,000 --> 00:28:49,160
Speaker 1: thought I wanted to do because he could do anything.

455
00:28:49,480 --> 00:28:52,400
Speaker 1: He could He could write orchestro music. He was a

456
00:28:52,440 --> 00:28:59,720
Speaker 1: great producer Haut and the stuff. And I heard it

457
00:29:00,200 --> 00:29:08,760
Speaker 1: Team Billions. Yeah, no, I saw it, so no I

458
00:29:08,840 --> 00:29:11,400
Speaker 1: knew what it took, you know, to to do that

459
00:29:11,520 --> 00:29:13,240
Speaker 1: kind of thing. And George was doing it all and

460
00:29:13,360 --> 00:29:15,760
Speaker 1: always uh I was with a smile. And when he

461
00:29:15,760 --> 00:29:17,360
Speaker 1: would produce a lot of times he would call me

462
00:29:17,400 --> 00:29:22,000
Speaker 1: to play. Were there were there notable not where they

463
00:29:22,000 --> 00:29:25,880
Speaker 1: are notable shows, but was there a notable concert performance

464
00:29:25,960 --> 00:29:31,440
Speaker 1: that you saw as a youngster that it was finally

465
00:29:31,600 --> 00:29:36,160
Speaker 1: your moment of eureka, like, Okay, this is this is

466
00:29:36,200 --> 00:29:38,640
Speaker 1: what I want to do professionally for the rest of

467
00:29:38,720 --> 00:29:41,240
Speaker 1: my life. Like what was what was a mind changing

468
00:29:42,000 --> 00:29:46,080
Speaker 1: or life altering? There were a few, um, you know,

469
00:29:46,320 --> 00:29:48,520
Speaker 1: like I said, I really liked orchestral music a lot.

470
00:29:48,600 --> 00:29:53,120
Speaker 1: So when I would watch back in the day, there

471
00:29:53,200 --> 00:29:56,520
Speaker 1: was a Grammy orchestra that was on TV playing for

472
00:29:56,600 --> 00:30:02,000
Speaker 1: everybody like wow, And when I saw Quincy Jones conduct

473
00:30:02,040 --> 00:30:07,000
Speaker 1: that orchestra, okay, and then I paid more attention to

474
00:30:07,120 --> 00:30:11,120
Speaker 1: the other live orchestras on TV. Who's who Who's conducting

475
00:30:11,120 --> 00:30:16,719
Speaker 1: the Emmys, Well, Who's well, who's who's conducting the Tony's Well,

476
00:30:16,760 --> 00:30:19,960
Speaker 1: who's conducting the Oscars? I wanted to know what that

477
00:30:20,120 --> 00:30:23,720
Speaker 1: process was because that's that's because everyone would be like

478
00:30:24,040 --> 00:30:33,480
Speaker 1: Stevie Wonder and You're like, that's three different checks. Well

479
00:30:33,560 --> 00:30:37,360
Speaker 1: the idea. The idea was that you know, I loved

480
00:30:38,440 --> 00:30:41,520
Speaker 1: commercial music. I'll just put it under that big umbrella

481
00:30:42,320 --> 00:30:46,800
Speaker 1: and that encompasses everything. I love jazz, I love popping

482
00:30:46,840 --> 00:30:48,640
Speaker 1: to music. I'll see I see all of these things

483
00:30:48,680 --> 00:30:51,840
Speaker 1: as branches of the same tree. But music director and conducting,

484
00:30:51,960 --> 00:30:54,400
Speaker 1: can you break that down? Because what that's about. Yeah.

485
00:30:54,480 --> 00:30:56,239
Speaker 1: Like the difference is because most people because I look

486
00:30:56,240 --> 00:30:58,160
Speaker 1: at you, what I'm thinking of? Okay, well Adam, but no,

487
00:30:58,280 --> 00:31:00,680
Speaker 1: he doesn't conduct, he's just the music direct not just

488
00:31:00,960 --> 00:31:05,080
Speaker 1: but it well the music. You know, the definition has

489
00:31:05,160 --> 00:31:07,479
Speaker 1: kind of morphed into some other things, but the idea

490
00:31:07,600 --> 00:31:09,840
Speaker 1: of it, the concept of music direction, is that that's

491
00:31:10,320 --> 00:31:14,640
Speaker 1: the individual that is in those of shows who is

492
00:31:14,720 --> 00:31:20,560
Speaker 1: responsible for the music happening. Now, it can take on

493
00:31:20,720 --> 00:31:25,000
Speaker 1: different forms. Sometimes you're the one who actually would pick

494
00:31:25,120 --> 00:31:27,160
Speaker 1: the musicians. Sometimes you're the one who has to pick

495
00:31:27,240 --> 00:31:31,040
Speaker 1: the musicians and also be the catalyst for what the

496
00:31:31,120 --> 00:31:32,720
Speaker 1: sound of the music is going to be as far

497
00:31:32,760 --> 00:31:36,600
Speaker 1: as the writing is concerned, what people are gonna play. Um,

498
00:31:37,080 --> 00:31:43,040
Speaker 1: you're usually the translator from what the producers in the

499
00:31:43,120 --> 00:31:46,320
Speaker 1: show and the directors what they want to do and

500
00:31:46,400 --> 00:31:52,360
Speaker 1: then what has that happens happen musically anyway, and uh,

501
00:31:52,880 --> 00:31:55,640
Speaker 1: you know, you're the person who really speaks with the

502
00:31:55,760 --> 00:32:00,440
Speaker 1: musicians and the other designated cast of music people to

503
00:32:00,560 --> 00:32:04,280
Speaker 1: get it done, whether that's the arrangers, the pre going

504
00:32:04,360 --> 00:32:06,720
Speaker 1: into a studio to pre record something for the show.

505
00:32:07,560 --> 00:32:09,640
Speaker 1: I want to make those You make all the meetings,

506
00:32:10,400 --> 00:32:18,040
Speaker 1: how hard is it to elbow room, uh yourself into

507
00:32:18,200 --> 00:32:21,520
Speaker 1: that situation. Okay, I'll put it out there like right now,

508
00:32:23,200 --> 00:32:27,720
Speaker 1: Ricky Mannus cover problem. No, I'm just saying that he's

509
00:32:28,600 --> 00:32:30,800
Speaker 1: he's the guy. He ain't buzzing, you know what I mean,

510
00:32:31,160 --> 00:32:34,320
Speaker 1: And I wouldn't even Yeah, so's you'll have to take

511
00:32:34,360 --> 00:32:39,440
Speaker 1: me out. Has I mean your mind, Rickey Minor is

512
00:32:39,520 --> 00:32:45,640
Speaker 1: where like he has things Rickey Minor has let's Rickey minus. Basically,

513
00:32:46,080 --> 00:32:49,920
Speaker 1: I mean he's the musical go to director at the moment.

514
00:32:50,240 --> 00:32:55,480
Speaker 1: What I realized now isn't necessarily and there's no shade,

515
00:32:55,560 --> 00:32:59,680
Speaker 1: no dig whatever. I realized that, Um, a lot of

516
00:33:00,440 --> 00:33:03,479
Speaker 1: positions in Hollywood are based on how you nuance your

517
00:33:03,520 --> 00:33:07,680
Speaker 1: relationships with the people in power, and so a lot

518
00:33:07,800 --> 00:33:12,640
Speaker 1: of the times is just you know, I think you know,

519
00:33:12,840 --> 00:33:15,239
Speaker 1: to to her or to anyone in this room speaking now,

520
00:33:15,400 --> 00:33:17,480
Speaker 1: it's like, oh, man, to get a project like that

521
00:33:17,560 --> 00:33:20,120
Speaker 1: would be amazing. But I think to a higher up

522
00:33:20,160 --> 00:33:24,240
Speaker 1: at at a movie company or whatever I mean, musical director,

523
00:33:24,240 --> 00:33:26,000
Speaker 1: it could sort of be like a band aid or

524
00:33:26,080 --> 00:33:31,320
Speaker 1: something like an afterthought. And usually with afterthought situations, well,

525
00:33:31,360 --> 00:33:33,920
Speaker 1: you're thinking about your actress, your actor, your director, and

526
00:33:34,200 --> 00:33:37,760
Speaker 1: all that, your producer and all that stuff. Nine times

527
00:33:37,800 --> 00:33:40,480
Speaker 1: out of tend you just go with your instinctual Okay,

528
00:33:40,520 --> 00:33:44,400
Speaker 1: who who Who's who delivers? And usually who delivers mainly

529
00:33:44,520 --> 00:33:48,600
Speaker 1: like who shows up on time? Who's not trouble who

530
00:33:48,640 --> 00:33:52,560
Speaker 1: can yeah? Who? Yeah? Yeah? Exactly? Who can deliver consistent work?

531
00:33:52,720 --> 00:33:55,000
Speaker 1: You know what I mean? Because I mean we can

532
00:33:55,040 --> 00:34:03,000
Speaker 1: all attest that some of our favorite geniuses can be troublesome.

533
00:34:03,520 --> 00:34:07,560
Speaker 1: So it's like, who's consistent? And you know a lot

534
00:34:07,640 --> 00:34:09,960
Speaker 1: of times I'll hear of a project happening in the

535
00:34:10,040 --> 00:34:12,919
Speaker 1: wings and I'm like, I can get it, and damn

536
00:34:13,040 --> 00:34:16,480
Speaker 1: Ricky got it? Again? What kind of project Ricky had

537
00:34:16,480 --> 00:34:19,680
Speaker 1: the monopoly on? You feel like, uh, Ricky's definitely gonna

538
00:34:19,680 --> 00:34:24,359
Speaker 1: go to for like, uh, the Grammys, definitely the Emmy's. Uh.

539
00:34:25,719 --> 00:34:29,560
Speaker 1: I mean he at the time when American Idol was hitting,

540
00:34:30,360 --> 00:34:33,880
Speaker 1: he was that. I think I think Ricky is the

541
00:34:33,920 --> 00:34:37,799
Speaker 1: reason that because Ricky shout to Sis Smith, who sings

542
00:34:37,800 --> 00:34:40,279
Speaker 1: to me important to change. She her and Ricky have

543
00:34:40,560 --> 00:34:42,479
Speaker 1: like worked together forever, and I think it was Ricky

544
00:34:42,600 --> 00:34:49,640
Speaker 1: that put me in contact with Patrice. Now Here's the thing, though,

545
00:34:50,560 --> 00:34:55,040
Speaker 1: sometimes and sometimes the trickle down theory works good because

546
00:34:55,080 --> 00:34:58,360
Speaker 1: sometimes he has something and looked done the war shows

547
00:34:58,600 --> 00:35:03,200
Speaker 1: music direct then if the call so usually anything you've

548
00:35:03,200 --> 00:35:10,400
Speaker 1: seen me do that's notable either, Commons Ricky Ricky Baston. Well,

549
00:35:10,440 --> 00:35:13,759
Speaker 1: here's the thing, anything that Adam Blackstone has done. So

550
00:35:13,840 --> 00:35:15,960
Speaker 1: now Adam is in the foes just because I had

551
00:35:16,000 --> 00:35:19,720
Speaker 1: to say no to everything. So Jay z Eminem, Rihanna

552
00:35:20,239 --> 00:35:24,839
Speaker 1: Mary Janet like right now that it's the trickle down thing,

553
00:35:25,120 --> 00:35:30,399
Speaker 1: and so no, he's definitely really messing with me. I'm like, damn,

554
00:35:30,400 --> 00:35:35,359
Speaker 1: I'm never getting that's the way Adam comminated. I think

555
00:35:35,400 --> 00:35:40,040
Speaker 1: you need to go back even further ahead because he

556
00:35:40,120 --> 00:35:43,360
Speaker 1: will tell you and so will rate you tee you

557
00:35:46,520 --> 00:35:50,279
Speaker 1: that somebody had to open the door for them. Who

558
00:35:50,440 --> 00:35:54,920
Speaker 1: was it? Well, that might be me. I was thinking that,

559
00:35:55,120 --> 00:35:59,920
Speaker 1: how that might be me you talked to, because I'm

560
00:36:00,000 --> 00:36:01,800
Speaker 1: sure that you know you guys will have your opportunity

561
00:36:01,840 --> 00:36:04,520
Speaker 1: to speak to them. Should ask them about that, because

562
00:36:04,520 --> 00:36:08,760
Speaker 1: see I'm on the other end of the phone hearing

563
00:36:08,920 --> 00:36:13,080
Speaker 1: them ask me stuff. So let me do it like this.

564
00:36:13,239 --> 00:36:15,120
Speaker 1: Let me say like this, you asked you, you started

565
00:36:15,280 --> 00:36:21,719
Speaker 1: your the start of your question. How is it it's

566
00:36:21,880 --> 00:36:24,920
Speaker 1: it's very that's not an area that was open and

567
00:36:25,160 --> 00:36:28,960
Speaker 1: understood that much in terms of what people did as

568
00:36:29,080 --> 00:36:32,960
Speaker 1: music directors or what that was about. I I pieced

569
00:36:33,000 --> 00:36:35,640
Speaker 1: it together watching it because I was kind of fascinated

570
00:36:35,719 --> 00:36:39,759
Speaker 1: at that. But it is one of those things where,

571
00:36:40,280 --> 00:36:44,440
Speaker 1: at least in my feeling, where your work has to

572
00:36:44,520 --> 00:36:47,279
Speaker 1: speak so loudly in terms of what you can do

573
00:36:47,480 --> 00:36:54,400
Speaker 1: that when there is an opportunity that that you can't, uh,

574
00:36:55,160 --> 00:36:57,200
Speaker 1: something will happen. I just, I just I just have

575
00:36:57,360 --> 00:36:59,480
Speaker 1: this feeling that when you're an artist and you will

576
00:36:59,600 --> 00:37:03,600
Speaker 1: remain true to your your work and remaining true to

577
00:37:03,680 --> 00:37:06,920
Speaker 1: your goal and true to your why I call it,

578
00:37:07,880 --> 00:37:10,879
Speaker 1: it's gonna be okay. You don't know what how it's

579
00:37:10,880 --> 00:37:13,360
Speaker 1: gonna come, but it's gonna be okay. You just be

580
00:37:13,440 --> 00:37:17,200
Speaker 1: ready when the opportunity arises. That's what I think. So

581
00:37:19,520 --> 00:37:23,480
Speaker 1: the idea of music direction fell in my lap, but

582
00:37:23,600 --> 00:37:29,399
Speaker 1: it fell in it this way where Uh, Robert Townsend's

583
00:37:29,440 --> 00:37:33,880
Speaker 1: doing what it's gonna do Hollywood self. He was looking

584
00:37:33,960 --> 00:37:36,200
Speaker 1: for a composer. Now, this was his first film and

585
00:37:36,280 --> 00:37:37,960
Speaker 1: he didn't even know what he was supposed to be doing,

586
00:37:38,360 --> 00:37:40,960
Speaker 1: so he just went around to the different agents who

587
00:37:41,040 --> 00:37:46,960
Speaker 1: represented composers and goes down this list of gets to

588
00:37:47,120 --> 00:37:49,680
Speaker 1: an agent that I had happened to just have signed with,

589
00:37:50,040 --> 00:37:52,920
Speaker 1: gets to my name and it's in pencil. I mean,

590
00:37:52,960 --> 00:37:57,000
Speaker 1: I'm that new and I'm the only name he recognized

591
00:37:57,160 --> 00:38:02,200
Speaker 1: because of the records to remind me that, and he

592
00:38:02,280 --> 00:38:07,000
Speaker 1: was a fan, so he said, oh, Caba Trees, and

593
00:38:07,040 --> 00:38:09,799
Speaker 1: of course they are. The agents are horrified because it's

594
00:38:09,840 --> 00:38:12,680
Speaker 1: like she hasn't done anything. You don't know her. But

595
00:38:12,680 --> 00:38:14,600
Speaker 1: I no, no, no, I do know, I know, I know,

596
00:38:15,520 --> 00:38:19,000
Speaker 1: I know her music. And so that's how that happened.

597
00:38:19,040 --> 00:38:23,360
Speaker 1: So I did Hollywood Shuffle and he got five HBO

598
00:38:24,400 --> 00:38:28,560
Speaker 1: comedy specials and he called me to do the Partners

599
00:38:28,600 --> 00:38:30,960
Speaker 1: in Crime. This is where those relationships and the building

600
00:38:31,320 --> 00:38:35,719
Speaker 1: of those relationships happened. So I did five of those

601
00:38:35,800 --> 00:38:41,200
Speaker 1: Partners in Crime. Then the guy who had been the

602
00:38:41,320 --> 00:38:46,040
Speaker 1: producer of the N Double A C Image A Horse.

603
00:38:47,000 --> 00:38:51,240
Speaker 1: I knew that the music director who was for those awards,

604
00:38:51,280 --> 00:38:54,800
Speaker 1: who was H. B. Barnum, who was a Wreatha's music director,

605
00:38:56,360 --> 00:39:00,040
Speaker 1: was going to kind of pull back on due in

606
00:39:00,080 --> 00:39:04,880
Speaker 1: the Image Awards, And it was suggested between Hamilton Cloud,

607
00:39:04,960 --> 00:39:08,560
Speaker 1: who was the producer and HB we look for somebody

608
00:39:08,640 --> 00:39:11,400
Speaker 1: else to take on the Image Awards. They were going

609
00:39:11,480 --> 00:39:14,200
Speaker 1: to try to make them really bigger and special and

610
00:39:14,600 --> 00:39:17,200
Speaker 1: da da da dad. So I just on these five

611
00:39:17,320 --> 00:39:19,279
Speaker 1: things and they called me to ask me if I

612
00:39:19,320 --> 00:39:22,399
Speaker 1: were do him. So I said yes, So I did

613
00:39:22,480 --> 00:39:28,239
Speaker 1: the Image Awards. Now, after doing the HBO specials and

614
00:39:28,440 --> 00:39:31,200
Speaker 1: seen in the scene in the capacity of the of

615
00:39:31,400 --> 00:39:34,600
Speaker 1: being director and then doing those years of the Image Awards,

616
00:39:36,880 --> 00:39:40,400
Speaker 1: one of the directors of those shows was about to

617
00:39:40,480 --> 00:39:43,719
Speaker 1: do the Emmys. We're talking a span of ten years though,

618
00:39:44,760 --> 00:39:47,400
Speaker 1: and they had and had a falling out with the

619
00:39:47,520 --> 00:39:51,279
Speaker 1: music director and and I guess during the following I

620
00:39:51,400 --> 00:39:54,799
Speaker 1: was said, well, you know, hey, I'll get somebody else

621
00:39:54,880 --> 00:39:56,880
Speaker 1: up in here to do it. And they called me.

622
00:39:57,040 --> 00:40:00,680
Speaker 1: It was last minute and thing. But I had worked

623
00:40:00,719 --> 00:40:03,640
Speaker 1: with him before on him one of those other comedy specials,

624
00:40:04,600 --> 00:40:06,400
Speaker 1: and so you talk about the elbow room. For me,

625
00:40:06,560 --> 00:40:09,040
Speaker 1: it wasn't about that as much as it was that

626
00:40:09,160 --> 00:40:14,680
Speaker 1: circumstances brought in certain opportunities and I was determined to

627
00:40:14,760 --> 00:40:20,760
Speaker 1: crush it. How does one like, do you have to Okay?

628
00:40:22,400 --> 00:40:25,960
Speaker 1: Now I feel so Jankie like my level of my

629
00:40:26,120 --> 00:40:30,400
Speaker 1: level of musical director. He's just like, all right, you know,

630
00:40:30,560 --> 00:40:34,279
Speaker 1: it's five seconds and then whatever. But I'm certain that

631
00:40:34,520 --> 00:40:37,800
Speaker 1: you had to notate all the we didn't have the

632
00:40:38,400 --> 00:40:40,640
Speaker 1: you know that that that software and stuff that we

633
00:40:40,760 --> 00:40:43,080
Speaker 1: use now all the time, we didn't have that. So no,

634
00:40:43,239 --> 00:40:45,560
Speaker 1: you were writing by hand, you were preparing the music

635
00:40:45,640 --> 00:40:49,480
Speaker 1: by hand. Um, you know I would sometimes, especially a

636
00:40:49,600 --> 00:40:53,560
Speaker 1: big show like Image Awards or Emmy's. So you mentioned

637
00:40:53,560 --> 00:40:55,600
Speaker 1: all the ones that I didn't. You say, Redy have

638
00:40:55,680 --> 00:40:59,200
Speaker 1: the thing the thing locked up now, but he didn't

639
00:40:59,239 --> 00:41:02,640
Speaker 1: at first. So does that mean question off, you didn't

640
00:41:02,680 --> 00:41:04,279
Speaker 1: do your research to find out that brit was to

641
00:41:04,320 --> 00:41:09,400
Speaker 1: put everybody for most people don't know that because they

642
00:41:09,440 --> 00:41:11,520
Speaker 1: didn't start looking. Now. This is the other part about

643
00:41:11,520 --> 00:41:13,040
Speaker 1: what you're saying about Ricky. This is one of the

644
00:41:13,080 --> 00:41:16,880
Speaker 1: things that I actually admire about him most. He figures

645
00:41:16,880 --> 00:41:20,239
Speaker 1: out how he's gonna get let you know, he has

646
00:41:20,320 --> 00:41:24,719
Speaker 1: figured out a way to be able to kind of

647
00:41:25,560 --> 00:41:29,200
Speaker 1: uh quantify all of the activities that go along with

648
00:41:29,360 --> 00:41:32,480
Speaker 1: that and and and get it done and be able

649
00:41:32,520 --> 00:41:34,920
Speaker 1: to say yes to a lot of things that are

650
00:41:35,000 --> 00:41:39,480
Speaker 1: high profile. And he's a very personable individual and he

651
00:41:39,600 --> 00:41:42,719
Speaker 1: will go out of his way to make sure you

652
00:41:42,920 --> 00:41:47,600
Speaker 1: know what was happening. At that time, I was about

653
00:41:47,640 --> 00:41:49,879
Speaker 1: to I just wanted to get the word done because

654
00:41:49,880 --> 00:41:51,440
Speaker 1: I was having to do so much of it myself.

655
00:41:52,040 --> 00:41:54,680
Speaker 1: I did a lot of shows for b ET, I

656
00:41:54,800 --> 00:41:56,960
Speaker 1: did a lot of the I did the Grammys the

657
00:41:57,040 --> 00:42:00,840
Speaker 1: last a few years that they used live orchestra to

658
00:42:00,960 --> 00:42:04,000
Speaker 1: record anything. You know, I probably did some of the

659
00:42:04,120 --> 00:42:07,200
Speaker 1: last ones that they did that in this room that's

660
00:42:07,320 --> 00:42:10,360
Speaker 1: right or somewhere right. And when you were aware that

661
00:42:10,440 --> 00:42:12,560
Speaker 1: you were a draw still, like even though you might

662
00:42:12,600 --> 00:42:14,879
Speaker 1: have been quiet monks, when we would see your name

663
00:42:14,960 --> 00:42:16,640
Speaker 1: and the credits, like people were fan of the record

664
00:42:16,680 --> 00:42:19,120
Speaker 1: and be like, oh, I remember seeing her name in

665
00:42:19,160 --> 00:42:23,880
Speaker 1: the Hollywood. I mean, I was aware of it. Only

666
00:42:25,360 --> 00:42:28,040
Speaker 1: I was aware of it. But but but I think,

667
00:42:28,160 --> 00:42:31,800
Speaker 1: like I said, I've had some happy circumstances to just

668
00:42:31,880 --> 00:42:34,120
Speaker 1: happen on the way too while I was trying to

669
00:42:34,239 --> 00:42:38,360
Speaker 1: go where I was trying to go, and everything seemed

670
00:42:38,400 --> 00:42:40,160
Speaker 1: to help. The other thing, the fact that that that

671
00:42:40,280 --> 00:42:42,880
Speaker 1: I had an audience and and a and a and

672
00:42:42,960 --> 00:42:47,719
Speaker 1: a following, particularly among the African American community, gave me

673
00:42:47,880 --> 00:42:51,759
Speaker 1: the courage to be able to almost walk away from

674
00:42:51,800 --> 00:42:56,200
Speaker 1: the recording side to focus as the opening, which was

675
00:42:56,280 --> 00:42:59,919
Speaker 1: a little slipper opening, happened for me to be able

676
00:43:00,040 --> 00:43:02,600
Speaker 1: to really do the music direction thing because I could

677
00:43:02,680 --> 00:43:06,560
Speaker 1: bring other musicians of color who never would get those

678
00:43:06,640 --> 00:43:11,560
Speaker 1: calls to it. As the sensibility musically began to change.

679
00:43:11,760 --> 00:43:15,439
Speaker 1: Now you relate to list as the sensibilities in terms

680
00:43:15,480 --> 00:43:20,720
Speaker 1: of what audiences wanted to hear and the relationship between

681
00:43:20,719 --> 00:43:22,960
Speaker 1: the shows that they watched and the music that a

682
00:43:23,080 --> 00:43:25,759
Speaker 1: company that began to change and have more of the

683
00:43:25,840 --> 00:43:32,840
Speaker 1: sensibilities of people of color and of different and certainly

684
00:43:37,719 --> 00:43:40,520
Speaker 1: you can call me in I can't and I and

685
00:43:40,640 --> 00:43:42,880
Speaker 1: you know, but there's some music directors who you know,

686
00:43:43,120 --> 00:43:45,640
Speaker 1: they can't do that. So when I was was able

687
00:43:45,719 --> 00:43:48,960
Speaker 1: to speak all the different languages or at least go

688
00:43:49,239 --> 00:43:54,719
Speaker 1: there and call in you know people, then we could

689
00:43:54,760 --> 00:43:57,680
Speaker 1: get a whole bunch of work done. Okay, I have

690
00:43:57,760 --> 00:44:00,600
Speaker 1: a great question for you. Now we totally skipped or

691
00:44:03,560 --> 00:44:06,800
Speaker 1: we're gonna back to listen, but now that you went there. Okay,

692
00:44:07,239 --> 00:44:11,040
Speaker 1: So this computer on my lap never leaves my side,

693
00:44:11,680 --> 00:44:14,960
Speaker 1: and usually when I'm in situations like that, there's always

694
00:44:15,239 --> 00:44:20,920
Speaker 1: an audible to be called, and usually director in my

695
00:44:21,040 --> 00:44:23,440
Speaker 1: air is like, uh, mirror, we need to queue up,

696
00:44:24,080 --> 00:44:27,080
Speaker 1: uh Julio and is to all the girls I love

697
00:44:27,160 --> 00:44:30,120
Speaker 1: before and I know I got nineties seconds, like the

698
00:44:30,160 --> 00:44:34,680
Speaker 1: way that the roots have mastered hearing it and knowing

699
00:44:34,760 --> 00:44:41,360
Speaker 1: exactly what. But without the technology of you playing for

700
00:44:41,560 --> 00:44:45,359
Speaker 1: all thirty of your musicians and your orchestra that you're

701
00:44:45,360 --> 00:44:48,080
Speaker 1: about to call an audible or something, not knowing they

702
00:44:48,120 --> 00:44:53,080
Speaker 1: have the the ability to improvise them, how would that happen?

703
00:44:53,080 --> 00:44:55,080
Speaker 1: Would would there ever be situations like that where you

704
00:44:55,400 --> 00:45:00,279
Speaker 1: get the last minute? Yeah, but things were changed, changing

705
00:45:00,480 --> 00:45:04,480
Speaker 1: even the way the directors directed changed when they had

706
00:45:04,600 --> 00:45:10,319
Speaker 1: access to being able to not plan and to say

707
00:45:10,400 --> 00:45:13,719
Speaker 1: stuff at the last minute and watch people scramble and

708
00:45:13,800 --> 00:45:16,920
Speaker 1: watch it happen. Uh you know, then they took advantage

709
00:45:17,400 --> 00:45:20,880
Speaker 1: of that. So now be the audible becomes just another

710
00:45:20,960 --> 00:45:22,360
Speaker 1: thing that we have to that you have to have

711
00:45:22,440 --> 00:45:24,320
Speaker 1: in your tool, just another thing that you have to do.

712
00:45:24,520 --> 00:45:28,920
Speaker 1: Back in the day, those shows were planned to the

713
00:45:29,560 --> 00:45:32,279
Speaker 1: tenth of a second in terms of what was going

714
00:45:32,360 --> 00:45:35,719
Speaker 1: to happen, and you had to have a plan so

715
00:45:35,880 --> 00:45:39,720
Speaker 1: that you will be ready for something that might happen

716
00:45:40,200 --> 00:45:45,480
Speaker 1: uh spontaneously. Now The difference was everybody had a plan

717
00:45:45,600 --> 00:45:47,320
Speaker 1: and everybody knew what was there they were supposed to do,

718
00:45:47,360 --> 00:45:49,359
Speaker 1: and you had to be ready to deliver. But if

719
00:45:49,440 --> 00:45:52,600
Speaker 1: it did take that little slight left, could the music

720
00:45:52,680 --> 00:45:56,279
Speaker 1: director and the people that were there respond and how

721
00:45:56,320 --> 00:45:59,840
Speaker 1: are you going to respond right now? So that balance

722
00:46:00,000 --> 00:46:04,920
Speaker 1: an act did start to happen as a technology allowed

723
00:46:05,080 --> 00:46:09,439
Speaker 1: for more of it to shift into last minute let's

724
00:46:09,480 --> 00:46:11,960
Speaker 1: just go by the seat of our pants. Now it's

725
00:46:12,000 --> 00:46:14,600
Speaker 1: like this. Now you've got people who are coming on

726
00:46:15,160 --> 00:46:18,480
Speaker 1: who are playing in um television, orchestras and stuff like that.

727
00:46:18,560 --> 00:46:22,160
Speaker 1: They might read music, they might not, they might understand

728
00:46:22,719 --> 00:46:26,719
Speaker 1: what they understand concept because somebody's gonna say, oh, give

729
00:46:26,760 --> 00:46:31,680
Speaker 1: me something that sounds like uh Coldplay meets uh Bruno

730
00:46:31,760 --> 00:46:35,520
Speaker 1: Mars right now, and everybody will go, yeah, okay, so

731
00:46:35,640 --> 00:46:39,839
Speaker 1: you're you're your oral vocabulary. And the musicians that are

732
00:46:39,920 --> 00:46:44,000
Speaker 1: on TV now seem to have a very wide palette

733
00:46:44,040 --> 00:46:46,920
Speaker 1: in terms of a certain amount of oral vocabulary that

734
00:46:46,960 --> 00:46:48,880
Speaker 1: they can call into at least get you through it

735
00:46:49,000 --> 00:46:51,600
Speaker 1: for the thirty or nineties seconds. But when you had

736
00:46:51,719 --> 00:46:53,840
Speaker 1: more people, a fifty piece orchestra or something like that,

737
00:46:54,200 --> 00:47:00,600
Speaker 1: you can't depend on. Everybody had they might I've never

738
00:47:00,719 --> 00:47:04,680
Speaker 1: heard so wet a lot we had. We had to

739
00:47:04,719 --> 00:47:08,520
Speaker 1: write a lot, and the and the arrangers and music

740
00:47:08,600 --> 00:47:13,640
Speaker 1: directors who had the vocabulary had to be able to translate. Okay,

741
00:47:13,760 --> 00:47:17,000
Speaker 1: you're supposed to be playing for Gladys Night and then

742
00:47:17,040 --> 00:47:20,759
Speaker 1: you're gonna play for print. M you need to translate

743
00:47:21,520 --> 00:47:25,279
Speaker 1: what it is so that it's seamless. So okay, uh,

744
00:47:27,840 --> 00:47:39,480
Speaker 1: gun to your head. If because I know or assume

745
00:47:40,160 --> 00:47:43,960
Speaker 1: that you're well versed in site reading on the spot

746
00:47:45,680 --> 00:47:50,280
Speaker 1: and the ability to improvise. Most musicians I know can't

747
00:47:51,000 --> 00:47:54,560
Speaker 1: chew gum and walk at the same time. Usually like

748
00:47:54,840 --> 00:47:57,480
Speaker 1: I can't read. I mean I can read, but you know,

749
00:47:57,600 --> 00:47:58,960
Speaker 1: no one's gonna have time for me to be like,

750
00:47:59,160 --> 00:48:01,480
Speaker 1: give me fifteen minutes, one knee on the two and

751
00:48:01,520 --> 00:48:10,640
Speaker 1: all that stuff. So if you go into your head,

752
00:48:10,719 --> 00:48:14,800
Speaker 1: come on, if you have to lose one of the

753
00:48:14,920 --> 00:48:19,680
Speaker 1: two abilities, m h, what would you would you rather

754
00:48:19,840 --> 00:48:26,000
Speaker 1: keep your natural feel or the technical keep the technical reading? Okay,

755
00:48:26,080 --> 00:48:28,960
Speaker 1: you put in my face and I'll play it for

756
00:48:29,120 --> 00:48:37,520
Speaker 1: two Well, and that is a loaded, loaded question. Are

757
00:48:37,600 --> 00:48:42,879
Speaker 1: people even to I have to I have to kind

758
00:48:42,880 --> 00:48:46,719
Speaker 1: of two answers to that. First of all, there was

759
00:48:46,800 --> 00:48:52,200
Speaker 1: a time when you would have to maybe choose. In

760
00:48:52,280 --> 00:48:55,920
Speaker 1: two thousand eighteen, you don't have to choose. It's about

761
00:48:57,560 --> 00:49:00,400
Speaker 1: It's about do you want the insurance that you'll be

762
00:49:00,480 --> 00:49:05,640
Speaker 1: able to do music for your career until you can't

763
00:49:05,800 --> 00:49:08,440
Speaker 1: do it anymore? And you when you want to do

764
00:49:08,640 --> 00:49:12,600
Speaker 1: something real bad, I think that it behooves you to

765
00:49:12,760 --> 00:49:17,080
Speaker 1: find every way possible to be able to ensure that

766
00:49:17,200 --> 00:49:20,120
Speaker 1: you would never have to do anything else. Now you

767
00:49:20,200 --> 00:49:23,239
Speaker 1: don't have to necessarily get all you can't get all

768
00:49:23,320 --> 00:49:27,239
Speaker 1: the skills together at one time. Nobody's asking you to

769
00:49:27,280 --> 00:49:31,800
Speaker 1: do that. But I think that sometimes people fall on

770
00:49:32,920 --> 00:49:36,200
Speaker 1: and default to what's the easiest for them to do,

771
00:49:36,560 --> 00:49:41,279
Speaker 1: and they stay there, and that's okay. But I would

772
00:49:41,280 --> 00:49:43,759
Speaker 1: wonder what would happen if they would allow what they

773
00:49:43,880 --> 00:49:46,759
Speaker 1: do really well to get them in a position to

774
00:49:46,920 --> 00:49:49,480
Speaker 1: be able to then, as they're doing what they do

775
00:49:49,640 --> 00:49:52,640
Speaker 1: really well, be able to use part of that income

776
00:49:52,719 --> 00:49:55,560
Speaker 1: and part of that movement and part of that desire

777
00:49:55,640 --> 00:49:59,200
Speaker 1: to continue to do it, then also over here be

778
00:49:59,280 --> 00:50:01,759
Speaker 1: working on that thing that they don't do as well. See,

779
00:50:01,800 --> 00:50:03,600
Speaker 1: we get caught in this thing of like if I

780
00:50:03,719 --> 00:50:08,160
Speaker 1: don't do this, somebody thinks less of me. You know,

781
00:50:08,320 --> 00:50:10,200
Speaker 1: you're good at what you're good at, and it's and

782
00:50:10,360 --> 00:50:13,200
Speaker 1: if you've got talent and and you've and you've worked

783
00:50:13,280 --> 00:50:14,880
Speaker 1: on that, I think that you should go with it.

784
00:50:15,600 --> 00:50:17,400
Speaker 1: But it also behoods you that if you want to

785
00:50:17,440 --> 00:50:20,879
Speaker 1: stay with it and contribute that there may be other

786
00:50:21,000 --> 00:50:24,080
Speaker 1: ways if you would learn certain things that would allow

787
00:50:24,160 --> 00:50:26,240
Speaker 1: for you to be able to keep keep it moving.

788
00:50:26,440 --> 00:50:28,440
Speaker 1: More tools in your tool bucks, more tools in your

789
00:50:28,480 --> 00:50:30,400
Speaker 1: tool bucks. And I think that's an individual choice, but

790
00:50:30,480 --> 00:50:32,560
Speaker 1: I was. I was told at least when I was

791
00:50:32,600 --> 00:50:36,360
Speaker 1: a kid, Like my dad was like, yo, you're not

792
00:50:36,520 --> 00:50:39,880
Speaker 1: going to get the work if you don't learn how

793
00:50:39,960 --> 00:50:41,839
Speaker 1: to read. So for him, it was like you gotta

794
00:50:41,880 --> 00:50:45,920
Speaker 1: go to Curtis or Berkeley or you know wherever, Juilliard,

795
00:50:46,360 --> 00:50:49,080
Speaker 1: that sort of thing. And I didn't do that. I

796
00:50:49,280 --> 00:50:52,279
Speaker 1: cheated and just went straight to a record deal. Um.

797
00:50:53,040 --> 00:50:58,000
Speaker 1: But I meant for you, if you're okay, if you're

798
00:50:58,360 --> 00:51:01,880
Speaker 1: if you get the call for the Emmys, is it

799
00:51:02,840 --> 00:51:08,719
Speaker 1: would you rather pull uh a guitarist that has amazing

800
00:51:08,880 --> 00:51:12,160
Speaker 1: feel that can at least get by it on court

801
00:51:12,280 --> 00:51:15,040
Speaker 1: charts or whatever ord for you to be in that

802
00:51:15,680 --> 00:51:20,719
Speaker 1: high tension environment. You gotta read on site. I think

803
00:51:20,800 --> 00:51:23,920
Speaker 1: the first question is really to define what the medium

804
00:51:24,040 --> 00:51:27,120
Speaker 1: is asking of you. See, to do the Emmy's Award Awards,

805
00:51:27,719 --> 00:51:32,960
Speaker 1: and the requirement for that is different than to do

806
00:51:34,640 --> 00:51:39,759
Speaker 1: uh Jimmy fallon. It's different. You want music. That's the

807
00:51:39,800 --> 00:51:43,880
Speaker 1: only common denominator. The rest of it is that it's different.

808
00:51:44,880 --> 00:51:47,960
Speaker 1: The Emmy Awards. You're gonna play a hundred and fifty

809
00:51:48,080 --> 00:51:54,120
Speaker 1: television show. Themes they're gonna arrange from a smission impossible

810
00:51:54,360 --> 00:51:59,080
Speaker 1: to friends. You might have masterpiece theater thrown in there,

811
00:52:00,800 --> 00:52:02,680
Speaker 1: you might have anything thrown in it, and you you're

812
00:52:02,680 --> 00:52:05,520
Speaker 1: gonna record them. You're gonna record them all so that

813
00:52:05,880 --> 00:52:08,279
Speaker 1: the winner is they press the button and go, and

814
00:52:08,360 --> 00:52:10,160
Speaker 1: then you're gonna have all the music there so that

815
00:52:10,239 --> 00:52:12,440
Speaker 1: whoever did win. When the person is talking too long,

816
00:52:12,480 --> 00:52:15,680
Speaker 1: you can play them off. That's not the time for

817
00:52:15,800 --> 00:52:17,600
Speaker 1: somebody to sit there and go one end and to

818
00:52:17,800 --> 00:52:22,600
Speaker 1: end any good time. So you cast who you call

819
00:52:23,320 --> 00:52:26,480
Speaker 1: on the basis of the end result and what is

820
00:52:26,560 --> 00:52:31,239
Speaker 1: required of you in your in your show a lot.

821
00:52:31,440 --> 00:52:33,839
Speaker 1: You know, it's so fluid and it's beautiful. Because it's

822
00:52:33,880 --> 00:52:36,440
Speaker 1: so fluid. You guys have a thing, you have a feel,

823
00:52:36,600 --> 00:52:41,200
Speaker 1: you have a sound, you have the responsibilities. There's certain

824
00:52:41,239 --> 00:52:43,400
Speaker 1: ones that are laid out that you know you gotta

825
00:52:43,440 --> 00:52:46,000
Speaker 1: do every night. But then there are other things that

826
00:52:46,160 --> 00:52:49,200
Speaker 1: it if it goes this way or this way where

827
00:52:49,239 --> 00:52:50,920
Speaker 1: you can turn on the diamond, this show like that,

828
00:52:51,040 --> 00:52:54,239
Speaker 1: it's it's because of the nature of the show. And

829
00:52:54,440 --> 00:52:56,719
Speaker 1: then in in in in that case it might not

830
00:52:56,880 --> 00:52:58,879
Speaker 1: be as necessary. And you guys have spent so many,

831
00:52:59,040 --> 00:53:03,319
Speaker 1: so much time together. Wait, guys inside, When she said

832
00:53:03,440 --> 00:53:06,719
Speaker 1: Jimmy fallon to myself, I was like, she knows what

833
00:53:12,280 --> 00:53:15,640
Speaker 1: you gotta pay attention and hey, and when it's good,

834
00:53:15,719 --> 00:53:20,000
Speaker 1: you want to know who's that? Like are you watching?

835
00:53:20,120 --> 00:53:22,120
Speaker 1: You know the folks like a mirror and Adam Blackstone.

836
00:53:23,560 --> 00:53:28,120
Speaker 1: Because remember I'm still I'm in education now. So the

837
00:53:28,280 --> 00:53:31,600
Speaker 1: kids who are going to school, there is this ballot

838
00:53:31,600 --> 00:53:32,960
Speaker 1: and this is getting back to what I was. I

839
00:53:33,120 --> 00:53:35,240
Speaker 1: was saying, you don't have to you don't have to choose,

840
00:53:35,760 --> 00:53:39,319
Speaker 1: because now there are at least some places. Not every

841
00:53:39,480 --> 00:53:42,080
Speaker 1: music school. You gotta find the one that supports what

842
00:53:42,200 --> 00:53:45,240
Speaker 1: you think you want to do, but there are places

843
00:53:45,360 --> 00:53:48,760
Speaker 1: for people to go now to be able to develop

844
00:53:48,880 --> 00:53:51,600
Speaker 1: that skill set and that awareness to be able to

845
00:53:51,719 --> 00:53:54,319
Speaker 1: go from one side of it to the other side. Uh,

846
00:53:54,560 --> 00:53:57,239
Speaker 1: flawlessly if they if they so choose to learn that

847
00:53:57,320 --> 00:53:59,920
Speaker 1: it's not this or this or this, but this one

848
00:54:00,080 --> 00:54:03,480
Speaker 1: big thing. I'm a better musician if I if I

849
00:54:03,600 --> 00:54:07,839
Speaker 1: even know what a producer does. I'm a better participant

850
00:54:07,920 --> 00:54:10,160
Speaker 1: in a in a band or an orchestra if I

851
00:54:10,440 --> 00:54:12,400
Speaker 1: have a sense of what the music director is dealing with.

852
00:54:12,719 --> 00:54:14,279
Speaker 1: And I'm a better music director because I know what

853
00:54:14,360 --> 00:54:16,319
Speaker 1: the musicians have to do. In other words, these are

854
00:54:16,719 --> 00:54:20,719
Speaker 1: skills that kind of we're co dependent, and you want

855
00:54:20,760 --> 00:54:23,680
Speaker 1: to be able to see how different people do it

856
00:54:23,760 --> 00:54:26,920
Speaker 1: in different ways and develop ways to be able to

857
00:54:27,000 --> 00:54:29,040
Speaker 1: do it that allow for you to produce to get

858
00:54:29,080 --> 00:54:33,839
Speaker 1: it done. How how big is your database right now?

859
00:54:33,920 --> 00:54:37,040
Speaker 1: As far as are you the person are you the

860
00:54:37,160 --> 00:54:42,879
Speaker 1: bridge that knows off the top ten guitar players, uh?

861
00:54:43,520 --> 00:54:45,960
Speaker 1: Eleven good keyboard players or that guy really plays for

862
00:54:46,040 --> 00:54:51,520
Speaker 1: insuring well, Uh, guy's a great engineer. You're not, are

863
00:54:51,600 --> 00:54:55,600
Speaker 1: you people? I'm one of the people that may know

864
00:54:55,840 --> 00:55:02,440
Speaker 1: some but what we learned to do with myself, Greg

865
00:55:02,600 --> 00:55:07,759
Speaker 1: Feeling Games, Ricky Minor rachel Um, we learned to call

866
00:55:07,840 --> 00:55:13,560
Speaker 1: on each other. You need something and you got something

867
00:55:13,640 --> 00:55:16,680
Speaker 1: to do, and you need a certain kind of information

868
00:55:16,840 --> 00:55:18,840
Speaker 1: or a certain kind of individual to be able to

869
00:55:18,920 --> 00:55:22,000
Speaker 1: help you get it done. Then you call. You can

870
00:55:22,080 --> 00:55:24,400
Speaker 1: call your peers. This is this is why the community

871
00:55:25,000 --> 00:55:28,480
Speaker 1: is so important. You can call on your peers, or

872
00:55:28,520 --> 00:55:30,680
Speaker 1: you should be able to call on your peers to

873
00:55:30,800 --> 00:55:34,359
Speaker 1: say yo, and without it being a situation of any

874
00:55:34,400 --> 00:55:36,920
Speaker 1: kind of other agenda. That's what you're trying to avoid

875
00:55:37,560 --> 00:55:38,839
Speaker 1: to be. But you want to be able to call

876
00:55:38,880 --> 00:55:40,399
Speaker 1: on your peers and say, I'm doing such and such

877
00:55:40,440 --> 00:55:45,840
Speaker 1: and I need see that's what the old school had together.

878
00:55:46,080 --> 00:55:49,640
Speaker 1: They had that on lockdown where that many of us

879
00:55:49,760 --> 00:55:53,760
Speaker 1: involved in the TV world, So they really will depend

880
00:55:53,840 --> 00:55:55,800
Speaker 1: on each other when you come and want to and

881
00:55:55,920 --> 00:55:58,239
Speaker 1: you're up there on the podium and this is another one.

882
00:55:58,320 --> 00:56:00,200
Speaker 1: I was up there in the part you don't play.

883
00:56:00,880 --> 00:56:05,200
Speaker 1: That's people. They created this term called hayden. You're going

884
00:56:05,280 --> 00:56:08,360
Speaker 1: to make it work and you're going to support what's happening.

885
00:56:08,400 --> 00:56:10,840
Speaker 1: And people would do that on the band stand, you know,

886
00:56:10,960 --> 00:56:13,400
Speaker 1: And that's that was that's that's that's a part of

887
00:56:13,560 --> 00:56:17,840
Speaker 1: the heritage of our music, of all the music that

888
00:56:18,000 --> 00:56:23,000
Speaker 1: we do that. It's survival. And our way of being

889
00:56:23,040 --> 00:56:26,960
Speaker 1: able to communicate with each other came from like an

890
00:56:27,080 --> 00:56:30,439
Speaker 1: unspoken thing of like, hey, we're trying to make this happen.

891
00:56:30,480 --> 00:56:33,680
Speaker 1: We don't need to support each other because meanwhile I'm thinking,

892
00:56:33,719 --> 00:56:35,600
Speaker 1: I'm like is this where are there any other sisters?

893
00:56:35,719 --> 00:56:37,840
Speaker 1: I mean, I was thinking women period, But I was like,

894
00:56:37,960 --> 00:56:40,000
Speaker 1: in this community, is are they're just women that I'm

895
00:56:40,000 --> 00:56:51,600
Speaker 1: not seeing? Music directors very few Michelle now disappearing acts

896
00:56:51,800 --> 00:56:57,399
Speaker 1: years ago? Yeah, there from from alive. From a live

897
00:56:57,480 --> 00:57:01,279
Speaker 1: television type standpoint, that's what I'm like. Patristas, who was

898
00:57:01,360 --> 00:57:04,200
Speaker 1: the who was the Well, you know, there's not that

899
00:57:04,360 --> 00:57:08,759
Speaker 1: much live television unfortunately, and I think that that's a

900
00:57:08,840 --> 00:57:11,359
Speaker 1: problem because I think that there are more women who

901
00:57:11,560 --> 00:57:15,200
Speaker 1: are to have, who are capable to have some of

902
00:57:15,239 --> 00:57:16,680
Speaker 1: the skills that they would take. But she's such a

903
00:57:16,760 --> 00:57:20,880
Speaker 1: boss position. It was. It was pretty cool. Okay, now

904
00:57:21,920 --> 00:57:31,480
Speaker 1: we that was literally just one question. I would like

905
00:57:31,600 --> 00:57:36,240
Speaker 1: to know how did you uh interact or run it

906
00:57:36,280 --> 00:57:41,160
Speaker 1: into Pam Brown, who was the team coordinator for a

907
00:57:41,280 --> 00:57:44,520
Speaker 1: soul train. Okay, I wish it was a beautiful, sexy story,

908
00:57:44,600 --> 00:57:53,240
Speaker 1: but it's not over Boom did you say teen coordinator? Coordinator?

909
00:57:54,240 --> 00:57:56,760
Speaker 1: I went to a park. I was at a park.

910
00:57:57,640 --> 00:58:00,760
Speaker 1: I don't even know why I was there, but I

911
00:58:00,920 --> 00:58:03,120
Speaker 1: was at a park, you know, high school, hanging with

912
00:58:03,200 --> 00:58:05,640
Speaker 1: your hanging with your friends, you know. And this bus

913
00:58:05,720 --> 00:58:08,640
Speaker 1: pulled up and she and Don Corneiz get out and

914
00:58:08,680 --> 00:58:11,080
Speaker 1: they talked about this show that they were bringing from

915
00:58:11,200 --> 00:58:15,120
Speaker 1: Chicago called Soul Train, and that they were gonna shoot

916
00:58:15,520 --> 00:58:19,280
Speaker 1: it out here and they would come by the same

917
00:58:19,400 --> 00:58:22,880
Speaker 1: park next Saturday. And if you wanted to go over

918
00:58:23,040 --> 00:58:26,320
Speaker 1: to the television station, you know, just bring a change

919
00:58:26,360 --> 00:58:30,120
Speaker 1: of clothes. We'll pick you up here, we will bring

920
00:58:30,200 --> 00:58:32,800
Speaker 1: you back here, and we're gonna all you gotta do

921
00:58:32,960 --> 00:58:35,560
Speaker 1: is have fun and dance on the show. So what

922
00:58:35,720 --> 00:58:39,480
Speaker 1: was that, like, I'm gonna be on TV? Yes, I mean,

923
00:58:39,520 --> 00:58:42,160
Speaker 1: you know me, remember I wanted to me and that

924
00:58:42,440 --> 00:58:44,480
Speaker 1: I'm like kind away from a long time ago. So

925
00:58:44,560 --> 00:58:46,960
Speaker 1: I was like, this is actually very cool. And the

926
00:58:47,040 --> 00:58:49,320
Speaker 1: show was we didn't have a lot of detail about

927
00:58:49,360 --> 00:58:51,520
Speaker 1: what to do. They just to come, bring a change

928
00:58:51,520 --> 00:58:54,440
Speaker 1: of clothing, dance and that's what we did. So but

929
00:58:54,600 --> 00:58:57,120
Speaker 1: you know, I'm looking around at all the other stuff

930
00:58:57,160 --> 00:59:00,640
Speaker 1: that's happening because you know what I'm saying, this is

931
00:59:00,840 --> 00:59:04,240
Speaker 1: this is stuff going on in here. It's people in here,

932
00:59:05,200 --> 00:59:08,800
Speaker 1: and um we would go come and go blah blah

933
00:59:08,800 --> 00:59:10,200
Speaker 1: blah blah blah like that. And so I was on

934
00:59:10,360 --> 00:59:12,760
Speaker 1: the show. I did maybe five or six of them,

935
00:59:13,360 --> 00:59:15,080
Speaker 1: I think, because they would shoot a lot on like

936
00:59:15,240 --> 00:59:17,040
Speaker 1: one week when they would do a lot, So I

937
00:59:17,200 --> 00:59:18,720
Speaker 1: was like maybe on five or six of those shoots,

938
00:59:18,720 --> 00:59:20,560
Speaker 1: which meant that I was on quite a few shows

939
00:59:21,280 --> 00:59:23,880
Speaker 1: and saw quite a few artists come on that show.

940
00:59:24,240 --> 00:59:26,320
Speaker 1: I was going to say, at that moment, you're such

941
00:59:26,360 --> 00:59:32,600
Speaker 1: a to see an unknown al green Bill Withers on

942
00:59:33,320 --> 00:59:37,240
Speaker 1: she's on the episode of your The Dead President's episode

943
00:59:37,280 --> 00:59:41,960
Speaker 1: where I was doing with the sling, not with the

944
00:59:42,080 --> 00:59:48,400
Speaker 1: cast where he's wearing the hot person. Yes, you can

945
00:59:48,480 --> 00:59:52,320
Speaker 1: let the pleather pants. You have to ask your own questions. Yeah,

946
00:59:52,440 --> 00:59:56,720
Speaker 1: well that's what I was wondering. So I don't know

947
00:59:56,720 --> 00:59:58,480
Speaker 1: if I was gonna particularly cute that dad and what

948
00:59:58,800 --> 01:00:04,680
Speaker 1: But they said, you ask the question, okay, And I

949
01:00:04,760 --> 01:00:07,600
Speaker 1: guess I got chosen a lot to do stuff. I

950
01:00:07,680 --> 01:00:12,800
Speaker 1: had a little scramble board one time and things like that. Anyway,

951
01:00:12,880 --> 01:00:17,160
Speaker 1: pam uh with then you know, if you do a

952
01:00:17,240 --> 01:00:20,520
Speaker 1: few of these. She gets to know people who's who's who,

953
01:00:21,160 --> 01:00:26,000
Speaker 1: and uh, it was just amazing that. Then later years later,

954
01:00:26,600 --> 01:00:29,000
Speaker 1: I'm back on the show as a guest to do

955
01:00:30,120 --> 01:00:33,360
Speaker 1: you know, forgive me. That's the thing. Um, In all

956
01:00:33,400 --> 01:00:37,920
Speaker 1: of your appearances on the show, usually done will acknowledge

957
01:00:38,040 --> 01:00:40,680
Speaker 1: or child or sort of like joke about like your

958
01:00:40,760 --> 01:00:43,320
Speaker 1: days of this old tring dance or whatever. But in

959
01:00:43,480 --> 01:00:46,800
Speaker 1: your four or five appearances, you guys never discussed that,

960
01:00:46,880 --> 01:00:49,320
Speaker 1: and we never talked about that. That's true. Does he

961
01:00:49,440 --> 01:00:52,680
Speaker 1: know he? I think he did, but you know I would,

962
01:00:53,080 --> 01:00:55,720
Speaker 1: I would see him in other places. See by this time,

963
01:00:56,480 --> 01:01:01,320
Speaker 1: I'm still I'm I'm still in high school, but I'm

964
01:01:01,360 --> 01:01:04,320
Speaker 1: starting to play in town. So he he used to

965
01:01:04,400 --> 01:01:07,000
Speaker 1: go out and just go to a club or something

966
01:01:07,040 --> 01:01:09,560
Speaker 1: like that, she would do. And he may have seen

967
01:01:09,640 --> 01:01:13,120
Speaker 1: me do something else. And I think he really did

968
01:01:13,240 --> 01:01:18,880
Speaker 1: appreciate um musicianship from the standpoint of of of you

969
01:01:19,000 --> 01:01:21,960
Speaker 1: know players, you know from Chicago, so that you know,

970
01:01:22,200 --> 01:01:25,160
Speaker 1: jazz was a big deal. Uh, so he may have

971
01:01:25,200 --> 01:01:26,960
Speaker 1: seen me in a slightly different light. And I and

972
01:01:27,080 --> 01:01:30,200
Speaker 1: Pam Pam Brown, she did know. She did know that

973
01:01:30,280 --> 01:01:33,200
Speaker 1: I played and and stuff like that some kind of way,

974
01:01:33,200 --> 01:01:35,960
Speaker 1: I don't know, but anyway, those days on slow train

975
01:01:36,040 --> 01:01:39,920
Speaker 1: were really um, really magical, you know, told me a lot,

976
01:01:40,160 --> 01:01:43,800
Speaker 1: gave me a lot of of pride and in in

977
01:01:44,120 --> 01:01:48,160
Speaker 1: in our music for one, and then in certainly UH

978
01:01:48,840 --> 01:01:52,680
Speaker 1: kind of um helped me to understand sort of the

979
01:01:53,160 --> 01:01:58,440
Speaker 1: the way that UH television and radio could coexist as

980
01:01:58,480 --> 01:02:02,400
Speaker 1: a means by which we would get UH very important information,

981
01:02:03,040 --> 01:02:07,560
Speaker 1: particularly that of our image to each other. Radio was

982
01:02:07,600 --> 01:02:14,760
Speaker 1: the way how did you sign your first record? Dere okay?

983
01:02:15,040 --> 01:02:19,800
Speaker 1: So uh In nineteen seventy two, I was in this.

984
01:02:20,360 --> 01:02:23,400
Speaker 1: I was my last year high school, and like I said,

985
01:02:23,400 --> 01:02:25,520
Speaker 1: I went to all black High school, Lock High School,

986
01:02:25,800 --> 01:02:29,120
Speaker 1: and we played a lot of Battle of the band's

987
01:02:29,200 --> 01:02:31,600
Speaker 1: type of things a jazz band did, because you know,

988
01:02:31,680 --> 01:02:34,080
Speaker 1: you win a trumpet, you win a kick drum pedal,

989
01:02:34,160 --> 01:02:36,000
Speaker 1: you know. So we did a whole bunch of these,

990
01:02:36,480 --> 01:02:39,160
Speaker 1: and one of them was up in Monterey, California. And

991
01:02:39,200 --> 01:02:42,400
Speaker 1: the winner of this high school band competition that a

992
01:02:42,480 --> 01:02:45,880
Speaker 1: band competition and a combo competition. So the winner of

993
01:02:45,920 --> 01:02:48,960
Speaker 1: this band competition or combo competition, the prize was to

994
01:02:49,160 --> 01:02:53,200
Speaker 1: appear at the Monterey Jazz Festival, which remains today one

995
01:02:53,240 --> 01:02:57,200
Speaker 1: of the largest, you know, jazz festivals. Now, our band

996
01:02:57,240 --> 01:03:01,440
Speaker 1: didn't win, but my combo did, so we got to

997
01:03:01,520 --> 01:03:05,480
Speaker 1: play on this as festival. And it was after that

998
01:03:06,640 --> 01:03:11,680
Speaker 1: that record companies who were doing that kind of music

999
01:03:11,760 --> 01:03:15,400
Speaker 1: were interested in me signing. Now I'm gonna set the

1000
01:03:16,160 --> 01:03:19,040
Speaker 1: the environment a little bit. There was an artist named

1001
01:03:19,080 --> 01:03:25,960
Speaker 1: Bobby Humphrey, and so all the companies now are looking to, Oh,

1002
01:03:26,480 --> 01:03:29,640
Speaker 1: we need to have an answer to them. They need

1003
01:03:29,720 --> 01:03:35,360
Speaker 1: the answer to them, you know. And so we we

1004
01:03:35,440 --> 01:03:37,520
Speaker 1: had a great set and everything went really really well,

1005
01:03:37,640 --> 01:03:39,960
Speaker 1: but the companies were really looking. Now. I wasn't interested.

1006
01:03:40,080 --> 01:03:42,959
Speaker 1: And this is another difference. Back then, I didn't feel

1007
01:03:42,960 --> 01:03:45,840
Speaker 1: like I was ready. I was going to go to college,

1008
01:03:46,960 --> 01:03:48,480
Speaker 1: you know, I'm still trying to figure out all in

1009
01:03:48,600 --> 01:03:50,760
Speaker 1: terms of what I really want to do. And the

1010
01:03:50,840 --> 01:03:53,360
Speaker 1: whole idea of doing an album was really daunting to me.

1011
01:03:53,480 --> 01:03:56,440
Speaker 1: Remember because my album collection had Joe Innerson in it

1012
01:03:56,560 --> 01:03:59,000
Speaker 1: and Miles Davids in it, and Ella and it and

1013
01:03:59,080 --> 01:04:01,200
Speaker 1: all these people in it, and I'm like, nah, I'm

1014
01:04:01,240 --> 01:04:04,400
Speaker 1: not ready for that just yet. But there was a company,

1015
01:04:04,720 --> 01:04:11,800
Speaker 1: Fantasy Records. They had a subsidiary label, Prestige, and Uh,

1016
01:04:12,960 --> 01:04:15,320
Speaker 1: it was a short deal, just a three album deal.

1017
01:04:16,160 --> 01:04:19,920
Speaker 1: I had complete creative control, just you know, we just

1018
01:04:20,000 --> 01:04:24,120
Speaker 1: want you to do you think and uh, I said, okay.

1019
01:04:24,160 --> 01:04:27,240
Speaker 1: And I needed money for school, so I said, okay,

1020
01:04:27,640 --> 01:04:29,760
Speaker 1: how did you get your afro so tight on the cover?

1021
01:04:36,320 --> 01:04:39,320
Speaker 1: Having an afro was an art. You had to really

1022
01:04:39,360 --> 01:04:42,400
Speaker 1: work at work at it a lot. But yeah, you know,

1023
01:04:44,200 --> 01:04:47,760
Speaker 1: work with Reggie Andrews. Well, Reggie Andrews was one of

1024
01:04:47,840 --> 01:04:51,919
Speaker 1: the three music directors at music music teachers at Lock

1025
01:04:52,040 --> 01:04:56,000
Speaker 1: High School. It was his first year of teaching. He

1026
01:04:56,080 --> 01:04:59,560
Speaker 1: had just graduated from college. It was his first year

1027
01:04:59,640 --> 01:05:02,840
Speaker 1: of tea gene. So there were three people Don Dustin,

1028
01:05:03,800 --> 01:05:07,520
Speaker 1: Frank Harris, and Reggie Andrews. And see, Reggie was only

1029
01:05:07,600 --> 01:05:11,720
Speaker 1: a little bit older than us, so we all really

1030
01:05:12,000 --> 01:05:15,840
Speaker 1: could relate to him very very well from the standpoint

1031
01:05:15,920 --> 01:05:19,640
Speaker 1: of he handled all of the jazz and uh, you know,

1032
01:05:19,920 --> 01:05:23,960
Speaker 1: contemporary music in terms of our training, and he was

1033
01:05:24,120 --> 01:05:30,520
Speaker 1: really um indispensable with to all of our understanding about

1034
01:05:30,600 --> 01:05:35,200
Speaker 1: these different kinds of musical uh music lives that you

1035
01:05:35,240 --> 01:05:38,560
Speaker 1: could lead. So one day he's bringing you know, he

1036
01:05:38,680 --> 01:05:42,400
Speaker 1: goes to the club and he tells, uh, Lenny White

1037
01:05:42,520 --> 01:05:44,240
Speaker 1: looks a man, I'm gonna bring you down to the

1038
01:05:44,520 --> 01:05:47,760
Speaker 1: to the high school. This was before jazz was institutionalized too.

1039
01:05:48,920 --> 01:05:50,840
Speaker 1: Come on that and so and he go pick him up,

1040
01:05:50,840 --> 01:05:54,920
Speaker 1: and they come. Herbie Handcock came, Minnie Mobbin came, and

1041
01:05:55,040 --> 01:05:58,200
Speaker 1: then he knew Maurice White and they needed a place

1042
01:05:58,280 --> 01:06:00,760
Speaker 1: to rehearse, and he said, well, once you come over

1043
01:06:00,840 --> 01:06:02,720
Speaker 1: to the high school after hours and rehearsing the multi

1044
01:06:02,760 --> 01:06:07,080
Speaker 1: purpose room, and we helped slap their instruments in and

1045
01:06:07,160 --> 01:06:08,520
Speaker 1: out and got them up on the stage so that

1046
01:06:08,560 --> 01:06:10,000
Speaker 1: they could place. How I met all of them? I

1047
01:06:10,080 --> 01:06:12,440
Speaker 1: met all of them earth to Fire when I was

1048
01:06:12,480 --> 01:06:16,480
Speaker 1: in high school and they couldn't pay for the use

1049
01:06:16,560 --> 01:06:19,000
Speaker 1: of the room, so they played my high school prom.

1050
01:06:24,600 --> 01:06:28,320
Speaker 1: So wh didn't they play? And that was the band

1051
01:06:28,360 --> 01:06:32,800
Speaker 1: with Jessica Clevees and Ronnie Laws Wait a minute, Rolling Batista,

1052
01:06:34,320 --> 01:06:37,320
Speaker 1: earth Wing Fire played your high school proNT Yes, sir

1053
01:06:41,600 --> 01:06:44,600
Speaker 1: so up and Larry Dunn and all of them, Al

1054
01:06:44,720 --> 01:06:47,640
Speaker 1: McKay and of course Maurice and I think we're playing

1055
01:06:47,680 --> 01:06:50,320
Speaker 1: drums at that time. Ralph Johnson was playing drums at

1056
01:06:50,360 --> 01:06:54,200
Speaker 1: the time. And these people became like people we would see,

1057
01:06:55,040 --> 01:06:57,400
Speaker 1: you know, on a bi weekly basis as they would

1058
01:06:57,440 --> 01:06:59,800
Speaker 1: come by to to try to rehearse. And that summer

1059
01:07:00,880 --> 01:07:05,640
Speaker 1: Mighty Mighty came out and blew up and uh me

1060
01:07:05,760 --> 01:07:11,720
Speaker 1: after the right after, So that you know these kinds

1061
01:07:11,760 --> 01:07:14,400
Speaker 1: of you talk about relationships, and you talk about being

1062
01:07:14,440 --> 01:07:17,000
Speaker 1: in certain kinds of environments and a sense of community

1063
01:07:17,480 --> 01:07:21,959
Speaker 1: and helping each other. I saw that over and over

1064
01:07:22,120 --> 01:07:24,200
Speaker 1: and over and over. How did you make the transition

1065
01:07:24,360 --> 01:07:28,040
Speaker 1: from playing at that time to like composing and writing

1066
01:07:28,280 --> 01:07:30,480
Speaker 1: like your own songs? What was that like? I think

1067
01:07:30,560 --> 01:07:34,520
Speaker 1: I was always doing it because for me, the playing

1068
01:07:34,680 --> 01:07:36,960
Speaker 1: and the composing was kind of all melted together. I

1069
01:07:37,040 --> 01:07:41,600
Speaker 1: didn't have maybe as many um opportunities to put it

1070
01:07:41,680 --> 01:07:44,040
Speaker 1: out there, but I had all kinds of stuff because

1071
01:07:44,080 --> 01:07:45,280
Speaker 1: in the little groups that I was in, I was

1072
01:07:45,320 --> 01:07:48,840
Speaker 1: always I was writing or always arranging something. I had

1073
01:07:48,840 --> 01:07:51,760
Speaker 1: a little band, you know, during the college days, called

1074
01:07:51,800 --> 01:07:55,400
Speaker 1: Red Means and Rice, and that was a lot. We

1075
01:07:55,480 --> 01:07:57,760
Speaker 1: made a little money playing house parties and things like this.

1076
01:07:58,040 --> 01:08:00,960
Speaker 1: And in that band was big player named Charles Meeks,

1077
01:08:01,000 --> 01:08:03,160
Speaker 1: who ultimately went on to work with Chuck Man, Joni

1078
01:08:03,280 --> 01:08:07,200
Speaker 1: and Josie James, who ended up singing with uh George

1079
01:08:07,280 --> 01:08:09,800
Speaker 1: Duke for many years, and lots of different people came

1080
01:08:09,840 --> 01:08:12,160
Speaker 1: through that band, and we worked me a little money

1081
01:08:12,240 --> 01:08:15,560
Speaker 1: and we played cover tunes, which was a great way

1082
01:08:15,640 --> 01:08:19,000
Speaker 1: to learn about arranging and stuff like that. Oh cooling

1083
01:08:19,040 --> 01:08:21,640
Speaker 1: the gang line what you know. I would learn so

1084
01:08:22,600 --> 01:08:26,160
Speaker 1: much by doing this kind of stuff. So the writing

1085
01:08:26,280 --> 01:08:28,760
Speaker 1: and the arranging and all of that sort of kind

1086
01:08:28,800 --> 01:08:32,639
Speaker 1: of found it's it's it's it's its own platform through

1087
01:08:33,640 --> 01:08:37,240
Speaker 1: the plane and then being learning about jazz and learning

1088
01:08:37,280 --> 01:08:41,680
Speaker 1: the history of the music and learning about improvisation, you know,

1089
01:08:41,760 --> 01:08:45,040
Speaker 1: because that is spontaneous composition. When you were putting out

1090
01:08:45,160 --> 01:08:47,800
Speaker 1: your Prestige records, did you tour it all? Like? What

1091
01:08:47,960 --> 01:08:49,800
Speaker 1: was your life like at that time when you first started.

1092
01:08:49,920 --> 01:08:52,280
Speaker 1: I was in school, so I didn't really tour. I

1093
01:08:52,400 --> 01:08:54,680
Speaker 1: did a few days, like during the summer a little bit,

1094
01:08:54,880 --> 01:08:57,760
Speaker 1: but but I didn't I didn't really do too much.

1095
01:08:57,800 --> 01:09:01,320
Speaker 1: I know. I remember I got the call from John McLoughlin.

1096
01:09:01,400 --> 01:09:07,960
Speaker 1: He wanted me to join what I said, okay, can

1097
01:09:11,600 --> 01:09:13,280
Speaker 1: And I talked to my parents and they were like,

1098
01:09:13,920 --> 01:09:18,280
Speaker 1: oh no, no, no, no, you know, so I'm in

1099
01:09:18,320 --> 01:09:21,960
Speaker 1: school and he was so kind and nice. You know

1100
01:09:22,880 --> 01:09:25,640
Speaker 1: that this Prestige period was just like, look, I just

1101
01:09:25,720 --> 01:09:29,799
Speaker 1: need the college money and you're just very casual about

1102
01:09:29,880 --> 01:09:32,760
Speaker 1: like it was a platform and an idea of being

1103
01:09:32,800 --> 01:09:34,320
Speaker 1: able to do that. But I was always a little

1104
01:09:34,400 --> 01:09:38,439
Speaker 1: shy about being put out there too too soon, half Baked.

1105
01:09:38,479 --> 01:09:39,880
Speaker 1: There was a whole bunch of stuff I didn't know.

1106
01:09:40,560 --> 01:09:44,320
Speaker 1: So how did you go? Yeah? Let me because the

1107
01:09:44,439 --> 01:09:47,160
Speaker 1: three albums is so distinctively different, Like the first one

1108
01:09:47,200 --> 01:09:51,360
Speaker 1: is straighthead jazz. Now uh with the I know the

1109
01:09:51,439 --> 01:09:54,160
Speaker 1: last last one was before the Door or the last

1110
01:09:54,200 --> 01:09:57,800
Speaker 1: one was called shouted out shot it. Okay, Well I

1111
01:09:57,880 --> 01:10:03,960
Speaker 1: was going to say sword the last I'm sorry my

1112
01:10:04,120 --> 01:10:08,679
Speaker 1: arts are horrible. Um okay. Before I knew that Regie

1113
01:10:08,720 --> 01:10:13,760
Speaker 1: produced that or co reduced it, um, it had such

1114
01:10:13,800 --> 01:10:17,360
Speaker 1: a mind Zello Brothers feel to it that I was asking.

1115
01:10:17,520 --> 01:10:21,000
Speaker 1: I was wondering if, well, you mentioned Bobby Humphrey already,

1116
01:10:21,080 --> 01:10:24,880
Speaker 1: Like if was it the label asking you guys to

1117
01:10:25,479 --> 01:10:27,920
Speaker 1: switch each time around or no? No. I just had

1118
01:10:27,960 --> 01:10:30,559
Speaker 1: all that freedom and I was into so many different

1119
01:10:30,640 --> 01:10:34,880
Speaker 1: kinds of music, and you know, I to this day,

1120
01:10:34,920 --> 01:10:37,719
Speaker 1: I look back and I said, that could never happen today,

1121
01:10:38,240 --> 01:10:45,240
Speaker 1: where a record company would allow your expression to continue

1122
01:10:45,240 --> 01:10:48,320
Speaker 1: to to to morph into different things and allow for

1123
01:10:48,400 --> 01:10:51,040
Speaker 1: you to document where you were at the time or

1124
01:10:51,080 --> 01:10:53,479
Speaker 1: where you were feeling at the time in that way

1125
01:10:53,560 --> 01:10:56,479
Speaker 1: without being that concerned about whether or not there was

1126
01:10:56,520 --> 01:10:58,080
Speaker 1: going to be a hit. But this was a jazz

1127
01:10:58,160 --> 01:11:01,200
Speaker 1: label and they were accustomed to I mean the other

1128
01:11:01,240 --> 01:11:03,040
Speaker 1: people on the label. They had Stanley Taranty and on

1129
01:11:03,080 --> 01:11:05,880
Speaker 1: that label. Joe Henderson was on that label. Uh. They

1130
01:11:05,960 --> 01:11:08,960
Speaker 1: had canniball Adderlee on that label. Floor Paiem was on

1131
01:11:09,040 --> 01:11:13,120
Speaker 1: that label. So there were different takes on the music,

1132
01:11:13,200 --> 01:11:15,479
Speaker 1: and they were accustomed to people kind of moving and

1133
01:11:15,520 --> 01:11:20,520
Speaker 1: blah blah blah, the the, the, the the the overarching

1134
01:11:21,000 --> 01:11:25,360
Speaker 1: label was owned by Saul Zins and they had Cretan's

1135
01:11:25,360 --> 01:11:27,240
Speaker 1: clear Water and people like that on the other side

1136
01:11:27,280 --> 01:11:30,800
Speaker 1: of the world. Okay, So they were always experiment and stuff,

1137
01:11:30,840 --> 01:11:33,200
Speaker 1: so they were kind of come into that that could

1138
01:11:33,240 --> 01:11:36,280
Speaker 1: not happen today where you could do three distinctively different

1139
01:11:36,320 --> 01:11:41,479
Speaker 1: albums and everybody was okay, okay. So usually on this show,

1140
01:11:42,560 --> 01:11:47,679
Speaker 1: something that means something like in a sentimental, uh valued

1141
01:11:47,760 --> 01:11:50,519
Speaker 1: way to us means like everything Usually there artist is

1142
01:11:50,640 --> 01:11:54,599
Speaker 1: just like, yeah, I wrote that in two minutes. Can

1143
01:11:54,680 --> 01:11:58,439
Speaker 1: you give us any stories about before the dorms. Did

1144
01:11:58,560 --> 01:12:03,240
Speaker 1: not write that in two minutes. I was because that

1145
01:12:04,000 --> 01:12:08,360
Speaker 1: for for us, like hip hop heads, like that means

1146
01:12:08,439 --> 01:12:11,920
Speaker 1: a lot like past. You remind me all that, But

1147
01:12:12,720 --> 01:12:15,320
Speaker 1: what was the process of writing that. I mean, you

1148
01:12:15,360 --> 01:12:20,760
Speaker 1: made it the title cut, so obviously it yet to um.

1149
01:12:22,520 --> 01:12:25,920
Speaker 1: I think that some of the some of your audience

1150
01:12:25,920 --> 01:12:29,479
Speaker 1: will relate to this. You know, that time of a

1151
01:12:29,640 --> 01:12:34,400
Speaker 1: day is I don't know, there's just something about it

1152
01:12:34,840 --> 01:12:38,679
Speaker 1: that where things seem to be at peace. Everything seems

1153
01:12:38,720 --> 01:12:44,000
Speaker 1: to be just so mellow, so peaceful, just just before

1154
01:12:44,120 --> 01:12:48,920
Speaker 1: the daybreak. And if you've had issues during the day

1155
01:12:50,160 --> 01:12:52,400
Speaker 1: that follow you into into your trying to get to

1156
01:12:52,439 --> 01:12:54,600
Speaker 1: sleep at night, and you wake up and you have

1157
01:12:55,000 --> 01:12:58,360
Speaker 1: just that early early, early, early early morning, it kind

1158
01:12:58,400 --> 01:13:01,639
Speaker 1: of there's something about it settles you. I still work

1159
01:13:02,439 --> 01:13:05,200
Speaker 1: when I'm under pressure or a deadline. That seems to

1160
01:13:05,280 --> 01:13:07,560
Speaker 1: be my productive, most productive part of the day. You

1161
01:13:07,600 --> 01:13:11,960
Speaker 1: think everyone is sleep, when you think everybody seems the

1162
01:13:12,400 --> 01:13:19,000
Speaker 1: alpha is like the rest of the world is. You know,

1163
01:13:19,120 --> 01:13:22,080
Speaker 1: you have that solitude to yourself. It's just something special

1164
01:13:22,120 --> 01:13:26,960
Speaker 1: about that. So the mood of that was what I

1165
01:13:27,200 --> 01:13:32,760
Speaker 1: was trying to capture. And uh and and at the

1166
01:13:32,840 --> 01:13:36,200
Speaker 1: same time there's a certain kind of balance between a

1167
01:13:36,280 --> 01:13:44,360
Speaker 1: certain sophistication and soulfulness that when you are operating with

1168
01:13:44,640 --> 01:13:48,800
Speaker 1: just again that area of your life where you just

1169
01:13:48,960 --> 01:13:54,600
Speaker 1: feel is your truth. That's that's that was my interpretation

1170
01:13:54,680 --> 01:13:57,760
Speaker 1: at that time of what that felt like. And I

1171
01:13:57,880 --> 01:14:01,120
Speaker 1: loved the idea of being able to you know, again

1172
01:14:01,240 --> 01:14:05,320
Speaker 1: going back to my idea of arranging and orchestration, having

1173
01:14:06,240 --> 01:14:11,320
Speaker 1: just those few instruments to work with trombone, auto flute

1174
01:14:11,479 --> 01:14:15,760
Speaker 1: and flu flu horn as the different textures and as

1175
01:14:15,840 --> 01:14:19,960
Speaker 1: almost almost like acquire against this rhythm section that is

1176
01:14:20,160 --> 01:14:23,439
Speaker 1: very very quiet, and then we hit this group and

1177
01:14:23,600 --> 01:14:27,120
Speaker 1: we just stayed there means everything to us, Thank you.

1178
01:14:27,400 --> 01:14:31,920
Speaker 1: So what was the transition to electric records? Because I

1179
01:14:32,000 --> 01:14:36,439
Speaker 1: mean digging hip hop producers, digging in the crates, that's

1180
01:14:36,479 --> 01:14:41,160
Speaker 1: how I'll discovered your fantasy output. But I actually, I

1181
01:14:41,200 --> 01:14:44,000
Speaker 1: mean Hanging Up was the first thing that I first

1182
01:14:44,000 --> 01:14:46,240
Speaker 1: here when I was like seven, and I thought that

1183
01:14:46,479 --> 01:14:49,320
Speaker 1: was your debut that whole time. That was like I

1184
01:14:49,439 --> 01:14:54,240
Speaker 1: sang one song on the Fantasy Um song called let

1185
01:14:54,280 --> 01:14:57,560
Speaker 1: Your Heart Be Free, and I played bass based on it.

1186
01:14:59,120 --> 01:15:04,400
Speaker 1: Man listen, So my my deal was over my three

1187
01:15:05,160 --> 01:15:10,200
Speaker 1: albums were up and and Electra was very interested. A

1188
01:15:10,320 --> 01:15:14,799
Speaker 1: guy named Don Mizelle was about to start a different,

1189
01:15:15,840 --> 01:15:20,880
Speaker 1: um smaller label within the Electro label that focused on

1190
01:15:21,120 --> 01:15:27,559
Speaker 1: music that was had jazz sensibilities but also had commercial

1191
01:15:27,680 --> 01:15:33,599
Speaker 1: and pop sensibilities. So oh, that's interesting. So he wanted,

1192
01:15:33,720 --> 01:15:36,040
Speaker 1: he said, now the things that like this, will you

1193
01:15:36,120 --> 01:15:37,760
Speaker 1: do more of that kind of stuff where there's some

1194
01:15:38,000 --> 01:15:39,519
Speaker 1: there's some vocal. I don't want you to I don't

1195
01:15:39,520 --> 01:15:43,200
Speaker 1: want you to minimize, you know, the the improvisation and

1196
01:15:43,320 --> 01:15:45,840
Speaker 1: aspect aspect of it or anything like that. But the

1197
01:15:45,960 --> 01:15:48,519
Speaker 1: giruls are so strong, do you think you oh, yeah,

1198
01:15:48,800 --> 01:15:50,760
Speaker 1: you know, that's kind of what I was hearing and

1199
01:15:50,800 --> 01:15:53,519
Speaker 1: where I was at that time. Anyway, did you have

1200
01:15:53,560 --> 01:15:57,439
Speaker 1: any report with Was this the period? No, this was

1201
01:15:57,520 --> 01:15:59,759
Speaker 1: before that. That was this was the Joe Smith period?

1202
01:16:00,040 --> 01:16:03,800
Speaker 1: Was president still it was then Crabs now came in

1203
01:16:03,920 --> 01:16:05,960
Speaker 1: though during the time that I was there on my

1204
01:16:06,320 --> 01:16:12,240
Speaker 1: last album. Oh okay, okay, there like the late seventies

1205
01:16:12,240 --> 01:16:18,920
Speaker 1: and early eighties, but yes, so um yeah, So I

1206
01:16:18,960 --> 01:16:21,680
Speaker 1: Hang It Up was the first single off of that

1207
01:16:21,880 --> 01:16:26,360
Speaker 1: first album for Electra, and uh, you know, I was

1208
01:16:26,439 --> 01:16:29,000
Speaker 1: influenced by Parliament, Funkadelic and all of that sold them.

1209
01:16:29,040 --> 01:16:32,000
Speaker 1: Gang vocals or having multiple vocals, even though it was

1210
01:16:32,000 --> 01:16:35,600
Speaker 1: a different feel, was very appealing to me because I

1211
01:16:35,800 --> 01:16:39,680
Speaker 1: was always a little skittish about doing solo singing. I

1212
01:16:39,800 --> 01:16:41,360
Speaker 1: did it because that was the way, you know, I

1213
01:16:41,400 --> 01:16:43,479
Speaker 1: would sing as a means by which I would get

1214
01:16:43,560 --> 01:16:46,360
Speaker 1: my point across. But in terms of singing, I was like, no.

1215
01:16:48,240 --> 01:16:54,080
Speaker 1: But you know, okay, since we're in n there's a

1216
01:16:54,240 --> 01:16:57,760
Speaker 1: question you can finally settle for me after all these

1217
01:16:57,840 --> 01:17:02,840
Speaker 1: years are borndering. Um, And again you know, Abbot reader

1218
01:17:02,960 --> 01:17:06,360
Speaker 1: right on magazine. So that's that's where all my information

1219
01:17:06,479 --> 01:17:13,599
Speaker 1: came from. Um. But I'm led to believe that your

1220
01:17:13,880 --> 01:17:19,680
Speaker 1: involvement in the second Prince album was a lot more

1221
01:17:19,800 --> 01:17:23,640
Speaker 1: than what you were hinted at, not even credited for,

1222
01:17:23,800 --> 01:17:26,879
Speaker 1: but hinted at. And then again like, you know, information

1223
01:17:26,880 --> 01:17:28,240
Speaker 1: has come to me as an eight year old, and

1224
01:17:28,280 --> 01:17:34,960
Speaker 1: again it's it's right on magazine. My one of my

1225
01:17:35,040 --> 01:17:40,320
Speaker 1: first conversations with him was actually about you and asking

1226
01:17:40,479 --> 01:17:44,160
Speaker 1: you know, he said that, uh, you know, Patrice gave

1227
01:17:44,200 --> 01:17:46,120
Speaker 1: me a lot of advice and dadda dada, could you

1228
01:17:46,200 --> 01:17:52,360
Speaker 1: describe what exactly what you're relationship with Prince? Was your

1229
01:17:52,439 --> 01:17:57,040
Speaker 1: working relationship with Prince? Because I guess like I weren't

1230
01:17:57,280 --> 01:17:59,320
Speaker 1: either did he want to put you in the band

1231
01:17:59,560 --> 01:18:02,680
Speaker 1: or why did you do you taught him how to

1232
01:18:02,720 --> 01:18:07,200
Speaker 1: program and synthesizers or something like? What was the story? Okay,

1233
01:18:07,800 --> 01:18:11,800
Speaker 1: um are common? Are you coming with the right ones?

1234
01:18:11,840 --> 01:18:17,320
Speaker 1: So that's fine. Our common denominator was that the engineer,

1235
01:18:18,720 --> 01:18:24,880
Speaker 1: uh of one of my albums told me about him, said,

1236
01:18:25,000 --> 01:18:29,240
Speaker 1: you know, after Steve, he played all these instruments on

1237
01:18:29,400 --> 01:18:32,760
Speaker 1: his records. You know that we we all thought that

1238
01:18:32,800 --> 01:18:34,840
Speaker 1: that was just so amazing. But many of us were

1239
01:18:34,960 --> 01:18:38,600
Speaker 1: multi instrumentalists, and so we that gave us permission to

1240
01:18:38,720 --> 01:18:40,280
Speaker 1: at least do that. You know, we might not play

1241
01:18:40,439 --> 01:18:43,000
Speaker 1: every instrument, but we would play more than the thing

1242
01:18:43,120 --> 01:18:45,280
Speaker 1: that we were known to do. We wouldn't have any

1243
01:18:45,320 --> 01:18:48,400
Speaker 1: fear about doing that anymore. And the technology would allow

1244
01:18:48,479 --> 01:18:50,360
Speaker 1: us to do that, with us being able to overdub

1245
01:18:50,400 --> 01:18:56,439
Speaker 1: and things like this. So Tommy vicari is his name,

1246
01:18:56,479 --> 01:19:00,800
Speaker 1: is a very well known engineering producer, and at that

1247
01:19:00,880 --> 01:19:04,800
Speaker 1: time he says, there's somebody that I have recently come

1248
01:19:04,840 --> 01:19:06,960
Speaker 1: across that I'm gonna be working on a project with them,

1249
01:19:07,560 --> 01:19:09,840
Speaker 1: and I really would love for the two of you

1250
01:19:10,080 --> 01:19:15,519
Speaker 1: to meet. I said, okay, So he called him on

1251
01:19:15,600 --> 01:19:18,040
Speaker 1: the phone and we talked. Now I didn't know at

1252
01:19:18,080 --> 01:19:22,880
Speaker 1: the time that Prince already was aware of you know, me,

1253
01:19:24,200 --> 01:19:25,960
Speaker 1: but he was new and I hadn't heard. So we

1254
01:19:26,240 --> 01:19:30,360
Speaker 1: we talked some and uh, Tommy said, well, I'm gonna

1255
01:19:30,360 --> 01:19:31,880
Speaker 1: be you know, working with him, and I said, well,

1256
01:19:32,040 --> 01:19:33,400
Speaker 1: that's great. I would love to, you know, have a

1257
01:19:33,479 --> 01:19:34,800
Speaker 1: chance to meet him. So we did, finding me, but

1258
01:19:34,880 --> 01:19:37,160
Speaker 1: you know, he was not a man of many words,

1259
01:19:37,960 --> 01:19:42,160
Speaker 1: especially in that first meeting. Well then he had then

1260
01:19:42,240 --> 01:19:45,200
Speaker 1: stuff came out and it was like things things were

1261
01:19:45,280 --> 01:19:49,000
Speaker 1: happening with him and all said, oh okay, I get

1262
01:19:49,040 --> 01:19:52,720
Speaker 1: it now. And we had other our paths crossed on

1263
01:19:52,800 --> 01:19:55,640
Speaker 1: some of these TV shows like American band Stand and

1264
01:19:56,080 --> 01:19:59,519
Speaker 1: things like that, and we did, you know, his guard

1265
01:19:59,600 --> 01:20:02,639
Speaker 1: kind of went down enough that he really wanted to talk.

1266
01:20:02,680 --> 01:20:06,519
Speaker 1: And so he used to call me and we would

1267
01:20:06,880 --> 01:20:09,280
Speaker 1: talk and he would ask me technical questions sometimes how

1268
01:20:09,280 --> 01:20:12,640
Speaker 1: did you do uh what what what pedal were you

1269
01:20:12,800 --> 01:20:15,000
Speaker 1: using on the clavnet to get that sign? What did

1270
01:20:15,040 --> 01:20:16,680
Speaker 1: you do with this? How did you do this? This? This?

1271
01:20:17,200 --> 01:20:20,080
Speaker 1: And when he would come to town. Uh. We would

1272
01:20:20,120 --> 01:20:22,439
Speaker 1: try to find a way to be able to to

1273
01:20:23,439 --> 01:20:27,439
Speaker 1: meet and I remember that the one distinct day I

1274
01:20:27,520 --> 01:20:29,680
Speaker 1: went to a hotel to pick him up. And this

1275
01:20:29,840 --> 01:20:34,000
Speaker 1: was back in the trench, croat and diaper days, yes, sir,

1276
01:20:35,439 --> 01:20:39,200
Speaker 1: and we were going back to I lived at my

1277
01:20:39,280 --> 01:20:42,600
Speaker 1: parents house because in the on the bottom floor was

1278
01:20:42,640 --> 01:20:45,360
Speaker 1: a double uh level house and on the bottom that's

1279
01:20:45,360 --> 01:20:47,320
Speaker 1: where I had on my stuff and we were supposed

1280
01:20:47,360 --> 01:20:50,360
Speaker 1: to be going back to my house to to play,

1281
01:20:50,920 --> 01:20:53,000
Speaker 1: you know, so we could jam and stuff. Then he

1282
01:20:53,040 --> 01:20:54,840
Speaker 1: got a call and we didn't have to take him back.

1283
01:20:54,880 --> 01:20:57,280
Speaker 1: We didn't. We didn't get that far. But the idea

1284
01:20:57,479 --> 01:21:00,720
Speaker 1: was that we developed really a relationship from the standpoint

1285
01:21:00,840 --> 01:21:05,360
Speaker 1: of just being again in support of what each other

1286
01:21:05,560 --> 01:21:09,439
Speaker 1: was doing and a willingness to kind of share. And

1287
01:21:09,600 --> 01:21:14,280
Speaker 1: as eccentric will call it, as he could have been

1288
01:21:15,280 --> 01:21:18,240
Speaker 1: when I would be with him, he was very down earth,

1289
01:21:18,439 --> 01:21:22,080
Speaker 1: very very real, because the music was our common bond

1290
01:21:22,200 --> 01:21:25,679
Speaker 1: and our association with one another started there. We became friends.

1291
01:21:25,720 --> 01:21:29,320
Speaker 1: But we started there and then years passed, you know,

1292
01:21:29,360 --> 01:21:31,880
Speaker 1: and he just now on the album that you asked

1293
01:21:32,080 --> 01:21:34,639
Speaker 1: asked about. I know, I remember that I he asked

1294
01:21:34,680 --> 01:21:37,639
Speaker 1: me to do. He asked me to to write out

1295
01:21:37,720 --> 01:21:42,080
Speaker 1: the string arrangement for I think the song was called Baby,

1296
01:21:44,479 --> 01:21:48,880
Speaker 1: and then I then there was another album where he

1297
01:21:49,040 --> 01:21:51,880
Speaker 1: asked me about a piano solo that I had done

1298
01:21:51,920 --> 01:21:59,120
Speaker 1: on one of my albums. You know, he was listening

1299
01:21:59,160 --> 01:22:03,120
Speaker 1: to something because he was ask about specific stuff sometimes

1300
01:22:03,160 --> 01:22:04,640
Speaker 1: how did you do this? And what does that? And

1301
01:22:05,920 --> 01:22:08,360
Speaker 1: what's what makes up this chord and blah blah blah.

1302
01:22:09,720 --> 01:22:12,200
Speaker 1: So you know we would talk like that and then

1303
01:22:12,200 --> 01:22:13,760
Speaker 1: I would hear his stuff and you know they'll be

1304
01:22:13,840 --> 01:22:15,920
Speaker 1: oh m G. You know, it's like stuff going on.

1305
01:22:16,160 --> 01:22:18,880
Speaker 1: There was just really uh, it was great. His big

1306
01:22:19,000 --> 01:22:21,640
Speaker 1: yet big influence was Slye and Slide was you know,

1307
01:22:21,720 --> 01:22:25,040
Speaker 1: from San Francisco, so everybody in California was like that

1308
01:22:25,200 --> 01:22:27,360
Speaker 1: was one of our game changers, you know in terms

1309
01:22:27,400 --> 01:22:31,080
Speaker 1: of the music, and you ask questions about that. And

1310
01:22:31,240 --> 01:22:32,800
Speaker 1: he liked jazz and he was all in all this

1311
01:22:32,840 --> 01:22:34,840
Speaker 1: different kind of stuff and just would ask a lot

1312
01:22:34,920 --> 01:22:37,320
Speaker 1: of questions. That we didn't see each other for a while,

1313
01:22:37,400 --> 01:22:41,439
Speaker 1: and then when Purple Rain was about to come out,

1314
01:22:41,520 --> 01:22:43,360
Speaker 1: we happened to be in New York at the same

1315
01:22:43,439 --> 01:22:45,679
Speaker 1: time and happened to be staying at the same hotel.

1316
01:22:46,000 --> 01:22:49,400
Speaker 1: How he knew that, I don't know. But he called

1317
01:22:49,840 --> 01:22:52,360
Speaker 1: and I said, well, where are you? And he said downstairs?

1318
01:22:55,360 --> 01:22:57,800
Speaker 1: And I said, well where downstairs? It would be a

1319
01:22:57,840 --> 01:23:02,360
Speaker 1: little more specific. I'm in restaurant. There's no one here.

1320
01:23:03,160 --> 01:23:06,040
Speaker 1: Can you come down? So I said, okay, So I

1321
01:23:06,080 --> 01:23:08,280
Speaker 1: went down to the restaurant he had. The restaurant was closed,

1322
01:23:08,320 --> 01:23:12,280
Speaker 1: and we sat and he was really nervous about Purple Rain.

1323
01:23:13,560 --> 01:23:15,680
Speaker 1: He was like, he says, you know, I've kind of

1324
01:23:15,720 --> 01:23:17,320
Speaker 1: put it all on the line on this. When I said,

1325
01:23:17,320 --> 01:23:19,120
Speaker 1: what did you do the best you possibly good? He

1326
01:23:19,160 --> 01:23:23,280
Speaker 1: said yeah. I said, well then let it go because this,

1327
01:23:27,160 --> 01:23:28,960
Speaker 1: I said, because it's gonna you know, it's gonna be

1328
01:23:29,200 --> 01:23:31,160
Speaker 1: what it's gonna be. I mean's a new medium for you.

1329
01:23:31,240 --> 01:23:34,439
Speaker 1: I'm sure the music is stellar. You put your heart

1330
01:23:34,439 --> 01:23:37,600
Speaker 1: and soul into it, and that's about all you can

1331
01:23:37,640 --> 01:23:39,400
Speaker 1: do is done. So let it, you know, just now

1332
01:23:40,080 --> 01:23:43,040
Speaker 1: enjoy the ride, whatever that is. And you know, I

1333
01:23:43,120 --> 01:23:45,160
Speaker 1: went to the premier and I said, what was he worried?

1334
01:23:47,520 --> 01:23:50,720
Speaker 1: You know, So we have that kind of rapport and

1335
01:23:50,800 --> 01:23:53,000
Speaker 1: then we had another one of those kinds of moments.

1336
01:23:53,960 --> 01:23:56,320
Speaker 1: The year he did that he opened the Grammys with Beyonce.

1337
01:23:58,680 --> 01:24:01,280
Speaker 1: Remember that I was there. That was my first one,

1338
01:24:02,000 --> 01:24:07,160
Speaker 1: that was the award. That was an awesome part of

1339
01:24:07,280 --> 01:24:11,880
Speaker 1: that production. Yes, so let me tell you what happened.

1340
01:24:15,800 --> 01:24:19,320
Speaker 1: So let me tell you what happened then. So you

1341
01:24:19,479 --> 01:24:23,840
Speaker 1: remember Prince and Beyonce did a killer opening for the show.

1342
01:24:24,439 --> 01:24:27,040
Speaker 1: And when we the way that the Grammys worked because

1343
01:24:27,080 --> 01:24:30,160
Speaker 1: it's live, they rehearsed the entire show top to bottom,

1344
01:24:31,120 --> 01:24:36,360
Speaker 1: then they reset it and run it live. So they

1345
01:24:36,439 --> 01:24:40,160
Speaker 1: were rehearsing and the producer direct you know, there was

1346
01:24:40,240 --> 01:24:43,920
Speaker 1: some pre recording that in the first uh his segment,

1347
01:24:45,439 --> 01:24:48,720
Speaker 1: and the director and producer came to me and said,

1348
01:24:48,840 --> 01:24:51,200
Speaker 1: you have got to go and convince him to do

1349
01:24:51,360 --> 01:24:55,000
Speaker 1: it live live, just to do everything live. And they

1350
01:24:55,040 --> 01:24:57,120
Speaker 1: had been rehearsing for a week and it was slamming,

1351
01:25:00,439 --> 01:25:01,880
Speaker 1: and I said, well, was there a reason that you

1352
01:25:01,920 --> 01:25:03,960
Speaker 1: would want to do it live live? And they said yes,

1353
01:25:04,000 --> 01:25:06,000
Speaker 1: because it'll just be live, blah blah blah. And I'm

1354
01:25:06,000 --> 01:25:08,599
Speaker 1: saying to myself, it's on television. I was about to say,

1355
01:25:08,600 --> 01:25:12,320
Speaker 1: I don't even know what you're talking about. Just play

1356
01:25:12,520 --> 01:25:16,000
Speaker 1: the whole thing live. Don't have any prerecorded happening, No

1357
01:25:16,400 --> 01:25:24,000
Speaker 1: pre pro tools, doubling, nothing that is enhancing TV at home. Yeah,

1358
01:25:24,160 --> 01:25:29,800
Speaker 1: but you know, so anyway, I said, well I'll talk

1359
01:25:29,880 --> 01:25:34,400
Speaker 1: to him. So I went to him and I said, okay, uh,

1360
01:25:34,800 --> 01:25:40,080
Speaker 1: they're they're asking me two for you to consider doing

1361
01:25:40,120 --> 01:25:44,680
Speaker 1: this live completely, do not to not use any of

1362
01:25:44,800 --> 01:25:49,200
Speaker 1: the pro tools and things and like that. What do

1363
01:25:49,320 --> 01:25:53,280
Speaker 1: you think I should do? He says, So I look

1364
01:25:53,320 --> 01:25:57,280
Speaker 1: around for he hidden microphones because he's just looking at you.

1365
01:25:57,439 --> 01:26:02,599
Speaker 1: Took my stuff off. I said, look, they're gonna run

1366
01:26:02,680 --> 01:26:05,920
Speaker 1: this show down. You and Beyonce are opening the show.

1367
01:26:05,920 --> 01:26:08,479
Speaker 1: They're gonna run the show down. Everything's gonna be fine.

1368
01:26:08,520 --> 01:26:10,479
Speaker 1: They're they're set up in the booth. They're set up

1369
01:26:10,479 --> 01:26:13,200
Speaker 1: in bla blah blah blah blah, and they're gonna run

1370
01:26:13,280 --> 01:26:15,800
Speaker 1: this down and then they're gonna reset and the next

1371
01:26:15,960 --> 01:26:20,839
Speaker 1: time we see you, it's going out. Nobody has rehearsed

1372
01:26:20,880 --> 01:26:25,760
Speaker 1: it that way. Nobody has rehearsed it that way. Cameraman

1373
01:26:25,920 --> 01:26:29,280
Speaker 1: hasn't rehearsed it that way. SI man hasn't rehearsed it

1374
01:26:29,400 --> 01:26:33,320
Speaker 1: that way. The engineer who's mixing in your stuff, your

1375
01:26:33,400 --> 01:26:38,360
Speaker 1: guys haven't rehearsed it that way, he says, I understand.

1376
01:26:39,439 --> 01:26:41,320
Speaker 1: I said, okay. Now, I said, what I can do

1377
01:26:42,040 --> 01:26:45,519
Speaker 1: is I'll go out in the house and I'll make

1378
01:26:45,560 --> 01:26:51,639
Speaker 1: sure that that the house is banging so the other

1379
01:26:51,840 --> 01:26:55,960
Speaker 1: tens of millens of people will feel that energy because

1380
01:26:56,040 --> 01:26:58,519
Speaker 1: the house will feel that energy, but the sound will

1381
01:26:58,520 --> 01:27:01,280
Speaker 1: be pristine going out. And I think that needs to

1382
01:27:01,360 --> 01:27:03,559
Speaker 1: be the priority. He says, yes, I feel the same way.

1383
01:27:04,000 --> 01:27:05,880
Speaker 1: So I said, okay. So I went back to the

1384
01:27:06,000 --> 01:27:09,679
Speaker 1: directors that probably now never work again, and I said,

1385
01:27:09,760 --> 01:27:14,160
Speaker 1: you know, he's just not feeling that, so maybe we

1386
01:27:14,200 --> 01:27:16,479
Speaker 1: should go what we know was gonna work and they

1387
01:27:16,600 --> 01:27:19,920
Speaker 1: and they said, okay, but that was one of those times.

1388
01:27:22,439 --> 01:27:25,439
Speaker 1: This is my point, is like, what would have been

1389
01:27:25,520 --> 01:27:28,560
Speaker 1: different is the fact that everyone who was prepared to

1390
01:27:28,760 --> 01:27:32,920
Speaker 1: do it a certain way not been prepared, and the

1391
01:27:33,360 --> 01:27:37,280
Speaker 1: first note of that show that they were opening would

1392
01:27:37,320 --> 01:27:42,000
Speaker 1: have potentially created a disaster. And it turns out that

1393
01:27:42,080 --> 01:27:45,679
Speaker 1: it was one of the best performances ever. Everybody knew

1394
01:27:45,720 --> 01:27:49,600
Speaker 1: exactly what needed to happen, and it was amazing and

1395
01:27:49,960 --> 01:27:53,160
Speaker 1: it was electric. They did a great job. And you know,

1396
01:27:53,439 --> 01:27:55,880
Speaker 1: but I I say that I share that story again

1397
01:27:56,120 --> 01:28:01,439
Speaker 1: to indicate the idea of respect and to indicate the

1398
01:28:01,600 --> 01:28:06,519
Speaker 1: idea of sharing. The agenda was to come off killing.

1399
01:28:07,840 --> 01:28:10,840
Speaker 1: How you get there in your methodology has to be

1400
01:28:11,040 --> 01:28:14,160
Speaker 1: organized so that you can come off killing, not the

1401
01:28:14,320 --> 01:28:18,080
Speaker 1: ego of somebody who feels like they just want to decide,

1402
01:28:18,640 --> 01:28:21,080
Speaker 1: just to be able to say and they did it

1403
01:28:21,200 --> 01:28:26,120
Speaker 1: live at whose expense? You know? So again that community

1404
01:28:26,800 --> 01:28:29,679
Speaker 1: protecting each other. Use the word electric and it reminded

1405
01:28:29,680 --> 01:28:32,720
Speaker 1: me of something else. Um, you did uh SNL with

1406
01:28:32,840 --> 01:28:36,920
Speaker 1: Prince in nine? Can you give us a recollection? Which

1407
01:28:37,680 --> 01:28:43,160
Speaker 1: you know? That was the performance of Electric Chair on SNL.

1408
01:28:43,200 --> 01:28:51,479
Speaker 1: There was the fift anniversary Huh, look at him? How

1409
01:28:51,640 --> 01:28:53,280
Speaker 1: I missed that? I don't know if she's on a

1410
01:28:53,320 --> 01:28:57,800
Speaker 1: piano that says her name on the side. He uh

1411
01:28:58,439 --> 01:29:02,280
Speaker 1: called and asked if I would do that, I'll show

1412
01:29:02,320 --> 01:29:06,760
Speaker 1: it to you after what. Yeah, so I thought you

1413
01:29:06,840 --> 01:29:08,600
Speaker 1: called it as he says, I'm going to play the

1414
01:29:08,640 --> 01:29:14,640
Speaker 1: fifteenth anniversary show of SNL and Batman was coming out

1415
01:29:14,680 --> 01:29:16,960
Speaker 1: and I'm gonna do Electric Chair and I want you

1416
01:29:17,000 --> 01:29:22,000
Speaker 1: to do it with me. Okay, fine, So he says, well,

1417
01:29:22,040 --> 01:29:25,080
Speaker 1: we're gonna rehears and we're gonna have eleven days of rehearsal.

1418
01:29:26,240 --> 01:29:32,560
Speaker 1: How many songs you're doing on the show. We have

1419
01:29:32,640 --> 01:29:35,760
Speaker 1: a rehearsal tape, don't we? I think we do. Yeah,

1420
01:29:37,160 --> 01:29:39,439
Speaker 1: I haven't. I have an audio. Was it done at

1421
01:29:39,560 --> 01:29:43,679
Speaker 1: S I r the rehearsal tapes? The rehearsal tapes, because

1422
01:29:43,760 --> 01:29:48,000
Speaker 1: I don't know for part of it wherever it is.

1423
01:29:49,040 --> 01:29:55,400
Speaker 1: I have at least fourteen complete. I wish the audience

1424
01:29:55,439 --> 01:29:57,960
Speaker 1: could see that boss Bill is going through his bag.

1425
01:29:59,240 --> 01:30:06,160
Speaker 1: I'm just trying to tell everything. Yeah, we're collectors of well,

1426
01:30:06,200 --> 01:30:09,720
Speaker 1: I mean, the thing is, it's just the science, the

1427
01:30:09,840 --> 01:30:14,679
Speaker 1: science of constantly rehearsing. Yes, intrigues me more than anything.

1428
01:30:14,840 --> 01:30:20,560
Speaker 1: So yeah, they rehearsed that song for eleven days. I

1429
01:30:20,640 --> 01:30:24,479
Speaker 1: think I came in on day nine. Well, I mean

1430
01:30:24,520 --> 01:30:30,560
Speaker 1: I was like, dude, I I can't leave, but he

1431
01:30:30,640 --> 01:30:33,320
Speaker 1: said okay. So I came in on the ninth day,

1432
01:30:33,439 --> 01:30:36,479
Speaker 1: I think something like that, and I rehearsed it, you know,

1433
01:30:36,600 --> 01:30:38,080
Speaker 1: that day and the next day, and then we went

1434
01:30:38,080 --> 01:30:42,680
Speaker 1: to New York and you run it down. So he

1435
01:30:42,800 --> 01:30:49,080
Speaker 1: had put on the on the piano, which was like, wow,

1436
01:30:49,160 --> 01:30:53,679
Speaker 1: this is crazy. And I think they were the band

1437
01:30:53,840 --> 01:30:58,760
Speaker 1: wasn't transition there? Um, so I don't know if this was,

1438
01:31:00,040 --> 01:31:01,800
Speaker 1: you know, looking back now, looking back on it, I

1439
01:31:01,800 --> 01:31:03,600
Speaker 1: don't know if this was like a lightweight audition. I

1440
01:31:03,640 --> 01:31:06,200
Speaker 1: don't know what this was. But the idea though that

1441
01:31:06,320 --> 01:31:07,960
Speaker 1: he did call me to participate in that, and that

1442
01:31:08,120 --> 01:31:10,120
Speaker 1: he felt that it was a big deal and a

1443
01:31:10,200 --> 01:31:12,600
Speaker 1: big enough deal that he would want my name on

1444
01:31:12,640 --> 01:31:16,280
Speaker 1: the piano, I thought was, Wow, this is and yeah,

1445
01:31:16,400 --> 01:31:18,839
Speaker 1: I mean we do have that. You do have rehearsal,

1446
01:31:18,880 --> 01:31:21,439
Speaker 1: I was going to say from them from the night

1447
01:31:21,479 --> 01:31:25,200
Speaker 1: of the show, Yeah, that's gonna tell us that's all

1448
01:31:25,200 --> 01:31:29,240
Speaker 1: you're gonna do that. I thought he was thought that

1449
01:31:29,400 --> 01:31:37,320
Speaker 1: it was clearing stuff a lot like it was amazing.

1450
01:31:37,400 --> 01:31:40,640
Speaker 1: Though it was amazing, and and see, it's a different situation.

1451
01:31:40,760 --> 01:31:44,360
Speaker 1: It's different when you know someone and you see there

1452
01:31:45,040 --> 01:31:49,200
Speaker 1: their process from afar. But having been there at that

1453
01:31:49,400 --> 01:31:52,000
Speaker 1: short at the short rehearsal and that during that short

1454
01:31:52,439 --> 01:31:55,080
Speaker 1: you know time that I was there, this gave me

1455
01:31:55,160 --> 01:32:00,880
Speaker 1: a little even additional insight into his detail, into his

1456
01:32:01,960 --> 01:32:05,920
Speaker 1: listening to every part in every line, into an understanding

1457
01:32:06,000 --> 01:32:11,000
Speaker 1: that so much of what we saw that looked so

1458
01:32:11,439 --> 01:32:15,080
Speaker 1: effortless and spontaneous was built out of the security of

1459
01:32:15,240 --> 01:32:19,479
Speaker 1: knowing that everything was in place, you know it was

1460
01:32:19,600 --> 01:32:21,800
Speaker 1: it was. It was great to be able to to

1461
01:32:21,920 --> 01:32:34,160
Speaker 1: witness that. All right, possess Oh okay, what's your question? No, no, no,

1462
01:32:34,720 --> 01:32:37,240
Speaker 1: I was just moving to possess because we should talk

1463
01:32:37,280 --> 01:32:45,439
Speaker 1: about your kidding. Yeah, well man, possess Okay, what was it?

1464
01:32:45,600 --> 01:32:50,800
Speaker 1: Always the hit? But then there's always the thing back

1465
01:32:50,840 --> 01:32:53,800
Speaker 1: in the damning. When I was a kid, it was

1466
01:32:53,880 --> 01:32:57,160
Speaker 1: about you. You would knowing you would buy the forty five,

1467
01:32:58,320 --> 01:33:01,519
Speaker 1: but you better listen to that side, yes, because something

1468
01:33:01,680 --> 01:33:05,200
Speaker 1: was usually happening there. I told Smokey Robinson one time,

1469
01:33:05,200 --> 01:33:07,880
Speaker 1: I said, dude, you could release the whole album of

1470
01:33:08,160 --> 01:33:12,439
Speaker 1: B sides and so you know what we became accustomed

1471
01:33:12,479 --> 01:33:16,080
Speaker 1: to was, you know, don't sleep your your your entire presentation,

1472
01:33:16,200 --> 01:33:21,400
Speaker 1: your whole album. UM needs to have those moods in

1473
01:33:21,479 --> 01:33:23,680
Speaker 1: it and things in it that allow for everybody to

1474
01:33:23,720 --> 01:33:26,800
Speaker 1: come to it because you never know, you know, what's

1475
01:33:26,800 --> 01:33:30,840
Speaker 1: gonna really resonate with that? Right? Haven't you heard? Was

1476
01:33:31,240 --> 01:33:34,560
Speaker 1: was possessed? Yes? How did you feel about when that

1477
01:33:35,080 --> 01:33:38,800
Speaker 1: it kind of got resurrected by groove? Thing? Great? Okay?

1478
01:33:39,240 --> 01:33:42,040
Speaker 1: How many things I felt? I felt great? When? Yeah,

1479
01:33:42,040 --> 01:33:53,599
Speaker 1: I was gonna say yes, yet the whole and your

1480
01:33:53,640 --> 01:33:56,160
Speaker 1: whole string intro. Now here's the thing about the string

1481
01:33:56,240 --> 01:34:01,479
Speaker 1: introp because most people didn't know you that drains can

1482
01:34:01,560 --> 01:34:08,040
Speaker 1: be funky, but they didn't typically in in those records.

1483
01:34:08,479 --> 01:34:11,240
Speaker 1: You know, they didn't get to do that. But I

1484
01:34:11,360 --> 01:34:15,880
Speaker 1: know they can do that. So that's definitely so you know,

1485
01:34:16,040 --> 01:34:18,840
Speaker 1: I would, I would, I would add you know, I

1486
01:34:18,920 --> 01:34:24,200
Speaker 1: tell my students sometimes that I purposely hide the vegetables

1487
01:34:24,240 --> 01:34:28,840
Speaker 1: in the dessert. You don't always know the thing that

1488
01:34:29,000 --> 01:34:31,920
Speaker 1: somebody is contributing or the lesson that's happening through the

1489
01:34:32,040 --> 01:34:35,920
Speaker 1: particular activity that they're doing. But later when you dissected

1490
01:34:35,920 --> 01:34:39,000
Speaker 1: a little bit and you find out other stuff, you realize, Wow,

1491
01:34:39,080 --> 01:34:40,960
Speaker 1: what an influence that had. Now Here was the thing

1492
01:34:41,240 --> 01:34:45,559
Speaker 1: I was very Uh Obviously the genre version that they

1493
01:34:45,640 --> 01:34:49,280
Speaker 1: did was awesome, and I was really elated at Kirk Franklin.

1494
01:34:49,320 --> 01:34:52,760
Speaker 1: But you know what elated me as much as what

1495
01:34:52,920 --> 01:34:55,720
Speaker 1: they did with the song the fact that they used

1496
01:34:55,760 --> 01:34:59,640
Speaker 1: a string intro. Because you work so hard on it,

1497
01:35:01,280 --> 01:35:04,560
Speaker 1: it's like wow. So you know, little things like that

1498
01:35:04,720 --> 01:35:07,280
Speaker 1: come up and let you know that, uh, you know,

1499
01:35:07,360 --> 01:35:10,720
Speaker 1: people are listening. They don't always understand all of the details,

1500
01:35:11,479 --> 01:35:15,160
Speaker 1: but they feel it and uh so, yeah, that was awesome.

1501
01:35:15,479 --> 01:35:17,479
Speaker 1: How many times I settled for your lovery? Mate? Was

1502
01:35:17,560 --> 01:35:23,680
Speaker 1: that music? Did it right well? And it's been sampled

1503
01:35:23,800 --> 01:35:26,600
Speaker 1: a lot. It is one of the sample requests that

1504
01:35:26,680 --> 01:35:30,760
Speaker 1: we get the most often, speaking of samples giving it

1505
01:35:30,840 --> 01:35:33,640
Speaker 1: up as giving up talk about that. So I love that.

1506
01:35:35,960 --> 01:35:40,400
Speaker 1: I wanted to do a duet on the record, and

1507
01:35:40,520 --> 01:35:45,120
Speaker 1: I asked Stevie to do it with me, and he

1508
01:35:45,880 --> 01:35:48,880
Speaker 1: we couldn't make the dates hook up hook up, and

1509
01:35:49,000 --> 01:35:53,320
Speaker 1: I was like, oh, man, okay, But I had previously

1510
01:35:53,520 --> 01:35:57,280
Speaker 1: met d J. Rogers. I loved his voice and his delivery,

1511
01:35:57,360 --> 01:36:00,880
Speaker 1: and he was a friend of Reggie Andrews. So I said, well,

1512
01:36:00,960 --> 01:36:04,400
Speaker 1: then maybe DJ will do it. And he came in

1513
01:36:04,520 --> 01:36:08,160
Speaker 1: and slated. I was laughing so hard most of the time,

1514
01:36:08,240 --> 01:36:13,519
Speaker 1: just because he was just so soulful that I'm surprised

1515
01:36:13,560 --> 01:36:15,400
Speaker 1: if my laughter didn't end up on front of that.

1516
01:36:16,439 --> 01:36:19,479
Speaker 1: I could hardly sing. I was just chest your cat,

1517
01:36:19,600 --> 01:36:22,120
Speaker 1: you know, smiling. It was Can I ask you about

1518
01:36:22,160 --> 01:36:28,280
Speaker 1: these beads? You know what I'm saying? And you held

1519
01:36:28,360 --> 01:36:33,040
Speaker 1: up the beads and the braids and the consciousness and

1520
01:36:38,720 --> 01:36:41,240
Speaker 1: so was it a conscious decision and then like, I

1521
01:36:41,320 --> 01:36:43,000
Speaker 1: just I want it's a it's a process. We all

1522
01:36:43,040 --> 01:36:44,680
Speaker 1: know that this is not something easy to do to

1523
01:36:44,760 --> 01:36:50,160
Speaker 1: keep it fresh as an artist and having and you

1524
01:36:50,280 --> 01:36:53,599
Speaker 1: need a good chiropractice that because on the other cover

1525
01:36:53,760 --> 01:36:57,200
Speaker 1: you kind of leaned because it looked like it was yeah, yeah,

1526
01:36:57,520 --> 01:37:00,880
Speaker 1: well it was something that we you decided to do.

1527
01:37:02,800 --> 01:37:07,120
Speaker 1: I wanted. I wanted braids, um because I thought that

1528
01:37:07,200 --> 01:37:09,519
Speaker 1: they looked really beautiful, and I thought that it was

1529
01:37:09,600 --> 01:37:12,639
Speaker 1: another way too. And I had a frow for so long,

1530
01:37:13,280 --> 01:37:15,040
Speaker 1: and I thought that it was another way to be

1531
01:37:15,160 --> 01:37:18,640
Speaker 1: able to kind of express express a certain pride and

1532
01:37:19,200 --> 01:37:21,200
Speaker 1: a certain consciousness and things like that, and to be

1533
01:37:21,240 --> 01:37:23,200
Speaker 1: able to do it in in some way that was different.

1534
01:37:23,720 --> 01:37:26,479
Speaker 1: And then the lady that was braiding my hair su

1535
01:37:26,560 --> 01:37:31,280
Speaker 1: bungle A Bradley West is her name, and she uh said, well,

1536
01:37:31,360 --> 01:37:34,400
Speaker 1: you know, um, she was going through these books you

1537
01:37:34,479 --> 01:37:40,439
Speaker 1: know of African uh folklore and styles and things like that,

1538
01:37:40,560 --> 01:37:44,160
Speaker 1: and she said, let's try some beads. So we did

1539
01:37:44,479 --> 01:37:46,240
Speaker 1: some beads and it became like a thing and it

1540
01:37:46,360 --> 01:37:50,120
Speaker 1: was really a beautiful way to adorn these braids uh

1541
01:37:50,240 --> 01:37:55,720
Speaker 1: and sort of frame a very um natural feeling, but

1542
01:37:55,880 --> 01:37:58,800
Speaker 1: to do something that, you know, just added that that

1543
01:37:58,960 --> 01:38:03,280
Speaker 1: thing as an artist and a frontal girl who bore

1544
01:38:03,320 --> 01:38:06,040
Speaker 1: braids when you started getting into the jam like how

1545
01:38:06,200 --> 01:38:17,720
Speaker 1: was you ma choreograph? How you every time? Yeah? But no,

1546
01:38:17,920 --> 01:38:20,439
Speaker 1: it was a style that was really became really really

1547
01:38:20,520 --> 01:38:22,680
Speaker 1: popular and other people started doing it and it was

1548
01:38:22,760 --> 01:38:25,800
Speaker 1: really cool and I enjoyed it for a long long time.

1549
01:38:25,880 --> 01:38:27,920
Speaker 1: It was good, easy to maintain, you know, on the road.

1550
01:38:28,080 --> 01:38:31,800
Speaker 1: Always looked nice, and you know, it was cool. I

1551
01:38:31,960 --> 01:38:34,679
Speaker 1: was always always wanted to ask you ready, Freddie Washington,

1552
01:38:35,920 --> 01:38:37,680
Speaker 1: that is like forget me. I mean, that's one of

1553
01:38:37,760 --> 01:38:41,559
Speaker 1: the top five baselines of all times? Can I ask

1554
01:38:41,600 --> 01:38:50,640
Speaker 1: it about that? Though? Okay, so it's it's in uh Steve.

1555
01:38:53,040 --> 01:38:56,040
Speaker 1: I know that most bass players will choose E because

1556
01:38:56,400 --> 01:39:03,800
Speaker 1: it's an open e. But that was a very transition

1557
01:39:05,439 --> 01:39:14,760
Speaker 1: to the bridge. Why why didn't he just take like

1558
01:39:15,120 --> 01:39:19,720
Speaker 1: why did he just not take a bass solo in

1559
01:39:21,040 --> 01:39:27,400
Speaker 1: uh F sharp the key of the song? Because he's Freddie?

1560
01:39:30,080 --> 01:39:34,920
Speaker 1: No I done it. I was like, oh, oh, you

1561
01:39:35,040 --> 01:39:38,120
Speaker 1: just said anything. You know, here's what I am. I

1562
01:39:38,160 --> 01:39:41,400
Speaker 1: tay story because there's a story. Yes, okay, So Freddie

1563
01:39:41,439 --> 01:39:45,559
Speaker 1: is from Oakland, California north of here, and he had

1564
01:39:45,600 --> 01:39:49,360
Speaker 1: been you know, playing bass, coming and coming around when

1565
01:39:49,400 --> 01:39:51,360
Speaker 1: he would when I was up there for sessions and stuffing.

1566
01:39:51,400 --> 01:39:53,760
Speaker 1: We had mutual friends, and we finally met him. I

1567
01:39:53,800 --> 01:39:56,080
Speaker 1: heard him playing us a man. He's he's really good.

1568
01:39:56,960 --> 01:40:00,719
Speaker 1: So he decided he wanted to live in Santeles because

1569
01:40:00,760 --> 01:40:04,600
Speaker 1: he wanted to do sessions. So he called. You know,

1570
01:40:05,280 --> 01:40:07,320
Speaker 1: I used to do some gigs and occasion call him

1571
01:40:07,360 --> 01:40:09,680
Speaker 1: from the Bay Area to come and play, you know,

1572
01:40:09,880 --> 01:40:11,720
Speaker 1: a little gig a weekend or something like that. So

1573
01:40:11,800 --> 01:40:13,880
Speaker 1: we became good friends and he would stay at my

1574
01:40:13,960 --> 01:40:16,439
Speaker 1: parents house and stuff like that. So then one day

1575
01:40:16,520 --> 01:40:19,679
Speaker 1: he just called and he says, Okay, I'm about done

1576
01:40:19,760 --> 01:40:22,559
Speaker 1: up here. I really want to come down there, really

1577
01:40:22,640 --> 01:40:27,200
Speaker 1: try to get in on the recording session scene. As

1578
01:40:27,240 --> 01:40:32,360
Speaker 1: your mama can I live on her couch for and

1579
01:40:32,520 --> 01:40:35,599
Speaker 1: so my parents were pretty progressive, you know. I said,

1580
01:40:35,640 --> 01:40:38,280
Speaker 1: this is gonna stretch it, but okay, and they said,

1581
01:40:38,320 --> 01:40:41,280
Speaker 1: oh yes, Freddy can stay down here in a little

1582
01:40:41,800 --> 01:40:43,680
Speaker 1: guest room for a little bit. So he did. He

1583
01:40:43,760 --> 01:40:46,839
Speaker 1: came down. So we played every day, as you gonna imagine,

1584
01:40:47,160 --> 01:40:49,400
Speaker 1: we played every day, and sometimes he would play drums

1585
01:40:49,439 --> 01:40:51,600
Speaker 1: and I would play bass. Sometimes he played keyboard and

1586
01:40:51,600 --> 01:40:53,840
Speaker 1: I would play drums. Sometimes you would play bass, you know.

1587
01:40:54,040 --> 01:40:57,280
Speaker 1: And we had a little for track, so we would

1588
01:40:57,320 --> 01:41:03,000
Speaker 1: record everything. And one day, uh he was he was

1589
01:41:03,080 --> 01:41:04,720
Speaker 1: home and I had just come from the market or

1590
01:41:04,760 --> 01:41:08,479
Speaker 1: something like that, and I'm hearing this baseline, that one

1591
01:41:09,160 --> 01:41:12,320
Speaker 1: and I'm saying, WHOA, what's that? I don't know, just something,

1592
01:41:12,640 --> 01:41:14,920
Speaker 1: and so I said, well, let's record it. So recorded it,

1593
01:41:15,800 --> 01:41:18,639
Speaker 1: and that's how the chorus and everything kind of came together.

1594
01:41:18,640 --> 01:41:21,559
Speaker 1: I said, well, this baseline is so fierce chord wise,

1595
01:41:22,640 --> 01:41:26,639
Speaker 1: it doesn't need that. That's the that's the vibe, that's

1596
01:41:26,640 --> 01:41:29,479
Speaker 1: the movement right there. So we were doing this and

1597
01:41:29,840 --> 01:41:33,040
Speaker 1: as we continue to play it, um we said, well

1598
01:41:33,080 --> 01:41:35,320
Speaker 1: it needs it needs something, but it doesn't need to

1599
01:41:35,400 --> 01:41:37,439
Speaker 1: go far, but it needs to it needs to go

1600
01:41:37,600 --> 01:41:41,600
Speaker 1: away from this and come back and there you have it.

1601
01:41:42,040 --> 01:41:48,360
Speaker 1: Do do do do do? I was like, what role

1602
01:41:48,439 --> 01:41:52,000
Speaker 1: did it? Was? Charles mems he what role did he playing? Producing? Like,

1603
01:41:52,080 --> 01:41:54,040
Speaker 1: how did in terms of taking it from just a

1604
01:41:54,080 --> 01:41:57,000
Speaker 1: four track demo to a fully produced song? Well, Charles

1605
01:41:57,080 --> 01:41:58,599
Speaker 1: I had known since high school. He went to Lock

1606
01:41:58,680 --> 01:42:02,080
Speaker 1: High School. Also great pianist. So you hired your high

1607
01:42:02,120 --> 01:42:04,960
Speaker 1: school because Gerald also played in your band, right? Is

1608
01:42:05,000 --> 01:42:11,360
Speaker 1: that him playing the solo? That is Gerald's first recorded

1609
01:42:11,600 --> 01:42:15,439
Speaker 1: solos ever on record, and that is a first, that's

1610
01:42:15,439 --> 01:42:19,000
Speaker 1: the first TAKEO. Wait, is that also Gerald doing the

1611
01:42:19,080 --> 01:42:29,160
Speaker 1: Hollywood Shuffle Team? No? No, wats okay? Really Ernie Watts? Really? Okay? Okay?

1612
01:42:29,880 --> 01:42:34,160
Speaker 1: Who taught Gerrold? Who come over to the school played with?

1613
01:42:34,520 --> 01:42:36,519
Speaker 1: Did he play with Swen or I know that he

1614
01:42:36,600 --> 01:42:41,760
Speaker 1: did stuff with He did a whole bunch of yeah, yeah, yeah, yeah, yeah, yeah, Okay.

1615
01:42:42,120 --> 01:42:45,639
Speaker 1: He was like Quincy's go to solos on everything. Yeah,

1616
01:42:45,720 --> 01:42:50,280
Speaker 1: he was solo solos on all that stuff. That so

1617
01:42:50,439 --> 01:42:56,120
Speaker 1: Charles in the studio, Like Charles back then, the producer

1618
01:42:56,520 --> 01:43:00,240
Speaker 1: it was not necessarily a producer's medium where every where

1619
01:43:00,280 --> 01:43:04,320
Speaker 1: the producer would change things. The producer's primary role at

1620
01:43:04,400 --> 01:43:09,360
Speaker 1: that time was to manage that buzz and to be

1621
01:43:09,600 --> 01:43:12,680
Speaker 1: sure that the flow of the sessions, because they were

1622
01:43:12,720 --> 01:43:16,559
Speaker 1: all alive, that the flow of the sessions yielded enough

1623
01:43:17,160 --> 01:43:19,840
Speaker 1: work each day. And you know, they would have musical

1624
01:43:19,920 --> 01:43:22,080
Speaker 1: things to say because especially as a player, I'm not

1625
01:43:22,200 --> 01:43:24,200
Speaker 1: in the booth to be able to hear it. As

1626
01:43:24,240 --> 01:43:27,000
Speaker 1: it's going across. So somebody that you're close enough to

1627
01:43:27,200 --> 01:43:31,839
Speaker 1: musically who can say we need one more or careful

1628
01:43:31,880 --> 01:43:34,280
Speaker 1: a letter B or whatever the situation is, or to say,

1629
01:43:34,400 --> 01:43:37,000
Speaker 1: I know it felt weird, but it's killing you need

1630
01:43:37,080 --> 01:43:39,040
Speaker 1: to come in now and check it out or what

1631
01:43:39,240 --> 01:43:41,160
Speaker 1: you know, just would have suggestions to keep keep the

1632
01:43:41,200 --> 01:43:45,479
Speaker 1: flow going and then after you had captured then be

1633
01:43:45,640 --> 01:43:50,519
Speaker 1: able to help you, um, continue to take those ideas

1634
01:43:50,720 --> 01:43:55,320
Speaker 1: and mold them into the final product. UM A little

1635
01:43:55,320 --> 01:43:59,000
Speaker 1: bit different from composing by committee or where you're handing

1636
01:43:59,040 --> 01:44:01,080
Speaker 1: it into the producer and and it's going to be

1637
01:44:01,160 --> 01:44:04,479
Speaker 1: completely they're a new canvas or some completely something that

1638
01:44:04,520 --> 01:44:07,200
Speaker 1: they would do. So Charles was really good at being

1639
01:44:07,280 --> 01:44:11,680
Speaker 1: able to um be really inside my head and yet

1640
01:44:11,760 --> 01:44:17,880
Speaker 1: remains uh totally objective to what the final result would

1641
01:44:18,000 --> 01:44:21,519
Speaker 1: need to be and monitor our workflow in our work progress.

1642
01:44:21,800 --> 01:44:28,439
Speaker 1: So that song becomes a hit, how does your life change? Well, Uh,

1643
01:44:28,800 --> 01:44:30,519
Speaker 1: first of all, you need to know the story that

1644
01:44:30,680 --> 01:44:34,160
Speaker 1: it didn't. It was not received at the that whole album,

1645
01:44:34,240 --> 01:44:36,240
Speaker 1: that whole straight from the Hard album which has number

1646
01:44:36,280 --> 01:44:38,840
Speaker 1: one on it, Remind Me on It, Get Me Not.

1647
01:44:39,800 --> 01:44:43,639
Speaker 1: It was not received well at Electric when we turned

1648
01:44:43,680 --> 01:44:56,120
Speaker 1: it in should say, yes, very a very well meaning man,

1649
01:44:56,240 --> 01:45:06,240
Speaker 1: but his name was Oscar Fields. So dealing with as

1650
01:45:06,280 --> 01:45:09,439
Speaker 1: far as artists, artists well over Washington was on the

1651
01:45:09,520 --> 01:45:13,160
Speaker 1: label at the time, was on the same league Lady

1652
01:45:13,240 --> 01:45:16,600
Speaker 1: White and Peanut Butter they want the label. It was

1653
01:45:16,640 --> 01:45:19,280
Speaker 1: a bunch of folks. Someone got my Peanut Butter reference

1654
01:45:19,320 --> 01:45:22,479
Speaker 1: from yesterday. I never got to explain that to you guys.

1655
01:45:24,120 --> 01:45:25,559
Speaker 1: So there were there, you know, there were a few

1656
01:45:25,600 --> 01:45:31,439
Speaker 1: of us because we represented this cross hybrid of again

1657
01:45:32,640 --> 01:45:36,840
Speaker 1: jazz sensibilities running through the music. But the music was

1658
01:45:37,320 --> 01:45:41,200
Speaker 1: danceable and part of again part of our heritage in

1659
01:45:41,360 --> 01:45:43,720
Speaker 1: terms of you know, R and B and and all

1660
01:45:43,760 --> 01:45:51,080
Speaker 1: of that. So, uh, you, most of the black acts

1661
01:45:51,520 --> 01:45:56,240
Speaker 1: at a large label like Electra, we're not necessarily given

1662
01:45:56,400 --> 01:46:00,719
Speaker 1: access to the same kinds of promotion and no tools

1663
01:46:00,880 --> 01:46:04,160
Speaker 1: and help that became part of the day. The money

1664
01:46:04,200 --> 01:46:06,120
Speaker 1: would be less. And in terms of this is when

1665
01:46:06,600 --> 01:46:11,120
Speaker 1: we were kicking over into now, videos having to be

1666
01:46:11,320 --> 01:46:13,960
Speaker 1: one of the main things that would allow for people

1667
01:46:14,000 --> 01:46:17,840
Speaker 1: to be able to to see and you couldn't do that.

1668
01:46:17,920 --> 01:46:21,760
Speaker 1: And unless your record like crossed Over and and and

1669
01:46:21,960 --> 01:46:26,880
Speaker 1: and even promotional dollars. Even touring dollars were set up

1670
01:46:27,560 --> 01:46:31,320
Speaker 1: with some kind of criteria where you had to sell

1671
01:46:31,439 --> 01:46:34,600
Speaker 1: so many records first and crossover unless you had some

1672
01:46:34,720 --> 01:46:36,320
Speaker 1: other means by which you could make it happen. It

1673
01:46:36,439 --> 01:46:40,160
Speaker 1: was Quincy Jones that really told us, Uh, you better

1674
01:46:40,240 --> 01:46:43,360
Speaker 1: get with this indrependent promotion thing and and figure out

1675
01:46:43,439 --> 01:46:47,800
Speaker 1: how you are going to be the first entrepreneur in

1676
01:46:47,840 --> 01:46:51,160
Speaker 1: the first catalyst for getting the music out there. You

1677
01:46:51,240 --> 01:46:53,519
Speaker 1: can't make people love it, but you gotta get it

1678
01:46:53,560 --> 01:46:56,880
Speaker 1: in front of them, and sometimes they leave the record

1679
01:46:56,920 --> 01:46:59,439
Speaker 1: companies at that time, they would they would miss because

1680
01:46:59,439 --> 01:47:01,880
Speaker 1: even if you have of the video, I'm like, where

1681
01:47:01,920 --> 01:47:04,880
Speaker 1: can you service the video? Well, that was there just

1682
01:47:05,600 --> 01:47:10,479
Speaker 1: allowing you not to have you know, just hit me.

1683
01:47:12,240 --> 01:47:15,360
Speaker 1: Did you tour it a lot or at all? Because

1684
01:47:15,920 --> 01:47:21,960
Speaker 1: besides soult train, you didn't see me much. I didn't,

1685
01:47:22,200 --> 01:47:26,160
Speaker 1: I mean, jeffreysarn the dollars weren't there for them to

1686
01:47:26,320 --> 01:47:29,160
Speaker 1: justify any kind of help with the tour. And at

1687
01:47:29,240 --> 01:47:34,320
Speaker 1: that point, Uh, part of would record company promotion and

1688
01:47:34,439 --> 01:47:37,760
Speaker 1: marketing plans included you being able to get out in

1689
01:47:37,800 --> 01:47:40,400
Speaker 1: front of people. So I ended up I did get out,

1690
01:47:40,560 --> 01:47:42,240
Speaker 1: but I ended up on a lot of these all

1691
01:47:42,360 --> 01:47:45,880
Speaker 1: star events, but why the sprofessor or like that sort

1692
01:47:45,880 --> 01:47:48,799
Speaker 1: of thing. Well, and and and somewhere was like multiple

1693
01:47:49,000 --> 01:47:53,160
Speaker 1: artists playing type playing, and then you say, well, here's

1694
01:47:53,200 --> 01:47:56,040
Speaker 1: my new single and then you have you know, Lenny

1695
01:47:56,080 --> 01:47:58,559
Speaker 1: White actually playing Forget Me Nots in front of people

1696
01:47:58,600 --> 01:48:01,240
Speaker 1: for the very first time. I mean when people heard

1697
01:48:01,280 --> 01:48:03,519
Speaker 1: it before it came out. He was the first drummer

1698
01:48:03,520 --> 01:48:07,280
Speaker 1: that played in and you got the saxophone solo being

1699
01:48:07,280 --> 01:48:12,880
Speaker 1: played by Stanley turnteen instead and awful, let me tell you.

1700
01:48:13,640 --> 01:48:15,760
Speaker 1: But the idea was that was the way I could

1701
01:48:15,800 --> 01:48:17,400
Speaker 1: get out because it was just me. I didn't have

1702
01:48:17,479 --> 01:48:19,960
Speaker 1: to support a band, and I didn't have to support

1703
01:48:20,000 --> 01:48:23,920
Speaker 1: all the other kinds of things that go out to

1704
01:48:24,200 --> 01:48:34,240
Speaker 1: Al Hayman, he missed. Haman was the young, upstart uh

1705
01:48:35,160 --> 01:48:37,800
Speaker 1: uh concert promoter that was going to turn it all

1706
01:48:37,880 --> 01:48:40,759
Speaker 1: on its ears because because he saw so many artists

1707
01:48:40,840 --> 01:48:43,840
Speaker 1: not able to get in front of their audiences, so

1708
01:48:43,960 --> 01:48:50,920
Speaker 1: he created ways by having these multi artists things. He

1709
01:48:50,960 --> 01:48:53,160
Speaker 1: couldn't do it on the scale of of of of

1710
01:48:53,479 --> 01:48:56,600
Speaker 1: the Budweiser super Fest and the Cool Jazz Festival, but

1711
01:48:56,720 --> 01:48:59,840
Speaker 1: he could do it in smaller things where he could

1712
01:49:00,240 --> 01:49:02,760
Speaker 1: take five or six of us and we would go

1713
01:49:02,920 --> 01:49:05,160
Speaker 1: and we would play different schools and things like that,

1714
01:49:05,600 --> 01:49:08,599
Speaker 1: colleges and places where he said to get the music

1715
01:49:08,960 --> 01:49:11,160
Speaker 1: and you guys as artists in front of these people,

1716
01:49:11,160 --> 01:49:14,519
Speaker 1: because when your music blows up, you know, it's a

1717
01:49:14,600 --> 01:49:16,280
Speaker 1: different thing. When you said, you know, I was there

1718
01:49:16,280 --> 01:49:18,320
Speaker 1: and I heard that song blah blah blah. So I

1719
01:49:18,520 --> 01:49:22,680
Speaker 1: really truly believe despite the fact that between Freddy and

1720
01:49:22,760 --> 01:49:25,400
Speaker 1: Charles and myself we put our life savings of a

1721
01:49:25,520 --> 01:49:28,400
Speaker 1: few dollars together to buy three weeks of interper promotion

1722
01:49:28,800 --> 01:49:31,880
Speaker 1: to get Forget Me, not at least in front of radio.

1723
01:49:32,640 --> 01:49:38,000
Speaker 1: I really think that having the idea that people appreciated

1724
01:49:38,040 --> 01:49:40,000
Speaker 1: it because I had played it out there before it

1725
01:49:40,080 --> 01:49:41,760
Speaker 1: was out and let them know that this is new

1726
01:49:41,800 --> 01:49:43,679
Speaker 1: and it's about to come out. Hey, it's either thumbs

1727
01:49:43,720 --> 01:49:45,960
Speaker 1: up with thumbs down. And then it was resounding thumbs

1728
01:49:46,040 --> 01:49:47,920
Speaker 1: up Forget Me. And this was a little ahead of

1729
01:49:47,960 --> 01:49:51,920
Speaker 1: the curve too. So it was that courage given by

1730
01:49:52,000 --> 01:49:55,840
Speaker 1: my people that allowed for me to be able to say, yeah,

1731
01:49:55,840 --> 01:49:57,920
Speaker 1: I would be worth trying to see what happens at

1732
01:49:57,920 --> 01:49:59,840
Speaker 1: the radio. When did it finally hit like when the

1733
01:50:00,000 --> 01:50:01,840
Speaker 1: how long did it take forward to them able to

1734
01:50:01,880 --> 01:50:05,920
Speaker 1: catch on? The label caught on maybe a month after

1735
01:50:06,000 --> 01:50:07,360
Speaker 1: he came out, to the point that they gave me

1736
01:50:07,439 --> 01:50:13,960
Speaker 1: my money back to them. So, okay, you it's rare

1737
01:50:14,040 --> 01:50:18,639
Speaker 1: that we get an artist who actually composes the songs

1738
01:50:19,400 --> 01:50:27,920
Speaker 1: that will later be sampled. Um, and you're just such

1739
01:50:28,160 --> 01:50:36,120
Speaker 1: a uh sample friendly artists? Is the not the myth

1740
01:50:36,200 --> 01:50:38,560
Speaker 1: true or whatever? Because I guess when we talk to

1741
01:50:38,640 --> 01:50:44,000
Speaker 1: Ali willis about uh, the the September effect of writing

1742
01:50:44,000 --> 01:50:46,920
Speaker 1: September Earth one and fire, And then she reminded us, well,

1743
01:50:47,040 --> 01:50:49,639
Speaker 1: I was one fifth of the writers. So even though

1744
01:50:49,720 --> 01:50:53,639
Speaker 1: that was a massive hit, sharing a check with five

1745
01:50:53,680 --> 01:50:56,000
Speaker 1: of the people still meant like, you know, don't quit

1746
01:50:56,040 --> 01:50:59,559
Speaker 1: your day and got work just yet. But as someone

1747
01:51:00,000 --> 01:51:05,320
Speaker 1: who has created music with the least seven to eight

1748
01:51:05,479 --> 01:51:08,439
Speaker 1: songs that you can pretty much stand the test of

1749
01:51:08,520 --> 01:51:13,519
Speaker 1: time of of hip hop sample ability, are you able

1750
01:51:13,640 --> 01:51:18,560
Speaker 1: to make a nice living off just the sample residuals?

1751
01:51:19,479 --> 01:51:23,640
Speaker 1: Or is it just like, Okay, I could put I

1752
01:51:23,680 --> 01:51:27,599
Speaker 1: could have steak with the beans, and right, I can

1753
01:51:27,680 --> 01:51:33,320
Speaker 1: put some cheese, get some new braids, because I guess,

1754
01:51:33,520 --> 01:51:39,080
Speaker 1: I guess the perception is always like that one hit

1755
01:51:39,160 --> 01:51:41,120
Speaker 1: single that caused me to retire for the rest of

1756
01:51:41,160 --> 01:51:45,040
Speaker 1: my life. Or man, if this to be the sampled

1757
01:51:45,080 --> 01:51:48,240
Speaker 1: on this thing, or somebody covers it like yeah, that

1758
01:51:48,360 --> 01:51:52,040
Speaker 1: sort of thing. So is that myth true or is

1759
01:51:52,080 --> 01:51:55,719
Speaker 1: it just like it's my mortgage cool for three months.

1760
01:51:58,600 --> 01:52:03,479
Speaker 1: I think that the mechanism um that allowed for somebody

1761
01:52:03,560 --> 01:52:07,479
Speaker 1: who is like like an Alley like a songwriter to

1762
01:52:07,640 --> 01:52:11,680
Speaker 1: be able to uh live on those royalties, that that

1763
01:52:11,920 --> 01:52:14,400
Speaker 1: that mechanism isn't there in a way that it used

1764
01:52:14,400 --> 01:52:17,559
Speaker 1: to be. So the samples are about as close as

1765
01:52:17,640 --> 01:52:23,519
Speaker 1: you'll get to what may have been covers before. Um.

1766
01:52:24,520 --> 01:52:29,080
Speaker 1: And you know, no dis because I totally get it.

1767
01:52:29,200 --> 01:52:31,960
Speaker 1: But you know, it ain't like the sample that everybody

1768
01:52:32,400 --> 01:52:35,760
Speaker 1: wants a sample. Your stuff doesn't have any money too

1769
01:52:36,080 --> 01:52:40,280
Speaker 1: at that moment to necessarily, uh pay you an advance

1770
01:52:40,880 --> 01:52:43,559
Speaker 1: or something like that, and those sample requests and uh

1771
01:52:43,840 --> 01:52:46,960
Speaker 1: those those kinds of licenses. I mean it would, especially

1772
01:52:46,960 --> 01:52:48,519
Speaker 1: the way things are now, it has to be like

1773
01:52:49,040 --> 01:52:54,080
Speaker 1: super massive for you to be able to see a difference.

1774
01:52:54,760 --> 01:52:58,960
Speaker 1: So it's about now having um the ability I think

1775
01:52:59,040 --> 01:53:02,519
Speaker 1: to do it many different ways. Sampling is an income stream.

1776
01:53:02,800 --> 01:53:06,559
Speaker 1: It is a decent one. But if somebody I don't think.

1777
01:53:06,600 --> 01:53:09,479
Speaker 1: I think we're the day of somebody being able to

1778
01:53:09,680 --> 01:53:13,080
Speaker 1: live off that is not there the way that it

1779
01:53:14,080 --> 01:53:18,240
Speaker 1: was when you were living off of royalties, because you

1780
01:53:18,320 --> 01:53:23,640
Speaker 1: were receiving several sets of royalties, you were getting your mechanicals.

1781
01:53:23,960 --> 01:53:26,519
Speaker 1: You were getting if it was using the films, your

1782
01:53:26,560 --> 01:53:29,720
Speaker 1: performance sync, licenses, data la la la la la, and

1783
01:53:29,840 --> 01:53:31,920
Speaker 1: if you had covers, and if that cover happened to

1784
01:53:32,000 --> 01:53:35,240
Speaker 1: be done in another language. There were all these mechanisms

1785
01:53:35,400 --> 01:53:39,760
Speaker 1: and companies that were promote the use of all of

1786
01:53:39,800 --> 01:53:42,320
Speaker 1: this music. If now the songs had to be worthy,

1787
01:53:42,520 --> 01:53:45,400
Speaker 1: they had to be able to stand up. But there

1788
01:53:45,439 --> 01:53:50,200
Speaker 1: are people who every day their job nine five they're

1789
01:53:50,240 --> 01:53:52,839
Speaker 1: writing songs all day. That was a job as a songwriter.

1790
01:53:53,040 --> 01:53:55,320
Speaker 1: We're getting back to the craft of that. I think

1791
01:53:55,479 --> 01:54:01,360
Speaker 1: we're getting back to people who are songwriters, um exercising

1792
01:54:01,400 --> 01:54:04,080
Speaker 1: that muscle every day to write ten or fifteen songs

1793
01:54:04,160 --> 01:54:07,840
Speaker 1: to find one that they can then release and see

1794
01:54:08,120 --> 01:54:10,200
Speaker 1: how it's gonna go and or hopefully get it to

1795
01:54:10,240 --> 01:54:13,200
Speaker 1: another artist or something like that. But it's it's it's

1796
01:54:13,320 --> 01:54:15,920
Speaker 1: I think it would be very difficult now to just

1797
01:54:16,040 --> 01:54:20,040
Speaker 1: make your living off of sample. I imagine. Let me

1798
01:54:20,080 --> 01:54:22,400
Speaker 1: tell you what the men in black check imagine. They

1799
01:54:22,439 --> 01:54:24,920
Speaker 1: had to be pretty good. It is. I could actually

1800
01:54:24,960 --> 01:54:28,080
Speaker 1: put the words savings back in my vocam. Indeed, that's

1801
01:54:28,120 --> 01:54:35,120
Speaker 1: what I'm talking about. I take that bag. Yeah that

1802
01:54:35,240 --> 01:54:38,320
Speaker 1: was that was good. So I recalled the rapid fire

1803
01:54:38,440 --> 01:54:43,880
Speaker 1: or we've missed anything? Um? Uh we didn't ask feel

1804
01:54:43,920 --> 01:54:54,000
Speaker 1: so real? Yeah? Yeah, yeah, okay, it feels so real. Um,

1805
01:54:54,920 --> 01:55:00,880
Speaker 1: well Snoop Dogg cover Snoop Dogg. He did, and he

1806
01:55:01,040 --> 01:55:07,680
Speaker 1: was on the scene. I forgot. I forgot. Now I

1807
01:55:07,720 --> 01:55:10,360
Speaker 1: got one question I always I wanted to ask you, Um,

1808
01:55:10,480 --> 01:55:12,120
Speaker 1: as a musician, I mean, you have your ups and

1809
01:55:12,240 --> 01:55:16,200
Speaker 1: down periods whatever, Um, what was what would be considered

1810
01:55:16,280 --> 01:55:19,800
Speaker 1: your down period? Because to me, you've always worked and

1811
01:55:19,880 --> 01:55:22,880
Speaker 1: I've always seen you doing stuff. So what were some

1812
01:55:23,040 --> 01:55:25,680
Speaker 1: of a period you know where things just kind of

1813
01:55:26,280 --> 01:55:28,400
Speaker 1: you know, mab might got a little tight, and um,

1814
01:55:28,560 --> 01:55:34,120
Speaker 1: you know, how did you navigate that? Uh? My downs

1815
01:55:34,240 --> 01:55:41,440
Speaker 1: wouldn't be bad. They were moments of clarity, I guess

1816
01:55:41,480 --> 01:55:45,840
Speaker 1: the biggest one. I did one album for Arista, after

1817
01:55:45,960 --> 01:55:50,160
Speaker 1: my after my extent, after my standard fantasy, I mean sorry,

1818
01:55:50,240 --> 01:55:54,160
Speaker 1: after my stint at Elektra. Bob kras Now came in

1819
01:55:54,320 --> 01:55:58,320
Speaker 1: on my last of seven albums. Okay, that was the

1820
01:55:58,320 --> 01:56:01,320
Speaker 1: album that Feels a Real was And when I didn't

1821
01:56:01,440 --> 01:56:04,960
Speaker 1: see the kind of still after all we had gone through,

1822
01:56:05,080 --> 01:56:08,920
Speaker 1: after we had come they had, I never got that

1823
01:56:09,160 --> 01:56:12,400
Speaker 1: our relationship was such that I, in their mind, for

1824
01:56:12,520 --> 01:56:16,240
Speaker 1: whatever reason, earned even the opportunity to be able to

1825
01:56:16,400 --> 01:56:19,400
Speaker 1: use the best of their machine. So after that album

1826
01:56:19,520 --> 01:56:24,000
Speaker 1: and Feels a Real sat between when Doves Cries number one,

1827
01:56:24,040 --> 01:56:28,040
Speaker 1: feels a Real number two and tell me I'm not

1828
01:56:28,200 --> 01:56:32,240
Speaker 1: dreaming Michael Jackson and Jermaine Jackson and they didn't. But

1829
01:56:33,000 --> 01:56:36,680
Speaker 1: trying to take things to the next level, I said,

1830
01:56:36,840 --> 01:56:40,320
Speaker 1: come out. So I had been being courted a little

1831
01:56:40,360 --> 01:56:45,320
Speaker 1: bit by Clive Davis um he said he really really

1832
01:56:45,400 --> 01:56:49,160
Speaker 1: wanted me on the label. So I went to Arison.

1833
01:56:50,360 --> 01:56:53,000
Speaker 1: I did one album for Ariston and he held onto

1834
01:56:53,080 --> 01:57:01,160
Speaker 1: that album for almost close to three years. So it's

1835
01:57:01,160 --> 01:57:05,240
Speaker 1: sat while he's waiting on the hit. I don't hear

1836
01:57:05,280 --> 01:57:07,960
Speaker 1: a hit and see the last time of somebody telling

1837
01:57:08,000 --> 01:57:11,960
Speaker 1: me that it was, so I'm like to go off

1838
01:57:11,960 --> 01:57:15,000
Speaker 1: in your head. It went off in my head. But

1839
01:57:15,240 --> 01:57:18,120
Speaker 1: at the same time, you know, I said you know,

1840
01:57:18,240 --> 01:57:20,600
Speaker 1: I think I'm at a crossroads where I need to

1841
01:57:20,680 --> 01:57:24,480
Speaker 1: determine whether or not having done these albums and received

1842
01:57:24,600 --> 01:57:28,720
Speaker 1: all this great uh energy, you know, from an audience

1843
01:57:28,760 --> 01:57:31,440
Speaker 1: that accepted me as I was. When nobody was cared

1844
01:57:31,560 --> 01:57:33,520
Speaker 1: enough to even ask what we we're gonna do, we

1845
01:57:33,680 --> 01:57:35,960
Speaker 1: just go in and do to all of a sudden

1846
01:57:36,040 --> 01:57:38,560
Speaker 1: being like almost like a little bit feeling like a

1847
01:57:38,600 --> 01:57:41,360
Speaker 1: little micromanaged. But I also knew that that was a

1848
01:57:41,400 --> 01:57:43,160
Speaker 1: part of the way that they did things over there.

1849
01:57:44,000 --> 01:57:46,320
Speaker 1: But the waiting game was I'm not ready for the

1850
01:57:46,360 --> 01:57:48,840
Speaker 1: waiting game, So I got busy because I had other

1851
01:57:48,920 --> 01:57:54,160
Speaker 1: skills and other things to do. Remember for me, that

1852
01:57:54,280 --> 01:57:59,160
Speaker 1: signing at all was kind of on on the on

1853
01:57:59,280 --> 01:58:02,200
Speaker 1: a path to anything else. Remember, I wanted to do

1854
01:58:02,720 --> 01:58:05,080
Speaker 1: TV and music for TV and film. That's that's that

1855
01:58:05,240 --> 01:58:08,800
Speaker 1: was my goal. That was not my final destination, but

1856
01:58:08,880 --> 01:58:11,080
Speaker 1: it was. It was a great training ground, and it

1857
01:58:11,200 --> 01:58:13,200
Speaker 1: offered me a lot of opportunity, and it offered me

1858
01:58:13,240 --> 01:58:17,200
Speaker 1: a lot of access um. So I wasn't so afraid

1859
01:58:17,480 --> 01:58:19,640
Speaker 1: when it when it got to be going on three

1860
01:58:19,760 --> 01:58:23,080
Speaker 1: years and I'm still waiting on this magic bullet uh

1861
01:58:23,200 --> 01:58:24,840
Speaker 1: to say, you know, I don't know that I can

1862
01:58:24,960 --> 01:58:29,320
Speaker 1: do this this way. So when I did hear the

1863
01:58:29,440 --> 01:58:33,160
Speaker 1: song that they chose that they felt was like, you know,

1864
01:58:33,360 --> 01:58:39,640
Speaker 1: the second coming, I was like, really, and radio, particularly

1865
01:58:39,760 --> 01:58:43,800
Speaker 1: Black radio, was like, oh, we were not expecting this

1866
01:58:43,960 --> 01:58:47,240
Speaker 1: from you. Now. Remember I had had like all these

1867
01:58:47,280 --> 01:58:49,680
Speaker 1: other albums, So I developed relationships with program directors and

1868
01:58:49,760 --> 01:58:53,240
Speaker 1: things like that because the music was consistent in terms

1869
01:58:53,280 --> 01:58:56,520
Speaker 1: of whatever they were listening for, and the audience had

1870
01:58:56,520 --> 01:59:00,280
Speaker 1: already received what I do based upon what I do.

1871
01:59:01,240 --> 01:59:04,920
Speaker 1: So um, this was really a departure and was not

1872
01:59:05,080 --> 01:59:08,920
Speaker 1: received very well. And so um, that's when I knew.

1873
01:59:08,960 --> 01:59:10,760
Speaker 1: I said, Okay, well it may be time to kind

1874
01:59:10,800 --> 01:59:13,880
Speaker 1: of press a pause on this part of it and

1875
01:59:14,040 --> 01:59:17,520
Speaker 1: be focused on the used use the time to focus

1876
01:59:17,600 --> 01:59:20,480
Speaker 1: on the things that I was on the way too.

1877
01:59:20,560 --> 01:59:23,800
Speaker 1: And sort of once they put on the what got sidetracked?

1878
01:59:23,840 --> 01:59:26,920
Speaker 1: You know? But the scoring it solf because that's a

1879
01:59:27,080 --> 01:59:29,080
Speaker 1: that's a thing where you gotta pump, you gotta pump

1880
01:59:29,160 --> 01:59:31,840
Speaker 1: that machine in a whole other way of just trying

1881
01:59:31,880 --> 01:59:35,160
Speaker 1: to get in the meeting. Album also just sort of

1882
01:59:35,200 --> 01:59:41,760
Speaker 1: like exfusion, yeah, with Ernie and and do google upon.

1883
01:59:41,840 --> 01:59:45,440
Speaker 1: So we did, we did, We did too, two CDs

1884
01:59:45,480 --> 01:59:47,960
Speaker 1: actually and that and that was always for me. I

1885
01:59:48,040 --> 01:59:51,960
Speaker 1: always had a release that I didn't have to feel

1886
01:59:53,160 --> 01:59:56,040
Speaker 1: locked in. I think what took soul and takes so

1887
01:59:56,240 --> 02:00:00,600
Speaker 1: many of our artists out is that what ever they're doing,

1888
02:00:00,680 --> 02:00:05,840
Speaker 1: they reached some barrier or boundary and they don't necessarily

1889
02:00:06,000 --> 02:00:08,480
Speaker 1: have a way to punch themselves out of it. And

1890
02:00:08,560 --> 02:00:10,960
Speaker 1: it's at the at the at the highest level. In

1891
02:00:11,040 --> 02:00:15,160
Speaker 1: the lowest it's like, you know, I mean, I watched

1892
02:00:16,160 --> 02:00:19,400
Speaker 1: I watched people who I feel like would have just

1893
02:00:20,480 --> 02:00:24,080
Speaker 1: exploded had they had a way to be able to

1894
02:00:24,960 --> 02:00:27,840
Speaker 1: compartmentalize a little bit and go do something else. I was.

1895
02:00:28,320 --> 02:00:32,200
Speaker 1: I was hurt when Philip Simon died, you know, and

1896
02:00:32,400 --> 02:00:34,560
Speaker 1: you both feeling these were people that Harris to remember

1897
02:00:34,600 --> 02:00:39,600
Speaker 1: they're wrested too. I saw, like Stephie Stephanie Mills for

1898
02:00:39,680 --> 02:00:41,120
Speaker 1: a while was there and kind of it kind of

1899
02:00:41,200 --> 02:00:44,840
Speaker 1: got and I'm like, man, the difference maker for me

1900
02:00:46,040 --> 02:00:50,440
Speaker 1: was I think having something else that I love that

1901
02:00:50,520 --> 02:00:53,880
Speaker 1: didn't take me away from the music and allowed me

1902
02:00:53,960 --> 02:00:58,200
Speaker 1: to have another platform and another outlet. And I think

1903
02:00:58,360 --> 02:01:03,080
Speaker 1: that that's one of the other um contributors to me

1904
02:01:03,200 --> 02:01:08,160
Speaker 1: being involved so deeply in education now because you want

1905
02:01:08,200 --> 02:01:12,000
Speaker 1: to do this thing and you want to have every

1906
02:01:12,080 --> 02:01:14,840
Speaker 1: option open to you of how you're gonna get there

1907
02:01:14,840 --> 02:01:17,240
Speaker 1: and how you're gonna do it. You know, you want

1908
02:01:17,760 --> 02:01:20,200
Speaker 1: difference paths of window open, window not open, and go

1909
02:01:20,280 --> 02:01:22,600
Speaker 1: through the back door, back door, not go through the side,

1910
02:01:22,880 --> 02:01:25,040
Speaker 1: you know, because it's about the music and you have

1911
02:01:25,200 --> 02:01:26,760
Speaker 1: something you want to do and you have something you

1912
02:01:26,840 --> 02:01:30,560
Speaker 1: want to say and it's important. So you need multiple

1913
02:01:31,680 --> 02:01:34,839
Speaker 1: ways to be able to place yourself in that environment.

1914
02:01:35,200 --> 02:01:37,920
Speaker 1: And uh, that's what saved I think that's what saved

1915
02:01:37,960 --> 02:01:39,840
Speaker 1: my life. So what is your life like now? Like

1916
02:01:39,920 --> 02:01:42,480
Speaker 1: what should the average day in the life your kids

1917
02:01:42,960 --> 02:01:48,200
Speaker 1: know Russian? Is patrees Russian? Or is it just like

1918
02:01:50,080 --> 02:01:54,640
Speaker 1: like my mom's a teacher. Well, my my my my

1919
02:01:54,720 --> 02:01:58,760
Speaker 1: son is nineteen, he's almost twenty. He knows now he

1920
02:01:59,000 --> 02:02:02,120
Speaker 1: does now becau when other people have told you. But

1921
02:02:02,280 --> 02:02:06,280
Speaker 1: he you know, has been around and comes to the

1922
02:02:06,680 --> 02:02:09,200
Speaker 1: has come to different things and kind of like connected

1923
02:02:09,240 --> 02:02:13,240
Speaker 1: the dots. Oh, it's different. So when she told me

1924
02:02:13,320 --> 02:02:15,160
Speaker 1: to take out the trash, it was her telling me

1925
02:02:15,240 --> 02:02:20,520
Speaker 1: to do you one son and a daughter, and now

1926
02:02:20,720 --> 02:02:24,920
Speaker 1: my daughter is now thirteen, she's just now getting it

1927
02:02:24,960 --> 02:02:28,880
Speaker 1: because now she's uh, you know, finding her own music

1928
02:02:29,160 --> 02:02:33,920
Speaker 1: and go and she knows a little bit and I

1929
02:02:33,960 --> 02:02:36,000
Speaker 1: don't I don't know that they'll do it as a profession.

1930
02:02:36,360 --> 02:02:38,680
Speaker 1: But they both played He plays guitar a little bit,

1931
02:02:38,760 --> 02:02:45,160
Speaker 1: she plays string bass, so they they kind of get it,

1932
02:02:45,480 --> 02:02:49,680
Speaker 1: him more than her. But what about your students, Like

1933
02:02:49,760 --> 02:02:54,680
Speaker 1: to your students, Oh yeah, they get it, um and uh,

1934
02:02:55,000 --> 02:02:58,440
Speaker 1: you know, teaching at the college level, so so they

1935
02:02:59,160 --> 02:03:00,880
Speaker 1: they are you know, they want to get it because

1936
02:03:00,920 --> 02:03:02,840
Speaker 1: they want to be there, and so you need to

1937
02:03:02,920 --> 02:03:04,640
Speaker 1: know who you How do you manage that though? But

1938
02:03:04,760 --> 02:03:06,680
Speaker 1: the can I meet you after class? Can I when

1939
02:03:06,760 --> 02:03:08,360
Speaker 1: I can have any of your time? Can I? Like,

1940
02:03:08,480 --> 02:03:11,000
Speaker 1: I'm sure you get a lot of those requests. But

1941
02:03:11,120 --> 02:03:15,760
Speaker 1: the curriculum, especially the curriculum at the Popular Music program

1942
02:03:15,840 --> 02:03:20,440
Speaker 1: at USC, I helped. I helped to sort of coordinate, um,

1943
02:03:21,280 --> 02:03:23,120
Speaker 1: those things that were important. So they get a lot

1944
02:03:23,200 --> 02:03:25,320
Speaker 1: of information. And then I'm still active, you know, as

1945
02:03:25,360 --> 02:03:28,040
Speaker 1: a teacher, So they get a lot of information all

1946
02:03:28,080 --> 02:03:30,920
Speaker 1: the time, and and from not just me, but from

1947
02:03:30,960 --> 02:03:34,520
Speaker 1: other you know, people who have a lot of the

1948
02:03:35,360 --> 02:03:40,240
Speaker 1: uh same kind of information who came up wanting to

1949
02:03:40,280 --> 02:03:42,600
Speaker 1: be able to play anything and want to do it

1950
02:03:42,760 --> 02:03:44,280
Speaker 1: just I just want to be in it. I just

1951
02:03:44,360 --> 02:03:45,880
Speaker 1: want to do it, so I better get really good

1952
02:03:46,520 --> 02:03:48,200
Speaker 1: at a lot of stuff. Have you been involved in

1953
02:03:48,280 --> 02:03:51,560
Speaker 1: any of advocating of music education like nation wide? Because

1954
02:03:51,560 --> 02:03:53,040
Speaker 1: you just seem like the perfect person that would do

1955
02:03:53,120 --> 02:03:54,440
Speaker 1: some things like that. Man, And I know that you

1956
02:03:54,520 --> 02:03:58,200
Speaker 1: work with the Grammys that I will from the standpoint

1957
02:03:58,200 --> 02:04:00,160
Speaker 1: of teaching. I do that, And then I'm also at

1958
02:04:00,440 --> 02:04:03,680
Speaker 1: Berkeley College Music as their ambassador for artistry in education,

1959
02:04:04,200 --> 02:04:07,440
Speaker 1: so sometimes and I've worked with Grammy in the schools

1960
02:04:07,440 --> 02:04:09,440
Speaker 1: and I've worked at the Thelonious Monk Institute of Jazz.

1961
02:04:09,480 --> 02:04:14,320
Speaker 1: So I've had different platforms and different been asked to

1962
02:04:14,440 --> 02:04:19,160
Speaker 1: do different kinds of things. But in terms of us

1963
02:04:19,560 --> 02:04:23,200
Speaker 1: having a certain kind of generational advocate for the kind

1964
02:04:23,240 --> 02:04:25,520
Speaker 1: of thing you're talking about on a broader base, I

1965
02:04:25,600 --> 02:04:28,360
Speaker 1: don't know that I've ever been asked to do anything

1966
02:04:28,440 --> 02:04:30,920
Speaker 1: like that on a consistent basis. I'll just see you

1967
02:04:31,000 --> 02:04:34,680
Speaker 1: at the White House, but now maybe not this White House.

1968
02:04:40,240 --> 02:04:46,160
Speaker 1: That's not rushing over that. I don't no collusion, no

1969
02:04:46,280 --> 02:04:51,560
Speaker 1: collusion for Donald Trump. Dr Russian. We really thank you

1970
02:04:51,720 --> 02:04:55,000
Speaker 1: for thank you, Thank you. I was so happy. You

1971
02:04:55,040 --> 02:04:57,840
Speaker 1: don't understand when I when I sent you the text

1972
02:04:57,880 --> 02:05:11,560
Speaker 1: message and I saw the three dots, that is awesome.

1973
02:05:12,240 --> 02:05:14,880
Speaker 1: Thank you guys for asking them. Congratulations. You know, you

1974
02:05:14,960 --> 02:05:18,560
Speaker 1: guys do to have an open platform to be able

1975
02:05:18,600 --> 02:05:21,760
Speaker 1: to speak truth and really be able to get inside

1976
02:05:21,840 --> 02:05:24,720
Speaker 1: of our people's heads and what's going on and talk

1977
02:05:24,720 --> 02:05:27,880
Speaker 1: about it. It's really important that communication is so so key.

1978
02:05:28,200 --> 02:05:32,160
Speaker 1: It's been our survival. And so he said the same thing,

1979
02:05:32,280 --> 02:05:35,240
Speaker 1: just like this is one of the first time, like

1980
02:05:35,400 --> 02:05:37,920
Speaker 1: the older generation and the younger generation, we don't really

1981
02:05:37,960 --> 02:05:40,600
Speaker 1: get the dialogue like that, and you know, just we

1982
02:05:40,720 --> 02:05:43,480
Speaker 1: just thank you for being over like doing this show.

1983
02:05:43,560 --> 02:05:45,920
Speaker 1: It's like a life lesson after life lessons for me.

1984
02:05:46,040 --> 02:05:49,280
Speaker 1: So it's beautiful. Well, it's an important thing because, like

1985
02:05:49,360 --> 02:05:51,880
Speaker 1: I said, by I don't want to go so far

1986
02:05:52,000 --> 02:05:55,640
Speaker 1: to say by design, but by design. Um. You know,

1987
02:05:55,680 --> 02:05:58,440
Speaker 1: as people become successful, you know you're pulled away as

1988
02:05:58,440 --> 02:06:02,240
Speaker 1: opposed to being able to gather and when you have

1989
02:06:02,400 --> 02:06:05,200
Speaker 1: the opportunity to be able to, you know, get out

1990
02:06:05,320 --> 02:06:08,160
Speaker 1: and do some things. The information that you get and

1991
02:06:08,240 --> 02:06:11,200
Speaker 1: the understanding that you get from being able to absorb

1992
02:06:11,400 --> 02:06:13,680
Speaker 1: other kinds of things and be other places and meet

1993
02:06:13,720 --> 02:06:16,880
Speaker 1: other people. That's important stuff to be able to bring

1994
02:06:16,960 --> 02:06:20,919
Speaker 1: back so people's horizons can be broadened. So please continue

1995
02:06:20,960 --> 02:06:22,240
Speaker 1: to do what you're doing and know that you have

1996
02:06:22,360 --> 02:06:25,320
Speaker 1: a thousand percent of my support. Manscious. Thank you. As

1997
02:06:25,360 --> 02:06:29,040
Speaker 1: a new California resident, just meeting somebody who has a

1998
02:06:29,120 --> 02:06:31,560
Speaker 1: history of blackness and it's still very conscious and deep

1999
02:06:31,560 --> 02:06:32,960
Speaker 1: in it, because you know, as the East Coast person,

2000
02:06:33,000 --> 02:06:37,320
Speaker 1: you come here, you're like, well, I'm just soaking it

2001
02:06:37,400 --> 02:06:39,480
Speaker 1: and I'm gonna ask you some recommendations later for all

2002
02:06:39,560 --> 02:06:53,480
Speaker 1: kinds of black things. Got black Well, ladies and gentlemen

2003
02:06:53,560 --> 02:07:01,280
Speaker 1: on behalf of Team Supreme. Fine, take a little It's like, uh, sugar, Steve, Okay, sugar, Yeah,

2004
02:07:01,360 --> 02:07:08,760
Speaker 1: he salty Steve. I'm a little under the weather. But

2005
02:07:09,560 --> 02:07:15,400
Speaker 1: I did have, um, I know that you were saying, well,

2006
02:07:15,520 --> 02:07:19,520
Speaker 1: you know, go ahead. I was just curious out of

2007
02:07:19,560 --> 02:07:21,840
Speaker 1: the I know you said that East Coast jazz people

2008
02:07:21,840 --> 02:07:23,840
Speaker 1: would come out here, and you see them too, But

2009
02:07:23,960 --> 02:07:27,680
Speaker 1: at the West Coast jazz seen in the sixties and seventies,

2010
02:07:27,760 --> 02:07:31,440
Speaker 1: who were your favorite piano players or just jazz artists

2011
02:07:31,480 --> 02:07:35,720
Speaker 1: from from out here, from out here, Well, I'm gonna

2012
02:07:35,840 --> 02:07:39,360
Speaker 1: have to broaden our coast a little bit to just

2013
02:07:39,440 --> 02:07:42,880
Speaker 1: do the west of the Mississippi side. So Joe samples

2014
02:07:42,920 --> 02:07:45,240
Speaker 1: from Houston. It's not right here in l A. But

2015
02:07:45,280 --> 02:07:47,280
Speaker 1: he was here a lot because they did someone studio

2016
02:07:47,320 --> 02:07:51,000
Speaker 1: work here, so you know, he was He became sort

2017
02:07:51,040 --> 02:07:54,240
Speaker 1: of again another person that had that kind of mentoring

2018
02:07:54,400 --> 02:08:00,560
Speaker 1: attitude and was helpful. Um, let me see, let me see.

2019
02:08:00,600 --> 02:08:02,800
Speaker 1: And then you know, some of my peer group, Billie

2020
02:08:02,880 --> 02:08:06,840
Speaker 1: Child is amazing, Todd Cochrane amazing, and we're not that

2021
02:08:07,040 --> 02:08:10,440
Speaker 1: far in age. But we listened to a lot of

2022
02:08:10,520 --> 02:08:13,040
Speaker 1: the same people and listened to each other. Haven't haven't

2023
02:08:13,040 --> 02:08:15,000
Speaker 1: grown up in l A? Like what we what chads

2024
02:08:15,040 --> 02:08:18,040
Speaker 1: are your parents listening to? People? They listened to Harold

2025
02:08:18,080 --> 02:08:21,000
Speaker 1: Land and Blue Mitchell. They were out here. Um a

2026
02:08:21,120 --> 02:08:24,320
Speaker 1: lot to um. Joe Henderson lived up in the Bay Area,

2027
02:08:24,360 --> 02:08:26,600
Speaker 1: so we heard a lot of that. I heard a

2028
02:08:26,640 --> 02:08:31,080
Speaker 1: lot of that. Um brew Beck was here. Yeah. I

2029
02:08:31,240 --> 02:08:33,880
Speaker 1: heard a lot of his stuff too, not quite as much, um,

2030
02:08:34,320 --> 02:08:36,640
Speaker 1: you know, the really well known stuff. But I didn't

2031
02:08:36,640 --> 02:08:40,080
Speaker 1: really get into a lot of you know, his other

2032
02:08:40,160 --> 02:08:43,560
Speaker 1: music other than the stuff that most people knew, you know, UM,

2033
02:08:44,040 --> 02:08:45,920
Speaker 1: what about like cal Jad he was on a fantashy

2034
02:08:46,000 --> 02:08:48,080
Speaker 1: oh yeah, cal Jater was on a fantasy he had

2035
02:08:48,400 --> 02:08:51,000
Speaker 1: one of his records was it was read I had

2036
02:08:51,080 --> 02:09:01,560
Speaker 1: this moment moment. Yeah, Claire Fisher. You mentioned Claire Fisher earlier. Yes, yes, Um,

2037
02:09:03,320 --> 02:09:07,120
Speaker 1: do you have any say whatsoever about the reissues of

2038
02:09:07,240 --> 02:09:11,280
Speaker 1: your records or anything like, yeah, we can't find find something.

2039
02:09:11,520 --> 02:09:13,400
Speaker 1: None of the stuff on streaming, like none of the

2040
02:09:15,080 --> 02:09:19,839
Speaker 1: I'll give you. I'll give you a scoop the masters.

2041
02:09:19,960 --> 02:09:24,000
Speaker 1: Now recently, just recently, I went to a German company.

2042
02:09:25,440 --> 02:09:28,760
Speaker 1: I'm trying to remember that wonder Bird has that son

2043
02:09:30,240 --> 02:09:35,480
Speaker 1: they have something. I was like, that's a label, okay,

2044
02:09:35,640 --> 02:09:42,760
Speaker 1: K seven Sea. They just acquired a lot of stuff

2045
02:09:42,880 --> 02:09:48,920
Speaker 1: from the Warners catalog under which this stuff was. Um.

2046
02:09:50,240 --> 02:09:53,320
Speaker 1: So those will be ways you can investigate and then

2047
02:09:53,360 --> 02:09:55,480
Speaker 1: you know, if you still can't find something, you can come.

2048
02:09:55,720 --> 02:10:05,800
Speaker 1: We gotta leave. You still needs to alight anyway, y'all

2049
02:10:05,880 --> 02:10:10,760
Speaker 1: taking stems, y'all will be having to take the track date.

2050
02:10:14,080 --> 02:10:18,120
Speaker 1: Plea stem your stuff up, please please? Alright, so on

2051
02:10:18,320 --> 02:10:22,839
Speaker 1: behalf of anything else, Steve, No, thank you? All right. Actually,

2052
02:10:22,920 --> 02:10:25,280
Speaker 1: you know, Steve, I'm with you now that I totally

2053
02:10:25,320 --> 02:10:32,840
Speaker 1: forgot about Hollywood. Listen I'm talking about I know, I know.

2054
02:10:33,040 --> 02:10:35,320
Speaker 1: I'm just saying now. I wish we could do role

2055
02:10:35,360 --> 02:10:38,080
Speaker 1: Call again because I totally forgot about Hollywood Shuffle and

2056
02:10:38,080 --> 02:10:51,520
Speaker 1: I would have made a Timmy reference the next ground

2057
02:10:52,560 --> 02:10:58,640
Speaker 1: jaredy Kurve, you know all those people in that movie,

2058
02:10:58,680 --> 02:11:02,400
Speaker 1: I saw it happening, keenan Ill. All these people are

2059
02:11:02,440 --> 02:11:07,320
Speaker 1: really blown up. So again, community, community, beautiful. Let's hear

2060
02:11:07,360 --> 02:11:09,680
Speaker 1: from the community to the people, because the people got

2061
02:11:09,720 --> 02:11:14,080
Speaker 1: the power. I'm sorry here, sorry, and that's how we'll

2062
02:11:14,080 --> 02:11:21,760
Speaker 1: setting off the community station. Thank you very much, y'all good.

2063
02:11:28,840 --> 02:11:31,680
Speaker 1: Of course. Love Supreme is a production of My Heart Radio.

2064
02:11:32,160 --> 02:11:35,480
Speaker 1: This classic episode was produced by the team at Pandora.

2065
02:11:43,000 --> 02:11:45,280
Speaker 1: For more podcasts from my Heart Radio, visit the I

2066
02:11:45,400 --> 02:11:48,680
Speaker 1: Heart Radio app, Apple podcast, or wherever you listen to

2067
02:11:48,720 --> 02:11:49,520
Speaker 1: your favorite shows.